April 2025 – TURKIYEMUZIK

‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.

MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.

Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches

A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.

Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).

In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.

Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.

Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches

Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches

Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches

Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches

Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches

Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches

Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches

Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, from
Decatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters appeared first on Colossal.

Reviving an Ancestral Hawaiian Tradition, Lehuauakea Reimagines Kapa in Bold Textile Works

“My favorite thing about kapa is that it is simultaneously ancestral, ancient, and contemporary,” says Lehuauakea (Kanaka Maoli), who recently received the Walker Youngbird Foundation grant for emerging Native American artists. Kapa, the Indigenous Hawaiian practice of clothmaking, uses the inner bark of the wauke, or paper mulberry tree, to create garments and textiles. For Lehuauakea, the technique forms the foundation of a practice rooted in the artist’s Hawaiian lineage and material traditions.

Softening the fibers enough to create cloth requires a labor-intensive method of soaking pieces of bark. Through an arduous process of beating and stretching with tools like the iʻe kuku, a thin, pliable fabric emerges. “It is a very malleable material that reflects the current state of the natural environment, and the surrounding community and personal hand of the maker,” Lehuauakea tells Colossal. “It requires a level of patience and perseverance while also paying close attention to the nature of the bark and pigments you are working with.”

a large, patchwork wall hanging made from kapa, or barkcloth, dyed with numerous natural dyes that turn gradually from blue on the left to red on the right — “Still Finding My Way Back Home” (2025), kapa (barkcloth), reclaimed Japanese fabrics, indigo and madder root dyes, ceramic beads, bells, earth pigments, hand-embroidery, and metal leaf, approx. 18 x 9 feet

Kapa is derived from ancient Polynesian practices—it’s called tapa in other parts of the Pacific—and Hawaiians elaborated on the custom by incorporating watermarks, natural pigments, and fermentation.

Traditionally, kapa possessed both practical and spiritual qualities, as it was used for everyday apparel and bedding but also served as a carrier of mana, or healing life force. When the U.S. controversially annexed the territory and the import of cotton amped up in the late 19th century, the practice all but died out.

Lehuauakea’s interest in kapa emerged when their family relocated to Oregon when they were young. Over time, the artist felt increasingly disconnected from their home and sought a way to conjure a link to their Hawaiian ancestry.

“I remembered learning about kapa as a child and how we’d use patterns to tell stories, so in my junior year of college I taught myself how to carve ʻohe kāpala, or traditional carved bamboo printing tools used for decorating finished kapa,” the artist says. Then it was onto learning how to make the barkcloth itself, with the help of artisan and mentor Wesley Sen, spurring Lehuauakea’s passion for the medium.

a square textile artwork with brown-and-earth-tones in natural dyes, made with barkcloth — “Puka Komo ʻEkahi: Portal to Grant Permission” (2024), earth pigments and metal leaf on kapa (barkcloth), 28 x 28 inches

Fascinated by the potential to not only continue a time-honored Kanaka Maoli art form but also to experiment and push the boundaries of the material, Lehuauakea makes large-scale installations, hand-stitched garments, mixed-media suspended works, and hand-painted two-dimensional compositions— “in other words, forms that you wouldn’t see in ancestral samples of pre-contact Hawaiian kapa,” they say. The artist continues:

As an Indigenous cultural practitioner and artist, I believe it is important to have a solid foundation in the traditional knowledge of the practice before attempting to expand on it or experiment with more contemporary expressions of the medium because I am not singular in this work; I am simply building on a tradition that was passed down through many generations before me, and I can only hope that I am able to inspire future generations to continue it.

