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Rock-cut temples of South India: architectural dimensions
Sharma, Preeti
Rock-cut cave temple architecture of South India, spanning a period of over four hundred years and patronized by the Calukya, Pallava, and Rastrakutas, as a symbol of political vitality, is a unique contribution of Indian art towards world heritage. The current study endeavours to map out the sequence and highlights the architectural components of the rock excavations beginning from the Calukya...
Publisher: Aryan Books International
USD 105.00
Note: Forwarding by air/ courier inclusive in price.
Title: Rock-cut temples of South India: architectural dimensions
Author: Sharma, Preeti
ISBN 13: 9788173055102
ISBN 10: 8173055106
Year: 2015
Pages etc.: xxvi+392p., (67) col. & (178) b&w illus., (9) maps., bib., ind., 22x28cm.
Binding: Hardbound
Place of publication: New Delhi
Publisher: Aryan
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Eric Aldwinckle - Nothing Uninteresting
Canadian War Artist, Designer, Illustrator, Raconteur (1909-1980)
EA in 1940“I was born in Oxford England. Came to Canada at 14 years of age without a shirt on my back (I now have a shirt). Went to school in Oxford, Kent and Wales, and Williamson Road, Toronto where I failed in history because I thought Laura Secord invented chocolates.
Worked as commercial artist, instructor at the Ontario College of Art. Was one of the Official War Artists RCAF during World War II and am now working on surrealist painting in case I am commissioned to paint World War III. I am painfully lonely.”
-response to a Macleans questionnaire, 1948.
Born in England in 1909 but sent to Canada in his teens, he apprenticed with printers in Toronto in the 1920’s and learned the graphic design trade along the way. He struck out on his own in 1930, and built a successful design practice on corporate work and illustration, including several covers for Maclean's. During this period he was active in Toronto’s Arts and Letters Club, a ‘home away from home’ for him throughout his life. He was also a regular part-time instructor at the Ontario College of Art. At the beginning of World War II he registered as a conscientious objector and created several well-known war posters, then as a camouflage designer in Halifax, Nova Scotia. In late 1942 he heard that Ottawa was looking for volunteers for its new War Artist program. He applied and was accepted, receiving a commission in the RCAF.
Varsity Graduate April 1948
During the years 1943-6 he produced over one hundred drawings and paintings in watercolours and oils that remain the property of The Crown and reside permanently with the Canadian War Museum.
He returned to his Toronto design practice in late 1945. When Frank Carmichael died suddenly he found himself in charge of OCA’s New School of Design. Educational administration was not for him and he resigned in 1946. His celebrity as a returned war artist helped him land high-profile mural commissions with the Sunnybrook Hospital and Ontario Hydro.
In 1954, along with a handful of artists including Frederick Varley, he visited the Soviet Union on the first Canadian cultural exchange of the Cold War, and documented his travels in a Maclean’s article. Although he was never a communist and undertook this visit out of curiosity, it is likely that this visit made him ideologically ‘suspect’ and may have adversely affected his career from this point forward.
As a mature designer, he continued to work steadily during the 1950’s, counting as his clients Imperial Oil, the University of Toronto, Ryerson, York University and the Stratford Festival. He was not a prolific fine artist, however, which guaranteed an obscure profile in comparison to other war artists, such as Alex Colville, Lawren Harris or Jack Shadbolt.
It's There (for Provincial Paper Co.), 1966
Aldwinckle was an out-of-the-box thinker decades before the term became popular. He was a student of comparative religion, an accomplished chef, raconteur, astrologer, composer of music, playwright, writer, and social critic. He enjoyed mentoring young artists, and influenced the careers of the late composer Harry Somers, Academy Award-winning filmmaker Christopher Chapman, muralist York Wilson and designer Theo Dimson.
While his work as a war artist was his most visible contribution, perhaps his most enduring legacy will be his role in the establishment of Killarney Provincial Park, the area where members of the Group of Seven (artists) painted some of their most influential works.
He died of natural causes on Sunday, January 13, 1980.
Add a comment
Buy the Book
Nothing Uninteresting book cover
Now available at Blurb.com.
Nothing Uninteresting
The Work and Life of Eric Aldwinckle
By Michael B. LeBlanc
Print Book, 186 Pages
CAD$36.67
EA-my-photo-8bit
It is ridiculous to think good art is only possible in galleries or above the more discriminating brand of fireplaces.
Now it can be told!
When this project was initiated in 2003, I had the encouragement of NSCAD President Paul Greenhalgh and some support from SSHRC. The NSCAD Press agreed to publish it. I finished the first draft during my sabbatical in 2006 and submitted it to the Press in early 2007. The Press responded, after several months delay — it seemed ages to me then, but now it's just a blip — that they wanted me to work with design historian Brian Donnelly at Sheridan College in Ontario. We met Brian the following summer and sketched out a plan that would combine my work specific to Eric with more general information about design in Canada between the 1930's and 1960.
From then until the end of last year, other more pressing issues had gotten in the way, and Brian had still not gotten to it; so I committed to completing the book — manuscript edits and design layout — on my own by the middle of 2016. I'm pleased and somewhat to relieved to announce that the book is finally complete and available from Blurb.com.
