Treasures in the Trash: A Secret Museum Inside a New York City Department of Sanitation Garage

in Environment, Museums | October 14th, 2019

Like many New York­ers, retired san­i­ta­tion work­er Nel­son Moli­na has a keen inter­est in his fel­low cit­i­zens’ dis­cards.

But where­as oth­ers risk bed­bugs for the occa­sion­al curb­side score or dump­ster dive as an envi­ro-polit­i­cal act, Molina’s inter­est is couched in the cura­to­r­i­al.

The bulk of his col­lec­tion was amassed between 1981 and 2015, while he was on active duty in Carnegie Hill and East Harlem, col­lect­ing garbage in an area bor­dered by 96th Street, Fifth Avenue, 106th Street, and First Avenue.

At the end of every shift, he stashed the day’s finds at the garage. With the sup­port of his cowork­ers and high­er ups, his hob­by crept beyond the con­fines of his per­son­al area, fill­ing the lock­er room, and even­tu­al­ly expand­ing across the mas­sive sec­ond floor of Man­hat­tan East San­i­ta­tion Garage Num­ber 11, at which point it was declared an unof­fi­cial muse­um with the uncon­ven­tion­al name of Trea­sures in the Trash.

Because the muse­um is sit­u­at­ed inside a work­ing garage, vis­i­tors can only access the col­lec­tion dur­ing infre­quent, spe­cial­ly arranged tours. Hunter College’s East Harlem gallery and the City Reli­quary have host­ed trav­el­ing exhibits.

The Foun­da­tion for New York’s Strongest (a nick­name orig­i­nal­ly con­ferred on the Depart­ment of San­i­ta­tion’s foot­ball team) is rais­ing funds for an off­site muse­um to show­case Molina’s 45,000+ trea­sures, along with exhibits ded­i­cat­ed to “DSNY’s rich his­to­ry.”

Molina’s for­mer cowork­ers mar­vel at his unerr­ing instinct for know­ing when an undis­tin­guished-look­ing bag of refuse con­tains an object worth sav­ing, from auto­graphed base­balls and books to keep­sakes of a deeply per­son­al nature, like pho­to albums, engraved watch­es, and wed­ding sam­plers.

There’s also a fair amount of seem­ing­ly dis­pos­able junk—obsolete con­sumer tech­nol­o­gy, fast food toys, and “col­lectibles” that in ret­ro­spect were mere fad. Moli­na dis­plays them en masse, their sheer num­bers becom­ing a source of won­der. That’s a lot of Pez dis­pensers, Tam­agotchis, and plas­tic Furbees that could be clut­ter­ing up a land­fill (or Ebay).

Some of the items Moli­na sin­gles out for show and tell in Nico­las Heller’s doc­u­men­tary short, at the top, seem like they could have con­sid­er­able resell val­ue. One man’s trash, you know…

But city san­i­ta­tion work­ers are pro­hib­it­ed from tak­ing their finds home, which may explain why Depart­ment of San­i­ta­tion employ­ees (and Molina’s wife) have embraced the muse­um so enthu­si­as­ti­cal­ly.

Even though Moli­na retired after rais­ing his six kids, he con­tin­ues to pre­side over the muse­um, review­ing trea­sures that oth­er san­i­ta­tion work­ers have sal­vaged for his approval, and decid­ing which mer­it inclu­sion in the col­lec­tion.

Preser­va­tion is in his blood, hav­ing been raised to repair rather than dis­card, a prac­tice he used to put into play at Christ­mas, when he would present his sib­lings with toys he’d res­cued and res­ur­rect­ed.

This thrifty ethos accounts for a large part of the plea­sure he takes in his col­lec­tion.

As to why or how his more sen­ti­men­tal or his­tor­i­cal­ly sig­nif­i­cant arti­facts wound up bagged for curb­side pick­up, he leaves the spec­u­la­tion to vis­i­tors of a more nar­ra­tive bent.

Sign up for updates or make a dona­tion to the Foun­da­tion for New York’s Strongest’s cam­paign to rehouse the col­lec­tion in an open-to-the-pub­lic space here.

To inquire about the pos­si­bil­i­ty of upcom­ing tours, email the NYC Depart­ment of San­i­ta­tion at to***@******yc.gov.

Pho­tos of Trea­sures in the Trash by Ayun Hal­l­i­day, © 2018

Relat­ed Con­tent:

The First Muse­um Ded­i­cat­ed Exclu­sive­ly to Poster Art Opens Its Doors in the U.S.: Enter the Poster House

The Muse­um of Fail­ure: A Liv­ing Shrine to New Coke, the Ford Edsel, Google Glass & Oth­er Epic Cor­po­rate Fails

The Dis­gust­ing Food Muse­um Curates 80 of the World’s Most Repul­sive Dish­es: Mag­got-Infest­ed Cheese, Putrid Shark & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Although she lives and works inside Nel­son Molina’s for­mer pick up zone, she has yet to see any of her dis­cards on dis­play. Join her in NYC on Mon­day, Octo­ber 7 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates the art of Aubrey Beard­s­ley. Fol­low her @AyunHalliday.

