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uwmspeccoll · 3 months ago

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A Pigeon-fluencer Feathursday

This week’s post was inspired by a recent Guardian article on the rise of Pigeon-influencers on TikTok and their role in reviving the popularity of the oft-derided and underestimated birds.

Throughout history, pigeons have provided sustenance (“squab”), labor (in the form of the “pigeon post”), and companionship to human populations. Though these days we may typically associate the Rock Pigeon (Columba livia, otherwise known as the common pigeon) with other animals classified as “pests” in urban landscapes, they are in fact understood to be the world's oldest domesticated bird. Historical documentation of pigeons can be found in hieroglyphic texts and art dating back as far as ancient Egypt and Mesopotamia. According to Colin Jerolmack, professor of Sociology and Environmental Studies at NYU and author of The Global Pigeon, pigeons “have been in cities as long as we’ve had cities” and, prior to the technological innovation of the telegram, were “the most reliable messaging system in the world”. While “fancy” pigeons (like Frillbacks, English Magpies, Jacobin, and Archangel pigeons) were bred and kept as prized pets in the Victorian era, the North American Passenger Pigeon (or “wild pigeon”) was hunted to the point of extinction in the early 20th century.

To illustrate the complexity of our love-hate relationship with the birds we've selected a variety of illustrations and text from our collection and featured them alongside some images from outside sources.

The engravings in images #2 & #8 from The Illustrated Natural History: Birds (London: George Routledge & Sons) were created by the Brothers Dalziel, a wood engraving shop in Victorian London founded in 1839 and operated by George and Edward Dalziel. Image #1 from Birds of America; Fifty Selections (with commentaries by Roger Tory Peterson) (New York: Macmillan) is a reproduction of a hand-colored lithograph produced by the shop of J. T. Bowen of Philadelphia from a painting by naturalist and artist John James Audubon in the early 19th century.

--Ana, Special Collections Graduate Intern

Other image sources:

#3: Western Crowned Pigeon (Goura cristata) in TMII Birdpark - Western crowned pigeon - Wikipedia

#4: Keyla Rose with Tony, her pigeon, on a walk in New York. Photograph: Alaina Demopoulos/The Guardian. August 23, 2024.

#5-6: from City Creatures: Animal Encounters in the Chicago Wilderness Pigeons (poem) by Chicago-based Puerto Rican poet and community activist David Hernandez, DH+BH (image of tattoo) by Camilo Cumpian.

#7: Ceiling Fragment Depicting Pigeons in Flight | New Kingdom | The Metropolitan Museum of Art (metmuseum.org) (ca. 1390–1352 B.C.)

#9: a Memorial to the extinct Passenger Pigeon at Wyalusing State Park in Wisconsin (1947)

#10: from Nikola Tesla's Obsession with Pigeons, Electricity, and a Plan to Wirelessly Connect the World (nautil.us)

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jeremystrele · 4 years ago

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An Art-Filled Melbourne Family Home, With Santorini Vibes!

Homes

by Lucy Feagins, Editor

Green painting by Phoebe Rolleston. Portrait of man in black hat is ‘Untitled Face’ by Angus Jones, bought at auction from Bonhams. Centre painting The Rider’ by Harley Manifold. Portrait of man in yellow hat from The Winsome Collection. Blue crowns painting by Phoebe Rolleston. Painting above fireplace by Oscar Perry from The Commercial Gallery. Ludwig Mies van der Rohe S 533 chairs from Anibou. Lemon bowl from Brownlow Interior Design. Antique chest and small French antique table from Miguel Meirelles Antiques. Light blue Hale Mercantile cushion from Manon Bis. Dark blue and green Caravane Paris cushions from Brownlow Interior Design. Striped velvet cushion custom-made by Phoebe Rolleston Interiors in Kelly Wearstler fabric. Sofa and Soul sofas. Timber sculptures by Hugh McCarthy. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Painting by Oscar Perry from The Commercial Gallery Ludwig Mies van der Rohe S 533 chairs from Anibou. Lemon bowl from Brownlow Interior Design. Rug from Bayliss Rugs. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Phoebe with Humphry (7), Louis (5), and William (3)! Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Ligne Roset ottoman via Domo. Painting by Oscar Perry from The Commercial Gallery Ludwig Mies van der Rohe S 533 chairs from Anibou. Lemon bowl from Brownlow Interior Design. Rug from Bayliss Rugs. Styling – Annie Portelli

