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In the 16th century, Pierre Belon published one of the earliest scientific depictions of a dolphin: a woodcut with finely hatched skin and pointed teeth. He noted, for what’s considered the first time, that the animal was quite different from a fish, as had long been believed. The discovery is among the historic moments in the American Museum of Natural History’s (AMNH) Opulent Oceans, showing the visual side of early ocean science.
The exhibition builds on the 2014 publication Opulent Oceans: Extraordinary Rare Book Selections from the American Museum of Natural History Library, part of the Natural Histories series highlighting material from the more than 600,000 rare volumes at AMNH. The show is organized by the book’s author, Melanie L.J. Stiassny, curator-in-charge of the Department of Ichthyology, in collaboration with Research Library Director Tom Baione. As in the 2013 exhibition Natural Histories: 400 Years of Scientific Illustration from the Museum’s Library, physical books aren’t on view, but large-scale reproductions visualize selections from the tomes. However, in conjunction with Opulent Oceans, featured publications are displayed on a rotating basis outside the fourth floor entrance to the AMNH Research Library.
Most of these illustrations were made after Belon’s dolphin, as technology facilitated the exploration of ocean ecology in the 18th and 19th centuries. There are several deep-sea creatures, like the tiny black seadevil with its frightening jaw jammed with sharp teeth, drawn by Fritz Winter for August Brauer’s Die Tiefsee-Fische (1906–08). The publication was based on the German Deep Sea expedition of 1898–99, in which many fish from depths beyond 3,300 feet — where previously no life was known to exist — were first recorded.
It was on this voyage that biologist Carl Chun discovered the Vampyroteuthis infernalis, or “vampire squid from Hell.” The vampire squid is only about the size of a softball, but the deep-sea cephalopod, with its saucer eyes, ominous pigmentation, and cape-like webbed fins, does appear like a miniature monster, as shown in an illustration by Louis Joubin.
According to National Oceanic and Atmospheric Administration, 95% of the ocean “remains unexplored, unseen by human eyes.” Whether the bioluminescence of copepods (small crustaceans), illuminated in the 1892 work of Wilhelm Giesbrecht, or the delicate single-celled radiolarians published in 1887 by Ernst Haeckel, Opulent Oceans demonstrates the diversity of a world we are still discovering.
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.