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A New Kurt Vonnegut Museum Opens in Indianapolis … Right in Time for Banned Books Week

in Literature, Museums | September 26th, 2019

“All my jokes are Indi­anapo­lis,” Kurt Von­negut once said. “All my atti­tudes are Indi­anapo­lis. My ade­noids are Indi­anapo­lis. If I ever sev­ered myself from Indi­anapo­lis, I would be out of busi­ness. What peo­ple like about me is Indi­anapo­lis.” He deliv­ered those words to a high-school audi­ence in his home­town of Indi­anapo­lis in 1986, and a decade lat­er he made his feel­ings even clear­er in a com­mence­ment speech at But­ler Uni­ver­si­ty: “If I had to do it all over, I would choose to be born again in a hos­pi­tal in Indi­anapo­lis. I would choose to spend my child­hood again at 4365 North Illi­nois Street, about 10 blocks from here, and to again be a prod­uct of that city’s pub­lic schools.” Now, at 543 Indi­ana Avenue, we can expe­ri­ence the lega­cy of the man who wrote Slaugh­ter­house-Five, Cat’s Cra­dle, and Break­fast of Cham­pi­ons at the new­ly per­ma­nent Kurt Von­negut Muse­um and Library.

The muse­um’s founder and CEO Julia White­head “con­ceived the idea for a Von­negut muse­um in Novem­ber of 2008, a year and a half after the author’s death, writes Atlas Obscu­ra’s Susan Salaz. “The phys­i­cal muse­um opened in a donat­ed store­front in 2011, dis­play­ing items donat­ed by friends or on loan from the Von­negut fam­i­ly” — his Pall Malls, his draw­ings, a repli­ca of his type­writer, his Pur­ple Heart.

But the col­lec­tion “has been home­less since Jan­u­ary 2019.” A fundrais­ing cam­paign this past spring raised $1.5 mil­lion in dona­tions, putting the muse­um in a posi­tion to pur­chase the Indi­ana Avenue build­ing, one capa­cious enough for vis­i­tors to, accord­ing to the muse­um’s about page, “view pho­tos from fam­i­ly, friends, and fans that reveal Von­negut as he lived; “pon­der rejec­tion let­ters Von­negut received from edi­tors”; and “rest a spell and lis­ten to what friends and col­leagues have to say about Von­negut and his work.”

The new­ly re-opened Kurt Von­negut Muse­um and Library will also pay trib­ute to the jazz-lov­ing, cen­sor­ship-loathing vet­er­an of the Sec­ond World War with an out­door tun­nel play­ing the music of Wes Mont­gomery and oth­er Indi­anapo­lis jazz greats, a “free­dom of expres­sion exhi­bi­tion” that Salaz describes as fea­tur­ing “the 100 books most fre­quent­ly banned in libraries and schools across the nation,” and vet­er­an-ori­ent­ed book clubs, writ­ing work­shops, and art exhi­bi­tions. In the muse­um’s peri­od of absence, Von­negut pil­grims in Indi­anapo­lis had no place to go (apart from the town land­marks designed by the writer’s archi­tect father and grand­fa­ther), but the 38-foot-tall mur­al on Mass­a­chu­setts Avenue by artist Pamela Bliss. Hav­ing known noth­ing of Von­negut’s work before, she fell in love with it after first vis­it­ing the muse­um her­self, she’ll soon use its Indi­ana Avenue build­ing as a can­vas on which to triple the city’s num­ber of Von­negut murals.

You can see more of the new Kurt Von­negut Muse­um and Library, which opened its doors for a sneak pre­view this past Banned Books Week, in the video at the top of the post, as well as in this four-part local news report. Though Von­negut expressed appre­ci­a­tion for Indi­anapo­lis all through­out his life, he also left the place for­ev­er when he head­ed east to Cor­nell. He also satir­i­cal­ly repur­posed it as Mid­land City, the sur­re­al­ly flat and pro­sa­ic Mid­west­ern set­ting of Break­fast of Cham­pi­ons whose cit­i­zens only speak seri­ous­ly of “mon­ey or struc­tures or trav­el or machin­ery,” their imag­i­na­tions “fly­wheels on the ram­shackle machin­ery of awful truth.” I hap­pen to be plan­ning a great Amer­i­can road trip that will take me through Indi­anapo­lis, and what with the pres­ence of an insti­tu­tion like the Kurt Von­negut Muse­um and Library — as well as all the cul­tur­al spots revealed by the Indi­anapo­lis-based The Art Assign­ment — it has become one of the cities I’m most excit­ed to vis­it. Von­negut, of all Indi­anapoli­tans, would sure­ly appre­ci­ate the irony.

via Smithsonian.com

Relat­ed Con­tent:

Why Should We Read Kurt Von­negut? An Ani­mat­ed Video Makes the Case

Kurt Von­negut Cre­ates a Report Card for His Nov­els, Rank­ing Them From A+ to D

Bene­dict Cum­ber­batch Reads Kurt Vonnegut’s Incensed Let­ter to the High School That Burned Slaugh­ter­house-Five

Kurt Von­negut: Where Do I Get My Ideas From? My Dis­gust with Civ­i­liza­tion

Behold Kurt Vonnegut’s Draw­ings: Writ­ing is Hard. Art is Pure Plea­sure

22-Year-Old P.O.W. Kurt Von­negut Writes Home from World War II: “I’ll Be Damned If It Was Worth It”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Imagined Medieval Comics Illuminate the Absurdities of Modern Life

in Art, Comedy, Comics/Cartoons, Fashion, History, Museums | September 16th, 2019

In 2005, the U.S. Depart­ment of Agri­cul­ture revised its famous food pyra­mid, jet­ti­son­ing the famil­iar hier­ar­chi­cal graph­ic in favor of ver­ti­cal rain­bow stripes rep­re­sent­ing the var­i­ous nutri­tion­al groups. A stick fig­ure bound­ed up a stair­case built into one side, to rein­force the idea of adding reg­u­lar phys­i­cal activ­i­ty to all those whole grains and veg­gies.