Paintings in entry and in distance by Phoebe Rolleston. Light blue Hale Mercantile from Manon Bis cushion. Dark blue and green Caravane Paris cushions via Brownlow Interior Design. Sofa and Soul sofa. Timber sculpture by Hugh McCarthy. Rug from Bayliss Rugs. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Curtains and blinds by Lucy Bowen. Timber sculpture by Hugh McCarthy. Ludwig Mies van der Rohe S 533 chairs from Anibou. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Portrait of man in black hat is ‘Untitled Face’ by Angus Jones, bought at auction from Bonhams in Armadale. Centre painting The Rider’ by Harley Manifold. Portrait of man in yellow hat from The Winsome Collection. Blue crowns painting by Phoebe Rolleston. Light blue Hale Mercantile from Manon Bis cushion. Dark blue and green Caravane Paris cushions via Brownlow Interior Design. Striped velvet cushion custom-made by Phoebe Rolleston Interiors in Kelly Wearstler fabric. Sofa and Soul sofa. Gervasoni InOut side table via Anibou. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

The timber Sculptures were custom-made for the house by the owner’s great friend (and Louis’ godfather!) Hugh McCarthy. ‘He designed these after visiting us one night and we absolutely love them, his craftsmanship is unbelievable and he’s incredibly creative,’ says Phoebe. Iris Apfel painting by Kate Carnegie. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Butter tray, red and white speckled jug, terracotta vase, and two plates with faces from Brownlow Interior Design. White bobble jug by Astier de Villatte via Coote & Co. Bowls and mugs from Made + More. Papavero Raggiante suspension lamp by Opinion Ciatti via Artemest. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Papavero Raggiante suspension lamp by Opinion Ciatti via Artemest. Butter tray, red and white speckled jug, terracotta vase, and two plates with faces from Brownlow Interior Design. White bobble jug by Astier de Villatte via Coote & Co. Bowls, jug and mugs from Made + More. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Unknown painting – a gift from Phoebe’s mum! Butter tray and plates with faces from Brownlow Interior Design. White bobble jug by Astier de Villatte via Coote & Co. Bowls and jug from Made + More. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Butter tray, terracotta vase, and two plates with faces from Brownlow Interior Design. White bobble jug by Astier de Villatte via Coote & Co. Bowls, jug and mugs from Made + More. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Large painting by Phoebe Rolleston. Light fitting from Tigger Hall Design. French table a gift from George’s parents when they moved into their first house. Portrait of Phoebe’s grandmother, left to her by her. ‘I had it reframed which has given it new life. It is very dear to me,’ Phoebe says. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Painting by Phoebe Rolleston. Casala chair bought from auction at Leonard Joel. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

White cushions are Hale Mercantile Co from Manon Bis. Ikea bed linen. Custom-made bedhead by Phoebe Rolleston Interiors. Lamp bought years ago from Leonard Joel, and is one of Phoebe’s favourite things in the house. ‘The two portraits were done by James Govett, and my dad left them to me,’ Phoebe says. ‘One is a portrait of my dad and the other is of me when I was about six. My grandmother loved Govett’s work and commissioned him to paint us all over the years. I’ve put them right next to my bed as they mean a lot to me.’ Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Custom-made bedhead by Phoebe Rolleston Interiors. White cushions are Hale Mercantile Co from Manon Bis. Jardan bed linen. Antique chest from Miguel Meirelles Antiques. Painting by Phoebe Rolleston. Watercolour painting of seagull was done by Phoebe’s mum, Annabelle Pobjoy. Artemide Tolomeo lamp. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Large painting by Phoebe Rolleston. Medium painting by George’s mum as a present for Louis. Two small paintings by Phoebe’s mum, Annabelle Pobjoy. Antique chest bought at auction from Gibson’s. Orange Planet lamp bought at auction from Leonard Joel. Monkey collage given to Louis by his godmother. Ikea cushions and bed linen. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Exterior paint colours mixed by Phoebe. Landscape design and pots by Andrew Panton Design. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Paint colours personally mixed by Phoebe. Early Settler outdoor chairs. Terracotta pot from Andrew Panton Design. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Outdoor table from Edward Clark Antiques. Paint colours personally mixed by Phoebe. Early Settler outdoor chairs. Terracotta pot from Andrew Panton Design. Landscape design by Andrew Panton Design. Landscaping by Perennial Landscaping. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli

Some people know exactly what they’re after when looking to buy a home. For Phoebe Rolleston, it’s all about the feeling.

When the artist and her husband, finance professional George Rolleston, first stepped into this Glen Iris home in 2014, she instantly knew this was the one. ‘It was one of the first houses we looked at, and the first one we bid on,’ she says. ‘We are decisive people. We loved the feel of the house immediately.’ Once the couple moved in, everything fell into place. ‘It was quickly filled with all the things we love, including our first baby Humphry, who took his first steps here the week we moved in,’ Phoebe says.

