Color Plates

Color Plate A

Stephen H. Kawai, Enantiomeric Snails Reveling in Their Encounter on a Leaf Inspired by Chinen, land snails (Amphidromus), rock, steel wire, 90 cm, 1995. (© S.H. Kawai. Photo: D. Kubin.)

Color Plate B

Amit Zoran, hybrid reassemblage: The masks. Glazed ceramic, spray paint, Objet PolyJet 3D-printed heads and epoxy glue, 2010. (left) a broken helmet. (middle and right) A broken element glued around a 3D-printed head. (© Amit Zoran)

Color Plate C

Julian Voss-Andreae, (a–c) Heart of Steel, weathering steel and glass, height 5 ft (1.60 m), 2005. (© Julian Voss-Andreae) The images show a time-sequence of the hemoglobin-based sculpture’s metamorphosis: Photo (a) was taken right after unveiling, (b) after 10 days and (c) after several months of exposure to the elements. (d) Alpha Helix for Linus Pauling, powder-coated steel, 10 ft (3 m) high, 2004. (© Julian Voss-Andreae. Collection of The Linus Pauling Center for Science, Peace, and Health.) This memorial for Linus Pauling is located in front of Pauling’s childhood home in Portland, OR. (e) Angel of the West, stainless steel, 12 × 12 × 4 ft (3.70 × 3.70 × 1.20 m), 2008. (© Julian Voss-Andreae. Photo by James McEntee, courtesy of The Scripps Research Institute.) Commissioned as the signature sculpture of The Scripps Research Institute’s new campus in Jupiter, FL, this sculpture plays upon the striking similarity between the human body and our immune system’s key molecule, the antibody.

Color Plate D

Giuseppe Sanmartino, Cristo Velato (Veiled Christ), Carrara Statuario marble, 178 × 71 cm, 1753. Cappella Sansevero, Napoli. (Photo: Scala/Art Resource, NY) A rare example of art as an all-consuming illusion of the reality it represents. (See article by Tom Albright in this issue.)

Color Plate E

Antonio Corradini, La Pudicizia (Modesty), Carrara Statuario marble, 182 × 95 cm, Cappella Sansevero, Napoli, 1752. (Photo: Scala/Art Resource, NY) This life-sized sculpture was created by the Venetian Corradini, a contemporary of Sanmartino who similarly employed the technique of enveloping the subject in a sheer veil. Although the veil is a highly evocative feature of Corradini’s Modesty, the implied movement in the figure precludes any possibility of illusion of the quality achieved by Sanmartino’s Veiled Christ. (See article by Tom Albright in this issue.)

Color Plate F

Vladimirs Guculaks’s GPS dog map intersects with Nicholas Gruter’s map. (© Vladimirs Guculaks) (See article by Dermott McMeel and Chris Speed in this issue.)

Color Plate G

A.R. Jensenius, motion history keyframe display of a dance improvisation, starting from top left. Each motion history image represents 2 seconds of movement. Such motion history keyframe displays can show chunks of movement within each frame, as well as the temporal unfolding of longer movement sequences. (© A.R. Jensenius)