The dietary infor­ma­tion it pro­mot­ed was an improve­ment on the orig­i­nal, but nutri­tion­al sci­en­tists were skep­ti­cal that the pub­lic would be able to parse the con­fus­ing graph­ic, and by and large this proved to be the case.

Artist Tyler Gun­ther, how­ev­er, was inspired:

I start­ed think­ing about the mes­sag­ing school chil­dren in 1308 were force fed to believe was part of a heart healthy diet, only to have the rug pulled out from under them 15 years lat­er when some monk rearranged the whole thing.

In oth­er words, you’d bet­ter dig into that annu­al goose pie, kids, while you’ve still got 6 glass­es of ale to wash it down.

The imag­ined over­lap between the mod­ern and the medieval is a fer­tile vein for Gunter, whose MFA in Cos­tume Design is often put to good use in his hilar­i­ous his­tor­i­cal comics:

Mod­ern men’s fash­ion is so incred­i­bly bor­ing. A guy wears a pat­tered shirt with a suit and he gets laud­ed as though he won the super bowl of fash­ion. But back in the Mid­dle Ages men made bold, brave fash­ion choic­es and I admire them great­ly for this. It’s so excit­ing to me to think of these inven­tive, strange, fan­tas­tic cre­ations being a part of the every­day mas­cu­line aes­thet­ic.

The shapes and struc­tures of women’s head­wear in the dark ages are tru­ly inspir­ing. Where were these milliners draw­ing inspi­ra­tion from? How were they engi­neered? How com­fort­able were they to wear? How did they fit through the major­i­ty of door­ways? What was it like to sit behind a par­tic­u­lar­ly large one in church? I’m still scrolling through many an inter­net his­to­ry blog to find the answers. 

Kathryn Warner’s Edward II blog has proved a help­ful resource, as has Anne H. van Buren’s book Illu­mi­nat­ing Fash­ion: Dress in the Art of Medieval France and the Nether­lands.

The Brook­lyn-based, Arkansas-born artist also makes peri­od­ic pil­grim­ages to the Clois­ters, where the Met­ro­pol­i­tan Muse­um hous­es a vast num­ber illu­mi­nat­ed man­u­scripts, pan­el paint­ings, altar pieces, and the famed Uni­corn Tapes­tries:

On my first trip to The Clois­ters I saw a paint­ing of St. Michael and the dev­il almost imme­di­ate­ly. I don’t think my life or art has been the same since. None of us know what the dev­il looks like. But you wouldn’t know that based on how con­fi­dent­ly this artist por­trays his like­ness. After gaz­ing at this paint­ing for an extend­ed peri­od of time I want­ed so bad­ly to under­stand the imag­i­na­tion of who­ev­er could imag­ine an alli­ga­tor arms/face crotch/dragon pony­tail com­bo. I don’t think I’ve come close to scratch­ing the sur­face.

Every time I go to that muse­um I think, “Wow it’s like I’m on Game of Thrones” and then I have to remind myself kind­ly that this was real life. Almost every­thing there was an object that peo­ple inter­act­ed with as part of their aver­age dai­ly life and that fas­ci­nates me as some­one who lives in a world filled with mass pro­duced, plas­tic objects. 

Gunther’s draw­ings and comics are cre­at­ed (and aged) on that most mod­ern of conveniences—the iPad.

The British monar­chy and the First Ladies are also sources of fas­ci­na­tion, but the mid­dle ages are his pri­ma­ry pas­sion, to the point where he recent­ly cos­tumed him­self as a page to tell the sto­ry of Piers Gave­ston, 1st Earl of Corn­wall and Edward II’s dar­ling, aid­ed by a gar­ment rack he’d retooled as a medieval pageant cart-cum-pup­pet the­ater.

See the rest of Tyler Gunther’s Medieval Comics on his web­site and don’t for­get to sur­prise your favorite hygien­ist or oral sur­geon with his Medieval Den­tist print this hol­i­day sea­son.

All images used with per­mis­sion of artist Tyler Gun­ther

Relat­ed Con­tent:

How to Make a Medieval Man­u­script: An Intro­duc­tion in 7 Videos

Medieval Monks Com­plained About Con­stant Dis­trac­tions: Learn How They Worked to Over­come Them

Why Knights Fought Snails in Illu­mi­nat­ed Medieval Man­u­scripts

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inkyzine.  Join her in NYC on Mon­day, Octo­ber 7 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domaincel­e­brates the art of Aubrey Beard­s­ley, with a spe­cial appear­ance by Tyler Gun­ther. Fol­low her @AyunHalliday.

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The First Museum Dedicated Exclusively to Poster Art Opens Its Doors in the U.S.: Enter the Poster House

in Art, Design, History, Museums | July 1st, 2019

How times have changed since our late 80s col­lege days. Under­grads do research online, upload assign­ments to a serv­er, stream music, down­load affir­ma­tive sex­u­al con­sent con­tracts, and turn to Face­book when it’s time to find a ride home for the hol­i­days.

But one aspect of the col­le­giate lifestyle remains unchanged.

They still fes­toon their dorm rooms with posters—the actu­al paper arti­cle, affixed to the walls with blue put­ty, a care­ful­ly curat­ed col­lec­tion of taste and aspi­ra­tion.

As Cait Munro writes in Refin­ery 29:

Fresh­man, already scram­bling to find and loud­ly artic­u­late an iden­ti­ty, can leave the poster sale with two or three plas­tic tubes hous­ing scrolls that rep­re­sent the very essence of their new, par­ent-free, on-cam­pus selves. Posters become an afford­able, demon­stra­ble expres­sion of who they are as a per­son — or, in the tra­di­tion of peo­ple eager to leave behind their home­town selves, who they want to be.

