Botanical artist Carol Malone-Brown is seated, bent forward, intently concentrating on a painting she is working on of a green apple with leaves.

She carefully puts a small amount of paint on one leaf using the “dry brush” method — mixing tiny drops of water with watercolors and then using a paintbrush to draw short, fine lines. She will sit at her desk, painting this leaf for many days to get the shades of light and dark just right.

While many people might find this tedious, for Malone-Brown, creating botanical art is “very soothing and meditative.” She draws inspiration from her beautiful garden, filled with a variety of plants at her home in Alexandria, Virginia. This allows her to combine her love of plants with botanical art, painting only what she grows.

Botanical art combines art with science because each piece must have botanically accurate details. 

“The garden is like your laboratory,” Malone-Brown explained. “I mean you can run in and out, and maybe you’re in there drawing and painting, and you’re saying to yourself, ‘How does that leaf connect to the stem exactly?’”

Her images, which are mostly watercolors, show the delicate beauty of plant species.

A garden of botanical art

Malone-Brown’s art is being showcased, along with 45 other pieces, at the U.S. Botanic Garden in Washington. It’s part of a series of botanical art exhibits worldwide, featuring native plants in 25 countries, including China, South Africa, Indonesia, Russia and Colombia. The idea is not only to highlight botanical art but the great diversity of plants.

Malone-Brown’s painting of a Virginia strawberry plant is on display at the U.S. show, white flowers and red strawberries that look good enough to eat.

“To be authentic,” she said, “I had to make sure that the plant actually flowered and produced fruit at the same time.”

It took her four hours each day for five months to complete the image. She painted it on vellum, a parchment made from calfskin, which gives the image a lovely luminescence.

The Botanic Garden art exhibit also features other flora, like the saguaro cactus of the U.S. Southwest, the bigleaf maple tree from the West Coast, and a variety of flowers, including violets and sunflowers. A sunny orchid, called a yellow lady slipper, was painted by well-known botanical artist Carol Woodin, who also serves as exhibitions director for the American Society of Botanical Artists.

Distinctive styles

Woodin says every artist has a distinctive style. 

“Some tell a story, others capture a moment in time, or study a plant and focus on each stage of its growth,” she said.

Besides watercolor, oil, colored pencil and etching were used to create the pieces on display.

Botanical artist Alice Tangerini used pen and ink. She is the only botanical illustrator for the Smithsonian Natural History Museum’s botany department in Washington. For more than four decades, Tangerini has been drawing meticulous botanical images that scientists use for research.

She said photos cannot capture details the same way botanical drawings do.

“Every time I’m making a line it’s a little bit exciting,” she said. “You see a leaf or flower that is different from any other, or a small portion of a seed.”

Like other botanical artists, Malone-Brown said there is pleasure in the process of painting the plants.

“They are our best friends,” she joked. “You truly have to love a plant that you paint because you’re going to spend a lot of time with it!”
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Botanical art illustrates the delicate beauty of plant species, frequently in watercolor paintings. A series of botanical art exhibits featuring native plants is being showcased in 25 countries around the world. The idea is to highlight botanical art and the diversity of plants worldwide. In the United States, 46 pieces are on display at the United States Botanic Garden in Washington. VOA’s Deborah Block spoke with some of the artists about their exquisite artwork.
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Football’s cruel mistress — the penalty shootout — arrives at the World Cup on Saturday after a packed fortnight of group games, ready to dispense her characteristic doses of unbridled joy and heartbreak in the knockout stages.

There has been a penalty shootout at every World Cup since 1982 in Spain, and while it is still a matter of contention whether this is the best way to decide a winner, the post-match shootout is now common at all levels of the game.

But the consequences of failure are nowhere more devastating than at a World Cup, where two previous finals and five semi-finals have been decided by the gut-wrenching lottery of penalties.

Inevitably it is the misses that are best remembered, none more so than Italy’s Roberto Baggio blasting over the bar to hand Brazil the World Cup in 1994 or Chris Waddle with a similarly wild and wayward effort for England in the semi-final four years later.

In all, 26 World Cup clashes have needed penalties to produce a winner, although only twice have they gone past the first stage of five kicks each.

Of the 16 teams in the second round in Russia starting Saturday, all but four have had past experience of a World Cup shootout.

Argentina should be the most confident, having been involved in more World Cup shootouts than any other country and winning four out of five.

Brazil have won three of four, including the 1994 final in Los Angeles, and France two of four, losing to Italy in the deciding game in Berlin in 2006.

But for the likes of England, Mexico and Switzerland the prospect of progress in Russia hinging on spot kicks will verge on the terrifying.

