Out of the ashes came an unplanned, and unprecedented, project to help save the world’s species. The Photo Ark began in 2005 — with Joel Sartore as its proverbial Noah — and now lives as a database and traveling exhibition of 9,720 portraits to date.
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The first atrium in the Southampton Arts Center — home to a new exhibit from Shawn Heinrichs, “Light on Shadow” — is an ode to the photographer’s first love.
And the place that would break his heart.
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Whether she’s watching a river of clouds snake through a mountain pass, or holding her breath as the sun breaks through a storm on the ocean horizon, Renate Aller has honed her ability to predict a moment — and only then does she click her shutter.
That split second, she says, is “the space between memory and expectation,” during which nothing inherently happens, but without which no change could occur.
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There is more to George Morton than his sheer, mostly raw talent. Take one look at his dramatically lifelike, poignant pieces, and it’s there — his past, one set against the drug war of the 1990s in Kansas City, one that landed him an 11-year prison sentence.
One that nearly destroyed him.
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Through chalk, Kara Hoblin learned one of the most important lessons that life has to offer: the necessity of letting go. As an artist, that means letting go of her work. As a lover, to let go of heartache. And as a human, to let go of loss, insecurity, hate and pain.
But it doesn’t mean throwing them away, she emphasizes. It simply means letting life be — while growing through the shadows and emerging into the light.
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Eric Dever’s newest body of work, “A Thousand Nows,” is a study in compressed time, the 22 exuberant oils layered with colors that span the artist’s lifetime, from his earliest memories growing up in California.
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Jane Weissman usually travels alone — by both circumstance and design, she said — and she loves paper maps.
If she can, she rents a car and plots her routes by hand, avoiding interstates as much as possible. It gives her a truer sense of a place, she explained, eight months back from a road trip around the Southwest, though the fine red rock sand likely lingers.
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Scott Chaskey and his daughter, Rowenna, stood at the entrance of a rather unremarkable shed in the Northwest Woods last week, with dozens of soaring metal sculptures with long, slender legs peeking out.
They were artist Bill King as Mozart, Bill King as John Faddis, Bill King as Mary Magdalene. They were Bill King singing, dancing and holding hands with children. They were Bill King in the furthest stretches of his imagination — a magical place, his family and friends attest, filled with generosity, wit and the driest sense of humor, if it could even be typified as that.
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With more than six decades under his belt as a comic book artist, Mr. Goldberg’s passion blossomed at a young age while growing up during the 1930s in Manhattan. After just turning 17, he went to work for a company that would become Marvel Comics, helping to design the original color schemes of all the classic 1960s characters, including Spider-Man, the Fantastic Four, the X-Men and the Hulk.
“A lot of talent and a little luck I had at the beginning,” Mr. Goldberg said two years ago at the Box Art Auction preview, “and fell in at the right time. I had Stan Lee as my friend, my editor, everything else for the first 20 years of my professional life. We spent a lot of time together with the superheroes.”
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