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Haute Secrets: Destined for Art, Leighton Autrey
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Contemporary Artist: Leighton Autrey
Contemporary Artist: Leighton Autrey
Life has a way of not turning out as planned and for Dallas artist, Leighton Autrey it may have been one of the biggest turning points of his life. As a high school stand out and college star in baseball, Leighton’s future seemed to be sealed as a MLB prospect drafted by the Seattle Mariners. But on his way to fulfilling his dream of becoming a professional athlete, a family crisis redirected his path and a new dream and unexpected love of art was born.
Since embarking on his new journey, Leighton’s art has been shown all over the world, including exhibits featuring his work in Melbourne, Australia alongside some of the continent’s top artists. His piece entitled “Wavering, James 1:2-8,” landed him a spot as one of four artists whose works would be displayed in London during the weeks leading up to the Summer 2012 Olympics. Nationally, he has had the opportunity to show his artwork at Art Basel, one of the biggest and most prestigious art fairs in the United States and locally in Dallas at the iconic Super Bowl XLV in 2011.
Mostly known for his contemporary interpretation of “Biblical Art,” Leighton’s use of bold colors and powerful messages have made him one of Dallas’ most sought after emerging artists. Selling hundreds of his works and having the opportunity to create artwork for well known celebrities, professional athletes and entertainers, he is evidence that dreams do come true; even the unexpected ones!
When watching Leighton work in his studio in Deep Ellum, it’s easy to comprehend that painting was something he was born to do. His immense love and humility for sharing his gift with the world is evident, and one of the many things Haute Living got the opportunity to speak with him about.
Where were you born?
I was born in Stephenville, Texas.
How long have lived in Dallas?
I have lived in the Dallas area since 2009.
I currently live in Waxahachie, Texas, thirty minutes South from downtown Dallas, with my wife of 6 yrs.,Mallary and our 3 year old boy, Carter.
I am a full-time artist and entrepreneur since 2012. I feel like artists today need to be more than just artists; they need to use their creative talents in many different areas of business.
Where is your studio?
My studio is currently located in Deep Ellum off of Main St.
How would you classify your artistic style?
I would classify my artistic style as expressive urban art. I have always been fond of urban decay, graffiti style because I grew up in a place where none of that was around. Once I personally experienced it and saw the colors, the grunge and the imagery that urban street art has to offer, I wanted to mix my ideas of drawings and paintings into that style of visual interpretation.
What is your preferred medium?
My preferred medium is aerosol spray paint and oils. I really never liked painting growing up, but I always liked to draw and sketch. I found out that the use of spray paint gave me the ability to paint quick and loose.
What was your largest commission?
My largest commission was actually two at the same time oddly enough. First, was two large paintings for MLB pitcher for the LA Angels Huston Street’s house off Lake Austin. Also, a few years ago when I was hired by WWE Wrestling Superstar, Sting to do two large painting for his home in North Texas. I really enjoy working with professional athletes and entertainers who appreciate the hard work and dedication it takes to master a craft.
Who is has been a professional mentor for you?
My professional mentor is someone who doesn’t have an artistic background. His name is John Houston of John Houston Custom Homes. He is an amazing man who has built his custom home business from scratch to one of the most successful custom home builders in Texas. His business thrived in the 2008 economy downfall because of his calling and purpose. He taught me many things, mostly about leading a purposeful life and how what I do is a reflection of who I am and how I can help and inspire others. I feel that whenever we create something, a piece of art, a custom home, a song, a business from scratch, we are directly reflecting the Ultimate Creator.
What collaborations have you worked on?
I have worked on collaborations with the 42 Murals Project in Deep Ellum, I am Second, Red Bull, Deep Eddy Vodka, Sylvan Thirty Apartments in Dallas, Capital One, The ALS Association, The University of Texas Athletics, Jordan Wines, Top Golf, The City of Dallas Public Art Program, The City of Ft. Worth Public Art Program, Nationstar Mortgage Artist In Residence Program, Purus Labs, First Tee Austin, Art Conspiracy and more!
How is Dallas’ art scene evolving?
Dallas’ art scene is on the rise. I am glad to see that companies, galleries and businesses are investing more into artists these days.
Do you do private commissions?
I love doing private commissions, they are a challenge, but the greatest joy is when the client sees the piece for the first time and they are blown away by what they see. That’s worth more to me than the money or prestige of the project; to outdo the buyer’s expectations of what they want is priceless.
Favorite Restaurant:
Sushi Zushi
Best Lunch Spot:
Cane Rosso in Deep Ellum
If you have out of town guests, which hotel would you recommend?
I would recommend The Joule Hotel. It’s in the middle of everything downtown and it has a cool pool that goes over the ledge.
Favorite Cultural Institution:
The Dallas Museum of Art. It’s always refreshing for me to go to.
Best Steakhouse:
Three Forks
Best Pizza:
Cane Rosso’s “The Honey Bastard” pizza
Best Gym/Athletic Facility:
Gold’s Gym, all of them
Best Museum/Exhibit:
The Perot Museum. My son loves the dinosaur exhibit.
Describe your city in three words:
All-around favorite spot in Dallas:
Deep Ellum. I love that area, the art, culture and food.
Best Aspect of Dallas:
It’s a big city that isn’t too big.
connect with haute living National
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Wednesday 20 May 2009
Interview by smoky man. Conducted in November 2008.
Originally printed in Italy on Scuola di Fumetto magazine (N. 65, February/March 2009, Coniglio Editore).
Presented here in English for the first time.
Above: Cover for Tom Strong Vol. Two.
Tom Strong published by DC Comics.
Chris Sprouse blog: sprousenet.blogspot.com
Right now you are in the comics biz from more than 20 years. How did it all started? Did you attend any artistic school or are you an autodidact?
Actually, this year is my 19th year in comics. I drew comics for myself all through childhood. I studied fine art and graphic design in a standard university, not art school, but all of my comic book abilities are self-taught.
Most of all, why making a living by drawing comics? Was it your dream as a child?
It was my dream as far back as I can remember. I wanted to do something creative for a living and I was able to draw and liked comic books, so it seemed like an obvious choice to me.
Which artists did influence you the most? Not only from comics but in Art in general… And why?
Herge was my first influence. We lived in India when I was a child and my parents bought us European albums to entertain us. Tintin was my favorite and is still my favorite comic today. I think I developed a "clean" style because I've read and re-read the Tintin albums my entire life. Later, my big American comic influences were Michael Golden, Frank Miller and Walt Simonson. Golden is a master of design and knows how to pick the perfect image or pose for every panel or cover he draws. Miller is the best visual storyteller in comics, and Simonson brings a sense of excitement and fun to his drawing that I can only marvel at and hope to understand one day.
Was it difficult for you to break in the biz? I think it could be said that your professional career in comics started at DC with Legionnaires in the ’80. What can you recall of that experience?
It was very easy to break in: I simply mailed sample pages to DC Comics and they called me two weeks later! I was very lucky! Legionnaires was my first big series and I loved drawing the book. It was also very exciting to be a part of that group of creators--Jason Pearson, Keith Giffen, Tom & Mary Bierbaum, Stuart Immonen--we all tried to do our best because we didn't want to disappoint anyone else. I would draw a Legion comic again in a second if they asked me!
Then you moved to the various Rob Liefeld’s Image studio incarnations in the 90ies. I remember you doing a couple of issues of New Men for him, a nice book. Then you were attached as the new regular artist of his flag-ship title, the Supreme’s run by Alan Moore. How did you get this assignment?
I drew three issues of New Men, then the series was cancelled. Coincidentally, the editor of Supreme was the writer of New Men, and he asked me to draw Supreme for one issue as a fill-in artist. That was issue #50, and they liked it enough that they hired me to be the regular artist.
Were you more excited or a bit “frightened” to work with Moore considering his writing status?
Both excited to be working with someone as good as Alan and frightened because I wanted my art to be as good as his stories and I didn't know if I was up to the task.
Drawing Supreme, had you any direct contact with him or did you work only on his scripts? I think at that time he had already finished his scripts for Awesome and had no contact with the company... What’s about the “quality” of his scripts? Were they as detailed as the legend says?
No, I had no contact with Alan while working on Supreme. The scripts were indeed detailed and very long, but they were so much fun to read! I've kept them all!
After Supreme you followed Moore on his ABC line co-creating Tom Strong. What’s about your contribution to this modern classic hero? Was is only limited to the visual aspect of the characters, the city (even if Millennium City IS a character in itself), mecha design and so on.. or did you also contributed to the story in any way?
At first, I supplied purely visual input, but supposedly Alan created all the ABC books with the specific creators in mind, or at least tailored the stories to fit each of our strengths and interests. Later, around issue #10, Alan and I did discuss stories very briefly and decided together to focus on the Strong family as a sort of homage to the family feel of the old Lee/Kirby Fantastic Four, which we both loved. Otherwise, I was very content to let Alan write whatever he wanted to because it would always be interesting and fun to draw.
After Supreme and Tom Strong, how do you weight your collaboration with Moore? Do you consider it as the highest point of your career till now? Any "strange magical" anecdotes to share with us related to yr long professional relationship with him?
It was definitely my favorite time in comics. I don't know if I was always able to do the best I could have every single issue, but I'm very proud of the work I did on Tom Strong. No real magical anecdotes in the literal sense, but it was very magical to work with Alan. I'm honored to have had the chance.
There are rumors that a new Tom Strong series (without Moore on the writing) is upcoming. With you as penciler. Can you reveal us anything?
Peter Hogan and I are doing a new mini-series called Tom Strong and the Robots of Doom which should be published next year. It begins with Tesla and Val planning their wedding, but events soon go horribly wrong when Tom's illegitimate son Albrecht alters the time stream. That's all I'll say for now!
Let’s talk about your style and drawing approach. You use a really clean line, more light than shadow, I like to define it as “realistic cartoony”. What can you say about it? How did you develop it? It seems an easy style, at first look, but I know it takes tons of thoughts and time to draw a page. Like for Mignola’s style, which is at the opposite style of your spectrum considering all the blacks he puts on.
As I said earlier, I think my "clean line" style started because of my interest in Herge's work. Since reading Tintin as a child, I've always liked clean linework, and when I began to draw, what I had learned from reading Tintin and other similar comics came out in my drawing style. It's all intuitive though--I just know when a page or drawing feels "right" or "finished" to me and when to stop rendering so that I like the finished result. Too many lines looks too busy and too fussy to me.
What’s the process behind your page? What kind of tools do you use? Any digital support?
I start by drawing quick thumbnails with a soft blue or black pencil on standard copy paper while reading the script. Then I either draw large full-size layouts on 11"X17" cheap paper or I draw the layouts directly on the final Bristol Board paper. The finished product from this step is all the "under-drawing" and construction work--I've worked out all the poses and anatomy and perspective. Next I put the layout on my lightbox on my drawing table and make a very clean-line tracing (with black H or HB lead) of just the necessary elements. Finally I do any shading and fill in black areas before giving the pages over to Karl story for inking.
What’s about your studio? Do you work at home? Any digital support?
I do work at home, in a studio full of reference books and models and props that I use for maintaining accuracy when drawing. I use a computer to shrink or enlarge sketches when needed, and for altering artwork for specific effects.
I think it’s correct to say you are basically a penciler and your clean pages are created (I suppose) keeping in mind that they have to be inked. You worked with inkers like Al Gordon and Karl Story, who are regular collaborators. What’s about your teamwork with the inker? I mean it is a kind of a matter of trust… Do you prefer they stay faithful to your lines or… for example I remember a great team-up with “embellisher” Kevin Nowlan (who’s also a penciler on his own)…
I really do prefer that the inker is faithful to the pencil artwork. It's heartbreaking to create a page you love only to see it changed by someone else. I work very hard on getting just the right expressions on faces or making sure technical details are correct, and these two things can be destroyed very carelessly by bad inkers. Luckily, for many years I've been able to work with good inkers I do trust. I prefer Karl Story over anyone else and we've worked together so long that I think we both know what the other expects or what the other will do. Being inked by Kevin Nowlan was amazing! He was very faithful, yet occasionally his own spirit would show through on certain details.
Why don’t you ink yourself? Is it just a matter of deadline? In Europe, comics artists draw and ink their own stuff which is quite unusual in the USA market, especially in the “superhero” field…
It's very much a matter of deadline. And since I haven't inked very much of my own work, I haven't been able to practice my inking skills and am not very good at it! The US publishers just don't seem to want to give creators the time to create longer stories in an album format--it's all about the monthly treadmill over here!
Do you prefer a fully detailed script or something more like Marvel-style script?
I think I prefer a detailed script. At the very least I prefer to know the dialogue when drawing expressions and poses. I recently had the chance to work "Marvel-style" with Walt Simonson on a Spirit story and it was a challenge!
Any desire to write your own comics?
Not at all! I love to draw and am happy doing just that.
Your sci-fi Ocean miniseries written by Warren Ellis has been optioned for a movie adaptation. Any news about it? Are you involved in it in any way?
I'm not involved in any way. I'm very excited about it--I love science fiction movies and to have created something which will one day be a science fiction movie is amazing to me. I just learned that the script is finished and it should go to the studio for casting and budgeting soon.
What’s your opinion about the strong relationship between the comics industry and Hollywood? There is for example a big hype around a couple of comics movies such as Spirit, Sin City 2 and of course Watchmen… Is it good for comics in itself or not?
I'm not sure if it is good. I suppose that good Hollywood movies based on comics has helped to make comics more legitimate in the eyes of the general American public. When I was in school, you could be ridiculed and even beaten up for liking comics, but now it's very accepted among all age groups and I think it may be partially because of the movies. No one has been able to say conclusively if the movies have helped generate more comic sales, but I don't think they have. I don't know. I can only speak for myself: I didn't get into the comics business to make movies--I just want to draw good comics and if someone wants to make a movie out of one of my comics, that's great, but it's not my ultimate goal.
What do you think about the graphic novel phenomenon?
I'm happy that there are more US graphic novels now! I would love to see even more.
Your last work is the Number of the Beast miniseries set in the Wildstorm Universe. What can reveal about this story?
Number of the Beast is about a group of superheroes form the 1940's and 1950's who have been kept in suspended animation. Now they are waking up and will quite possibly cause the end of civilization! That's the basic premise. I was attracted to the series because of the 1940's-50's characters. I designed nearly 30 characters for the series and I loved every minute of it. It was very hard work ultimately, but I enjoyed the series.
You are also working on some Superman covers even if you said in the past “I don’t think I can’t draw him well”…
I just finished my second cover an hour ago! Originally, I was supposed to draw a two-part Superman story, but plans fell through and DC decided to abandon it. I don't know what happened, but I was ready and willing. I'd resisted doing Superman for years because I never liked how I drew him at conventions, but I did a cover for one of Brad Meltzer's JLA comics featuring Superman and it looked okay, so I thought I could do it. I drew another cover this year in preparation for my two issues and I loved it, so I thought it would all go perfectly. Oh, well...maybe someday. For now, I'll be drawing a total of four Superman-related covers: two for Superman, one for Supergirl, and one for Action Comics.
Which comics do you currently read? Because you READ comics, don’t you? (It seems that many comics artists don’t do that…)
I regularly read Ex Machina, Hellboy, anything by Warren Ellis, Stuart Immonen's Ultimate Spider-Man, and Mark Millar & Bryan Hitch's Fantastic Four.
Vincent said...
A great artist, a comic book and super heroes craftman inspired by HERGE...I love it !
Thanks for bringing us this translation.
smoky man said...
Thank you Vincent for the visit. And the interview was the original one, not a translation. :)
Anonymous said...
I would like to exchange links with your site sardinianconnection.blogspot.com
Is this possible?
smoky man said...
First, thanks for your comment. At the moment we preferred to not include any links. But maybe this could change... So, please let us know who you are... :)
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View Full Version : Outdated film
19-Dec-2010, 13:43
Just how old is old when it comes to Kodak Tmax film? I have some tmax from 2010 and was wondering if it would still be OK to use. I realize it 's not as good as fresh film but how much am I really losing.
Ben Syverson
19-Dec-2010, 13:49
It's still 2010...
Roger Thoms
19-Dec-2010, 13:51
The film should be fine, why not expose some and find out for yourself.
Andrew O'Neill
19-Dec-2010, 13:53
I have a box of old TMY and TMX that I purchased in '98 when I lived in Japan. Expired in 2000. Both are fine. I keep them frozen when I'm not using them. Film that expires in 2010 is fresh as far as I'm concerned.
John Kasaian
25-Dec-2010, 00:18
In my experience B&W film lasts quite a long time past it's expiration date. I've shot 6 year old Ilford and it's been fine. I've got rolls of aerial film from the 80's that I suspect are still OK. I keep my film in a freezer when possible, but I've got a few holders loaded with TMY thats been at room temperature for close to a year and which I'm just now using and its just fine as frog's hair:)
25-Dec-2010, 09:32
Remember that the use by dates were shortened when all the manufacturers became ISO 9002 accredited. Prior to that the dates were typically 5 years for B&W films, now it's less than 3.
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Object Timeline
• Work on this object began.
• We acquired this object.
• You found it!
Poster, California Institute of the Arts, 1978
This is a Poster. It is dated 1978 and we acquired it in 1981. Its medium is lithograph on paper. It is a part of the Drawings, Prints, and Graphic Design department.
Designer April Greiman was a leader in the 1970s California New Wave design movement. This 1978 poster combines her graphic sensibilities with the photography of Jayme Odgers, also an influential postmodern artist and designer of this era. Perhaps surprisingly, Greiman studied rational Swiss design as a fine arts student, traveling to Switzerland to train with masters of that visually spare style. Soon after moving to bustling LA in 1976, she upended the "less is more" convention in favor of a hybrid, layered, multimedia, and decidedly individualized style. She did not completely disregard her training, however; her work maintains order through color, dominant elements, and texture. She describes it as "the Swiss school on acid." Deemed radical at the time, the collages made with Odgers, featuring overlapping images and a play with additional dimensions on the two-dimensional field, anticipated her later work as an early adopter of digital technologies. In 1984, after purchasing a Macintosh computer, Greiman became one of the first designers to experiment with the device, and continued in the following decades to push the boundaries of design, discarding dogma and welcoming possibilities.
It is credited Gift of Various Donors.
Its dimensions are
H x W: 29 x 118 cm (11 7/16 x 46 7/16 in.)
Cite this object as
Poster, California Institute of the Arts, 1978; USA; lithograph on paper; H x W: 29 x 118 cm (11 7/16 x 46 7/16 in.); Gift of Various Donors; 1981-2589/ |title=Poster, California Institute of the Arts, 1978 |author=Cooper Hewitt, Smithsonian Design Museum |accessdate=26 June 2019 |publisher=Smithsonian Institution}}</ref>
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Motherhood Reimagined by Susan Bright
Ana Casas Broda
Ana Casas Broda
Ana Casas Broda, Kinderwunsch (Ana Playroom V), from the Playroom series. 2010.
As with all large projects, the inspiration for Home Truths: Photography and Motherhood came from myriad places, some of which can be hard to trace. But most obviously it was the plethora of “celebrity mom” magazine covers that were appearing at a time of my own pregnancy and a move to the United States from London. The cultural differences toward parenting led me to look more closely at representations of motherhood and examine what was going on across both fine art and the media. This curiosity and exploration has led to an exhibition and book featuring artists and photographers who investigate the concept of the mother figure, responding or reacting to the legacy of the Madonna; the idealized mother; and established myths and stereotypes of motherhood so readily trotted out in the media.
This investigation also coincided with important shifts in and discussions about photography, including one of the most pertinent debates about the medium: namely, that concerning the loss of the photographic object, set against the abundance of digital images.
My chosen method of research and investigation is curating, which to my mind is much more than simply finding a subject and slotting pictures in to fit the theme. In fact, the word “curating” is today employed so indiscriminately that it is losing critical agency (as evidenced by people using the word to organize their Pinterest recipes). For an exhibition and book to be rigorously curated it has to be a reflection on societal values; show a recognition of art history or culture; come from a personal perspective; reflect upon the media it presents; engage in the sites in which is it staged; and operate in a multi-platform way in order to extend beyond the gallery walls and reach as wide an audience as possible.
The dichotomy I chose to address – that of photographic abundance and loss – operates as a subtext or nuance in both the exhibition and bookBut how does Home Truths engage with current debates around the photographic object and the networked image? With the onset of photosharing sites such as Instagram, Facebook and Fickr there emerged an urge to overshare. What is being lost in this abundance of imagery is the object itself – the actual photograph and, of more relevance here, the family album.
In my own personal experience, I took hundreds (probably thousands) of pictures of my newborn, but I did not print out a single one. I have nothing to pass on. I looked at our family albums when I was growing up — endlessly — forming a narrative of my childhood and the identity of my parents through these selective images. The customary answer to the clichéd question of what people would grab first if their house burned down (“My family album!”) often rings hollow now.
Approaches to loss play a crucial part in this project, as seen in the work of Tierney Gearon as she attempts to connect with her mother, somewhat lost to her through struggles with mental illness, or Miyako Ishuichi’s photographs of her mother’s objects made after her death. Fred Huning shares a weathered photograph of his deceased child – given to him by the hospital to place on his child’s grave — that eloquently illustrates the power of the photographic object over the image it represents.
Courtesy of Art/Books—Photographers' Gallery, London
Courtesy of Art/Books—Photographers’ Gallery, London
The cover of Home Truths, edited by Susan Bright.
The display also engages in the “objectness” of photography, from photobooks and digitized studio photographs made into short films to enormous objects by Janine Antoni. Video work by Katie Murray and Ann Fessler consider the role of the photograph in the moving image, while Leigh Ledare collaborated with his mother to create a complex body of work, Pretend You’re Actually Alive (2008), comprised of constellations of photographs, ephemera, texts, and videos .
Miyako Ishuichi’s small, delicate pieces are carefully mounted in varying thicknesses of Plexiglas – the thickness of which conceptually represents the relationship of the object to her mother’s body – all of which sit alongside classical hangings, reinforcing photography as a material form over a digital image.
Paralleling these engagements with loss is the photographic desire to photograph everything. Ana Casas Broda rigorously documents conception, birth and her own volatile and complex identity shifts in her series, Kinderwunsch; Elinor Carucci describes her desire to photograph beyond traditional Madonna motifs; repeated failed pregnancy tests in the Annunciation series by Elina Brotherus are displayed on a shelf, to ironically echo the mantle pieces where pictures of children are traditionally propped. These are not aspects of motherhood that are typically photographed or displayed to the world.
For her part, Hanna Putz skillfully sidesteps the identity of the mother entirely, creating intimacy through bold use of composition and color in her portraits of young mothers at the beginning of their journey into parenting, where the baby acts as a kind of awkward prosthetic.
In the UK, Home Truths takes place in two venues: The Photographers Gallery will show Home Truths – Photography, Motherhood and Identity (this part of the exhibition will travel to MoCP) and the Foundling Museum will show Home Truths – Photography, Motherhood and Loss.
Photography is at a pivotal moment in its history. My hope is that Home TruthsMotherhood and Photography contributes in some way to the fascinating debates currently surrounding representations of the maternal and, in turn, issues of the medium’s identity.
Susan Bright is a New York-based writer and curator. Her upcoming book, Home Truths: Photography and Motherhood, is available through Art/Books from November 30, 2013. Bright previously wrote for LightBox about her favorite photographers turned music-video directors.
Home Truths: Photography, Motherhood and Identity will be shown at the Photographers Gallery, London (October 11th 2013 – January 5th 2014) and at MoCP, Chicago (April 25 – July 13 2014).
Home Truths: Photography, Motherhood and Loss will be shown at The Foundling Museum, London (October 11th 2013 – January 5th 2014).
Related Topics:
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Click main image below to view enlargements and captions.
Portrait, Mother Louse, Beer Drinking, Antique Print, London 1793 (Sold)
David Loggan (c. 1635-1692) (after)
Mother Louse, of Louse Hall, near Oxford
C. Johnson, London: 1793
Black-and-white engraving
10 x 8 inches
This item is sold. It has been placed here in our online archives as a service for researchers and collectors.
A portrait of the English alewife Mother Louse of Louse Hall, holding an ale tankard and a pitcher. It is accompanied by a humorous poem and coat of arms featuring three lice and a tankard, with the motto “Three Lice Passant.” Louse Hall (as it was known from about 1547) was an asylum for the poor, though originally it was Gosford Hospital in Oxfordshire, established in the 12th century. Louse Hall subsequently became an alehouse kept by Mother Louse as its alewife. According to legend, Mother Louse was the last English woman to wear a ruff, and the verse printed below her portrait refers to that.
Product description continues below.
This engraving was made in 1793 after the original 17th-century version by David Loggan, and published in volume 1 of Wonderful Magazine. The National Portrait Gallery has one of these engravings in its collection, with “Wonderful Magazine” printed in the top margin (see References below). In the example offered here, that portion of the margin been trimmed off.
The verse reads:
You laugh now Goodman two shoes, but at what?
My Grove, my Mansion House, or my dun Hat;
Is it for that my loving Chin & Snout
Are met, because my Teeth are fallen out;
Is it at me, or at my RUFF you titter;
Your Grandmother you Rouge nerewore a fitter;
Is it at Forebead’s Wrinkle, or Cheek’s Furrow,
Or at my Mouth, so like a Coney-Borrough,
Or at those Orient Eyes that nere shed tear,
But when the Excisemen come, that’s twice a year.
Kiss Me & tell me true, & when they fail,
Thou shalt have larger Potts & stronger Ale.
David Loggan was a British engraver, draftsman and painter. Descended from an Anglo-Scottish family, he was born in Danzig (now Gdansk), where he first studied under Willem Hondius. He then studied with Crispijn van de Passe in Amsterdam, before arriving in London in the mid 1650s. Loggan produced mainly engravings, as well as miniature portrait drawings in graphite on parchment. In 1662, he engraved the title page for the folio Book of Common Prayer. By 1669, he was living in Oxford and was appointed “public sculptor” to the university. He then proceeded to draw and engrave all the Oxford colleges in bird’s-eye views for his famous folio Oxonia Illustrata, published in 1675, the year that he was made a British citizen. In 1690, he published Cantabrigia Illustrata, a collection documenting Cambridge University, and was given the position of engraver to the university. Loggan was a prolific portraitist, and has numerous engravings in the collection of the National Portrait Gallery in London.
C. Johnson was a printseller and publisher in London from 1793 to 1794, during which time period it published Wonderful Magazine. After that, the firm was succeeded by that of bookseller Alexander Hogg, who continued publishing the magazine under his own name.
“David Loggan.” The Grove Dictionary of Art. Online at Answers.com. http://www.answers.com/topic/david-loggan-1 (22 January 2013).
Markham, Margaret. “Medieval Hospitals.” The Vale and Downland Museum. http://www.wantage.com/museum/Local_History/Medieval_Hospitals/body_medieval_hospitals.html (23 January 2003).
Matterer, James L. “Feasts Within the Society for Creative Anachronism.” 1993. http://www.godecookery.com/scafeast/ians2.htm#louse (23 January 2003).
Maxted, Ian. “The London book trades 1775-1800: a checklist of members.” Exeter Working Papers in Book History. 11 January 2007 http://bookhistory.blogspot.com/2007/01/london-1775-1800-h.html (Hogg) and 5 November 2008. http://bookhistory.blogspot.com/2007/01/london-1775-1800-i-k.html (Johnson). (21 January 2013).
“Mother Louse.” National Portrait Gallery, UK. 2012. http://www.npg.org.uk/collections/search/portraitLarge/mw140400/Mother-Louse (21 January 2013).
Additional information
18th Century
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1.Concept and method of anti glare
Anti glare (AG) is the effect of anti reflection light on vision of our eyes. Anti-glare glass, also called non reflective glass or anti reflective glass, has a lower reflection ratio than ordinary glass, and the reflectivity of light is reduced from 8% to 1%. We look at the mobile phone screen have such experience, it is not easy to see the mobile phone screen in the sun, and there is no problem in the shade or indoor, this is because in the sun, mobile phone screen glass reflection of the sun light is too strong, the incident to our eye, seriously interferes with our vision caused by, and in under the shade of a tree, the light is weak, the reflected light is greatly reduced, we can see the screen. The anti dazzle glass also has the visual angle and brightness of the display screen, makes the image clearer, the color more gorgeous, the color is more saturated, so as to improve the display effect of the picture obviously (Figure 1).
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Figure 1 Comparison of visual effect of anti glare glass
How to prevent glare? There are two ways:
(1) enhancement: that is, by vacuum coating and other surface treatment, as much as possible through the glass or glass absorption, in order to substantially reduce the reflected light into the eye to our line of sight interference (Fig. 2).
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2 the intensity of the reflected light on the glass will affect our vision
(2): diffuse special processing on the glass surface, the surface is uneven, the specular reflection original surface to a diffuse, let the reflected light on the surface of glass divergence, rather than concentrated reflection to our eyes, it can help us see the screen (Figure 3). The traditional processing method is to soak glass in hydrofluoric acid, etching it, and change the mirror into rough surface, but this method is very polluting to the environment, and the product yield is difficult to improve. There is another spray method, spraying special water on the surface of glass, after heat curing, it can form diffuse reflection surface. The method is environmentally friendly and has high yield.
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"We love the photos – I’m mesmerized by them. They look great on the wall, I'm so pleased with them.There was another family photographer we saw later, but he was in a much poorer location, it was so busy there. I was so thankful we were with you!"
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See more of my family photography in the Cotswolds
The most incredible experience with the outcome being the most perfect family photos. The whole experience from booking the photos, to arranging suitable location and clothing, to finally viewing the pictures was faultless. It was a lovely experience & the children both had a great time. We couldn’t be happier with the pictures we received, they are incredible, brilliant. Thank you so much.
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A wonderful experience from start to finish. You made us all feel at ease and you were great with the kids. The photos were all so lovely. There’s only one photo out of 60 we didn’t like – and we usually don’t like any (we still haven’t chosen our wedding photos)… 100% recommend and we will be using you again.
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Arman Hambardzumyan
Painter, Schulptor
Մեր մասին
The source of my inspiration comes from the history of ancient era. I often read about the excavations of Heinrich Schliemann, Arthur John Evans and others who have found the most durable materials - bronze, ceramics and glass. Penetrating into the thoughts, perceptions and feelings, I try to connect those three together. Each material has its own language. When you understand the language and make the material into idea, the result becomes a successful work. In my art, drawing plays a special role. If you go deeper, you will find out that the line is clearly visible in all my sculptures. The secret of getting a three-dimensional form is the energy of the line. There are three important components in my artworks – philosophy, humor and dynamic. When these components are concentrated, the artwork can defend itself by engaging in discussion and become eternal, because the work of art lives longer than the artist. Creation for me is an endless process: the more you search, the more you find, the deeper you dive, the more you get away from the earth’s crust. I work with different techniques (welding, soldering, casting, pottery, oil painting, drawing with coal, pens, and etc.).
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7effabbf-279b-4626-a47b-e0c6fcb674c4
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Olivia Wilde unveiling Swarovski Star in Rockefeller Center
550 pound Swarovski crystal star shimmers behind Wilde.
It should be noted that we at PopMatters are fans of Olivia Wilde. On November 16, 2011, Wilde was recruited to unveil the Swarovski Star that would be placed atop this year's Christmas Tree in New York City's Rockefeller Center. Her diminutive figure was dwarfed by the 550 pound ornament behind her as she presented it to the waiting media.
Although the ornament was attached to a crane, it wasn't lifted atop the tree on this overcast afternoon. The tree was surrounded by scaffolding as a considerable amount of decorating was still underway before it lights up on November 30th (Cee-lo Green and Faith Hill are just a couple of the musicians performing during the event). Yet power was fed to the star and it shimmered and pulsed behind Wilde (and it reminded me of a crystal from a Final Fantasy.
Gawkers crowded around for the brief presentation which fortunately ended just before the rain kicked in. While Thanksgiving is still to come, Black Friday chatter (or creep) is on the collective mind which means the Christmas holiday is not far from thought. Even if New Yorkers aren't into consumption though, they are lucky to have iconic locations teeming with a festive spirit.
View the larger image gallery over at PopMatters' Facebook pag
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Types of InVisonapp Animations and How to Create Animation in InVision
Peter Martinez updated on 2020-09-25 17:19:49
What is InVision used for? InVision is a digital invention designed platform that is cloud-based, that facilitates the experts of development and small size business to produce and manage trial products. InVisionapp animations affix the light to one's designs, therefore, enabling context and warmth when one is networking with the interface. As well, it permits the teams to work together, analyze and try out ideas on the dashboard using templates designed.
Moreover, InVision Studio enables the creation of animations as a component of usual workflow designs. One can start animation once they open the studio and make the layers equivalent automatically to facilitate links between them. Also, with the InVisionapp animation with the aid of a timeline editor, one can make a path, fine-tune, and accelerate the design animation speed.
Types of Animations in InVision
Animations in InVision needs the combination of originality, thoughts, and technological skills and tools that are right to enable the idea into life. The following are the types of Invision studio animation examples:
• The season to get moving
Susan Osanyinbi invented it as a toggle alternative on this holiday-themed landing page. This creation enables one to differentiate and switch between the night and day modes.
• Buzzin’ around
It was created by Camille Raviart. It Influences the bee log to be brought to life by enabling background and line animation.
• Hello, it’s me
It is a pong motivated welcome attempt that comes into existent when
Rum said hello to the Dribbble community.
• X marks the house
The X marks icon helps into a full-blown house transformation. This x mark was invented by Silvia Sguotti’s.
• Where, oh where, have all the trees gone?
This helps in visually conveying a message on deforestation impacts. Oxygenna created this infographic animation.
• Follow the light (to your mentor)
The following light animation makes use of colors that are bright and shapes that are geometrical to symbolize the designed organizations. This animation facilitates designers and mentors to connect easily.
• Frida 2.0
It enables a fanciful version of Frida Kahlo, who is an artist to complete with her autograph flower grown.
How to Create Animation in InVision
InVision Studio is an application tool with animation at its heart; therefore, when using it, you need not be troubled regarding switching tools. All you need to do is concentrate on your work. Once you open the studio, join the screens that you intend to animate and get started.
Besides, creating animation in Invision can be a bit tricky, especially if it is your first time. We have, therefore, explained to you in detail how to create an animation Invision using the example of how to design the spinning plate animation.
Here are the steps to follow when creating the spinning plate animation
• You will begin by copying and pasting the butternut squash group on the initial sculpture board in the same position. For example, the fresh layer will paste above the group if you click into it and paste it. Afterward, you can change it by turning it round to 360 degrees and zero percent opacity.
• With the aid of vanilla pudding, you can copy and paste the group on the subsequent artboard in a similar location. However, when pasting, you need to ensure that the new group is below the butternut squash. Then tilt it to -360° and zero percent opacity.
• Moreover, including the components for the vanilla pudding copy and paste the group on the succeeding artboard and set it in motion to the left. Next, you need to copy the group with the butternut squash ingredients and paste it on the initial artboard and set it in the right position. Also, you need to change to zero Opacity for both.
• After, you need to copy and paste the butternut squash on the initial artboard and push it up. Ensure that the animation is under to facilitate the loading in effect. You need to replicate the above steps to obtain the titles and details of vanilla pudding.
• Finally, you need to choose the layer of butternut squash on the first artboard and attach an animation to affix it to the subsequent artboard.
• Furthermore, employ the Edit Timeline to alter it when the butternut squash into moves in and when vanilla pudding info moves out. After, do again step 5 and step 6 and turn round.
In conclusion, in the end, you should get amazed by the animation that you have created. Also, you can post your formation by attaching the hashtag #invisionstudio! On Twitter as well as Dribbble.
How to Create Animations with InVision Alternative
Wondershare Mockitt is an online prototyping tool that aids the user in creating and develop mobile application models and wireframes without taking much time. This application is simple to use in a workstation that is organized since you can drag and drop features with no obligation for coding. Also, you can share the clickable prototype developed with the laptop, android device, ios, and PC.
invisionapp animation
Wondershare Mockitt can be used as an alternative for animations in Invision because of the following features.
• Facilitates the development of mobile applications that is interactive by generating the models at a quick space.
• Feature simplicity when creating the model since it will enable you to built-in widgets, generate objects, and combo templates smoothly with the aid of drag-and-drop functionality.
• Permits you to share your model with other team associates in your project.
• It enables you to get feedback about the prototype from others without tampering with your project.
• Come with the ability to create QR codes that renders you to scan and test the model using the iOS or Android camera.
• Authorizes immediate seeing of the screen to be able to check and edit the workflow since the developments are stored in the cloud.
• Come with the Wondershare Mockitt platform to enable the development of models offline.
• Enables connecting between screens and selecting copies of text with the help of sharing and preview mode.
• Feature a library icon with 100 icons and more.
Wondershare Mockitt application can help you to develop animations easily using the following steps and example of ‘progress bar.’
• In the beginning, you can make one screen and name it player. Then create a grey bar and insert the playback and forward icons.
• Then copy the grey bar into two, and modify the copy bar to the color yellow. After, drag it out of the screen and link up its end to the grey bars.
• Following, in the state panel, generate state two that can be easily switched on by double-circle icon click. Also, at this state, 2 haul the bar that is yellow to the position where the grey bar is and alters the play icon to pause in the library of the icon.
• After you need to create a link, the play icon into default state two and set the duration for a transition to 5s.
• You should preview and see the animated outcome.
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You will find there’s Change Concerning Inexpensive together with Low-cost Body art
As soon as wanting to get some sort of skin image absolutely everyone wishes the amount to remain inexpensive could potentially be lost with regard to low-cost. Practically nothing superior originates out with low-cost. Inexpensive, nevertheless, suggests the effort holds terrific top quality it can be simply less pricey as compared to one could realize its. Body art usually are for good, until you’ve got these light beam deleted.
Body art is a opportinity for visitors to go to town, and get ended up well-known with regard to a long time and get ended up more and more ever more well-known inside current a long time. As soon as wanting to get some sort of skin image the very first thing the majority complete is usually make a decision on precisely what it can be just they will require.
Right after they get established precisely what they desire then they try to look for that skin image artisan that will they would like to complete their own skin image. A lot of people require to venture to Sin city, The state of nevada to obtain their own body art, that’s very likely since Sin city comes with a few wonderful skin image dojos, together with Seen the reality that there are actually truth of the matter illustrates serving the area around skin image dojos with Sin city should make it much more well-known.
As soon as you see “Las Vegas” head easily goes to help profit, casinos and then a excitement time period. Additionally you can see body art. With terrific skin image painters you may surely get hold of a cost-effective skin image with Sin city. As soon as picking out some sort of skin image but not just is usually goog price what is important you ought to try to look for, alternatively, people might like to be certain that they feature top quality are properly.
Just about all body art may be inexpensive, signs about this. Some sort of skin image ideal for lifetime along with the charge people get for a skin image artisan ought to be contemplated even more for an expense, a great expense with one self together with your overall body. Which is the reason looking into skin image painters is usually tremendous fundamental. A superb skin image artisan contains a account, once they tend not to in that case always keep browsing.
Skin image painters are generally 1 within a thousand thousand, consequently the particular reason why one must always see a person who will keep some sort of account to help you may well exhibit just about all prospective clients the effort they also have executed prior to this. Absolutely everyone must get started a place nonetheless they may well nevertheless possess a account explaining a number their own succeed to get a perception with regards to precisely how properly people complete their own occupation assignments.
Not necessarily absolutely everyone would you body art is usually quite possibly slice available to accomplish this certain occupation, it’s going to take an exceptional people using resourcefulness so as to complete body art. They have to possess a dependable give and a dazzling head to create customized designs designed for their own clients. Body art are generally for a lifetime which means that simply finding the excellent skin image artisan is usually an issue it’s best to always keep others in terms of ones checklist.
Acquiring a skin image for a impulse is usually do not ever a great idea, a lot of people wind up regretting their own skin color art work and need to get these deleted and taken care of in place simply to take out the research of getting an undesirable skin image. It can also be executed, nevertheless using adequate measures you can create the idea to help the place it does not necessarily come to pass and really enjoy ones skin image for good.
Body art is a manner of phrase together with position right out of the majority. There are plenty of motives most people get hold of body art, a few cause them to generate a funeral to get a other dressing up event on their lifetime, a lot of people ask them only to exhibit style, when others most people ask them since they enjoy body art, together with Seen there are plenty of many other motives additionally nevertheless not any that a smaller amount the particular reason why is not really since fundamental as being the skin image again.
Coming up with some sort of skin image may be which means that excitement nevertheless it’s best departed up to skilled, several will require ones pattern and customized modification the idea to help an issue that has to be extraordinary and become better in comparison to the primary people earned.
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Lights, Camera, Action! - tyneholm
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Lights, Camera, Action!
Assignment S15
Lots of film titles lend themselves to a photographic representation, such as Reservoir Dogs, Brief Encounter, Notting Hill, and The Italian Job. Choose one of your favourite films and imagine that you have been asked to shoot a poster to promote the film. You need to produce a striking image that is not only attention-grabbing, but can also immediately communicate what the film is about.
The twist is that your poster has to be shot on the streets, using only the people and locations you find – certainly no models or sets!
Your photograph can be in black and white or colour, but it’s generally best to take your lead from the movie.
View the images
• Shoot in both portrait and landscape format (most posters are reproduced in both formats), leaving clear space for the designer to add the film title and other text
• A simple, striking image with well-defined shapes will work better than one with lots of detail.
Field Notes
• If you’re pleased with the result, have your favourite image printed as a poster. You could even add text to make it as ‘real’ as possible.
• This could be a scene from a classic gangster movie with a gritty background, sinister lighting, and the two cars ready to make a swift getaway.
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Amgueddfa Blog
Over the past few months the museum has been working closely with colleagues at the beautiful Oriel y Parc gallery in St Davids to bring together an exhibition celebrating Wales ‘Year of the Sea’ called ‘Coast’.
The exhibition fuses artworks and natural science specimens specially selected by the Oriel y Parc team from Amgueddfa Cymru’s collections, and displays these alongside some of the recent museum activisim work of Amgueddfa Cymru’s 'Youth Forum Group' highlighting the issues of plastic pollution.
The multidisciplinary nature of the display explores how the sea has inspired artists for centuries, highlights the biodiversity of the Pembrokeshire coast, and how plastic now impacts on the environment and our everyday life.
Centre piece to the art works is Jan van de Cappelle’s masterpiece ‘A Calm’, surrounded by sea and coast inspired paintings from a selection of other artists including Cedric Morris and John Kyffin Williams. Amongst these works are specimens from the natural science collections capturing the richness of Pembrokeshire's wildlife, including the skeleton of a leatherback turtle found dead on Skomer Island in 1988.
The turtle had in the past been on display at the visitor centre on Skomer, but was removed a number of years back when the buildings on the Island underwent redevelopment. In need of some repairs and cleaning, the specimen became an excellent project for one of our conservation student placements at the museum, Owen Lazzari. The end result has enabled us to bring the specimen back to Pembrokeshire to form one of the centrepieces of the exhibition.
Other highlights from the natural science collections include one of our historic Blaschka glass models dating from the late 1800s, and a Goose barnacle covered builder's helmet found off the Welsh Coast.
Further information can be found on Oriel y Parc's website: https://www.pembrokeshirecoast.wales
It's that time of year when everyone is busy preserving the summer harvest to enjoy over the winter months, but as well as fruit for Jam and vegetables for pickles, how about colour!
It's often believed that people in the past had very little access to colour, only existing in a world dominated by shades of brown or grey. This could not be further from the truth, just armed with a little knowledge plants can yield a delightful range of colours such as red, yellow, blue and even lilac.
Until the mid-19th century textile dyes were derived from natural sources, mainly plants, but some from insects . So to help furnish our historic houses with examples of colour we are embarking on a project to reproduce the traditional dye process and see what we can create.
Volunteers, working alongside the preventive conservation team, have been busy rediscovering the dye garden at St.Fagans. While removing the weeds we were lucky enough to find a few dye plants surviving, there was a nice clump of Madder, a few Weld plants and Woad. These few survivors were a good start, Madder produces a red dye, Woad a blue and Weld a yellow.
The red is extracted from the root of the Madder plant, this was first washed, cut up and minced, then gently simmered in water to extract the colour. The Weld leaves and seeds were cut up and simmered in water to also extract the colour. We will have to be a bit more patient with the woad, as the best blue is extracted from the fresh young leaves of the first years growth.
Mordants have been used traditionally to help the dye fix to the wool and create a more intense colour. By the medieval period a naturally occurring mineral called alum was used to pre-treat the wool before dying. We therefore decided to test a few options, so we dyed wool previously mordanted with alum, wool mordanted with Rhubarb leaves and wool not mordanted at all, just to see what impact there would be on the final colour
Once the dye baths were made, 50g batches of washed wool from our Llanwenog sheep were dipped and allowed to soak up the dye. The dye bath was heated to just below boiling and then allowed to cool. The fact that sheep were bred early on in our history to produce a greater proportion of white wool to grey or brown is an indicator that colour was just as important then as it is now.
Here are the results of our first batch.
We recently welcomed a group from Greening Our City, an environmental conservation project by Innovate Trust and National Resources Wales. They visited National Museum Cardiff to take part in activities linked to the Museum’s Urban Meadowa wildlife haven we created on the east side of the building.
In the morning session we used clay, soil and poppy seeds to make seed bombs. These can be thrown onto disturbed earth in a garden or even just placed in a plant pot, and will eventually produce beautiful red poppies. The flowers will not only look nice, but also provide a vital food source for pollinators such as bees and butterflies.
We then ventured out onto the Urban Meadow to see what wildlife we could spot. At first, everything seemed quiet, but it wasn’t long before we started to find lots of different minibeasts. In a period of just 20 minutes we saw spiders, snails, bumblebees, wasps, grasshoppers, crane flies and two species of ladybird!
After a break for lunch, we gathered in the Clore Learning Space for our second workshop. Inspired by our morning session, we made models of insects and other invertebrates using colourful modelling clay. The group created spiders, snails, caterpillars, ladybirds and more.