Lehuauakea is currently working toward solo exhibitions at the Center for Contemporary Art Santa Fe and Nunu Fine Art in New York City, exploring ideas around Native Hawaiian cosmology, celestial cycles, and the relationship between Native Hawaiian language and pattern. Find more on the artist’s website.

a tapestry with brown-and-beige natural dyes made with barkcloth — “Kūmauna” (2024), earth pigments hand-painted on kapa (barkcloth), 26 x 48 inches

a detail of a large, patchwork wall hanging made from kapa, or barkcloth, dyed with numerous natural dyes — Detail of “Still Finding My Way Back Home”

a long, vertical tapestry with colorful natural dyes in a geometric chevron pattern, made with barkcloth — “I Walk With My Ancestors (1 of 2)” (2024), earth pigment and wildfire charcoal hand-painted on kapa (barkcloth), 29 x 61.5 inches

a long, horizontal tapestry with colorful natural dyes made with barkcloth — “Night Eyes” (2024), earth pigments and wildfire charcoal hand-painted on kapa (barkcloth), 78 x 18.5 inches

a large, patchwork wall hanging made from kapa, or barkcloth, dyed with numerous natural dyes — “Mele o Nā Kaukani Wai (Song of a Thousand Waters)” (2018), mixed mulberry papers, handmade plant dyes and mineral pigments, gouache, ceramic beads, and thread, approx. 11 x 8 feet

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Reviving an Ancestral Hawaiian Tradition, Lehuauakea Reimagines Kapa in Bold Textile Works appeared first on Colossal.

A Stunning Image of the Australian Desert Illuminates the Growing Problem of Satellite Pollution

In January 2021, Joshua Rozells ventured out into the Pinnacles Desert in Western Australia, intending to photograph a star trail. But after shooting for more than three hours and reviewing his images, he realized that the light patterns he captured weren’t what he had hoped for.

“There were satellite trails visible in almost every single photo,” he wrote on Instagram. “Instead of trying to get rid of them for a star trail, I decided to put the satellite trails together into a single image to show how polluted the night sky is becoming.”

Stitching together 343 distinct photos, Rozells illuminates a growing problem. When Elon Musk’s SpaceX launched Starlink in 2019, 60 satellites filled the skies, with a race from other companies to follow. That number has now topped 10,000, with tens of thousands more in the works. SpaceX alone plans to launch 40,000 more.

Rozells’ composite visually echoes pleas from astronomers, who warn that although satellites collect essential data, the staggering amount filling our skies will only worsen light pollution and our ability to study what lies beyond. Because this industry has little regulation, the problem could go unchecked.

“Thankfully, astronomers across the globe have taken notice of this growing issue and are starting to speak up,” Rozells adds. “Organisations such as the International Astronomical Union’s Center for the Protection of the Dark and Quiet Sky are advocating for the regulation and protection of the night sky.” (via Kottke)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article A Stunning Image of the Australian Desert Illuminates the Growing Problem of Satellite Pollution appeared first on Colossal.

Water Droplets Cling to Fluorescent Plant Spines in Tom Leighton’s Alluring Photos

Tom Leighton (previously) is known for highlighting plants’ photosynthesis process by swapping their characteristic greens for otherworldly fluorescent colors. Often focused on the nightlife of specimens found around his Cornwall home, Leighton photographs in a manner that turns common species into extraordinary subjects.

His newest series, Spines, expands on this trajectory. The macro images concentrate on the fine fibers cloaking stems and flowers. Water droplets cling to the surfaces as if the plants had just emerged from a heavy downpour. The glistening botanicals capture the surrounding light, while the thick dew drops add a glimmering, skewed view of the lifeforms that reside underneath.

Prints of Leighton’s images are available on his website. Keep up with his latest projects on Behance and Instagram.

water droplets cling to spines on a vividly colored plant

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With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art

The monumental textile exhibition that took over an 18th-century warehouse last spring is back for a second iteration.

In the South Street Seaport area of Manhattan, The Golden Thread 2: A Fiber Art Show returns with more than 100 artworks made by 60 artists from around the globe. As with the first iteration, this reprisal includes eight site-specific installations that respond to the former mercantile space.

colorful textile strands spill down in a gallery — Tomo Mori, “(we) keep going” (2025), donated fabrics, used clothes and linens, acrylic and cotton fillings, and anodized aluminum wires

Organized by BravinLee, The Golden Thread is a sweeping survey of contemporary fiber art encompassing a vast array of materials, aesthetics, and subject matter. Several artists connect textiles’ historical association with femininity and domesticity, including Ana María Hernando’s pair of cascading tulle works. Frequently working with the gossamer fabric, Hernando sees her sculptures as an act of rebellion in which “softness becomes less a discreet quality and more a function of power, both formally and symbolically.”

