David urbanic zoomify5/2/2023 ![]() ![]() (I reference the original description usually, and often see specimens at museums too.) Was walking around the show with Stewart Brand and Peter Schwartz (both friends of mine) and they told him that everything was at life size, putting every species into proper relative scale. I exhibited my work in a butterfly show at the Harvard Natural History Museum (next to the Museum of Comparative Zoology and the glass flowers). (Her painting “Descendant” is on the cover of “The Future of Life” by the Pulitzer-winning biologist Edward O. Invasiveness, etc.) so I already had the background work done to put Zoomify to use. For an exhibit I did at the Yerba BuenaĬenter for the Arts in San Francisco, I made laminated cards with the keys, species lists and stories of some of the species illustrating various aspects of each of the subjects of the pictures (i.e., endangerment, Unfortunately, Zoomify has been bought out and bundled into someone else’s software package that I have not been able to track down. I bought it and have sinceīeen trying to update my site. I found the software for zooming into the keys and paintings on the Pierpont Morgan Library Web site. Kirkland’s work is displayed on in a way that allows visitors to zoom in and learn details of individual species with an elaborate key.) How did you come up with the zooming and keyed approach to showing your work on the Web?Ī. So I started out just to document some of the rare and exquisite things we happen to barely haveĪt this time and date in as permanent a form as possible, with a nod to a future that may NOT still have them. ![]() The inks we now use in printing are very transitory. The idea that digital platforms are stable is sort of laughable. …NASA would have to re-create all of the original science for another Moon shot (none of the hardware or software of the time was saved)…. You can still type to species many of the bugs and flowers. The Dutch still-life paintings from 1650-1720 are astoundingly accurate and well-preserved. At the end of the millennium, I started thinking about what might be here for the citizens of the world in 2, 3, or 400 years. What prompted you to focus your work on species’ comings and goings (and returns)? And why this particular style of painting?Ī. Of Dutch Masters memorializing nature’s rarest plants and animals, answered a few lingering questions by e-mail this morning, and her responses are worth sharing. Isabella Kirkland, the artist I wrote about who makes intricate paintings in the style Descendant, 1999 oil paint, alkyd on panel, by Isabella Kirkland
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