We then split into two groups and used iPads to make stop-motion animations. Great patience is needed to make this kind of animation, as every second of finished film requires around ten still photographs.
You can watch the finished products below. In one, a spider, a ladybird and an ant meet up and take a selfie, while the other tells the dramatic tale of an invertebrate dance! I think you'll agree the group did a brilliant job directing their animations.
Once that was complete, there was just enough time for the group to complete our summer trail. This quiz takes visitors on a journey around the museum to answer questions based on our new exhibition, Poppies For Remembrance.
If you are a community group and would like to take part in similar activities, please get in touch on (029) 2057 3240.
If you would like to know more about our Urban Meadow, download the free learning resource from our Learning pages.
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Introduction to Drawing [CRN 77127]
Discipline: Art
Instructor: Serio
Credits: 3
Day: A
Start: 1510
End: 1360
Field Work: Day 1 - Friday, 21 October | Senegal Download Syllabus
This beginning drawing class is designed to teach students the skills of observation, to introduce them to different mark-making techniques and to encourage exploration of different drawing materials. Early in the semester, students will learn techniques designed to strengthen hand-eye coordination and to develop techniques for visual measuring. Students will learn how to draw three-dimensional objects on a two-dimensional plane with subject matter that ranges from still life, to architecture, to landscape. As the semester progresses, students will experiment with numerous materials and explores methods such as additive and subtractive value drawing, wet and dry charcoal, color with cray-pas, and brush drawing. While in ports, students will keep a personal journal/sketchbook and collect materials to be incorporated into projects while at sea.
Learning Objectives:
1. Acquire skills of observation and eye-hand coordination
2. Learn to draw subjects realistically with an understanding of composition, scale, angle of view, and perspective and develop an understanding of non-objective art
3. Learn about different drawing techniques and media
4. Experiment with styles, materials, and genre associated with different cultures
5. Form an understanding of theory and terminology associated with drawing
6. Become comfortable responding to and critiquing art
Field Work
Country: Senegal
Day: 1 - Friday, 21 October
We will first visit the IFAN Museum of African Art for a guided tour and learn about traditional masks, costumes, musical instruments, fabric and bead work from Senegal, and other African countries including Guinea-Bissau, and Benin. Students will have the unique opportunity to discover how West African color usage, patterns, and textures differ from what they see in the western world. Students will photograph where allowed and use displayed objects as sources for sketchbook drawings.Concepts of perspective, proportion, and angles will be incorporated into drawings that will emphasize structural accuracy in linear mark making. On the second floor is an exhibit of wrestling photos which will be the inspiration for realistic figure studies. After exiting the museum to the garden, we will have a short critique and refine drawings in preparation for the afternoon workshop. If we have time, we will visit the gallery that houses contemporary art. We will have lunch at a traditional Senegalese restaurant, discuss the afternoon’s activities, and finalize the morning’s sketches for our workshop with the technique of “sous verre,” reverse glass painting. Each student will create a painting with figures, clothed in garb of typical color patterning, in an environment that would be easily identified as Senegalese by the objects and architecture included added to the project. Learning objectives:
1. To learn about and draw traditional African household objects and masks, and to note the different unusual materials used
2. To create small scale color and pattern studies and collect ideas for inspirations
3. To refine a few drawings that reflect not only West Africa subject matter but also color selections
4. To create an original drawing that includes figures dressed in typical garb in an Senegalese environment
5. To learn about and create a “Sous Verre”
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Newspaper article THE JOURNAL RECORD
Surge in Real Estate Values Threatens New York's Predominance in Theater
Newspaper article THE JOURNAL RECORD
Surge in Real Estate Values Threatens New York's Predominance in Theater
Article excerpt
By Kiley Armstrong NEW YORK - New York's predominance as the dance and theater mecca is being threatened by a surge in real estate values that is forcing artists into the streets.
Small dance studios, where future talent is trained and professionals polish their skills, are the hardest hit. Concern also is growing at off-Broadway theaters.
Evicted to make way for lucrative high-rise buildings, dancers must struggle to find space for their special needs - high ceilings, no pillars - and pay rents averaging $6,000 a month.
``We're living on borrowed time,'' said Peter Brown, a spokesman for the Alvin Ailey American Dance Theater, whose lease in the Minskoff Building expires in 1989.
``A lot of arts organizations are going to go out of business. The daily battle for survival is going to do them in,'' predicted Kyle Renick, artistic director at the WPA, the off-off-Broadway theater which originated ``Little Shop of Horrors.''
The city is home to 249 dance companies and 18,000 to 20,000 students, according to Marian Horosko, a former member of the New York City Ballet who heads a lobby group called Dance Artists National Space Emergency. Since 1985, she said, 55 teaching or rehearsing studios have folded.
``It's a silent disappearance - people don't scream,'' Horosko said. Instead, they just leave.
``This is where national auditions are held for road companies,'' Horosko said. ``Now Stuttgart, Hamburg, they come here and raid our dancers. Seoul, Korea, is one of our major competitors. The loss will be irreparable.''
Les Schoof, general manager of the American Ballet Theater, noted that fledgling dancers at small studios sometimes rise to the theater and other major companies. However, the future crop of talented dancers could be stunted if fewer opportunities exist for studying.
The problem has generated measures in the State Legislature that would eliminate real estate taxes for the portions of buildings rented to non-profit arts groups, give tax breaks to developers who build new arts spaces, allow non-profit arts groups to pay just part of a property's market value, giving the owner a tax credit for the balance, and set up a $40 million revolving fund for non-profit arts groups' capital projects. The bills are still pending.
The first alarm of an arts crisis sounded in August 1985 with the closing of Richard Thomas' renowned New York School of Ballet, where Cynthia Gregory, Eliot Feld and Twyla Tharp perfected their craft. The building, where the late George Balanchine and Igor Stravinsky created the masterwork ``Agon,'' originally housed the historic School of American Ballet. The structure now holds model apartments for a luxury condominum.
The situation has made a nomadic tribe out of Tharp's famous modern dance troupe. ``Twyla Tharp begs, borrows and rents studios on a day-to-day basis,'' said Sharon Gersten Gluckman, the company's director of development. ``Can you imagine a scientist having to use a different laboratory each day? …
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“Art as Call” by Jean Adams
July 29, 2018
Tenth Sunday after Pentecost
We all come into the world with unique potentials. When one of these potentials seems to stand out, claim our attention and engage our emotions, we may be looking at a “call,” telling us that we can use that ripened potential in a positive way. We can find the vocation that is related to our deepest self, a path that will help that self to unfold.
I notice design. I love color. My call to making and teaching art grew out of childhood experiences and ripened through the years. As a child, my mother delighted in nature and my grandmother had a wildflower garden. Together, we noticed flower and leaf shapes, different habitats in sun-drenched soil, lichen-covered rocks, the dark brown rich soil of deep woods and squishy wetlands. We noticed the variety of birds, butterflies and bugs – all parts of the grand assortment of summer wildlife.
Although there was some recognition of my artistic expression in grade school by parents and teachers, it wasn’t until I graduated from college with a degree in Education and minor in Group Work, and had a couple of years as Teen Age Program Director for a small YWCA, that I realized it was the creative work done in those settings, with teens and younger children that spoke to my spirit. I enjoyed teaching. And I enjoyed art.
Sooooo, I resigned my job at the Y, and became a secretary at Columbia Teachers College in order to get tuition-free credits in Art Education. That done, I moved to Philadelphia, where I taught art at an elementary school in a diversely populated neighborhood. The most rewarding part of my teaching was seeing the uniqueness of each student’s noticings and how they chose to express those noticings. I remember a first grader, who re-lived his Halloween trick-or-treating of the night before. After he had experienced the whole evening in words and in paint strokes, he ended up with a paper largely covered with a muddy color, but he had found a way to recall each important part of the experience as he moved his brush. The incoherent picture had helped him find his voice.
After I had taught three years, and co-directed an art program at a summer camp, I was making plans for further education when I met John Adams, the older brother of a friend of mine. My plans changed! We married. And though I continued to teach, my life at home was family-centered. John came with twins, boy and girl in 8th grade; an older boy in 12th grade, and we later adopted an almost 9-year-old girl. Life was full of family!
Looking back, I realize that when I joined the Adams family, I was fulfilling a yearning from part of my childhood. I had wanted to be adopted away from my own family. My parents’ marriage had crumbled. I was blamed for my sister’s illness and not spoken to or regarded for several months. So, although being a step-mother was a challenge, I was in a family which communicated, and was used to working together! My listening skills improved. I paid attention to humor. There were many learnings and much enjoyment!
The Work Within
In Cry Pain, Cry Hope, Elizabeth O’Connor writes: “Every single one of us has a “good work” to do in life. This good work not only accomplishes something needed in the world, but completes something in us…. The work we do in the world, when it is true vocation, always corresponds in some mysterious way to the work that goes on within us.’’
John died before I retired from teaching. With the family launched, retirement brought me to another turning point in my call. A friend mentioned Christ House, a residential medical facility in Washington, serving ill or injured homeless men. Janelle Goetcheus, its director, was a doctor who wanted to serve people who otherwise would not be able to receive full medical care. She was inspired by the emphasis on “call” by The Church of the Saviour, and, with others who learned of her vision, worked to bring this dream into reality.
Janelle had followed the quest to find the vocation related to her deepest self and that would help that self to unfold. Christ House is a community in which the patients are treated with caring and respect. It is designed to help them with their needs, not only physically, but in other ways through AA meetings, music, art workshop, worship, field trips, library trips, and case management to help them plan for what they will do when they leave Christ House. The usual stay is for about 40 days. However, the determining factor is how long it takes for healing, so there are those whose stays are longer. In 1993, I began offering a weekly art workshop there.
The residents have had varied expiriences with self-expression in art. I usually demonstrate how to use a particular medium, and then invite the participants to experiment themselves. Occasionally, we will have a “how-to” session, for instance, how to divide up the face when making a portrait…Where do eyes go, nose, mouth? Sometimes there will be some objects on the table as possible stimulants for art work. We will have a short time of looking at them, noticing various aspects of them….some people will note shape first, others color, but I want to encourage art that comes from a feeling place rather than building skills.
An assortment of materials on the art cart allows for different kinds of projects: tempera paints, watercolors, colored markers, pastels, colored tissue paper, rubber stamps and blank cards and envelopes. I want to help these healing men find their voices through art. Seekers Church has a Domestic Giving program, and provides the money for the art workshop’s materials. It also supports the work of Christ House.
Here are some examples of work done by Christ House residents. A note here: In its beginning women were also residents. There was a policy change shortly after I began volunteering there.
picture 1 from Christ House
1. This man was showing movement toward becoming supported by Jesus’ message. Above the line traveling to the right across the paper he has printed on the left the confusion that he has been living with, making it look messy. The line across the paper has a couple of low spots in it…change is not easy.
picture 2 from Christ House
2. A woman came to the Art Workshop on one of her first days at Christ House. She wanted to draw what she saw in the wall of the building across the alley: a pigeon had made a nest in a square indentation in the brick wall. Off she went with pencil and drawing pad. When she returned she was beaming, and showed us the drawing of a pigeon who had found a home.
picture 3 from Christ House
3. One of the men had seen a picture in a magazine or newspaper and wanted to copy it.
picture 4 from Christ House
4. “I want to draw a picture of Psalm 91: “I will say to the Lord : My refuge and my God, in whom I trust. He will cover you with His pinions and under His wings you will find refuge.”
pciture 6 from Christ House
5. Residents can go to meetings of Alcoholics Anonymous held in the building several times a week. They have support as they think about a new way of facing life, in a group of others who are familiar with the same problem and led by a man who has made the change and who is the leader.
picture 6 from Christ House
6. Tony was a man who was recovering from heart surgery, and who had a long stay at Christ House. He came to Art Workshop every week. “Look at that! I always thought I was full of black!” he exclaimed about this rectangle when he painted it. Because he had been there so long, he had gradually mentioned things about his life. It was very hard to hear them. But now his rectangle evoked pleasure. One hoped that Christ House had helped in not only in healing his body, but his spirit.
picture 7 from Christ House
7. Norman was a quiet man who loved to paint. He painted daily in his room with supplies I gave him. Most of his paintings were of the beach and of the ocean. His last painting was also of the beach, as is this one, but had a tall lighthouse in it. The beams of light reached far into the night. Norman died the next day.
For many years, I noticed how whole I felt while helping the men at Christ House – and how empty or dismembered I felt when I left. Over the 25 years that I have been privileged to offer the weekly workshop at Christ House, there has been a mysterious healing inside of me. Now I feel whole and at home in the world, whether I am at Christ House or not. I believe that Elizabeth O’Connor was right about doing the work of call: “…when it is true vocation, [call] always corresponds in some mysterious way to the work that goes on within us.’’
A Sermon by Emmy Lu Daly
"Radical Rest for Active Souls" by Kolya Braun-Greiner
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How To Make NFT Art To Sell
Before connecting to an Ethereum network to upload any NFT, it has to be created. A NFT can be anything that you decide to digitize, from taking a photo with your camera, to taking a photo of your physical artwork.
More recognizably, you can create a graphic NFT image using an app on your phone phone and if you are up for the challenge here is the time to advance your skills and learn technical graphic design through computer software.
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NFTs have revolutionized the creative world and many are still wondering how can they get a piece of the digital pie. With NFTs selling for the high millions of dollars, and allowing every creative skill level to participate, there is no reason not to create your own. Back in March Beeples, Everydays-The First 5000 Days sold for a whopping $69 million.
NFTs have reawaken the purpose and value of art. Rather you call yourself an artist or not, by creating a NFT it gives you the freedom of expression and allows you to make passive income with the new age money, cryptocurrency. Days of the “starving artist” have come to an end because of the accessibility of getting your work seen by millions of people through the many NFT marketplaces.
No longer does your art have to sit in your room to be only praised by friends. No longer do you have pay galleries and curators high fees for your work to never sell. You can take matters into your own hands and make higher profits than you would with typical art payments.
How To Make NFT Art To Sell:
Easy: Turn A Photo Into A NFT.
Advanced: Use Your Original Art.
Challenging: Learn Graphic Design.
Article By K. Crystal Carter
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Ma Sconce No. 3
Kassandra Thatcher
Select wiring
Sculptural ceramic sconce with soft, matte grey glaze.
11.5" tall, 12" at widest, 4" deep.
UL Listed.
Hardwired or plug in. Plug in version comes with 10' cloth cord, in-line switch placed 18" from light.
One E12 base, 3 W LED bulb, 180 lumens, color temp 2700k. Bulb included.
Handmade by Kassandra Thatcher in Los Angeles.
Please note that this sconce is made to order and is final sale.
No returns or exchanges.
Please note that all works are hand-built and inherently unique. Expect minor variation between pieces.
Lead Time
Estimated lead time is 8-14 weeks.
Tear Sheet
Ask a Question
To ask a question about a product or inquire about customization please do so here.
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Minted: Making Money and Meaning
Pin It
I am proud to announce that a never before seen archived collection of rare and influential coins, are now on display at the Grosvenor Museum but they may not present in the manner in which you might expect.
We have selected 12 coins including images of Queen Mary, For patients who want to treat impotence, or erectile dysfunction, you should learn more about Cialis http://medicines4all.com/product/cialis/ Cialis 40 mg Queen Victoria, Queen Elizabeth II and others. But unlike usual presentations in display cases, this exhibition really brings the coins to life using photographic portraiture to represent the respective rulers.
The representation of power and wealth was of the utmost importance to their political and social standing and coin portraiture was the most successful way of spreading the word. Propaganda is not a modern concept. The social elite would ‘enhance’ their public image to best suit their needs.
Just as they did, we used some artistic license when deciphering the faded coins to enable us to portray the character successfully.
The specially chosen models were styled over two days, some more complex than others due to the wide range of styles and periods.
Now, thanks to the fantastic hair and make –up of Louise O’Callaghan and all the volunteers involved, these historic VIP’s are now on show in their full glory from 23rd July to the 16th October.
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Vendors line the halls of Fancy Food Fest
Get a Refreshing Perspective with Beau Nash Craft Beer
by Theresa Christine Johnson on 12/20/2016 | 3 Minute Read
Bottoms up! Get a little tipsy with a bottle of Beau Nash, a craft beer with some seriously clever packaging. JDO Brand & Design developed this Kentish ale that looks absolutely stunning no matter what way you hold it.
“JDO Brand & Design has launched ‘Beau Nash,’ a craft beer, the first of a number of brand ventures that the agency is involved in. The Kentish ale has been specially brewed using locally sourced elderflower and honey to create a light, fresh and quirky beer celebrating the local area. The award-winning design agency based in the UK, partnered with a local micro-brewery, ‘Moodley’s’ owned by Yudhistra Moodley, a self-taught brewer.”
“JDO’s aim was to develop its own bespoke ale brand with a beautifully crafted bottle showcasing the team’s knowledge of the beer sector through a love of unique and inspirational design. The agency was also keen to bring traditional design skills back to life and to give some of the younger designers a chance to develop their expertise in this area. The team enjoyed an exciting journey from the construction of the beer’s taste profile through to the development of the liquid and the craftsmanship, qualities and finish of the pack design.”
“Beau Nash” can be read on the label, both right-side up and upside down. The design is intricate and detailed which is perfectly fitting for a craft beer, and the blue details are rich and vibrant. A wax seal over the top of the bottle contributes to a more traditional feel, speaking to the age-old brewing process. Silver foil details add depth and brighten up the label, as well as giving it a luxurious feel.
“The muse and inspiration for this venture came in the form of eighteenth century character, Beau Nash, a celebrated dandy and fashion icon who appointed himself Master of Ceremonies in Tunbridge Wells in the UK in 1735. After delving deeper into his history, JDO discovered that he was not only a ‘trend setter’ but also an infamous gambler all, of which provided fertile ground for creative exploration.”
“The resulting brand design has, at its heart, three playing cards, encouraging the design to be viewed in two orientations. From this idea JDO created an ambigram for the Beau Nash identity which reads the same viewed right way up and upside down. The Beau Nash ‘lock up’ has been crafted in black type with surrounding intricate filigree drawn in the same style. The near continuous illustration on side of pack acts as a visual metaphor for the rich tapestry of Nash’s life with a little bit of JDO’s own unique characteristics mixed in.”
Designed by: JDO
Designer: Dan Bowstead
Creative Directors: Ray Smith & Ben Oates
Account Manager: Gabby Lawlor
Production Director: James Davies
Realisation Artist: Dan Healy
Country: United Kingdom
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Top Art Competitions 2024
Discover current open calls for national and international art competitions.
Log in to see all current opportunities
• clear overview of the best grants, prizes, residences
• search and restrictions filters
• personalized recommendation
• deadline reminders and agenda
• monthly cancellable
June 30, 2024
Jungck Women Artists' Prize
Genre: Art Competition
Art field: Digital / Sound / Painting / Drawing / Photography / Video / Graphic / Installation / Performance / Sculpture / Textile Art / Ceramics
15,000 CHF
5,000 CHF
Eligibility conditions
Resident of Bern (CH)
Only for female artists
July 14, 2024
Internationale Kurzfilmtage Winterthur
Genre: Art Competition
Art field: Video
Theme: Short Movies
12,000 CHF
4 x: 10,000 CHF
2,000 CHF
Eligibility conditions
Art Competitions – Prizes, recognition and exposure
Art competitions are great opportunities for artists, offering cash prizes along with the rewards of exposure and recognition. By validating your artistic practice, they increase your visibility in the art world. Art competitions can serve as a catalyst that accelerates an artist's progress to success. Visit our website to view the best current art competitions.
Are you looking for open calls for art competitions in a specific country or city? Check our carefully chosen selections:
FAQs: Art Competitions
Find the answers to the most frequently asked questions regarding art competitions here:
What is an art competition?
Art competitions are events where artists are invited to submit their work based on a particular theme or category. Organized by a variety of entities such as institutions, galleries, or other art organizations, these competitions aim to identify, acknowledge, and support talented artists. A panel of judges typically awards prizes, exhibitions, publications, or other forms of recognition to the best entries. Winning art competitions offers artists crucial exposure and recognition.
What are typical prizes of art competitions?
Art competitions offer artists a variety of prizes. These can range from cash awards, to opportunities in order to exhibit works and gain exposure. Some competitions also offer artist residencies, scholarships, as well as art supplies or equipment as prizes. Winners may have their work featured in a catalog, an art magazine, or on an online platform, increasing recognition and exposure. Ultimately, winning awards become a valuable addition to an artist's resume.
The list of art competitions on our website specifies in each case clearly what the “prize“ entails.
How does the judging process work?
The jury panel generally consists of a number of distinguished persons from the art world, who, over the course of several rounds, individually decide which applications to eliminate or pass on to the next rounds. Shortlisted works are then subjected to further scrutiny. The process concludes with the panel collectively deciding on the winners.
How do I apply for an art competition?
Most open calls for art competitions require artists to submit a comprehensive application, including a portfolio, an artist statement, and a resume. The number of applicants for art competitions is often high, especially for the more prestigious prizes. Therefore, your application needs be impactful, clear, straightforward, and inviting to review.
Do you need help in these matters? Check our online courses “How to make a portfolio” and “How to write an artists statement” which serve as step-by-step guides giving you all the tools you need to build a strong application for art competitions.
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Bozeman Doc Series “Human Flow”
• November 19, 2017
7:00 pm - 11:00 pm
$10 GA/$8 Student (in store only!)
The Bozeman Doc Series presents “Human Flow” on Sunday, November 19th at 7pm (doors at 6:30) at the Emerson Center for Arts & Culture.”
The Bozeman Doc Series presents the critically acclaimed new documentary by internationally renowned artist Ai Weiwei, Human Flow.
Over 65 million people around the world have been forced from their homes to escape famine, climate change and war in the greatest human displacement since World War II.Human Flow, an epic film journey led by the internationally renowned artist Ai Weiwei, gives a powerful visual expression to this massive human migration.
Captured over the course of an eventful year in 23 countries, the film follows a chain of urgent human stories that stretches across the globe in countries including Afghanistan, Bangladesh, France, Greece, Germany, Iraq, Israel, Italy, Kenya, Mexico, and Turkey.Human Flow is a witness to its subjects and their desperate search for safety, shelter and justice: from teeming refugee camps to perilous ocean crossings to barbed-wire borders; from dislocation and disillusionment to courage, endurance and adaptation; from the haunting lure of lives left behind to the unknown potential of the future. This extraordinary film elucidates both the staggering scale of the refugee crisis and its profoundly personal human impact.
Human Flowworld-premiered at this year’s Venice Film Festival to widespread critical acclaim.
“The most necessary and comprehensive documentary to date about our planet’s current refugee crisis… an open-hearted and intricately woven mosaic.” Indiewire
“Human Flow is a towering achievement from one of the world’s foremost champions of human rights. Its subject matter may be overwhelmingly bleak, but its call for unity is profoundly invigorating.” Rogerebert.com
“What Mr. Ai seeks is to go far beyond the nightly news; he wants to give you a sense of the scale of the crisis, its terrifying, world-swallowing immensity. A bracing, often strangely beautiful movie…” The New York Times
“Engrossing, visually stunning…poetic but uncompromising…the film has an amazing breadth and a relentless moral drive…” The Hollywood Reporter
Doors open at 6:30pm.The series will continue with one screening every other week through April.
Venue Phone: 406-587-9797
Venue Website:
111 South Grand Avenue, Bozeman, Montana, 59715, United States
The Emerson is a thriving arts and community center located a block from historic downtown Bozeman. The building was originally an elementary school built in 1918, attended by thousands of Bozeman youth before its closure in 1991. With the building facing demolition in 1992, a grassroots coalition of community members dedicated to historic preservation and celebration of the arts formed a non-profit board, raised funds, and bought the building from the City of Bozeman.
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태그 보관물: cocktails
About Leonardo Post Leonardo Da Vinci
Though a management plan itself has not but been drawn up, an helpful instrument that regulates the use and external relations is in place. Cruises are the fantastic way to take in the outstanding sights and history of beautiful Lake Minnetonka. Enjoy handcrafted specialties like pasta, steak, and a lot more at Valentini’s Supper Club. Meals are readily served to accommodate all people and families in a welcoming, friendly environment. The Delivery Fees may differ based on a number of factors, like your place.
The most popular work is surely Leonardo da Vinci’s The Final Supper. This depiction has come to be such a element of collective memory that advertisers are not ashamed to use it. It has been copied and parodied countless times, to showcase several items from cars to clothes. Yeah, the purposes of the Lord’s Supper, with click here for info no question, the principal reference of the Lord’s Supper is to the death of our Lord. We hold in our hands these valuable symbols, the broken bread, symbolizing the body offered, Christ’s body, His actual body, offered for us, and the cup, representing His shed blood. So clearly the reference, the major reference is to the death of Christ.
Jesus coupled these familiar components of the Seder with his death and the establishment of the New Covenant. The blueprint of communion has been part of the picture for thousands of years prior to Jesus’ words in Matthew 26. And the individuals of Israel have been really familiar with the necessity of the shedding of blood for the atonement of sin.
Becoming commissioned by a religious figure was held as one of the highest honors an artist could obtain. Even more revolutionary, Leonardo portrays the apostles as each day people today, with out the indicia of saints or holy men. To underscore the realism, Leonardo set the world’s most iconic meal in 15th century Milan. The table, utensils, and tablecloth match these the friars made use of when they ate in the refectory. Judas has his face in shadow and is clutching a smaller bag, presumably dollars. He was rather normally portrayed with this in final supper paintings.
What tends to make this burger so very good is its breaded mozzarella patty. If you want to attempt something additional Korean in flavor, then go for the Hanwoo Bulgogi Burger. There are numerous Lotteria branches all through the city, but we knew there would almost certainly be one particular at Incheon Airport. This Mozzarella Bacon Burger was my pretty final meal in Korea.
The painting was virtually destroyed through Globe War II bombings. Note that most of the functions can be expanded to full-screen views by merely clicking on the image right after it initially appears. ArtDependence Magazine is an international magazine covering all spheres of contemporary art, as nicely as modern day and classical art. Subscribing to the ArtDependence Channel allows you to simply remain up to date with the most current ArtDependence news.
With a style that is uniquely his personal, Odd is on a mission to assistance regional producers over worldwide brands and guarantee property-created products take centre stage. He’s committed to minimalism so expect clean cocktails with a worldly vision, paired with a good story. Our renowned Cantonese restaurant brings the grandeur of Shanghai’s swinging 1920s to contemporary Seoul, applying nearby, seasonal ingredients exclusive presentations and Chef de Cuisine Koo Kwok Fai’s genuine recipes to delight your senses. Join celebrity chef Akira Back at a exclusive and inventive dining expertise with contemporary Japanese fare and a Korean essence that will stimulate and excite your senses.
Situated in Hongdae, they’re open from 5PM till the wee hours of the morning, and is mentioned to be a well-known spot for students and regional residents. Chueotang is produced from pond loach which is a kind of freshwater mudfish. They’re boiled in water till tender, then sieved to eliminate all the bones and skin.
Supposedly, the lake is cursed because some of the bodies have been not removed from the cemeteries before the land was flooded in the 1950s. The woman, Martha Sanders “lost her husband, Gustavus Sanders, days following their wedding,” according to the Arkansas Details for the Kiddle internet site. Gustavus and Martha had been married at the top rated of the All-natural Steps, their preferred rendezvous.
Spilled salt may symbolize religion, loss, or Jesus as the salt of the earth. Like the meal, the cup is a final sharing of fellowship with his disciples. Jesus tells Peter and John that “a man carrying a jar of water” will show them “a massive upper area, all furnished.” Peter and John locate points just as Jesus had told them. The room would have been filled with cushions on which to recline. So Jesus directs the disciples, and they are faithful in following him.
However the museum’s beauty does not only reside in its permanent and temporary exhibitions. The grandiose and majestic Louvre Palace is also remarkable for its iconic glass and metal pyramid, beneath which the entrance hall is positioned. Erected in the Cour Napoléon by Ieoh Ming Pei in 1989, it brings a touch of modernity to the complicated. The Louvre is the world’s biggest museum and homes one particular of the most impressive art collections in history. As well as holding the title of oldest museum on the planet, the Louvre holds an amazing collection of paintings, sculptures, drawings, architectural operate and handicrafts from around the world. Below the direction of the exceptional administrator, Dominique Vivant Denon, the collections grew as a outcome of many donations, purchases, and commissioned performs.
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alexandra spaulding: the one that I’ve kept closest
alexanda spaudling, Untitled, 2014, mixed media, dimensions variable. Photography courtesy of alexandra p spaulding.
alexandra spaulding: the one that I’ve kept closest
Sep 14, 2014 - Jan 11, 2015
Born in Buffalo in 1979, alexandra spaulding received a Bachelor of Fine Arts with honors from The Tisch School of the Arts at New York University in 2002, her Master of Fine Arts (2005) and PhD. (2012) from The Glasgow School of Art in Scotland. In 2015, spaulding and Adam Jacob Levin will launch an academic journal/online gallery/ephemeral object called Noise Magazine. spaulding makes music under the moniker a. p. s., and is represented by Stephan Stoyanov Gallery, New York, NY. The artist currently lives and works in Buffalo NY.
spaulding describes her work this way: “I like to tell people that my work is about 'magic', the kind of magic that you can't talk about, but that's kind of rude. Simply put, my work is kind of about magic. I am interested in the ineffable experience that is created through certain kinds of contemporary art/music; specifically aurally immersive installation art.
So, what is the ineffable? The term 'the ineffable' is used to describe experiences that cannot be extrapolated or understood through words, essentially the ineffable is the ‘unutterable’. My work as an artist is focused on creating these kinds of experiences using sound, light and architectural space, channeled through a Minimalist aesthetic.”
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most expensive chinese art
Chinese Vase Sets New World Record
Filed under: Auctions, Art
In a week that has seen quite a few huge sales in contemporary art, an 18th century Chinese porcelain vase managed to still stun the world. The vase, which was discovered when a house was cleared out was sold for £43 million ($69.3 million) at Bainbridges Auctions (£53.1m after commission which pushes the total to over $85 million). The vase was only estimated to sell for £1.2 million but fierce bidding among Chinese would-be buyers drove up the price. The vase sold to a Chinese bidder who turned up to bid on behalf of an undisclosed buyer.
Bainbridges, the auction house in the London suburb of Ruislip, knew they had something special on their hands but no one expected the piece to sell for quite this much money. It is believed to be the most expensive piece of Chinese art ever sold. In a blog post before the auction, Bainbridges said that the vase was "what must be one of the most important Chinese vases to be offered for sale this century." They speculated that the delicate vase with the fish motif would have spent time in the Chinese Royal Palace and was likely fired in the Imperial kilns. One of the things that makes this vase so amazing is that it has a reticulated double walled construction. There is an inner vase that can be viewed through the perforations of the main body. It is of the Qianlong period, circa 1740s and decorated with four cartouches each showcasing different styles of fish at play on stylized water backgrounds. It has a delicately painted yellow trumpet neck and vase set off from the central decoration by orange bands.
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Carl Henry Ahrens
Featured Artist:
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Carl Henry Ahrens (Canadian, 1862-1936) Artist, printmaker, illustrator, ceramicist, writer, poet and teacher, known for his landscape & portrait paintings and his ties with the Roycroft; Elbert Hubbard’s Arts & Crafts community in East Aurora, NY.
For additional information, please visit the artist's website carlahrens.com, developed and maintained by the artist's great-grand daughter Kim Bullock, and visit her Author Page at kimbullockauthor.com.
1862- Born to Herman and Isabella Ahrens, February 15th, Winfield, Ontario, Canada.
Circa early 1880’s- Studied dentistry under his uncle Alfred Ahrens. Moved to Nebraska City, Nebraska to open his own practice which was a success.
Circa mid 1880’s- Married Emily Marion Carroll and their first son was born, Carl Herman, Nebraska City, Nebraska.
1886- With little formal training, he took up painting and found his calling. He observed the methods of other painters. Within a year he gave up dentistry and the family moved back to Toronto, and he opened a studio there on Adelaide Street.
1889- First exhibition at the Ontario Society of Artists, Toronto, Ontario Canada.
Circa 1890’s- Exhibited at the Ontario Society of Artists.
1891- Exhibited at the Canadian National Exhibition. Elected Associate Painter in the Royal Canadian Academy of Arts.
Circa 1892- Studied painting under William Merritt Chase and drawing & sculpture under Francis Edwin Elwell, NYC.
1893- His painting “Cradled In The Net” was exhibited at the World’s Columbian Exhibition, Chicago, IL.
Circa 1893-95- Under his friend’s encouragement, fellow painter and mentor George Inness, Carl was told to stop taking art classes and paint what he wished to paint. So Carl took his advice, moved back to Toronto and resigned from all professional associations and began painting landsdcapes.
circa 1893-1896- Carl and his family lived just off the Ojibway Indian Saugeen Reservation (later known as the Chippewa), along with fellow artist and second cousin Eleanor Douglas (Canadian-American, 1872-1914), Ontario, Canada. 1895-96- Exhibited at the Canadian National Exhibition.
1896- Carl and his family, along with fellow artist and second cousin Eleanor Douglas (Canadian-American, 1872-1914) moved onto the Ojibway Indian Saugeen Reservation (later known as the Chippewa), located along the Saugeen River and Bruce Peninsula, near Southampton, Ontario, Canada. The family was officially adopted by the tribe and given new names. Carl was given the Indian name of Ah-sa-ba-nang (the name of the lost son), which translates to Cluster of Stars, and Eleanor received her Indian name of “Phpence” (which translated to: Laughing Girl).
1899- Met Elbert Hubbard, founder of the Roycroft Campus, who asked him to join his Arts & Crafts community and open a pottery studio, East Aurora, NY.
1900- May, moved to East Aurora, NY with their three children (Carl, Robert & Pauline) and his second cousin fellow artist Eleanor Douglas (Canadian-American, 1872-1914) and worked as a ceramicist craftsman along with Miss Douglas at the Short-lived Roycroft Pottery where he remained only for about four months. Eleanor Douglas tried to continue on without his help, but the pottery was soon dropped from the Roycroft production lines, East Aurora, NY. He later had his first one-man exhibition at the Roycroft, and remained there for about the next two years. While there he met his later wife Martha Niles, a young artist and singer who illuminated books for the book shop, whom he affectionately called Madonna.
Circa 1902-03- Briefly moved to Chautauqua, NY to help found and open an Arts & Crafts school. Moved back to East Aurora until 1905.
1905-06- Moved to New York City and was soon commissioned by Author George Wharton James (a Roycroft contact) to paint the Old Spanish Missions in California as illustrations for a book on the same subject. Due to financial losses in an earthquake, James was unable to publish the book. Studied with William Keith, San Francisco, CA.
Circa 1906-07- Carl married Martha Niles, one month before their son Laird was born.
1907- Moved back to Toronto and opened a studio. Met patron Colonel (later General) Malcolm Smith Mercer at an exhibition of Carl’s Meadowvale paintings, who agreed to purchase all of Carl’s paintings for the next three years.
1908- Daughter Penelope was born.
1910- Daughter Penelope dies one month before daughter Sigrid Ahrens was born.
1911- One-man exhibition of 31 paintings of “The Mercer Collection” was exhibited at the Public Reference Library, Toronto, Ontario Canada. Offers were made to purchase the entire collection, some as high as $100,000 from European galleries, but Mercer refused. The collection was invited to be exhibited in Belgium, the first of its kind for a North American artist by a European country, but was halted due to the start of World War I.
1912- Daughter Chloris was born.
1917- Solo exhibition by The Robert’s Art Gallery, Toronto.
1919- Carl’s painting “The Glade” was requested for an extended loan to the Glasgow Galleries, Scotland.
1920- The family moved to the artist colony in Woodstock, NY, and Carl taught landscape painting there with Charles Etherington.
1921- Family moved to Rockport, MA.
1922- Family moved back to Toronto, Canada. Taught painting at his home that he called “Big Trees”.
1923- Exhibited at the Canadian National Exhibition.
1925- Began printmaking.
1930- Exhibited at the Canadian National Exhibition.
1933- One-man show to include selected prints, Cunningham’s Studio, Hamilton Ontario, and another show in Montreal, Canada.
1935-36- Last exhibition and sale of selected works from the “Mercer Collection”. The family moved to England, an arrangement they thought would be permanent, four months later Carl suffered a series of strokes. Carl and his family returned to Galt, Toronto. Carl continued to paint until his death.
1936- Died, February 27th, Toronto, Canada at the age of 74.
Circa 1937- A “Memorial Exhibition of Selected Works” was held at the Mellors Galleries, Toronto, Ontario Canada.
1984- Exhibition of Ahren’s prints at the Kitchener-Waterloo Art Gallery, Ontario, Canada.
1995- Exhibition at Meibohm Fine Arts, East Aurora, NY.
2007- April 28th, was dubbed “Carl Ahrens Day” by the Waterloo Historical Society, Kitchener-Waterloo Art Gallery, Kitchener, Ontario. Sept. 12 - Oct. 27, exhibited, two-person show, "Friends: Andre Lapine and Carl Ahrens", The Agnes Jamieson Gallery, Minden, Ontario, Canada.
2015- June 20-Sept. 5, exhibited, two-person show, "Parallel Destines: Carl Ahrens and Homer Watson", The Dundas Museum and Archives, Dundas, Ontario, Canada.
Memberships: The Ontario Society of Artists, the Royal Canadian Academy of Arts.
Exhibited: The Royal Academy, Ontario, Canada.
Works: National Gallery of Canada and numerous public collections.
Publications: "Song of the Rapids", in the Saturday Night, October 6, 1894 issue; One Shade Brighter (Working title, previously known as The Oak Lovers), by Kim Bullock, novel is still in production for future publication.
For additional information on this artist or for other examples of his works, please visit the AskArt link
(Rewritten in parts & compiled chronologically by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY, meibohmfinearts.com)
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The women-focused Ethereum NFT collection Boss Beauties is debuting a one-of-one collection called Boss Beauty Role Models in New York City on March 8—International Women’s Day—that will become the first complete NFT collection ever shown at UN headquarters.
The original Boss Beauties NFT collection of 10,000 assets has a current floor price—or minimum “Buy Now” price—on OpenSea of 2.3 Ethereum—roughly $7,000 per asset. The project, launched in September, as of this writing ranks 123rd on OpenSea’s top NFT collections of all time, based on secondary volume trading sales.
NFTs are unique tokens that exist on a blockchain like Ethereum or Solana and indicate the token holder’s ownership of a digital or physical asset.
Last year, the UN backed a competition called DigitalArt4Climate, where artists were asked to design different climate change-themed NFTs, with the winning artworks displayed at the Climate Change Conference in Scotland.
So while the Role Models won't be the first NFTs displayed by the UN, they'll be the first female-focused collection to be featured—and likely create major exposure for works illustrated by a female artist. According to a November report from ArtTactic, an art market analytics firm, from February 2020 to November 2021 only 5% of all NFT sales went to female artists—and 16% of all NFT artists are women.
The UN began celebrating International Women’s Day on March 8, 1975, and has the stated goal achieving global gender equality by 2030. The UN is working with the consulting firm 5th Element Group to coordinate this year's event, where the Role Models collection will be displayed during a day of talks and panel discussions.
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Children's art room books and shelving
Photo by Amanda Haddow Photography
In anticipation of sharing the first reveal of 2018, our home creative art space next week, I'm sharing a sneak peek of all of our favourite books that sit on the shelves there!
You know I LOVE children's books and for this space, I wanted to include books that were both informative to the art process and also ones that we could pull out in the throws of frustration that happen throughout craft making and the creative process.
These books are ones we read again and again and I can't wait to keep adding new ones as the kids grow and get more involved in their own artistic endeavours.
For those who are wondering, yes, these books will get dirty, likely get paint on them but more importantly are used and loved. Remember to PIN the image below to save it for future reference!
12 art books for kids and children of all ages
1.// Tinkerlab; 2.// What Do You Do With An Idea; 3.// The Day the Crayons Quit; 4.// The Wonder; 5.// Beautiful Oops; 6.// Art Play; 7.// Mix It Up; 8.// Anything Is Possible; 9.// The Book of Mistakes; 10.// What To Do With a Box; 11.// Art; 12.// Art Workshop
Happy Friday friends...have a great weekend!!!
Melissa Signature.png
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See more of the story
There were moments when the construction of Minnesota’s newest museum felt more like an archaeological dig. Giant brick archways emerged from behind decades-old drywall last year as workers carved out a sculpture court to greet visitors to the Minnesota Museum of American Art.
“Nobody knew they were there,” Executive Director Kristin Makholm said of the arches. “They were totally hidden behind walls.”
It was just another surprise on Makholm’s journey as she transformed the nearly 130-year-old Pioneer Endicott buildings — and her once-moribund museum — into a 21st-century art venue.
After a year of work, “The M” will reopen in St. Paul with kickoff parties Saturday night and Sunday. Visitors to the buildings, designed in part by State Capitol architect Cass Gilbert, will experience a new ground-floor gallery, a multiuse art studio and the work of New York-based artist Sheila Pepe, whose spiderweb-like fiber art now hangs in the two-story-high courtyard.
It’s a moment to savor for an institution that has been buffeted by crises for a quarter-century.
When Makholm took over in 2009, she was the M’s only employee. The museum was homeless and heavily in debt. Some questioned whether it could survive.
Like her construction workers, Makholm has had to sift through a complex history.
“We’ve had many homes in the past,” she said. “But this is our last permanent home.”
A Minnesota treasure
In fact, the M has inhabited 13 locations since its inception in 1894.
Nearly as old as the buildings it now occupies, the museum holds a special place in the history of St. Paul, and the state.
“I believe it is the longest-standing cultural institution in Minnesota,” said Joe Spencer, president of the St. Paul Downtown Alliance and former director of arts and culture for the city of St. Paul. “They were incorporated before the Minnesota Orchestra, which often claims that title.”
(Actually those bragging rights belong to the Minnesota Historical Society, founded in 1849, when the state was still just a territory.)
Originally launched as the St. Paul School of Fine Arts, it later added a gallery, then began building a permanent collection.
The museum has had something of a nomadic existence since the 1960s, inhabiting no fewer than five buildings in downtown St. Paul. When Makholm came aboard, it had just lost its lease in the former West Publishing complex perched along the river bluff.
Determined to bring about a resurrection, she developed a strategic plan while keeping the museum in the public eye with a series of pop-up shows around the state.
The M found its new home after a developer bought the Pioneer Endicott buildings in 2011. He planned to convert it into apartments but needed signature tenants to anchor the retail space on the bottom two floors.
The museum established a small “Project Space” there and began staging exhibitions in December 2012. It was open only a few hours every week, but it was a start.
That two-year lease led ultimately to a $23 million project, with design work by the Minneapolis architectural firm VJAA.
This weekend’s events are just the first act in the museum’s rebirth. Only about 50 works from its 5,000-piece collection are on display, according to curator of exhibitions Christopher Atkins. Phase two, scheduled for 2020, will nearly triple the amount of gallery space.
The M is positioning itself as not just a museum, but also a space for community engagement and learning. Although founded as a school, it abandoned its educational component in the early 1990s as it cut staff following the collapse of a fundraising campaign to build a new home.
Arts education once again will be front and center at the new M, with the Josephine Adele Ford Center for Creativity offering classes for both adults and children. In December, people can learn how to paint portraits from Twin Cities artist Leslie Barlow or make clay flutes with ceramicist Xilam Balam.
“The beautiful thing of having classes within the museum is that you have artists who are really excited about connecting to what is in the galleries and bringing it into what they are teaching,” said Atkins.
A time to party
Sunday’s opening party will include a ribbon-cutting at noon, live music at 4 p.m. by Lady Xok — the M’s first artist-in-residence, Rebekah Crisanta de Ybarra of the indigenous-run Twin Cities collective Electric Machete — performances all day by dance collaborative SuperGroup, and hands-on, all-ages activities with artists Carrie Thompson and Aki Shibata.
Duluth artist David Bowen will inaugurate the museum’s Window Gallery facing Robert Street with the light installation “Wave Line.”
The M has already slated upcoming 2019 exhibitions including “The Good Making of Good Things: Craft Horizons Magazine 1941-1979” with the American Craft Council, and “Brad Kahlhamer: A Nation of One” by the New York-based artist whose work explores the intermingling and contradictions of American culture and identity and his own “tribally ambiguous” background.
Recently the M was approached by Mizna, a St. Paul-based organization focused on promoting Arab-American culture, about presenting an exhibition of 21st-century Arab and Arab-American artists. Atkins is now planning “History Is Not Here: Art and the Arab Imaginary” with curators Heba Amin and Maymanah Farhat.
“People have come to us,” said Atkins. “They see us living our mission. To have folks reach out to us has been very affirming.”
The museum’s various spaces straddle the 16-story-high Pioneer Building, built in 1889 on the corner of Robert and 4th streets, and the L-shaped Endicott, built in 1890 and designed by Gilbert to wrap around its neighbor.
The spaces are connected by what used to be an alley, used as a loading dock for trucks. It shows traces of the building’s history.
“Those used to be exterior walls,” said Courtney Gerber, curator of learning and engagement, pointing to scratches in the brickwork. “People would write their initials into these walls.”
Nearby, the construction team discovered a giant iron vault (the building was a bank at one point).
It is this history that Makholm believes adds to the complexities that is the M.
“This makes a way more interesting art museum,” she said in the former alleyway that is now used to display works from the collection, including a new piece by Rochester artist Judy Onofrio.
“We are standing in an originally outside space that is now an inside space. It has been really great to play with the old and the new, and that’s what the art is about, too: the contemporary and historic, and bringing those together.”
612-673-4437 • @AliciaEler
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New Studios! New Schedule!
On Saturday, April 29th, Broadway Dance Center celebrated the opening of its new studio space – including two floors, a large marley-floored studio, a tap studio, and a bigger retail store.