Similarly, Diana Weymar presents “American Sampler,” a collection of embroidered, typographic works made during a five-year period. Created to showcase a woman’s skill and literacy throughout the 18th century, samplers have a long history as sites of feminine expression. Weymar draws on this legacy for this patchwork tapestry, which is part of her ongoing Tiny Pricks Project created in 2018 in response to Donald Trump’s tumultuous first term.

Colossal readers will recognize several artists in this second exhibition, including Caitlin McCormack, Rima Day, Willie Cole, and Ulla-Stina Wikander. The Golden Thread is on view through May 16.

a tapestry of embroidered sayings — Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

detail of a tapestry of embroidered sayings dealing with womens rights and bodily autonomy — Detail of Tiny Pricks Project (Diana Weymar), “American Sampler” (2020-2025), vintage textiles and cotton floss

a delicate crocheted flower on a patterned shard — Caitlin McCormack, “Babylon Rec Room,” vintage wallpaper on salvaged drywall with crochet cotton string and glue embellishment

a textile work depicting a revolutionary-era court scene — Ali Dipp, “Concession No 3 (Trumbull, Capitol)” (2024), manually stitched threads on denim jeans, 79 x 117 inches

a patchwork elephant sculpture on the right with an umbrella like blue work suspended in the background — Left: Fran Siegel, “Medicine Wheel” (2020), cyanotype, scrim, embroidery, sewing, string, and mounted on bar, 90 x 60 x 10 inches. Right: Manju Shandler, “The Elephant in the Room” (2024), mixed media soft sculpture, 6 x 6 x 9 feet

a vibrant abstract, almost figurative wall work with a smaller work on the side — Traci Johnson. Left: “Lil Femme,” yarn on cloth, 12.5 x 22 inches. Right: “Love Me in a Place Where There’s no Space or Time” (2023), yarn on cloth, 7.5 x 7.2 feet

a vibrant abstract tapestry with threads dangling from the bottle — Sam Dienst, “Clutter Conundrum” (2024), hand-woven tapestry with yarn, beads, paint, and felt, 56 x 57 x .25 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article With 60 Artists, ‘The Golden Thread’ Weaves Together a Survey of Contemporary Fiber Art appeared first on Colossal.

Remarkable Photos by Cristina Mittermeier Spotlight the Need for Hope Amid Crisis

Through her tireless research and advocacy for the protection of the world’s oceans, Cristina Mittermeier has emerged as one of the most prominent conservation photographers. Along with Paul Nicklen, she co-founded SeaLegacy to focus on the impact of communication through art and science, confronting critical issues like endangered biodiversity and the climate crisis. She also founded the International League of Conservation Photographers (ILCP), a professional community focused environmental issues.

Acknowledging the negative and potentially disastrous effects of indifference, skepticism, and inaction, Mittermeier posits that one thing remains as important as ever. “HOPE may not be a plan or a strategy, but it is vital for our survival,” she says in an introductory note for her new book. “I ferociously reject apathy, cynicism, and fear, and with tenacity and determination, I choose kindness and Hope.”

an underwater photograph of sharks swimming near the surface

Published by Hemeria, HOPE is organized into six chapters that highlight the myriad ways humanity and nature are fundamentally intertwined. The first, “Indigenous Wisdom,” features the knowledge and traditions of communities who tap into ancient ways of connecting with the earth. Additional chapters focus on the oceans, arctic realms, the afterlife, future generations, and how all of these elements are interwoven. Throughout, Mittermeier’s bold photographs of wildlife, remarkable landscapes, tribal rituals, and family bonds serve as reminders of incredible beauty, resilience, and determination.