Legions of style blogs have decreed that these posters should be giv­en the heave-ho along with the plas­tic milk crate shelv­ing, come grad­u­a­tion.

Per­son­al­ly, I would rather gaze upon the tat­tered repro­duc­tion of the first paint­ing that spoke to me at the Art Insti­tute of Chica­go than any­thing the design experts float as an accept­ably grown up alter­na­tive.

Is Alphonse Mucha’s Byzan­tine 1896 ad for Job rolling papers some­how unwor­thy because legions of dewy eyed under­grads have giv­en it a peren­ni­al place of unframed hon­or?

The dri­ving forces behind the new­ly opened Poster House in New York City would say no. The first Amer­i­can muse­um ded­i­cat­ed exclu­sive­ly to poster art, its cura­tors cast a wide net through the form’s 160 year his­to­ry, whether the end goal of the work was war bond sales, pub­lic health edu­ca­tion, or straight-up box office sales. As the Poster House writes:

For a poster to suc­ceed, it must com­mu­ni­cate. By com­bin­ing the pow­er of images and words, posters speak to audi­ences quick­ly and per­sua­sive­ly. Blend­ing design, adver­tis­ing, and art, posters clear­ly reflect the place and time in which they were made.

What did the best-sell­ing poster of actress Far­rah Faw­cett in a red tank suit say to—and about—teenage boys in 1976? What did it say about Amer­i­can val­ues and gen­der norms in that Bicen­ten­ni­al year? Why no posters of Bet­sy Ross?

How does the offi­cial poster for Juras­sic Park, above, com­pare to the hand-paint­ed, pre­sum­ably unau­tho­rized image used to mar­ket it to audi­ences in Ghana?

(End­less grat­i­tude to illus­tra­tor and mon­ster movie fan Aeron Alfrey for bring­ing this and oth­er Ghan­ian spins on Amer­i­can film releas­es to our atten­tion.)

Some posters have remark­able stay­ing pow­er, reap­pear­ing in a num­ber of guis­es. Wit­ness Rosie the Riv­et­er and James Mont­gomery Flagg’s Uncle Sam-themed WWI recruit­ment poster, to say noth­ing of the Barack Oba­ma “Hope” poster by Shep­ard Fairey, the poster that launched a thou­sand par­o­dies, most­ly dig­i­tal, but even so.

To learn more about vis­it­ing Poster House, its inau­gur­al Alphonse Mucha exhib­it and upcom­ing events such as Drink and Draw, click here.

via Hyper­al­ler­gic

Relat­ed Con­tent:

The Film Posters of the Russ­ian Avant-Garde

10,000 Clas­sic Movie Posters Get­ting Dig­i­tized & Put Online by the Har­ry Ran­som Cen­ter at UT-Austin: Free to Browse & Down­load

Chill­ing and Sur­re­al Pro­pa­gan­da Posters from the NSA Are Now Declas­si­fied and Put Online

40,000 Film Posters in a Won­der­ful­ly Eclec­tic Archive: Ital­ian Tarkovsky Posters, Japan­ese Orson Welles, Czech Woody Allen & Much More

The Library of Con­gress Makes Thou­sands of Fab­u­lous Pho­tos, Posters & Images Free to Use & Reuse

Vin­tage 1930s Japan­ese Posters Artis­ti­cal­ly Mar­ket the Won­ders of Trav­el

100 Great­est Posters of Film Noir

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inkyzine.  Fol­low her @AyunHalliday.

 

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Leonardo da Vinci’s Huge Notebook Collections, the Codex Forster, Now Digitized in High-Resolution: Explore Them Online

in Art, Museums | June 12th, 2019

It may seem like a bizarre ques­tion, but indulge me for a moment: could it be pos­si­ble that the most famous artist of the Renais­sance and maybe in all of art his­to­ry, Leonar­do da Vin­ci, is an under­rat­ed fig­ure? Con­sid­er the fact that until rel­a­tive­ly recent­ly, a huge amount of his work—maybe a major­i­ty of his draw­ings, plans, sketch­es, notes, con­cepts, the­o­ries, etc.—has been unavail­able to all but spe­cial­ized schol­ars who could access (and read) his copi­ous note­books, span­ning the most pro­duc­tive peri­od of his career.

“Leonar­do seems to have begun record­ing his thoughts in note­books from the mid-1480s,” writes the Vic­to­ria & Albert Muse­um (the V&A), “when he worked as a mil­i­tary and naval engi­neer for the Duke of Milan. None of Leonardo’s pre­de­ces­sors, con­tem­po­raries or suc­ces­sors used paper quite like he did—a sin­gle sheet con­tains an unpre­dictable pat­tern of ideas and inven­tions.” He worked on loose sheets, which were lat­er bound togeth­er in books, or codices, by the artists who inher­it­ed them. As we have been report­ing, these note­book col­lec­tions have been com­ing avail­able online in open, high-res­o­lu­tion dig­i­tal ver­sions.

Now the V&A has announced that all three of its Leonar­do codices, called the Forster Codices after the col­lec­tor who bequeathed them to the muse­um, are avail­able to view “in amaz­ing detail.” Click here to see Codex Forster 1, Codex Forster 2, and Codex Forster 3. Here we see fur­ther evi­dence that Leonar­do was a supreme draughts­man. As Clau­dio Gior­gione, cura­tor at the Leonar­do da Vin­ci Nation­al Sci­ence and Tech­nol­o­gy Muse­um in Milan, points out, “Leonar­do was not the only one to draw machines and to do sci­en­tif­ic draw­ings, many oth­er engi­neers did that,” and many artists as well. “But what Leonar­do did bet­ter than oth­ers is to make a rev­o­lu­tion of the tech­ni­cal draw­ing,” almost defin­ing the field with his metic­u­lous atten­tion to detail.