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Treasures from the ‘Mooseum:’ The Manitoba Museum of Finds Art
Treasures from the 'Mooseum:' The Manitoba Museum of Finds Art-
Since opening in January 2012, the gallery Will Brown has made an effort to exhibit almost everything but “art.” At least, art in the sense of work made by local living artists pursuing a career in the field. Their first show featured a number of heavy-hitters, but the pieces were displayed covertly in the gallery basement; all were acquired illegitimately and loaned anonymously. The second show, Untitled (Black Painting), removed the pretense of even showing objects, opting for chalk outlines of famous monochromatic paintings from throughout art history. In this, the gallery’s third full exhibition, the space transforms once again. For the next month Will Brown plays host to the Manitoba Museum of Finds Art, formerly housed (unsanctioned) within a larger and possibly better-known institution: the San Francisco Museum of Modern Art.
The brainchild of SFMOMA employee Alberta Mayo, the MMOFA existed within her office (the waiting room for SFMOMA Director Henry Hopkins’ office) from 1975 to 1978. Beginning with a show of photographs by fellow museum employee Joel Sackett, May expanded her programming to include artists who might not necessarily be noticed by the museum at large.
In the Will Brown installation, objects from the MMOFA permanent collection are displayed much as they were in Mayo’s office, on rows of shelves above her desk. These tchotchkes run the gamut: a prank pat of butter, a handmade MMOFA porcelain piece, a small bottle of International Klein Blue pigment balls, a signed baseball, multiple “Manitoba” trinkets. In this current display, the shelves gradually devolve into moose paraphernalia (a result of wordplay and the alternate title of “mooseum”), with multiple Bullwinkle figurines featured prominently.
The fact that these items continue to exist and have stayed with Mayo since she left SFMOMA imbues them with significance, but the viewer has no way of knowing if they would like to share in that feeling. The stories behind each object are left undefined. Without Mayo there to tell the story of the strange “corduroy pouch with rock inside,” the collection remains — to a certain extent — an impenetrable bunch of funky stuff.
The show provides the sense of being in the midst of a large-scale and long-term inside joke. In a panel discussion at the show’s opening, Mayo emphasized how much the SFMOMA staff liked each other. These exhibitions, their openings, and the ephemera they produced are rife with jokes about “the other museum” (a.k.a. SFMOMA).
Two tabletops show a variety of show announcements and internal correspondence that document the peculiar history of the MMOFA. The most telling is a scrap of paper with a typed note from Mayo requesting the removal of an Ellsworth Kelly painting from her office so that she could finish installing a Manitoba Museum show.
Instead of trying to determine the import of the “mooseum’s” collection or figure out what fame-bound artist touched what, the MMOFA functions best as an inspiration for all those who suffer through dreary day jobs. Arts institutions tend to attract creative individuals with personal commitments to the field, but can, in turn, suck the pleasure from all they once loved about the art world. The Manitoba Museum argues for carving out a creative space in your work environment without asking permission, building camaraderie with coworkers separate from the institution, and refusing to allow your job title to decree your every move at the workplace.
As Jordan Stein, one-third of the leadership behind Will Brown, remarked at the opening, there is something to be said about pursing a line of action without a mission statement, for the pure enjoyment of seeing what will happen, despite the risks you take in the process.
For an in-depth essay on the history of the MMOFA at SFMOMA and a revealing interview with Alberta Mayo, see Tanya Zimbardo’s fantastic post on the SFMOMA Open Space blog.
The Manitoba Museum of Finds Art is on view at Will Brown through June 2, 2012. For more information visit wearewillbrown.com.
Sarah Hotchkiss
Sarah Hotchkiss is an artist, arts writer and co-director of the curatorial project Stairwell's. www.sarahhotchkiss.com
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I recently took my first foray into converting colors with JavaScript. I found myself constantly searching Google for a good online color conversion between RGB and hex. Opening up PhotoShop or another image editor every time I needed a color converted was unrealistic, and if I was developing in the browser it made sense to use a browser-based solution.
Browser based color convertors are nothing new. Unfortunately though, most of the convertors out there fail if you include (or don’t include) a # in front of a hex code, or require you to split up your RGB into three fields or have some other limiting factors. I wanted a solution that provided comprehensive error messages, that was aesthetically pleasing and was easy to use.
One day while googling, I just decided to do it myself, so that weekend I took some time and http://colors.ivanthevariable.com was the result. I even added in a bookmarklet so that I could convert colors without leaving the site I was working on.
So if you’re looking for an in browser color conversion tool that’s a little prettier than the others out there, check it out. Maybe it will help on your next project.
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Falmouth Colors: Quissett Crowing, 2/6/15
Quissett Harbor
Quissett Crowing
I have two friends who are crow aficionados. One is my friend John Brady, a writer whose book on Frank Sinatra and Ava Gardner will be published this year. Look for it – it reveals much that’s not well-known about the romance they shared.
I thought that Jack knew everything about crows until I discovered that my friend Marcy actually “talks” to crows – in their language! She’s a long-time avid birder, and has this amazing talent of calling the crows, and then cawing back and forth with them. It’s incredible! Now when I see crows, I see them a little differently. At Quissett Harbor last week, the only sound was of the crows.
Falmouth Colors: Old Silver Beach, 2/5/15
Last week Beth Colt of the Woods Hole Inn, Quicks Hole Tavern, and Falmouth Academy showed me her daily FB postings of images from around Woods Hole. She calls it “Woods Hole Colors”, a compliment to “Vineyard Colors”, a daily posting of images from the Vineyard that was started by a couple of house cleaners who wanted to share what they saw as they drove around their beautiful island. The New York Times picked up the story, and the rest as they say is history.
