What It’s Like to Be Color Blind and See Art in Color for the First Time

We all know that say­ing about walk­ing in anoth­er’s shoes, but what about see­ing through anoth­er’s eye­balls? I’m not talk­ing about per­spec­tive. I’m talk­ing about col­or. As in I see it, and my hus­band does­n’t. At least not the way I do.

His cop­ing mech­a­nism is to chal­lenge me when­ev­er I refer to some­thing as “blue.” To him, it’s grey, or brown, or some oth­er non-blue shade. He wants me to see it that way too. To admit that I am wrong. For my part, I feel it’s impor­tant that the per­son to whom I’m mar­ried acknowl­edge that there’s no way my favorite bowl can be the col­or of cement, no mat­ter what his cone cell recep­tors are telling him.

Per­haps he’d have bet­ter luck ask­ing patient strangers to describe col­or to him, as blind-from-birth film crit­ic Tom­my Edi­son does below. Hmm. Col­or may be more sub­jec­tive than my hus­band’s and my spec­tral stand-offs would sug­gest.

Accord­ing to EnChro­ma, the com­pa­ny that designed and sells the col­or-cor­rect­ing lens­es the onscreen guinea pigs are seen wear­ing in the video up top, an esti­mat­ed 300 mil­lion peo­ple suf­fer from some form of col­or blind­ness. Their glass­es offer some of those three mil­lion a chance at see­ing red in the lit­er­al sense. The video par­tic­i­pants are, not sur­pris­ing­ly, blown away by their first encounter with a Cray­ola-col­ored world.

Hav­ing refreshed myself on the struc­tures of the eye, I took the col­or blind­ness test on EnChro­ma’s web­site. I test­ed nor­mal, hav­ing iden­ti­fied the hid­den (or in my case not-so-hid­den) num­bers in a vari­ety of vir­tu­al mosaics.

My col­or blind friend, Bob, agreed to take it too, pro­vid­ed I muz­zle myself from offer­ing the sort of com­men­tary to which hus­bands are sub­ject­ed. (Whad­daya mean you can’t see it!? It’s bright fuch­sia!!!) He pulled a pret­ty heavy duty protan defi­cien­cy, oth­er­wise known as red-green col­or blind­ness.

Accord­ing to the man­u­fac­tur­er, EnChro­ma glass­es are unlike­ly to col­or his world. The best he could hope for is a slight improve­ment after weeks of wear­ing.

Bum­mer, except that he lives in Chica­go, where the Muse­um of Con­tem­po­rary Art offers EnChro­ma Cx loan­ers at the recep­tion desk. Like many such insti­tu­tions, the MCA is active­ly seek­ing ways to improve acces­si­bil­i­ty. (The museum’s col­or blind direc­tor of com­mu­ni­ca­tions rec­om­mends hav­ing a look at Mar­tin Creed’s Work No. 1351, a col­or­ful lat­tice in the cafe. See right below.)

Creed_JulyInstall_03

Per­haps Bob will get a peek at some­thing he has­n’t seen before. Like red. Oth­ers will expe­ri­ence a rev­e­la­tion. Mean­while, an insuf­fer­able non-col­or­blind indi­vid­ual such as myself might get an effect akin to an Insta­gram fil­ter. My col­ors will pop.

“Unfair,” say Bob and my hus­band. I have to agree. Should the Muse­um of Con­tem­po­rary Art offer col­or-leech­ing glass­es, I will wear them, even if the frames are real­ly ugly. Until then, the video below pro­vides some sense of what those of us who see the full range of col­or aren’t miss­ing.

via Vice

Relat­ed Con­tent:

The Pra­do Muse­um Cre­ates the First Art Exhi­bi­tion for the Visu­al­ly Impaired, Using 3D Print­ing

Jorge Luis Borges, After Going Blind, Draws a Self-Por­trait

Helen Keller Speaks About Her Great­est Regret — Nev­er Mas­ter­ing Speech

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Google Puts Online 10,000 Works of Street Art from Across the Globe

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Cir­cling Birdies by Cheko, Grana­da Spain

Since last we wrote, Google Street Art has dou­bled its online archive by adding some 5,000 images, bring­ing the tal­ly to 10,000, with coor­di­nates pin­point­ing exact loca­tions on all five con­ti­nents (though as of this writ­ing, things are a bit thin on the ground in Africa). Giv­en the tem­po­ral real­i­ties of out­door, guer­ril­la art, pil­grims may arrive to find a blank can­vas where graf­fi­ti once flour­ished. (RIP New York City’s 5 Pointz, the “Insti­tute of High­er Burn­ing.”)