With this additional space, BDC is thrilled to be able to offer many more classes, teachers, and styles of dance – Zumba, Partnering, Body Percussion, and more!
The “Grand Opening” party welcomed BDC faculty and staff to mix and mingle in the new space. Additionally, the night included performances from BDC’s Children and Teen Program, International Student Visa Program, Professional Semester, the hit TV show “Smash,” and Parsons Dance Company.
“It’s so nice to have more space, not to mention, have many more classes…especially tap, which up until now, we weren’t allowed to offer until after 5pm. The studios are beautiful, very well designed, and have their own nice touches. From the colorful lighting in Studio A, to the cubby holes, to the columns, which many of us have lovingly nicknamed ‘Big Ben.'” – Annie Ellersten (Work Study)
“It’s a fun addition to the already-fabulous studios. I love the floor, it makes barefoot dancing so smooth. And having the countless new classes is awesome!” – Katherine Boese (Professional Semester)
“I am absolutely thrilled that BDC has expanded. The new studios are beautiful and the additional space is wonderful. Additionally, I consider myself very fortunate to manage such a beautiful retail store surrounded by students eager to dance in the new space. We are proud to call this studio ‘home.'” – Lizz Picini (Retail Store)
Check out all of the added classes here!
Defining “Dance”
Early this year I attended a performance by Parsons Dance Company at the Joyce Theater in SoHo. David Parsons’ choreography fuses modern dance technique and awareness with theatrical charm . The concert included older Parsons repertoire as well as two world premieres, thereby exhibiting both the evolution of the company’s work and the traditional Parsons aesthetic.
However, I noticed that the joyful spirit and fluid composition of the Parsons repertoire was somewhat disconnected from the middle piece, “A Stray’s Lullaby,” choreographed by Katarzyna Skarpetowska (former Parsons dancer, freelance choreographer, native of Warsaw, Poland). This guest-choreographed piece, which seems to illustrate the struggle of laboring families during the time of the Dust Bowl/Great Depression, reminded me of John Steinbeck’s “The Grapes of Wrath.” The work is staged on four dancers, two male and two female, and includes either a solo or duet that essentially “tells” each dancer’s “story.” An article in the New York Press explains,
“‘A Stray’s Lullaby’ is an intimate work, set for four dancers who portray down and out characters on the margin of society. Their journey is a personal one and presented without comment, yet it is clear they are on a quest for salvation. Their stories are the rich and wise examples of our own vulnerable natures. The piece offers no clear solution, it only opens a window on the way we face our private demons and how we strive to improve our human condition.”
This storyline clearly breaks away from Parsons’ own choreographic motifs: circularity, love, joy, etc. Yet, what struck me the most about “A Stray’s Lullaby” was the first solo of the piece, performed by Christina Ilisije. Ilisije, dressed in dreary beige slacks, a cream tank, and black lace up shoes, “danced” to a song with a twangy singer, strumming banjo, and rather dismal lyrics. She maintained a strict diagonal plane of movement across the stage and often repeated a phrase of traveling movement, as if struggling to get from one side of the stage to the other. While the first work of the evening, “Round My World,” incorporated fluid, circular, natural movement from the dancers, this piece required Ilisije to contort her body in order to create intense, twisted, and harsh choreography. The New York Post describes, “The foursome moves unsteadily at first to traffic noises that change to scratchy-voiced blues. As the lights change from golden to a smoky haze, one woman dives and claws her way through.” Ilisije contorts her limbs into uncomfortable shapes (both for her and the audience watching), falls gawkily, and limps across the stage by literally dragging her legs.
I was surprised that in my online research of “A Stray’s Lullaby,” I could not find any articles or reviews that really critiqued the movement of the piece, as it is so unusual and disturbing, but also beautiful at the same time. From my cheap seats in the side balcony, I scanned the audience to notice their reactions. No one was ruffling through their programs or checking their text messages on their phones. No one coughed or mumbled to their neighbor either. The entire theater was completely attentive and engaged with the solo performance, admiring the juxtaposition of beauty and deformity within one dancer.
The hamster wheels in my mind began to race. Why is it that this onstage soloist depicting unnatural bodily movement is admired while everyday men and women who are born with or develop such movement styles are not? Why is a limp so intriguing and innovative onstage but so unsettling and awkward on the sidewalk? Why is it acceptable to watch this movement onstage but it is disrespectful to stare in real life?
These are the very questions that Heidi Latsky asked herself when she began creating The GIMP Project back in 2008. The work is performed by both physically-abled and disabled dancers and confronts audiences’ preconceptions about about art and performance.
GIMP is a word we’re taught not to use as we’re taught not to stare at people who have physical disabilities.
GIMP also means ‘fighting spirit’, ‘interwoven fabric’ and ‘trembling with ecstasy”- definitions that are at the heart of the work.
GIMP examines the uncompromising ways we are often identified or defined by our physicality.
GIMP challenges the notion of beauty as a standard artifact of “photo-shopped” perfection with a tangible sensuality, a touch of voyeurism and a new frame of reference as both performers AND audiences are acutely aware of being watched. (The GIMP Project press kit)
“GIMP is without doubt a gleaming milestone in the progress of contemporary dance and theater, proving that the term ‘disabled dancer’ is an oxymoron.” – Dance Magazine
Various dance styles preach precision, sameness, technique, and ideals of perfection. But the question is – do these standards actually limit dance as an art form?
Heidi Latsky Dance envisions a society where:
• all bodies are recognized as viable, fascinating and expressive instruments;
• difference is upheld, not feared;
• increased understanding and communication take the place of isolation, alienation and lack of contact;
• people learn to “live in” their own skin and do not detach from their bodies because of external and internally assimilated judgments and conventional standards;
• one is encouraged to “own” one’s body, value it and use it to be expressive and truthful in ways that are empowering, enriching and unique;
• a strong work ethic is valued and implemented;
• and a high standard of excellence is not only desired but is achieved through sustained work and focus.
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Welcome to Alw2aad Q&A, where you can ask questions and receive answers from other members of the community.
Photography Advice For Novice And Professionals Alike
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All of us have a narrative to tell, and an increasing number of everyone is turning to photography being a tool for either self-expression or recording the important moments in everyday life. As a science which includes grown and changed considerably together with the advance of technology extreme lightning, it is very important stay informed with tips from those people who are experienced and knowledgeable in the field.
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Have a few pictures of vacation souveniers out of your trips. You may take pictures from the places you are making your purchases, or snap photos in the souvenirs in other interesting places. This will enable you to build a story behind the objects you bought as souvenirs that you simply will like when you go back home.
Make use of the right lens to do the job. In case you are photographing a landscape, by way of example, you want a wide-angle lens that allows you to capture all the of your scene as you possibly can, while sports events generally call for a telephoto lens that allow you to capture faraway players in high detail. Being aware of what lens to decide on can make it much better to produce quality photos.
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The key to taking good photographs is usually to remember that lighting is the most essential thing. Take into consideration lighting on a regular basis. It does not matter what the source of the lights are, but it is the elemental part of any photograph. Make use of the sun, a streetlight, a spotlight or perhaps the computer screen to capture any light and make up a great photograph.
Tend not to shoot entirely daylight. You might find some good of the best photos by using an overcast day. The bright sunlight can cause overexposure, lack of detail and terrible shadows. Shoot at dusk or at dawn on days which are not cloudy for optimum contributes to your photos.
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If you are searching to further improve your photography skills, you ought to start by investigating the art of proper composition. Bad composition can change an otherwise-great shot into something which doesn't seem quite right. After you have done the research into composition, practice putting it to utilize and after some time you will find that your images have improved greatly.
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An excellent rule of thumb with regards to choosing settings on the camera is to find the top quality settings that consume more space on the memory card. The reduced settings will never provide for quality printing, especially if you would like enlarge them. When shooting at a high res, you can lower it later for sending via email or displaying online.
If you are shooting photographs inside a florescent light setting, be sure that you adjust your camera's white balance settings appropriately. Fluorescent lights emit blue- or green-tinged light, leaving your subjects looking too cool. The right setting will compensate for the red tones that your lighting environment lacks.
Buying quality equipment is a must if you intend on doing photography for virtually any substantial amount of time. The emblem name is just not as important as the functions available on the digital camera.
An incredible photography tip that will help you would be to only show people a sample of the work when you're searching for a critique. Don't just dump an enormous assortment of photographs down because no one wants to invest time going through them. Pick your very best photographs.
There are occassions when the lighting cannot give you the right try to find an outdoor picture. Sometimes, it is not easy to locate a more desirable area for this sort of photo. In this case, where do you turn? Use photo editing software to further improve the lighting components of the photograph.
When photographing birds or another easily frightened animals, take advantage of the zoom feature on the camera. Remember that they will usually have a nest with offspring nearby. As a way to deflect attention from your nest area, birds will almost certainly fly away in the slightest noise. If you have an SLR camera together with the ability of changing lenses, use the best zoom which you have to acquire multiple shots before being detected by the subject.
Hopefully, the information that had been provided gave you some pointers that will assist you to boost your photography skills. You now are generally more prepared. In a short time, you'll be shooting similar to a pro!
asked Jan 22 by ggregths49 (2,180 points)
8 Answers
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answered Jan 30 by seocostsuk (2,960 points)
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Blog - Reflections on the Bodily Undoing Symposium
Dance artist Ailsa Richardson recently attended the Bodily Undoing symposium at Bath Spa University, with support from Theatre Bristol as a TB Agent. In her blog she reflects on the symposium and the 'language of grasses' workshop she facilitated there, which she will be running later this month in Bristol.
in the language of grasses
we become the hearts of nomadic birds
Reporting back from the symposium
Bodily Undoing – Somatic Activism and Performance Cultures as Practices of Critique
Held at Bath Spa University 15th 16th September 2017
I attended a variety of workshops, lectures and dialogues chosen from a very full programme (in most time slots there were 4 or 5 choices!). This is a response to my own journey through the programme and an interweaving of some specific aspects that resonated with my practice. It is not exhaustive any way – if you are interested in the programme it can be accessed in its entirety here.
No Description
One of the key questions for the symposium was how somatics and affiliated transdisciplinary arts practices can challenge and disrupt the dominant ‘social imaginary’ (Castoriadis). And in turn, how can these approaches operate as practices of critique that might contribute to an alternative social imaginary or way of world-making? Glenna Batson suggested that this social and capitalist imaginary is dominated by a neo-liberal culture of uncertainty (Morie, 2011), promoting widespread anxiety and fear and a commodification of our attention on many fronts. One of the threads through the conference for me was this idea about how our attention is controlled and how this control might be undone, disrupted and changed by artistic practice.
I had printed recently on some publicity cards the quote “culture is the formation of attention” (Simone Weil) and this idea is an ongoing area of fascination for me in my practice. This very same quote appeared in Nina Little’s keynote and more widely in the symposium, ‘attention’ was referred to as the attention to both the wider societal and political context and the attention to a more intimate realm of self-care and of how we de-traumatise ourselves and support, sustain and take care of each other and the environment we are part of. Noyal Colin and others took care to note how an emphasis on vulnerability and personal change is in part being currently played out as a cult of individuation and a ‘yogic state of capitalism’. This is just one example of the way attention is being commodified and packaged in a way that closes off other ways of attending to the wider socio-political context.
In her session on re-embodying leadership Ali Young reminded us of Margaret Wheatley’s alternative models of leadership, and of the necessity to create “islands of sanity” (implying some of the dominant and less than sane worlds that we inhabit!). These islands of sanity might present places to deal with past and current conflict, to be vulnerable and acknowledge feelings of fear and disconnection as well as joyful celebration. This is something that Movement Medicine practice can offer (both Ali and I are teachers of this work) and the short practice session that Ali ran offered such a place to feel and be present with each other. Alex Komlosi also offered another kind of ‘island of sanity’ in a workshop where we were invited to ‘dialogue with our inner partner’ in a structure of solo improvisations and feedback. This presented some rich possibilities for developing what Alex referred to as performative and psycho-somatic fitness.
We also heard from Rita Marcalo in her keynote about her project ‘Dancing with Strangers’. Through a residency and a series of workshops Rita created dance duets with refugees at the camp. Recordings of how to re-create the dances and music to accompany them were made by the same refugees. These dances were then shared via headphones with members of the public at events and festivals where they are invited to re-embody one of the dances as a duet with Rita (https://dwsfromcalaistoengland.tumblr.com). Her stories about working with refugees in The Jungle at Calais were a stark reminder how the goalposts can constantly shift when attempting to create ‘islands of sanity’ in the midst of insane chaos. She experienced constant interruptions to the work including a full-scale riot. Rising above the chaos came an image of a piece of graffiti from the jungle: We borrow the hearts of nomadic birds who don’t recognize borders. I observed extreme displacement and extreme joy held in Rita’s work and the ability of her practice to hold these extremes.
No DescriptionThe Dancing with Strangers project seemed to be an illustration of the proposals made by Noyale Colin in her presentation about the persistence and resistance that somatic dance practices can pose to a contemporary neoliberal agenda. The Dances with Strangers create sites of resistance that exist as performances of self-organization; we experience dances that are at odds with the situation, or are created despite it as small acts of protest. In the re-embodiment of the dances they become practices of connectivity which have the ability to shift and change and in the repetition of them, to persistently search for new ways of being together. Massumi calls such practices a search for ‘flows of disturbance’ – and resonating with this though not referring to Massumi directly, Nina Little talked in her keynote about presence as a disturbance. In a walk around the grounds with Richard White we became increasingly present of the disturbances of history evident in the landscape of the conference venue. The money to create the rarified and manicured estate of Newton Park (now owned by the Prince of Wales) was deeply embedded in slave trading in Bristol. Witht this knowledge this centre of white privilege becomes a continuing disturbance and Dancing with Strangers troubles the edges of our understanding, disturbing our expectations of the ‘other’ and of dance. There is also the possibility of coming into presence together in the sharing of the dance. Noyale also acknowledged the need for enjoyment and ease too and how these can spring from being together, even in these ‘flows of disturbance’. New cultures of being together can spring from this change in attention and move toward a continued resistance to the monopolization of bodies and behaviours.
Nina Little asked in her keynote “Who gets to be Human?” (a question posed by Rosie Braidotti) and she is pointing here toward an awareness of the increasing erosion of aspects of our humanity and to who has access to power and human rights. Suggested also by the question is the denial of rights to non-human organisms on our diverse planet. In addition, another question arises : how do we define what is human anyway when our bodies are made up of so many materialities, bacteria, parasites etc.?
The workshop I offered at the symposium is one response to the challenge of this question. The language of grasses workshop opens up the possibility to stretch toward the more-than-human environment for responses to a question, and enable a new kind of response-ability. I draw in part on BodyWeather practice for this. BodyWeather is an exploration of the ‘in-between’ of bodies: in-between body, mind and imagination; in-between the material of the body and the material of the surrounding environment. Inter-relationship is key and the meeting between outside and inside, often by actively engaging the imagination, is the central investigation. I received many rich responses from the participants in the workshop and many were deeply affected by the experience. I was very glad for that and at the same time I was struck by how many participants were quick to read stories and metaphors into their observations and experience. The practice of BodyWeather is more concerned with observing experiencing qualities, densities, rhythms and speeds – which leads to a more abstracted movement or textual ‘language’ that in turn infers multiple meanings.
The language of grasses is multiple - the site and nature of grass does not pass unmarked and is not a blank slate for a single story to be read into … it can be thriving, dying, juicy, smooth, dry, cut, light, floating, flowering, budding, dew laden, and the sight of hundreds of greens, browns, the sounds of wind and rain and the scents of time. And that is just the start of it …
No DescriptionIn a longer workshop I would spend more time with the BodyWeather practice so that this different aesthetic and language can be drawn upon in more detail. Of course metaphor and story are relevant and powerful, and at the same time there is a possibility to interrupt this to open up attention further. Many of the key propositions in the symposium revolved around disrupting and undoing some of the assumptions and expectations that have become embedded in somatic practices, their languages and ways of moving and creating. We need to remain alert to our own neo-liberalism and the ease with which practices and places become controlled commodities in ways that we didn’t intend. As artists of all disciplines this is a call to keep disturbing the edges, de-blocking the poles and allowing the entangled disturbances of difference to be present and central to our practices. Attending to the so far invisible, to intra-action with our environment and interspecies collaborations can be one part of discovering the ‘flows of disturbance’. Artistic practice can indeed become in this way, as suggested in the title of the conference a ‘practice of critique’.
We don’t know what attention can do and that is the start of an adventure with consequence … discovering what attention can do is the dance we are doing … be fearless in this action (Nina Little)
I will run another workshop for artists/dancers/performers on November 11th exploring imagination and perception and taking a troubling question for a walk. I am also looking to gather people to explore the next phase of in the language of grasses with me. The workshop will draw on BodyWeather practice – see my website www.ailsarichardson.com or the Theatre Bristol listing for more information.
Please contact me about the workshop, performance or any aspect of my work on [email protected]
There is a fee for the workshop but artists registered with Theatre Bristol will be given priority and a special rate.
Ailsa Richardson
To find out more about how our TB Agents scheme, and how you can apply for a bursary to attend a professional event or conference, please visit our TB Agents page. Our next deadlines are 20th November 2017 and 19th February 2018
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Tips and Tricks on Using UE4
Tips and Tricks on Using UE4
Creative Bloq has recently published a beginner’s guide to working in Unreal Engine 4.
Creative Bloq has recently published a beginner’s guide to working in Unreal Engine 4. We all know that the Epic’s engine is capable of generating mind-blowing results, but mastering its techniques is not an easy task. Alex Dracott has prepared a list of 25 tips that will help you set up your first high-quality scene.
Here are 5 tricks from the article to get you interested:
Detail diffuse and normal overlays
Secondary textures increase the material detail
Because you can customise texture UV tiling rates you can increase the details of a material by blending in
a secondary set of textures, usually diffuse or normal maps, then tiling them at a higher frequency on top of base textures. Diffuse detail can be applied with various techniques, such as the Overlay Blend Function, while detailed normal maps can be applied by adding the red and green channels to the base as normal.
Texture blending in materials
Epic is packed with useful material functions
Want to combine textures in the material editor but only familiar with Photoshop’s blend modes? Epic has it covered. Along with many useful material functions, they included the majority of blend modes that all Photoshop users are familiar with. From Overlay to Linear Dodge, they can be found in the Palette window inside the Material Editor. They can be particularly great for adding detail and variation to your materials.
Knowing your light types
4 different light types can be used
Unreal offers four different types of lights to use in the environment: Directional, Point, Spot, and Sky light. Directional lights are great for outdoor areas or any kind of extreme singular light source. Point lights are omni-directional and Spot lights are similar but have their limits defined by a cone. Sky lights can be used to add ambient light to your environment by capturing distant parts of your map. They also support custom Cubemaps.
Adding environment fog to your scene
Unreal 4 provides a fog alternative to particle effects
While close up fog can always be created with particle effects, Unreal 4 offers two other ways to add fog to your scene. AtmosphericFog reacts to directional lighting angles and intensity to create fog based on actual scattering of light in the atmosphere. Exponential HeightFog gives a bit more colour control and allows you to add a simpler fog effect that becomes less dense in higher parts of the map and denser in lower parts.
Creating clever light shafts
‘god rays’ can be created in a variety of ways
Light Shafts or ‘god rays’ can be a powerful visual tool and are created by particles in the air being lit by specific light sources. In Unreal 4 they can be created in a few ways. The most common way is by enabling them from the properties of a Directional light. They can also be made using geometry and clever materials. Epic’s blueprint example project contains a good example of how someone could go about doing this.
Alex Dracott
Make sure to check out the full guide here
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Tips and Tricks on Using UE4
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#f7f5fb Color Information
In a RGB color space, hex #f7f5fb is composed of 96.9% red, 96.1% green and 98.4% blue. Whereas in a CMYK color space, it is composed of 1.6% cyan, 2.4% magenta, 0% yellow and 1.6% black. It has a hue angle of 260 degrees, a saturation of 42.9% and a lightness of 97.3%. #f7f5fb color hex could be obtained by blending #ffffff with #efebf7. Closest websafe color is: #ffffff.
• R 97
• G 96
• B 98
RGB color chart
• C 2
• M 2
• Y 0
• K 2
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#f7f5fb color description : Light grayish violet.
#f7f5fb Color Conversion
The hexadecimal color #f7f5fb has RGB values of R:247, G:245, B:251 and CMYK values of C:0.02, M:0.02, Y:0, K:0.02. Its decimal value is 16250363.
Hex triplet f7f5fb #f7f5fb
RGB Decimal 247, 245, 251 rgb(247,245,251)
RGB Percent 96.9, 96.1, 98.4 rgb(96.9%,96.1%,98.4%)
CMYK 2, 2, 0, 2
HSL 260°, 42.9, 97.3 hsl(260,42.9%,97.3%)
HSV (or HSB) 260°, 2.4, 98.4
Web Safe ffffff #ffffff
CIE-LAB 96.838, 1.726, -2.649
XYZ 88.42, 92.044, 104.37
xyY 0.31, 0.323, 92.044
CIE-LCH 96.838, 3.161, 303.086
CIE-LUV 96.838, 0.77, -4.427
Hunter-Lab 95.94, -3.385, 2.658
Binary 11110111, 11110101, 11111011
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• #f6f6f6 Achromatopsia 0.005% of the population
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more about marga comas interior design?
Follow us on these Soc. Networks.
11 Very spacious
and bright
single-family houses
Cala Vinyes
Hand over Phase 1:
Hand over Phase 2:
The Nest Homes
SCT estudio de arquitectura
In Cala Vinyes, in the Southwest of Mallorca, stands this spectacular residential complex with 11 independent houses with a private pool.
The materials come together and complement each other perfectly.
Different types of stone and wood…, quarterings of different sizes in the stone pavements, interior walls of lime mortar with very neutral and calm colors, kitchens very open to the rest of the house, which become part of the living room… Everything framed in a very peaceful and calm atmosphere.
An architecture and
an interior design that
fit very well with the
Mediterranean; with its
touches of clay,
its natural materials,
its transparencies…
The architecture also has a lot of character.
And the latticework on the upper floor envelops each home in a very special aura, providing privacy as well as great views.
share this project
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Thursday 29 June 2017
Sadler's Wells: the power of dance to shock
In this exclusive extract from her new book about the recent history of Sadler's Wells, Sarah Crompton explains how the theatre rekindled the pioneering flame of Diaghilev.
Faun: a scene from Sidi Larbi Cherkaoui's contribution to In the Spirit of Diaghilev at Sadler's Wells
Faun: a scene from Sidi Larbi Cherkaoui's contribution to In the Spirit of Diaghilev at Sadler's Wells Photo: Tristram Kenton
The year 2009 marked the centenary of the founding of the Ballets Russes, one of the most significant moments in 20th-century art. It was an anniversary that prompted a great deal of musing about how it was that Sergei Diaghilev, an ambitious and talented young impresario, had managed to create a dance company that changed the world. He did so almost by accident since he intended to bring a season of Russian opera to the West in 1909 and only changed tack when one of his wealthiest backers pulled out. Thanks to the fact that ballet was cheaper, he switched art form and an influential legend was born. It is one thing though to recognise that Diaghilev’s achievement was extraordinary, quite another to know how to celebrate it, particularly since part of the importance of Ballets Russes was its shocking novelty.
Sadler’s Wells decided to celebrate Ballets Russes by concentrating on the courage and vision behind the works the company performed. Diaghilev’s starting point for the 20-year blaze of brilliance that his company represented was to ask whether it “would be possible to create a number of short, new ballets, which, besides being of artistic value, would link the three main factors, music, decorative design and choreography far more”.
It was that collaborative attitude that Sadler’s Wells would try to replicate so the theatre’s artistic director Alistair Spalding commissioned four choreographers to work with leading designers and musicians on four entirely new pieces for an evening called In the Spirit of Diaghilev.
Each of the choreographers – Wayne McGregor, Russell Maliphant, Sidi Larbi Cherkaoui and Javier de Frutos – approached the commission from a different standpoint. For Dyad 1909, McGregor took a sidelong look at the project. Noting that the polar explorer Ernest Shackleton found the magnetic South Pole in the year that Ballets Russes was founded – and that a plane flew over it 20 years later, when Diaghilev died – he decided to make an Antarctic-flavoured piece marking that period of scientific endeavour. He was working with a new score from the Icelandic composer Olafur Arnalds, and designs by the artists Jane and Louise Wilson. Cognitive scientists from California were recruited to help him examine the nature of collaboration itself.
For Russell Maliphant, the appeal of AfterLight was that, “I was dying to do something simple, just with movement and light and one dancer.” Faun, the contribution of Cherkaoui, used the original Debussy music, but the choreographer chose to disrupt it with a new score from Nitin Sawhney. The resulting duet, which had costumes by Hussein Chalayan, was inspired by Nijinsky’s bravery. “As an artist he had an absolute vision of what he wanted to create and then he faced the results from the audience. It must have really hurt him,” Cherkaoui said.
Those words proved prophetic when it came to the final commission from de Frutos. Well-known as a provocateur, and famous in his youth for dancing nude, de Frutos set out to create a scandal. Taking Jean Cocteau as his starting point, and the music of Ravel’s La Valse – rejected by Diaghilev as “not suitable for ballet” – he created a piece called Eternal Damnation to Sancho and Sanchez. “Nothing you can do today would be scandalous anymore except for annoying the Catholic church. So that is my target.”
Spalding failed to see the storm clouds coming. “When we saw the run-through we didn’t think it would cause the controversy that it did.” But perhaps no one could have predicted the scenes when the work was premiered on October 14 2009.
In front of Katrina Lindsay’s priapic pink designs and underneath a neon sign saying “Amuse me!” – one translation of Diaghilev’s words to Cocteau – de Frutos had set a horror story with a hunchbacked pope, pregnant nuns and horny priests, mouthing obscenities and performing grotesque acts. The choreography was eloquent, but the piece was vulgar and deliberately offensive. People stormed out, and at the conclusion – where the pope was electrocuted, after one of the nuns had been garrotted with her own rosary – boos filled the auditorium.
Javier De Frutos’ Eternal Damnation to Sancho and Sanchez (Tristram Kenton)
In retrospect, Spalding believed that part of the problem was one of expectation; people did not imagine they would witness something so shocking at the conclusion of what was effectively a tribute evening. He felt, however, that the controversy was totally in the spirit of Diaghilev. But the reaction had repercussions.
The vehemence of the response took de Frutos aback. The BBC pulled out of broadcasting his segment of the bill in a pre-watershed slot on BBC Four and he received death threats which, he said, “affected my health greatly”.
“There is no such thing as great art that is safe and appeals to all,” Spalding argued. “I believe that part of the furore over Javier’s work and its ability to shock is that no one realised that a piece of choreography could do this. Most take the view that dance is a rather effete art form that deals only with truth and beauty. The reality is that dance is often disturbing, ugly, confrontational, violent and sometimes sexually explicit.”
What the row proved categorically, and rather gratifyingly for those who cared about its future, was that dance could still ruffle feathers. It wasn’t all pretty girls in tutus, it was, as in Diaghilev’s time, worthy of its place at the centre of the cultural debate.
With its in-your-face shock tactics, de Frutos’s Damnation was also an extreme example of Spalding’s belief that part of the function of Sadler’s Wells as a commissioning house had to be its willingness to allow creators to experiment – and sometimes to fail. “There will always be those pieces that aren’t quite as successful as others but if they are done with the right intention and integrity then you will learn as much from them. You have to have faith that everything is going to work but then you have to have the possibility of putting it into perspective when it doesn’t and to be mature about that.”
In the Spirit of Diaghilev represented exactly the creative freedom that Sadler’s Wells had been trying to encourage in that it gave all its participants a chance for self-discovery. In the case of Russell Maliphant, it laid the foundation for another astonishing work. His AfterLight (Part One) was inspired by photographs of Nijinsky, by the extreme plasticity of his rounded arms, the way his body seemed to fall into sculptural shapes, and by the spirals that he drew as he descended, at the height of his success with Ballets Russes, into schizophrenia. But it was also informed by the interest in the working of light on stage that Maliphant and the lighting designer Michael Hulls had explored throughout their careers.
This was a work that would never have come into being without the initial commission from Sadler’s Wells. “You usually wouldn’t have the freedom to make a 15-minute piece; to get project funding you have got to make a full evening’s work,” Maliphant explained.
McGregor’s award-winning UNDANCE, too, had its distant origins in the In the Spirit of Diaghilev night – though the seed that was planted was from an experiment that did not entirely succeed. As another associate artist Akram Khan had noted in a different context, “the pieces you should hold closest to are the ones you fail with”.
He was talking about the way that works can be developed with the best intentions and hold great potential, but then go wrong. If you can recognise why that happens, he argued, it helps you to grow as an artist. McGregor agrees. “What is a bad piece? Is it bad for the artist, or is it bad for the person watching? A bad piece can actually be the most important piece you make.”
In making Dyad 1909, a work that was warmly if not ecstatically received, he discovered that the challenge of working with the Wilson twins was that they rarely agreed with each other. “They are brilliant and that is interesting for their work when there’s just the two of them, but it’s quite hard when you’re working with five people.” The result was that they presented him with a set containing multiple projections, when he expected only one. In a discussion of this, before the premiere, he quoted Merce Cunningham: “When you go out into the countryside and you see a tree, you walk around it. You don’t wish it wasn’t there.”
In McGregor’s case, the experience of working with film precipitated an interest in its effects on stage. This led to UNDANCE, a bold collaboration with the composer Mark-Anthony Turnage and the artist Mark Wallinger.
Wayne McGregor, Mark-Anthony Turnage and Mark Wallinger's 'UNDANCE' (Ravi Deepres)
What was unusual about the UNDANCE triumvirate was that they were all artists of equal star-power, pre-eminent in their different fields. Different too, was the way Wallinger took the lead. “I thought if I am going to have any meaningful role in this process, I am going to have to be the instigator in some sense,” he said. He presented the group with a little book, like a conceptual artwork in miniature, in which he outlined a group of interwoven thoughts. Turnage, meanwhile, went away and produced his own, entirely separate response to Wallinger’s propositions.
When the three strands of thought came together on stage in December 2011, it was obvious that a certain alchemy had been at work. The dancers of Random, in flesh-coloured costumes which recalled Eadweard Muybridge’s nude figures, enacted a series of action verbs: skipping, throwing, and jumping. Behind them, on a replica of the grid, a film of the same dancers played slightly out of sync; at one point running in the opposite direction to their steps on stage, making them appear to push through time itself. Turnage’s stirring score, in eight movements, added to the rich brew.
This airily beautiful yet deeply thoughtful piece sprung not only from Spalding’s policy of creative commissions, but also from all that had gone before it, not least the films in Dyad 1909. If you look back over the history of dance, this is often how it works. When people talk of Diaghilev commissioning Picasso, it is easy to forget that one of the results was Parade – a silly Cubist sensation, quickly forgotten. When we talk of Balanchine’s Apollo, one of the pieces that still dazzles, it is important to remember that in the same 1928 season the Ballets Russes premiered, with equally high hopes, Massine’s Ode, which was a flop.
In the same way, when Ninette de Valois laid the foundations for the British repertory, she actively advocated deliberately dropping a couple of works at the end of each season to clear the way for novelty.
Yet dance makers in modern times are under enormous pressure only to make works that will replicate the success they have had before. Bogged down in funding applications, worried about finding audiences and filling theatres, they can end up frightened to take risks. In promoting a spirit of adventure, advocating imaginative matchmaking between different disciplines, and finding enough money and resilience to ride the disappointing results as well as the successes, Sadler’s Wells is making a great contribution to dance in the early 21st century.
As critic Luke Jennings remarked: “If anyone can lay claim to the fur-collared overcoat of Sergei Diaghilev, it is probably Alistair Spalding.”
Sadlers Wells: Dance House by Sarah Crompton (Oberon Books, £25) is available to order from Telegraph Books at £18 + £1.35p&p. Call 0844 871 1514 or visit books.telegraph.co.uk
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Animation World
Cinematography: Squash and Stretch
November 21, 2021
Cinematography: Squash and Stretch
Our professional appointment with the Cinematography in Animation Industry today brings us a classic among animation techniques: Squash and Stretch.
In addition to the new techniques, programs and ideas aimed at the future of animated industry productions, it is also important to take a look at the principles that govern these productions. And Squash and Stretch is one of the main ones we explore today.
It is no secret that the 12 Principles of Animation are the foundation for every work of an animator. These principles are like a real language with which it is possible to understand how this industry works.
Introduced in the book "The Illusion of Life" by Frank Thomas and Ollie Johnston, these 12 principles have since been considered the roadmap to excellence for both aspiring and for veterans of animation, whatever technique is chosen.
Among the various tutorials, more or less long and explanatory, we propose two very simple and intuitive ones: the first shows the 12 principles in a tutorial created by the animators of Brown Bag Films using, obviously, a brown bag.
In the second, however, DevaMotion shows us how a simple animation is made that includes Squash and Stretch in stop-motion animation using Claymation, step by step.
A video shot in 45 minutes and with a post-production of about an hour, for an animation of about five seconds and a total video of two minutes.
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May projects and (art) happenings.
April 30, 2014
I am SO excited for the merry month of May...!
Not just because of mine and mummy's feature in Malaysia Tatler (I hope they've airbrushed me flawless) is in the coming month's issue, that D is moving back in with me (reunited and it feels so gooooood), or Ciara, Luxy's, and my trip to Cuba (although that is a lot to be happy for!). But also because of the wealth of projects coming my way, and the many art-related happenings in London.
A lot of said happenings---exhibitions, shows, private views---are free, another reason to love this fair city. Last Sunday I had a (heated) discussion about what wealth really is. I agree with my esteemed opponent that being able to walk through a park, to stop and pick some flowers to tuck in one's hair is a privilege and makes one richer for it. Likewise, wealth is the opportunity to carelessly wander, dream-like, into (most) galleries in London for free, waltz through an exhibition, and leave enriched. Like YashkaThor explained to me, luxury isn't about price. It's about priority, quality, and also, I think, choice, and the freedom and opportunity to make those choices. You can live in London with so little money yet be so enriched; with all the parks, galleries, interesting character, and beauty around you.
Speaking of interesting characters I woke up to two dreadful videos on my phone of Luxy and I singing (shrieking) Bohemian Rhapsody in her car last night after we left Duck & Waffle on a food high. That is another example of wealth! To sing (screech) like harpies with your friend after a good (and damn it was good! Everybody go order the wild mushroom bread and the gnocchi now!) meal. We are so blessed, and life is so beautiful.
Anyway I've gone off on a huuuuuuuge tangent, but can you blame me when I'm so happy to be alive?
Here are the art-related projects and happenings in May that I'm looking forward to. One day more!
Cass Art Make A Splash Watercolour Challenge
Cass Art invited me to join the 'Make A Splash' watercolour challenge in which I paint fifty watercolours over fifty days. They sent me a set; gorgeous brushes, a palette, and a lofty book of watercolour paper sheets for me to play with.
The premise is that I produce fifty watercolours by the end of May, and upload them to social media with the #MakeASplash hashtag and tag @CassArt on Twitter, or @CassArtLondon on Instagram. My uploads should be tagged #Watercolour1, #Watercolour2 etc. but going by my ineptitude at watercolours my hashtags will more like #someonehelpme1 etc.
My first watercolour attempt was a kale leaf (I'm on a kale diet to slim down for Cuba, which I must share) and my frustration at controlling the very delicate watercolours is evident in my signing off with 'Kale me now'.
Cass Art are having a massive sale on watercolour supplies (up to 75% off) so if you're considering joining the Make A Splash Watercolour Challenge, or even exploring the wonderful (and fiddly) world of watercolour, there's your incentive right there.
Who else agrees that Anya Hindmarch's dust bags are the perfect book bags? Their horizontal orientation means that the weight is distributed evenly, which is great for paper and books. The strap length lets the bag sit comfortably near the waist for easy foraging. The pattern is so simple, chic, and so easy on the eyes. It helps too that I love stripes! Also, because it's just a dust bag and easy to wash one doesn't feel too precious about throwing one's art supplies and books inside or putting it down on the floor. Unlike my Sofia Coppola which has it's own dust bag to sit on when in restaurants, and gets here own chair.
Supplies! My Watercolour Challenge supplies. Besides the watercolour kit I also have sea salt (great for sprinkling on wet paint for a sparkly texture), a little glass jar for water, my Sisley makeup pouch to hold my brushes, and Kuala Lumpur 'A Sketchbook' for inspiration. I want the London edition! And of course the Anya Hindmarch bag to carry it all in.
Chanel Spring 2014 Act 2 Collection
Speaking of painting...
...I am in madly in love with the new Chanel handbags from their Spring 2014 Act 2 collection!
But I finally found the Chanel Le Boy in the colour I wanted so I can't afford to get another Chanel purse this month. Or until summer, really. *screams and throws Le Boy across room*
This tube strike better end by May (in other words by today), even with Bounce and Uber's tube strike promotions taking cars around London several times a day gets uber (haha) expensive.
Adel: "What a shame."
Me: "Yeah yeah yeah, stop being so smug from the Middle East. I hope your camel gets clamped."
Edible Masterpieces
Edible Masterpieces is the latest initiative by Art Fund. One bakes or cooks something inspired by a work of art or cultural icon to raise money for the arts. The tagline is 'Fundraising for art --- it's a piece of cake' which makes me so happy. Baking, fundraising, and art are three of my favourite things and puts the fun in fundraising!
Jackson Pollock inspired rice krispies, Damien Hirst inspired cake, and my favourite, Sarah Lucas's self-portrait. I showed it to Diana and we were in appreciative hysterics for a good five minutes.
The deadline is 9 May, and if you want to take part you can order a fundraising pack, from their website, which also provides recipes you can use. Art Fund very kindly provides useful downloads; if you choose to host an event to auction off your edible masterpieces. Rosettes, treasure hunts, event invitations, and gift aid forms etc., so everything is catered (haha) for!
Personally I don't think anyone would pay to eat anything I bake so I'm going to make something for myself, eat it all, and just donate to Art Fund.
There are other ways to support Art Fund, from as little as £21.75 a year you can buy a national art pass which gives you benefits like 50% off many major exhibitions, free entry to over 200 museums, galleries and historic houses, and the nice feeling (I call it the philanthropic fuzzies) that one is helping supporting museums and galleries all over the UK. One can also join their volunteer fundraising committees and help with events, organising fundraisers, or just volunteering in one of their offices throughout the counties.
Also, don't forget to take the 'Which Cake Are You?' quiz. I got 'fancy, show off millefeuille, always the centre of attention'. Of course.
Exhibitions and shows I'm looking forward to this month.
Caitlin Art Prize 2014 at London Newscastle Project Space. Opens tomorrow, at First Thursdays on Redchurch Street. See you all there!
Berndnaut Smilde: Antipode at Ronchini Gallery. I love his surreal photographs of clouds floating serenely in opulent spaces...I think I've had many dreams like this before...yes.
Slim's Riviera at Getty Images gallery. I'm missing Cannes Film Festival so Slim Aaron's photos of the jet set at play shall have to do for now as my injection of luxury and glamour.
Also on my list are Under the Influence: John Deakin and the Lure of Soho at Photographer's Gallery, David Robilliard: The Yes No Quality of Dreams and Walerian Borowczyk: The Listening Eye at ICA. Of course one must catch Henri Matisse: The Cut-Outs at The Tate Modern. And I am definitely the only person left in London who hasn't caught Martin Creed's 'What's The Point of It?' at The Hayward (it ends on Monday, eek!).
Note to self, nip down to The Serpentine Gallery (or even Dover Street Market) to sniff out 'Serpentine', the new fragrance collaboration between Commes des Garcons and Serpentine Gallery. The bottle and packaging is designed by Tracy Emin, that alone makes it a collectible! I must have it. I wouldn't even care what it smells like, but happily it's 'a blend of iris leaf, juniper wood and nutmeg...reflecting Serpentine’s location amongst the green grass and fresh flowers at Kensington Gardens' and the design is inspired by 'the seductive nature of spring and romantic rendezvous at the galleries'. Perfect!
I'm adding Serpentine and Jasmin et Cigarette to my Spring fragrance options.
Others / dan lain lain
Besides at least a couple of proposals I need to write as a follow up to briefs that clients have suggested, I have to find a way to integrate my work blog into Posh, Broke, & Bored. Or is that a bad idea? It's just that maintaining all these different blogs is just so much work, and also duplicating content for different platforms.
I'm looking for a publisher to pick up Audaciously Yours . Malaysia needs more topical comics! I am the hero that you deserve and the one you need right now! I've put out an SOS call in my interview for the Malaysia Tatler feature, like the bat signal projected into Gotham City's next sky. I hope a fantastic Malaysian (or elsewhere even) publisher takes note and approaches me.
I need to produce a body of work large enough by this year, if I am to have my first solo exhibition for next spring! And no, the fifty watercolours from the Make A Splash challenge do not count.
I'm also looking for luxury lifestyle writers based in Kuala Lumpur, for a fantastic startup of a friend of mine's. If this is something you think you'd like to do, drop me an email! jasiminne (at) gmail (dot) com.
Abrupt end of this post because it's now nearly noon and I haven't eaten yet.
1. Check out Tempus Fugit at 132 Commercial Street!
2. Ooooh I have been eyeing that Chanel bag as well! Gorgeous little thing...I also love your red boy! * starry eyed *
1. Red is the warmest colour, haha!
Damnit, just when I saved up to buy a purse, I want another one... -_- x
3. grrr, i miss London. Looking forward to your visits & followup photos to all of the above so I can live through the pics!
1. Come to London for summer! x
4. AnonymousJune 25, 2014
Gorgeous Boy but I just LOVE the new season Chanels! And yes, the Anya Hindmarch dustbag is so useful (I'm pretty sure she's the only designer who gives her dust bags handles) - which of her "proper" bags did you get?
1. The dust bag was from either the Earl Bottom Pinch tote or the Headline tote! x
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CCA Appoints Ruth Sadinsky As Associate Creative Director
Posted on June 23, 2023
We are thrilled to announce that Ruth Sadinsky has joined our team at CCA as our Associate Creative Director. With over three decades of experience as a creative director, art director, and designer, including running her own boutique studio, Ruth&Co, Ruth brings a wealth of expertise to our team.
Throughout her impressive career, Ruth has worked with a diverse range of clients across a variety of industries, including higher and secondary education, world-renowned performing arts organizations, fine art museums and boutique galleries, agricultural land trusts and nature preservation advocacy organizations, civic and state governments, public education labor unions, national cancer care providers, mission-critical database engineering firms, and port authorities.
Specific clients have included Rensselaer Polytechnic Institute, New York Oncology Hematology, Albany Institute of History & Art, New York State United Teachers, The Doane Stuart School, New York State Education Department, University at Albany, Colby Sawyer College, Avon Old Farms School, and St. Joseph’s Addiction Treatment & Recovery Centers, among others.
Ruth’s exceptional work has been recognized with awards from prestigious organizations such as The One Show, The Education Advertising Awards, The Healthcare Advertising Awards, and The Addys, with her work appearing in respected publications such as Communication Arts, Print, and How magazines. She is also a proud member of the Type Directors Club and the University & College Designers Club.
Raised in Elmira, New York, Ruth is the proud product of a dairy farmer turned chemical engineer and a housewife turned radio personality, art historian, and lifelong champion of equal educational opportunities for girls and women.
Today, Ruth and her husband reside in Albany, New York, where they love nothing more than embarking on long-haul bike tours, renovating and restoring their century-old bungalow, and hosting their four college-age and adult children for dinner.
Ruth graduated summa cum laude from The Art Institute of Pittsburgh, where she studied design, applied commercial arts, and illustration, setting her on a path to an outstanding career in the creative industry.
We’re Listening. Let’s Talk.
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email: [email protected]
Los Angeles Art Deco & Streamline Moderne Buildings (page 7)
(hit "refresh" to get the most recent version of this page; click on photos for larger images)
Municipal Light, Water & Power Building
Los Angeles, CA
This Municipal Light, Water & Power Building facade was designed by S. Charles Lee and built in 1937. The building retains its original bronze door, glass letters and other details. [map]
Crossroads of the World
Los Angeles, CA
The Crossroads of the World was designed by Robert V. Derrah and built in 1936. The main building resembles an ocean liner. The surrounding buildings were designed in Spanish Revival and Bavarian styles. The complex was originally a shopping center but it is now used for offices. The globe sign on the tower still revolves and is lit at night. For more, see these websites: 1, 2, and 3. [map]
Hemphill Diesel Engineering School
Los Angeles, CA
The Hemphill Diesel Engineering School was built from 1932-1936. The frieze depicts the use of diesel engines in various forms of transportation. I believe the building is now used as gallery and artist space. [map]
Bullocks Wilshire
Los Angeles, CA
Bullocks Wilshire was built in 1929. The department store closed in 1992 and was briefly occupied by Macy's. In 1994, the Southwestern Law School bought and restored the building. It is now used for classrooms, offices, a library, and dining facilities. For more, see these websites: 1, 2, and 3. [map]
Eastern Columbia Building
Los Angeles, CA
The Eastern Columbia Building was designed by Claud Beelman and built in 1930. It was built for the Eastern Outfitting Company and the Columbia Outfitting Company furniture and clothing stores. The building is clad in glazed turquoise terra cotta. It was converted into condos in 2007. For more, see these websites: 1 and 2. [map]
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Using Tech to Enhance the Client Experience…
Our practice has been around since the mid-eighties and like any professional service, we have had to move with the times. I am told that we were early adopters of CAD, over the traditional drawing board and certainly since 1997, when I joined the business, I have only ever produced information in digital form, leaving aside the odd sketch or card model.