Hopping right onto the bandwagon, or color wheel as the case may be, I liked the idea of doing the same thing in Falmouth, and calling it “Falmouth Colors”. I started posting this week. The images may be seen on my Facebook page.
But today was just gray and dreary, and I couldn’t find a thing worth sharing. I questioned whether this idea was sustainable, and I still don’t know how it will play out. To do it every day is a big commitment, and some days are well, just not pretty. Or maybe it’s my life that isn’t pretty every day.
But at the very end of the day today, the last few moments, I could see that the western sky was light. It was actually yellow. I hit the road, and got to Old Silver Beach in time. This is what I saw. (But I nearly froze in the three seconds it took to capture the scene – the wind was brutal.) Can you see the cold?
Old Silver Beach
Falmouth Colors: Sunset at Old Silver Beach, 2/5/15
Falmouth Colors: Unsung Hero, 2/3/15
If you had a warm bowl of clam chowder last week, this might have been the guy who made it possible. Yes, the clam diggers are out there, regardless of how chilly the air and water are, digging clams for us. Unsung heroes!
Cape Cod clammer
And here’s one that was left behind…
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Archive | 2016
Did you do art school?
A lot of people ask me what art school I did.
Well, I didn’t. I’m self-taught.
At high school I was a kind of self-chosen loner because of the cranky circumstances at home. Saving some distance between me and my school mates seems to be a good idea to me back in those days, to prevent I had to invite them to my home. A child don’t want to be different or having weird parents. But social pressure is a big thing when you are young, so … the logical cause and effect was; I didn’t like school. I wanted to get out of it as soon as I was allowed.
Beside that, I didn’t get much direction from my parents. They had other things to deal with. An education after high school never crossed my mind. I hardly knew such things existed for people like me. University was meant for people of a whole other species. Another planet.
So, after high school I immediately started to work. Jobs like dish washer in a restaurant, cleaner in a hospital and worker at an assembly line in a cosmetics factory. I did make a kind of progression though, because I ended up as the assistant in an accountant office. For me that was a kind of real and serious job, for grown-ups. I was satisfied I had made it so far.
But when I was 26 I slowly started to fall asleep on my desk every afternoon. I didn’t hate my job, but it wasn’t very challenging too. It was time I got serious about what I wanted with my life.
I knew I was creative. People had said it. But I thought it was something belonging to my childhood. Everyone’s childhood, because most children like drawing, painting and playing with clay, isn’t it? I never considered my creativity taking to a serious level. For some reason playing with pencils and crayons on that age felt like cheating. Like refusing to take your responsibilities as an adult. Just like university students, I thought artists where another species too. Not my world.
Anyway … I still was falling asleep every afternoon, I knew I had to make a decision soon, before I never woke up again. This couldn’t go on for the rest of my life. So, encouraged by my boyfriend I quit my job and I started to paint. From the library I studied books about the techniques of oil painting and my inspirations came from the art galleries I started to visit.
This was my very first oil painting, 25 years ago. With a fantasy signature.
Technically it was okay. The paint is still on the panel and not cracked. Perspective-wise I was … well, still in training.
And please do not ask for the ‘meaning’, because I had and have absolutely no clue. Those days I just wanted to put unlikely things together in 1 unlikely scene.
And I have stuck to that theme for a long time.
kikker, art school
journal: Sport
15 October 2016
The prompt was:
weboranjeSports are a huge part of today’s culture. Chances are your life has involved sports in some way. Create a page about a sport you love to watch, love to play or a sport your family members participate in, a fictional sport or about what you’d rather be doing while everyone else tunes in.
I’m a very non-sport type of person and I prefer to save my ability to run, jump, climb and swim for when I’m in danger. Although I walk the dog for 90 minutes a day, the thing that comes most close by a form of serious exercise is the purchase of a yoga mat. I have rolled it out once to admire the color.
And that … well … yeah … that’s it.
20161015_day13, art journal: sport
Art journal: Lies
6 October 2016
The prompt was:
weboranjeWe all know – often from experience – that lying about things never really turns out well. Many of us learned this lesson hard way. Create a page about a lie that you once told. You can focus on the why, the how, the result, or any combination of those.
My lie is more a secret than a lie. The kind of ‘everything-is-okay-lie’.
When I was 10 years old my Mum got a severe stroke. She didn’t recover very well. Her memory, her speech and half of her body was affected and she was not able to take care for the household, or for me, the only child. Unfortunately my Dad’s primary interest was alcohol, so it’s not difficult to imagine the ‘somewhat messy situation’ I had to cope with.
When I started high school -luckily located in another town- I lied about my family. I was too afraid to get bullied because of a mental mum and an unreliable dad. The other kids could think I was a lunatic too. I had seen lesser reasons to become a target and my self-confidence wasn’t particularly developed. I didn’t make true friends and kept a safe distance between me and my class mates to prevent the risk I needed to invite them home.
My parents were not waiting after the school trips, they didn’t come to the schoolbook-market and I lied to the teacher why they couldn’t come to the parent’s evening.
I made it to the end, but in the meantime the secret had made a huge negative imprint. It took me years before I freely could talk about it.
20161006_day09, art journal: lies
Art journal: First memory
25 September 2016
The prompt was:
weboranjeWhat is your FIRST memory? It’s so interesting to think about the things that stick around from our childhood – and why those memories were important enough for us to remember. Think about your first memory (or another very early one) and create a page about it.