A major aim of the project is vir­tu­al preser­va­tion. As with per­for­mance art, doc­u­men­ta­tion is key. Not all of the work can be attrib­uted, but click on an image to see what is known. Guid­ed tours to neigh­bor­hoods rich with street art allow arm­chair trav­el­ers to expe­ri­ence the work, and inter­views with the artists dis­pel any num­ber of stereo­types.

Cul­tur­al insti­tu­tions like Turkey’s Pera Muse­um and Hong Kong’s Art Research Insti­tute, and street art projects based in such hubs as Rome, Paris, Syd­ney, and Bangkok, have pulled togeth­er offi­cial col­lec­tions of pho­tos and videos, but you can play cura­tor too.

It’s easy to add images to a col­lec­tion of your own mak­ing that can be shared with the pub­lic at large or saved for pri­vate inspi­ra­tion. Care­ful, you could lose hours…it’s like Pin­ter­est for peo­ple who grav­i­tate toward spray paint and rub­bish strewn vacant lots over ging­ham wrapped Mason jars.

It’s been a long and bru­tal win­ter here on the east coast, so for my first for­ay, I prowled for Signs of Spring. One of my first hits was “Cir­cling Birdies” by Cheko, above. Locat­ed in Grana­da, Spain, it’s one of the exist­ing works Google has turned into a GIF with some light, log­i­cal ani­ma­tion.

Behold a bit of what typ­ing “flower,” “baby ani­mals,” “plants,” and “trees” into a search box can yield! You can enter Google Street Art here.

Child With Windmill

Artist: Wal­ter Ker­shaw
Lon­don UK

Thrashbird

Artists: Thrash­bird and Renee Gagnon
Los Ange­les, Cal­i­for­nia.

Baby Chick

Artist: unknown
Rochester, NY

Screen Shot 2015-03-19 at 11.07.58 PM

Icy and Sot
Rochester NY

Freedom Fighter

Artist: Kristy San­doval
Los Ange­les, CA

Natureza Viva

Artists: Regg and Violant
Alfragide Por­tu­gal

Beetle

Artist: Klit
Alfragide, Por­tu­gal
A giant col­or­ful bee­tle tries to fly between the ceil­ing and the floor of this park­ing lot. His wings seem filled with flower petals. So, the “Liv­ing Nature” project brought a set of huge insects that car­ry a note of liv­ing spir­it to the space.

Deep Blue

Artist: Rai Cruz
Mani­la, Philip­pines

Nagel
Artist: Chris­ti­aan Nagel
Lon­don, Eng­land

Untitled Rome
Artist: Lady Aiko
Rome, Italy

Parsa

Artist: Andrew Ken­tish
Nepal

Relat­ed Con­tent:

Tour the World’s Street Art with Google Street Art

Obey the Giant: Short Film Presents the True Sto­ry of Shep­ard Fairey’s First Act of Street Art

Big Bang Big Boom: Graf­fi­ti Stop-Motion Ani­ma­tion Cre­ative­ly Depicts the Evo­lu­tion of Life

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

The Prado Museum Creates the First Art Exhibition for the Visually Impaired, Using 3D Printing

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Image cour­tesy of The Pra­do

Are you one of the mil­lions of sight­ed vis­i­tors who’ll vis­it a world class insti­tu­tion this year only to find your­self suf­fer­ing from muse­um fatigue a cou­ple of hours in? You know, that moment when all the paint­ings start to look alike, still lifes, cru­ci­fix­ions, and teenage noble­women swim­ming before your eyes?

If so, may we rec­om­mend clos­ing your eyes and lim­it­ing your­self to an in-depth study of a half dozen paint­ings? That’s the num­ber of works on dis­play in Hoy toca el Pra­do, Madrid’s Museo del Pra­do’s land­mark exhi­bi­tion aimed at peo­ple with visu­al dis­abil­i­ties.

The Lou­vre, New York’s Met­ro­pol­i­tan Muse­um of Art, and London’s Nation­al Gallery all have touch-friend­ly pro­gram­ming that allows blind vis­i­tors to expe­ri­ence sculp­tur­al works with their hands. The Prado’s ini­tia­tive is unique in that it applies 3D print­ing tech­niques to repro­duc­tions of painted—i.e. flat—work.