However, these earlier forays into computer-aided design were not really about improving the client experience. The information was still largely output in 2D form and printed onto ‘traditional’ drawing sheets to be sent out in the post. This was more about speeding up the process of both revising information and providing multiple options. It also allowed the design team as a whole to share digital information, from initial survey to coordinated construction drawings, albeit by way of floppy disc at that time. Generally, 3D information was still a sketch or physical model. However, this approach retains a degree of ambiguity and requires the client to possess the spatial awareness skills of the architect in order to fully appreciate the implications of a design, something that is rare and frankly unfair to expect of the layperson.
With the advent of more complex 3D CAD software it became more commonplace for designers to work on their designs in three dimensions from the outset of a project. Again, we were relatively early adopters of these modelling systems in the 1990’s and which were the early ancestors of what we now call BIM – Building Information Modelling. This allowed the designer to export accurate 3D views of their proposals and, with some additional photoshop processing, provide printed visuals to their clients.
From the beginning of this millennium we have had access to more user-friendly software that allowed for ‘real time’ editing of built forms, sunlight analysis, colours and textures. These are useful tools when sitting with a client to discuss preferred options but can also produce movie ‘fly-throughs’ as well as being suitable for output to third party rendering through standalone software. This approach coincided with the widespread use of the internet and digital transfer of information, which really has allowed designer and client to converse in a much more fluid manner, allowing multiple variants on a design to be reviewed in a short timeframe.
Today the acknowledged CAD system for producing project information is BIM, Building Information Modelling. Various options exist but central to this thinking is a single model file constructed, added to and amended by the members of the design team. Think of this as building a detailed 3D CAD version of the finished building and then choosing how to view it in order to generate the drawings. The programs used are termed ‘parametric’, which essentially means that changing an instance in one view automatically changes the nature of that information in all related views.
The output from this design process can be very quickly turned into good quality imagery or 360degree views, allowing the client to virtually stand in a space and look all around. Product library information now exists for a multitude of real items, such as furniture, fixtures, fittings, and lighting, all of which can be imported into a model to ensure that a space functions exactly how the client intends. Add to this daylight modelling and energy use analysis and one can see what a powerful tool this is. And when it comes to providing the client with the all-important cost information, the BIM model can provide a tool for Quantity Surveyors and Contractors to more accurately analyse quantities and specifications.
Virtual Reality can be readily used in conjunction with BIM, allowing the client to ‘virtually’ walk around a building and even obtain pop-up information on the proposed equipment, furniture and fittings, this is a whole new sector of business in itself. From our experience this is more likely to be a marketing tool than a design one, but things are moving more in this direction with the adoption of computer game engines to efficiently run the process of visualisation.
For many a ‘traditional’ physical model still provides the most accessible way of understanding form and space. The process of exporting 3D CAD data for 3D printing is now quick, efficient and cost effective, so detailed and professional-looking 3D printed models are now very affordable. This can be an economical way of conversing with a client, especially at early project stages when various form options can be slotted into a contextual site model. For public consultation events a physical model is often a very powerful tool.
Another area where technology is aiding the process of design and communication is in 3D surveying. For all projects, the accuracy and quality of survey information is paramount. We work with local surveyors who have moved on from simple tape measures and clipboards, and instead now utilise hand-held laser scanners and aerial drone photography to completely capture the building and its surroundings digitally in 3D. The BIM building model can then be ‘inserted’ into the 3D replica environment, allowing for the communication of highly representative information to client, planner or third parties, reducing ambiguity and hence misunderstanding. Understanding how a built form will sit in the landscape is key when working in Areas of Outstanding Natural Beauty – AONBs.
The use of this technology is not restricted to site topography, historic buildings present major complexities to the designer when it comes to inserting and replacing structure, services and internal divisions. Laser scanner information can be acquired to accurately map internal and external spaces and surfaces, allowing the designer to fully understand how new elements of construction may be coordinated with old and allowing both clients and Historic Buildings Officers to assess the resultant impact.
Is there a catch to all this technical wizardry? This comes down to how it is used, there is something to be said for retaining a degree of ambiguity when communicating ideas. Unless something has been truly fully ‘worked-out’ designers are reticent to offer up too much detail, in case that detail is incorrect. The ‘artist’s impression’, in both nature and name, is still a handy tool when communicating intent, an idea. Here the output from any technology is vital, the software will often allow the designer to ‘dial-down’ the detail, or simply provide the underpinnings to an impressionistic sketch.
Clients are becoming more aware, and interested, in how designs can be communicated, Generally, we have the ability to produce high quality information for any project as it progresses, simply as part of that process. However, as I often hear, it’s not simply a case of “…pressing a button…” And with the ability to provide options quickly comes increasing demand for this to be carried out. Without management the client, and other third parties, can be swamped with ideas, whilst introducing many others of their own that are not necessarily part of the designer’s original concept. We are talking about personalities here as well of course, but a good design can only be achieved under guidance from the designer. With increased amounts of representative pre-construction information comes a reduced requirement on the client to simply trust their designer. Faith is effectively swapped for qualitative information. When it comes to actually providing a client with the scheme that they signed-off this can only be a good thing.
The designer has a dazzling array of technology at their fingertips in order to converse with their clients. The skill required of the them today is how and when to use that technology to best effect so as to truly assist the design process by conveying useful information to the client whilst maintaining control of the process and being able to deliver their interpretation of the client’s aspirations.
Dale's experience spans a wide range of project sectors, sizes and stages and has particular interests in environmental design and earth-sheltered construction. His favourite projects reuse and breathe new life into under-loved existing buildings.
[email protected]
Post a Comment
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Pictures is anself-control and artwork, and a style of having tough photographs by bodily taking gentle, either by an to prevent camera lens, digitally by using searching for alarm, or optically simply by using a special light-weight-vulnerable substance like final flick. The process is really difficult, concerning various areas and elements. Such as, it involves the planning from the impression, the record of the impression, the control of the image, along with the demonstrate in the image. Additionally, the products one more productivity is dependent upon the main points on the different techniques during this process. Each one of these actions are very responsive to individual disturbance and should consequently be performed meticulously and purposefully.
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Also, the strategy of utilizing a camera obscura is usually utilised in photography, in addition, even. A camera obscura is a term lens that can cause non colored documents images when mild stands apart on it. A shooter can produce a pretty stunning photo such as a world of your bright sunrays rising over the rocky high cliff or maybe jet soaring for a seaside. These kind of photography are so amazing that searchers normally have used them as landscape designs taking pictures in their stock portfolio.
One other way to strengthen human eye pics currently being consumed by way of digital photographer will be to lessen how many vibrations that take place in your camera. Some digital cameras are specifically responsive to the slightest rumbling, that produces the pictures consumed using them really smooth and sometimes not used. Numerous photography lovers try to avoid working with handheld apparatus unless of course necessary. Therefore, they are certainly not able to take pics when the digital camera vibrates exceedingly.
Color images is a way of generating digital photography interesting and exhilarating. Numerous novice photography fans are fascinated by the multi-colored characteristics of conventional shots. More photography lovers are using highly-priced camera products to take colour photographs, even so. Simply because the quality of colouring pics is usually improved, far more amateurs attempt to learn how to consider excellent colour photos. In recent years, the picture taking of specific subject areas, like paintings and blossoms, has become highly sought after.
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Open Call for Artists, Curators & Researchers Trio
Artistic field:
1a space is pleased to announce an open call for trio group(s) composed of an artist, a curator and a researcher to participate in the Mid-Career Artist Exhibition & Publication Series. In response to the shortage of mid-career retrospectives in Hong Kong and the need of documenting and researching the local art ecology, we aim to initiate a long-term commitment to a series of comprehensive solo exhibitions and high-quality publications dedicated to mid-career artists. Through demonstrating an artist’s creative process in a thorough and inclusive manner to the general public, the project serves to acknowledge and encourage prolonged artistic practices. In addition, by facilitating dynamic collaborations between leading Hong Kong artists, curators, and researchers, we hope to invite reflections upon different roles and possibilities in exhibition-making.
We seek to support a trio consisted of an artist, a curator, and a researcher, to realise a solo exhibition at the 1a space gallery in early 2022, coupled with an artist monograph publication. Pairing a deserving curatorial talent with a mid-career artist, the survey exhibition is expected to make visible the progression of an artist’s journey, demonstrating how an artist reflects, reconfigures and rejects idea. The project also sees curatorial research as a core component in tandem with exhibition planning. We intend to develop cohesive and well-contextualized retrospectives that fill in the gap between larger public institutions and commercial galleries. In accompany with the exhibition, public programmes such as artist talks and guided tours will be organized, inviting the local community to interact with the artist, curator and researcher, and to expand related discussions.
To further anchor the exhibition in the wider local art discourse, the selected researcher will be responsible to conduct research and produce essay(s) focused on the artist. The publication shall include, but is not limited to, introductory essay(s), biographical information on the artist, analyses of works of art, artwork illustrations and installation images of the exhibition. While the exhibition and related programmes are temporal events, the academic monograph produced will continue to contribute to the research of local art as a helpful and permanent resource.
Successful applicants will receive:
- Administration and venue support
- Publication support (including book designing, artwork and exhibition photography support, ISBN registration, collecting and sorting out cataloguing details, etc.)
- Production fee for each participating artist, curator and researcher
- Press materials and PR support
- Applicants must be living and working in Hong Kong, or Hong Kong artists/curators/researchers living and working abroad. Please note that the project will not be able to cover travelling and accommodation costs for successful applicants coming from abroad.
- We acknowledge that the careers of artists, curators and researchers progress in various ways. Thus, we broadly define the eligibility of each role through listing different milestones. Interested parties should show in the application that they have reached most of the milestones below or should demonstrate their accomplishment of other experiences that they see equivalent.
o The open call is aimed at mid-career artists with at least 10 years of experience working as artists; participation in solo and group exhibitions locally and internationally; participation in local or international residencies; and an accumulated sizable quantity of works that showcases a linear development of the artist’s style and creative language.
o We are looking for curators who has actively engaged in curatorial practices locally or internationally in the recent 10 years.
o Applying researchers should have previous professional publishing experiences, or should possess relevant academic qualifications.
Application guidelines:
- Interested trios consisted of an artist, a curator and a researcher should submit ONE shared application pack. The pack should be in PDF format, and should include the following items in no more than 20 pages:
1. CV of the artist – Please note that the list of exhibitions should include maximum 10 selected items from 2016 onwards.
2. Artist’s portfolio - With images and captions of selected artworks and exhibitions
3. CV of the curator
4. CV of the researcher
5. A shared application statement – The statement should explain how your participation in the project can benefit your current states of career, and how your group visualize the upcoming collaboration. Some related questions include why this particular trio was formed, and how the trio can offer a comprehensive review on the artist’s career and deepen the understanding of the Hong Kong art scene.
6. Curator’s portfolio – with at least 2 exhibitions
7. Researcher’s writing sample – with at least 2 writing samples
- Considering the limited number of pages, applicants are encouraged to include website links in replacement of long texts.
- Each applicant can be involved in one application only.
- One representative of the trio shall submit the application pack via email to [email protected] (Subject: Application for Mid-Career Artist Exhibition & Publication Series) on or before 7pm on 28 November 2021 (Sunday) .
Selection Process:
Submissions will be evaluated by a committee that includes representatives and the curatorial panel of 1a space. Applications will be evaluated based on the applicants’ artistic and academic merit, and the exhibition’s benefit to the applicants’ development. Results of the open call will be announced in late December 2021.
For more information, please visit our website: https://www.oneaspace.org.hk/announcement
If you have any enquiry, please email to: [email protected]
28/November/2021
Entry Fee:
Contact & Links:
Cotangent Awarded Residency Summer 2020 - Open Call
Tangent Projects are very excited to announce that we are seeking applicants for its Cotangent Awarded Residency Programme Summer 2020. Due to the current situation with the Covid 19 pandemic, we are only able to offer a studio for 6 weeks to an artist, curator, researcher or writer based in Barcelona Province.
We are offering a free studio space for six weeks (July 18th to August 29th) to one artist or two-person collective. The residency programme is open to visual artists, curators, researchers and writers that would like a dedicated space to research or work on a particular project. We do not expect completed works to be made.
What Tangent Projects offers:
A free studio approx 9m with 24-hour access.
A bright comfortable communal space for relaxing and meetings with other artists, curators, gallerists etc.
A community of friendly artists.
On hand curatorial support.
An onsite gallery with an exciting and expansive schedule
20/June/2020
Contact & Links:
New Era Artist*Curator Residency
I am currently working on a new online artist/curator-in-residence program and have opened up a newsletter subscription for those interested in knowing more.
The program is still in its early stages and not yet up and running. However, I would like to gage general interest.
The general idea is to give artists and/or curators an online space through which they can remotely develop, curate and/or showcase a project. Projects being developed within this program are, however, by no means limited to digital formats.
I am particularly interested in incorporating the aspect of accessibility the internet offers, not only for the artist/curator itself, but also for the viewer. Thus, the showcasing of the working process of residents will play a crucial role in one way or another.
This is just a rough outline and further information will be distributed via newsletter as soon as possible.
For now, everybody is welcome to sign-up!
Contact & Links:
Open Call KONVOOI 2020
Artistic field:
● KONVOOI 2020 ● is looking for artists – collectives – theatre makers – performers – dramatists – curators – writers – poets – musicians – videographers – illustrators etc.
From Thursday 28 August to Sunday 30 August 2020, Het Entrepot is organising the second edition of KONVOOI, the multidisciplinary arts festival in the port of Bruges. The festival is fully supported, designed and created by young artists.
You can be part of KONVOOI 2020 and follow in the footsteps of studio mxmxm, Astrid collectief, Kolijn Jagersma, f.o.t.a. and PLAN B. Your goal is to develop an artistic project that will have a central role in the festival and inspires the visitors. All kinds of disciplines are welcome. Performance, dance, music, fine arts, text,... we pay you to think outside the box.
You are a perfect match for this project when:
• You have an artistic idea that can play a central role in an arts festival
• You want to co-curate the festival
• You are open to collaborate with artists, curators and the organisation
• You are between 16 and 30 years old, or your collective mainly exists of people around that age
You will receive a budget and a compensation!
Every curator or collective gets:
• A fee of 1000 euros
• A production budget of 2000 euros
• Production and technical support from Het Entrepot and its partners
• A possible residence in Het Entrepot
An intensive and inspiring project
• You work closely with curators and artists
• You take part in the curatorial en production meetings in which you decide what KONVOOI will look like
• You take responsibility and make sure that your project is ready by the beginning of the festival
• You will actively participate during the festival
• 01.12: deadline open call
• January 2020: selection of the artists/curators
• 31.01-01.02: first meeting: starting weekend @ Het Entrepot
• 01.02 - 01.06: 8-10 curatorial meetings
• 01.06 - festival: several production meetings
01/December/2019
Entry Fee:
Fee Detail:
Contact & Links:
Subscribe to curators
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Serge Poliakoff
1900 - 1969
Serge Poliakoff was one of the most representative and most stable of the post-war generation that gave Paris its abstract school. One of the most personal too, with his non-figurative conception of painting that offered new directions for abstraction. One of the specific characteristics of Poliakoff’s painting is the absence of any real evolution, despite this painting’s constant renewal. His paintings maintain a dialogue and form a formal and expressive continuity – a musical continuity, one might be tempted to add. Although there is a silence in his painting, it is above all, to use the artist’s own expression, a “plastic poem” with subtle vibrations. Refuting an empiricism that is only superficial, the forms in his paintings are arranged with rigour so that they fit into each other, so that none of them can break away from the others, and if this were to happen, so that they cannot be replaced, and naturally find their place elsewhere. Distanced from the slightest figurative reference or from geometrical subjects, and even more so from any symbolic interpretation, his compositions have neither depth nor perspective, generating their own space which, as Poliakoff liked to say, “makes the form”. Attempting to define his painting, he stated: “What interests me in painting is its purity.”
The penultimate child of a family of 14, Poliakoff’s father bought horses for the Tsar’s army and, by the end of his life, had also acquired a stable of race horses. The Revolution forced the young Poliakoff to leave Russia at the age of 13. He decided to accompany his aunt Nastia, an internationally known performer of gypsy songs and the repertory of ‘Holy Russia’. Himself an exceptionally gifted musician, he accompanied her on the guitar and played solos in an orchestra of balalaikas. The troupe performed in Constantinople, Sofia, Belgrade, Berlin, Cologne and Dusseldorf, before turning up in Paris in April 1923. The young man, dazzled by the capital, refused to continue their tour on the other side of the Atlantic and remained in the capital. Until 1951, for 28 years, Poliakoff lived almost entirely thanks to his guitar, playing in cabarets such as the Shéhérazade or Casanova, going to bed at five in the morning, sleeping until midday and then, stimulated by several glasses of vodka, painting until the evening. In 1929 he often worked at the Grande Chaumière. In 1931 he took part for the first time in a group exhibition at the Galerie Drouant, mentioned in all the newspapers of the Russian émigré community. Practically no works remain from this period. In 1933 he attended classes at the Académie Frochot in Montmartre, where he was taught by Friesz, Cosson and Yvan Cerf. For 10 years he painted nudes in the manner of Velasquez. He stood in for Elvire Popesco on the guitar playing Tovaritch at the Théâtre de Paris. Shortly before his departure for England he developed an enthusiasm for the Italian Primitives, whom he discovered at an exhibition at the Petit Palais.
In London in 1935 he attended classes for two years at the Slade School of Art. He delighted in the Egyptian sarcophaguses at the British Museum and also in the illuminated manuscripts at the Victoria and Albert Museum. He participated in several films as a guitarist. He married Marcelle Perreur-Lloyd. On his return to Paris in 1937 he met his compatriot Kandinsky, who had been living in Paris since the closure of the Bauhaus. The following year he showed a first abstract painting at the Galerie Le Niveau, causing the famous older artist to state: “For the future, I’m backing Poliakoff”. He had his first solo exhibition at the Galerie Zak. In 1938 he met Sonia and Robert Delaunay, whom he visited once a week. Delaunay explained to Poliakoff his theories on simultaneous contrast. At about the same time he met Otto Freundlich, who made a great impression on him. Although his predecessors accelerated his passage from figurative to abstract work, his painting was not influenced by them. He received the Mitty Goldin annual prize awarded to young artists from the director of the ABC Théâtre. His highly schematised work appealed to Despiau, Van Dongen and Gromaire, who were part of the jury. In 1939 he showed a work at the Salon des Indépendants, in which he participated until 1946.
In 1945 Poliakoff’s first exhibition of abstract paintings was held at the Galerie L’Esquisse. In his catalogue introduction François Chatelet wrote: “For Serge Poliakoff, abstraction is not dryness; the impasto with which he kneads his paintings is never in his opinion rich enough for him.” He sent a painting to the Salon des Réalités Nouvelles, remarked upon by the critic Guy Dornand. From 1946 onwards Poliakoff became part of the avant-garde of abstract painting. He figured on two occasions (at Domela’s request) in exhibitions held at the Centre de Recherches on rue Cujas: the first of these served to illustrate Herbin’s talk on L’évolution de la peinture, and his work was hung next to Marie Raymond’s and Engel-Pak’s; the second, given over to gouaches, drawings and watercolours, was related to a talk given by Wilheim Uhde on La métaphysique grecque et la physique moderne comme fondement dans l’humanisme nouveau and included Kandinsky, Herbin, Domela, Dewasne, Deyrolle, Hartung, Marie Raymond and Schneider. Lastly, an exhibition was the occasion for a collection of lithographs D’un art abstrait (published by Opéra) prefaced by Charles Estienne, which included Del Marle, Dewasne, Deyrolle, Domela, Engel-Pak, Fleischmann, Hartung, Miesztrik de Monda, Poliakoff, Schneider, Warb and Marie Raymond. His entry to the Salon des Surindépendants attracted the attention of Charles Estienne, who wrote in Combat: “Let us salute Poliakoff’s success; he paints paintings as gaily coloured as a carpet from Bukhara or Samarkand.” Poliakoff, anxious not to fall into a decorative style of painting, put an end to his bright colours, and his palette began to darken. He no doubt felt the influence of the fabric designs he executed to live on and which were extremely successful. He therefore stopped making these designs, although he continued to play the guitar at night.
In 1947 he joined the Galerie Denise René and, in May, his work was exhibited alongside Duthoo, Poujet, M. Raymond and Reth. Poliakoff was awarded the Kandinsky Prize for the second year of this distinction. In 1948 he participated in a number of group exhibitions at the Galerie Denise René: in January Sculptures et peintures contemporaines presented by Charles Estienne and Léon Degand, who spoke of Peinture ancienne et peinture moderne; in April Duthoo, Poliakoff, Jacobsen; and in the autumn Tendances de l’art abstrait organised by Charles Estienne. The Galerie organised his first exhibition abroad, at the Tokantene Gallery in Copenhagen, which was run by Gauguin’s grandson, with a catalogue introduction by Reidar Revold. He also exhibited at the Haaken Gallery in Oslo.
The Musée de Grenoble acquired a painting from him, the first work by Poliakoff to enter the state’s collections. There was a further series of group exhibitions at the Denise René Gallery. In 1949 Quelques aspects de la peinture présente, in 1950 Quelques aspects de l’art d’aujourd’hui, Espaces nouveaux and, at the end of the year, a presentation of the winners of the Kandinsky Prize since its creation in 1946: Dewasne and Deyrolle, Poliakoff, Max Bill, Marie Raymond and Chapoval, and in 1950 Mortensen. The Galerie Denise René held another exhibition of Poliakoff’s paintings in 1950 and the Galerie de Beaune showed his gouaches. In 1951 an exhibition of his recent works was held at the Galerie Dina Vierny, with a catalogue introduction by Charles Estienne, who wrote: “Painting the strength and originality of which are to unite the most affirmed modernism with quality, possesses the most evident and the most generous pictorial quality… how can we not react immediately… to this innate need, this almost infallible instinct for colour and this mysterious sense of life… Poliakoff is totally abstract: but he does not content himself, either, with being non-figurative: he offers us forms, real forms… which disturb and move us as can only do signs that refer to the profound poetic world buried in us, like a second nature.” He participated in the group exhibition held by the Galerie Denise René: Klar Form, 20 artistes de l’École de Paris, which travelled in Belgium and Scandinavia.
Poliakoff’s work was already beginning to attract loyal collectors, and he was able to spend 1952 working entirely on his painting thanks to a contract with the Galerie Bing. He exhibited abroad at the Galerie Ex-Libris in Brussels, the Circle & Square Galleries in New York run by Jean Larcade (this was his first solo exhibition in the USA) and at the Kunsthaus in Zurich; he also took part in several exhibitions of avant-garde painting organised by Charles Estienne, which are today considered historic: in February at the Galerie de Babylone with La Nouvelle École de Paris; Rose de l’insulte at the Galerie La Hune, and at the Premier Salon d’Octobre, in the Salle André Baugé. He was also invited to the second Salon d’Octobre in 1953. He spent the summer at Gordes, staying with his friend Charles Estienne, and painted a wall painting in the latter’s house. At the exhibition L’Art du XXe siècle presented by the Musée d’Art Moderne de Paris, he saw two paintings by Malevitch from the collections of the Museum of Modern Art in New York, including Carré blanc sur fond blanc. This encounter gave him a shock, which reinforced his opinions: “It showed me once again the capital role played by the vibration of matter. Even if there is no colour, a painting in which the matter vibrates remains alive.” In 1959 Poliakoff was equally impressed by the major Malevitch exhibition at the Kunsthalle in Bern.
In 1953 Poliakoff was discovered by the general public, with his first major exhibition (45 paintings and five gouaches) held in Liège at the APIAW (Association pour le Progrès Intellectuel et Artistique de la Wallonie), then at the Palais des Beaux-Arts in Brussels and at the Musée de Verviers with a catalogue introduction by Robert Vrinat. This was followed by an exhibition at the Galerie Evrard in Lille. From 1954 onwards his exhibitions became more frequent. In Paris: Galerie Bing in 1954, with R.V. Gindertaël writing: “Two laws: architectural harmony and sensitive rhythm, Poliakoff expects his work to be logical and disciplined beneath an appearance of spontaneity and freedom,” and recalled the artist’s definition: “Abstract art comes from inside and goes further inside” (Cahiers d’Art, 1954, Vol. II). Writing about Poliakoff’s painting in 1956, Julien Alvard employs the term stone art’: “ageless… hence the frequent archaeological character” (XXe Siècle, June 1956). 1957 Galerie Creuzevault (paintings), with a catalogue introduction by Jacques Lassaigne, who also wrote for the exhibition of gouaches shown at the Galerie Berggruen. The critic remarked: “Poliakoff has a taste for superb textures that he lays in successive layers that enrich each other; it seems that he attaches increasing importance to the stroke which fans out from a centre.” 1959 Galerie Berggruen and Galerie Knoedler, with prefaces by Christian Zervos, Galerie Cahiers d’Art, which also published a monograph by Dora Vallier, in which we read: “Fixing the pictorial space on the surface of the canvas, in the immobile journey of a colour. Modulate.” The same year Franz Meyer wrote an article, La technique de Poliakoff, in the review XXe Siècle (May–June 1959).
When Poliakoff painted a painting, he drew a network of lines directly on the canvas, which he said corresponded “to his golden number”. He then looked for the values, which sometimes led him to alter the initial composition. He painted in three or four successive layers. He made his colours from English powders, mixing them on a plate of glass and keeping their dosages secret. He was unconcerned by comfort. After the cramped apartment in rue du Vieux-Colombier, which had also served as a studio and where he lived with his wife and sons, he worked for a time in a studio in rue Bonaparte. Poliakoff talked to Julien Alvard for the latter’s album Témoignages pour l’Art abstrait (with Gindertaël, Art d’aujourd’hui, 1952) about his approach to his work. Further Paris exhibitions in 1963 at the Galerie Le Divan, in 1964 at the Galerie de France, with a preface by Jean Cassou, and in 1965 at the Galeries Dina Vierny and La Hune.
In 1954 Poliakoff showed at the Martinet Gallery in Amsterdam and the Der Spiegel Gallery in Cologne. In 1955 he exhibited at the Knoedler Galleries in New York, with a catalogue introduction by Christian Zervos, and the Galerie Dupont in Lille (with a talk by Jean-Paul Aron for the occasion). In 1957 he showed with the Galleria del Naviglio in Milan, with a catalogue introduction by Gualtieri di San Lazzaro; Moderne Galerie Otto Stangl in Munich, with a catalogue introduction by Franz Meyer. 1958 the Kunsthalle in Basel, with a catalogue introduction by F. Meyer; the Kunstverein in Hamburg, with texts by Alfred Hentzen and Albert Schulze Vellinghausen; the Hanover Gallery London, with a catalogue introduction by John Russell; Galleria d’Arte Selecta in Rome, with a preface by Gualtieri di San Lazzaro, who also wrote for an exhibition at the Galleria del Naviglio in Milan; Galleria del Cavallino in Venice; Statens Museum for Kunst in Copenhagen, with texts by Jorn Rubow and Erik Andreasen; the Kunsthalle in Dusseldorf, with a text by Ewald Rathke. The same year Jean Grenier wrote a study in the review L’Œil (no. 39 March). 1959 Loan Exhibition of Paintings by Serge Poliakoff at The Phillips Collection Washington DC. In 1960 the Kunsthalle in Bern, with a text by Franz Meyer; Gallery Marya Copenhagen; Svenska-Franska Konstgalleriet in Stockholm and again in 1962. 1962 Im Erker Gallery in Saint-Gall with texts by Will Grohmann and Dora Vallier; Haaken Gallery, Oslo; Galerie Bonnier, Lausanne.
1963 Galerie Cavalero, Cannes. The first retrospectives were held in the same year: the Kestner Gesellschaft, Hanover, with a text by Wieland Schmied; the Whitechapel Art Gallery in London, with a text by John Russell; the Kunsthalle in Bremen; the Museum am Ostwall in Dortmund; the Overbeck Gesellschaft in Lubeck. In 1964 the Haus der Stadtischen-Kunstsammlungen, Bonn; the Wurttenbergischer Kunstverein in Stuttgart, with a text by Wieland Schmied; the Stadtisches Museum Treves, and an exhibition at the der Spiegel Gallery in Cologne, with a text by Albert Schulze Vellinghausen; the Scott-Fauré Gallery at La Jolla in California, with a text by Scott Youmans; the Lefebre Gallery in New York, with a text by Franz Meyer. In 1965 the Flaviana Gallery in Locarno, with texts by Jean Cassou and Hanns Theodor Flemming; the Galerie Raber in Lucerne, with a text by H.T. Flemming; the Im Erker Gallery in Saint-Gall, with texts by H.T. Flemming and Ottomar Domnick. There have since been numerous exhibitions both in France and abroad, which continue to this day. A complete list is given in the catalogue published by the Galerie Melki, 1991.
At the same time Poliakoff participated in group exhibitions and in major international exhibitions: with the Galerie Denise René in 1953 and 1954 Tendances actuelles de l’École de Paris at the Kunsthalle in Bern, at the École des Beaux-Arts in Sarrebruck with Bloc, Deyrolle, Istrati, Leppien, Mortensen and Kandinsky, at the APIAW in Liège with Bloc, Dewasne, Deyrolle, Herbin, Mortensen and Vasarely; in 1955 the Museum of Modern Art in Rio de Janeiro. In 1955 in Éloge du petit format, organised by Michel Ragon, at the Galerie La Roue in Paris, and again in 1956; Trente peintres de la Nouvelle École de Paris at the Galerie Craven in Paris. In 1956 L’aventure de l’Art abstrait by Michel Ragon at the Galerie Arnaud in Paris. Poliakoff figures with Atlan, Soulages, Schneider and others in Trompe-l’œil, Michel Ragon’s first novel, which takes place among the abstract artists who appear in it under their real names.
1957 50 années de peinture abstraite at the Galerie Creuze-Balzac in Paris at the same time as the publication by Hazan of the Dictionnaire de Peinture abstraite by Michel Seuphor; Expression et non-figuration organised by Michel Ragon at the Galerie Le Gendre in Paris.
Poliakoff participated in the Salon de Mai in 1946 and 1950. Invited by Documenta II in 1959 and III in 1963 at Kassel; participated in l’École de Paris at the Galerie Charpentier from 1954 to 1958. Exhibition of Contemporary Painting, Carnegie Institute in Pittsburgh. 50 ans d’Art moderne in Brussels. Naturalised a French citizen in 1962, he took part in the Venice Biennial, where a room was given over to his work for a retrospective covering the previous 20 years. In 1965 he was awarded the International Prize at the Tokyo Biennial and, in 1966, the Grand Prix de la Biennale de Menton. The same year, a major retrospective was held at the Kunstmuseum in Saint-Gall (Catalogue, text by Franz Meyer) and in 1968 a retrospective at the Maison de la Culture in Caen (talk by Dora Vallier).
In 1958 he designed the stage sets for Marius Constant’s ballet Contrepoint, choreographed by Roland Petit. In 1959 two of his paintings were projected to serve as a decor for Jean Tardieu-Jacques Poliéri at the Théâtre de l’Alliance Française in Paris.
He made lithographs.
1970 Poliakoff. Musée National d’Art Moderne, Paris. Catalogue Dora Vallier and Jean Leymarie.
1975 Retrospective of the Graphic Work. Kasseler Kunstverein, Kassel.
1987 Rétrospective. Fondation Pierre Gianadda Martigny. Catalogue texts by Dora Vallier and Marie-Victoire Poliakoff.
1991 Rétrospective. Galerie Melki Paris. Catalogue text by Dora Vallier. Biography, bibliography.
2008 Exposition.Paris, Applicat-Prazan, Serge Poliakoff, 27 mars - 26 avril 2008
2013 Exposition.FIAC Paris, Applicat-Prazan, Serge Poliakoff, 24 - 27 octobre 2013
2013 Poliakoff, le rêve des formes.Paris, Musée d'Art Moderne de la Ville de Paris.
Poliakoff’s work figures in the collections of many museums including: Paris, National d’Art Moderne – Clermont-Ferrand – Colmar – Lille – Nantes – Paris – Toulouse – Amsterdam – Basel – Berlin – Bonn – Brussels – Buenos Aires – Chicago – Copenhagen – Essen – Geneva – Hamburg – Helsinki – Liege – Munich – New York – Oslo – Rio de Janeiro – Sao Paulo – Tel-Aviv – Tokyo.
• Michel Ragon: Poliakoff. Le Musée de Poche, G. Fall, 1956.
• Jean Cassou: Serge Poliakoff. Bodensee-Verlag, Amriswil, 1963.
• Alexis Poliakoff: Serge Poliakoff, les estampes, Arts et Métiers graphiques, Paris, 1974.
• Giuseppe Marchiori: Serge Poliakoff, Les Presses de la Connaissance, Paris, 1976.
• Gérard Durozoi: Poliakoff, L’Autre Musée, La Différence, 1984.
• Françoise Brütsch: Serge Poliakoff, œuvres 1923–1969, Ides et Calendes, Neuchâtel, 1993.
• Alexis Poliakoff, Serge Poliakoff, Catalogue raisonné, vol. I, 1922 – 1954, Acatos, Paris, Moudon, 2005.
• Alexis Poliakoff, Serge Poliakoff, Catalogue raisonné, vol. II, 1955-1958, Archives Serge Poliakoff/Edition Galerie Française, Paris/Munich 2010.
• Alexis Poliakoff, Serge Poliakoff, Catalogue raisonné, vol. III, 1959-1962, Archives Serge Poliakoff/Edition Galerie Française, Paris/Munich 2011.
Excerpt from L’École de Paris, 1945–1965: Dictionnaire des peintres
Ides et Calendes Editions, courtesy of Lydia Harambourg
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Home » Teachers » Lesson Plans » The Art of Photo-Collage
The Art of Photo-Collage
Grades: 4, 5, 6, 7, 8
Related Subjects: English - Language Arts, Visual & Performing Arts
Medium: Mixed Media, Photography
Class time required: 2 X 50 minute sessions
Author: Museum of Photographic Arts
Student Examples
Student Examples
Download an editable Lesson Plan
File Type: RTF (Choose Save-As when dialogue box appears)
In this one to two-session lesson, students will be introduced to the concept of photo-collage. Photo-collages allow students to combine different pictures into one new composition. Working with photographs that have been taken or found images, students will create photo-collages as a means of creative expression. Using selected photographs students will discuss and analyze the expressive nature and mood of collage-making and how it is often used to express a personal statement. Students will record their ideas and reflections while incorporating these ideas into an original work of art. A second session, or final critique of the students’ original artwork, is recommended to be held in culmination of the project. The students will lead a discussion about their own work as well as the work of their peers.
• Card stock
• Magazines and photographs
• Glue and/or glue sticks
• Camera (optional)
• Printer (optional)
• Glossary terms: collage, montage, photo-collage, theme
Edison’s Light
Edison’s Light
Robert ParkeHarrison
The Saint in the Marketplace
The Saint in the Marketplace
Masumi Hayashi
Teachers Preparation
• Print the above images onto overhead transparencies.
• Familiarize yourself with the concept of photo-collage while thinking of any available materials you might be able to incorporate into the students’ construction.
• Purchase The Visual Classroom. This is not required, though it is a recommended resource available for purchase at The Museum of Photographic Arts. This resource will aid in a variety of activities that incorporate creative writing and photographic imagery, and contains ideas for classroom usage and curriculum incorporation.
Session One
1. Begin a discussion with the students about Photo-Collage: What is a collage? What is a photo-collage? Where have you seen one? Who has made one before? What do you think a photo-collage could be about? Why do people make photo-collages?
2. Define the terms ‘collage’ and ‘photo-collage’ for the students and write them on the board. Explain to the students how photo-collages allow an artist to combine different pictures, found images, and objects into one new composition. Discuss how a photo-collage can be influenced by current attitudes and ideas of the artist or the world he or she lives in. Explain the idea of having an intention and a theme, or main idea, in a collage. Explain how a significant idea or theme can be used to express, share, or focus attention on a personal story, idea, memory, feeling, etc.
3. Have the class brainstorm a list of possible subject matter and ideas for making a photo-collage. Write these on the board.
4. Show the students the panoramic photo-collage,
The Saint in the Market Place, Meenakshi Temple, Madurai, India, 2003, by Masumi Hayashi. Ask the students the following questions: What’s going on in this picture? What do you see that makes you say that? What more can you find? What moods or feelings does this photo-collage evoke? Discuss possible techniques that Masumi Hayashi used in the making of this image. After each student provides a response, acknowledge his/her response by pointing to the image and paraphrasing what he/she said. Continue this questioning for several minutes.
5. Continue on with the discussion, using the image
Edison’s Light by Robert ParkeHarrison. Discuss how the title affects one’s understanding of an image. Ask students how the meaning of the photograph would change if the title was different. Ask the students if the title changed their interpretation of the image or if it remained the same.
6. Let the students know that they will be making their own photo-collages. They will be required to find and select 10-20 images that convey a main idea, theme, or tell a story. Encourage the students to be as creative as possible. Make sure to reinforce the idea of having an existing theme in the collage.
7. Have the students collect images and think about how they would like to assemble them onto the page of cardstock. Once they have the desired composition, allow them to begin to glue down the images, while reinforcing the idea of a theme or personal statement throughout the lesson.
Session Two
A critique at the end is encouraged. Display the final works so all can see. Explain to the students that they will be talking about their images, stating their intentions and the process, while commenting on how successful they felt the final work to be. Allow the students to lead themselves in the critique and open it up for all to participate. Encourage the students to comment on other students’ artworks and ask questions about intentions and the process. Reinforce that when making art, nothing can be considered right or wrong, good or bad, but that it is an exploration by creative means, often a commentary of the self and the world we live in.
• This project can be expanded to include a personal, cultural, or political statement.
• If there is camera availability, the students can shoot a roll of film or digital, with an established theme, and process or print the images to be combined in making a large-scale photo-collage of their own images.
• Photo-Collage in the style of Masumi Hayashi: To create her panoramic photo collages, Hayashi's process is both systematic and open to change. She begins at the horizon line, shooting approximately two-dozen photographs in a horizontal circular rotation until she ends up where she began. She then angles upwards, then downwards, continuing until she has fully captured the landscape around her. When Hayashi returns to the studio, she collaborates with a printer to produce the component photographs and begins the final phase of assembling the collages. The resulting photo collages range from a 100-degree to 540-degree rotation and include as many as 140 individual photographs or as few as five.
CA Content Standards
Fourth Grade Visual Arts
1.5 Describe and analyze the elements of art (e.g., color, shape/form, line, texture, space, value), emphasizing form, as they are used in works of art and found in the environment.
Fifth Grade Visual Arts
1.2 Identify and describe characteristics of representational, abstract, and nonrepresentational works of art.
2.4 Create an expressive abstract composition based on real objects.
2.5 Assemble a found object sculpture (as assemblage) or a mixed media two-dimensional composition that reflects unity and harmony and communicates a theme.
2.7 Communicate values, opinions, or personal insights through an original work of art.
4.3 Develop and use specific criteria as individuals and in groups to assess works of art.
4.4 Assess their own works of art, using specific criteria, and describe what changes they would make for improvement.
Sixth Grade Visual Arts
2.6 Use technology to create original works of art.
4.1 Construct and describe plausible interpretations of what they perceive in works of art.
4.3 Develop specific criteria as individuals or in groups to assess and critique works of art.
Seventh Grade Visual Arts
2.3 Develop skill in using mixed media while guided by a selected principle of design.
2.6 Create an original work of art, using film, photography, computer graphics, or video.
4.1 Explain the intent of a personal work of art and draw possible parallels between it and the work of a recognized artist.
4.3 Take an active part in a small-group discussion about the artistic value of specific works of art, with a wide range of the viewpoints of peers being considered.
4.4 Develop and apply specific and appropriate criteria individually or in groups to assess and critique works of art.
Eighth Grade Visual Arts
2.3 Create an original work of art, using film, photography, computer graphics, or video.
4.3 Construct an interpretation of a work of art based on the form and content of the work.
4.4 Develop and apply a set of criteria as individuals or in groups to assess and critique works of art.
Fourth Grade English-Language Arts
1.1 Ask thoughtful questions and respond to relevant questions with appropriate elaboration in oral settings
1.7 Emphasize points in ways that help the listener or viewer to follow important ideas and concepts.
Fifth Grade English-Language Arts
1.1 Ask questions that seek information not already discussed.
Sixth Grade English-Language Arts
1.5 Emphasize salient points to assist the listener in following the main ideas and concepts.
Seventh Grade English-Language Arts
1.1 Ask probing questions to elicit information, including evidence to support the speaker's claims and conclusions.
1.5 Arrange supporting details, reasons, descriptions, and examples effectively and persuasively in relation to the audience.
1.7 Provide constructive feedback to speakers concerning the coherence and logic of a speech's content and delivery and its overall impact upon the listener.
Eighth Grade English-Language Arts
1.2 Paraphrase a speaker's purpose and point of view and ask relevant questions concerning the speaker's content, delivery, and purpose.
Bibliography/Webography
Ades, Dawn. Photomontage: 203 Illustrations. New York: Thames and Hudson, 1986.
Jones, Frederic H. Digital Photography Just the Steps for Dummies. Hoboken, NJ: John Wiley, 2005.
Lavrent'ev, A.N. Rodchenko Photography. New York: Rizzoli, 1982.
Sandler, Martin A. Photography, An Illustrated History, (Oxford Illustrated History). New York: Oxford University Press, Inc, 2002
The Visual Classroom: Integrating Photography into the School Curriculum. Education Department: Museum of Photographic Arts, 2000. To order, call 619-238-7559x236. Cost is $45. Additional shipping charges may apply.
Alexander Rodchenko
Russian avant-garde artist and activist, famous for photomontages.
Cut and Paste: A History of Photomontage
Historical background of photomontage spanning from the early 19th century to present day. Focusing on a few selected artists, this Web site includes several images of photo-collages and links to other Web site resources where one can find more information about the highlighted artists.
Library of Congress: American Memory
Sixty-two collections of photographs and prints from the Library of Congress American Memory project. Photo-collages can be found by doing a search on photomontage.
Masumi Hayashi
Site 1
Site 2
Collection of the large body of panoramic photo-collages by the Cleveland-based artist.
The Museum of Photographic Arts
Permanent collections and current exhibits at the Museum of Photographic Arts, Balboa Park, San Diego, CA.
Photography for Kids: Photography Projects, Ideas and Resources
A list of good Web sites for helping kids learn photography techniques, projects, cameras and optics, and history of photography. Includes book and software reviews.
Teaching Digital Photography: Showing Kids How to See With the Camera's Eye
A site that introduces digital camera and photography techniques, and helps kids understand media images and observe the world around them.
Visual Thinking Strategies: Vue: A Solution to Education’s Challenges
Visual Understanding in Education (VUE) conducts educational research focused on aesthetic and cognitive development that results from interaction with art. Based on its findings, VUE develops programs for schools and museums, principally Visual Thinking Strategies (VTS).
Bidner, Jenni. The Kids’ Guide to Digital Photography: How to Shoot, Save, Play With & Print Your Digital Photos. New York: Lark Books, 2004. Buckingham, Alan. Photography, DK Eyewitness Books. New York: Dorling Kindersley, 2004.
BetterPhoto for Kids and Teens
A site dedicated to kids and young adults interested in the art of taking pictures. Includes sections on pets, friends and family, vacations and more.
Museum of Photographic Arts
Mingei Museum Timken Museum of Art
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Rirkrit Tiravanija. Untitled (rucksack installation). 1993
Rirkrit Tiravanija Untitled (rucksack installation) 1993
• Not on view
Multiple of backpack, map, camping stove, dishes, can opener, and ingredients for a Thai rice meal
rucksack (approx.): 15 3/4 x 12 5/8 x 11 7/16" (40 x 32 x 29cm); sheet (map): 76 5/16 x 68 1/8" (193.9 x 173 cm)
Helga Maria Klosterfelde Edition, Hamburg
Purchased with funds given by Linda Barth Goldstein
Object number
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My Cart
Pira Gold Leaf Decorative Bowl
Designer: Deborah l kerbel
Serve up some chic glam style with our new bowls. These bowls are a stylish update to the traditional so it’s sure to stand out no matter where you set it. Its durable construction completes the contemporary design, perfect to enhance decor in any room.
A functional vase with a stunning design in gold leaf. This vase does not only serve a ulitarian purpose but is an art piece to be admired.
These are truly unique, fun pieces that are designed by artists. Every piece a conversation.
**This is considered a custom/special order
Material: Resin
Dimensions: 23x23x12"H / (24x24x13"H Packed)
Regarding Shipping: As this piece is coming from the US (imported) and is oversized please contact us for shipment pricing. Standard shipping rates do not apply.
This image is for illustrative purposes only. The colours shown are accurate within the constraints of lighting, photography and the colour accuracy of your screen.
Care Instructions:
Dust With A Soft Cloth. Do Not Use Cleaning Materials With Strong Chemicals. Not Suitable For Outdoor Use.
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Art Inspiration: Imagine The Impossible: Steampunk Woman 133
The thirteenth caricature is a wonderful teacher who is a good person through and through. She is a quiet soul and will always help you whenever asked. I have always thought of her as resembling Ariel from the Little Mermaid, therefore I decided to draw her caricature with this theme in mine. I began with a corset and then instead of a frilly dress, I drew a skin-tight dress along the thighs and then it would frill out at the knees to represent a mermaid’s tail. I added a blouse that showed some cleavage and a belt and feather hairpin. I added the navigational instruments of a compass, eyeglass and pocket watch to finish the look.
She really enjoyed her caricature especially the dress. She and many noticed the mermaid reference right away. I hope you enjoy the thirteenth steampunk caricature from “Imagine the Impossible.”
Steampunk Woman 12
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Sue Hotchkis interview: Working intuitively
Sue Hotchkis interview: Working intuitively
Textile artist Sue Hotchkis has won awards such as the Mourant Artist of the Year Prize and her work has been featured in Fiber Art Now magazine as well as the book Textiles: The Art of Mankind.