England have lost all three of their shootouts, and Mexico two out of two. The Swiss, bucking the national stereotype of calm efficiency, failed to convert any of their kicks in their one previous shootout, going out to Ukraine in the last 16 in Cologne in 2006.

For Colombia, Croatia, Denmark and Russia it will be a new World Cup experience if they are forced into the post-match tie breaker, although the Danes succeeded in the semi-finals on their way to their shock European Championship success in 1992.

Conversion rate

In the entire World Cup finals history, there have been a total of 240 post-match penalties taken, with 170 of them scored.

That is a decent conversion rate given the gut-thumping tension that always goes with the shootouts. The stress of nail-biting fans in the stands has nothing on the pressure felt by the players involved, many of whom often cannot bare to look while their colleagues step up to take their shots.

Penalty shootouts were first introduced at the 1978 World Cup but were not needed until four years later. Before that, an even more unsatisfactory toss of the coin was used to break the deadlock.

One consolation for the teams now faced with the prospect of penalties in Russia is that they will not have to face Germany.

Their 100 percent record in World Cup shootouts remains intact due to their unexpectedly early departure.
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“To grow up as a child in Congo, according to God’s will, is to grow up in paradise,” Col. Mamadou Ndala says in the opening scenes of “This Is Congo,” a film making its theatrical release Friday in the United States.

Strolling outside the eastern city of Goma where he is stationed, Ndala adds: “Perhaps because of the will of man, growing up in Congo is to grow up in misery because of these endless, unjust wars imposed on the people.”

Congo has been in the headlines as it faces its latest outbreak of the deadly Ebola virus, and as a long-delayed presidential election is set for December. Dozens of armed groups continue to wreak deadly havoc on the vast, mineral-rich nation.

“This Is Congo,” directed and filmed by former photojournalist Daniel McCabe, gives an insider’s view on the diverse lives behind the headlines. It follows four people — a military commander, a mineral dealer, a tailor and a high-ranking, anonymous military intelligence officer — to show the humanity in the middle of crisis.

Traveling around the Kivu regions in the east, McCabe sought to explore the root causes of conflict in Congo. He ended up on the front lines of fighting between the army and M23 rebels as they marched into Goma in 2012 and were pushed out the following year. He gained unprecedented access through Ndala, the film’s main subject.

Though filming mostly took place in 2012 and 2013 the scenes of fighting appear timeless, reflecting Congo’s continuous upheaval as some soldiers are recruited by ever-changing rebel groups and later reintegrated back into the army, which is poorly organized and badly paid.

“This is a revolving cycle of conflict,” McCabe told The Associated Press. “The film to me is about the banality of war and the corruption of man. Our hope is that the audience can identify with the characters.”

Another of the four main characters is Mama Romance, who turned to selling gemstones to support her family, eventually sending her children to good schools and breaking the cycle of poverty. The dangerous work, as she crosses borders to sell, shows how entrepreneurial Congolese make money from the rich mineral resources around them. Often the proceeds from exports never trickle down.

“This Congo” also follows Hakiza Nyantaba, a tailor who has been displaced for years by conflict, as he ekes out a life at the kind of camp that is home to many Congolese. As of January 4.5 million people had been displaced, according to the United Nations refugee agency.

“It seems God has forgotten us,” Nyantaba says.

McCabe honors his resilience.

“There are displacement camps where people have been living for 20 years. It’s unfathomable,” the filmmaker said.

Alleged corruption by officials and mining companies in part drives the fighting in Congo, which has trillions of dollars of mineral deposits ranging from diamonds and zinc to copper and tin.

“This is Congo” makes clear that civilians are the victims.

McCabe, who clearly adores the complexities of Congo, said he wants the film’s viewers to “dig up more information on their own . read more books, have more interest in the area.” He urged people to “broaden their gaze.”

The film premiered in September at the Venice Film Festival but will release on Friday in theaters in New York City, Los Angeles and other U.S. cities. It also is being released on the BBC in the UK on iTunes in more than 70 countries.

“This is Congo” also will screen in Goma on July 15 on the closing night of the Congo International Film Festival.
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Gowns and ensembles worn by Carol Burnett, Cher and Raquel Welch are going up on the auction block.

The clothing was created by 78-year-old fashion and costume designer Bob Mackie, who has been honored for his work in motion pictures, television and the fashion industry.

Julien’s Auctions says the highlights include two gowns that were worn by Burnett and a pair of Punch and Judy costumes that she and Joel Grey wore on her CBS program.

There’s a hand-painted silk ensemble that Cher wore to the 1974 Academy Awards, along with a gown that Raquel Welch wore.

The exhibition will be displayed aboard the ocean liner Queen Mary 2 on an Aug. 19 trans-Atlantic crossing before the auction takes place in Los Angeles at Julien’s on Nov. 17.

 
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