A step-by-step ruler and compass construction of a regular pentagon. The construction is due to H. W. Richmond, “A Construction for a Regular Polygon of Seventeen Sides,” Quart. J. Pure Appl. Math., 26, 1893 pp. 206–207.
A regular pentagon is a five-sided polygon with sides of equal length and interior angles of 108° (3?/5 rad). Because 5 is a Fermat prime, you can construct a regular pentagon using only a straightedge and compass.
Through here, we’ll maneuver “to split open [this] dreary world to expose an enchanted one” (T.M.)
Berkshire Botanical Garden presents Symbiosis, the first of a four-part art exhibition.
Including outdoor sculptures in the gardens and indoor artwork in the Leonhardt Galleries, “Symbiosis” aesthetically merges art and the botanical world. Curated by renowned art collector Beth Rudin DeWoody, “Symbiosis” will not only focus on the interaction between two organisms that mutually benefit each other, but also will speak in a greater sense about the overall interconnectivity of living things.
“I am thrilled to continue my ongoing collaboration with the Berkshire Botanical Garden — this time with ‘Symbiosis,”’ said DeWoody, who curated last year’s “Taking Flight” sculpture exhibit at BBG. “Throughout my collecting, I see patterns in the works that artists are creating. This exhibition focuses on the natural world and the relationships among living things and is reflective of what I have been seeing within the greater art world.”
“I am bringing to BBG lots of exciting, emerging artists that have been on my radar for a while,” DeWoody continued. “I’m also happy to show artists within this exhibition that are more world-renowned. Curating always gives me the opportunity to support and share my vision beyond just my collection. Enjoy!”
Chairman of The Rudin Family Foundations and Executive Vice President of Rudin Management, DeWoody is known for her vast art collection, which she houses and exhibits by appointment at The Bunker Artspace in West Palm Beach, Fla. She is the Vice Chairman of the Whitney Museum of American Art and Life Trustee at The New School in New York City. Her board affiliations also include Empowers Africa, Save A Child India, Inc, The Glass House in New Canaan, Conn., and the Hammer Museum in Los Angeles.
The outdoor sculpture portion of “Symbiosis” is on exhibit from June 10 through Oct. 28. It will feature works by Michele Oka Doner, Daniel Gordon, Brandon Lomax, Yassi Mazandi, Thaddeus Mosley, Ben Wolf Noam, Kiki Smith, Ned Smyth, Wade Tullier, and Erwin Wurm.
The first of three indoor “Symbiosis” exhibits this season in BBG’s Leonhardt Galleries will run from June 10 through July 24. It will feature works by Jose Alvarez (D.O.P.A.), Ann Craven, Michele Benjamin, William Binnie, DABSMYLA, Robert Davis, E.V. Day, Jordan Doner, Walton Ford, Daniel Gordon, Karen Gunderson, Judi Harvest, Steven & William Ladd, Lee Relvas, Kathy Ruttenberg, Sean Mellyn, Dana Sherwood, Alan Sonfist, Ana María Velasco, Paul Villinski, LeRone Wilson, Rob Wynne, and Firooz Zahedi.
The second indoor exhibition will run from July 29 through Sept. 11, and feature works by Christopher Adams, Charles Arnoldi, L.C. Armstrong, Madeleine Bialke, David Brooks, Leidy Churchman, Peter Dayton, Margot Glass, Mimi Gross, Paula Hayes, Robert Hawkins, Marc Horowitz, Kathy Klein, Seffa Klein, Nancy Monk, Charles Ray, Tomás Saraceno, Max Hooper Schneider, Katherine Sherwood, Simone Shubuck, Coleen Sterritt, and Tabboo!
The third indoor exhibition will run from Sept. 16 through Oct. 30, and feature works by John McAllister, Lou Beach, Helen Chung, Elliot Green, Adler Guerrier, Sophia Heymans, Marsia Holzer, Max Jansons, Poppy Jones, Iran Issa-Khan, Lacey Leonard, Matt Murphy, Peter Nadin, Rose Nestler, Jonathan Peck, Alexandra Penney, Rob Raphael, Megumi Shinozaki, Elizabeth Thompson, Celina Teague, Henry Vincent, Gabrielle Vitollo, Shanna Waddell, Faith Wilding, and Anna Zemánková.
“Symbiosis” is produced by Laura Dvorkin, co-curator of The Bunker Artspace and Beth Rudin DeWoody Collection.
Untitled (Wander and Errancies–memories within; citrus in Saint Augustine). 2021. Archival pigment print. MNP.
Related : Haïti-France, les chaînes de la dette. Le rapport Mackau (1825) édition intégrale annotée et commentée par Marcel Dorigny†, Jean-Marie Théodat, Gusti-Klara Gaillard et Jean-Claude Bruffaerts chez Maisonneuve & Larose / Hémisphères éditions, 2021, 201 p. ISBN : 9782377011179 http://www.sfhom.com/spip.php?article3915
Black thought might offer a more taxing ecological critique too.
A Coal Mine for Every Wildfire Can we circumvent politics with direct action? by James Butler
via Property Will Cost Us the Earth : Direct Action and the Future of the Global Climate Movement, Edited by Jessie Kindig.
… we put That on everything we love
Related : petaq
“… une réalité est venue à l’existence” Doris L. Garraway, Callaloo Vol. 29, No. 1 (Winter, 2006).
I remembered this short story, more comically but with a pointed criticality.
No, I’ve never personally used them (never needed to, thank you very much). But I know that every fetish priest in every village sells them. The potions are made according to a recipe passed down from an unidentified ancestor, with a list of ingredients that we mere mortals are not allowed to know. The fetish priests all store their potions in similar-looking white bottles, and charge the same ludicrous fee to those who come to buy them—a goat, a pig, and three hens. But who has that kind of wealth to spare for the sake of love? Do you? I didn’t think so. That is why I’m going to give you invaluable directions on how to obtain a love potion for free and get yourself a romance that will leave your face brighter than the morning sun.
The Case for and Against Love Potions, Imbolo Mbue, March 15, 2021.
The rose is the beloved, the beloved is a destination, and the human lover a little like a bee pursues and celebrates this … at the center of [their] walled garden.
RS
The contemporary world’s work has become policing, forming policy regarding, and trying to administrate the perpetual movement of people. Nationhood—the very definition of citizenship—is marked by exile, refugees, guest arbiter, immigrants, migrations, the displaced, the fleeing, and the under siege. Hunger for home is entombed among the central metaphors in the discourse on globalism, transnationalism, nationalism, the breakup of nations, and the fictions of sovereignty. Yet these dreams of home are frequently as raced themselves as the originating racial house that has defined them. When they are not raced, they are, as I suggested earlier, landscape, never inscape; utopia, never home.
Toni Morrison, Race Matters, The Source of Self-Regard.