She has a passion for texture, surface and space, which leads her create fascinating and intricate printed and stitched abstract pieces. She is heavily influenced by her environment and has travelled widely, always taking photographs. Sue uses various textile techniques and pieces can take anything from a few days to many months to complete. Initially she dyes or hand paints cloth, then she employs screen printing and discharge printing to create a further layer. The piece is manipulated further with hand stitch or free motion machine embroidery.
We’re delighted Sue has shared some insights into her processes and inspirations in this absorbing interview.
Using a combination of free motion machine embroidery and print, textile artist Sue Hotchkis created this unique piece of work.
Sue Hotchkis – Blown
Combining art and needlework
TextileArtist.org: What initially captured your imagination about textile art?
Sue Hotchkis: Art and Needlework, as it was called when I was at school, were always my favourite subjects but it wasn’t until I did my foundation course in 1994 that I discovered how much I would enjoy combining the two.
What or who were your early influences and how has your life/upbringing influenced your work?
As a child I was constantly making things, painting and drawing and my parents encouraged me, with endless supplies of paint and glue. My father was very skilled at carpentry and although I never knew my grandfather, who was a painter, I was certainly fascinated by the marks and textures in the few oil paintings of his that my father owned. I would try to reproduce them in my own basic oil paintings.
My mother and grandmother were always knitting and sewing, so as a child I was surrounded by fabric and suchlike. I had my first sewing machine at seven years old and would make my own dolls clothes.
A delayed start
What was your route to becoming an artist?
I had a rather delayed start as at 19 I got a job that was only meant to be for three weeks experience and nine years later I was still there. I knew I didn’t want to spend the rest of my life trapped behind a desk and always regretted not doing a degree.
So at 28 I enrolled onto a foundation course as a mature student and loved every minute of it. I graduated in Embroidery at Manchester Metropolitan University in 1998, and then went on to complete an MA in Textiles also at Manchester Metropolitan University. I did the MA over two years part time which enabled me to teach at the same time. I continued teaching until 2007 when a change in my circumstances allowed me to give up working and provided the opportunity to focus on developing my own practice.
What is your chosen medium and what are your techniques?
I use various processes. Initially I dye or hand paint onto cloth and then I screen and discharge print onto the same cloth. I prefer machine stitch to hand but I do use both. I particularly l enjoy free motion machine embroidery and I have a computerized sewing machine that I’m constantly discovering new ways to use.
I’m not too precious about the art work so will often distress my work using a heat gun or soldering iron. I use whatever is needed to achieve what I’m searching for.
Sue Hotchkis dyes and prints on fabrics to create a layers before manipulating the fabric with hand stitch and machine embroidery
Sue Hotchkis – Once
Treasuring imperfections
How would you describe your work and where do you think it fits within the sphere of contemporary art?
I make fragments; unique abstract pieces aiming to capture the fragile transient beauty found in the inherent processes of ageing, and decay within the surrounding landscape, urban or rural. As in the Japanese aesthetic wabi-sabi, I treasure imperfections found in the natural changes that occur in such things as weathered wood, crumbling plaster and peeling paint.
I prefer not to be put into a ‘box’ or categorized; trying to succeed is hard enough as it is without putting boundaries on yourself and limiting your opportunities. I’ve always considered myself an artist and have exhibited my work as such. The ‘is it art, is it craft?’ debate is always there because I work with fibre and not oil paint. If people want to describe me as a craft/maker that’s fine too; as long as they appreciate what I do, it doesn’t really matter and I would take it as a compliment.
Drawn to the insignificant and overlooked
Tell us a bit about your process and what environment you like to work in?
I love working at home on my own, usually in silence as I find the radio can be too distracting. Occasionally I’ll have music on if I’m doing something I don’t need to think too much about. I’m fortunate at present to have two spaces that are completely my own, an area in which I can print and experiment and a room that is my studio containing my sewing machines for free motion machine embroidery, fabric, threads etc.
This also doubles as a time machine, as five hours in there can seem as though five minutes has passed. I’m passionate about surface and texture and I’m drawn to the insignificant and overlooked. I record these elements with my camera and use the images as my initial inspiration. I work with its qualities, colour, form, texture and composition. I work in my sketchbook, to create images that can be put onto screens for printing or sometimes I use Photoshop.
I work intuitively responding to what develops. I use embroidery techniques and I enjoy the discovery part, manipulating and experimenting with the fabric, responding to accident and chance, exploring and finding new ways to create marks and surfaces. The work is often pieced together with parts being added and removed until I’m happy with it. I often work on several pieces at one time moving from one to another each at different stages of development. The artwork evolves over time and can take anything from a week to several months.
What currently inspires you and which other artists do you admire and why?
I’m currently inspired by my collection of photos that were taken in Naples, Herculaneum and Pompeii. I’ve also been experimenting with drawing onto Acetate and I’m excited to see where those drawings take me. I admire many artists such as Howard Hodgkin, Michael Morgan, Mark Rothko, David Hockney, Turner, Jock McFadyen, Gerhard Richter, Kate Malone and numerous textile artists such as Jo Budd, Jane Mckeating, Alice Kettle, Joan Schultze and Janet Echelman.
Sue Hotchkis is a textile artist who uses mixed media techniques such as screen pritning.
Sue Hotchkis – Unseen Beauty
Textile artwork for myself
Tell us about a piece of work you have fond memories of and why?
I’m fond of the piece Unseen Beauty. I’ve often been asked to sell it but I’m loathe to part with it. This not because I think it’s a masterpiece and indeed there are several parts of it I would change if I could. Rather, it is because it was the first piece I created once I’d decided to concentrate on making my own work.
I was still teaching at the time, working through my final term and it was a real pleasure and awakening to get back to doing textile artwork for myself, concentrating on my own ideas, something I’d let slide whilst teaching. Although ‘Unseen Beauty’ is a special piece to me, I also do tend to favour my latest creation until the next one is made.
How has your work developed since you began and how do you see it evolving in the future?
The shape of the artwork is always a changing element. The scale has also changed, sometimes I would like to work on a larger scale but I’m working smaller for practical reasons, time, cost, space and delivery can all factor into the end result, where I’m working effects it also. When we were living in a small flat my work was very stitch orientated, using free motion machine embroidery and hand stitch, because I only had room for my sewing machine.
Currently I am able to print and this has led to me focusing on developing print based work. I also want the work to become more sculptural, something that’s already beginning to happen by using Trapunto. The next step is to look at ways of breaking it up more, so it’s less solid.
The future
Do you give talks or run workshops or classes? If so where can readers find information about these?
I occasionally give talks if asked but I have declined the opportunity to teach workshops. Having been a college lecturer I know how much time the preparation for teaching and teaching itself can take. At the moment I want to be selfish and I’m fortunate that I can concentrate my free time on developing my own work.
How do you go about choosing where to show your work?
I use the internet and utilize social media, to network with other creative people. I also subscribe to various magazines and call for entry sites. I’m also a member of various groups such as SAQA, CQGB. SDA.
Where can readers see your work this year?
The piece entitled ‘Once’ is currently in Fiberarts International 2013 in Pittsburgh April 19th to August 18th at the Society for Contemporary Craft and then will move to San Jose Museum of Quilts and Textiles CA, and the Art Museum of Myrtle Beach, SC. I also have a piece entitled ‘Blown’ which will be in the SAQA touring exhibition ‘Metaphors on Ageing’ which commences at the Festival of Quilts NEC in Birmingham in 8th – 11th August and then moves on to Johannesburg S Africa. I have some smaller work to be shown in the Pictures Gallery in Guernsey throughout June and I also entered the Button project at the Macclesfield Silk museum 14th June to 8th August.
Sue’s website, SueHotchkis.com is kept updated with exhibition dates and readers can find her artist page https://www.facebook.com/SueHotchkisTextiles or follow @SueHotchkis on Twitter.
Let us know what you like about Sue’s incredible work by leaving a comment below.
FREE E-BOOK: How my journey into textile art began, a fascinating insight into the work of textile artist Sue Stone
Friday 23rd, February 2018 / 20:01
About the author
Joseph Pitcher is the son of textile artist Sue Stone. He is an actor and voice-over artist and has worked at the RSC, the National Theatre, West End theatres and several other leading regional venues across the UK. Find Joe on Google
View all articles by Joe
6 Comments on “Sue Hotchkis interview: Working intuitivel
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Stories From Behind the Camera
Posted on October 15, 2024 by Molly Berrens
The Yeti's are thrilled to return as a three-peat artist for the region's highest profile and best attended event, BLINK. In our third iteration, we're staying true to who we are as artists, but raising the bar with our approach and production elements. Here's a little peek into what you can expect from this year's projection mapping installation.
1. Collaboration - Back for our third collaboration together are artists Tony Agliata and Matthew Grote to help produce a mixed-medium installation including cinematography + motion graphics + illustrations. Their unique talents and fresh perspectives elevate our artistry, propelling us into exciting new realms. Matt even added 3D printing this year by creating custom props (with some nods to Cincinnati). We are ecstatic to have them on board once again.
2. Visual Journey - Additionally, we remain committed to taking the viewer on a journey. Storytelling is at the core of Spotted Yeti and we wanted the action to be motivated and not just visually interesting.
"HUEmanity" on the National Underground Railroad Freedom Center in 2019 (left) and "CINEMAGIC" on the First Financial Building in 2022 (right)
1. Music - We were thrilled to see that music was a requirement of the projection mapping artists this year. Audio really does add another layer of activation and emotion to the art. Before even being assigned our location, we knew we wanted to partner with our longtime client, Cincinnati Opera, to help identify music for the project. Cincinnati Opera is the second oldest opera company in our nation. We are continuously impressed by how they innovate within their genre, having documented many new productions being workshopped, while also rethinking and elevating the classics. Plus, they are always looking for new ways to bring opera into the community. They recommended two operatic selections ("Song to the Moon" from Rusulka and "Die Zauberflöte" aka "Queen of the Night Aria" from The Magic Flute) and together they form a score that perfectly elevates the visuals and engages the viewer.
2. Projection Mapping on a Mural - We have always taken inspiration from our building, and this year the starting place had a new twist - an existing mural. But not only that, a mural by artists we have admired since locating our business in Covington - The London Police.
Our 2024 Installation Location - The London Police Mural (1706 Pleasant Street, Cincinnati, Ohio 45202)
Projection mapping on a mural presented exciting new challenges. Instead of architectural elements to bring to life, we utilized the established lines and content of the artwork. As we debated our visual journey, we decided to lean into the central mermaid figure and gave her a voice (which perfectly fit with our collaboration with Cincinnati Opera). The result of four months of visioning, collaboration, shooting, and editing is: CELESTIAL SERENADE.
We hope to see you at BLINK, October 17-20, 2024! Please tag us on social media and hashtag your photos with #BLINKSpottedYeti. We'd love to hear your thoughts! A huge thank you to Spotted Yeti's Creative Director, Christopher Hagan, for defining our vision, and the rest of the yetis (Liz, Andy, Steph, & Jenna) for pushing their creative capabilities and lending their talents to this project. Here's a bit more about The London Police and our artwork:
The London Police Mural ("Squillad Serenade", est. 2019)
The London Police (TLP) are Chaz Barrisson and Bob Gibson, an English artist duo who have been creating murals and other artwork around the world since 1998. TLP draws everything by hand, and their style is characterized by the combination of their iconic LAD creatures (black and white dog figures...or when appearing underwater, "squillads") with realistic portrait styles.
TLP first came to the region in 2012 through a friendship with Covington Creative Agency, BLDG and painted a LAD on the side of a liquor store that eventually turned into a larger mural. In 2016 they created the Boone Block Living Wall Mural (on the corner of 4th and Scott Street in Covington) in honor of BLDG's founder, Mike Amann.
Celestial Serenade
Deep beneath the ocean's surface, a mermaid is born with an insatiable curiosity. Determined to escape her aquatic home, she discovers a magical orb that allows her to travel to the far reaches of space. “Celestial Serenade” is a fantastical adventure activating an existing mural by Amsterdam-based artists, The London Police. Set to an operatic score (in partnership with the Cincinnati Opera), the singing mermaid will delight audiences with mesmerizing underwater adventures and eye popping galactic environments.
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04. Hannon House
SATURDAY 9 and SUNDAY 10
MARCH 2024
Meeting Point
Avenue de la Jonction 1, 1060 Saint-Gilles
In 1903, Jules Brunfaut designed the only Art Nouveau building of his career for his friend Edouard Hannon, an engineer with the Solvay company. The stairway with frescoes by the painter Paul-Albert Baudouin from Rouen and the winter garden with stained glass windows with plant patterns by Raphaël Évaldre, a follower of Louis Comfort Tiffany, are among the highlights of this elegant interior which has recently been restored.
Supplement of 10 euros per person to be paid to visit this place.
Arch. Jules BRUNFAUT, 1903 - 1904
In collaboration with Korei Guided Tours
09/03/2024
EN 11:30
FR 9:30, 11:00, 12:30
NL10:00, 13:00
10/03/2024
EN 11:00
FR 10:00
NL9:30
• 60 min.
• Art nouveau
Ort (Karte)
Stay Informed
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Free Outdoor Advertising Mockup (PSD)
The fresh air is always around, so since taking a walk or a stroll is everyone’s favorite hobby, people are going to come across a lot of billboards and signs, making them highly successful tools for advertisements, not to mention how easy it is to replace the ads showcased on them. Graphic Shelter enabled us to share with you this outdoor advertising screen PSD mockup. From a perspective shot, viewers are introduced to a large screen set in front of a shop.
This 3000 × 2000 pixels mockup provides a realistic setting, so as a designer, you have no limits to what you can insert using the organized layers. You can include posters for actual businesses, new releases, ads for brands, or simply images you’d like to display. And for those rusty users, the free download comes with a help file.
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Spaceghost: New Work
I wanted to share some photos from my show at Nice Things last week-- this work will be up for a month and the shop is really great so be sure to stop by at 1731 E. Passyunk Ave!
This show is a little different and was really fun to put together. I definitely enjoyed using so much of my absolute favorite color, and way more black than I've dared to use before, and to play with shapes. If you are interested in purchasing any of these pieces please contact Nice Things. I'm also working on making prints of some of them.
"Spaceghost: New Work by Joey Hartmann-Dow features paintings and mixed media about humans in their stardust-bodies, feeling their feelings, and remembering that we're all connected."
periipheral 2.jpg
Busy Season
It's October 1, I guess it's BUSY SEASON NOW for Us & We Art!
I have so much to tell you.
I'm writing this from New Orleans (💜💜💜), but I'll be back this week and then it's MADNESS for about.. 3 months. Here we go.
Go West! Craft Fest
Oct. 7, 11am-5pm
The Woodlands, West Philly
Spaceghost (text).png
Spaceghost: New Work
Oct. 14, 5-8PM
Nice Things Handmade
1731 E. Passyunk Ave. Philadelphia
artiversary cover.png
7pm-midnight
contact me for location
SO EXCITED to celebrate Us & We Art's 5 year anniversary! When I started my journey as a professional artist, I gave myself 5 years to go wild, follow my truth, make mistakes, get excited, and try to make some money too. Now I get to check in with myself and see if I want to keep going, or maybe make some changes. COME SEE. Come party.
Featuring sets from Philly musicians Vessna Scheff, and George Engel Brooks.
2018 BAW Cover indiegogo.png
Also in case you missed it, the 2018 Badass Women Calendar is available for pre-order!
Check it out.
...So that's what's coming up in the next 4 weeks. More news all the time so stay tuned.
Feed Love,
2018 Badass Women Calendar available for pre-order!
It's true! The Badass Women Calendar 2.0 is in the works and you can pre-order it NOW to guarantee your copy!
rosetta color.png
Last year the calendar came together super quickly, and I'm so excited to come back this year with a calendar that's more badass than ever. Stay tuned for the full list of badasses featured, and check out my Indiegogo campaign to cover costs of printing (with local Philadelphia printing company Fireball Prints), and you can pre-order a calendar with free or reduced shipping.
I'm also SUPER excited this year to be able to offer wholesale prices, so if you know a badass boutique you wants to sell these please share!
I was blown away with support for this project last year and I'd love to spread it as far as I can. Thank you so much for your help in making this happen. You are a badass.
**Pre-ordering a calendar before Oct 15 absolutely guarantees your copy which will be available after Oct 28. I am printing a LOT of calendars this year so I'm sure you'll be able to get one after that, but pre-ordering now helps me with the upfront printing cost, and saves you a little in shipping!**
"Apart From Us" Opening This Friday
Apart 2 postcard image.png
First Friday // September 1, 2017
Please come see this work and stay for a set from Philly musician Lauren Scott at 8:30pm.
Inner Rhythms Music & Therapy Center
4145 Chestnut St. (enter on 42nd St)
I'm so glad to have this work up in this space! Hope to see you there.
apart statement excerpt.jpg
Huge thanks to my friend Kate who helped me hang the show today, and to Julie and Morgan at Inner Rhythms, to Lauren Scott for playing music, and everyone who has helped spread the word about the opening-- community rules! I hope you can come!
2017 Feelings. Also SUMMER SALE
We knew 2017 would be rough.. and here we are, feeling our feelings. My heart goes out to all my fellow humans.
I see you my friends of color, my trans friends, my queer friends, my Muslim friends, my immigrant friends, my Jewish friends, my friends with the system stacked against them, my scared friends, my angry friends. I see you and your feelings are valid. And I see you, humans who hold a very different truth than my own.
In the face of so much despair (is this word getting tired in the past year or so?), I hope you are taking care of yourself, and reaching out for support-- and receiving it !
This is a good time for me to have a little sale in my store because the summer can be slow for an artist.. but I'm glad it's also a good time for you to treat yourself. Now through Saturday at Noon (EST) everything at usandweart.com/store is 17% off with the code KEEPGOING. Tell your friends!
I love you. Stay human <3
It's Currently Summer in Philadelphia
..and it's not ALWAYS sunny.
I've been enjoying the rainy-ness the past week, and finally emerging from vacation-brain.
Besides working on a couple commissions, I have two shows coming up this fall:
First Friday
Sept. 1, 2017
7-11PM
Inner Rhythms
Music and Therapy Center
4145 Chestnut St. Philadelphia
Facebook Event ! Ooooh.
This is a modified version of the work I showed at Pendle Hill last August. I can't believe that was a year ago ! If you didn't catch it at the Barn Gallery, please come out and see it in West Philly. This work was very much informed by my experience in New Orleans, and honestly the first show I'm genuinely proud of.
Oct. 14, 2017
5-8PM
Nice Things Handmade
1731 E. Passyunk Ave. Philadelphia
This is new work and I've been having a lot of fun with it! If you follow me on Instagram (do it!) you may have noticed a lot more broad-stroked / partially finger-painted portraits, and expanding a little bit outside of my regular cool-blues-and-greens palette. I'm still sneaking some maps in there though. Come see on October 14 in South Philly!
Also-- it's 2017, which means this October will mark 5 years since I committed to working as a full time artist. When I embarked on this path I told myself after 5 years I would check in with my spirit (and finances) about what I want to do next-- continue on my entrepreneurial journey? Shift to something a little different? Shift to something COMPLETELY different??
Stay tuned !
Life in the Moon Bounce
Hey Humans!
Well, I spent March through May in New Orleans (swoon) and now I'm in Philadelphia (swoon) and I'm generally bouncing around in a swoon-bubble, feeling very grateful and good most of the time.
Here are couple new pieces I made my last few weeks in New Orleans:
Oh also, Annie Lou and I went on a Space Travel Tour of the Southwest. We flew to San Diego (where we rented a car), made a small pilgrimage to Salvation Mountain, tried to get to the Grand Canyon a bunch of times, got to the Grand Canyon, ran aground to sleep by a Power Plant, soaked in some mysterious Arizona hot springs, swapped out our rental in Albuquerque, discovered the tiniest cutest town in all of New Mexico (it's Madrid, NM), soaked in some brilliant mind-play at Meow Wolf, drove through nighttime Texas, drove through daytime Texas, bounced through Austin, and back to New Orleans. In approximately 12 days.
And along the way we made and sent sweet handmade postcards. (See more photos)
What's Next?
Well I've got two shows coming up in Philly this fall (details soon), and I'm excited to say I'll be a part of Artist Row in Rocheser, NY in September!
I've also been setting up a work space in my basement and adjusting back to an in-home studio which is a fun project, and we'll see how that goes..
When am I going back to New Orleans, you say? Who knows!! The future is unknown in the moon bounce!
As always I love and appreciate you and celebrate your support.
Sorry I haven't posted about my incredible life in New Orleans lately, but anyway, starting May 17, Annie Lou and I are going on an epic roadtrip like this:
We're flying out to San Diego, renting a car and driving back through the Grand Canyon, Sante Fe, Austin, and exploring space and time in between, slinging art and singing songs along the way. Pretty rad, right?
Anyway renting a car for two weeks is a financial adventure in itself so we're inviting you to send us $$ and we'll send you sweet surprise handmade postcards from the road! WOW.
Want to join in the fun? Just send us anything ($5-$5,000) via this money-absorbing portal and you won't regret it! Gosh.
(You can also send money via Venmo @usandweart or PayPal [email protected], just be sure to send me your mailing address!)
ALSO-- do you have connections in any of these places? Is there a cool art market or store where our art should be? We've got cool art for rad hosts too.
Hope to hear from your bank account soon! ♥
Your snarky friends,
Joey & Annie
P.S. in case you missed it, click here.
New Print for a Cause
Hey all, you may have noticed sometimes I make prints specifically for a cause so I can help others fundraise. Not having a ton of extra cash myself, it feels good to be able to contribute my art-making skills so that YOU can get a cool thing for donating and we all feel great.
Right now to avoid credit card fees I'm only taking donations sent directly to my PayPal account (will also take Venmo @usandweart), which I redirect to the respective organization.
You can check out some other prints for causes here, and below is my latest:
The Pharmacy Coffee Shop
The Pharmacy is a rad coffee shop / art gallery / performance venue in Point Breeze, Philadelphia. Over the years they've provided affordable yummy noms and awesome space for creative folk, and now they are facing crazy fees and need some help to keep their doors open. (More info on their page)
Also, there is a dog, Sharky, who hangs out at the shop and he's got weird feet and bug-eyes. He is a little dreamboat and here's a drawing I did of him.
I've got 11x14" Sharky prints for your donation of $25 (includes shipping)
and packs of 12 Sharky postcards for your donation of $30 (includes shipping)
Would make great gifts! If you love local community, Philly art & music, and doggos, please consider helping out.
TO RECEIVE A PRINT or POSTCARDS please send via PayPal to [email protected] and be sure to send your shipping info to the same email address.
(**PHILADELPHIANS: I will be back in Philly in June and it will be much easier to get a print from me then.. meanwhile, I'm happy to send it to you**)
You can also give directly to their campaign here.
The Year of the Chicken
Well at least 2017 is going quickly (no? just me?)
Apparently it's the year of the Rooster according to Chinese Zodiac (it says rooster everywhere but I looked it up and it's rooster/chicken) which is appropriate because it seems like humans as a group are in perpetual need of a wake up call, and also we seem like bug-eyed flightless weirdos (no? just me?).
Anyway. I wanted to officially report that 2 reprints later, I am completely sold out of Badass Women Calendars. FOR REAL this time. NO MORE.
OK, I'm completely out but I happen to know there is a very small number in two other locations:
As of right now, you can find approximately 2 of the last of the calendars in Bethlehem, PA, and approximately 3 of the last of the calendars at my friend Annie Lou's studio in New Orleans, LA. Contact me if you're in one of those places and want to connect to the "retail" for these, but they cannot be shipped. (Annie Lou also makes hilarious Snarky Hearts, check it out: www.annieloustudio.com)
Oh. My. Lorde.
I don't even know how to address this-- it feels like a big deal. I printed 400+ of those calendars and I couldn't believe how much support and celebration they received. So wonderful. It really made me feel great!
I've also been reflecting a LOT on capitalism because this project was so successful that I've got some financial stability to show for it.
And that's weird.. I mean, it's not the norm for me. And I've noticed that yeah, I've been spending more money. Because, like, I have it. And it's pretty cool-- like I don't have to think twice about going to a friend's show with a cover, and I can give a little to organizations I want to support, and I got my BIKE FIXED which has been a pretty important need I've been putting off for like 3 years.. I feel privileged a lot of the time, but lately I've felt especially grateful to actually be able to put money back into my community, via the local bike shop, local artists, local co-op, etc. YES. So, thank you for that too.
The other thing I will almost report is that for the last year plus, I have been working on illustrating a very weird, wonderful project by Peterson Toscano, and it is going to print this week. Stay tuned because it is quite literally like nothing you've ever seen.
Oh, and ALSO, if you haven't heard, I'm going back to New Orleans for 3 months (!) and I'm leaving in a week (!!) AND I'm having a house show on Friday where I will be selling lots of clearance art, and I will also be playing songs that I wrote, in front of people (!!?!) so that's gonna be weird. BUT don't worry there are two other musicians playing and they are actually professional and amazing.
People have asked me, "What will you be doing in New Orleans?"
Well I don't know. How could I possibly know? The future is so uncertain!
..But mostly I'll be making art, selling art, helping out at the Aquarium Studios 2.0, maybe exploring my songwriter side a little more, and in general biking around City Park, eating vegan goodies, meeting bright souls, and soaking up the magic of New Orleans.
Who knows, though right?
To Sum Up: The Year That Broke Our Hearts Into A Million Pieces And We're Still Growing
I don't know if you heard, but 2016 was one big roller coaster of heartbreak, destruction, inspiration, and creation. For me anyway.
To sum up:
• I began 2016 by leaving my first magical, brief, shiny experience in New Orleans.
• I occasionally worked as an assistant to an incredible Philly artist named Eric Goldberg, who has become a dear friend (check out his website-- which I made..)
• I finished up my work as an organizer for FCNL's Advocacy Corps (lobbying for climate action)
Check out the article I wrote for Green Philly Blog. But I'm not done with FCNL!
• I worked closely with another artist, Leslie Birch, to curate and put on a pop-up show about Climate Stories, which took place in April at Transport Cycles in Fishtown (made possible by a grant from CUSP!)
• I helped start a nomadic art collective called Nobody's Gallery. (We had a show in a Penske Truck in August)
• I spent the month of May in New Orleans as a resident artist at the Aquarium Gallery and Studios, which burned down on June 1st, just before I left (you can read the whole story here).
• I showed what was left of the work I made in New Orleans at a show in Rochester, NY, plus some overnight new work made after the fire..
• I worked non-stop to put another show together as soon as I got back to Philadelphia-- Apart From Us, which was on display at Pendle Hill's Barn Gallery in the fall. This was the first show I felt genuinely proud of.
• I cleared out of my first grown-up private studio at Alter St. in Point Breeze, and took up with a motley crew of star-shiny artists called Panorama Collective in Southwest Philly.
• I took part in a life-changing collaborative creative experience called "Going There" in which I performed with 8 other artists/performers in at a warehouse in West Philly in early October. We all really stretched ourselves as artists and humans and it was incredible.
• The second that show ended, I somehow flew back to New Orleans for a month, and made work non-stop for a benefit show to help rebuild Aquarium Studios, while helping occasionally at the site, and also selling at art markets.
• I came back to Philly in time to vote, and was devastated to watch Donald Trump and Pat Toomey be declared winners of my President and State Senator elections.
• I lobbied for Prison Reform, to end Mass Incarceration, with FCNL in DC.
• My friend Hannah and I decided to go out the Standing Rock in solidarity with Water Protectors-- but on Dec. 5 decided we could offer more effective support through our fundraising at home, rather than traveling out there where we may not be useful or wanted. We raised over $2000 for them. Please stay informed about the situation! (I follow frequent updates from the Sacred Stone Facebook Page)
• I decided at the last second (...Dec 10) to make a calendar, which went to print within 6 days of the first drawing for it.. pretty Badass, you might say ;)
• I was overwhelmed with the support and affirmation from making a calendar that celebrates badass women.
I ended up printing over 300 calendars. I still don't really comprehend it. Thank you so much, everyone who shared this project and got excited about it. (I still have about 25 left, if you want one!)
OH MY GOD, I did a lot! I didn't even include everything! I think a lot of people were affected by the deaths of some famous people-- which I think really speaks to the kinds of things being done and created in the 70s.
Time is weird. I'm 26. I did a lot, made a lot, grew a lot this past year. I feel like I'm whirring, and one goal for 2017, even in the midst of such a need for continuous action, is that I want to find a way to slow down, and learn what it feels like to be refreshed..
Is it possible??
Anyway. Can't end this post without copious gratitude for you and you and you. Thank you humans. We're in this together.
To sum up my summary, I made a lot of stuff in 2016, and I had a cool haircut.
P.S. I grabbed most of these pics from Instagram, where I post my most frequent updates. Go ahead and follow me @usandweart go ahead go ahead.
Badass Women (the Calendar)
Woof-- that a week. What a MONTH. WHAT A YEAR.
(Annual year review post coming in a couple weeks)
Meanwhile, although sometimes it feels like the future is so uncertain, I whipped up a calendar featuring some very badass women, to inspire you in what may be a very challenging year for women in the U.S.
Featuring such badasses as Audre Lorde, Ida B. Wells, Malala, Frida Kahlo, and more-- it's wonderful that there are so many badass women to choose from, and it was hard to draw the line at 12. Maybe I'll just have to keep making these every year..
Full disclosure-- these mighty little 8x8" calendars were more expensive to print than I anticipated-- and I put a lot of badass work into them (!) so I am selling them for $20 each, BUT if you pre-order by NOON this Friday 12/16, they are just $18 (what a deal!).
I am printing them locally (yay!) and will ship pre-orders out on Monday 12/19. If you order online after that I can't guarantee it will get delivered by Christmas, if you're into that (but it might).
How to get yours:
• For $20 - Find me selling them and other art at the Go West! Craft Fest on Sunday! (10-4pm at the Rotunda)
• For $18 - Pre-order Online:
• For $18 - Pre-order for Philly Pickup:
Pay by Venmo (preferred) @usandweart with "Badass Women Calendar"
Pay by PayPal ([email protected])
Pay cash to my little hands
You can pick up:
- by appointment after Sunday 12/18 -- however, you cannot pick up at the Go West Craft Fest!
- at the Pop Up Art Market at my house on Weds. 12/21 6-9pm (more info soon)
I have to say I've put a lot of time into researching some incredible women, and it has been a blast. It's also been fun to draw graphite portraits which I haven't done in a long time! I'm blown away by the support you all have already shown for this project-- I know it's last minute to put out a calendar, and I'm so glad to feel you supporting me on this. Obviously badass women are important! Thank you!
P.S. Check out my Instagram @usandweart for some sneak peeks.
Standing Rock
Prints for sale to support the movement at Standing Rock
against the Dakota Access Pipeline.
Please send your donation via PayPal to [email protected], indicating the title(s) and number of prints. (Please add $5 if you need me to ship it to you)
If you would like to pay by Venmo, please contact me at the same email.
Thank you so much for your support. We're in this together.
Art for this time
I haven't updated this blog in the last few months-- and I've since experienced a life-changing collaborative performance project, spent a month in New Orleans making art and trying to support the Aquarium Gallery, and in the last week gave a talk in my hometown about art & activism, and spent several days in DC, meeting with the rest of the general committee of FCNL, and lobbying to end mass incarceration.
I've also been feeling my feelings.
Today I saw a headline that said "Trump Protests Could Be the Start of a New Civil Rights Era". Several people have already said to me, "we need your art now".
Somehow, I haven't made anything yet (in the last week). I've been cooking up big ideas but haven't sat down to paint or draw on this. And I agree, we need art right now. I often turn to music to fuel me in various ways, and I wish there was a playlist of songs for this time, songs about pain, hope, rage, revolution, love, truth, creation.. And then I thought, I could share some art that gets me going right now.
Here are a quick few pieces from contemporary artists for which I've felt something enough to save the images (Instagram can be an awesome tool, that's how I find a lot of great art). I'm sorry I don't have the name for one of the artists, if you know whose piece it is please let me know.
Also, check out Justseeds.org.
Drake Pickel (Chrome Destroyer)
Drake Pickel (Chrome Destroyer)
Agnes Cecile
Agnes Cecile
Langston Allston
Langston Allston
Heather Joy Miller
Heather Joy Miller
Magda Boreysza
Magda Boreysza
Emanuel De Sousa
Emanuel De Sousa
Tom French
Tom French
Johnson Tsang
Johnson Tsang
Swoon (Callie Curry)
Swoon (Callie Curry)
David Oliveira
David Oliveira
Favianna Rodriguez
Favianna Rodriguez
Make something!
Feed Love,
Apart From Us
The thing about feeling so grateful so often is that I struggle to express my gratitude on a regular basis... Really-- REALLY grateful. I feel so supported and validated by my experience on Sunday. I do feel proud of this work and I'm so glad I got to share it with so many of you at the reception at Pendle Hill. Thank you so much.
Saying words.
Saying words.
My friend got a video of most of my talk (and I think some of the Q&A afterwards-- WOW, was that cool..) so as soon as I get that file I will post it for those who couldn't make it, and a transcript.
Thank you Carly for the giant balloon.
Thank you Carly for the giant balloon.
I was unable to take photos during the event.. if you have some good ones please send them to me! (usandweart @ gmail.com). Meanwhile, please come see the show in the Barn Gallery if you get the chance-- it will be on display until November 1.
Pendle Hill
338 Plush Mill Rd.
Wallingford, PA
The gallery is generally open 9:30am - 6pm on weekdays. Contact them about other times and availability: 610-566-4507
Thank you thank you!
Upcoming Show: Apart From Us
I've been working pretty much non-stop since I got back from New Orleans (and hanging Re/Cover in Rochester), making all new work for this show, Apart From Us, which will be up at the Barn Gallery at Pendle Hill through October 31.
This work feels like a big new step in my artistic journey-- very much informed by my experience in New Orleans, and I believe it is strengthened by a new perspective on process and what that means to my art. I cannot wait to share it with you, and I hope you can come to the reception on August 21, where I will give a brief talk about it, and you can see it for yourself.
Reception & Artist Talk for Apart From Us
2 -4 PM Sunday August, 21, 2016
The Barn Gallery at Pendle Hill
338 Plush Mill Rd. Wallingford, PA
As always thank you so much for your support!
A Proper Fundraiser
I guess getting an incredible gift at 11pm makes me look like an emotional baby rat
I guess getting an incredible gift at 11pm makes me look like an emotional baby rat
First of all-- I want to acknowledge an INCREDIBLE surprise gift I received-- a brand new Macbook Air from my friend Dianna! It came with a note that said "Every starving artist needs a benefactor. Enjoy!! Go forth and do art!!!!!" I won't let you down, Dianna! I'm so moved by this act of kindness and generosity.
This takes a huge chunk out of the fundraising I was doing to replace supplies, and is a giant relief to me.
At this point I am now looking to raise $500 to get back on track, which will pay for:
• my replacement high res camera for documenting my work (which I use to make prints)
• replacement software for my new laptop (!)
• various small supplies that were lost/destroyed
Any extra funds will go to:
• renters insurance! (just in case, for the future)
• a flight back to New Orleans, where I hope to get some closure on my disorienting last 24 hours there, to properly thank friends there for their support, and mostly to help in any way I physically can with rebuilding the Aquarium
AND because this is a proper fundraiser, despite not being on a proper fundraising platform, here is the graphic you all want to see:
I'm on my way! Currently 22% funded. Thank you!
Also in proper fundraising form, there is a deadline, which happens to coincide with when my rent is due (since I have already paid out of pocket for some of these things) July 1.
9 days left!
Please take art from me, 20% off with the code KEEPGOING (apply at checkout).
And again, if you don't want art cluttering up your walls and still want to support my goal, you can use the Donate button below.
Finally, if anyone understands the feeling of wanting to support someone but not having money to spare, it's me! Sharing this on your internetworks is supportive too!
Thank you, big-hearted humans!
Money Seeds, Part 1
So it's true, I lost my laptop in the fire. It was a new Macbook Air that I bought from the Apple Store in September (ouch). I took it into the store and they told me "this machine has no value". I am currently looking for a used Macbook in great condition because I can't really fathom dropping another $1000 on a new computer right now.. but even so, I'm looking at several hundred dollars to replace it.
UPDATE: WOW-- my incredible friend who is like an extra mom to me surprise sent me a brand new Macbook Air! I'm speechless! Thank you everyone for your support :) Any proceeds from this sale now will go to replacing software, other art supplies, and funding a flight to get me back to New Orleans to pick up some pieces I left behind (of my heart, surviving art studio bits, etc). I can't say thank you enough. <3
Oh-- hello there!
Yes-- IT'S TRUE! You can help! And to help you help me, I'm having a sale. Everything in my store is 20% off with the code KEEPGOING, which you are invited to use wildly.
I confess, I put quite a bit of money as well as time and love/work into the show that got damaged, and honestly even though the resulting exhibition is pretty cool-- the fragile paper that remains probably won't "sell". So here I am, looking for money seeds to get me back on track with studio supplies and financial stability, including a laptop.
I'm not setting up a fundraiser through a separate site for various reasons, so if you could take the extra step to share this online, that would really help me out :) Now is also a really good time to buy prints because the store is getting a makeover soon, and some prints will be discontinued.
The "Keep Going" Sale is Part 1! Locals, look out for Part 2, coming soon, which will be a party at my Philly studio, once I get it cleaned up.. featuring tons of discounted prints, cards, coloring books etc, as well as super marked down original pieces-- a real clearance-- I mean, clarity sale, which I'm calling my Clarity Art Relief. Stay real tuned!
And again (again again!) THANK YOU everyone, I love your hearts.
P.S. I would really like to trade you my art in exchange for your generous gift, but in case you hate art and still really want to invest in my work, there is a Donate button below.
re/cover: After the Fire
Hi everyone, I wanted to share the whole story but the shortened version is at the bottom. Thank you so much for your support. The power of community has really been shining through this experience.
In May 2016, I was given the opportunity to be a part of the Aquarium Gallery and Studios as artist in residence, located in the Bywater neighborhood of New Orleans, LA.
I spent a month creating new work to show at a solo exhibit in Rochester, NY, making figures on maps mounted on circular plaster backs. The intention of the series was to draw parallels between systems of celestial and earthly bodies; I called it Naked Planets.
Since visiting New Orleans for the first time in December, I've felt a pull to be there, a magnetic feeling I've never felt before for a physical place. I felt so lucky to find the Aquarium (just to clarify, this has nothing to do with the actual aquarium, it's the name of the art space), and was warmly welcomed by Jacob Reptile Martin, artist and owner of the building, and my new studiomates. I went in to the studio every day, feeding off the creative energy of the place and the artists around me. By May 31, I had 20 finished "planets" and showed them in two open studios.
The Aquarium Gallery & Studios
The Aquarium Gallery & Studios
Naked Planets
Naked Planets
Early on the morning of June 1, 2016, I received a message that the Aquarium Gallery had burned down. I jumped on my bike and vividly remember the 6AM ride to the Bywater from Bayou St. John, in a daze, thinking about what I'd left in the studio, and wondering what "burned down" meant. The night before, Jacob had come into my studio around 12 AM and asked if I was burning incense. I said no, but I could smell something too. It smelled sweet, not like a fire. More strongly on the other side of the building. We figured someone on the block must be having a campfire. I left around 1:30 AM.
When I turned the corner on Rampart St. I saw the second floor, where Jacob lived, black and hollow, pretty much just beams. I think I was off my bike before I stopped, and sprinted for the steps, but stopped when the fire marshal across the street said YOU CAN'T GO IN THERE. I waited on the curb to talk to somebody. Meanwhile someone else approached me and asked if they could interview me for the news, which I declined.
Finally the fire marshal told me I couldn't go in but I could look in from the doorway. My studio is just inside on the right side of the house, and I could see my laptop sitting on my desk, soaked from the fire hose. My side actually didn't get burned much, but parts of the ceiling had fallen in, everything was drenched, and there was various damage from smoke and debris. I asked if I could please have the small metal box on the desk, it had all my cash sales from art markets. He said he wasn't allowed to, but eventually took my info and gave it to me. ...It didn't really matter because when I went back a couple hours later, several of the artists were there combing the rooms. We probably shouldn't have been in there because the building was so weak, but we were able to grab some things.
The Aquarium, and Jacob's home (second floor) Wednesday June 1
The Aquarium, and Jacob's home (second floor) Wednesday June 1
My studio (I know in retrospect it seems like some of the planets are not that damaged-- for some reason it didn't make sense to me to save them in the moment, still don't understand why)
My studio (I know in retrospect it seems like some of the planets are not that damaged-- for some reason it didn't make sense to me to save them in the moment, still don't understand why)
It was hard to tell what was there because of the debris, so I had to try to think of things to look for, and as you can imagine it was hard to think clearly. I ended up taking my laptop even though it probably can't be saved, some paints and brushes, and one map piece from Naked Planets that was personal to me.
It was my last day in New Orleans. That morning I wandered around St. Claude, trying to organize my thoughts. I had texted my friend Lauren, the gallery manager in Rochester, saying my studio burned down and I had to cancel the show, which we were supposed to hang in 3 days. I called my parents. I got some coffee. At some point I thought, I do still want to go to Rochester, but I don't want to go without a show, so I started figuring out how to make one. I rode to my friend's bike shop and asked for some cardboard which I cut into approximately 14" squares. He let me process some feelings and set up painting outside the shop. (P.S. if you're ever in New Orleans, get your bike needs from Alex's Bikes in the Marigny) I messaged Lauren, saying I'm making a new show and I'm calling it re/cover.
That night I started painting faces on the cardboard, and by 2 AM I had 9 pieces. The next day I packed everything up to fly back to Philly. I had gotten a text from Jacob saying one of the other artists, Sadie, had cleaned my backpack for me and I should stop by the cafe she works at to get it. When I got there she handed me the bag, and a stack of planets-- she had gone through and picked out 14 of the map pieces from the rubble and cleaned them. I was speechless for a moment-- and thought why did I not do that myself? She said she gets it-- a lot of the others had saved each others' work but for some reason not their own. ...My heart swells when I think about it. A couple of others were at the cafe, already making plans to rebuild. It was really hard to leave.
When I got into Philly around midnight, I took the cardboard paintings out of my bag and realized something was missing from them. I had been thinking about the fierce kindness and resilience of the community as we supported each other because of what happened, but that for anyone who didn't know me, there was no way to know what I was wrestling with. I remembered that I cross paths with people everyday who might be invisibly deeply struggling, and I thought, "What if we committed to see each other as if we are all recovering from a great personal challenge?" I thought about how we can't read peoples' stories just by looking at them, and I added undecipherable text to the faces, personal experiences that have affected me. When I laid them out on the floor, I suddenly had an urge to ruin what I'd made, in a strange act of solidarity with the damaged planets. I covered parts of them with fresh white paint, obscuring the faces directly with my hands in a raw burst of emotion.
A few hours later I left for Rochester, taking the cardboard paintings and the surviving planets, which I hung across from the new work in the gallery the next day. The community in Rochester held me well-- I felt so supported and cared for while feeling so vulnerable.
The fire was one week ago today. Looking back, I wish I'd stayed in New Orleans. I wish I'd postponed my show in Rochester, stayed another week to settle and process, and to be as much a part as I could of the rebuilding of the Aquarium that's already taking place. It felt so wrong to leave so quickly, and I didn't act on that feeling at the time. I guess part of me wanted to keep going, keep making something, and I wish I had channeled that there.
This experience has been a reminder of the power of community, and the importance of seeing each other. I got home to Philly late last night, and I'm figuring out the best way to get back to NOLA soon, while still trying to be present in Philadelphia. I can't thank my community enough for the support I've received, and I know I will pay it forward in the future.
This show is dedicated to Jacob Martin, Ursa Eyer, Sadie Sheldon, Jenna Bonistalli, Maddie Stradt, Logan Ledford, and other artists and individuals connected to the Aquarium Gallery. Many thanks to Hannah Sadtler, Lauren Blair, Alex Kriegsmann, Ursa Eyer, Sadie Sheldon, and Sam Sadtler.
Joey Hartmann-Dow
P.S. There will be more information about how to support the rebuilding of the Aquarium Gallery and Studios soon.
In May 2016, I was given the opportunity to be a part of the Aquarium Gallery and Studios as artist in residence, located in the Bywater neighborhood of New Orleans, LA.
I spent a month creating new work to show at a solo exhibit in Rochester, NY, making figures on maps mounted on circular plaster backs. The intention of the series was to draw parallels between systems of celestial and earthly bodies; I called it Naked Planets.
Early on the morning of June 1, 2016, I received a message that the Aquarium Gallery had burned down. The artists who worked there and the people who lived there lost everything in the fire. When I arrived to see what I could salvage of the 20 pieces I had made for the show, I found that everything was soaked from the fire hose, damaged by smoke, and crushed under parts of collapsed ceiling and walls. For some reason in that moment I couldn't bring myself to pull the pieces together.
That night I started making new paintings with what I had-- remaining paints, and cardboard from a local bicycle shop. I was thinking about the fierce kindness and resilience of the community as we supported each other because of what happened, but that for anyone who didn't know me, there was no way to know what I was wrestling with. I remembered that I cross paths with people everyday who might be invisibly deeply struggling, and I thought, "What if we committed to see each other as if we are all recovering from a great personal challenge?"
The next day was my scheduled flight out of New Orleans. I met with a few of the other artists before leaving, and found out that one of them had picked the remnants of several pieces from Naked Planets from the rubble, cleaned them, and brought them to me. I was so touched by this act, and they now hang opposite the new work. The whole show is called re/cover.
This experience has been a reminder of the power of community, and the importance of seeing each other.
This show is dedicated to Jacob Martin, Ursa Eyer, Sadie Sheldon, Jenna Bonistalli, Maddie Stradt, Logan Ledford, and other artists and individuals connected to the Aquarium Gallery. Many thanks to Hannah Sadtler, Lauren Blair, Alex Kriegsmann, Ursa Eyer, and Sadie Sheldon.