Cer­tain aspects of each paint­ing, includ­ing tex­tures, were select­ed for show­cas­ing in the 3D repro­duc­tions. A chem­i­cal process involv­ing ultra­vi­o­let light and spe­cial ink result­ed in a few mil­lime­ters of added vol­ume. The repro­duc­tions retained the orig­i­nals’ col­or, for visu­al­ly impaired vis­i­tors with the abil­i­ty to per­ceive it.

prado

Image cour­tesy of The Pra­do

Sight­ed patrons can try their hands at expe­ri­enc­ing such works as The Para­sol by Goya and Velazquez’s Vul­can’s Forge in a non-visu­al way by don­ning opaque glass­es. Texts are in braille. Audio­gu­ides are acces­si­ble to all.

Accord­ing to the original’s record in the museum’s cat­a­log, El Gre­co’s The Noble­man with His Hand on His Chest is notable for the “expres­sive gaze its sit­ter directs at the view­er.” The exhibit’s cura­tor report­ed that one of the first blind vis­i­tors to come through want­ed to know the subject’s eye col­or. He found that he could not con­fi­dent­ly respond with­out dou­ble check­ing.

classic-paintings-3D-visual-impaired-prado-museum-madrid-3

Image cour­tesy of ABC News

Oth­er paint­ings in the col­lec­tion include: Leonar­do da Vin­ci’s  “Mona Lisa;” “Don’t touch me” (Noli me tan­gere) by Anto­nio da Cor­reg­gio; and “Still life with Arti­chokes, Flow­ers and Glass Ves­sels” by Juan Van Der Hamen. See an online gallery of the exhib­it, which will be up through June, here.

via The New York Times

Relat­ed Con­tent:

Art Lovers Rejoice! New Goya and Rem­brandt Data­bas­es Now Online

100 Met­ro­pol­i­tan Muse­um Cura­tors Talk About 100 Works of Art That Changed How They See the World

The Met­ro­pol­i­tan Muse­um of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Shelf Life: American Museum of Natural History Creates New Video Series on Its 33 Million Artifacts

I once spent a sum­mer as a secu­ri­ty guard at the Children’s Muse­um of Indi­anapo­lis. A won­der­ful place to vis­it, but my work­day expe­ri­ence proved dread­ful­ly dull. By far the high­light was being pulled off what­ev­er exhib­it I hap­pened to be guard­ing to assist in col­lec­tions, a cav­ernous back­stage area where untold trea­sures were shelved with­out cer­e­mo­ny. The head con­ser­va­tor con­fid­ed that many of these items would nev­er be sin­gled out for dis­play. The thrift store egal­i­tar­i­an­ism that reigned here was far more appeal­ing than the eye-catch­ing, edu­ca­tion­al sig­nage in the pub­lic area. From the obliv­ion of deep stor­age springs the poten­tial for dis­cov­ery.

How grat­i­fy­ing to learn that the 200 plus sci­en­tists employed by the Amer­i­can Muse­um of Nat­ur­al His­to­ry feel the same. As palen­tol­o­gist Mike Novacek, puts it in Shelf Life, the museum’s just launched month­ly video series:

You can make new dis­cov­er­ies in Col­lec­tions just like you can out in the field. You can walk around the cor­ner and see some­thing that no one’s quite observed that way before, describe a new species or a new fea­ture that’s impor­tant to sci­ence.

The insti­tu­tion can choose from among more than 33,430,000 good­ies, from ancient objects they’ve been care­ful­ly tend­ing for more than two cen­turies to the sam­ples of frozen tis­sue and DNA com­pris­ing the bare­ly 13-year-old Ambrose Mon­ell Cryo Col­lec­tion for Mol­e­c­u­lar and Micro­bial Research.

Gems and mete­orites!

Arrow­heads and gourds!

Ver­te­brates and inver­te­brates!

There’s tru­ly some­thing here for…

WaspsFinalFlat

Wasp enthu­si­asts (you know who you are) can thrill to the sev­en and a half mil­lion spec­i­mens in sex researcher Alfred Kinsey’s Cynip­i­dae col­lec­tion. (They’re ready for their close up, Mr. DeMille. Famous as they are, the first episode passed them over in favor of a more pho­to­genic mock bee from the genus Criorhi­na.)

Future episodes will call upon in-house ichthy­ol­o­gists, pale­on­tol­o­gists, anthro­pol­o­gists, astro­physi­cists, and her­petol­o­gists to dis­cuss such top­ics as spec­i­men prepa­ra­tion, tax­on­o­my, and cura­tion. Stay abreast (and — bonus!- cel­e­brate Nero’s birth­day with tur­tles) by sub­scrib­ing to the museum’s youtube chan­nel.