One element that stands out about this home is its charmingly eclectic design influences. Believed to be built in 1980 (and renovated multiple times since) the house contains Japanese inspired elements, alongside quirky ‘80s proportions, and a facade that resembles a Scandinavian lodge. ‘It’s a real mixed bag, and we love that about,’ says Phoebe.

The couple redid the bathrooms not long after moving in, but deliberately waited several years before undergoing major renovations. ‘We waited to renovate for five years, to ensure we were really certain about what we wanted to change and achieve, and to make sure it still felt like home at the end of all the work,’ says Phoebe.

Architect Lucy Bowen was engaged to design the renovation, including the extension containing the rumpus room and office. ‘The existing living, dining and kitchen area were also redesigned with a new life and style,’ says Phoebe. New materials and textures were introduced to create a relaxed environment suitable for the young family, and a pool was also added in the backyard.

Lucy’s design plays on the home’s existing features, adding further character in the form of raised skirting, indented shelving, and retaining plenty of wall space for art. Many paintings are by Phoebe herself, and whenever a piece is sold, she creates a new one to hang in its place! ‘It wasn’t a conscious thing, but we ended up with a house that has almost a gallery feel about it,’ she says.

Giving the home its Santorini-esque aesthetic is the use of natural textures such as rattan, concrete, travertine, and of course, the stark white walls with a pale green trim on the doors and rear exterior. Nearly all the paint colours were personally mixed by Phoebe, who did all the interior decorating, and spent plenty of time ensuring the pale green in particular was perfect! ‘I was very careful not to have a green that was too minty or too yellow, so there were many tests done,’ she says. ‘The builders thought we were mad I think!’

Renovations of this home are now complete, but there is one thing that hasn’t changed. Standing in the house today, Phoebe says the home still emits that same distinct feeling she experienced on the very first inspection. ‘I love houses that have a good energy – where you can relax and feel at home, rather than something too formal or precious,’ she says. ‘We are so happy we haven’t lost that feeling that we got the first time we came here.’

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limejuicer1862 · 6 years ago

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Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Tricia Marcella Cimera

is a Midwestern poet with a worldview. Look for her work in these diverse places: Anti-Heroin Chic, Buddhist Poetry Review, The Ekphrastic Review, Foliate Oak, Failed Haiku, I Am Not A Silent Poet, Mad Swirl, Silver Birch Press, Wild Plum and elsewhere. She has two micro collections, THE SEA AND A RIVER and BOXBOROUGH POEMS, on the Origami Poems Project website. Tricia believes there’s no place like her own backyard and has traveled the world. She lives with her husband and family of animals in Illinois, in a town called St. Charles, near a river named Fox, with a Poetry Box is in her front yard.

Link to THE FOX POETRY BOX, my public art installation:

https://www.facebook.com/FoxPoetryBox

The Interview

1. When and why did you start writing poetry?

Before writing, there was reading. When I learned how to read (my mother told me that I was convinced it would be too hard to learn; I was a tiny defeatist), another life began for me. A life of imagination. I fell madly in love with reading. And through reading I found poetry. It entered into the portal of my child mind in various forms such as the great Dr. Seuss. When I was nine I wrote my first poem that came whooshing out spontaneously after a dinner with my parents and some business associates of my father. One of the wives told us about her grown daughter being killed in a car accident. This hit me so hard; after dinner, I sat down and wrote this little poem about grief. Everyone seemed kind of astounded; the woman who had lost her daughter just wept. My mother kept that poem for years but it was lost somewhere in time as we moved around. Poetry then lay dormant in me for a while but returned when I was in high school where I wrote and submitted things to the school literary journal. It went away yet again but returned full force when I was in my 30s and discovered a local writer’s class at the college. Along with the class came a professor who encouraged me in a way that every poet should be in their life. And that meant all the world to me – and my poems.

2. How aware are and were you of the dominating presence of older poets traditional and contemporary?

Aware and intimidated at first. But with poetry, there are many masters and many forms. I try and learn from older poets but it’s imperative I listen to my own voice.

2.1. Who were you intimidated by?

I would say that initially every great poet intimidated me. People like Ezra Pound, for example. What did it all mean? Poets like Emily Dickinson, Jane Kenyon, Leonard Cohen showed me that simple language coupled with deep ideas was something to strive for. That was poetry too! Again, there are many forms to choose from – that was freeing to me. MY voice is a form in and of itself.

3. What is your daily writing routine?

I have no daily routine of actual writing. Poems are always showing up and percolating throughout the day in my head, I let them gain form, which can take days. Once I begin putting a poem to paper (computer screen), it generally goes quickly. I’m a fast reviser. I’m a big proponent of revising; I think it’s necessary to advocate for the poem, not the ego. I know there’s a school of thought when it comes to organic outpouring of words to create a poem. I think a poem deserves to be worked on and lived with. It makes it no less gritty or tough if that’s what you’re going for.