What’s more, notes Uni­ver­si­ty of Oxford Pro­fes­sor Mar­tin Kemp, “while oth­er artists might have been prob­ing some aspects of anatomy—muscles, bones, tendons—Leonardo took the study to a new lev­el.” Such a lev­el, in fact, that he “can be regard­ed as the father of bio­engi­neer­ing,” argues John B. West in the Amer­i­can Jour­nal of Phys­i­ol­o­gy.

Lit­tle atten­tion has been paid to [Leonar­do] as a phys­i­ol­o­gist. But he was an out­stand­ing engi­neer, and he was one of the first peo­ple to apply the prin­ci­ples of engi­neer­ing to under­stand the func­tion of ani­mals includ­ing humans.

Gior­gione warns against see­ing Leonar­do as a prophet­ic vision­ary for his inno­va­tions. He was not a man out of time; “the artist engi­neer is a known fig­ure in Renais­sance Italy.” But he per­fect­ed the tools and meth­ods of this dual pro­fes­sion with such rest­less inge­nu­ity and skill that we still find it aston­ish­ing over 500 years lat­er. His lengthy expla­na­tions of these excep­tion­al tech­ni­cal draw­ings are writ­ten, nat­u­ral­ly, in his famous mir­ror writ­ing.

Of Leonardo’s odd writ­ing sys­tem, we may learn some­thing new as well, though we may find this part, at least, a lit­tle dis­ap­point­ing. As the V&A points out, his idio­syn­crat­ic method might not have been so unique after all, or have been a sophis­ti­cat­ed device for Leonar­do to hide his ideas from com­peti­tors and future curi­ous read­ers. It might have come about “because he was left-hand­ed and may have found it eas­i­er to write from right to left…. Writ­ing mas­ters at the time would have made demon­stra­tions of mir­ror writ­ing, and his let­ter-shapes are in fact quite ordi­nary.”

Noth­ing else about the man seems to war­rant that descrip­tion. See all three Forster Codices the Vic­to­ria & Albert Muse­um site here: Codex Forster 1, Codex Forster 2, and Codex Forster 3. And see one codex from the col­lec­tion, as the V&A announced on Twit­ter, live in per­son at the British Library’s Leonar­do da Vin­ci: A Mind in Motion exhib­it.

h/t Atze­cLa­dy

Relat­ed Con­tent:

Leonar­do da Vinci’s Vision­ary Note­books Now Online: Browse 570 Dig­i­tized Pages

A Com­plete Dig­i­ti­za­tion of Leonar­do Da Vinci’s Codex Atlanti­cus, the Largest Exist­ing Col­lec­tion of His Draw­ings & Writ­ings

Leonar­do da Vinci’s Ear­li­est Note­books Now Dig­i­tized and Made Free Online: Explore His Inge­nious Draw­ings, Dia­grams, Mir­ror Writ­ing & More

Why Did Leonar­do da Vin­ci Write Back­wards? A Look Into the Ulti­mate Renais­sance Man’s “Mir­ror Writ­ing”

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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A New Archive Transcribes and Puts Online the Diaries & Notebooks of Women Artists, Art Historians, Critics and Dealers

in Art, History, Life, Museums | May 17th, 2019

While one is still com­par­a­tive­ly young, one has many more thoughts & cer­tain­ly sen­ti­ments than one is able to make use of. It seems as if these might be stored up so that in old age or when one became less pro­lif­ic one could find mat­ter to use. Every thought or sug­ges­tion could be of use.

- Gertrude Van­der­bilt Whit­ney, sculp­tor, col­lec­tor, founder of the Whit­ney Muse­um of Amer­i­can Art, 1906

There are very few moral defens­es for rum­mag­ing inside another’s pri­vate diary or sketch­book, until that per­son shuf­fles off this mor­tal coil … and even then snoop­ers may get burned by what they read.

Or not.

Bore­dom is anoth­er strong pos­si­bil­i­ty.

Best to stick with fig­ures of his­tor­i­cal import.

With all due respect to Fri­da Kahlo, I pre­fer those whom his­to­ry hasn’t turned into mega-celebs.

It’s fun to dis­cov­er a fas­ci­nat­ing per­son via her own words and doo­dles, rather than seek them out as a bedaz­zled fan girl.

The Women’s His­to­ry Project at the Archives of Amer­i­can Art is scan­ning a trove of hand­writ­ten papers as part of a year long mis­sion to pre­serve and pass along the cre­ative process­es and dai­ly doings of var­i­ous women artists, art his­to­ri­ans, crit­ics, deal­ers, and gallery own­ers. Fas­ci­nat­ing read­ing awaits those who can get past the enig­mat­ic antique scrawl. More on that below.

A sam­ple:

Por­traitist Cecil­ia Beaux’s let­ters to her friend, fre­quent sit­ter, and pos­si­ble lover, actress Dorothea Gilder. (See Beaux’s paint­ing of “Mrs. Theodore Roo­sevelt and daugh­ter Ethel” from 1902 up top.)

The note­book of sculp­tor Anna Cole­man Ladd, stuffed with quotes, poems, research, def­i­n­i­tions, and auto­bi­o­graph­i­cal mus­ings, dat­ed the same year that she found­ed the Amer­i­can Red Cross Stu­dio for Por­trait Masks for severe­ly dis­fig­ured WW1 vets.

