Laura Ball | Untitled (Heart), 2011 | watercolor, graphite on paper | 20h x 16w inches | Courtesy of the artist and Morgan Lehman Gallery
Walton Ford | The Island, 2009 | watercolor, gouache, pencil, and ink on paper | Panel 1: 95.5 x 36 inches; 242.6 x 91.4 cm
Panel 2: 95.5 x 60 inches; 242.6 x 152.4 cm | Panel 3: 95.5 x 36 inches; 242.6 x 91.4 cm | Courtesy of the artist and Paul Kasmin Gallery
Christina Pettersson | After Aesop I, 2013 | pencil on paper
Sharon Gannon author of Yoga and Vegetarianism: The Diet of Enlightenment and co-founder of Jivamukti Yoga School and studios worldwide
A William Sonoma plate shot on the floor of Jackson Pollock’s former studio in East Hampton, New York at the Pollock Krasner House & Study Center. Here Pollock would lay his canvases directly on the floor of a converted barn and create his iconic “drip” paintings. Each day, like an artist, we are faced with a blank canvas in the form of an empty plate. Helen Harrison, director of the Pollock Krasner House, pointed out that many believe Pollock’s paintings were a product of randomness and chance, but in fact his decisions on color, type of paint, and technique were very specific. What we choose to put on our plates is our creation too - it’s what they call “the power of the consumer”. When it comes to food, what we choose to literally consume is what powers our bodies, our minds and ultimately the way the world operates.
Excerpt from Black Market: Inside the Endangered Species Trade in Asia. BEAR FARMING. By Ben Davis
Black Square XI. Blue and Gold Macaw, ‘Amiga’, suffering from feather destructive disorder. In captivity many birds develop feather destructive disorder as a result of conditions including lack of psychological and emotional stimulation, stress, lack of companionship and limited freedom.
“The Sphinx”, an iconic peak in Montana’s Rocky Mountains, stands sentinel over a darkening meadow.
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