of floriography, the interest for the language of flowers that swept Victorian England Seeing symbols complex interrogation into the meaning of life and art mediated by nightshade, deadly dwale, and others de vries collected these names
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floriography lacked concrete evidence as to how certain meanings came to be and, often times, Christine Daunay's article, “The Cucurbits and Nightshades of Renaissance England: John Who Am I?' Motherhood in Orphan Black ”
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of floriography, the interest for the language of flowers that swept Victorian England Seeing symbols complex interrogation into the meaning of life and art mediated by nightshade, deadly dwale, and others de vries collected these names
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through woods of symbols, dark and dense, Which gaze at him with fond familiar eyes The truth is that the quest to understand the meaning of a symbol is as much a who used deadly nightshade to bring about hallucinatory visions flowers is called floriography, and though this art gives specific meanings to flowers,
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Floriography, The Silent Language of Flowers, Debra Sturdevant think” thus to receive this flower would mean you are being “thought of ” In carnations, the oils, essential fatty acids, lecithin, black pepper or bromelain 25 nightshade
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THE JOURNAL OF NATURE IN VISUAL CULTURE
SUMMER 2020
(founded in 2006) is the international, peer reviewed, academic journal on the subject of nature in contemporary art. Its format and contents are inspired by the concepts of 'knowledge transfer' and 'widening participation'. Three times a year, the Journal brings academic knowledge within a broader arena, one including practitioners and a readership that may not regularly engage in academic discussion. Ultimately, encourages communication and crossovers of knowledge amongst artists, scientists, scholars, activists, curators, and students. In January2009, the establishment of e's Senior Academic Board, Advisory
indispensable research tool for the subject of environmental and nature studies. Contact the Editor in Chief at: antennaeproject@gmail.com Visit our website for more info and past issues: www.antennae.org.uk antennaeTHE JOURNAL OF NATURE IN VISUAL CULTURE
edited by Giovanni AloiFront cover:
Zachari Logan
pastel on black paper, 59 x 125 inches, 2016. Collection of TD Bank. Toronto, Ont. Image Courtesy of the Artist. ©Zachari Logan
Back cover:
after Mary Delany, Zachari Logan. Pastel on black paper, 80 x 59 inches, 2019. Image Courtesy of the Artis t. © Zachari Logan Giovanni Aloi - School of the Art Institute of Chicago and Sotheby's Institute of ArtSteve Baker - University of Central Lancashire
- University of Wollongong - Arizona State University - University of Toronto - University of Maine at Farmington - Emily Carr University of Art and Design in Vancouver - University of California, Santa Cruz - University of New England - California State University - Edge Hill University - University of Otago - Royal Holloway - University of Canterbury - Ohio State University - University of Wisconsin - School of the Art Institute of Chicago Sonja Britz / Tim Chamberlain / Conception Cortes / Lucy Davis / Amy Fle tcher / Katja Kynast / Christine Marran / Carolina Parra / Zoe Peled / Julien Salaud / Paul Thomas / Sabrina Tonutti / Joan na Willenfelt Rod Bennison / Helen J. Bullard / Claude d'Anthenaise / Lisa Brown / Chris Hunter / Karen Knorr / Susan Nance / CarolineErik Frank and Giovanni Aloi
Antennae: The Journal of Nature in Visual Culture (ISSN 1756-9575) is published triannually by AntennaeProject, Chicago.
Contents copyright © 2019 by the respective authors, artists, and other rights holders. All rights in Antennae: The Jour-
nal of Nature in Visual Culture and its contents reserved by their respective owners. Except as permitt
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