I grew up in a small apartment in the old centre of Amsterdam. The rooms in the building opposite of our home were rented by students. On late summer nights the students used to have a drink and a smoke on the sill of their open windows. At some point they all had thrown dozens of rolls of toilet paper from the top storey into the street.
The next morning I saw long strips of white paper waving in the wind in front of our window. They were tied on the street lights and on parked bicycles and stuck on the antennas of cars.
It was the 6th of July and I was delighted … because I thought this abundant decoration was done for my birthday!
20160925_day08, art journal: First memory
Art journal: Monster
11 September 2016
The prompt was:
weboranjeWhat do you think of when you hear the word “monster?” A furry blue guy who wants cookies? Lord Voldemort? It might even be your own inner critic. Create a page surrounding one of the monsters in your life.
My monster is called Tinnitus.
Tinnitus is a disorder that causes a 24/7 beeping, hissing or ringing in the ears. It never stops and it’s not curable.
Mine is a humming sound and it’s present day and night. It slowly creeped into my life about a year ago and continuously disturbs my concentration.
Until now I can mask it with other sounds like radio, running water, a ventilator or wearing a loudly purring cat on top of my head 😉 But at night I’m worried if the volume will increase in the future.
My only available weapon is my mantra: Don’t feed the troll, because it grows on attention.
20160909_day23, art journal: monster
Art journal: Warning
10 September 2016
weboranjeThe prompt was:
If you came with a warning label, what would it be? Proceed with caution? Do not cross? Something more elaborate? Think of your warning label, and create a page to match.
I think I’m a forgiving and patient person, but what really XL turns me off is if people make promises but never return to them. Do they think I have no memory?
If I have made a promise it’s like holding a precious egg for someone else. I’m aware of it every day and I want to get rid of it asap.
Over time I have noticed that other people don’t make such a big deal of it as I do. Maybe I give it a too excessive importance, but … that’s my personal manual and reply to the prompt; Never fob me off with empty promises. It will irretrievably devalue our friendship.
20160906_day07, art journal: warning
Art journal: Pets
28 August 2016
The prompt was:
weboranjeWhether we are cat people, dog people, fish people, or “animals should not live in my house” people, all of us have had interactions with animals. Create a page about one of these animals or experiences – it can be anything from beloved household pets to the story of a rabbit that won’t leave your garden alone.
Most of our cats were second hands, adopted ones or strays. That’s why our reservated part of the cat heaven is already so crowded. I think it is quite clear we are cat people.
Although at my left side you see a dog. She was a refused one too (a human baby took her place). Now we are a part of her research project if cat people can be transformed into dog people. She needs a couple of years more to study on it.
20160827_day05, art journal: pets
Art journal: Names
23 August 2016
The prompt was:
weboranjeMost of us have answered to more than 1 name in our lifetime – be it a nickname, a pet name from a spouse/partner, or a name defining an important role in your life, such as Mom or Grandma. Create a page about one of these alternate names.
Frank and I are a couple since 1989, but only in May 2015 we have married. We are Dutchies, living in New Zealand, but a few years ago we got hopelessly spellbound by Taiwan.
So … one day we decided to do our very low-key private wedding in Taiwan. To get the documents officially registered, we both needed Chinese names.
For Chinese people a name is hugely important and not only given because it sounds good. In most cases a name includes a particular meaning and a special wish for the person’s future. We consulted a translator to help us choosing a name that was not too awkward, not offending, not silly or too weird sounding.
My name means something like ‘cute trees’ and it’s pronounced as: Ling Won Won
I can write down another 1000 words about this subject and the reason for being named Cute Trees, but hey … the prompt was for art journalling and not for story telling.
Art journal names
Art journal
2 Augustus 2016
I never have paid any attention to the phenomenon ‘art journaling’. I thought it was a kind of excessive decoration of a photo-album, made with a lot of ready bought craft supplies. A fun way of pastime, but not really something for me.
But … since a few weeks ‘I get it’!
I discovered the difference between scrap booking (like I described above) and art journalling. Art journaling is expressing feelings, thoughts, opinions and experiences, but not especially by using words. It can be done by drawings alone, but often it’s done by using a collage technique too, because that’s an easy tool to wake up inspiration and to get an interesting result in a short time.
Yes … a visual journal. How simple?
So, a couple of weeks ago I bumped on a ’30-days-art-journaling-challenge’ on the internet. Every day I get emailed a prompt and I have to create a page about it. I found out that pondering about the prompt is not less interesting as creating the actual page. And the most liberating thing is; Art-wise it doesn’t need to be sellable.
For a couple of days I asked myself: “Is it really necessary to show the world every crafty fart I make? Aren’t those clumsy and somewhat childish drawings devaluing my real artworks?”
Of course not! Tonight I decided that my art journals belongs on my website just like my written words. My art journal pages as well as my blogs are both no artworks but simply expressions, so what could be my real hesitation?
And seen from the opposite way: When I’m touched by an artwork of another artist, I’m instantly interested in the person behind. No matter in what way he expresses him- or herself.
As long as you and I are not able to meet in real, here is another kind of peek into my head, in my life and my history.
Okay, I’m not ready to completely leave out the written words. I feel the need to explain how I have interpreted the prompts, so for now they are appearing as a kind of illustration of my explanation about the prompt.
How did I miss this for so long? I wish I had started them 40 years ago!