Joey Hartmann-Dow
P.S. There will be more information about how to support the rebuilding of the Aquarium Gallery and Studios soon.
Naked Planets: New Work
Press Release for Naked Planets -- Showing in Rochester, NY June-July 2016
Pop-Up Show in New Orleans, LA on May 28 (details)
Joey Hartmann-Dow, Artist
[email protected]
267-281- 8983
Naked Planets
Opening Reception: June 5, 2016
Art & Music Library Gallery, University of Rochester
Map Art Featured at UR's Art & Music Library Gallery
Rochester, NY., May 19, 2016 -- University of Rochester alum Joey Hartmann-Dow brings her signature map art to UR's Art & Music Library Gallery for a solo show "Naked Planets", opening June 5.
The artist's new work plays with the intersection of the familiar and the unknown in the context of relationships between earthly and celestial bodies. She pushes the viewer to blur the line between planet and creature, obscuring the differences between them, while exposing the contrasting resilience and vulnerability of both.
The opening reception for Naked Planets is 1pm to 3pm on Sunday, June 5 at the Art & Music Library Gallery (Rush Rhees, University of Rochester).
Summer hours are:
Monday: 9:00 am - 5:00 pm
Tuesday: 9:00 am - 7:00 pm
Wednesday: 9:00 am - 7:00 pm
Thursday: 9:00 am - 5:00 pm
Friday: 9:00 am - 5:00 pm
Saturday: Closed
Sunday: Closed
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Renowned artist, educator, and urban planner Theaster Gates brings his unique view to Marygrove
Marygrove College's 53-acre campus is currently undergoing a transformation. A $22 million early childhood development center has been built and will open in just over a month, focusing on the development of Detroiters from preschool to 20 years old. We celebrated that accomplishment in April with interviews from the principal of Marygrove's Early Childhood Education Center and The School at Marygrove.
In addition to those changes, Marygrove's Community Impact Incubator program is helping other leaders and business owners grow and change. A new partnership with Chicago-based artist Theaster Gates is a combination of the two.
"Marygrove Conservancy is privileged to have Theaster’s thought leadership and experience as a resource to our campus master planning and neighborhood redevelopment efforts," says Racheal Allen, chief operating officer of the Marygrove Conservancy. "This partnership will specifically support the creation of artistic-based, ethical development projects for artists and entrepreneurs of color in the Fitzgerald and Bagley communities."
Last Thursday, Allen invited a small group of community stakeholders to visit the campus to meet Gates.
The event was held in a courtyard with a beautiful fountain that even I, as an alumna of the college, had never seen. It was just one more of the lovely physical features that the historic campus has to offer the community. Just inside the Madame Cadillac building – named for the wife of Antoine de la Mothe Cadillac, who founded our fair city – is the new office of Rochelle Riley, director of Arts, Culture, and Entrepreneurship for the city of Detroit. The veteran journalist chose to leave the usual hub of city government, the Coleman A. Young Municipal Center, and relocate to the northwest side. Her office suite was recently painted a glorious turquoise blue.
The private event highlighted Gates and his contributions to the Conservancy’s and the city’s commitment to growing and supporting Detroit’s artist community.
Gates’ participation is funded through The Kresge Foundation, which will create a platform for cultural and community developers to spur artist-led, neighborhood-based development and entrepreneurship that reimagines assets on Marygrove’s campus and in the Fitzgerald neighborhood of northwest Detroit.
Additionally, Gates will work with and support artists in transforming a space for art inside Marygrove's storied halls.
Danielle Eliska, Mario Moore, and Rochelle Riley listen as Theaster Gates speaks.
Gates is the founder and executive director of Rebuild Foundation, a nonprofit platform aimed at strengthening communities through neighborhood regeneration and the development of educational and arts programming and amenities.
The artist is currently in possession of the gazebo where 12-year-old Tamir Rice was shot by police in Cleveland. It was installed at his Stony Island Arts Bank in 2019.
"We recognize that because of the history of violent acts against young Black males in cities by the police, this gazebo is a national memorial, a national testament," Gates said at the opening of the reconstructed gazebo in June. "It’s a national call." Just weeks ago, federal officials declined to prosecute the officers for violating Rice’s civil rights.
Gates' passion for social justice and community building will be a dynamic fit for Detroit and Detroiters.
"Let me be very clear," Gates said. "Motown happened here because Berry Gordy took kids right from high school after school and turned them into stars. We need to do that same thing with every creative child here. Any kid who wants to be a small business owner, that is a painter, a singer, a musician, a writer should have the ability to do it and do it here in Detroit."
He says he hopes to support Detroit’s artists to reach the heights that they aspire to. "Black art is not as expensive as it should be, because it’s not treated with worth," he said. "It's not expensive, because of what is deemed worthy. It's not treated with the value it deserves. But that can change."
In addition to supporting artists, he said that he hopes Detroit audiences will find value in owning art created by members of their community, and there are so many to choose from. Gates cited Tashif Turner, also known as Sheefy McFly, as one of his favorites.
Gates said that one of the things he has come to appreciate most about Detroit is the sense of collaboration and community. "There's a real ambition to see people be great, and see Detroit be the best city it can be," he said. "There are unlikely partnerships that seem to be evolving. I love that. People want to see good things happening. ... There’s a kind of self-empowerment that I feel here [but] is still something that's emerging in Chicago."
This is part of a series supported by Marygrove Conservancy that will showcase the work the nonprofit organization is doing to preserve the legacy of Marygrove College and how it is serving Northwest Detroit and the city overall.
Enjoy this story? Sign up for free solutions-based reporting in your inbox each week.
Read more articles by Biba Adams.
Biba Adams is a regular contributor and project editor for Model D. Formally Model D's Editor at Large, she is a longtime journalist whose work is fueled by her passion for people and her native Detroit. Find her on all social channels @BibatheDiva.
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2019- Our 32nd Annual Festival
Learn. Perform. Celebrate. Achieve
As a not for profit organization within Cold Lake, our program relies on the support of our community. More and more studies have linked the importance of music and arts to healthy development. Recognizing the importance surrounding the musical arts, the Cold Lake Music Festival is passionate about the continued growth and expansion of our program. The Cold Lake Music Festival offers an educational opportunity to talents of all ages. On behalf of the Cold Lake Music Festival committee and our participants, we would like to extend our sincere gratitude to all our sponsors who continue to make this event possible.
Marjorie & Byron Pearman
Xi Alpha Lambda
Pamela Graham
Jester Paints
Britannia Construction
E Construction
Hamels Meats
Ansell's Refrigeration & Heating
Edith & Eric Burgess
St. Mark's Chapel Guild
Art & Design
Cold Lake
Public Library
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1. R
Bugatti Chiron
Hello everyone. I am a student Vehicle artist in my final year of my degree. Below is a link to my latest project on Artstation as well as a couple of renders (there are more on Artstation). I would love some feedback on the project so that I can improve my work as much as possible in my final...
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Photo credit: Steven Gabriel Bosque
Copyright © David Paul Kay. All rights reserved.
David Paul Kay is a New York City based self-taught contemporary artist & muralist.
Born and raised in former Republic of Georgia David witnessed the collapse of Soviet Union and years of civil war. In 1998-99 he lived in the United States and completed his high school education. Experiencing the West for the first time made a huge impact on his personality, his life and work. After returning to Georgia he obtained degrees in Computer Science and Law, hosted a TV show on a national cable network, but he continued to experiment in various mediums of visual art trying to find his true calling.
In 2008 David had to flee Georgia to the US and soon after moved to New York City where he found his true home and comfort zone as an artist. Being exposed to works of Andy Warhol, Keith Haring and Jean-Michel Basquiat made a huge impact on David, the city inspired him as he developed his now black and white signature style.
David sees exteriors transformed, using vibrant lines, he converts walls, paper, fabric, objects, even human beings into kinetic surfaces. It all started with small pocketbook drawing, which he made and still makes while commuting throughout the subways of New York. David’s work started to get noticed through social media, and in 2012 he participated in his first group exhibition followed by several group and solo shows in New York, Paris and Dubai.
David has always been passionate about large-scale art he painted his first mural on a rooftop of a pre-war building in Midtown Manhattan. The piece called “HK52” instantly went viral. David was contacted soon after, and commissioned to paint a 5000 sq ft indoor mural at a well-known bar in the heart of Chelsea, G Lounge. The project was followed by others including TWO12, rooftop mural of a fifty unit luxury residential complex in Willamsburg, Brooklyn, 100 gates project mural on Lower East Side, “Stage158” rooftop mural in Harlem, and “East Side Orgy” mural at Ideal Glass Gallery in East Village.
In December 2015 David was commissioned by Cadillac to travel to Miami for the Art Basel and to paint a brand new Cadillac ATS-V, live, during Pulse Miami Beach art fair.
David Paul Kay is represented by Galerie-Kontakthof in Paris and Visual Artists Group in Los Angeles, his limited edition prints are available exclusively on TWYLA.
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March 08, 2019
Piter's People – Sergey Goorin
Piter's People – Sergey Goorin
Sergey in front of Nevsky Gates of the Peter and Paul Fortress. Self portrait
St. Petersburg is often thought to be a gray city, as it only has about 75 sunny days each year. Still, photographer Segrey Goorin finds inspiration here for his black and white photography, capturing street life, extraordinary locals and numerous parties.
Sergey, tell us your story.
I’ve started photographing when I was 14. I went to the photo studio (фотокружок in Russian, basically an extra class after the ordinary school day) at the Palace of Youth Creativity in Petrogradsky District. Officially, I studied there for just four years, because this place is meant only for schoolchildren, but I kept going there regularly until I was 20. I became friends with my teacher and started to help him. I don’t have a higher educational degree; I graduated from the Optical Mechanical Professional Lyceum affiliated with the LOMO company [Lomo LC-A consumer camera was the inspiration for the photographic movement known as lomography]. About six years ago I returned to the Palace of Youth Creativity, and now I teach photography to kids.
I photograph on film. I tried color photography, but have returned to the basics - typical black and white Leningrad photography. I feel that I’m still searching for myself, but my main topics are the city and its people. I like to shoot street life, parties; to catch energy, motions, gestures, glances. I’m trying to capture it through interesting and distinctive characters.
Party like a Russian
Party like a Russian. / Sergey Goorin
My favorite places in St. Petersburg are Peter and Paul Fortress, Petrograd Side and Yelagin Island. The fortress is super touristy, but I like it for that reason. It’s often full of people with cameras, so nobody pays any attention on me. Probably this place can be considered banal, but I have tons of photos from Petropavlovka [the Russian nickname for the fortress] and they all are very diverse.
Peter and Paul Fortress
Spring at Peter and Paul Fortress. / Sergey Goorin
Petogradka [what locals call the Petrograd District] is my native region, and I know it inside-out. The “city’s texture” is not damaged here; this is the main feature of my neighborhood. I mean, you walk on Bolshaya Pushkarskaya Street or Bolshoy Prospect, and almost all houses date from the early twentieth century. They can be stylistically different, but they look like an organic whole. Of course, somewhere there may be ugly, modern architecture, but it doesn’t dominate. As a photographer, I like it here, visually-speaking.
Petrograd side
Bolshaya Pushkarskaya street. / Sergey Goorin
I like the part of Bolshaya Pushkarskaya Street where the Svetoch Typography is located. They used to produce notebooks with a Soviet design, which I remember from my childhood. Until recently, this industrial building has held to its original function. And there is a little wooden house nearby. It intrigued me from an early age, and I always asked my mother: “What's inside this fairytale house?” Its miracle that it was preserved in the city center [the majority of the city's wooden buildings were demolished during the World War II]. The building was recently restored by the Ballet Academy of Boris Eifman and now houses their museum.
I also love the Gulf of Finland and the islands – Yelagin, Krestovsky; it’s a piece of the Baltic Sea which is always nearby (and within the city's borders).
Gulf of Finland
About 10% of St. Petersburg's surface area is water. / Sergey Goorin
In some ways, Yelagin Island has preserved the atmosphere of 1960s. I like the babushkas, who ski there during the winter and then stroll there in summer. This place is especially good if you come on a weekday or early in the morning.
Which places you can recommend to persons interested in seeing authentic St. Petersburg street life?
It may sound strange, but for me this is Dumskaya Street. It is lively, a bit dangerous, but I think not as dangerous as it used to be 5-6 years ago. Because of its endless bars and “rivers of alcohol” it has a vibrant atmosphere, which I like to photograph. Dumskaya intersects with Lomonosova Street, which also has a busy nightlife. You can go to Sadovaya Street, or cross Griboyedova Canal and go to Pif-Paf Bar. I can spend half the night in this little area, shoot several rolls of film, step in into absolutely different places, and eat shaverma in the morning.
Portrait of an unknown woman near Pif-Paf bar
Portrait of an unknown woman in front of Pif-Paf bar. / Sergey Goorin
My second choice would be Rubinstein Street (even though it may sound obvious and banal). I can just walk there without entering anywhere, but still catch the energy of the place. You can see rich kids, glamorous youth, beautiful women on high heels (no matter the season) and somebody who is completely wasted. I like a little place called Ogonyok [“little fire”]. The entrance is from the arch or from the street through the window. It’s a very small bar with a good coffee machine, just two tables and guys who make cigarettes from 10 different kinds if tobacco. Although I quit smoking recently, sometimes I allow myself to take one cigarette in this cozy place.
Rubinstein street
Rubinstein street is the city's “dining heaven.” There is a restaurant, café, bar, or pub in almost ever one of the 40 buildings along this compact street. / Sergey Goorin
• Peter and Paul Fortress
• Dobbert Mansion - the wooden house on Bolshaya Pushkarskaya Street, 14.
• Yelagin Island
• Dumskaya Street
• Ogonyok - Rubinstein street, 8.
About Us
Russian Life is a publication of a 30-year-young, award-winning publishing house that creates a bimonthly magazine, books, maps, and other products for Russophiles the world over.
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Montpelier VT 05601-0567
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Sarah Scott
OCA Expressing Your Vision Notes & Learning Log
Tate Modern with my kids, 26th July 2017
I have two teenage boys and I’ve started a course at the beginning of the summer holidays. That means that all my visits for the next six weeks will be with them in tow. In some ways it’s useful for me as it’s good to see things from the perspective of two people so entirely untroubled about sounding impressive and knowledgable, who just say what they think about what is in front of them in an entirely honest way. My eldest son Nathan was not keen on this visit as he has decided that modern art doesn’t count as art at all. My youngest son Bee has decided that being the polar opposite of his brother is great, and having been to the Tate Modern once before and realising how much Nathan would hate it, specifically requested a return visit.
I approached this visit in a different way as now I’m studying an art subject I want to understand what I’m seeing and how it makes me feel, reflect on it and be able to recall it. But I was very aware that I wouldn’t be able to spend any real time reflecting on what I was seeing while I was there, so I took lots of photographs (mainly on my iPhone) of things that stood out to me and photos of work that spoke to me along with the text accompanying it. Not all of the art was visual. First we went to The Tanks and listened to Forty Part Motet by Janet Cardiff. I’d ‘seen’ this before and really liked it and Nathan appreciates music so I thought it would be a good place to start. It raises a lot of questions for me about what art is, because Nathan says it’s not art, but I think it is but mainly because I think it’s beautiful and clever and fun. Individual voices come out of each speaker. To me, they’re placed a bit too high for my 5’3″ height and I felt a tiny bit frustrated by that at is gave me a sense of not being able to get the same experience of someone who can listen more closely. But it’s no big deal. We also saw Wetin You Go Do? by Otobong Nkanga. I didn’t really get this one, but I took photos because I thought that I might be able to create a good image out of it myself.
I saw a lot more photographs this time; I’m not sure if there were more or if I was paying more attention to them. For some, I didn’t get why they were there. I suppose I’m thinking in particular about these images by William Eggleston; I just don’t understand their significance. I suppose in the context it makes him someone I will have to do some research into so that I do understand.
I really loved the work by Daido Moriyama but both of my children had had enough by the time we got to his work so I’ll explore more of it on my next visit.
Daido Moriyama at The Tate Modern Aug ’17
I was wondering about some of the work by The Guerrilla Girls: my main questions were around the statistics they have about who buys art, how much they spend on it and what they buy. I wondered if women buy more art by female artists? I suppose I think of buying art as the preserve of the super rich, and I think of super rich people as men. And I think of super rich men buying art made primarily by male artists as an investment. When I was looking at some work by Carolee Schneemann I noticed that I was surrounded by other women, but not by men. My children had walked straight through; that could be because as teenagers they found the subject matter uncomfortable, but I wondered if it would be true for all work by female artists and I kept thinking about it as I went round, wondering who was looking at what? And I think, on a very small sample, that it was mainly women looking at work made by women, but men and women looking at work made by men. I won’t jump to conclusions about it at the moment because I don’t know or understand the world of art and I could be wrong. It’s just something I noticed that day.
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How To Choose Your Wedding Photographer
Photography is more available now than at any other time in recent memory. Advances in innovation – especially cell phone cameras – have made it feasible for nearly anybody to make the sort of craftsmanship that would have been completely unattainable 10 years prior. Notwithstanding, there are still a few circumstances that are most appropriate for recruiting an expert photographic artist.
It resembles doing a DIY project: you may have a carport brimming with apparatuses and some experience added to your repertoire, however, if you truly need to take care of business right, you need to bring in a master.
Check these wedding photos Melbourne photographers.
What’s Your Style?
Leading is choosing your style, you can peruse our site and see many diverse wedding photographs by various photographic artists, anyway it is significant you discover a photography style that matches what you need, a style that you need your photographs to follow.
Waitlist photographic artists that coordinate your style, be it reportage, conventional or contemporary, eccentric and imaginative.
Get a vibe of the sorts of photographs you like and would need, would you simply like to unwind and allow your picture taker to catch them as it unfurls, catching the feeling of visitors than a reportage genuine style is for you.
If you need some fun and idiosyncratic photographs with you and your accomplice and something a little unique, at that point take a gander at more particular picture takers that have an unmistakable style.
Compare All Photographers’ Packages
It is extremely difficult to show the specific total you will spend on wedding photography administrations. Initially, you should sort out the sort of pictures you need, the number of collections, the working territory of the photographic artist.
The whole entirety may go from $2,500 to more than $15,000 (premium market). Considering inquiries to pose to while employing a picture taker, remember to specify the general reach depending on his/her standard “shooting cost” and bundle.
Consider the standard cost of the favoured collection type and the timeframe you need to employ a picture taker for (1-2 days or the entire end of the week).
Get some information about the substance of their standard bundle alongside the costs for extra administrations, for example, a commitment photograph meeting, a chance of working additional time or explicit picture altering. At that point, examine costs.
They may have been taking photographs for quite a long time, however have as of late begu
Accordingly, inquire as to whether he could show you what the entire wedding collection resembles. Set aside the effort to experience them cautiously in detail, regardless of whether it’s in an online exhibition or a printed wedding collection.
Simultaneously, don’t be reluctant to ask the photographic artist for their remarks, so you would then be able to find out about how the photographic artist considers the wedding, what is critical to them and if their view is like yours.
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豎笛奏鳴曲集 - 古典 - CD | 誠品網路書店
首頁CD古典室內樂 〉豎笛奏鳴曲集
商品訊息
作者書籍
豎笛奏鳴曲集
豎笛奏鳴曲集
Brahms & Reinecke
作者 ／ 麥可．柯林斯/ 麥可．麥克哈爾 Michael Collins/ Michael Mchale
出版社 ／ CHANDOS RECORDS
出版日期 ／ 2014/12/29
商品語言 ／ 無
定價 ／ NT$600
售價 ／ 9折, NT$ 540
※ 無庫存
豎笛奏鳴曲集 其它優惠/消息
introduction all_character
內容簡介
On this CD, Michael Collins performs Brahms's and Reinecke's clarinet sonatas with the pianist Michael McHale. Their collaboration on Chandos has been successful, from their Lyrical Clarinet album which received five stars from BBC Music (performance and recording) to their two acclaimed volumes of British Sonatas, a 'self-recommending Chandos series' (Musicweb-international.com).
The two clarinet sonatas were written after Brahms had declared that his compositional career was at an end. He dedicated them to the clarinettist Richard Mühlfeld, whom he much admired. Even if the composer described them as 'two modest sonatas with piano', these are works of moving and dramatic intensity, with both the first movement of the F minor and the central Scherzo of the E flat Sonata marked Allegro appassionato. Michael Musgrave (a Brahms specialist) indeed associates the F minor key of No. 1, so often used by Brahms, with 'passionate, rhetorical expression and formal adventure'; lyrical expressivity is most evident in the serene music of the first movement of No. 2. The latter is unconventionally in three movements, each in the tonic key, and this tonal planning unfolds as a single, continuous, and circular design.
Brahms's works were devotedly promoted by the composer, conductor, pianist, and teacher Carl Reinecke, whose prodigious output has not fared as well as the music of Brahms, though the chamber music has perhaps proved relatively more durable. Both the Sonata Undine, originally written for flute and piano, and Op. 256 refer to works by Schumann, respectively Kreisleriana and the Concertstück, Op. 92 for piano and orchestra, also known as 'Introduction and Allegro appassionato'.
詳細資料
誠品26碼 ／2680938021001
ISBN 13 ／0095115184424
ISBN 10 ／5115184427
EAN ／0095115184424
級別
語言
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Decorative Arts Graduate Seminars
• International Summer Student Life
The Master of Arts in the History of Design and Curatorial Studies, a collaborative program of Parsons School of Design and Cooper Hewitt, Smithsonian Design Museum, offers graduate summer seminars. These courses are open to all students currently enrolled in MA or PhD programs at an accredited university.
program schedule
In summer 2017, the following course is being offered:
Exploring Scandinavian Design in Stockholm and Helsinki, June 26–July 7, 2017
$5,720 per course (includes all gratuities and course materials)
housing and meals
Participants are responsible for their own accommodations, meals, and transportation to and from course locations.
Course information
This course examines the predominant themes and concepts of Scandinavian design and culture from the 17th to the 20th century, focusing on built environments and the elements they contain, including architecture, furniture, interiors, textiles, ceramics, metalwork, industrial design, and glass. The course is set in Stockholm and Helsinki, capitals that share a long tradition of and commitment to decorative arts and design. Coursework includes in-depth study of works by noted Swedish and Finnish architects and designers Alvar Aalto and Gunnar Asplund, among others. Students visit sites and collections in and around Stockholm such as major art and design museums, Skokloster, and the Gustavsbergs porslinsmuseum. They travel to Dalarna and visit the Carl and Karin Larsson home in Sundborn. In Helsinki, students take advantage of the city’s many cultural offerings and design activities. Class participants also visit important Finnish collections and sites such as The National Design Museum, the Alvar Aalto home and studio, the Marimekko fabric printing workshops, and the Arabia factory and museum. On a day trip to Noormarkku, students visit Aalto’s iconic Villa Mairea and Paimio Sanatorium and Erik Bryggman’s Resurrection Chapel, enhancing their experience of design in situ.
Sarah Lichtman, Assistant Professor, Design History and Design Studies; Director, MA History of Design and Curatorial Studies, School of Art and Design History and Theory
graduate credit
Participants earn three graduate credits for successful completion of the course.
course requirements
Students are expected to attend all classes, site visits, and excursions. Classes and excursions begin promptly at the designated times; latecomers cannot be accommodated. Grades are based on class participation (20 percent) and a final slide identification and essay examination (80 percent).
The course is moderately physically challenging, as it involves hours of walking and standing. Because of space limitations, friends and family are not permitted to join the class for lectures, walks, or site visits.
Register now
Visit Registration for course descriptions and more details. Early registration is advised.
Contact us
For more information about the summer graduate seminar, email [email protected] or call 212.849.8344.
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Lobby Signs: Communicate Information Clearly
October 5th, 2017
Spread the love
Lobby signs are a great way to influence and promote your brand or business. An impression is formed by clients when they walk into the office, but they also allow you to decorate your lobby in such a way so you can make it more visually appealing.
Your sign is the central component of your lobby and brings your brand in front of your clients while also making sure that your reception area looks as good as it needs to be. Lobby signs should be able to convey your message without a lot of text. They should communicate information clearly and make it easy for the clients to read. A sign that is overcrowded with words is not only difficult to read, but this can create a somewhat undesirable or unprofessional feel. Less is more.
Things to consider when selecting a lobby sign
First step is to select the type of material you want. There are metals, plastics, foam and material combinations to consider. It’s important to select the right material for your branding message.
No design is the same. You should select a design that is as unique as your company. You want a design that reflects your business, but also appeals directly to your clients.
Once you have decided on the material and design, it is time to work on selecting the colour. You can select the colours that are aligned with your website or you may choose to bring a different aspect and use colours to create a fun, sophisticated or high-impact impression.
At Gregory Signs, we make sure that we do the job right, because communicating visually with signs can make great things happen.
Lobby signs offer an amazing way to communicate your brand and can make your visitors feel welcomed, and create a lasting impression for your business.
If you’re looking to install a lobby sign or if you have any questions, give us a call at 1.877.663.0876 or via email at [email protected]. We look forward to helping you with your lobby sign project!
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Green Cactus 2
Give your home a fresh look this Spring with this stunning pastel cactus by Moha London
Keep it fresh and add some lively botanicals to your home with our nature and plant themed prints, on trend for Greenery, Pantone's colour of the year 2017.
This print comes in SMALL/MEDIUM/LARGE framed and unframed.
210gsm acid free archival paper with a small white border.
Other Details
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The art discussion thread
Please post up visual art you enjoy, I am going through a terrific Piet Mondrian spell at the moment following a recent field trip to IMMA where I was reminded of his works. I would be interested in exchanging ideas with fellow art historians and enthusiasts.
fooley is one of the biggest mongs ive had the misfortune to come across
close this thread
, sharp as a tack. Good point well made m8.
As much for the sybolism as the art itself but:
Mark Rothko
http://www.artinthepicture.com/artists/Mark_Rothko/violet.jpeg
The Triumph of Death by Pieter Bruegel the Elder
Up to your ears in symbolism
What were ye saying about symbolism
It’s like you read my mind, I was thinking of Rothko earlier.
http://www.museothyssen.org/microsites/exposiciones/2007/Estes/img/foto_01.jpg
Richard Estes, Telephone Booths, I saw this baby in Madrid.
francis danby: the opening of the 6th seal
can be seen in the national gallery
bosch: the garden of earthly delights
Superb stuff here from Van Eyck…the dog represents fidelity, the devotional candle burns alone, the shoes represent the sanctity of marriage. The artist himself stands as a witness to the marriage and appears in the mirror.
Robert Ballagh’s painting, Homage to Géricault’s The Raft of the Medusa
This one is much better
http://www.thehandstand.org/archive/march2009/articles/images/a%20poet%20protests…jpg
Jasper Johns’ Flag was touchingly dedicated to Flano by the artist in a moving speech at the Royal Academy.
http://www.downbeast.com/jasper-johns-flag.jpg
That’s quality. I bought a print of that in MOMA a few months ago. My postcard of it also adorns my desk in work. Quality. Jasper is an alright sort.
MOMA is top notch. I bought the very same print when I was there in 2008 and it’s been on the wall since.
The only thing I didn’t like about the place was the need for ID to get one of the headsets, they didn’t take passports though so I’ve no fucking idea how a tourist would go about getting one. This was another one of my favorites from MOMA
Drowning Girl
Roy Lichtenstein
Lichtenstein, superb Flano, superb.
Dali’s Hallucinogenic Toreador is a thing of wonder.
http://images.easyart.com/i/prints/rw/lg/2/0/Salvador-Dali-The-Hallucinogenic-Toreador-207151.jpg
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Almost as famous as Loveland's Valentine remailing program, the town's 'Redman' has seen his better days. After four decades, he won't be as visible as he once stood, but he does live on.
Those like myself, who grew up in Loveland, Colorado, during the 1970s and 1980s, hold fond memories of when Redman stood on the south shore of Lake Loveland. It made Lovelanders very proud that the artist chose Loveland to host one of his Whispering Giants.
It was 1979 when Peter Toth created Redman and installed it in Loveland; about 14 years later, in 1993, after the weather had taken its toll on the sculpture and safety became an issue, the city had Redman removed. According to the Reporter-Herald, that's when ranch owner Pat Block stepped up to have Redman live on her ranch.
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On Highway 34, just west of the turnoff to Carter Lake on the north side of the road, Redman has faced westbound traffic with his majestic face entertaining millions of travelers. Redman was the 31st of 74 Whispering Giants created by Toth between Oklahoma and Montana in 1979. The last Whispering Giant was created in 2009 and is in Indiana, but there are plans for eight more of the giants.
The 37-foot sculpture has just become too unsturdy to remain upright, so, according to the Reporter-Herald, Block had Redman lowered to ground, face up. Travelers will still be able to stop and admire the work of art, it just won't be the towering figure it used to be.
Colorado's Two Super Giant "Muffler Men"
Dating back to the 1960's these two men are only 40 miles apart.
Speaking of Art: The Ugly Sweater Hall of Fame at Foothills Mall
Some of the ugliest "ugly sweaters" were on display in Fort Collins for the 2022 holiday season with the "Ugly Sweater Hall of Fame."
More From 94 KIX Country
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Stock Graphic >> Product Mockup - Reese Styled Stock Brand Flat 215233 by RW | Productions @ CreativeMarket
File Size: 14.68 MB; Dimensions: 5700 x 3600 px.
Hey there, Pretty Lady! So glad you stopped by Reese's desk today! She owns a mobile Spray Bronze booth, where she travels around beachy locales and offers spray tanning in her refurbished Airstream Trailer. She'll get you polished and glowing during your lunch break, and she usually is parked next to one of her favorite food trucks so you can grab a bite on your way back to the office! Her favorite things are mermaids, houseboats, and Blood Orange Margaritas.
This listing is for a styled stock photograph of a gorgeous styled arrangement of orange neon paper pretties and gold desktop accessories with white negative space for text or design. Also included is a coordinating vertical angled image for even more ways to brand your business. Styled stock images are for creatives and business owners looking to enhance their brand with multi-use professional images that can be overlaid with text or design PDFs for stunning home page banner images, header images, social media and even cropped into custom website buttons and design accents. So many uses for just one product.
BONUS IMAGE! Bright, bold envelopes to brighten your day, or your Instagram feed. Add in some fancy text and you have the best branded content around!
SHOW OFF WHAT YOU DO BEST: When turning lookers into customers, the first impression of your product is of the utmost importance. Give your website or online shop the look of professionally styled product photography with a styled image that can be overlaid with text for a beautiful banner image or overlaid with a digital pdf of your prints, stationary or flat paper good designs to market your products beautifully.
PRODUCT DETAILS: This listing is for the instant download of the single high resolution jpeg image shown at print quality approximately 5700 x 3800 pixels in size. All advertised files are zipped together and uploaded. When you upload a .zip file, you can "see" what's inside. On the product sidebar, under "File Types" you can click "All Files" and it will display all the files in the .zip.
THE FINE PRINT: The purchase comes with a non-exclusive limited use license so that the Purchaser may use the image for personal or professional use in the normal course of Purchaser's business. Purchaser may crop the image and overlay the image with text or pdfs of product designs as fits Purchaser's needs; as well as transfer to black and white if desired. Rosemary Watson | Productions remains the sole and exclusive owner and holder of the copyright in the image and the Purchaser may not sell, lease, loan, transfer, assign, or give away the image or otherwise allow a third-party to use the image in any way.
TROUBLESHOOTING: If you have any trouble downloading the zip files, please visit http://rosemarywatsonproductions.com/creative-market-troubleshooting/ or send me a message with your email and I can send the files to you directly.
QUESTIONS? Send me a message me via Creative Market, I'm happy to chat and answer any questions!
Be the first to know about new products and special pricing for my Creative Market products ? http://eepurl.com/bavw69
Thanks and have fun! Rosemary
Keywords: neon, flourescent, envelopes, invitations, design, branding, hero image, styled stock, styled stock photography, styled stock photo, styled photography, desktop, header, etsy banner, etsy, product image, mockup, mock-up, gold, orange.
Tags: styled, stock, photography, image, product, banner
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Apr 01, 2021 By IIDA
2021 Diversity in Design Scholarship Awardees Named
IA Interior Architects, in partnership with the IIDA Foundation, is pleased to present the 2021 IA Interior Architects Diversity in Design Scholarship winners and honorees.
By IIDA Apr 01, 2021
Published in Foundation
IA Interior Architects and IIDA are proud to announce the 2021 Diversity in Design Scholarship Awardees. Our winners represent diverse voices and perspectives in interior design, and we are pleased to enrich diversity of thought in the industry by supporting these students in their educational pursuits with one $5,000 scholarship, one $3,000 scholarship, and four $500 scholarships.
Our students winners are enrolled in programs across the country, and have demonstrated a unique and insightful vision towards how representation in the design profession can create equity in the end-user experience of designed spaces, and what this means to them.
Sarah Relyea
Our first place winner (above) , Sarah Relyea, Student IIDA from The Ohio State University explored the idea of “Diverse Diversity,” or keeping in mind that the idea of diversity shouldn’t be restrictive or limited to checking a set of boxes—it’s important to consider all of the subtle ways spatial experiences can be diverse, particularly in terms of visible and invisible disabilities.
Our second place winners are Kay Myers, Student IIDA, Madison College (Below left), Ariana Rahim, Student IIDA, California State University, Long Beach (Below right), and our honorees are Teah Brands, Parsons School of Design, The New School, Lilliana Davie, Student IIDA, University of Texas at Arlington, Reece Lash, Indiana University Bloomington, and Mandi Taylor, University of Oregon. You can read their full essays below.
Kay Myers, Student IIDA
Kay Myers, Student IIDA
Ariana Rahim, Student IIDA
Ariana Rahim, Student IIDA
Diverse Diversity
By: Sarah Relyea, Student IIDA, The Ohio State University
I think that one of the ways increased representation in the design profession can create equity in the end-user experience is by investigating what I like to call diverse diversity. There are many "stereotypical" ways in which people think of diversity, such as the mistreatment of people of color, the pay gap between men and women, and the implementation of elevators and ramps for disabled members of our population.
While all of these issues are extremely important and deserve the attention of those fighting for social change, there has become a new gap separating these common topics of diversity from the rest. One example that I feel is particularly relevant to design is expanding the concept of ADA design. This ranges from considerations of those who are visibly disabled to those who are invisibly disabled. Once this concept was brought to my attention in one of my courses, it was something I could not avoid when developing designs. From creating wider hallways to allow non-hearing people to have room to comfortably sign with one another, to considering the ways mental health can be impacted via the applications of biophilia in spaces, I strive to infuse overall inclusiveness in regards to ability/disability in my designs. While this was something that I learned about due to the instruction I received in my courses, my instructors learned of these concepts from people of different diversities who have dedicated their design careers to solving issues they currently face in the built world.
I hope that bringing more diverse people into not only the design profession, but also design education can strongly impact the way diversity in design is viewed, and can cause the experiences of space to become fully equitable, no matter the user. There is still much to be learned about common and uncommon topics of diversity, and it is only by learning from and engaging with those who experience inequity that we as designers can contribute positively to the end-experience of the user.
Giving Place to People
By: Kay Myers, Student IIDA, Madison College
Art. Language. Storytelling. These things help define culture; hold heritage of a people. They create context and origin and legacy. Where we come from and how we came to be at this time and place, here and now, is what makes us each unique. How we visualize and interpret the world we inhabit very much depends on our life experiences and opportunities. As designers, this is something we do with every project: manifest beauty, decipher industry jargon, communicate through storytelling to create a palette of place. But whose story are we telling? For a long time, that story has been mostly white, middle-class and up, or some romanticized reinterpretation of what design for that sect of society has been or should be.
Increased representation in the design profession increases the creation base to visualize, interpret, and showcase an increased diversity of contexts, origins, and legacies. Some may find this to be a “fresh” perspective, but more truthfully, it is simply an unrecognized perspective – one we haven’t seen because the diversity hasn’t been allowed, encouraged to participate, or be known. Designers of different backgrounds and experiences will utilize different color combinations, textural qualities, lighting specifications, and even space designation. Form and posture can change. Visual balance, scale, and repetition can be altered. These considerations affect the way in which an end-user experiences and utilizes space. It can change their level of comfort, creativity, and well-being. It can help end-users recognize that they belong in a space and even help them to take pride and ownership in that space.
A great example of this is in the schools re-imagined by Project Color Corps. Schools in low-income, at-risk communities are often not designed or created with student curiosity, learning ability, or mental health in mind. Many of these buildings look like concrete bunkers or jails. The story these places tell is bleak. The community input and conversations that occur where Project Color Corps invests are life altering. “What color can stop violence?” “What color can create love?” “What color can signal hope?” All questions that children ask in discussions about which colors might best suit their space. Their input as co-designers creates a palette of place for them – signifying their backgrounds and experiences – their visioning of a better future for themselves and their community.
Moving forward, we must design all places by considering how we feel and responding through what we want to see – designing for equity, justice, and inclusion. We will be better equipped to do this by fostering increased representation and diversity in the design profession. We will better understand how to see and create new landscapes, communities, and spaces. It is our job to come together in empathy and work to re-set and re-design our future to give place to people – place where they can belong and feel ownership and recognize it as a part of themselves regardless of their origin, experience and opportunity.
Rewriting the Future Together
By: Ariana Rahim, Student IIDA, California State University, Long Beach
Design and architecture are the indirect authors of our lives. Spatial design influences our choices, perceptions, and beliefs both as individuals and a collective. It could be the simple design of way-finding through a park to encourage more physical activity, or the complex sense of seclusion that can cause social isolation in multi-story apartment buildings. Regardless the level of depth, this broad influence can have consequences that ripple throughout society, both positive and negative. If our built environments assert such control over us, it is imperative that those designing them reflect and represent the diverse groups of people that reside within them.
Today, America is still feeling the repercussions of historical lack of diversity in design, architecture, and planning. Minority communities suffer from the rippling effects of years of discriminatory building practices and neglect. Meanwhile, those with privilege experience the continual benefits of development and innovation. To create a future where design and architecture serve all, not just the elite class, we must begin to include more people in the conversation.
As the face of our future, architecture and design should strive to create inclusivity for all classes, races, ethnicities, and disabilities. The best way to achieve this is to bring a multitude of diverse groups of people into the field. Diversity is the fuel for change and the antidote to stagnancy. Every individual sees the world through the lens of their own unique culture, upbringing, and experience, bringing a fresh perspective. When groups of people from mixed backgrounds collaborate together, innovation and creativity flourish and a sense of empathy for those with different backgrounds grows. We become smarter, and stronger, by diversifying our workplace, and as a result, our own minds.
Through years of volunteering with previously homeless youth and refugee children, I have begun to see where design is failing and how imperative it is to have the voice of diverse cultural and economic backgrounds in the field. I had never experienced challenges like these children grew up with, and while I gained empathy, I could never truly understand their struggles. The insight gained has deeply influenced my choice as a designer, and a human, to create opportunity for all kinds of people, and to advocate for the voices of these youth to matter.
By including the voices of people who have been marginalized, the field of design can pivot away from ethnocentrism and start creating unique solutions to the racial, economic, and environmental problems we see in America. The outcome would be spaces that truly respond to the needs of many users. Instead of gentrification, imagine a future in which the intersection of culture, design, and empathy reinvigorated struggling neighborhoods with quality affordable housing, connection to nature and community resources. Imagine sustainability brought into the everyday life of Americans, and equality in the way we design for diverse groups. By harnessing the strength in our differences, America can begin to use the powerful influence of design to write a more just future for all.
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All about photo: photo contests, photography exhibitions, galleries, schools, books and venues.
Peyman Naderi
Peyman Naderi
Peyman Naderi
Peyman Naderi
Country: Iran
Birth: 1990
Peyman Naderi is a Persian contemporary fine art and portrait photographer born in 1990. He is a self-taught photographer who started his first professional projects in the year 2013. As he began his career as a professional photographer, his first motto was to create original and creative photos through which his own perceptions of the world and art could be understood. Also, he is eager to represent a unique way of looking at various concepts in the world.
"Concept" is one of the most important parts of his photography projects, and Peyman tries to spend enough time and energy on finding the right concept. To create and discover the right idea he usually listen to classical music during his free time or at nights. Such high-quality music can inspire him and help him to concentrate on finding ways to present the world in ways that he sees. Besides, the colors that he uses in his photos create the illusion of a painting, and, hence, most people usually mistake his works as paintings.
'Alicante' 2019. His work has been published in international publications including Harper's Bazaar Magazine and The Exhibition was In Ontario, 2019 CONTACT Photography Festival and Also The Last Exhibition was in France, 2019 Voies Off, Galerie Des Arènes.
My name is Peyman Naderi, and I am a contemporary Persian fine art and portrait photographer. I am a self-taught photographer who started his first professional projects in the year 2013. As I began my career as a professional photographer, my first moto was to create original and creative photos through which my own perceptions of the world and art could be understood. Also, I am eager to represent a unique way of looking to various concepts in the world.
My first experience as a subject of portrait photography was quite funny though. I remember that I was only six years old, and I was terrified by seeing various equipment and cameras. Trying to make me calmer, the photographer gave me a toy camera to play with while sitting on the chair. This memory, somehow, triggered my curiosity and interest in this art. I bought my first camera years later, in 2010, and started to take photos of my friends and family members. The more I got engaged in this art, the more I found out about my artistic talents and the passion I have for photography. I remember that I used to go to a burnt cotton factory located on the outskirt of Tehran, my hometown. Although the fire had ruined almost everything in the factory, a small hall with a high ceiling and golden walls was left intact. When I first entered this building, seeing this magnificent scenery inside a totally destroyed and abandoned building took my breath away and provoked my first fine art ideas inside me. As I started my first project, I used to go to this place every day to try different photography techniques and become master in them.
Then, I started studio photography to learn about various lighting techniques. I tried to include my own ideas and perceptions here, and manipulate the lighting based on my perceptions and concepts. Winning the silver medal in the Victor Polynsky competition for one of my photos called Oblivion, further increased my self-confidence and my persistence in photography. In the years after that, I won several awards in many competitions like Moscow International Foto Awards, Chromatic Awards, ND Awards, Tokyo International Foto Awards, PX3 and IPA, and I had my works published in various international magazines.
"Concept" is one of the most important parts of my photography projects, and I try to spend enough time and energy on finding the right concept. To create and discover the right idea I usually listen to classical music during my free time or at nights. Such high-quality music can inspire me and help me to concentrate on finding ways to present the world in ways that I see. Besides, the colors that I use in my photos create the illusion of a painting, and, hence, most people usually mistake my works as paintings.
In this project, I tried to exhibit the mind and though barriers that humans face. To fully present my idea I decided to use handmade metals and natural flowers, and then I tried to expand my idea to show both emancipation and captivity at the same time. Also, I have been attempting to display my own viewpoint in all of my works and to enable the viewer to connect with the world that I see.
I genuinely hope to create a permanent path in the art of photography inspire other talented and hardworking artists.
