Chasing Ghosts: A Short Documentary Debunks a Long-Held Theory About What Pollinates the Ghost Orchid
What insect has the ability to extend down into the nearly foot-long nectar tube of the ghost orchid? For generations, that question has interested researchers who’ve speculated that the giant sphinx moth, which has a proboscis that often exceeds 10 inches, was one of few species with a tubular tongue that could reach the sticky pollen nestled inside the endangered flower.
Shot during the course of three years, a short documentary by Grizzly Creek Films follows researchers committed to proving this hypothesis. It draws on Charles Darwin’s 160-year-old studies about orchids’ evolution, particularly in relation to one species in Madagascar about which he famously said, “Good heavens. What insect could suck it?” In “Chasing Ghosts,” the team wades into the buggy swamplands of south Florida alongside snakes and alligators to reach a grove of cypress trees, where the white flowers wrap themselves high among the boughs. There they installed cameras to capture the first-ever photograph of the giant sphinx moth probing the ghost orchid.
In total, the mission logged 6,800 camera hours and 52,173 images taken in both Corkscrew Swamp Sanctuary and Fakahatchee Strand and recorded five species capable of pollinating the delicate plant. Surprisingly, the same event that they sought to capture—the giant sphinx moth with its proboscis reaching into the elusive flower—actually debunked researchers’ long-held hypothesis and set them on a new course of study to determine how this plant continues to reproduce.
Watch the full documentary above, and find more of the Montana-based studio’s adventures into Yellowstone and the rugged landscapes of the southern United States on the Grizzly Creek Films’ site and Vimeo. You also can follow its discoveries on Instagram.
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“I saw the need to build cultural awareness by helping to revise and redefine American art,” says the renowned professor, artist, and curator David Driskell in Black Art: In the Absence of Light. His words echo throughout the new HBO documentary—which was directed by Sam Pollard, with executive producers Henry Louis Gates Jr. and Jacqueline Glover—that uncovers the rich and underappreciated lineage of Black art.
Structured chronologically, the feature-length film was released earlier this month and stems from Driskell’s revolutionary exhibition Two Centuries of Black American Art, which opened in 1979 at LACMA and surveyed more than 200 works dating back to 1750 from 63 artists. The formative show went on to major museums in Dallas, Atlanta, and Brooklyn, breaking attendance records despite its unenthusiastic response from some critics and institutions, including two in Chicago and Detroit that rejected its visit entirely.
Two Centuries of Black American Art, though, had a widespread and profound impact, which the documentary explores through interviews with artists working today. Many conversations begin with Driskell, who died last April from the coronavirus before Black Art‘s release. The film probes a vast archive from Chicago artists like Kerry James Marshall (previously) and Theaster Gates (previously), alongside Amy Sherald (previously), Kehinde Wiley (previously), and Jordan Casteel, among others.
Through a multi-generational lens, the documentary examines the nuanced effects of these figures’ contributions to the broader field of contemporary American art as it shares footage of their practices and reactions to their works. For example, Fred Wilson unveils what’s hidden within museum collections, while Wiley and Sherald both comment on the profound experience of painting the Obamas’ official portraits. Additional insights from Studio Museum director and chief curator Thelma Golden, who also is a consulting producer, are woven throughout the film.
Beyond galleries and museums, much of Black Art centers on the value of representation and unearthing a narrative that’s been obscured or outright dismissed. In particular, it considers the role of collectives like Sprial, which was founded in 1963 by Romare Bearden and Norman Lewis in order to highlight the work generated by Black artists in the Civil Rights Movement. While Sprial drew attention to otherwise ignored projects, it was largely dominated by men, a problem Faith Ringgold speaks to as she describes being rejected from the group. Sprial only admitted one woman, Emma Amos.
The final segment focuses on the importance of collectors investing in Black artists, in addition to the long history of spaces like Studio Museum and historically Black colleges and universities. These institutions continue to foster communities that honor the legacy of those who’ve come before while backing those forging new ground, prompting questions like this one from Theaster Gates: “We are part of a continued renaissance—it’s been happening. What I’m most excited about is, do we have the capacity to be great makers in the absence of light?”
Black Art is streaming on HBO Max through March 17. Educators also can download a coinciding curriculum with research tools and discussion prompts, in addition to another filled with activities designed to spur creativity.
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You’d be hard-pressed to find a better pairing for the flood of sourdough loaves baked in recent months than a pat of butter, and perhaps a tour of Le Beurre Bordier will inspire the next craze for ambitious home cooks. Claudia Romeo, a journalist with Food Insider, meets with artisan Jean-Yves Bordier to document the processes of French butter making at the Bordeaux shop, revealing the slow and luxurious methods of manufacturing the milky staple.