Click on the image to find my art journals
aj-front, art journal
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Smiling shop assistant in wellness shop holding sachet stock photo
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Smiling shop assistant in wellness shop holding sachet
• ID: WST0268243
• Release: This is both model and property released.
• Editorial Use: Yes
• Commercial Use: Yes
1 woman, 20 to 30, 20 to 30 years, 20 to 25, 20 to 25 years, 20-25, 20-25 years, 20-30, 20-30 years, 20s, adult, adults, beauty, body care products, body care product, buy, buying, cape town, caucasian, caucasian appearance, caucasians, close up, close ups, closeup, closeups, close-up, close-ups, color, color image, colour, colour image, content, differential focus, european, females, female, friendly, front, front view, front views, frontal, grownup, grownups, grown-up, grown-ups, head & shoulders, head and shoulder, head and shoulders, head on, head-on, hold, holding, human, human being, humans, human beings, indoor, indoors, indoor shots, indoor shot, interior, interiors, interior view, job, jobs, kaap stad, nice, occupation, occupations, one person, one person only, one woman only, one woman, only women, only one person, only one woman, pamper, pampering, people, person, persons, photo, photos, photography, pleased, portrait, portraits, profession, retail, retail industry, sachet, sachets, saleswoman, selective focus, sell, selling, service, shop, shops, shopping, shop assistant, shop assistants, smile, smiling, south africa, spa, store, stores, trade, trading, vendor, wellbeing, well-being, well being, wellness, woman, women, women only, work, working, working dress, working clothes, work coat, young adult, young adults, young woman, young women, young people, facial expression, force, merchant, saleslady, good fortune, businessperson, sale, satisfaction, facade, indulgence, excavation, merchandising, prosperity, animal, 20, district, bag, twenty, seller, health, grin, military personnel, city, body, resort area, someone, statement, watering place, occupational group, marketing, urban area, worker, salesgirl, difficulty, craft, gratification, acquiring, commerce, photograph, transaction, fortune, inside, bargain, grinning, purchase, employee, salesperson, problem, gesture, front_view, head_and_shoulders
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Conceiving of tranquility: ZEN BISTRO & CAFE
Jul 10, 2017 |
TEXT : Tejita Vaidya Amatya Photo : Pradip Ratna Tuladhar
With beautiful amalgamation of down to earth interiors and equally majestic natural green exteriors, there awaits a blissful eatery with exotic cuisines specially tailored from Thailand. ZEN BISTRO & CAFÉ stands tall among the crowd of beautiful eating places in town. It is stationed in Bansbari, Kathmandu, and is connected by the newly constructed wide roads linking the inner Kathmandu city to the suburbs of Budhanilkantha.
The interior ambience is a warm appeal to all, as nature is respected in every form. Forms adapted are far from artificial, natural earthen formulae has been promoted to bring out a bistro feel. The restaurant’s design was conceived together by husband-wife duo Kundal & Tejita Amatya and the energetic team of Conception Interior Pvt. Ltd. It is spread over a serene setting of 11,000 sq.ft. The design theme was perceived such that the architecture of the building would be in a perfect synchronization with the interior space, as the two are too intimate to be thought of separately. Housed on a one and half storey structure, with equal interior and exterior space, its functionality has been planned such that service may never be compromised.
ZEN is another venture of restaurateur Mr. Kishor Pradhan, who is personally very passionate that décor, service and cuisine are in perfect sync. Tamarind Restaurant, Jhamsikhel and Embassy Restro n Bar, were also conceptualized by the same design team.
Parking space is scarce in cosmopolitan cities, but Zen offers plenty of room to rest one’s vehicles. Pedestrian and vehicle entrance has been separately defined, leading to a peaceful atmosphere. The clear glass roof allows beautiful views of the Kathmandu sky. The outdoors is split into different levels, partitioned by an iron structure with potted plants hung on them. One can feel the fusion of materials like iron, concrete, wood, clay and bricks, along with soft leaves and colorful innocent flowers.
The bricked building with black doors and windows stand as guardian to the outdoors. The main entrance invites the patron to a solid RRC structured bar counter with black wooden shelves. The liquor bottles stand proud against the white wall. Accompanied by well laid out interior settings, the entire layout is functional like a well-oiled machine, keeping in mind the positioning of the kitchen, supplier deliveries, toilets, employee entrances, and the movement of employees and customers. For comfort, sofas and cushioned chairs, complemented with suitably heighted tables have also been placed. Many split levels inside the building adds more character to the ambience. The upper floor consists of a combination of indoors and terrace spaces, offering more choices to the diners.
The union of colors is pleasing to the beholder. The color palate is maintained subtly with strong black as the captain, unifying the rest of the players: the gray concrete, robust iron, natural green leaves, and the earthen red. The beautiful cuisines and cutlery are also allowed to play their important part in this entire color pallet.
Sticking to traditional architectural techniques, Vaastu Shastra has also been practiced extensively by respected Vaastu Expert Dr. Madhav Mangal Joshi. Placement of crystal pyramids in allocated positions has enhanced and maintained the positive vibes. Water bodies are placed towards the Ishaan Kone, and tall trees on the southern side guard the place from any negativity. Positioning of important functions like kitchen, cashier, counters, and rest rooms has been placed as per the recommendations of the Vaastu expert.
Effective lighting design and layout in a restaurant is the key to setting the tone, mood and atmosphere of the place. Great lighting doesn’t mean placing lights all over the place; it’s not a hospital or a supermarket. Natural and warm-colored lighting, used sparingly, is specifically positioned to create the tranquil feel.