Mittermeier travels the world, visiting remote communities, attending significant ceremonial events, and documenting fragile ecosystems. “Images can help us understand the urgency many photographers feel to protect wild places,” she says in a statement. She continues:

My work is about building a greater awareness of the responsibility of what it means to be human. It is about understanding that the history of every living thing that has ever existed on this planet also lives within us. It is about the ethical imperative—the urgent reminder that we are linked to all other species on this planet and that we have a duty to act as the keepers of our fellow life forms.

HOPE is available for purchase now in Hemeria’s shop and will be available widely in other retail locations this October. Dive into more of Mittermeier’s work on her website and Instagram.

a black-and-white photograph of a man with tattoos on his back holding his daughter in front of a coastal landscape

a spread from the book 'HOPE' of a series of small icebergs against a pink sky

a portrait of a young Black woman with black-and-orange face paint and an elaborate headdress of yellow spheres, twigs, and other natural objects

a photograph of tall trees and a path in a wooded parkland setting at sunset

a spread from the book 'HOPE with a black-and-white photo on the left page of an Indigenous Black woman with face paint and and a floral headdress on, holding her young baby who also wears face paint

a colorful tropical bird perches on a branch

a portrait of an Indigenous man with dark face paint and ferns sticking out of each side of a large, feathered headdress

a spread from the book 'HOPE' showing a line of women with brown skirts on, with a child peeking through the skirts back at the viewer

a sea turtle swims near the surface of the sea

the cover of the book 'HOPE with a photograph of a Black woman wearing an elaborate orange-and-red floral headdress

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Remarkable Photos by Cristina Mittermeier Spotlight the Need for Hope Amid Crisis appeared first on Colossal.

Bathroom Sinks That Make a Statement

Porcelain sinks are no longer just basic white basins. From hand-painted designs to metallic finishes and sculptural shapes, today’s options add serious style to any bathroom.

Botanical Beauty

Fans of florals will immediately fall for this Dutchmaster Midnight Floral Carillon® Round sink from Kohler. The bathroom fixture company collaborated with “florography” artist Ashley Woodson Bailey, known for his photographic skill with all types of flora.

The manufacturer says that it was inspired by 17th-century paintings by Dutch masters. The black background makes the flowers pop and is said to be “in the style of chiaroscuro painting.” This is definitely a statement sink that will upgrade a bathroom of any size into a more stylish space.

Designer Bowls

These gilded and fashionable countertop bowls were designed by mother and daughter team Anna and Nathalie, founders of the London Basin Company. Starting with traditional Asian and Middle Eastern patterns and motifs, the duo designs updated handcrafted porcelain sinks. Each is distinctive and becomes the focal point of the bathroom.

The New Face of Concrete

Concrete as a design material is nothing new but these sinks from Kast push the material to a whole new level. In addition to availability in 28 colors, these concrete basins are now available with textured exteriors.

This is the Otto, which sports a modern, ridged look. These sinks are a far cry from the gray concrete vessels that have dominated the market since the material became popular and offer more design possibilities with all the benefits of concrete and characteristics of natural stone.

The Rolls Royce of Sinks

It’s not often you can say that your powder room sink is just like the interior of a Rolls Royce, but with sink from Ammonitum, that is definitely true. The gorgeous wood designs start with dozens of wood rings that are glued together and then smoothed into shape. Next comes a later of “filling lacquer” of the same kind used on the wooden interior accents in high-end luxury cars like Rolls Royce.

Luxuriously Gilded

Organically shaped, this trough sink from Kohler has a distinctive look, amplified by the gilded finish on the interior surface. Luxurious but not over-the-top because of the brushed shine, this sink works in more decor styles than you might think. It’s perfect for adding a little extra glam to a spa-like bathroom or to make a powder room feel extra special.

A similar shape carved from natural stone, the Kensho trough vessel has an off-center drain that emphasizes its eastern influences. The etched design melds Eastern motifs with Western techniques, displaying a patchwork design made up of Japanese sashiko patterns. the sink is also from Kohler, which says that the design is inspired by acquaforte, a technique originating in 15th-century Italy, that renders the etched pattern in a way that suggests movement.