Relat­ed Con­tent:

A Panoram­ic Vir­tu­al Tour of the Smith­son­ian Nation­al Muse­um of Nat­ur­al His­to­ry

Down­load the Uni­verse: A Dis­cern­ing Cura­tor for Sci­ence eBooks

How to Make a Mum­my — Demon­strat­ed by The Get­ty Muse­um

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She goes into more detail about her short-lived stint as a muse­um secu­ri­ty guard in her third book, Job Hop­per. Fol­low her @AyunHalliday

Happy Halloween! Louis Armstrong Performs Skeleton in the Closet (1936)

Should you hap­pen to be in the vicin­i­ty of Coro­na, Queens this Hal­loween after­noon, the Louis Arm­strong House Muse­um will be wel­com­ing trick-or-treaters ’til 6pm. (Fun-sized Snick­ers be damned! Go any­way, just to see “To Jack Bradley, the ‘Great­est’ Pho­to Tak­er,” a col­lec­tion of can­did, pri­vate moments cap­tured by the friend Satch­mo described as his “white son.”)

If pre-exist­ing engage­ments pre­vent you from haunt­ing Coro­na today, vir­tu­al chills await you, above, with “The Skele­ton In The Clos­et,” Armstrong’s show-stop­ping num­ber from 1936’s Pen­nies From Heav­en. (That masked man on the drums is fre­quent col­lab­o­ra­tor Lionel Hamp­ton.)

The vin­tage Hal­loween con­tent is a real treat. Gimme ghosts, gob­lins, and an “old desert­ed man­sion on an old for­got­ten road” over psy­cho gore or depressed pre­fab sex­i­ness any day, not just Octo­ber 31.

Pen­nies From Heav­en was Armstrong’s first major screen appear­ance. At the insis­tence of star Bing Cros­by, his turn as a math­e­mat­i­cal­ly-chal­lenged band­leader snagged him a main title cred­it, a first for an African-Amer­i­can actor appear­ing oppo­site whites.

The role itself is not a pil­lar of race advance­ment, but Ricky Ric­car­di, the Arm­strong House’s Archivist notes that Arm­strong remained fond of the work, reen­act­ing an entire scene from mem­o­ry when he and Cros­by appeared as guests on the David Frost Show in 1971.

Ric­car­di sub­jects “The Skele­ton in the Clos­et” to a close musi­cal and per­for­mance analy­sis on his Won­der­ful World of Louis Arm­strong blog, a major source of year round good­ies for Arm­strong fans.

Rat­tle your bones!

Relat­ed Con­tent:

Louis Arm­strong Plays His­toric Cold War Con­certs in East Berlin & Budapest (1965)

Watch the Ear­li­est Known Footage of Louis Arm­strong Per­form­ing Live in Con­cert (Copen­hagen, 1933)

Louis Arm­strong Plays Trum­pet at the Egypt­ian Pyra­mids; Dizzy Gille­spie Charms a Snake in Pak­istan

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Folger Shakespeare Library Puts 80,000 Images of Literary Art Online, and They’re All Free to Use

TheLondonStage

Has a writer ever inspired as many adap­ta­tions and ref­er­ences as William Shake­speare? In the four hun­dred years since his death, his work has pat­terned much of the fab­ric of world lit­er­a­ture and seen count­less per­mu­ta­tions on stage and screen. Less dis­cussed are the visu­al rep­re­sen­ta­tions of Shake­speare in fine art and illus­tra­tion, but they are mul­ti­tude. In one small sam­pling, Richard Altick notes in his exten­sive study Paint­ings from Books, that “pic­tures from Shake­speare account­ed for about one fifth—some 2,300—of the total num­ber of lit­er­ary paint­ings record­ed between 1760 and 1900” among British artists.

FolgerMidsummer

In the peri­od Altick doc­u­ments, a rapid­ly ris­ing mid­dle class drove a mar­ket for lit­er­ary art­works, which were, “in effect, exten­sions of the books them­selves: they were detached forms of book illus­tra­tion, in which were con­stant­ly assim­i­lat­ed the lit­er­ary and artis­tic tastes of the time.”