Acoustic vibes are an added ingredient in crafting this mood. The sound of the soothing melody matching the ambience drifts dramatically through the walls, making the food more appetizing. Special place has been assigned for live musical performance. Indeed, it is always a pleasure to experience good music, good food, and good décor. The environment is not only preferred by single diners, but has also gained popularity in hosting private parties and events. Similarly, a photo wall has added character, allowing people to take home a living memory. People are always passionate to take pictures next to this iconic wall
and share them on Instagram and Facebook.
Interior designing a space doesn’t always mean plastering every wall with decoration. Addition of unique design elements and stand-out pieces reflect the theme of the restaurant.
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Connect with Furnish Burnish
Marble Proust Chair by Alessandro Mendini
The triumphant return of the marble into interior caused a furore on the Design Week in Milan. Stone, usually associated with classical sculpture and architecture, successfully blended into modern fashion trends. A new chapter in the eventful history of Proust Chair began in Milan in the Ventura Lambrate zone, where the Solid Senses exhibition opened. Italian designers Alessandro Mendini, Stefano Boeri, Stefano Giovannoni and Paolo Julian came up with objects for Robot City, made of Carrara marble.
Proust Chair by Alessandro Mendini Reproduced in Marble
Proust Chair made of marble by Alessandro Mendini
Proust Chair made of marble by Alessandro Mendini
Alessandro Mendini made his famous Proust chair in marble for the Italian Robot City. New vision is an attempt to create a “hyper-realistic thing with surreal effect”. The first version of the chair appeared in 1978, embodied the academic knowledge of the author with the historical context and understanding of the importance of beauty products. Marble version is one of the four chairs, created by different designers from a solid piece of white marble weighing 38.7 tons.
The classics of one of the most important designers in Italy looks a bit surreal due to choosing not the most conventional material. Besides it is not too comfortable to sit on it. But this time it was not a task of the partners, who actually brought the hieratic chair into the category of monuments.
The architect, art critic, historian and theorist of design invented the original armchair in 1978 for the Palazzo dei Diamanti in Ferrara. And it immediately became a symbol of post-modern Italian design.
Alessandro Mendini upholstered the classical baroque chair in cloth with the print, which he came up with being under the influence of the French pointillist Paul Signac’s painting. The designer also painted strokes and wooden carved frame in bright colors.
Proust Chair has become the epitome of academic views of the designer on the role of the historical context for contemporary design. Over time, the chair became the hallmark of Alessandro Mendini and his most recognizable object, so the designer repeatedly reproduced the chair in limited editions.
Category: Furniture
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tattoo artist | ibud tattoo studio
His name is Teja Satria Wardana , but we call him “Jepank” as his tattoo artist names. He was born in Surabaya at 1986. He also an expert gamers , he loves playing PUBG if maybe you would like to make a battle with him.
He like fishing for relaxing.
Oleg Turyanskiy, Silvano Fiato is his favourite artist.
Jepank mostly liked to do any realistic and black & grey styles, but for sure he can do any style as well as he is also a winning award artist,with more than 8 years tattooing experience.
“Do what can I do fully” is his inspirational words.
Come visit us and meet with Jepank !
tattoo artist | ibud tattoo studio
His name is M.Ardiyan Thoifin . Call him “Tahoo” . He was born in Sidoarjo at 1989. He was tattooing since 5 years a go. His tattoo style is mostly Japanese, realistic and new school, but he can do any style as he is also mentioned as one of the best artist in Bali.
He loves gaming and watching movies to spend his time after tattooing. His favourite figure are Muhammad SAW, Jamie Ris, Jesse Smith, Dimitriy Samohin and Steve Jobs.
His favourite quote is “Because of white , the color is there”.
Meet him now in Ibud Tattoo Studio!
tattoo artist | ibud tattoo studio
His name is Sutha Lontong, but you can call him just Sutha.
He’s been tattooing since 11 years ago. He’s specialized in urban modern tattoo. Well, if you have difficulties in understanding the meaning of a tattoo drawing, he will happily explain you all the philosophical meaning behind it. His inspiration figure is Ivana Belakova and Jay Freestyle.
Come and visit our studio to meet him, you can discuss what’s yourtattoo meaning with him too.
tattoo artist | ibud tattoo studio
Bantoer was born in malang at 1985 with originally names Zainal Arifin, but yeah we called him “Bantoer” in here.
He was tattooing since 6 years ago.
He was gifted to be a tattoo artist with specialize in black and grey and realistic style. But sure he can do any style .
His favourite figure is Ir.Soekarno , first president of Indonesia. He love fishing to relaxing his mind after his work day.
Lets meet him in our studio!
shop manager | ibud tattoo studio
Tio Sujatmiko is his real name, call him “Tio”. This friendly guy is our front head managers in our studio’s. You will meet with him first before get in touch with our artist to make scheduling and any else details. He was born in Malang at 1989, he likes drawing, action figure,cullinary,and listening music.
He loves Black and grey and blackwork tattoo style.
Make your booking and meet him in our shops!
staff | ibud tattoo studio
His name is Komang. He was born on Kintamani at 1982. He was started working with Us 2016 to be an artist assistant.
He loves hanging out and “Love me like i Loves You” is his favourite life quotes.
staff | ibud tattoo studio
This Friendly guy name is Ketut, call him Tutskie . He was born at Kintamani Bali at 1982 .He was working with Us since 2007 until now.