4. What motivates you to write?

My imagination, my specific experiences, the world, every art form there is, history, living and dead human beings and animals, the act of remembering – all of it motivates my writing. Anything and everything can be a poem. Once I understood this, a door opened. You really can’t close that particular door once it flies open.

5. What is your work ethic?

I don’t make a living through my writing so my ‘work ethic’ is fluid and not terribly militant. Once a poem is begun, however, I feel committed to it and will revise/polish/finish quickly or revisit it as much as necessary until it feels right. There are those poems, however, that just don’t work. I don’t entirely abandon them but they are left to. . .sit there, waiting for a line to be used, an idea to be shaped . Getting back to revision, I suppose that speaks to a work ethic. As mentioned before, the poem should be served, not the initial delight in creating it.

6. How do the writers you read when you were young influence you today?

Great question! The books and stories of my childhood are forever of my beating heart. I still have one of the first books I received for my 6th birthday – “Hamish Meets Bumpy Mackenzie” by Frances Bowen. The Narnia Chronicles by C.S. Lewis truly saved my life when my mother was hospitalized for depression (when I was ten). I return to my childhood books again and again. “Half Magic” by Edward Eager still entrances me and makes me laugh. I can’t imagine abandoning any of these fantastic books and their writers. They are written so well and never talk down to anyone, except maybe those without an imagination. I believe in magic and hope and weirdness and underdogs because of the books of my youth. Of all the books I’ve read in my life, they mean the most to me.

7. Whom of today’s writers do you admire the most and why?

I have many favorite writers but I always cite Joyce Carol Oates and Larry McMurtry as two of my most favorite novelists because they both have such amazing bodies of work. Everyone calls JCO prolific – because she IS! She can do it all (gothic, current social mores, retellings of Marilyn Monroe or JonBenet Ramsey, young adult, short stories, etc.) and with such intelligence and depth. She has revisited certain themes in her work for years; dark and psycho-sexual are her trademarks. As for Larry McMurtry, no one can write a woman like he can. He has created the most marvelous woman characters. McMurtry is known for his westerns (Lonesome Dove), yet I haven’t read them! Because I love his other books so much; I’ve got time. He makes you fall in love with his people and suddenly, shockingly, someone will die. I’ve literally let out screams and then cried. Oh, McMurtry, how could you. I have to mention Donna Tartt as well – The Secret History is the most amazing book. I just reread it for the billionth time. It reminds me so much of Brideshead Revisited; the college students dreamily and beautifully moving through life in a particular time. Now I realize I haven’t even mentioned poets! So many – Mark Doty, Sharon Olds, Raymond Carver. . .and always, always, always Leonard Cohen. Poetry is alive and well. The social justice poetry in America right now is just sizzling. The times are right for it. It’s exciting to read poetry and to write poetry these days.

7.1. Why Leonard Cohen?

Leonard Cohen is the finest. His poems are so relatable and understandable, yet they are not simple in the least bit. He references a LOT. He tells us that we as humans encompass everything. And he says that with sadness and with hilarity. I know I’m speaking of Mr. Cohen in the present tense but he lives on, he’s the Master. I’ve written three poems that he appears in and two of them are especially dear to me; I’m grateful that he shows up. Anyone reading this – go read Leonard Cohen! And listen to him as well. The songs, the voice. . .

8. Why do you write, as opposed to doing anything else?

Writing is the thing I do best, creative-wise. I wish I could paint or play an instrument or sing (I sing with gusto but not well). So I write.

9. What would you say to someone who asked you “How do you become a writer?”

I would advise to Read, Write and Revise. How can you write if you don’t have a love of reading? And when you write, revise! Just a little revision goes a long way.

10. Tell me about the writing projects you have on at the moment.

Poems are always percolating in my mind but the writing projects I have in my life right now are really about other poets. I maintain and curate a poetry box in my front yard where I display the work of living guest poets, dead poets, as well as songs, art, etc. My poetry box is called The Fox Poetry Box. Passer-bys happen upon it during walks; it’s a concrete and organic small literary billboard. And it has an electronic life as well – the box has its own Facebook page. In conjunction with The Fox Poetry Box, I created The Tom Park Poetry Prize which was just announced. It’s named for a most marvelous cat that my husband and I had the privilege of knowing for a year and a half before he recently passed on. Tom Park was, as I wrote in the prize announcement, a profile in Courage, Character and Compassion. Entries are open until April 15th. Long live Tom Park! And poetry!

Wombwell Rainbow Interviews: Tricia Marcella Cimera Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. 1,650 more words

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