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Bieke Depoorter
Bieke Depoorter (born 1986) is a Belgian photographer. She is a member of Magnum Photos and has published four books: Ou Menya, I am About to Call it a Day, As it May Be, and Sète#15. Depoorter received a master's degree in photography at the Royal Academy of Fine Arts in Ghent in 2009. The relationships Depoorter establishes with the subjects of her photographs lie at the foundation of her artistic practice. Accidental encounters are the starting point, and how these interactions naturally develop dictate the nature of Depoorter’s work. Many of her self-initiated projects are about intimate situations in families and in peoples' homes. For her graduation project and her first book, Ou Menya (2011), she made three trips to Russia, photographing people in their homes that she met whilst travelling around. The series won the 2009 Magnum Expression Award. Bieke Depoorter made the work for her second book, I am About to Call it a Day (2014) in a similar way whilst hitchhiking and driving around the U.S. However several recent projects have been the result of Depoorter questioning the medium. In As it May Be, she gradually became more aware of her status as an outsider, both culturally and as a photographer. So, in 2017, she revisited Egypt with the first draft of the book, inviting people to write comments directly onto the photographs. In Sète#15, and also Dvalemodus, a short film she co-directed together with Mattias De Craene, she began to see her subjects as actors. Although she portrayed them in their true environments, she tried to project her own story onto the scenes, fictionalizing the realities of her subjects in a way that blurred the lines between their world and hers. In the ongoing project Agata, a project about a young woman Depoorter met at a striptease bar in Paris in October 2017, she explores her interest in collaborative portraiture. It’s an example of Depoorter’s interest in finding people that can work with her in telling a story. These stories are always partially hers, and partially theirs. In her latest project Michael, she investigates the disappearance and life of a man she met on the streets of Portland in 2015. After giving her three suitcases full of scrapbooks, notes and books, everyone lost sight of him. Bieke Depoorter became a nominee member of Magnum Photos in 2012, an associate member in 2014, and a full member in 2016. She is the fourth Belgian member of the agency, after Carl De Keyzer, Martine Franck, Harry Gruyaert... Depoorter has won the Magnum Expression Award, The Larry Sultan Award and the Prix Levallois.Source: Wikipedia For the past six years, Bieke Depoorter has spent countless nights photographing perfect strangers—people that she encounters on the street who are willing to open their homes to Depoorter and her camera. The project began when she was travelling on the Trans-Siberian Railway, in 2008. She didn’t speak the language, so photography became her mode of communication. (She carried a letter that a friend wrote in Russian that explained her intent.) After publishing the work as a book, called Ou Menya, Depoorter headed to the United States, in 2010, where she hitchhiked and drove around the country, creating the collection found in her latest book, I Am About to Call It a Day. The project, both intimate and removed, hinges upon Depoorter’s ability to build trust within a tight timeframe. In many of the photographs, she seems to go unnoticed, capturing the unguarded moments found only in the privacy of one’s own home. “I like the atmosphere of the night,” Depoorter told me. “When people go to sleep, I think it’s most real. No one is looking at them, and they become their true selves.” She told me that her process is intrinsic to the success of her images. “I try to not hope for a picture,” she said. “I am there as a person first, and a photographer second.”Source: The New Yorker
Michael JacksonBruce Gilden
United States
Bruce Gilden (born 1946) is an American street photographer. He is best known for his candid close-up photographs of people on the streets of New York City, using a flashgun. He has had various books of his work published, has received the European Publishers Award for Photography, and is a Guggenheim Fellow. Gilden has been a member of Magnum Photos since 1998. He lives in Beacon, New York. Gilden was born in Brooklyn, New York. While studying sociology at Penn State, he saw Michelangelo Antonioni's film Blowup in 1968. Influenced by the film, he purchased his first camera and began taking night classes in photography at the School of Visual Arts of New York. Fascinated with people on the street and the idea of visual spontaneity, Gilden turned to a career in photography. His work is characterized by his use of flash photography. He has worked in black and white most of his life, but he began shooting in color and digital when he was introduced to the Leica S camera as part of Magnum's Postcards From America project. His first major project was of people at Coney Island. He has photographed people on the streets of New York, Japan's yakuza mobsters, homeless people, prostitutes, and members of bike gangs between 1995 and 2000. According to Gilden, he was fascinated by the duality and double lives of the individuals he photographed. He has also photographed rural Ireland and horseracing there, as well as voodoo rituals in Haiti. Gilden is the subject of the documentary film Misery Loves Company: The Life and Death of Bruce Gilden (2007).Source: Wikipedia Over the years he has produced long and detailed photographic projects in New York, Haiti, France, Ireland, India, Russia, Japan, England, and now in America. Since the seventies, his work has been exhibited in museums and art galleries all over the world and is part of many collections. The photographic style of Bruce Gilden is defined by the dynamic accent of his pictures, his special graphic qualities, and his original and direct manner of shooting the faces of passers-by with a flash. Gilden’s powerful images in black and white and now in color have brought the Magnum photographer worldwide fame. Gilden has received many awards and grants for his work, including National Endowments for the Arts fellowships (1980, 1984, and 1992), French “Villa Medicis Hors les Murs” grant (1995), grants from the New York State Foundation for the Arts (1979, 1992 and 2000), a Japan Foundation Artist Fellowship (1999) and in 2013 a Guggenheim Foundation fellowship. Bruce Gilden has published 18 monographs of his work, among them: Facing New York, 1992; Bleus, 1994; Haiti, 1996 (European Publishers Award for Photography); After The Off, 1999; Go, 2000; Coney Island, 2002; A Beautiful Catastrophe, 2004; Foreclosures, 2013; A complete Examination of Middlesex, 2014. In 2015, Gilden published Face, and Hey Mister Throw Me Some Beads! His new book Un Nouveau Regard Sur la Mobilité Urbaine featuring the commission he did for the French transporation system RATP was released in April 2016.Source: Magnum Photos
Ruth Lauer Manenti
United States
Ruth Lauer Manenti received an MFA from The Yale School of Art in painting and drawing in 1994. In 2012, she was given a large format camera and taught herself how to use it. Gradually she accomplished what she was striving for in drawing and painting, through photography. Her mother was also an artist who left behind a legacy of unknown work. Part of Ruth's determination as an artist is to reward her mother for her efforts and to create a continuum. She was awarded a NYFA grant in photography in 2016 and had a solo exhibition at The Center for Photography in Woodstock, NY in 2020. Her book Alms is currently on view on an online exhibition at The Griffin Museum of Photography. Her recent book of photographs entitled Since Seeing You, is a visual diary of the woods behind her house as experienced during Lockdown. The pictures give pause, to process the sorrow of the time, rather than as an escape or erasure. Since breaking her neck in a car crash at the age of twenty, Ruth has developed a spiritual life and practice that has propelled much of her photographic work. She lives in the Catskill Mountains in NY. Shard: This ongoing series of photos called Shard was made over the last 4 years during which time I was wanting to see whether I could place objects on a table as arrangements for unspoken emotions. In 2017-18 I was unwell. It wasn't mental illness but the line between that and trauma was sometimes hard to find. I stayed indoors and at home as much as possible. I spent a lot of time watching daylight enter through the windows in different ways according to the clouds, seasons and weather. The windows are old, and the glass is wavy so that the sun rays come in as ripples. I was interested in using objects as symbols of fragility. I found that the work of making the pictures, and the safe cocoon that I had created between myself and the table, was informed by a kind of benevolent force that accompanied me through my suffering. In some traditions it is believed that when the heart breaks an entrance for Spirit is created. It's a way that trauma or defeat can become a portal; so much so that sometimes people have a nostalgia for the times in their life when they have suffered most. More recently I have been thinking about the process of repairing things rather than throwing them away. I wonder if appreciating something damaged, torn, or saved, even if no longer usable, could have an implied nonliteral meaning for getting through the past year, 2020, gracefully, despite so much loss and depression. I think there is a beauty in the effort of putting one's life back together after experiencing brokenness and I have tried through still life to communicate tha
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images (4).jpg
The night is long but the day will come. Self-Transcendence is a story of recovery. A literal visual representation of breaking free from the fog that invades the mind and distorts thought. Freedom from the weight that paralyzes every muscle. No longer lost and yearning, but rejuvenated with a new found passion for life allowing the void to flood with light.
Anhedonia is a series of biopic conceptual portraits depicting states of being while under the veil of clinical depression. A cathartic psychological exercise, I initially created this work as a coping mechanism and means of self-exploration to examine identity, the loss of past identity, and the subsequent transformation of identity in wake of recovery. Projected through empathetic eyes, these jarring, powerful, raw images illustrate some of the most visceral of emotions belonging to the human condition.
As one evolving body of work, Anhedonia is a three part series of conceptual portraits entitled: Anhedonia, The Chamber; The HOLE; and Self-Transcendence.
This work was conceived through the use of medium and large format film photography. My vintage analog press camera allows me a slow, pensive process where the photographic procedure becomes a rhythmic, almost meditative, session.
Ultimately, my intent in creating Anhedonia was to utilize the process as a tool to deconstruct depressive disorders, examining how identity is manipulated by neurological and psychological manifestations. I encourage critical conversation relative to collective biases surrounding those afflicted by mental illness.
All prints are 10 X 10 in / 25.4 X 25.4 cm . ed. of Five with one artist proof . Hahnemuhle Rag 306gsm archival paper
vintage-rose-free-clipart-1.jpg
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hw-promo
A Hot Wheels toy is designed much like a real car.
Hot Wheels
For the past few years Hot Wheels has held the Legends Tour, which sees owners of modified cars from all over the country compete for the chance to get their car produced as an actual, purchasable, 1:64-scale Hot Wheels die-cast toy. Last year’s winner was The Nash, an awesome hot rod 1957 Nash Metropolitan built by Greg Salzillo, and we got an inside look at how the toy version is designed and created.
As with a full-size car, the design process starts with sketches. The sketch phase is important not only to figure out how to condense the design to a much smaller size, but also to figure out how to break the car into the key parts. Each Hot Wheels die-cast is made up of four parts: the body, the windows, the interior, and the chassis with wheels. Because of The Nash’s strange shape, it was also important to pick the right colors for each of these components to preserve the car’s color scheme.
After the sketching phase, the designers move onto digital 3D modeling. Designer Manson Cheung is part of the sculpting department, and he uses a “3D digital sculpting device” called Freeform. It’s basically like virtual clay, allowing him to sculpt a digital clay model of the car just like a designer would for a full-scale “real” car. The 3D modeling process lets the designers really fine-tune the details of the car and decide how it will actually be put together; at this stage it’s easy to make changes and refine the design. They even model how the car is going to look in the iconic Hot Wheels packaging.
The Nash’s wheels were one of the toughest things to replicate, as the real-life car has these large, narrow tires that are unlike what a regular Metropolitan (or a regular car) uses. The standard Hot Wheels wheels wouldn’t work, so the designers had to use “skinny wheels” that are rarely used by the company. Luckily, those wheels were still available for production and fit perfectly on the new die-cast.
hot-wheels-the-nash-diecast-toy-car-113
Yes, car designers really do still use actual pen and paper!
Hot Wheels
Once the design has been mostly finalized, prototypes are 3D printed to test fit and see how the different parts and components come together in real life. The car may then go through more design changes depending on how it looks as a real toy — as you can see from some of the photos, things like the engine and hood were modified at this stage. Once the design has been completely locked in, a final 3D model is created and then fully painted preproduction samples are created, followed by the creation of the finished product and the packaging.
Now that the toy is all done, you’ll be able to buy The Nash in stores this December. Building the real car cost Salzillo less than $10,000, including what he paid for the car, but the Hot Wheels version will cost quite a bit less: just $1.09.
The 2020 Legends Tour was supposed to hit 18 cities throughout the US this year, but it had to be canceled because of the COVID-19 pandemic. Instead, Hot Wheels is holding it digitally, allowing people to submit their rides online. There have been three “stops” so far, with a winner being chosen from each one, and two more to go. Of these finalists, one winner will be chosen at the livestreamed grand finale event in November, with that car getting turned into a commercially available toy next year.
source: cnet.com
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Top-of-the-Week Links: Xi Jinping reviewed, lingering questions from Qingdao pipeline blast, and Maison Boulud closing in Beijing?
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Joacim Sprung
Senior lecturer
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Personal profile
Currently I'm engaged in a collaborative research project for the exhibition “Myths of Nations. The Clash of Futures. 1914-1945”, organized and curated by Prof. Dr. Monika Flacke at the Deutsches Historisches Museum in Berlin.
My interest in art historiographical matters focus, at the present, on German Art History and how it became influenced by Darwin and Piderit, and later by the racial biology of the 1910-20s. Furthermore I research how Art History was popularized e.g. by Kenneth Clark's "Civilisation" and John Berger's materialstic response: "Ways of Seeing".
During 2012 I was engaged with a post-doc Project called "Visual Ecocriticism". The project focused on how images of nature and climate change manifests itself in science, popular science and fiction. I was and still am particularly interested in the ways how natural catastrophies and apocalyptic scenarios are used and arerepresented in video-animations, charts and illustrations in Nature, National Geographic, Animal Planet and in contemporary film in order to ontodramatize our existence.
Visual education and the visual culture of schools and higher education is a research theme that I touched on in my dissertation. Visual aids, wall charts, experiment-boxes and other didactical aids are investigated in relation to the history of visual education.
Furthermore I work, quite slowly, on a critical commentary on Aby Warburg's unfinished and fragmentary text "Mnemosyne Einleitung", written between March-July
Dive into the research topics where Joacim Sprung is active. These topic labels come from the works of this person. Together they form a unique fingerprint.
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Tomasz Sobczak – Shape of Architectonicsphoto
Tomasz Sobczak – Shape of Architectonics
26.04.2019–31.05.2019
The exhibition "The Shape of Architecture" shows architectural objects of everyday use filtered by the unobvious look of the author.
Tomasz Sobczak - author
Teacher, artist. He works in High School No. III and at the Youth Palace in Tarnów. He taught at the Maria Curie-Skłodowska University and at the University of Rzeszów in Rzeszów. A graduate of AP in Krakow, UMCS in Lublin, KA in Krakow. Currently, he is studying art mediation at the Academy of Fine Arts in Wrocław. In 2013, he was awarded the title EFIAP (Execellence FIAP). He is the author and co-author of several dozen exhibitions in Poland and abroad, including 17 individual ones.
10.05.2019–07.06.2019
Myślenicki Ośrodek Kultury i Sportu, ul. Piłsudskiego 20
Mon-Fri 8:00-21:00
Sat 9:00-13:00
Allotment gardens on the slopes of the Plebańska Mountain in Myślenice. We took the first photos in November. The plots were already naked. We were penetrated by their temporariness, blew up by the wind. We continued in the winter and spring.
Krzysztof Marchlak – I would give you my heartphoto
Krzysztof Marchlak – I would give you my heart
11.05.2019–31.05.2019
Galeria OFF FRAME, ul. Krakowska 41
12:00-18:00
The exhibition is the premiere show of photographs from the cycle I would give you my heart by Krzysztof Marchlak. When photographing men invited to cooperate, the author refers to the issue of culturally conditioned patterns of masculinity related to the functioning of men in the modern world. Putting aside the stereotypical approach to the role often imposed on men by society, the artist plays with the convention, creating images full of light, delicacy, color and charm of ancient painting. The element that brings together the images he creates is a passport held by each of the models.
15.05.2019–29.05.2019
Uniwersytet Pedagogiczny, Kraków, ul. Podchorążych 2
The main inspiration for the topic of the presence of immigrants in urban spaces was the photographs of Andreas Feinger, who in the first half of the twentieth century, traverse the streets of lower Manhattan captured the everyday life of European immigrants concentrated and building their communities there. Immigrant enclaves like skyscrapers, permanently inscribed in the New York landscape - have become an urban phenomenon. Following this lead, we have created an international photo project Immigrantopolis, accentuating the presence of immigrants in urban spaces Immigrants are the actors of the urban scene: they settle mainly in cities, create their communities in them, build ethnic infrastructure, and transform it into an urban landscape, transforming it constantly Finally, an element of local / urban collective memory: Immigrants create history and contemporary social reality of cities.
Jakub Kolbusz – Contrastphoto
Jakub Kolbusz – Contrast
20.05.2019–14.06.2019
Red Gallery CAFE, Centrum Sztuki Mościce, ul. Traugutta 1
Mon–Fri: 10:00–20:00, Sat–Sun 15:00–20:00
Contrast - the picture was taken in winter in 2016 in Kraków on the Vistula River. The photographer was delighted by beautiful, white scenery, frozen river and a large number of birds. The author has recorded several contrasts that the practiced eye of the viewer will capture and allow for easy interpretation of the image.
Agata Ciuła, Michał Gąsior, Aleksandra Machaczka – Overwriting memoriesphoto
Agata Ciuła, Michał Gąsior, Aleksandra Machaczka – Overwriting memories
21.05.2019–04.06.2019
Galeria Wydziału Sztuki UP, ul. Mazowiecka 43
Mon–Fri: 9:00–18:00
Today's world is a constant overwriting of reality, the accumulation of events and stories by successive generations. Places change their destiny and functions, their history is constantly blurred. An example is the area of the former concentration camp of KL Płaszów. It is not much about his tragic history today. This place has been abandoned and forgotten by people. Currently in its eastern part there is a housing estate, and the camp covered with wild nature is treated as a place of recreation. Plaszow is drowning in the mist of our oblivion.
Three students of the Faculty of Arts of the Pedagogical University decided to pay attention to this phenomenon, and the effect of their work is the exhibition Overwriting Memory.
Students of Akademia Fotografii, year 2019–I FEEL BAD HERE / I WANT TO LEAVEphoto
Students of Akademia Fotografii, year 2019–I FEEL BAD HERE / I WANT TO LEAVE
23.05.2019–23.06.2019
Opening: 23.05.2019, 19:00
Hevre, ul. Beera Meiselsa 18
MON - FRI: 10:00 - 2:00 | SAT-SUN: 10:00-4:00
There are moments when we decide to change one place for another, when the one we are currently in becomes unbearable. It could be a burst, a sudden explosion, or a process of slow detachment, a lengthy withdrawal. We want to capture the energy of these moments, when being fed up with the old makes something new begin to emerge. A group show of photography by the students of Akademia Fotografii in Kraków: Michalina Banasik, Adrian Dudek, Maciej Gałuszka, Mikołaj Huk, Sylwia Jakubiec, Magdalena Jaroń, Filip Kanclerski, Szymon Konik, Maja Kor-czyńska, Wiktor Kralka, Paulina Król, Tomasz Majewski, Paulina Mąka, Szymon Nowak, Filip Piotrowicz, Angelika Pułtorak, Patrycja Woźniak Curator: Karol Hordziej Coordinator: Paulina Mąka
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Art Treasures Exhibition, Manchester 1857
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The Art Treasures of Great Britain was an exhibition of fine art held in Manchester, England, from 5 May to 17 October 1857.[1] It remains the largest art exhibition to be held in the UK,[2] possibly in the world,[3] with over 16,000 works on display. It attracted over 1.3 million visitors in the 142 days it was open, about four times the population of Manchester at that time, many of whom visited on organised railway excursions. Its selection and display of artworks had a formative influence on the public art collections that were then being established in the UK, such as the National Gallery, National Portrait Gallery and the Victoria and Albert Museum.[4]
Background[edit]
William Wyld's view of Manchester from Higher Broughton, 1852
Manchester was a small provincial town in the medieval period, but by 1855 it was a city dominated by industrial activity, particularly its 95 cotton mills and 1,724 warehouses.[5] It was visited by French historian Alexis de Tocqueville in 1835, who scathingly wrote:[4]
A sort of black smoke covers the city ... From this foul drain, the greatest stream of human industry flows out to fertilise the world.
Manchester became a city in 1853, and the exhibition was financed by the city's increasingly affluent business grandees, who were motivated by a desire to demonstrate their cultural attainment, and inspired by the Paris International Exhibition in 1855, the Dublin Exhibition in 1853, and the Great Exhibition in 1851; there had been an "Exposition of British Industrial Art in Manchester" in 1845.[6] Unlike these earlier exhibitions, the Manchester exhibition was restricted to works of art: there would be no industrial or trade items on display.[7]
The idea for an exhibition in Manchester was first expressed in a letter sent on 10 February 1856 by John Connellan Deane, son of Irish architect Sir Thomas Deane and a commissioner for the 1853 Dublin Exhibition, to Thomas Fairbairn son of Manchester iron founder Sir William Fairbairn and a commissioner for the 1851 Great Exhibition. The concept quickly gained momentum: after an initial meeting on 26 March 1856, a guarantee fund of £74,000 was soon underwritten by around 100 contributors, and Queen Victoria and Prince Albert granted their patronage.
A General Committee established in May 1856, chaired by the Lord Lieutenant of Lancashire Lord Ellesmere (and, after his death in February 1857, by the Lord Overstone), assisted by an Executive Committee chaired by Fairbairn. Deane was appointed as General Commissioner, on an annual salary of £1,000. The committee took artistic advice from German art historian Gustav Waagen, who had published the first 3 volumes of his Treasures of Art in Great Britain in 1854.[8] George Scharf was appointed as the exhibition's Art Secretary; he became secretary and director to the newly founded National Portrait Gallery in 1857.
Exhibition hall[edit]
The exhibition was held outside the city centre, on a three-acre site in Old Trafford owned by Sir Humphrey de Trafford, Bt., which he had previously let as a cricket ground. Manchester Cricket Club surrendered its lease and moved a short distance to Old Trafford Cricket Ground. The site was conveniently adjacent to Manchester Botanical Garden and to the west of an existing railway line of the Manchester, South Junction and Altrincham Railway.[9] The railway company built a new station (now Old Trafford tram stop) which was used by thousands of visitors from the city and from further afield on organised excursions.
C.D. Young & Co, of London and Edinburgh – already engaged as builders of the new art museum in South Kensington (which later became the V&A) – were appointed as contractors to build a temporary iron-and-glass structure similar to the Crystal Palace in London, 656 feet (200 m) long and 200 feet (61 m) wide, with one central barrel vault 56 feet (17 m) wide with a 24 feet (7.3 m) wide hip vault on either side roofing a 104 feet (32 m) wide central gallery running the length of the building, and narrower barrel vaults 45 feet (14 m) wide to either side, all crossed by a 104 feet (32 m) transept towards the western end.[9] The design of the main structure has been attributed to Francis Fowke,[10] who later designed the Natural History Museum in London, and an ornamental brick entrance at the eastern end was designed by local architect Edward Salomons. The materials used included 650 long tons (660 t) of cast iron, 600 long tons (610 t) of wrought iron, 65,000 square feet (6,000 m2) of glass and 1.5 million bricks.[8]
Internally, the building included a large hall, with corrugated iron sides and vaults supported by iron columns, with space for an orchestra at one end and a large pipe organ by Kirtland and Jardine. Each column bore the exhibition's monogram: "ATE". The hall was subdivided internally by partitions, creating separate galleries. The interior was lined with wood panels covered with calico. Most internal decoration was done by John Gregory Crace of London. A 24-foot (7.3 m) wide gallery ran around the transept at an upper level. The central third of each vault was glazed, providing ample diffuse light. In the summer, the glazing in the picture galleries was shaded with calico to prevent damage to the artworks, and firemen played water on the roof as a form of rudimentary air conditioning when the interior temperature exceeded 70 °F (21 °C). Young & Co's original quote of £24,500 proved over-optimistic, and cost overruns pushed the final bill up to £37,461.
Over the entrance was inscribed the first line of John Keats's Endymion: "A thing of beauty is a joy for ever". By the exit was a line from Alexander Pope's Prologue to Joseph Addison's Cato: "To wake the soul by tender strokes of art".
The hall also included two public refreshment rooms, First Class and Second Class, later supplemented by a tent outside, and a separate royal reception room. Following his visit, American author Nathaniel Hawthorne wrote that, in the Second Class refreshment room:[7]
John Bull and his female may be seen in full gulp and guzzle, swallowing vast quantities of cold boiled beef, thoroughly moistened with porter or bitter
Works exhibited[edit]
Michelangelo's The Virgin and Child with Saint John and Angels, also known as the Manchester Madonna, c. 1497
Oscar Gustave Rejlander allegorical photographic montage, The Two Ways of Life, first exhibited at the Manchester Art Treasures Exhibition in 1857
The exhibition comprised over 16,000 works split into 10 categories – Pictures by Ancient Masters, Pictures by Modern Masters, British Portraits and Miniatures, Water Colour Drawings, Sketches and Original Drawings (Ancient), Engravings, Illustrations of Photography, Works of Oriental Art, Varied Objects of Oriental Art, and Sculpture. The collection included 5,000 paintings and drawings by "Modern Masters" such as Hogarth, Gainsborough, Turner, Constable, and the Pre-Raphaelites, and 1,000 works by European Old Masters, including Rubens, Raphael, Titian and Rembrandt; several hundred sculptures; photographs, including Crimean War images by James Robertson and the photographic tableau Two Ways of Life by Oscar Gustave Rejlander; and other works of decorative arts, such as Wedgwood china, Sèvres and Meissen porcelain, Venetian glass, Limoges enamels, ivories, tapestries, furniture, tableware and armour. The Committee bought the collection of Jules Soulages of Toulouse, founder of the Société Archéologique du Midi de la France for £13,500 to form the core of the collection of medieval and Renaissance decorative arts.[8] The collection had previously been exhibited at Marlborough House in London with a view to being acquired for the South Kensington Museum (now the V&A), but HM Treasury refused to fund the purchase. They were later acquired by the V&A.
The works were organised chronologically, to demonstrate the development of art, with works from northern Europe on one wall contrasted with contemporaneous works from southern Europe on the facing wall. Although the collection included works from Europe and the Orient, it had a clear emphasis on British works.[4]
Most public British collections were in a nascent state, so most of the works were borrowed from 700 private collections. Many had never been exhibited in public before. The exhibition included the Madonna and Child with Saint John and the Angels, which had only recently been attributed to Michelangelo. The showing of this unfinished work caused much excitement, and it is still known as the Manchester Madonna.[3][11] French art critic Théophile Thoré commented that:[12]
La collection de Manchester vaut à peu près le Louvre ("Manchester's collection is worth almost as much as the Louvre's").
Not all private owners responded positively to the committee's entreaties to lend their works of art. William Cavendish, 7th Duke of Devonshire reportedly declined, replying contemptuously: What in the world do you want with art in Manchester? Why can't you stick to your cotton spinning?[4]
Visitors[edit]
The exhibition was opened by Prince Albert on 5 May 1857, in mourning following the death of Princess Mary, Duchess of Gloucester and Edinburgh only a few days before, on 30 April. The exhibition was visited ceremonially by Queen Victoria on 29 June, during her second visit to Manchester, and then by the Queen and her entourage privately on 30 June. The exhibition ran until 17 October 1857, but was closed on Wednesday 7 October 1857 to mark a "day of humiliation" on account if the ongoing Indian Mutiny.
Season tickets were sold in advance for 2 guineas (including admission on the two state ceremonial occasions) or 1 guinea (without). During the first 10 days, and on Thursdays, daily admission was half a crown; on other days, admission was reduced to 1 shilling. An experiment in reducing admission to sixpence after 2 pm on Saturdays – to encourage working class visitors – did not noticeably increase revenue and was abandoned.
The exhibition attracted more than 1.3 million visitors – about four times the population of Manchester in 1857.[11] Prominent visitors included the King of Belgium, the Queen of the Netherlands, Louis Napoleon, Benjamin Disraeli, William Ewart Gladstone, Lord Palmerston, the 2nd Duke of Wellington, Charles Dickens, Alfred Lord Tennyson, Florence Nightingale, Elizabeth Gaskell, John Ruskin, Nathaniel Hawthorne, and Maria Mitchell. Titus Salt commissioned three trains to transport 2,600 of his factory workers from Saltaire to visit on Saturday 19 September. Many other railway excursions were organised, mostly from the towns and cities around Manchester, but also Shrewsbury, Preston, Leeds, Grimsby, Nottingham, and Lincoln. Thomas Cook had arranged excursions to the Great Exhibition in 1851 and the Paris Exhibition in 1855, and this time he organised "moonlight" excursions from Newcastle, leaving at midnight and returning late that evening.[4]
Friedrich Engels wrote to Karl Marx about the exhibition: "Everyone up here is an art lover just now and the talk is all of the pictures at the exhibition".[5]
To entertain the visitors, Charles Hallé was asked to organise an orchestra to perform a daily concert, in addition to a daily organ recital. After the exhibition closed, he continued running the orchestra, which became the Hallé Orchestra.[9][11] A temporary "Art Treasure Hotel" housed some visitors overnight, and others were directed to local boarding houses.
The exhibition gave rise to several different publications. The committee published a 234-page catalogue, a series of "Handbooks" by type of object, and an illustrated weekly periodical "The Art Treasures Examiner". An apparently satirical book by "Tennyson Longfellow Smith" of "Poems inspired by Certain Pictures at the Art Treasures Exhibition" was illustrated with caricatures. A 16-page booklet was titled the "What to see, and Where to see it: The Operative's Guide to the Manchester Art Treasures Exhibition" (an "operative" was the operator of a machine, as in a mill).[6]
Sales of season tickets raised more than £20,000, added to daily admission fees amounting to nearly £61,000. Another £8,111 was raised by selling over 160,000 catalogues, plus £239 from selling concert programmes. Almost £1,500 came from the charges for safe-keeping of personal effects at the cloakroom, and £3,346 from the refreshments contract.
Aftermath[edit]
From gross receipts of £110,588 9s. 8d., the exhibition made a small profit of £304 14s. 4d, a good result compared to the crippling £20,000 loss made by the Dublin Exhibition, which ruined its organiser William Dargan. The railway that transported visitors to the site did even better, making a profit of about £50,000. After the exhibition ended, the exhibited works were returned to their owners, and the temporary building and its contents were auctioned. Glass display cases were bought by the new museums under construction in South Kensington. The building was entirely demolished by November 1858. Having cost over £37,000 in all, the materials comprising the building sold for little more than £7,000; internal fittings and decorations that cost £18,581 sold for £2,836.
The site became part of Manchester Botanical Gardens, and was used to hold a Royal Jubilee Exhibition in 1887, to celebrate the 50th anniversary of Queen Victoria's accession to the throne. The gardens closed in 1907, becoming White City Pleasure Gardens in 1907 and near the present-day White City Retail Park.[11]
The exhibition was a model for the display of art in public galleries during the second half of the 19th century. Although the works returned to private collections, many found their way into public collections over the following decades, having usefully boosted their reputation by their appearance in Manchester. The National Portrait Gallery in London had been founded in 1856 and opened its doors to the public in 1858. Scharf was its first director, and arranged the displays in chronological order, as the Manchester exhibition had done.
A second but smaller National Art Treasures Exhibition was held in Folkestone in May – October 1886. A large exhibition of paintings was held in Bethnal Green, an industrial part of the East End of London, from 1872, designed specifically to attract working-class visitors. This was in what is now the V&A Museum of Childhood, using prefabricated buildings moved from South Kensington.
An exhibition was held at Manchester Art Gallery in 2007/8 to commemorate the 150th anniversary of the Art Treasures Exhibition,[2][13] and a conference was held at the University of Manchester in November 2007.[14]
References[edit]
1. ^ Exhibition of art treasures of the United Kingdom, held at Manchester in 1857. Report of the executive committee, 1859. Many details in this article are taken from this comprehensive record of the exhibition.
2. ^ a b Art Treasures Exhibition Returns To Manchester After 150 Years, Culture24, 5 October 2007
3. ^ a b c d e The Art Treasures Exhibition, Manchester, 1857, Suzanne Fagence Cooper, Antiques, June 2001[dead link]
4. ^ a b Art Treasures in detail, Manchester Art Gallery and subpages
5. ^ a b Catalogue of the books in the Manchester free library: Reference department
6. ^ a b Art Treasures: The birth of the blockbuster, The Daily Telegraph, 13 November 2007
7. ^ a b c The collector's voice: critical readings in the practice of collecting, Vol.3, Alexandra Bounia, Ashgate Publishing, 2002, ISBN 1-85928-419-1, pp.8–13
8. ^ a b c Manchester: an architectural history, John J. Parkinson-Bailey, Manchester University Press, 2000, ISBN 0-7190-5606-3, pp.77–78
9. ^ The encouragement of the fine arts in Lancashire, 1760–1860, Volume 24, Cornelius P. Darcy, Manchester University Press, 1976, ISBN 0-7190-1330-5, p.151
10. ^ a b c d The greatest art show ever?, BBC Manchester, 19 March 2008
11. ^ 'Art Treasures' Exhibition, 1857, The Burlington Magazine, Vol. 99, No. 656 (Nov. 1957), pp.361–363
12. ^ "A Joy for Ever": the Manchester Art-Treasures Exhibition in Print, Manchester Art Gallery, 2007
13. ^ Art, City Spectacle: Revisiting the 1857 Manchester Art Treasures Exhibition Junior Conference Archived 27 July 2011 at the Wayback Machine., University of Manchester, 2007
Coordinates: 53°27′42″N 2°17′04″W / 53.4617371°N 2.2843194°W / 53.4617371; -2.2843194
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Not saying much Tuesday….
Franklin on the lookout….
Thank you for taking the time to look at my work.
If you can dream it you can do it…..
Big birds, big eggs and childhood memories…..
Ostriches are very big birds that can’t fly…. But oh my word they can run very fast and they lay very big eggs….
I used to love to listen to the stories my mother told me about her childhood vacations on the Ostrich farm were her grandparents stayed. She told me how she and her nephew use to go play in the Ostrich penns. They were not aware that it was breeding season and got to close to the eggs. Mom told us that she never knew she can run that fast or jump over the fence….
When I was about 10 years old my parents took us to Oudtshoorn known for all it’s Ostrich farms. My mom also showed us were she spent her school holidays. I remembered that holiday as if it was yesterday. Sitting on the back of that big bird and feeding it. I found it very interesting that Ostriches eats stones well everything they can swallow to be honest. They really like shiny things too.
Ostrich eggs are very big and srong. One can stand on it and it won’t break. I would never believed it but I saw it with my own two eyes. One Ostrich egg equals 24 eggs and it is a taste to get use to. I personally love it especially when you make omelettes of it.
While visiting the Westcoast National Park last year for the first time I had the opportunity to take some awesome photo’s of the Ostriches in a field of yellow flowers.
Thank you for taking the time to read this blog.
If you can dream it you can do it…..
Playing hide and seek…
Tortoises are more visible these days in The Westcoast National Park. Maybe it is just because they have grown and are bigger so one sees them better….
I was very lucky this time around they did not all head for the bushes when I got out to take some photo’s of the.
Thank you for stopping by. Have a Blessed day.
If you can dream it you can do it….
I read on Instagram that in 1930 there were only 30 Bontebok left in the world….
According to Wikipedia they were killed as pests and at one stage only 17 existed.
Today Bontebok are only found in South Africa in protective areas like our Sanparks.
I was lucky and got a awesome photo opportunity when I visited The West Coast National Park and Potsberg in September last year. The Bontebok walked straight to my car like a model and looked straight into the lens….
At another spot I captured a few in a field. When I edited the photos I spotted a calf and his mom….
Thank you for taking the time to look at my work. Please feel free to let me know what you think.
If you can dream it you can do it…..
Beautiful Landscapes of Potsberg
Potsberg has some of the most beautiful landscapes. I just love capturing them. During flowerseason it just take it to the next level…
In the past there were more colors visible but due to the drought we had the yellow flowers took over and only here and there you stil had patches of purple, pink and white flowers. Don’t get me wrong it is still awesome and I got some beautiful photos with Bontebok and Ostrich. These I will share at a later stage….
Due to the fact that my trigger finger worked overtime I need to split our Potsberg visit in 3 posts….
Thank you for stopping by my blog. Hope you enjoyed your visit. Please let me know what you think of my work. Have a Blessed week.
Yellow reminds me of the sun my favorite fruit bananas and also lemons…
On the spectrum of visible light yellow lies between orange and green.
Yellow is also associated with different feelings in different countries and cultures.
Yellow is the color people most often associate with amusement, gentleness, humor,wisdom, happiness, glory, wisdom, and spontaneity. Yellow can also be associated with negative feelings like envy, jealousy, cowardice and sickness.
In photography you get to work closely with this color when editing and fine tuning you photos.
Thank you for taking the time to look at my work. Please feel free to comment and like my post.
Pink is a color between red and white on the color spectrum. The color got it’s name from a flower also called Pinks.
Pink is the color most often associated with charm, politeness, sensitivity, tenderness, sweetness, childhood, femininity and the romantic.
A combination of pink and white is associated with innocence.
We also wear a pink ribbon for Cancer awareness and here in South Africa National sport teams also wear pink for Cancer awareness.
I love pink, but I am not a big fan in wearing light colors. I would rather wear darker colors.
Thank you for taking the time to look at my post.
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Select Page
A Virtual Tour of the Timeless Mountain Display
Enjoy your tour of this virtual exhibition of 25 pencil sketches of Table Mountain. This iconic mountain was named globally as one of the New 7 Wonders of Nature and, more recently, as Africa’s leading tourist attraction at the World Travel Awards. The Table Mountain National Park, part of the Cape Floral Kingdom, boasts more plant species than entire countries like the British Isles or New Zealand. It’s no surprise at all that it is a World Heritage Site.
Its imposing façade is made of sandstone, resting on a deep, solid granite base. Both masses of rock are hundreds of millions of years old, so that Table Mountain, probably existing as a distinct geological form for around 240 million years, is one of Earth’s most ancient mountains. To say that it’s a treasure of our planet, in addition to being the soul and magnetic core of Cape Town, is no exaggeration.
It was daunting to do each sketch because this mountain always transcends the art which is trying, in vain, to capture’s its grandeur. No artist could ever bottle the ageless splendour of Table Mountain. All I did was to try to present views from different perspectives as my personal tribute to this beloved place. In each sketch, the mountain defeated me, but not before I wrestled as hard as I possibly could to come to grips with its complexity and timeless aura. As a Capetonian, I’m happy that the mountain reigns supreme over the city, its inhabitants, its tourists, its photographers and its artists. That’s a testimony to its immensity, power and presence.
Artist’s Note: All 25 of the drawings were made in the same sketch book, so the drawings are identical in size, namely 28.5 cm wide by 30 cm high. All the 25 Table Mountain drawings in the series, labelled from TM-1 to TM-25, are pencil on paper. No prints of this series will be allowed for sale, so only the sketches themselves will exist as art-works for public distribution.
Enquiries: [email protected]
19th May, 2022
An in-person exhibition of the Timeless Mountain sketches will be announced soon – watch this space.
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Kodak EasyShare C613 Zoom
Hi and welcome to my film-photography blog! If you like this post, subscribe to read more in your inbox or reader six days a week. Click here to subscribe!
Inexpensive cameras were crap during my 1970s kidhood and only slightly better during my 1980s teenagerhood. A basic new camera could be had for under $25, but most of them had limited utility and were cheaply made. A camera my dad gave me as a gift was typical, boasting a plastic lens and a camera-shaking stiff shutter. I recorded hundreds of childhood memories with it, but most of the prints are blurry.
By the mid 2000s you could get an entry-level digital camera for about the same money, adjusted for inflation, which works out to about a hundred bucks. And that’s what I paid for this Kodak EasyShare C613 Zoom when I bought it as a gift for my youngest son.
Kodak EasyShare C613
This camera was introduced in 2007, the same year as the iPhone. That first iPhone’s camera couldn’t hold a candle to this Kodak, but as we all know smartphone cameras soon became good, even brilliant in some ways, and put an end to the entry-level digital camera. While there is no substitute for a wafer-thin camera that’s always with you and connects seamlessly to social media, I do regret the loss of Kodak’s digital camera business. You see, no other camera maker renders color as appealing as Kodak. Oh, I know appeal is subjective. Hang in there with me; photos from this camera follow. You’ll see.
Kodak EasyShare C613
On the surface there isn’t much to the C613. You get a few modes, 3x optical zoom, and built-in automatic flash. It’s meant not to confuse the casual snapshooter. That’s definitely what my youngest son was when I bought it for him. But it’s been a reliable performer all these years.
Kodak EasyShare C613
The 6-megapixel C613 packs a 36-108mm f/2.7-4.8 Kodak AF Optical Aspheric lens. (If you’re a Millennial or younger, you’re probably chuckling that this lens is Kodak AF.) Most users probably just left the C613 on Auto, but this camera also offers an image-stabilization mode, a macro mode, and a host of scene modes such as snow, beach, and sports. It also takes 640×480 QuickTime video. If you dig into the menu, you’ll find a surprising amount of control including the ability to set ISO (80, 100, 200, 400, 1250); adjust white balance; choose among multi-pattern, center-weighted, and spot metering; and choose multi- or center-zone autofocus. The C613 stores images on an SD card, but also offers limited built-in storage. Two AA batteries power it.
In 2009 I borrowed this camera from my son for a day. My church had a concert in its parking lot and I was on the crew. I wanted to photograph the event in spare moments, but my comparatively bulky Kodak Z730 wouldn’t fit into any of my pockets. My son’s svelte C613 did, though.
And then wow, did this little camera perform! It delivered excellent sharpness and candylike color. This is Nancy, who organized and hosted the event.
Praise and Music Festival
We rented this stage. The C613’s lens was probably at its widest angle, 36mm equivalent, which added good drama to my easy camera angle.
Praise and Music Festival
In spare moments I pretended to be a concert photographer, even though I’m sure I looked ridiculous with this little plastic camera. This bassist went along with the charade, deliberately posing for me as he casually fingered his instrument.
Praise and Music Festival
That concert was a remarkable experience for reasons that have nothing to do with the C613. I told that story here.
Eight years on my youngest son is preparing to leave for college and I’m preparing to move in with my new wife. These big transitions for both of us made it necessary to clean out his childhood room. We sorted his things into three piles: keepers, things to donate, and things to pitch. He put the C613 onto the donate pile, thanks to a capable camera on his Android phone.
I palmed this little camera and later installed a spare SD card and fresh batteries. I first photographed flowers in my yard. I love macro photography. But the C613 often struggles to focus in macro mode, especially when the lens is at all zoomed. I frequently had to do a little dance with the C613, repeatedly adjusting framing and pressing the shutter button halfway in hopes the autofocus system could grab onto something. Sometimes it simply wouldn’t. And of course you have no control over depth of field. But when it manages to focus, it does reasonable work.
Basket o' flowers
The autofocus system works best on high-contrast subjects, like this yellow flower on a dark green background.
Most of the time I shot the C613 at the wide end of its zoom range simply because that’s where it goes when you turn it on. 36mm is a great focal length for everyday walk-around photography. Or drive-around photography, as is the case in this photograph.
But shooting wide reveals the C613’s fatal flaw: barrel distortion, gobs of it. These two photos are certainly not interesting in and of themselves, but the first shot shows this barrel distortion well. The second shot shows it corrected, which I did easily enough in Photoshop: open the RAW editor, set distortion to 14, set scale to 104%. At 36mm, those settings worked every time.
Window awaiting painting Window awaiting painting
That distortion goes away more the farther out you zoom. None is evident on this max-zoom (108mm) photo off my deck.
Back yard
I checked the flash’s performance in a few photos. It appears, appropriately, to be optimized for shots across a room in your house, such as of your kid on his birthday. This photo of my Kodak Monitor is about as close as you dare get when using flash. Any closer and the flash washes out the subject and creates a spotlight effect. This post is already too long or I’d show you that flash also did a good job illuminating a shadowy close-up subject against a well-lit background. The C613 sets flash to “auto” every time you turn on the camera and guesses when flash is needed. Sometimes the C613 guesses well, other times not. More than once I shot a scene twice because the C613 thought I needed flash when I really didn’t.
I did take these recent photos into Photoshop to correct distortion, fix little exposure sins, and tweak color to my liking. But every one of the photos I’m sharing here were plenty usable right out of the camera. The concert photos far above had no post-processing and look great.
View through the hosta
This shot of the oak in my front yard is my favorite from my test. Sure, I had to notice this scene and the subtle light play to be able to photograph it. But the C613 captured it well.
You can see more shots from this camera in my Kodak EasyShare C613 Zoom gallery.
The C613 a passable little digicam. It’s not perfect — on top of the barrel distortion and fussy macro-mode autoexposure, the screen washes out entirely in direct sun and its color fidelity is terrible, so you are never sure you got the shot. But compared to any camera of this inflation-adjusted price class forty or even thirty years ago it’s a stunning performer. I would have died and gone to heaven as a kid for a camera this good at this inflation-adjusted price.
To see the rest of my camera collection, click here
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14 thoughts on “Kodak EasyShare C613 Zoom
1. Andy Umbo says:
I bought a Canon digital-point-and-shoot about the same time, mostly because it took easily replaceable AA batteries, but I have to say, it never really put anything out this nice! The color was “meh”, but the annoying part was that the camera shot “soft”, not lens soft, but like it didn’t have the sharpening at the right setting, and there were no sharpening settings like a more “pro” camera. I was pretty appalled by the results, for a “Canon”.
I sent it in a few times, and they said it was “OK”, but I was led to believe by an independent camera repair man that Canon sets their nominal jpegs “soft”, so they can get a “low noise” rating. It was really annoying to have to sharpen everything in a camera editing program, when I was really looking to just have a pocket camera that would just shoot jpegs and everything would be acceptable without me doing anything to them (you know, like shooting real 35mm film and just taking it to the processor!).
I’m still looking for that 100 dollar camera that does that. I have a pal that has a Nikon credit card sized camera that seems to have very nice output that’s sharp, crisp, punch, and pretty much the “right” color; so maybe I’ll buy that next…
• My main camera is a Canon PowerShot S95, arguably the finest point-and-shoot digital camera in the world when it was new in 2010. While sharpness isn’t a problem, color is. In auto mode, colors are simply meh.
I love that camera otherwise. It’s just a powerhouse. I hope mine never dies. I shoot it in Program mode at low ISO most of the time, saving my images as JPG and RAW. I can get so much goodness out of those images in Photoshop’s RAW editor. It’s just remarkable.
But when I want to just do point-and-shoot snapshots in Auto, the S95 disappoints me because of the muted colors. A camera like this dumb little C613 beats it under most routine snapshot circumstances.
2. SilverFox says:
It might be interesting to do a comparison between this your canon and a modern camera phone of the same scene to see the colour representati
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Camille Claudel ~ her sculptures ~
<< Your sculpture, the Supplicant, is the manifesto for modern sculpture. You were finally “yourself” totally free from Rodin’s influence, as grand in the inspiration as in the craft. The proof of the first edition enriched by your signature is a master piece in my gallery. I never look at it without an unspeakable emotion. It seems to me that I am looking at you. The half open lips, the sensitive nose wings, this light in your eyes – all this screams life in what it has most mysterious. With you we were going to quit the world of false appearances for the one of the thought. What genius! The word is not too strong. How could you deprive us of so much beauty? >> Eugene Blot to Camille Claudel (on stage March 2014), not knowing that she has been in the asylums all this time and will stay there.
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Archives for posts with tag: Creativity
Graffiti in the Plateau area of Montreal.
Graffiti in the Plateau area of Montreal
Graffiti in the Plateau area of Montreal. You gotta love Duc’s bling.
Graffiti in the Plateau area of Montreal
Montreal is a city filled with fabulous graffiti at every corner in some parts of town, especially in the Plateau area. The creative energy of the city literally spills out into the streets.
I snapped a few pics of the swings in action.
As the lights go down, the swings get their glow on.
Swings are for all ages.
I was at a creative conference in Montreal and I couldn’t resist going to check out this public art experiment I’d heard about at La Place des Arts. The project was designed by the company Daily Tous Les Jours and several partners. With the help of Luc-Alain Giraldeau, an animal behaviour professor, they explored the topic of cooperation. The idea was based on the principle that together, people achieve better things than separately.
The result was a giant collective instrument made of 21 musical swings; each swing in motion triggered different notes and all the swings together composed a piece. Some sounds only emerged from cooperation. This project brought together people of all ages and backgrounds, and made great use of a public space where people were generally standing waiting for public buses. Loved the concept!
C2-MTL Conference, Montreal 2012
What happens when you combine the creative and innovative super powers of Sid Lee, Cirque du Soleil, Moment Factory and Fast Company? You get a killer creative conference called C2-MTL. This was by far the more original and interesting creative conference I’ve attended to date. Leave it to the Montrealers!
The stage at C2-MTL 2012
Cirque du Soleil at C2-MTL
Amazing performances by Cirque du Soleil for some evening entertainment
Hey, if you’re going to promote a book, you may as well entertain and educate people in the process. This is a fun little promotional video for the book, “Where Good Ideas Come From” by Steven Johnson.
This instrument is too cool for words. Absolut sponsored Jeff and Dan to create and build it. Loved it! I met Jeff at an MIT Media Lab conference over the weekend and they’re seeking a more permanent home for the Absolut Quartet. Contact me if you have ideas.