His loyality make we so proud. Anyway his hobby is cooking . And his favourite publicly figure is Miyabi 😀
Come to our shop to meet him !
team of ibud tattoo studio
When it comes to the best tattoos in Bali, Ibud Tattoo Studio features some of the highest skilled tattooers on the Indonesia. Our tattoo artists specialize in custom, one of a kind tattoos that make your ideas come to life. Whether you’re seeking traditional, realism, fantasy, new school, old school, tribal, colored, or black and gray, Ibud Tattoo Studio and Body Piercing has every genre covered so that your tattoo is sure to become one of your favorites. We will always take the time to create the design you are looking for and answer all your questions. Our shop has a large selection of artists available on a daily basis, this allows us to accept more walk-in clients and have quicker turn around times for appointments than most shops in Bali. Browse through the bios of our talented tattoo artists below and contact Ibud Tattoo Studio with any questions you have or to schedule a consultation.
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Illustrations draw jobs
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13,577 illustrations draw jobs found, pricing in USD
I need someone that either today or tomorrow can draw lines over SPlines for 2 3D Autocad 2018 files (description of works will be given). It is a repetitive job (example attached: red lines to ouline the possition of columns/beams) Alternative: to convert the SPlines to simple lines and clean the files. A good laptop to open and easily work with the
$149 (Avg Bid)
$149 Avg Bid
13 bids
I am looking for someone who can animate my illustrations into short clips, some for instagram and others for the website. I can scan the illustrations and provide them in a PSD file. Please let me know if you are able to achieve this, we can then work on the first project together.
$358 (Avg Bid)
$358 Avg Bid
46 bids
The Logo Is basically designed we are just asking for it to be drawn up professionally or if you think you can make it look better go for it. Require the following Full logo in PNG White - PNG Black & PNG Full color. Full logo in Black and full color JPG with White background The arrow part of the logo in PNG White - PNG Black & PNG Full color.
$14 (Avg Bid)
17 entries
Illustrations For My Website 6 days left
Looking for someone talented with a unique illustration style to design 6 individual illustrations for my new website. I will provide concept and brief. The image will be of two characters on either side of a word, the rest will be of individuals in various situations, such as panic, happy, relaxed. stressed, quirky fun character.
$283 (Avg Bid)
$283 Avg Bid
62 bids
Draw Floorplan 6 days left
I need the attached floorpan redrawn and sent to me in JPEG and PDF. Exported files quality should be high enough to print clear on a 24"x36" paper.
$40 (Avg Bid)
$40 Avg Bid
24 bids
Railroads and Robber Barons is primarily a card game, which I am trying to push to Kickstarter end of October. What I am looking for is portraits of Robber Barons from the 1800s, (I can give you a list of names), about a dozen in all. What I am looking for is a kind of a picture/cartoon with exaggerated features. One Baron will have a malicious grin and expressive eyes, another may a more cunnin...
$203 (Avg Bid)
$203 Avg Bid
30 bids
I am interested in turning a run down property into a bar and grill and want to collaborate with someone on what it could look like. I would supply photos of the lot as it exist today as well as photos of other commercial real-estate for inspiration and theme. I would want a few sketches to get as we collaborate and a final high fidelity rendering.
$217 (Avg Bid)
$217 Avg Bid
25 bids
SEND PAST WORK EXAMPLES IF NOT YOU WILL NOT BE AWARDED THE PROJECT. Looking for an Illustrator with a very stylistic drawing style. Need to create a couple of backgrounds and game characters. Will attach pictures of something similar to what i need. WILL NOT READ YOUR PROPOSITION IF YOU DO NOT ATTACH EXAMPLES OF UR WORK.
$30 (Avg Bid)
$30 Avg Bid
16t is necessary to animate these illustrations so that they look dynamic and express the meaning of the product Illustrations in Sketch App [login to view URL] prototype here Stages of the work: 1. We discuss the script 2. You make one illustration 3. Confirm (I mean agree with us, discuss it together) 4.
$172 (Avg Bid)
$172 Avg Bid
27 bids
I need someone to draw Illustrator files for a discgolf course and fairway files also. I can try to paint and image with base description about farways. There is an old course that is expanding and some of the old faiways need to be on new course map and have fairways printed with illustrator. Attached current course map but needs to look more professional
$135 (Avg Bid)
$135 Avg Bid
21 bids
PUBG External Draw without Detection from BE needed using 32 DLL and C++
$128 (Avg Bid)
$128 Avg Bid
4 bids
We sell mail order products to primary schools that have been designed to appeal to the age group, with educational messages, and are looking for illustrators who can work on an ad-hoc basis when we have a requirement for additional resources. This could be a one off design, or a series of related designs with particular themes.
$160 (Avg Bid)
$160 Avg Bid
56 bids
Simple edit of a Coral Draw file, change logo and colour of tabs plus one introduction file
$205 (Avg Bid)
$205 Avg Bid
40 bids
We have an all natural sustainable farm. We sell Teeshirts to market our farm and to produce additional income. We need a teeshirt each of a deer and a turkey.
$141 (Avg Bid)
$141 Avg Bid
26 bids
We need a revamp of our school leopard - specifically a 1-colour, 2 dimensional, flat, graphic head of leopard that can be placed over the top of the acronym 'AISL'. This leopard will become part of our school branding used on t-shirts, books, website and will also form part of the school logo. It will also become the logo of our sports teams so it needs to be a little fierce BUT not too...