The above men­tioned Whitney’s 1914 trav­el diary, when she made sev­er­al trips to France in the name of estab­lish­ing and sup­port­ing a hos­pi­tal in north-cen­tral France.

Ready to explore?

You can do more than that.

The project is a part of the Smith­son­ian Tran­scrip­tion Cen­ter, which depends upon the pub­lic to take a crack at deci­pher­ing the obscure cur­sive of these hand­writ­ten pages, strike-throughs, mar­gin­a­lia, and all.  You can try your hand at a sin­gle sen­tence or tack­le an entire col­lec­tion or diary. No wor­ries if you have no tran­scrip­tion expe­ri­ence. The Cen­ter has easy to fol­low instruc­tions here.

Your efforts will make the dig­i­tized doc­u­ments key­word search­able, while pre­serv­ing the orig­i­nal cre­ators’ mem­o­ries for future gen­er­a­tions. New con­tent will be added month­ly through March 2020.

Begin your explo­rations of the Women’s His­to­ry Project at the Archives of Amer­i­can Art here.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Ven­er­a­ble Female Artists, Musi­cians & Authors Give Advice to the Young: Pat­ti Smith, Lau­rie Ander­son & More

The Dai­ly Rit­u­als of 143 Famous Female Cre­ators: Octavia But­ler, Edith Whar­ton, Coco Chanel & More

“The Artist Project” Reveals What 127 Influ­en­tial Artists See When They Look at Art: An Acclaimed Video Series from The Met­ro­pol­i­tan Muse­um of Art

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this June for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

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Download Free Coloring Books from 113 Museums

in Art, Coloring Books, Museums | February 8th, 2019

One can only col­or so many flo­ral-trimmed affir­ma­tions before one begins to crave some­thing slight­ly more per­verse. An ema­ci­at­ed, naked, anthro­po­mor­phized man­drake root, say or…

Thy wish is our com­mand, but be pre­pared to hus­tle, because today is the final day of Col­or Our Col­lec­tions, a com­pelling­ly demo­c­ra­t­ic ini­tia­tive on the part of the New York Acad­e­my of Med­i­cine.

Since 2016, the Acad­e­my has made an annu­al prac­tice of invit­ing oth­er libraries, archives, and cul­tur­al insti­tu­tions around the world to upload PDF col­or­ing pages based on their col­lec­tions for the pub­lic’s free down­load.

This year 113 insti­tu­tions took the bait.

Our host, the New York Acad­e­my of Med­i­cine kicks things off with the afore­men­tioned man­drakes, and then some.

Med­ical sub­jects are a pop­u­lar theme here. You’ll find plen­ty of organs and oth­er rel­e­vant details to col­or, com­pli­ments of Boston’s Count­way Library’s Cen­ter for the His­to­ry of Med­i­cine, London’s Roy­al Col­lege of Physi­cians, and the His­tor­i­cal Med­ical Library of The Col­lege of Physi­cians of Philadel­phia (aka the Müt­ter Muse­um).

The col­or­ing book of the Richard­son-Sloane Spe­cial Col­lec­tions Cen­ter at the Dav­en­port Pub­lic Library is a bit more all-ages. They cer­tain­ly remind me of my child­hood. The work of native son, Patrick J. Costel­lo, above, fig­ures heav­i­ly here. Either he deserves a lot of cred­it for devel­op­ing the School House Rock aes­thet­ic, or he was one of a num­ber of hard work­ing illus­tra­tors tap­ping into the cartoon‑y, thick-nibbed zeit­geist

The Andover-Har­vard The­o­log­i­cal Library’s col­or­ing book has some divine options for those who would use their col­or­ing pages as DIY 16th-cen­tu­ry book­plates or alpha­bet primers.

Those who need some­thing more com­plex will appre­ci­ate the intri­cate maps of the Lithuan­ian Art Museum’s col­or­ing book. Col­or­ing Franz Hogenberg’s 1581 map of Vil­nius is the emo­tion­al equiv­a­lent of walk­ing the labyrinth for god knows how many hours.

As befits a con­tent web­site-cum-dig­i­tal-Nation­al-Library, the Memo­ria Chile­na Col­or­ing Book 2019 has some­thing for every taste: flayed anatom­i­cal stud­ies, 1940’s fash­ions, curi­ous kit­ty cats, and a heap­ing help­ing of jesters.

Check out all your options here.

Once you’ve had your way with the Cray­olas, please share your cre­ations with the world, using the hash­tag #Col­or­Our­Col­lec­tions.

Par­tic­i­pat­ing Insti­tu­tions 2019

The New York Acad­e­my of Med­i­cine Library

Roy­al Col­lege of Physi­cians, Lon­don

OHSU His­tor­i­cal Col­lec­tions & Archives

Uni­ver­si­ty of Wis­con­sin-Mil­wau­kee Spe­cial Col­lec­tions

Swarth­more Col­lege Libraries

South Car­oli­na State Library

Shenan­doah Coun­ty Library, Truban Archives

Bib­liote­ca de la Uni­ver­si­dad de Zaragoza

Christ’s Col­lege Library, Cam­bridge

Tow­er Hill Botan­ic Gar­den

Uni­ver­si­ty of Water­loo Spe­cial Col­lec­tions & Archives

Wagenin­gen Uni­ver­si­ty & Research

Brunel Uni­ver­si­ty Spe­cial Col­lec­tions

Hawaii State Foun­da­tion on Cul­ture and the Arts

Wash­ing­ton State Library

Saint Fran­cis de Sales Parish Unit­ed by the Most Blessed Sacra­ment Parish His­to­ry Archives

