David Scott Kastan & Stephen Farthing— Our lives are saturated by color. The sky above us is blue (or gray or pink or purple or nearly black). The grass we walk on is green, though sometimes it is brown. Our skin has color, though not exactly the color we normally
Jennifer Raab — Years ago, standing in front of Frederic Edwin Church’s The Heart of the Andes (1859) at The Metropolitan Museum of Art, I wondered, why is this painting so detailed? This was the first word that came to mind when looking at the picture. It was also the
Sarah Gordon– In 1878, photographer Eadweard Muybridge stunned audiences in the United States and abroad when he quickened the shutter of his camera to freeze the motion of a trotting horse. Nine years later, Muybridge’s photographic motion studies culminated in the publication of Animal Locomotion: An Electro-Photographic Investigation of Consecutive
This piece at the intersection of Art + Science is a post written by a former Yale University Press intern after she visited the 2012 exhibition at the Bard Graduate Center, The Islands of Benoît Mandelbrot: Fractals, Chaos, and the Materiality of Thinking. The book that accompanied the exhibition shares its title,
Art conservation offers a fascinating overlap between the worlds of art and science; conservators examine works of art using tools and methods such as microscopy, X-radiography, X-ray fluorescence, and infrared reflectography, and their insight informs decisions about how to preserve, clean, store, transport, and display the works. Here, Ian McClure,
Today we are excited to introduce you to a new series on our our Yale University Press Art & Architecture blog: Art + Science. Posts featured here will occupy that fascinating space where the visual arts overlap with scientific pursuits and discoveries. Today, we are sharing a guest post by Michelle