Exquisite detail is captured in this full-illustrated, beautifully designed publication celebrating Harvard University's unique and treasured 'Glass Flowers' collection. One of Harvard University's most famous treasures is the internationally acclaimed Ware Collection of Blaschka Glass Models of Plants, the "Glass Flowers." From orchids to bananas, rhododendrons to lilies, Leopold and Rudolf Blaschka created a stunning array of glass models of plants from around the world. Working exclusively for Harvard in the late 19th and early 20th centuries, the Blaschkas applied their artistic expertise and botanical knowledge to craft an extraordinary collection for Harvard students, researchers, and the public. Exquisite detail is captured in this dazzling new publication, featuring new photography of models that inspire wonder and blur the line between the real and man-made. The collection demonstrates the majesty of plants and the artistry and scientific acumen of this father and son team, and is the only one of its kind in the world.

Delicate jellyfish and anemones, octopus, tentacled squid, and bizarre-looking soft-bodied sea creatures were meticulously recreated in glass by father and son artists Leopold and Rudolf Blaschka in the late nineteenth century. Renowned for their beauty and exacting detail, the Blaschka invertebrate models were commissioned by universities and museums throughout the world as teaching models for students of natural science and marine life. Illustrated here for the first time with breathtaking new photography are 60 of the most exquisite models from the exceptional collection of Harvard University's Museum of Comparative Zoology. Together with Harvard's famous Glass Flowers, a new exhibit of these restored glass animals now comprises the largest Blaschka collection on display in the world. Bursting with intricate details and stunning photography, this elegantly designed book will be a must for all those interested in marine biology, the delicate art of glass craftsmanship, the history of science, and the quiet beauty of the natural world."

In a world obsessed with the virtual, tangible things are once again making history. Tangible Things invites readers to look closely at the things around them, ordinary things like the food on their plate and extraordinary things like the transit of planets across the sky. It argues that almost any material thing, when examined closely, can be a link between present and past. The authors of this book pulled an astonishing array of materials out of storage--from a pencil manufactured by Henry David Thoreau to a bracelet made from iridescent beetles--in a wide range of Harvard University collections to mount an innovative exhibition alongside a new general education course. The exhibition challenged the rigid distinctions between history, anthropology, science, and the arts. It showed that object-centered inquiry inevitably leads to a questioning of categories within and beyond history. Tangible Things is both an introduction to the range and scope of Harvard's remarkable collections and an invitation to reassess collections of all sorts, including those that reside in the bottom drawers or attics of people's houses. It interrogates the nineteenth-century categories that still divide art museums from science museums and historical collections from anthropological displays and that assume history is made only from written documents. Although it builds on a larger discussion among specialists, it makes its arguments through case studies, hoping to simultaneously entertain and inspire. The twenty case studies take us from the Galapagos Islands to India and from a third-century Egyptian papyrus fragment to a board game based on the twentieth-century comic strip "Dagwood and Blondie." A companion website catalogs the more than two hundred objects in the original exhibition and suggests ways in which the principles outlined in the book might change the way people understand the tangible things that surround them.

In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings. Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.

Tracing the impacts of militarism on the American landscape, through the lens of art, environmental studies, and politics Devour the Land considers how contemporary photographers have responded to the US military's impact on the domestic environment since the 1970s, a dynamic period for environmental activism as well as for photography. This catalogue presents a lively range of voices at the intersection of art, environmentalism, militarism, photography, and politics. Alongside interviews with prominent contemporary artists working in the landscape photography tradition, the images speak to photographers' varied motivations, personal experiences, and artistic approaches. The result is a surprising picture of the ways violence and warfare surround us. Although most modern combat has taken place abroad, the US domestic landscape bears the footprint of armed conflict--much of the environmental damage we live with today was caused by our own military and the expansive network of industries supporting its work. Designed to evoke a field book and to nod toward ephemera produced by earlier artists and activists, the catalogue features works by dozens of photographers, including Ansel Adams, Robert Adams, Dorothy Marder, Alex Webb, Terry Evans, and many more.

"The Rarest of the Rare" tells the captivating and unlikely stories behind the rare specimens on display at the Harvard Museum of Natural History and the colorful group of scientists, patrons and eccentrics who built the renowned collection over the past three centuries. 95 full-color photos.