These works took the form of humor­ous illustrations—such as the As You Like It-inspired satir­i­cal piece at the top from 1824—and much more seri­ous rep­re­sen­ta­tions, like the undat­ed Cur­ri­er & Ives Midsummer-Night’s Dream lith­o­graph above. Now, thanks to the Fol­ger Shake­speare Library, these images, and tens of thou­sands more from their Dig­i­tal Image Col­lec­tion, are avail­able online. And they’re free to use under a CC BY-SA Cre­ative Com­mons license.

RichardIIICostume

As Head of Col­lec­tion Infor­ma­tion Ser­vices Erin Blake explains, “basi­cal­ly this means you can do what­ev­er you want with Fol­ger dig­i­tal images as long as you say that they’re from the Fol­ger, and as long a you keep the cycle of shar­ing going by freely shar­ing what­ev­er you’re mak­ing.” The Folger’s impres­sive repos­i­to­ry has been called “the world’s finest col­lec­tion of Shakespere­an art.” As well as tra­di­tion­al paint­ings and illus­tra­tions, it includes “dozens of cos­tumes and props used in nine­teenth-cen­tu­ry Shake­speare pro­duc­tions,” such as the embroi­dered vel­vet cos­tume above, worn by Edwin Booth as Richard III, cir­ca 1870. You’ll also find pho­tographs and scans of “’extra-illus­trat­ed’ books filled with insert­ed engrav­ings, man­u­script let­ters, and play­bills asso­ci­at­ed with par­tic­u­lar actors or pro­duc­tions; and a great vari­ety of sou­venirs, com­ic books, and oth­er ephemera asso­ci­at­ed with Shake­speare and his works.”

FolgerFuseli

In addi­tion to illus­tra­tions and mem­o­ra­bil­ia, the Fol­ger con­tains “some 200 paint­ings” and draw­ings by fine artists like “Hen­ry Fuseli, Ben­jamin West, George Rom­ney, and Thomas Nast, as well as such Eliz­a­bethan artists as George Gow­er and Nicholas Hilliard.” (The strik­ing print above by Fuseli shows Mac­beth’s three witch­es hov­er­ing over their caul­dron.) Great and var­ied as the Folger’s col­lec­tion of Shake­speare­an art may be, it rep­re­sents only a part of their exten­sive hold­ings. You’ll also find in the Dig­i­tal Images Col­lec­tion images of antique book­bind­ings, like the 1532 vol­ume of a work by Agrip­pa von Nettescheim (Hein­rich Cor­nelius), below.

Folger1532Binding

The col­lec­tion’s enor­mous archive of 19th cen­tu­ry prints is an espe­cial treat. Just below, see a print of that tow­er of 18th cen­tu­ry learn­ing, Samuel John­son, who, in his famous pref­ace to an edi­tion of the Bard’s works declared, “Shake­speare is above all writ­ers.” All in all, the immense dig­i­tal col­lec­tion rep­re­sents, writes The Pub­lic Domain Review, “a huge injec­tion of some won­der­ful mate­r­i­al into the open dig­i­tal com­mons.” Already, the Fol­ger has begun adding images to Wiki­me­dia Com­mons for use free and open use in Wikipedia and else­where on the web. And should you some­how man­age, through some vora­cious feat of dig­i­tal con­sump­tion, to exhaust this trea­sure hold of images, you need not fear—they’ll be adding more and more as time goes on. Enter the col­lec­tion here.

FolgerDrJohnson

via The Pub­lic Domain Review

Relat­ed Con­tent:

Read All of Shakespeare’s Plays Free Online, Cour­tesy of the Fol­ger Shake­speare Library

The Met­ro­pol­i­tan Muse­um of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

Down­load 35,000 Works of Art from the Nation­al Gallery, Includ­ing Mas­ter­pieces by Van Gogh, Gau­guin, Rem­brandt & More

Free Online Shake­speare Cours­es: Primers on the Bard from Oxford, Har­vard, Berke­ley & More