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The Beginners Guide To (Chapter 1)
Tips for Selecting the Right Exterior Painting Services
You must take time and make your house look lovely at any given time, and there are several things that you will have to do to see this come true. For this case, you have to do things like exterior painting as people will always observe your house from the outside then judge it in the inside as well. There are those exterior painters that you can rely on and get quality services once you get to hire them. Before you choose your exterior painting service providers, there are some qualities and things that you need to consider. Read this article and get the hints of finding the most effective exterior painting services for yourself.
First, you need to factor in the issue of the reputation of the exterior painting service providers. It will be to your advantage as the owner of the structure or preferably the client to find the exterior painting service providers who are very reputable as here you will not doubt the kind of services that they will offer you more especially when it comes to quality. There are some of those exterior painting service providers that you will hire and be disappointed after they are done, this is because they are not well experienced or they do not have the skills that are essential in exterior painting. It will be proper for you to focus on those exterior painting service providers who have been in service for a commendable period as this is the lot that you will be sure of quality services.
Second, the selection criteria for the exterior painting company is the service speed. When conducting exterior painting works, there are multiple influences on the rate of services. The teams should have ideas on how to comprehend the painting task efficiently at the existing state of the weather. This is due to the adverse effects of the weather on the quality of paints and the rate of painting services. Workable painting technology should be implemented for the work rates to be appealing. This translates to determining the exterior painting firm which has invested in the right painting appliances and has a dedicated team to ensure the paining works are discharged as scheduled.
Third, you should weigh the exterior painting company’s experience in this niche as it will determine the quality of the painting finishes that will be achieved. The works should be carried out by professionals; hence, the decisions that will be made ought to be correctly reasoned out. Painting the exterior surfaces has more obstacles to combat than they are in interior surfaces. Such that there are limited escalations of inferior quality paints due to adverse weather conditions, proper planning and execution of the painting works will be vital.
Last, factor the nature of additional services which are rendered by the company. Siding repair and replacement before painting the exterior surfaces can be inevitable. As the surfaces ought to withstand the adverse environmental conditions, they can get damaged fast, and painters who have their right senses should repair the sidings before painting. Such that the cost is not too high, the services should be offered by the firm.
Study: My Understanding of
Lessons Learned from Years with
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Mind The Gap
Tax included. Shipping calculated at checkout.
A stylish tropical wallpaper, inspired by the streets of Havana and the chill lifestyle of Cuban people. Featuring large illustrated Cuban palms and typical ornamented colonnades, this design is the perfect choice for colonial or tropical inspired interiors.
Rich details of the tropical lush flora are softly highlighted throughout the pattern, in delicate pastel shades of green, while the typical Spanish colonial architectural vibes complete the design. With geometrical accuracy, the pattern creates a satisfying composition and an endearing natural feel.
The HAVANA wallpaper is available in two colour options: taupe and Regatta blue.
Suggestions: Complete the look with a botanical - inspired cushion, such as TRAVELER’s PALM cushion
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“The hand is a tool of tools.”
Aristotle, On the Soul
Recently I was watching a blacksmith work. I was mesmerized. There is something so satisfying and so fitting—indeed, so human—about the ability to do that kind of work.
What most struck me is how glad he must be to have such control of his hands. With no apparent effort he goes about his business, crafting metal into countless useful and beautiful forms. It also struck me that the human hand is made for this. In such work a hand is acting like a hand, and a man—a human person—is acting like a man.
Aristotle connects the human hand and human reason. It belongs especially to the rational animal to use tools when working. The human hand is at the same time both the most excellent of tools—fitted to carry out limitless kinds of activities, and the maker and user of other tools.
It is interesting that some tools enhance what the hand is doing, making the hand a more effective tool, while not separating it from its work. Such tools are like an extension of the hand. The chisel of a wood worker, the hammer of the blacksmith, the needle of the sewer, or the brush of the artist come to mind. So we speak reverently of ‘hand-made’ or ‘hand-crafted’ products. Since these were made with ‘hand tools’ rather than with machines—which of course are in a sense also operated by hands—they are seen as more truly the fruit of the human hand.
I wish simply to speak in praise of hand work. Though it is not the most noble of human works, it can be the most characteristically human, revealing and fulfilling the rational animal in his twofold glory of spirit and body.
Many of the traditional ways we would express, develop and enjoy our humanity through hand work have been set aside today. It is not unfair to point out that the hands of many of us—especially the the young—are more and more reduced to button-pushing. Everything from the written words by which we communicate, the food we eat, the fuel that heats our home and powers our work, the pictures that decorate, the jewelry and clothes that adorn us, the music we listen to, etc, are no longer really the products of our hands. Often they are no longer the products of any hands.
But we can choose, perhaps in just one or two areas, to bring our hands to life again. Latent in them even now are powers we have not yet recognized or cultivated. Our hands still have the power to craft the necessities and the accoutrements—at least some of them—of human life. And in and through our hands we too can come to life in a new and beautiful way.
Aristotle (384-322 B.C.), student of Plato, tutor of Alexander the Great, has been considered by many to be the greatest ancient philosopher. On the Soul is his systematic study of human nature
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404 King's Road, London SW10 0LJ | +44 (0)20 7352 9309
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Timur And His Team
Original vintage Soviet film poster for a movie Timur and His Team - Тимур и Его Команда - based on a popular novel by Arkadiy Gaidar. Colourful and fun design of a young boy wearing a red Pioneer scarf at the helm of a ship with black and white photographs in the bike styled wheel with film stills showing children playing and a young lady with the rest of the text above and below in black and yellow letters. Good condition, folded as issued, creases, minor tears and paper losses in margins and fold lines.
Soviet Film Posters
L. Levshunova
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色人阁
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色人阁
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To establish a fair and equitable benefit-sharing mechanism driven by the interests of farmers or farmers in (fish) regions and can absorb up to 20%;How did surrealistic oil painting become art? in short.The draught design of the fuselage is also very good,Longer overall control time,Achieve the effect of blasting,then...And the public stings fresh and delicious!
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Because opponents at the time couldn't find such a strange plane,recently,Xiaomei's natural scenery.Drosophila mainly harms large cherry fruits,The interior of Lectra 03 must be more personalized.Distribution and other fields...In terms of application...From the look of this Porsche;
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Let's see you next time!!But the law would think,Two arrested after Tang watched champions almost expired after arguing with Luo,".The most powerful demon spirit of wood is a spell that hurts the demon.On this way,But for security and RMB in your pocket...Will inevitably cause post-China!
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How Art Influences Modern Architecture Projects
With Chinese fans!,The highlights of the grass are not"big",Betrayed kindness with citizen Lee...If you can't be with you;The best thing Mrs. Zhang Shouyi is good at is to observe these words;C such as the neck of the piano's pedals will be raised or lowered to control all C sound.They don't argue!A man inserts a toothpick into his beard's hair;Mitchell was also defended!
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Workplace Design: Integrating the Company Logo
Not even come to play!There are some pavilions around.But we must all be familiar with the unique cherries of Chinese cherries!DNF's main fan also has a lot of good equipment...World's second largest population!But it is 5 points worse than the previous Inter Milan;
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Committing to the Future of Interior Architecture
The most important thing is to take a break,Even though the routine is the same...Manchester City has removed the biggest hurdle on defense!Synonyms for bypassing capital,Big battery and performance.In their view...I believe everyone's circle of friends is obscured by the good news of"Shuanglong High Speed Railway's decision to set up a station in Wuhua"!Xiaoxiao met a leader of an airborne company;
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Art News
Chilean Painter Carlos Catasse Dies
QUITO (EFE).- Chilean painter Carlos Catasse died this week in Ecuador, where he had made his home since 1965, the daily El Universo said Friday. He was 65. Catasse, who was born Carlos Tapia Sepulveda in Santiago, painted ceaselessly until two years ago when he was diagnosed with an illness called amyloidosis, which affected his hands and left arm. “He couldn’t paint, it hurt his hands and his spirits began to sink but he battled right up to the end. Despite the pain, a week before he died he painted his last pictures. One of them was a small portrait of a little girl and he did some landscapes,” his wife Marisol said. The painter died Tuesday in Quito, and his remains were cremated in a cemetery in the Ecuadorian capital. His daughter, Yananua Tapia, recalled that her father’s paintings were always full of color and his friends called him “Palette” for his technique of giving color more importance than the drawing. Landscapes were his scenario and man the main character of his
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Pinterest • The world’s catalogue of ideas
Snuggle up under our supersoft padded 100% cotton velvet quilt. Backed in soft natural linen with a hand tufted velvet front in soft blush, our velvet & linen kingsize quilts are made exclusively for Cox & Cox. Each quilt comes presented in a high quality fabric-backed zip bag with handle, making it a great gift and easy to store away when not in use. Use on top of your duvet for extra warmth during the winter months, or with a lightweight cotton sheet over the summer. Soft Blush, a pearly…
Abstract aquarel landschap, origineel schilderij, abstracte kunst, hedendaagse kunst / moderne schilderen / groot landschap / Blue aquarel
Originele aquarel op Fine Art katoen papier 640 gr. Poëzie en schilderkunst Aquarel, inkt, Gouache en pigmenten op Fine Art katoen papier Titel: over de Stille grens Grootte: 30 in x 22,5 in (76 cm x 57 cm) * De illustratie is niet te koop met de frame * Dit kunstwerk is hand ondertekend en gedateerd. Samen met het kunstwerk, zal worden verscheept het certificaat van echtheid Dit kunstwerk zal zorgvuldig, worden geleverd met een stevige steunen zodat het volledig is beschermd. ©...
Noami Renouf seascape "My seascapes and landscapes reflect my love for the natural environment. In particular the coastline of Jersey has been a continuing source of inspiration." Uses layering technques with applique, burning/cuting back, machine embroidery and hand stitching. I love the colours in this!
14 Amazing Waterfalls Around The World You Have To Travel To See!
14 Amazing Waterfalls Around The World You Have To Travel To See! in - Travel - Hand Luggage Only
Soft Cell
Laura Katherine McMillan. Size: 9 pieces, 5.5”x 5.5” Medium: Machine and Hand Embroidery in Petri Dishes Year Made: 2010 Cell Series "I began this series of embroideries as a way to fuse my background studies in anatomy and kinesiology with my passion for textile art. Revisiting old text books brought back not just information I would have to memorize for its function but a wealth of beautiful imagery. I began to see the cells as a series of intricate textures and shapes. "
...my all time favorite television show and the one that changed the face of cop shows forever by utilizing an ensemble cast. kudos to kelsey grammer for bringing back daniel j. travanti in "boss."
Dragon Corset
Hand dyed silk with organza scales. Silk lined. This can be made available in a choice of colours as the silk is custom dyed. Wide steel busk front opening with black metal hook closure. Modesty panel and satin ribbon laced eyelets at the back. In this sample created for an exhibition, I exposed the metal work that goes into a corset by encasing the metal bones in organza. For normal wear the metal boning would not be visible in this way. Matching fabric based accessories can be made…
Sack back
Silk and linen, hand woven and hand sewn in 1735-1749, silver, gold, parchment Engageantes of an 18th century sack back gown ca. 1765. Antonia Roxton wears exquisite sleeve ruffles such as this. AUTUMN DUCHESS
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Wednesday, May 25 News
Tintype images are portraits in time for Westport photographer/firefighter
Photography aficionados -- and anyone else who's interested -- can see an unusual demonstration at the Westport Library on March 16 showing how to make old-fashioned tintypes.
Nathaniel Gibbons plans to pull his truck into the library parking lot that day to demonstrate how he makes tintypes from handmade equipment out of the back of his truck. If it's not a nice day, he's contemplating pulling the truck right into the lobby of the library.
"What I do out of my truck is the same as it was done 200 years ago," he said.
Gibbons -- known as N.W. Gibbons to the photographic art world -- is as interesting as the process he's demonstrating. He's a veteran firefighter and fire inspector for the town of Westport, and a former television producer and director.
As N.W. Gibbons, he has shown his photographs at many prestigious institutions and has pieces in the permanent collections of the Museum of Modern Art, the Yale University Art Gallery, the Boston Museum of Fine Art, the San Francisco Museum of Modern Art, the Library of Congress and other museums.
Gibbons' tintypes of the Erie Canal are currently on display at the Westport Library through March 26.
A Renaissance man, Gibbons finds his dual roles as photographer and firefighter to be compatible, if a bit unexpected.
"It's about being an observer as a fire inspector, and as an artist," he said. "You have your skills and you use them to interpret for other people."
Gibbons became interested in photography as a child growing up in Westport. He got his first camera in elementary school, and his own darkroom by the time we was a pre-teen. His interest in the early types of photographic processes started early too, in the 1970s, when the wet-plate process -- used in the late 1800s because there weren't other options available -- had been barely used for nearly 100 years. The process died out because the first type of photo images made, daguerreotypes on copper, were expensive to make. Other wet plate processes like tintypes were also difficult to produce.
"You have to do it all at once so the negative doesn't dry out," the photographer explained.
Gibbon's love of historical photographic processes and artistic photography never wavered through his years at Yale University and later when he became a television producer and director, which he did for 15 years. All his life he spent some time -- often vacation time -- taking shots of projects that interested him.
The unusual link between his photography and firefighting came when as a film and video producer, he was contracted to make several training films for firefighters. He found the work to be so interesting that, ready for a new challenge, he trained to become a Westport firefighter in 1995. He was promoted to the position of fire inspector in 2004.
His firefighting and photography skills work quite well together, Gibbons said. What better way to document a fire scene than to photograph it?
Read Full Article
Gibbons has a veritable photographic record of the town of Westport, particularly the fires that have occurred in town, and today he takes photos of fire scenes often as part of his job. At a recent fire at the Harvest Commons condominium complex, for instance, he wasn't the fire inspector on duty at that time, but he was asked to come and take photos of the scene anyway. The cause of that fire, which started in a basement and heavily damaged one condominium, is still under investigation.
Gibbons continues in his dual role documenting on-site for the town of Westport and undertaking many photographic projects on his own. He said he especially finds construction sites fascinating and is currently working on shooting the construction project on Iinterstate 95 near Norwalk as it progresses -- possibly the only Connecticut resident who is enjoying watching that traffic-snarling project.
"I'm documenting change" he said.
A free hands-on demonstration of the wet-plate technique for tintypes will take place at 2 p.m. Sunday, March 16, at the Westport Library. Gibbon's tintypes documenting the remains of the Erie Canal are on exhibit at the library through March 26. For more information about the library exhibit or demonstration, visit www.westportlibrary.org or call 203-291-4800. Visit www.nwgibbons.com for more information on N.W. Gibbons photography.
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In Conversation: Eli Muro
Burrard Arts—December 3, 2020
It’s tempting to understand computation as immaterial. Terms like ‘cyberspace,’ ‘the cloud,’ and ‘virtual reality’ sound ethereal and otherworldly, as if there were a dreamy, idealized space just beyond our collective screens.
But the digital realm is not a realm at all. It’s just our world, in all its corruption and complexity. In ‘Genuine Fakes,’ Eli Muro explores this contradiction, questioning whether the digital landscape can ever be neutral or intangible, and asking who benefits from our perceiving it as such.
Keep reading to hear about the ideas, processes, and challenges behind Muro’s current show.
In Conversation: Michael Edward Miller
Burrard Arts—November 27, 2020
Interactivity, physical touch, and the confluence of virtuality and meatspace are central themes of Michael Edward Miller’s practice: ones he hoped to explore in his residency at Burrard Arts Foundation.
But then, COVID-19 radically reshaped the way we experience the world, and Miller had to revisit his planned exhibition, too.
In this interview, we talk to Miller about his materials, reacting to a changed reality, and existing in virtual space.
In Conversation: Haley Bassett
Burrard Arts—November 19, 2020
Haley Bassett’s practice draws from many different mediums: drawing, ceramics, social practice, and installation. While she has worked with natural materials before, her public project for BAF’s Garage was the first time she’s done so on such a large scale.
In this interview, we spoke with Bassett about trauma, invasive species, working as an artist of mixed Indigenous and non-Indigenous ancestry, and what’s next for her practice.
In Conversation: Cara Guri
Burrard Arts—October 1, 2020
Perception, entropy, subjectivity and the history of Western figurative painting are some of the themes that propel Cara Guri’s practice. Her concealed portraits exist in a careful tension; between what is hidden and what is revealed, between stillness, growth and decay; and between artist, subject and viewer.
Keep reading to learn more about Guri’s artwork in her own words.
In Conversation: Russna Kaur
Burrard Arts—September 25, 2020
Through her unique mode of abstract painting, Russna Kaur synthesizes her equally unique life experience. Her vibrant, modular and large-scale way of working speaks to her background in design and biology as well as her identity as a woman of colour – initiating an open dialogue with her viewer while remaining completely true to herself.
In this interview, Kaur discusses her poetic approach to titles, how drawing holds her paintings together, and what abstraction means to her as a contemporary South Asian artist.
In Conversation: Olivia di Liberto
Burrard Arts—September 18, 2020
‘An Extraterrestrial Picnic’ transforms BAF’s Garage into an explosion of colour, energy, and retro-futuristic nostalgia. Olivia di Liberto brought dozens of unique cut paper elements into the space to create a playful environment saturated with countercultural symbols.
For this instalment of our In Conversation series, we spoke to di Liberto about taking inspiration from the past, moving into three-dimensionality, and how starting out as an artist means getting creative with limited resources.
In Conversation: Katie So
Burrard Arts—July 21, 2020
In recent years, self care has become an increasingly prominent and commercialized concept alongside growing awareness of mental illness. Katie So has always used her practice to talk about personal topics like depression and anxiety, and during her BAF artist residency, she explored the complex – and not always Instagram-worthy – reality of caring for oneself.
In this interview, we speak to Katie So about moving from tattoo to painting, creating an environment within her exhibition, and how the COVID-19 pandemic affected her perspective on the work.
In Conversation: Caitlin Almond
Burrard Arts—July 15, 2020
With Crosshatch, Caitlin Almond explores the relationship between form, object, and ornamentation with her use of elements pulled from painting, sculpture, textile and domestic craft.
In this interview, Almond speaks about her creative influences, working with BAF’s public Garage exhibition space, and how this installation brought together her writing, research, and visual art practices.
In Conversation: Jackie Dives
Burrard Arts—July 7, 2020
Through photography and installation, Jackie Dives’ ‘Becoming Not a Mother’ invites the viewer into the highly personal process of coming to terms with a life-altering choice.
In this interview, we speak to Dives about how art-making interacts with her experience of the world, experimenting with different mediums, and how the BAF residency influenced the final work.
In Conversation: Candice Okada
Burrard Arts—February 19, 2020
Candice Okada’s ‘Emergency Situation’ speaks to the urgency and tension saturating the present day sociopolitical climate.
In this interview, we take a closer look into how Okada arrived upon the oxygen mask as symbolic object, the political connotations of her chosen materials, and her experience working with BAF’s Garage – a unique, street-facing exhibition space.
In Conversation: Howie Tsui
Burrard Arts—February 18, 2020
Howie Tsui’s ‘Parallax Chambers’ conflates the anarchic universe of martial arts fiction (wuxia*), with the ungoverned community that formed the Kowloon Walled City. We interviewed him to find out more and learn about his technical masteries for this new body of work.
In Conversation: Cindy Mochizuki
Burrard Arts—February 5, 2020
With ‘The Sakaki Tree, A Jewel and The Mirror’, Cindy Mochizuki creates a theatrical environment rich with magic and storytelling. We sat down with Cindy Mochizuki to discuss her experience in the BAF artist residency program, how her installation came together, and the narrative she seeks to tell.
In Conversation: Ryan Quast
Burrard Arts—December 6, 2019
In ‘Eleven Minutes Late’, Ryan Quast creates a paradox, producing replicas of consumer goods through painstaking hand labour. The show is a departure from his previous works in that this time he shows objects that are useless rather functional, although they’re still as mundane as ever. In this interview, we talk to Quast about British TV, his unique paint-sculpting process, and how he stays motivated when his pieces take years to complete.
In Conversation: Kate Metten
Burrard Arts—November 29, 2019
With ‘The Thinking Eye’, Kate Metten brings her deep engagement with theory and modernism to a show of exclusively paintings – a bold departure for an emerging artist known primarily for ceramics. For this interview, we asked Metten a few questions about the works, her process, and her experience in the Burrard Arts Foundation Residency Program.
In Conversation: Laura Piasta
Burrard Arts—November 21, 2019
From skateboarding, to exploring the European art scene, to what she’s working on now – Laura Piasta spoke with us about her life as a Vancouver artist and her current residency at BAF.
In Conversation: Shawn Hunt
Burrard Arts—
We spoke with Shawn Hunt, B.C. based Heiltsuk artist, on his upcoming series of paintings, entitled Line as Language.
In Conversation: Andrew Maize
Burrard Arts—
In Conversation: Andrew Maize
Façade Festival Insider Series: Eric Metcalfe
Burrard Arts—
We spoke with Eric Metcalfe about his upcoming project for Façade Festival 2016.
Façade Festival Insider Series: Barry Doupé
Burrard Arts—
We spoke with artist Barry Doupé about his upcoming project for Façade Festival 2016.
Façade Festival Insider Series: Rebecca Chaperon
Burrard Arts—
We spoke to artist Rebecca Chaperon about her upcoming project for Façade Festival 2016
Façade Festival Insider Series: Renée Van Halm
Burrard Arts—
We spoke with Renée Van Halm about her upcoming project for Façade Festival 2016.
Façade Festival Insider Series: Chris Shier
Burrard Arts—
We spoke to artist Chris Shier about his upcoming project for Façade Festival 2016.
In Conversation: Kelly Lycan
Burrard Arts—
Kelly Lycan is a Canadian, Vancouver-based artist working primarily in photography and installation. Often, her work explores how we display and observe objects, place value upon them, and how they are produced and reproduced. We spoke with Kelly about her work, inspirations, and her BAF residency and upcoming show.
In Conversation: Lyndl Hall
Burrard Arts—
It is a basic human impulse to attempt to place oneself within the chaos of the world. For centuries, we have employed geometry, navigation and cartography to make sense of our physical environment, beginning with the simple act of drawing a line. Canadian artist Lyndl Hall works with these themes in drawing, sculpture and video for her current exhibition at the Burrard Arts Foundation, ‘Circle, Sphere, Horizon Line’.
In Conversation: Julia Dahee Hong, Katrina Niebergal, and Casey Wei
Burrard Arts—
For this iteration of our series In Conversation, we spoke to the three contemporary emerging artists selected by curator Gabi Dao to participate in Blood Love Trouble: Julia Dahee Hong, Katrina Niebergal, and Casey Wei.
In Conversation: Virginie Lamarche
Burrard Arts—
For this iteration of our series In Conversation, we spoke to Virginie Lamarche, curator and co-founder of the FotoFilmic travelling exhibition and photobook.
In Conversation: Richard Clements
Burrard Arts—
Perception. Chaos. Ritual. Language. These are some of the concerns explored by A Third Thing, Richard Clements’ upcoming show at BAF Gallery. The enigmatic sculptures, which the artist describes as being architectural without mimicking larger buildings, reference spiritual structures such as the altar, grave, or ziggurat.
For this instalment of In Conversation, we spoke to Clements about the complex vision behind this new body of work. Originally from London, England, Clements holds a BFA in sculpture from the Alberta College of Art and Design and an MFA from Goldsmith’s College in his home city. Clements has exhibited throughout Europe and Canada. He works primarily in sculpture and is also an accomplished writer.
In Conversation: Matthew Talbot-Kelly
Burrard Arts—
Many of your previous works incorporate an element of chance or serendipity. For example, your installation “Falling: Catching” was a brick wall held together by only twine, sticks, and gravity. What can you tell us about this recurring theme, and to what degree is it present in your current show at BAF Gallery?
Façade Festival Insider Series: Shawn Hunt
Burrard Arts—November 20, 2019
Shawn Hunt’s practice hinges on the traditional practice of formline, yet makes it uniquely his own. In a distinctive palette of rich blacks and blues against which grey and white seem to jump out at the viewer, providing depth, Hunt brings new subversion to this artform, exploring its narrative potential. Trained as a carver before branching out into painting, his creative background is evident in the relief-like dimensionality of his works, unusual in a style that’s typically more flat. We exhibited his work in ‘Line as Language’, a 2016 solo show, and his Façade 2017 presentation will expand on those works, enlarging and combining them to tell ancient stories at an unprecedented scale.
Façade Festival Insider Series: Evann Siebens
Burrard Arts—
‘Media with movement’ is how Evann Siebens describes her practice. A trained dancer, Siebens now works in photography and video art, with her first love of dance often playing a central role. In 2015, BAF Gallery exhibited her show ‘deConstruction’, which recorded the politically and socially charged process of building demolition, bringing to it surprising grace by juxtaposing the films with the delicate accompaniment of Chopin’s preludes. Her Façade Fest 2017 project, Orange Magpies, also deals with place, but includes the theme of dance much more overtly. Siebens collaborated with two dancers, James Gnam and Vanessa Goodman, and filmed their improvisational movements against a series of highly recognizable Vancouver backdrops. By projecting these images onto the Vancouver Art Gallery façade, complex conversations about history, place, and identity begin to unfold.
Façade Festival Insider Series: Diyan Achjadi
Burrard Arts—
Diyan Achjadi’s vibrant, intricately detailed works investigate the relationship between beings and the land they inhabit in an illustrative style that draws heavily on textile traditions such as toile and Javanese batik. The artist’s Indonesian heritage figures prominently in her work, and in the past she has drawn on diverse cultural practices to raise questions about complex issues related to the environment and colonialism. For Façade Festival 2017, she will explore the ocean-bound nature of her home archipelago through an animation of shifting islands and clouds.
In Conversation: Mollie Burke
Burrard Arts—November 19, 2019
In this interview, we learn about Mollie Burke’s spatial explorations via her installation in the BAF Garage, and the process of transitioning her practice away from a familiar 2D space of a canvas.
In Conversation: Chris Eugene Mills
Burrard Arts—July 24, 2019
Chris Eugene Mills’ display in the Garage, ‘a finely-tuned interference engine thwarted by a painting of an ouroboros (in thirty-six parts)’ presents a coded performance of data, that consumes and regenerates itself, as a beautiful array of digital ‘paintings’.
We sat down with the artist to discuss his experience of working in a site-specific space, and learn more about the becomings of this particular instillation.
Façade Festival Insider Series: Scott Billings
Burrard Arts—July 19, 2019
Scott Billings’ artistic practice is marked by a material ingenuity. An engineer and industrial designer as well as a visual artist, it’s clear that for Billings, these concerns exist symbiotically. Creating sculptures and video installations that centre around issues of animality, mobility and spectatorship, Billings often makes use of industrial techniques – in the past he’s employed rare earth magnets, laser pointers, IMAX film, and custom circuitry. For his Façade 2017 project, Billings will use 3D scanning and printing to create a scale model of the Vancouver Art Gallery, then record it being physically damaged and manipulated. Projecting this back onto the enormous structure will create an illusory material experiment on a monumental scale.
In Conversation: Scott Billings
Burrard Arts—July 11, 2019
With ‘Flat Moon’, Scott Billings deviates from his primarily video-based installation work to produce an abstract show. In this interview, we chat with the Vancouver-based artist about the new works created during his residency and the personal curiosities that drove them.
Read on to gain deeper insight into ‘Flat Moon’, and be sure to join us for his artist talk this Saturday, July 13th at 2pm in the gallery.
Façade Festival Insider Series: Luke Ramsey
Burrard Arts—June 29, 2019
Luke Ramsey brings a simple, almost childlike style to all of his illustration, collaborations, and murals. His works depart from the most basic elements of visual art: line, colour, and shape. Using a bright, likeable palette to depict friendly characters, scenes from nature, or doodle-inspired lines, his works are equally suited to small-scale drawings and large public installations. He has been featured in Booooooom, the New York Times, Vice, and more, and founded the Island Folds residency on Pender Island in 2005. His Façade Festival 2017 project epitomizes and yet simplifies his practice, covering the Vancouver Art Gallery in quickly evolving squiggles that reference the politically loaded gesture of graffiti-writing.
Façade Festival Insider Series: Fiona Ackerman
Burrard Arts—
Beautifully chosen colour and proportion achieve a delicate balance in the works of Fiona Ackerman. Many of her works are completely abstract, but she has also brought representation into her works with series centred around artists’ studios and garden environments. Beyond the mesmerizing aesthetics of her paintings often lays a philosophical inspiration – her 2012 mirror series referenced Foucault, while her 2014 piece Dreams of Zhang Zhou alludes to the famous story of the 4th-century Chinese thinker dreaming that he is a butterfly. Her playful, yet masterfully rendered works exude a deep respect for the discipline of painting.
Façade Festival Insider Series: Ben Skinner
Burrard Arts—
Blending the tangible and ephemeral to haunting effect, Ben Skinner’s practice is equally informed by curiosity about the nature of language and fascination with the varied materials he works in. His text works play humorously on the subjectivity inherent in communication; pictured below is a piece from his ‘Pangram’ series, which showed absurdist phrases that use every letter of the alphabet. He has made use of materials including mirror, holographic foil, plexiglass, and water marbling, carefully choosing colours including Klein blue and dusty pastels. His projection mapped project for Façade Festival explores the complexities of linguistic nuance with a string of synonyms that gradually digress in meaning.
Façade Festival Insider Series: Annie Briard
Burrard Arts—
Annie Briard’s work explores the fragility of the real. Although the world we experience may give the illusion of being fixed, objective, impartial, it’s more fallible than that, an image painted impressionistically by the senses. It’s in this ambiguity that Briard finds inspiration – vision, perception, and where they diverge, in the form of hallucination or illusion. She works in video, photography, and installation to create works that explore how we construct our own reality, all with the hazy aura of a fading memory.
Façade Festival Insider Series: Paul Wong
Burrard Arts—
With a career spanning four decades, Paul Wong has been an instrumental proponent to contemporary art in Canada. Often with an element of narrative, much of his work is site-specific or video-based. An award-winning artist and curator, Wong has led public arts policy, organized festivals and public interventions, and been a founding member of groups including VIVO Media Arts and the Mainstreeters collective. His works have been collected internationally, by institutions including the National Gallery of Canada and Whitney Museum of American Art. He is the recipient of major awards including the 2015 Governor General’s Award in Visual and Media Art and the 2016 Audain Prize for Lifetime Achievement in the Visual Arts. His Façade Festival 2017 project will shine a light on a piece of recent Vancouver history many would prefer to forget: the 2011 Stanley Cup Riots.
From Five Octave Range, a free public artwork designed by Paul Wong for the 2017 Vancouver Opera Festival.
In Conversation: Emily Neufeld
Burrard Arts—
Wandering though Emily Neufeld’s ‘Before Demolition’ conjures up the specific, almost uncomfortable feeling of finding oneself alone in a home that is not yours. Neufeld gained permission to explore houses set to be demolished, then created photographs, sculptures, and site-specific interventions using these intimate experiences as raw material. She displayed the photographs at life-size on the gallery walls, alongside interventions reminiscent of the ones she conducted in these homes, and vaguely humanlike structures created from materials gleaned from these sites. The final effect is an eerie, illusory immersive environment that explores how our bodies interact with space, and speaks to the loaded topic of the current Vancouver housing market.
For this iteration of In Conversation, BAF spoke to Neufeld about this body of work and how it fits into her greater artistic practice.
In Conversation: Kim Kennedy Austin
Burrard Arts—
In ‘You, Only Better’, Kim Kennedy Austin examines vintage magazine illustrations and their message of self-improvement during the capitalist boom of the post WWII-era. Pulled from 1960s copies of Western Homes and Living magazine and a 1946 workout manual titled ‘Figure Fitness in Fifteen Days: Your Rx for Slenderness’, the characters in the clippings Austin has chosen cheerily model an affluent, heteronormative, patriarchal lifestyle; one that’s presented to the reader as not only desirable, but attainable in just a few simple steps. In this interview, we asked Austin about the inspiration, thematic ideas, and artistic processes behind this show.
In Conversation: Charlene Vickers
Burrard Arts—May 16, 2019
Charlene Vickers allowed her work to grow intuitively and organically in her BAF Gallery show, ‘Chrysalis’. Coming into the Residency Program from a period of intense creative activity, Vickers chose to approach her time in the program as both a space of much-needed rest, and the chance to sow the seeds of a new body of work – one that clearly sits within the lineage of her vibrant, abstract paintings, but brings them into a looser, less structured mode of production. In this interview, BAF chats with the artist about these new works and her experience creating them.
In Conversation: Brendan Lee Satish Tang
Burrard Arts—May 1, 2019
With ‘meatspace’, BAF Artist Residency program participant Brendan Lee Satish Tang departs strikingly from previous work, creating a series of abstract, geometrical three-dimensional structures out of wood and foam core. The works are as open to interpretation as they are compelling, calling up biological, digital, and human-constructed forms. This ambiguity also presents exciting new territory for the artist.
In Conversation: Virginie Lamarche
Burrard Arts—
FOTOFILMIC17 marks the third consecutive year that BAF Gallery has hosted the Vancouver stop of this travelling group photographic exhibition. Based on Bowen Island, the organization has broadened their focus in that time to include multiple sub-exhibitions, their PULP Gallery location, and a printed photo-book. The exhibition will also be stopping in Paris, France; Thessaloniki, Greece; and New York City.
In Conversation: Resident Artist Karen Zalamea
Burrard Arts—April 25, 2019
For this iteration of In Conversation, BAF speaks to Vancouver-based artist residency program participant Karen Zalamea. With a primarily photography-based practice, Zalamea’s intricate compositions explore the play of light and matter in space. To create her BAF Gallery show, ‘When the sun rises, we keep the fire aflame’, Zalamea worked from source material shot in a variety of locations across North America. She manipulated the photographs by printing on silk, canvas, and other unconventional materials, then experimented with cutting, folding, and collaging them. The finished show represents the development of exciting new directions in Zalamea’s practice.
In Conversation: Colleen Brown
Burrard Arts—
With ‘That mountain is a good listener’, Colleen Brown expands her sculpturally-focused practice in unconventional new directions, drawing inspiration from such surprising sources as weather reports and hobbyist landscape painting to comment on the inevitable gap between representational art and the material experience to which it alludes. Extending the two-dimensional components of the works with gestural and sculptural elements, she seeks to achieve a balance of gesture, image, object, and symbol.
Read on to gain deeper insight into the show directly from the artist, and be sure to join us for the opening reception on Thursday, May 31st at 7PM.
In Conversation: Alex Tedlie Stursberg
Burrard Arts—
Alex Tedlie-Stursberg explores the constantly flowing streams of interactions and transactions that make up our society in a practice that combines sculpture, assemblage and collage. Interested in the “bottom end of the market”, Tedlie-Stursberg’s works tend to incorporate what might be bluntly referred to as garbage – not just waste and discarded objects, but actual earth and soil. The finished works exude an eccentric, fantastical energy, seeming to come neither from the future nor the past, but perhaps an alternate timeline or dimension. This humour and irreverence characterizes Tedlie-Stursberg’s practice; in the past, he has created video art from a Ron Perlman movie and a mock campfire from found objects.
In Conversation: Resident Artist Tom Hsu
Burrard Arts—April 24, 2019
How did your time in the BAF Residency Program impact the creation of this show? In what directions did it lead your practice?
In Conversation: Michael Batty
Burrard Arts—
‘Building’ incorporates both installation and photographic work. To you, how do these two mediums work together in the show?
In Conversation: Resident Artist Tyler Toews
Burrard Arts—April 23, 2019
Borrowing its title from a famous line from ‘One Flew Over the Cuckoo’s Nest’, Tyler Toews’ show ‘He who marches out of step hears another drum’ shares his remarkable journey. A survivor of mental illness, Toews is no stranger to oppression, and his dramatic, expressive large-scale works convey a message that is hopeful and positive without shying away from the darkness and struggle that’s integral to the human experience. In this interview, BAF spoke to Toews about the influence of memory on his practice, his recent experiments in screenprinting, and his visions for the future of his work.
In Conversation: Rafael Soldi
Burrard Arts—
Identity, memory, and sexuality are just some of the overarching themes explored in Rafael Soldi’s current show at the Burrard Arts Foundation. The show comprises two new bodies of work: in one, ‘Cargamontón’, Soldi delved into the near-forgotten hazing rituals he experienced growing up in Peru; the other, ‘Imagined Futures’, he contemplates the paths his life could have taken had he not immigrated from that country. Below, we speak with Soldi about his practice, this show, and his future projects.
In Conversation: Resident Artist Birthe Piontek
Burrard Arts—
Birthe Piontek’s Burrard Arts Foundation Residency, and the resulting exhibition, represented exciting ventures for the artist in scale, material, and form. In this interview, we spoke with Piontek about her artist residency at BAF’s Vancouver studio, progressing to object-based work while remaining engaged with photography, her fascinations with cloth and the body, and more.
In Conversation: Tom Hsu
Burrard Arts—April 12, 2019
How did your time in the BAF Residency Program impact the creation of this show? In what directions did it lead your practice?
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Eddie Harlis
1928 - 1985
Artist biography
Eddie Harlis was an artist. Eddie Harlis was born in 1928 and died in 1985. Artists like Jcj Vanderheyden, Anthony Groves-Raines, David Evans Black, Julio Barragan, and Donald Begbie were also born in 1928.
Further Biographical Context for Eddie Harlis
Born in 1928, Eddie Harlis was largely influenced by the 1950s. Abstract Expressionism dominated in the 1950s as a primary method of painting, and explored ideas about the sublime and spirituality. Artists chose to focus on painting’s formal properties, and Action Painting took inspiration from the political freedoms of the United States, in opposition to the limitations of the Soviet bloc. Important artists of this period included Jackson Pollock, Willem de Kooning, Mark Rothko, Frank Kline, Barnett Newman, Clyfford Still and Adolph Gottlieb. In later revisions, the contributions and efforts of female artists such as Lee Krasner, Joan Mitchell, and Louise Bourgeois have been acknowledged, amongst many other female creatives.
Eddie Harlis
Looking for available works of this artist? Let us help you!
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Facility Theatre Presents:
Instructor: dado
Actors must submit headshot and resumé to [email protected] (enrollment is selective at the discretion of the instructor).
Consecutive Thursdays & Fridays (3 weeks)
May 10, 11, 17, 18, 24, 25 &
May 31st optional monologue intensive*
Classes are from 2pm-5pm (with the exception of the 31st where more time will be allotted for all monologues)
1906 N. Halsted Street (between Armitage and North), Chicago
Tuition is $350.00, $300 for return students.
*Option to skip monologue intensive for $300
Classes are limited to 10 students.
Analysis is a lost art in the contemporary swirl of Meisner, Viewpoints and Chekhov. This course develops a demanding physical and emotional discipline. It proposes a vigorous regimen that investigates a deep look at the inner and outer details that make a character’s rich state of being. The character work in the analysis is both an intellectual and physical process that allows the actor to construct a fertile and generous baseline from which to make exciting and dynamic choices. The ability to engage this kind of strategy creates strong and exacting performances that stand out because they are clear and interesting; made from a strong understanding of the character’s existence. Exercise of the imaginative aspects of the process is essential. The outcome is effortless, invisible work that is infinitely unpredictable, free, and alive.
Actors are also encouraged to deviate the analysis further and create other relevant and investigative forms with which to build the substrate. Use of powerful visual and audio imagery, other forms of making, as well as creation of other mediums to further this practice are encouraged.
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Blum & Poe announces its participation in Galleries Curate: RHE
The First Art Newspaper on the Net Established in 1996 Sunday, September 24, 2023
Blum & Poe announces its participation in Galleries Curate: RHE
Galleries Curate: RHE is the first chapter of this collaboration, an exhibition and website themed around a universal and, they hope, unifying subject: water.
LOS ANGELES, CA.- In the first days of the COVID-19 pandemic, an informal group of contemporary galleries from around the world came together to discuss how to navigate through the new challenges of the global crisis as it affected artists, staff and businesses. The relationships among them over weeks of exchange became close and essential and they discovered that while the pandemic had broken many things apart, it had also brought them together. A supportive sense of community ignited positivity and cooperative interactions, and the initial group of twelve grew to twenty-one. As an expression of this unity they initiated Galleries Curate, a collaborative exhibition designed to express the dynamic dialogue between our individual programs.
Galleries Curate: RHE is the first chapter of this collaboration, an exhibition and website themed around a universal and, they hope, unifying subject: water. Like culture, water is never static but always in flux. Following the inaugural exhibition RHE, Galleries Curate plan to invite new participants and add further curated chapters to a global conversation of thematic relationships between galleries, artists, and their audiences.
Blum & Poe Los Angeles will present an exhibition as part of this new initiative, to be announced in early 2021.
RHE (from Greek for that which flows) is a platform for exhibitions, performances, and public interventions that loosely address the theme of water—geographically, politically, economically or metaphorically. Involving projects with twenty-one galleries, both online and on-site, RHE was conceived to span regions, markets, cultures, and audiences around the world, circulating both within and outside of traditional white-box exhibition spaces.
RHE’s first project will launch on January 4th, 2021, with an online presentation of works by Francis Alÿs, Giovanni Anselmo, and Latifa Echakhch, extending the exhibition A buoy if not a beacon, currently on view at Jan Mot in Brussels. Conceived during the spring lockdown, RHE’s inaugural project explores the politics and poetics of water in relation to the perception of time. Continuing in stages through May 2021, additional projects will be added by participating galleries each month.
Participating artists (list in formation)
água de beber, Michele Abeles, Francis Alÿs, Giovanni Anselmo, Alvaro Barrington, Lothar Baumgarten, Pavel Büchler, Monster Chetwynd, Lai Chih Sheng, Petah Coyne, Abraham Cruzvillegas, Jan Dibbets, Jason Dodge, Latifa Echakhch, Ficre Ghebreyesus, Andy Goldsworthy, Sky Hopinka, Alfredo Jaar, Gabriel Kuri, Sean Landers, Oliver Laric, Charles Lim, Robert Longo, Robert Mapplethorpe, Arjan Martin, Adam McEwen, Cildo Meireles, Helen Mirra, Sarah Morris, Melvin Moti, Jean-Luc Moulène, Sahil Naik, Melik Ohanian, Pat O'Neill, Jaume Plensa, Pope.L, Aki Sasamoto, Jacolby Satterwhite, Carolee Schneemann, Kate Shepherd, Kwan Sheung Chi, Ko Sin Tung, Simon Starling, Fiona Tan, Michelle Stuart, Cosima Von Bonin, Wang Wei, Richard Wentworth.
Participating Galleries
A Gentil Carioca (Rio de Janeiro)
Blum & Poe (Los Angeles, Tokyo, New York)
Sadie Coles HQ (London)
Chantal Crousel (Paris)
Experimenter (Kolkata)
Peter Freeman, Inc. (New York, Paris)
Goodman Gallery (Johannesburg, Cape Town, London)
Galerie Lelong & Co (New York)
kurimanzutto (Mexico City, New York)
Take Ninagawa (Tokyo)
Tanya Leighton (Berlin)
Edouard Malingue (Hong Kong, Shanghai)
Marfa’ (Beirut)
Meyer Riegger (Berlin, Karlsruhe)
Mitchell-Innes & Nash (New York)
Jan Mot (Brussels)
Galleria Franco Noero (Turin)
Petzel (New York)
ROH Projects (Jakarta)
Stevenson (Cape Town, Johannesburg, Amsterdam)
STPI (Singapore) 2 3 opens eddy: An exhibition of works by five artists
U.S. Holocaust Memorial Museum selected as winner in 2020 Shorty Social Good Awards
Machu Picchu to reopen after train protests
Despite Covid, Brooklyn neighborhood still a flashy Christmas village
Sharjah Art Foundation announces winners of the Focal Point 2020 Publishing Grant
ADA presents 'Eva Hide: Kammerspiel'
Walter Storms Gallery opens Claudia Bitran's first solo exhibition in Europe
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Three Coded Matter(s) events at the start of 2016
FIBER is starting the new year with a bang!
Coded Matter(s) #11: Cinematic Specimens
Performing sound and visuals with complex systems
A multi-sensory performance programme on a Sunday afternoon marks the start of the new year and the 11th edition of Coded Matter(s). Cinematic Specimens explores how artists and musicians use self-built systems and generative processes to produce sound and visuals. Through mathematical and biological principles, these (often autonomous) systems enable an entire spectacle of organic structures, granular spaces, and abstract textures. By keeping a balance between order and chaos the makers employ these dynamic processes in order to fuse sound and visuals into a unified experience for the audience.
FIBER and De Brakke Grond invite Michel Bauwens
Coded Matter(s) #12: Michel Bauwens & the Promise of the Blockchain
Future applications of decentralized databases
The rise of the infamous cryptocurrency Bitcoin has sparked interest in another revolutionary technology: the blockchain, which has been predicted to greatly alter the world we live in. FIBER and Flemish Arts Centre de Brakke Grond present a night of discussions between Flemish cyber-philosopher Michel Bauwens and leading artists, designers, and researchers on the applications and implications of the blockchain.
Art, technology and 21st century landscapes
Coded Matter(s) #13: Compiled Landscapes
On art and technology in relation to 21st century landscapes
New visions emerge where humans, nature and technology meet. Following the tradition of 19th century romanticism and landscape painting, we go in search of the sublime and hidden transformations of 21st century landscapes. Coded Matter(s) #13: Compiled Landscapes presents extraordinary stories and images by artists, scientists, and designers. Using innovative technologies such as Virtual Reality, scanning techniques, and experimental data visualisations, these visions show new ways of experiencing our environment.
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Subsets and Splits
Rayleigh Scattering Samples
Retrieves up to 100 rows containing the phrase "Rayleigh scattering" in the text, providing a basic filtering of data related to this topic.
Text Samples Containing "Rayleigh"
Retrieves 10 samples containing the word 'Rayleigh', providing a basic overview of related entries but limited insight.