People
Artist Natalie White Has Used Art to Advocate for the Equal Rights Amendment for Years. Now, She’s Using the Law
White says the E.R.A. still has some life in it.
White says the E.R.A. still has some life in it.
Sarah Cascone
ShareShare This Article
On January 15, both houses of the Virginia legislature voted to ratify the Equal Rights Amendment, finally giving the bill, passed by Congress back in 1972, the 38 states needed to make it law.
The ratification resolution is a big step forward for the E.R.A., which promises to guarantee the same rights to all Americans regardless of gender.
But it’s also a personal achievement for artist Natalie White, who has been working in support of the long-stalled amendment since 2015.
“I was in the room when they passed the vote,” White told Artnet News. “The whole gallery of the senate and the house just erupted.”
In an effort to ensure that the amendment’s ratification is recognized, White has helped file a lawsuit against David S. Ferriero, the archivist of the United States, asking the court to compel Ferriero to record Virginia’s ratification in the National Archives, which would the amendment closer to becoming a law.
The E.R.A.—though effectively dead for decades—is still a hope for some on the left. Opponents of the amendment point out that the original ratification deadline set by Congress was March 22, 1979. An extension to June 30, 1982, came and went, with ratification from only 35 states.
White’s lawsuit contends that there is nothing in the text of the amendment about a deadline. “Our argument is a very textual, conservative argument,” she said.
“The extra-textual deadline is unconstitutional as it imposes unlawful constraint on the states to elect a schedule of their choosing on which to consider and ratify—or decline to ratify—a proposed constitutional amendment,” argues the complaint.
Advocating for the E.R.A. is the backbone of White’s practice. In 2016, she staged a 16-day E.R.A. march, walking 250 miles from New York to Washington. When she got there, White painted “ERA NOW” the steps of the Capitol in red letters. (She surrendered to authorities after her illegal act and was banned from the Capitol building for six months.)
White moved to a Virginia swing district last year to support a campaign to unseat Republican incumbents who refused to back the amendment. Before that, she staged art performances at the state capitol as a means of civil disobedience.
“The police had to cuff us and physically drag us out,” she said.
Last year, White refocused on the election and helped create an artist-designed van from which organizers lobbied voters to support the amendment. “We were focusing on ten races hoping to flip two, and we flipped six,” White said.
The artist plans to continue pursuing her goals, even though she’s facing quite some opposition.
Her lawsuit against Ferriera is facing separate legal filings by the attorneys general from Alabama, Louisiana, and South Dakota seeking to bar the archivist from recording Virginia’s ratification. Their suit contends, in part, that Ferriera needs to recognize the states that rescinded ratification.
But White’s main frustration now is that the news cycle is dominated by impeachment proceedings, and that few people are talking about the E.R.A.
“I cant believe every single news station isn’t reporting on this,” she said of the ratification in Virginia. “This is a happy and uplifting win.”
Semple is selling his version of the new color for a whopping $10,000—that is, unless you're an artist.
by
Richard Whiddington
ShareShare This Article
Researchers at the University of California, Berkley, claim to have found a new color. The caveat? You can’t see it. Not unless you have a laboratory fitted with a complex laser system that’s cued into a specially designed software called Oz.
The “unprecedented” color that the five human subjects reported seeing during tests last year was described as a highly saturated blue-green. Call it a very special turquoise. The team of electrical engineers and vision scientists has called the color “olo” in a paper published in Science Advances on April 18.
The Yolo color produced by Stuart Semple. Photo: courtesy Stuart Semple.
The name helps explain the process behind the discovery. Olo is a stand-in for the binary 010, which refers to the three types of photoreceptor cone cells in the retina: short cones, which detect blue wavelengths; medium cones, which detect green wavelengths; and long cones, which detect red wavelengths. Natural light is a mixture of multiple wavelengths and we perceive its variations as different colors. Given the overlap between the cones, no wavelength in the world stimulates medium cones alone. This got researchers thinking: what would happen if they could isolate medium cones? Would people see the greenest of greens?
“Attempting to activate M cones exclusively is shown to elicit a color beyond the natural human gamut,” the researchers wrote in the paper. “Formally measured with color matching by human subjects. They describe the color as blue-green of unprecedented saturation.”
Examples of target percepts with corresponding cone activations and laser microdoses, ranging from colored squares to complex imagery. Teal-striped regions represent the color “olo” of stimulating only M cones. Photo: Fong et al / DOI: 10.1126/sciadv.adu1052.
The process to discover olo involved first creating a detailed map of each participant’s eye and its cones with a special imaging system. Then using Oz, named for the brilliant colors of the Emerald City in L Frank Baum’s fantasy books, a laser scanned an area of the retina about the size of a fingernail held at arm’s length. Upon arriving at a medium cone, it shot a tiny pulse of green light (think laser pointer color), which participants perceived as a new green.
“We’ve created a system that can track, target, and stimulate photoreceptor cells with such high precision that we can now answer very basic, but also very thought-provoking, questions about the nature of human color vision,” James Fong, who developed the Oz software, said in a statement. “It gives us a way to study the human retina at a new scale that has never been possible in practice.”
Beyond discovering new colors and shedding light on how the brain perceives the world, the researchers believe the technology help better understand eye diseases and color blindness.
The making of Yolo. Photo courtesy of Stuart Semple.
Although the Berkeley team stressed that it is impossible to see olo in the real world and that any replication of it would be a meager imitation, one man has done just that.
After reading about the color, Stuart Semple, the British artist and self-described color geek, headed into the lab and got cooking. Semple’s practice often aims to democratize trademarked colors and make them available to artists. In the past, he’s created TIFF Blue in the face of Tiffany, Pinkie — The Barbiest Pink, and a series of blackest of black paints to rival Vantablack to which Anish Kapoor has exclusive rights.
A sculpture in the color of Yolo. Photo courtesy of Stuart Semple.
Now, Semple has released YOLO — the Y, he said, is for you, the artist.
“I’ve managed to take my learnings about refractions, reflections, different wavelengths of pigments, how they stimulate different parts of our eyes,” he said in a video accompanying the pigment’s launch. “And I’ve managed to make a paint that’s as close to this experience as we’re ever gonna get in physical form.”
The price for a 150ml bottle? $10,000—unless you’re an artist, in which case it’s $29.99. “I’m making this stuff the most experience art material ever made,” Semple said. “I want artists to use it.”