Underwater Sculpture Art by Jason Decaires Taylor

In November 2009 Jason deCaires Taylor started a monumental project off the coast of Cancún in Mexico. He created and placed hundreds of statues that look like forgotten ancient relics in shallow waters in the Cancún National Marine Park, which had been previously damaged by storms. He has made more than 500 of the life-sized permanent sculptures and they are all made with specialised pH-neutral marine concrete used to promote viral life. The project has been named "The Silent Evolution" and is classed as an underwater museum that is called MUSA. Snorkelers, scuba divers, and tourists in glass-bottom boats can go to visit this strange museum and the installation is intended to eventually cover more than 4,520 square feet, which would make it one of the largest underwater attractions in the world. Jason deCaires Taylor planned for the sculptures to become artificial reefs and some have coral planted on or near them. The statues will become covered with coral over time, due to the natural propagation of corals already present in the vicinity. Each year 750,000 tourists visit the reef at Cancun and this puts stress on the natural reef due to Maurine pollution, warming waters and fishing. By creating these artistic sculptures the marine life will be able to grow and flourish in the shallow waters and the natural reefs can recover.

Harems and the Muslim Slave Trade - Art Montage

In the U.S. we are all keenly aware of our history of black slavery. Also, on average, there is a general understanding of slavery in ancient history, Rome, Greece, etc. However, less is known about the extensive history of Blacks enslaving Blacks, Blacks enslaving Whites, and Muslims enslaving both Blacks and Whites. Between 1500 and 1800 A.D. there were so many white slaves in North Africa it was said you could "swap a Christian for an onion" because the price was so low and the supply was so high. Some European painters romanticized Harem life with a blasé or laissez faire attitude towards slavery with very little suggestion of the sorrows those young women repressed within themselves for fear of a beating, or worse. Yet, there are instances where you can almost detect a gloominess behind the forced smiles in some of the more detailed portraits. Glimpses of this obfuscated helplessness and despair may be due to the artist's talent or more likely one's own imagination. You make the call. A gilded cage is still a cage. Just as a rose, by any other name, is still a rose.