Le Beurre Bordier is dedicated to 19th-century practices, including using a wooden malaxage, a large grooved wheel, to churn the substance and extract excess water. Workers knead the butter by hand, constantly slicing it with their fingers and turning it over and over, before shaping it into miniature cones and stamped cylinders. The entire process is measured and manual, similar to the laborious nature of baking bread from scratch.
For more of Food Insider’s deep dives into global food culture, head to YouTube.
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Field Notes Launches New Collection of Letterpress Notebooks Designed by Nine Printers Across the U.S.
For its latest limited edition series, Field Notes tasked nine letterpress shops with capturing the diverse perspectives and histories of the nation through a pocket-sized design. United States of Letterpress is a pastel collection of memo notebooks featuring renderings of small storefronts, geometric patterns, and various slogans, including nods to the upcoming presidential election. Each holds 48 pages of graph paper.
To coincide with the launch, the Chicago-based notebook manufacturer filmed a short documentary, directed by Steve Delahoyde, capturing the processes and history of the art form. The printers involved—which includes Genghis Kern, Full-Circle Press, Mama’s Sauce, Brad Vetter, Springtide Press, Ben Blount, Erin Beckloff, Rick Griffith, and Starshaped Press—speak to the generosity of the printing community, the challenges of the medium, and the endurance of traditional type and equipment. They also details the tactile process of designing and creating their contributions.
For the special collection, Field Notes sent the independent printers cover paper in a different color and asked them to use the same two inks, Rhubine Red and Process Blue. Employing a variety of vintage metal, wood type, laser cutting, and photopolymer plates, some producers submitted two designs, which were added at random into the packs. “There is so much history and tradition in each hand-printed piece, and we wanted to honor that while also showcasing the phenomenal work that modern practitioners of the craft are producing,” co-founder Jim Coudal said.
Support Colossal by picking up a three-pack of Field Notes’ United States of Letterpress in the Colossal Shop.
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An effort to rewrite art historical timelines predominately shaped around men, a new documentary spotlights inventive Swedish artist Hilma af Klint (1862–1944). Beyond the Visible: Hilma af Klint considers her colorful, abstract artworks that predate those of widely recognized male artists, like Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, Paul Klee, and Josef Albers. Directed by Halina Dyrschka, the corrective documentary follows the Guggenheim’s 2018 retrospective of the artist’s spiritual work that since has secured af Klint’s position as a pioneer of 20th-century art.
Dyrschka discovered the revolutionary artist’s work in 2013, quickly realizing that “here was a woman who consequently followed her own path in life that led to a unique oeuvre. A strong character and despite all restrictions Hilma af Klint explored the possibilities that go beyond the visible.” In addition to art history’s tendency to ignore women, the artist’s groundbreaking projects have been absent from historical discourse in part because she asked that her work not be shown until 20 years after her death.
Having interviewed af Klint’s relatives, historians, artists, and critics for the documentary, the German director is hoping to offer a comprehensive and amended version of af Klint’s legacy that transcends her bold paintings. Her “oeuvre goes even beyond art because she was looking for the whole picture of life,” Dyrschka said. “And with that she comes close to the one question: What are we doing here?”
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Consumers are paying closer attention to the ethics and business practices behind the products they buy, and animated documentarian Samantha Moore is shining a light on one company creating everyday essentials. Last year, the Shropshire-based creator released “Bloomers,” a short film that chronicles the history of the Manchester-based lingerie company Ella and Me, which began production in the United Kingdom before moving abroad and back again.
From flowing silk to lace-trimmed underwear strung up only to be snipped apart, the detailed project colors mostly the garments, swaths of fabric, and spindles of string. The workers and machines remain black-and-white line drawings throughout the film as it walks through the manufacturing cycle from design to consumer purchases.
Moore helps illuminate the impacts rising production costs had on Ella and Me since its beginning as a mom-and-pop business. She documents its inception and even the employees’s familial connections to the textile industry. The animation is set to a diverse soundtrack that includes interviews with the company’s team, in addition to noises commonly found on the production room floor, like scissors slicing through soft cotton and the repetitive tick of sewing machines.
Since its release, “Bloomers” was nominated for the Best Short Film at the British Animation Awards 2020, was the winner of the Best British Film at London International Animation Festival 2019, and took home the top prize as the Best Documentary at ReAnima International Film Festival 2019. Keep up with Moore’s animated documentaries on Vimeo and Instagram.
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