A Gleaming Oval

For something a tad more traditional but still distinctive, Kohler’s Iron Plains® Oval Wading Pool sink comes in a range of colors including this rich plum. While this is a great dose of color for a bathroom, the style is also available in more neutral, standard colors of porcelain. The shape alone is elegant and different enough to elevate a plain bathroom.

Natural Marble Vessel

There’s nothing more stunning than the natural veining in marble and when it comes in the form of an elegant vessel sink, well, we’re nearly speechless. Designed by Kreoo, the Gong sink has an ellipsoid shape that has been sliced at a diagonal, allowing more light into the vessel and showing off the interior as well as the milky beauty of the stone.

Blinged Out Black

Ever-stylish like a little black dress, this Swarovski crystal-studded washbasin is always appropriate. The dark porcelain is the perfect foil for the glittering elements that encircle the relatively tall basin. In a sea of white porcelain, this black sink, designed by PierDeco, will stand out as very special.

Frilly but Not Formal

Of course, vessel sinks can be extra special when they include unexpected details such as the wavy edge of this style from the London Basin Company. With edged frilled like a flower, the sink is the celadon color of traditional Chinese pieces, a linkage emphasized by the crackle glaze used on the porcelain.

Hammered Metal

An artful black and white vanity is the ideal place for a hammered metal sink, which is also available in different metal finishes such as satin or polished stainless steel and satin or polished unlacquered brass.

Options for Small Spaces

With current home trends skewing toward downsizing and making the most of smaller spaces, the options for smaller bathroom have skyrocketed. Moreover, the designs have become more interesting and innovative — way better than just smaller versions of basic bathroom fixtures! This modern beauty is the L331 Idea 2.0 Cono Plus from PierDeco. Wall hung models are real space-savers when they include a small but very functional are of counter space.

Super Small Styles

For a truly tiny powder room, a very small wall-mounted sink is functional and takes up a minimal amount of room. Also from PierDeco, this style limits how far the sink projects from the wall by mounting the faucet on the side of the sink instead of the back. While a wall-mounted fixture would achieve the same thing, this type of sink can avoid having to move all the plumbing.

Multi-Level Mixed Materials

Porcelanosa’s innovative vanity design includes a square form combined with a round basin. The granite block is nestled in a curved aluminum sheet that serves as the countertop and towel rack all in one. Whether combined with the bottom unit or used alone, it’s a modern sink design that is really different. The Duna is designed for wall-mounted tap fixtures, as shown here, and comes in a variety of color options in addition to this natural brown style.

On a Pedestal

If any basin deserves to be on a pedestal it is this one from Pyrolave. One of the more extraordinary materials used for a bathroom sink comes from Pyrolave of France. The company hand-quarries stone from the Nugère crater that is located in the region of the Auvergne Volcanos. The hand-carved basins are enameled in a process of more than 10 steps with any one of 28 standard colors or custom hues are vibrant and eye-catching.

A True Work of Art

This bathroom sink is literally a one-of-a-kind work of art. Created by Lee Hun Chung and presented by Gallery Seomi, this pedestal sink and custom tap are crafted from glazed ceramic. Art lovers will appreciate the unique look that is like no other.

Ethereal Beauty

Designed by Vallvé, this wall-mounted sink has a milky, marble-like appearance that adds drama to the bathroom. While most wall mounts are square or rectangular, this one is round and deep, which allows the shape to highlight the semi-opaque material.

A Touch of Tradition

For those who prefer to stick with more traditional sinks and vanities, it’s still possible to have a fresh and innovative design. A credenza-style cabinet from guest bathroom.

The post Bathroom Sinks That Make a Statement appeared first on Homedit.

‘Ukrainian Modernism’ Chronicles the Nation’s Midcentury Architectural Marvels

During the Soviet era, modernist architecture rose to popularity as a means to express power, prestige, and views toward the future following World War II. Across Eastern Europe, asymmetric details, geometric rooflines, circular footprints, monumental murals, and blocky brutalist structures rose in defiance of pre-war classical and vernacular styles.

