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All images © Beto Val, shared with permissionEcuadorian artist Beto Val alchemizes vintage illustrations into bizarre compositions that blend fruits with fowl and aquatic life with land animals. Using imagery available through the public domain, Val cuts and repositions fins, wings, and scaly talons into surreal creatures: round owl faces peer out from pineapples, autumn leaves sprout from tropical birds, and a rendering evocative of a biological chart displays fish with bodies made of strawberries, brains, and an early, industrial locomotive. Blending the analog illustrations with the artist’s digital manipulations, the collages encompass a range of characters from the whimsical to the absurd.Val offers prints and other goods in his shop, and his book, The Great Book of the Imaginary Animal Kingdom, is available from Bookshop. You can follow the strange hybrids he dreams up next on Instagram. All images courtesy of English Heritage, shared with permissionTemporarily occupying the site of the ancient Housesteads Roman Gatehouse at Hadrian’s Wall, a vibrant installation by British artist Morag Myerscough recreates the structure that once stood on the bucolic landscape in northern England. “The Future Belongs To What Was As Much As What Is” is a bright, architectural reinterpretation of the 2nd-century building, reaching the same 8.5 meters high and 12.5 meters wide as the original construction. A staircase tucked inside the scaffolding allows visitors to climb to an upper outpost and look over the landscape, offering a view that’s been unavailable for the last 1,600 years.To create the patchwork, typographic facade, Myerscough collaborated with community members and poet Ellen Moran. Each panel is bright and geometric, and while some reference artifacts found on the site, many contain messages relating to borders, connecting the historic landmark that once defined the edge of the Roman empire to contemporary immigration issues. “We hope that placing such a bold contemporary art installation in this ancient landscape will not only capture people’s imagination but maybe also challenge their ideas of what the wall was for. Not just a means to keep people out, but a frontier that people could— and did—cross,” says Kate Mavor, the chief executive of English Heritage.The installation opens on July 30 to coincide with the wall’s 1,900th anniversary and will be up through October 30. (via Dezeen) Carl Chun, Polypus levis, from Die Cephalopoden (1910–15), color lithograph, 35 × 25 centimeters. Image from the Biodiversity Heritage Library/Contributed by MBLWHOI Library, Marine Biological Laboratory, Woods Hole Oceanographic Institution Library, Massachusetts. All images © Phaidon, shared with permissionDespite thousands of years of research and an unending fascination with marine creatures, humans have explored only five percent of the oceans covering the majority of the earth’s surface. A forthcoming book from Phaidon dives into the planet’s notoriously vast and mysterious aquatic ecosystems, traveling across the continents and three millennia to uncover the stunning diversity of life below the surface.Spanning 352 pages, Ocean, Exploring the Marine World brings together a broad array of images and information ranging from ancient nautical cartography to contemporary shots from photographers like Sebastião Salgado and David Doubilet. The volume presents science and history alongside art and illustration—it features biological renderings by Ernst Haekcl, Katsushika Hokusai’s woodblock prints, and works by artists like Kerry James Marshall, Vincent van Gogh, and Yayoi Kusama—in addition to texts about conservation and the threats the climate crises poses to underwater life.Ocean will be released this October and is available for pre-order on Bookshop. You also might enjoy this volume devoted to birds. NNtonio Rod (Antonio Rodríguez Canto), Trachyphyllia, from Coral Colors, (2016). Image © NNtonio RodJason deCaires Taylor, “Rubicon” (2016), stainless steel, pH-neutral cement, basalt and aggregates, installation view, Museo Atlántico, Las Coloradas, Lanzarote, Atlantic Oceanl. Photo courtesy of the artistChristian Schussele and James M. Sommerville, Ocean Life, (c.1859), watercolor, gouache, graphite, and gum arabic on off-white wove paper, 48.3 × 69.7 centimeters. Image courtesy of The Metropolitan Museum of ArtDuke Riley, #34 of the Poly S. Tyrene Maritime Collection (2019), salvaged, painted plastic bottle, 30.5 × 18.4 × 7.6 centimeters Image courtesy of Duke Riley StudioNicolas Floc’h, Productive Structures, Artificial Reefs, -23m, Tateyama, Japan, (2013). Image © Nicolas Floc’h

Capital Knowledge in Art (CapitalKA)

by DHAdmann