Get­ty Research Insti­tute

Auck­land Muse­um

Loy­ola Uni­ver­si­ty Chica­go Archives & Spe­cial Col­lec­tions

Seton Hall Uni­ver­si­ty Libraries

Bib­lio­theque interuni­ver­si­taire de Sante, Paris

Dig­i­tal Library at Vil­lano­va Uni­ver­si­ty

West Vir­ginia and Region­al His­to­ry Cen­ter

Bass Library, Yale Uni­ver­si­ty Library

Uni­ver­si­ty of Kansas Libraries

Med­ical Her­itage Library

The Ohio State Uni­ver­si­ty Health Sci­ences Library

Uni­ver­si­ty of Mass­a­chu­setts Amherst Libraries

Rut­gers Uni­ver­si­ty Spe­cial Col­lec­tions and Uni­ver­si­ty Archives

Uni­ver­si­ty of British Colum­bia Library

Nation­al Library of Med­i­cine

Sci­ence His­to­ry Insti­tute

Rick­er Library of Archi­tec­ture and Art at the Uni­ver­si­ty of Illi­nois

Chau­tauqua Insti­tu­tion Archives

Bib­lio­theque et Archives nationales du Que­bec

The LuEs­ther T. Mertz Library of the New York Botan­i­cal Gar­den

Auburn Uni­ver­si­ty Spe­cial Col­lec­tions and Archives

Open Muse­um, Acad­e­mia Sini­ca Cen­ter for Dig­i­tal Cul­tures

Les Champs Libres

Lithuan­ian Art Muse­um

Memo­ria Chile­na

Bar­ret Library, Rhodes Col­lege

Wales High­er Edu­ca­tion Libraries Forum (WHELF)

Roy­al Anthro­po­log­i­cal Insti­tute

Delaware Muse­um of Nat­ur­al His­to­ry

James Madi­son Uni­ver­si­ty Libraries

Utah State Uni­ver­si­ty Libraries Spe­cial Col­lec­tions & Archives

Stevens Insti­tute of Tech­nol­o­gy / Archives & Spe­cial Col­lec­tions

War­ing His­tor­i­cal Library of the Med­ical Uni­ver­si­ty of South Car­oli­na

Bernard Beck­er Med­ical Library at Wash­ing­ton Uni­ver­si­ty in St. Louis

Uni­ver­si­ty of Puget Sound

Drex­el Uni­ver­si­ty Col­lege of Med­i­cine Lega­cy Cen­ter Archives and Spe­cial Col­lec­tions

Queens’ Col­lege Library, Cam­bridge

Stadt­bib­lio­thek Koeln

Andover-Har­vard The­o­log­i­cal Library

Rare Book and Man­u­script CRAI Library at Uni­ver­si­ty of Barcelona

New­ber­ry Library

His­tor­i­cal Med­ical Library of The Col­lege of Physi­cians of Philadel­phia

Lam­beth Palace Library

Fol­ger Shake­speare Library

Uni­ver­si­ty of Glas­gow Archives and Spe­cial Col­lec­tions

John J. Burns Library

Bio­di­ver­si­ty Her­itage Library

The Uni­ver­si­ty of Iowa Libraries, Iowa Dig­i­tal Library

Ten­nessee State Muse­um

Cen­ter for the His­to­ry of Med­i­cine, Count­way LIbrary

Russ­ian State Library

South Car­oli­na His­tor­i­cal Soci­ety

Library Com­pa­ny of Philadel­phia

The Burke Library at Union The­o­log­i­cal Sem­i­nary

Pratt Insti­tute Archives

The Chil­dren’s Muse­um of Indi­anapo­lis

Wan­gen­steen His­tor­i­cal Library of Biol­o­gy and Med­i­cine, Uni­ver­si­ty of Min­neso­ta Libraries

Wash­ing­ton Uni­ver­si­ty Libraries Julian Edi­son Depart­ment of Spe­cial Col­lec­tions

Libraries and Cul­tur­al Resources, Uni­ver­si­ty of Cal­gary

Leonard H. Axe Library, Pitts­burg State Uni­ver­si­ty

Susque­han­na Uni­ver­si­ty, Blough-Weis Library

Richard­son-Sloane Spe­cial Col­lec­tions Cen­ter, Dav­en­port Pub­lic Library

Den­ver Pub­lic Library, West­ern His­to­ry and Geneal­o­gy

Find­lay-Han­cock Coun­ty Pub­lic Library

North­ern Illi­nois Uni­ver­si­ty

Escuela Supe­ri­or de Artes de Yucatan

Lake Coun­ty Pub­lic Library

Unit­ed Nations Library Gene­va

Jele­niorskie Cen­trum Infor­ma­cji i Edukacji Region­al­nej Ksi­azni­ca Karkonos­ka

Women and Lead­er­ship Archives, Loy­ola Uni­ver­si­ty Chica­go

Grand Portage Nation­al Mon­u­ment Archives Col­lec­tion

Jagiel­lon­ian Library

Botan­i­cal Research Insti­tute of Texas

Uni­ver­si­ty of North Texas Libraries

Lehigh Uni­ver­si­ty Libraries Spe­cial Col­lec­tions

Rare Book and Man­u­script Library at the Uni­ver­si­ty of Illi­nois at Urbana-Cham­paign

Mass­a­chu­setts Gen­er­al Hos­pi­tal Archives & Spe­cial Col­lec­tions

Clark Spe­cial Col­lec­tions, McDer­mott Library, USAFA

Bib­lio­theque nationale de France

Cen­tre for Chi­nese Con­tem­po­rary Art Archive & Library

Shangri La Muse­um of Islam­ic Art, Cul­ture & Design

British Library

West­ern Uni­ver­si­ty Archives and Spe­cial Col­lec­tions

Euro­peana

Den­ver Botan­ic Gar­dens

Med­Chi, The Mary­land State Med­ical Soci­ety

Grin­nell Col­lege Libraries

Uni­ver­si­ty of Mary­land, Bal­ti­more Coun­ty (UMBC)