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

Listen to Audio Arts: The 1970s Tape Cassette Arts Magazine Featuring Andy Warhol, Marcel Duchamp & Many Others

audio_arts_cassette_0

As a pod­cast­er, I’ve long since grown used to the idea of peri­od­i­cal­ly issu­ing audio con­tent. But the con­ve­nient record­ing, inter­net, and com­put­er, and mobile lis­ten­ing tech­nolo­gies that made such a medi­um pos­si­ble only real­ly con­verged in the ear­ly 2000s. How would I have gone about it had I want­ed to put out a “pod­cast,” say, 40 years ear­li­er? We have one such exam­ple in Audio Arts, a British con­tem­po­rary art “sound mag­a­zine” dis­trib­uted through the mail on audio cas­settes. “The sev­en­ties were the years of con­cep­tu­al art with text adding val­ue to the actu­al works,” co-cre­ator William Fur­long once said in an inter­view. “As an artist I was more inter­est­ed in ‘dis­cus­sion,’ the idea of lan­guage and the peo­ple that already worked in con­cep­tu­al fields in Great Britain. Soon I realised there weren’t mag­a­zines capa­ble of report­ing such mate­r­i­al inspired by con­ver­sa­tion, sounds and dis­cus­sions. The evoca­tive force of a voice is lost with the writ­ten word as it will only ever be a writ­ten voice.

Fur­long, a sculp­tor, and Bar­ry Bark­er, a gal­lerist, began pub­lish­ing Audio Arts in 1973. Its run last­ed until, aston­ish­ing­ly, 2006, by which time its archives had come to 25 vol­umes of four issues each. Its list of sub­scribers includ­ed the for­mi­da­ble Tate, such fans that they actu­al­ly acquired the mag­a­zine’s mas­ter tapes, dig­i­tized them, and made them all pub­licly avail­able on their web site. No longer must you seek out nth-gen­er­a­tion dupli­cat­ed ana­log cas­settes and dig out your Walk­man; now you can sim­ply stream on your media play­er of choice every issue from Jan­u­ary 1973, “four cas­settes with con­tri­bu­tions from Car­o­line Tis­dall, Noam Chom­sky, James Joyce and W.B. Yeats,” to Jan­u­ary 2006, which caps every­thing off with con­tri­bu­tions by Gilbert & George and Jake and Dinos Chap­man. Oth­er notable artis­tic pres­ences include Mar­cel Duchamp in Vol­ume 2, Philip Glass in Vol­ume 6, and Andy Warhol in Vol­ume 8. Help­ful­ly, Tate has also put togeth­er a sec­tion with tools to explore Audio Arts’ high­lights — some­thing more than a few mod­ern-day pod­casts could no doubt use.

via @WFMU

Relat­ed Con­tent:

Andy Warhol Inter­views Alfred Hitch­cock (1974)

Lis­ten to John Cage’s 5 Hour Art Piece: Diary: How To Improve The World (You Will Only Make Mat­ters Worse) 

Library of Con­gress Releas­es Audio Archive of Inter­views with Rock ‘n’ Roll Icons

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Free: Download 30,000 Images from The Museum of New Zealand (All in High Resolution)

new zealand images

Last month, The Met­ro­pol­i­tan Muse­um of Art announced some­thing we all wel­comed. They made more than 400,000 images of art in the Museum’s col­lec­tion free to down­load. Before that, we also wit­nessed oth­er major art muse­ums launch­ing their own open art ini­tia­tives: 87,000 images from the Get­ty in L.A., 125,000 Dutch mas­ter­pieces from the Rijksmu­se­um in the Nether­lands35,000 artis­tic images from the Nation­al Gallery in Wash­ing­ton, D.C., and 57,000 works of art put on vir­tu­al dis­play by Google Art Project

new zealand cats3

Now comes anoth­er 30,000 images from the Muse­um of New Zealand. On their blog, they write: “Today we are extreme­ly hap­py to let you know about our lat­est devel­op­ment; over 30,000 images down­load­able, for free, in the high­est res­o­lu­tion we have them.” “Over 14,000 images are avail­able under a Cre­ative Com­mons licence CC BY-NC-ND,” (which means you can make non-com­mer­cial use of these images, so long as you give attri­bu­tion to the artist.) “But even bet­ter are the 17,000 images that are down­load­able for any use, any use at all. These images have no known copy­right restric­tions.” Find more infor­ma­tion on this open art ini­tia­tive here. Or enter the col­lec­tions right here.

Up top, you will find the pho­to­graph called “Cleopa­tra in Domain Crick­et Ground,” tak­en in Auck­land, by Robert Wal­rond, in 1914.

The sec­ond image is from a series called “Five cats,” made in Chi­na dur­ing the late 18th cen­tu­ry, by an unknown artist.

Relat­ed Con­tent:

Free: The Guggen­heim Puts 99 Mod­ern Art Books Online

Down­load Hun­dreds of Free Art Cat­a­logs from The Met­ro­pol­i­tan Muse­um of Art

LA Coun­ty Muse­um Makes 20,000 Artis­tic Images Avail­able for Free Down­load

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