In Ukrainian Modernism, Kyiv-based photographer and researcher Dmytro Soloviov’s first book, the nation’s under-recognized mid-20th-century built heritage takes center stage.

“Ukraine’s modernist buildings are an extraordinary blend of function, avant-garde aesthetics and ingenious design, but despite these qualities, they remain largely unrecognised,” says a statement from FUEL, which will release the book later this month.

Soloviov chronicles a buildings that are often stigmatized for their inception during the Soviet era and subsequent neglect and redevelopment over time. In the face of the nation’s struggle to overcome Russia’s ongoing incursion, war continues to threaten historic buildings. Ukrainian Modernism combines Soloviov’s contemporary photos with archival images, exploring the breadth of the region’s architectural marvels.

Preorder your copy on FUEL’s website.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article ‘Ukrainian Modernism’ Chronicles the Nation’s Midcentury Architectural Marvels appeared first on Colossal.

‘Titanic: The Digital Resurrection’ Unveils an Unprecedented View of the Harrowing Maritime Disaster

In the summer of 2022, a team of deep-sea researchers spent six weeks in the North Atlantic Ocean at a remote site about 370 nautical miles off the coast of Newfoundland. The final resting place of RMS Titanic, which sank on April 14, 1912, the ocean floor bears the magnificent remains of the 883-foot-long vessel. When the ship disembarked from Southampton, England, it carried more than 2,200 passengers and crew, but only about 700 were rescued after it struck an iceberg.

Using remotely operated underwater vehicles, scientists explored the wreck from a range of vantage points, expanding their survey across a debris field that stretches as wide as three miles. The aim of this expedition revolved around capturing an unprecedented digital view of the ship, enabling a lifelike, virtual reconstruction.

Two submersibles captured a whopping 16 terabytes of data, comprising 715,000 images and a high-resolution video. The files were processed and assembled over the course of seven months to create what Atlantic Productions head Anthony Geffen describes as a “one-to-one digital copy, a ‘twin,’ of the Titanic in every detail.”

Released last Friday, Titanic: The Digital Resurrection chronicles the monumental task of capturing the footage and creating a never-before-seen view of the famous site. Produced by Atlantic Productions and National Geographic, the film follows the crew of deep-sea investigation outfit Magellan as they explored the iconic, hulking remains.

“Accurate to the rivet,” a statement says, the film traces nearly two years of research by historians, scientists, and engineers. “Their mission is to review and challenge long-held assumptions, including reconstructing a minute-by-minute timeline of the tragedy to uncover new insights into the ship’s final moments on that fateful night in 1912.”

Titanic: The Digital Resurrection is now streaming on Disney+ and Hulu.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article ‘Titanic: The Digital Resurrection’ Unveils an Unprecedented View of the Harrowing Maritime Disaster appeared first on Colossal.

Melding Craft and Sustainability, Richard Haining Sculpts Sleek Vessels from Reclaimed Wood

Renewal is at the center of Richard Haining’s practice. The Brooklyn-based artist and designer (previously) sculpts supple vessels and functional goods from reclaimed wood sourced from local workshops or buildings destined for demolition. Intrigued by signs of wear and former uses, Haining has a deep reverence for the material and its history.

In his ongoing STACKED series, small offcuts nest together in intuitively laid grids. An angle grinder and hand tools help to smooth any jagged edges and create the soft, sleek forms Haining is known for.

The artist shares that his inspiration comes from a wide array of sources, “from Classical Antiquity to East Asian design (to) 17th-century European Craftsmanship.” His holy trinity, though, is beauty, craftsmanship, and mindfulness for the environment. He adds:

By juxtaposing repurposed ‘low-value’ materials with ‘high-art’ forms, I invite viewers to reconsider what is truly valuable. Ultimately, I hope to spark a conversation about sustainability, showing that art, craftsmanship, and environmental responsibility can coexist—and that beauty can emerge from the most unexpected places.

Haining is participating in two group exhibitions in New York, one at Lyle Gallery through April 20 and Paraphernalia Exhibition: Desire opening on May 7. Follow the latest on Instagram.