His­tor­i­cal Soci­ety of Penn­syl­va­nia

Nation­al Library of Rus­sia

East­ern Ken­tucky Uni­ver­si­ty Spe­cial Col­lec­tions & Archives

Nume­lyo

Louisiana State Uni­ver­si­ty Spe­cial Col­lec­tions

New York State Library

North Car­oli­na Pot­tery Cen­ter

Roy­al Hor­ti­cul­tur­al Soci­ety Libraries

Library of Vir­ginia

Relat­ed Con­tent:

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  See her onstage in New York City this Mon­day as host of  The­ater of the Apes book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

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Explore an Interactive Version of The Wall of Birds, a 2,500 Square-Foot Mural That Documents the Evolution of Birds Over 375 Million Years

in Biology, Museums, Nature, Science | February 4th, 2019

Now, this avian Vat­i­can also has its own Michelan­ge­lo.

– Audubon Mag­a­zine

And the Class of Aves has its very own avian Pan­tone chart, cre­at­ed by sci­ence illus­tra­tor Jane Kim in ser­vice of her 2,500 square-foot Wall of Birds mur­al at Cor­nell University’s Lab of Ornithol­o­gy.

The cus­tom chart’s fifty-one col­ors com­prise about 90 per­cent of the fin­ished work. A palette of thir­teen Gold­en Flu­id Acrylics sup­plied the jew­el-toned accents so thrilling to bird­watch­ers.

Along the way, Kim absorbed a tremen­dous amount of infor­ma­tion about the how and why of bird feath­er col­oration:

The iri­des­cence on the neck and back of the Superb Star­ling comes not from pig­ment,

but from struc­tur­al col­or. The starling’s out­er feath­ers are con­struct­ed in a way

that refracts light like myr­i­ad prisms, mak­ing the bird appear to shim­mer. The epony­mous

col­or­ing of the Lilac-breast­ed Roller results from a dif­fer­ent kind of struc­tur­al

col­or, cre­at­ed when woven microstruc­tures in the feath­ers, called barbs and bar­bules,

reflect only the short­er wave­lengths of light like blue and vio­let.

The pri­ma­ry col­ors that lend their name to the Red-and-yel­low Bar­bet are

derived from a class of pig­ments called carotenoids that the bird absorbs in its diet.

These are the same com­pounds that turn flamin­gos’ feath­ers pink. As a mem­ber of

the fam­i­ly Musophagi­dae, the Hartlaub’s Tura­co dis­plays pig­men­ta­tion unique in the

bird world. Birds have no green pig­men­ta­tion; in most cas­es, ver­dant plumage is a

com­bi­na­tion of yel­low carotenoids and blue struc­tur­al col­or. Tura­cos are an excep­tion,

dis­play­ing a green, cop­per-based pig­ment called tura­coverdin that they absorb

in their her­biv­o­rous diet. The flash of red on the Hartlaub’s under­wings comes from

turacin, anoth­er cop­per-based pig­ment unique to the fam­i­ly.

 

Kim also boned up on her sub­jects’ mat­ing rit­u­als, dietary habits, song styles, and male/female dif­fer­ences pri­or to inscrib­ing the 270 life-size, life­like birds onto the lab’s largest wall.

She exam­ined spec­i­mens from the cen­ter’s col­lec­tion and reviewed cen­turies’ worth of field obser­va­tions.

(The sev­en­teenth-cen­tu­ry Eng­lish nat­u­ral­ist John Ray dis­missed the horn­bill fam­i­ly as hav­ing a “foul look,” a colo­nial­ism that ruf­fled Kim’s own feath­ers some­what. In retal­i­a­tion, she dubbed the Great Horn­bill, “the Cyra­no of the Jun­gle” owing to his “tequi­la-sun­rise-hued facial phal­lus,” and select­ed him as the cov­er boy for her book about the mur­al.)

Research and pre­lim­i­nary sketch­ing con­sumed an entire year, after which it took 17 months to inscribe 270 life-size creatures—some long extinct—onto the lab’s main wall. The birds are set against a greyscale map of the world, and while many are depict­ed in flight, every one save the Wan­der­ing Alba­tross has a foot touch­ing its con­ti­nent of ori­gin.

Those who can’t vis­it the Wall of Birds (offi­cial title: From So Sim­ple a Begin­ning) in per­son, can log some dig­i­tal bird­watch­ing using a spec­tac­u­lar inter­ac­tive web-based ver­sion of the mur­al that pro­vides plen­ty of infor­ma­tion about each spec­i­men, some of it lit­er­ary. (The afore­men­tioned Alba­tross’ entry con­tains a pass­ing ref­er­ence to The Rime of the Ancient Mariner.)

Explore the Wall of Birds’ inter­ac­tive fea­tures here.

You can down­load a free chap­ter of The Wall of Birds: One Plan­et, 243 Fam­i­lies, 375 Mil­lion Years by sub­scrib­ing to Kim’s mail­ing list here.

Via Hyper­al­ler­gic

Relat­ed Con­tent:

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

What Kind of Bird Is That?: A Free App From Cor­nell Will Give You the Answer

Mod­ernist Bird­hous­es Inspired by Bauhaus, Frank Lloyd Wright and Joseph Eich­ler

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  See her onstage in New York City Feb­ru­ary 11 for The­ater of the Apes book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

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