$37 (Avg Bid)
$37 Avg Bid
21 bids
I have around a dozen hand drawn illustrations which need some light editing (cutting out, cleaning, a very small amount of image manipulation) and then setting up with text on A5 pages for a book which is going to be self-published.
$32 (Avg Bid)
$32 Avg Bid
31 bids
Trophy icon Draw Vector Image 3 days left
I need the room in the image to be converted into a vector image. No need to trace the furniture or any accesories. Do not add color. I WANT A BASIC OUTLINE OF THE ROOM.
$9 (Avg Bid)
157 (Avg Bid)
$227 Avg Bid
58 bids
Looking for a cartoon artist who can draw a cartoon a week for my company's weekly newsletter. Our users submit their stories of their experiences using our app and we pick the best ones and include a new one in our weekly newsletter. We're looking to add some imagery to make it more exciting.
$30 (Avg Bid)
$30 Avg Bid
34 bids
I request a graphic designer or digital illustrator for the development of a set of cute female characters, to promote personalized t-shirts, notebooks and several products developed by our company. For this project it is necessary that the art can be adapted to various design products and that the image has to be clean, attractive and cute. The characters may be identified quickly and in series,...
$10 / hr (Avg Bid)
$10 / hr Avg Bid
44 bids
[EXPERIENCED FREELANCERS ONLY] Please see the attached image. We would like to have 28 illustrations: 1. Medium dog: lying down (color) 1a. Medium dog: lying down (greyscale) 2. Medium dog: sitting (color) 2a. Medium dog: sitting (greyscale) 3. Medium dog: walking (color) 3a. Medium dog: walking (greyscale) 4. Medium dog: jump (color) 4a. Medium dog:
$160 (Avg Bid)
$160 Avg Bid
45...before you bid, and before we discuss any details. I have a small and prob very fast job. And I need it done asap - meaning tonight New York Time. What you need to do is to draw in the house placement, and put on some small details exactly like we have done here: [login to view URL] See what
$22 (Avg Bid)
$22 Avg Bid
8 bids
...illustrator would be mostly for Instagram, but also other social media. If it works, I would like also to publish the same book - Simple rule of the day - with the illustrations. The illustrations should contain the simple rule and should illustrate the rule or the text in the rules. The scope of the project: - illustrate a certain number (50 rules+) of
$448 (Avg Bid)
$448 Avg Bid
51 bids
I am finishing my anatomy book for lower and upper limbs , but the last part are the pictures that I do have to put. I think there are about 150 illustrations that I want you to do . I will send you the pictures from other atlases of anatomy and you can do them.
$664 (Avg Bid)
$664 Avg Bid
39 bids
Trophy icon Comic Book Illustrations 9 days left
Looking for a talented Illustrator who could design three scenes from my story. Ive dropped in the detail in the PDF along with the style i am looking for. If your work is good i will give you the entire story to do.
$178 (Avg Bid)
Guaranteed Top Contest NDA
6 entrie
Make an illustration for each gym rule. Format should be a 2 sided A4 sheet, with the written rule and an illustration for each rule (12 rules). Output should be an .ai files. I should be able to modify the overall layout, and/or each individual illustration. ********************************* Gym rules : o Please wear appropriate footwear that is clean and for indoor use. o Men : Shirt with s...
$166 (Avg Bid)
$166 Avg Bid
63 bids
Draw a 3 step process 1 day left
...though as I'm redesigning the website, I'd like to change it to some nicer illustrations. It is a 3 step process, so I would need 3 small illustrations to display next to eachother on the website. I attached: - The current setup with icons that need to be replaced with illustrations - A nice example of illustrated process steps - An illustration style
$116 (Avg Bid)
$116 Avg Bid
49 bids
I need a coral draw design for a school to advertise in news paper.. just need templates.. I can change it's contents. inbox me samples
$21 (Avg Bid)
$21 Avg Bid
14 bids
Hi, I am looking for an artist who can draw me a group of world war 2 soldiers for a board game counter. I only need 2 or more soldiers in color with transparent background. I will design the rest of the counter. But keep in mind that these soldiers go on a 0.75 inch counter which mean they are very small and therefore don´t need to many details.
$56 (Avg Bid)
22 entries
Kalvin Bikes Pvt Ltd is a bicycle manufacturing company. We need a designer to develop bicycles on Auto-Cad and further give it coloured finishing on corel draw
$18 (Avg Bid)
$18 Avg Bid
19 bids
$22 Avg Bid
45 bids
I'm just trying out freelancer.com for a first time. This is a simple picture for my scientific report. It represents an 1D infinite waveguide divided into 3 areas. Note that the arrow in the middle is not an axes, but a Dirac delta function. As a result I want to get an .ai source and a 600dpi .png
$2 / hr (Avg Bid)
$2 / hr Avg Bid
13 bids
Hahn Homes is a home builder based in Ohio. We are looking to have an elevation drawn of the front of each home that we offer our customers. I have attached the following files: 1) Plans for the elevation to be drawn; 2) a photo of the actual house we built from those plans; 3) a sample elevation that shows the approximate style of what we are looking for.
$136 (Avg Bid)
$136 Avg Bid
98 bids
...there will be the need for more, but the above is it for the first run. As the images need to be quality, I will be looking for someone who can show having done similar illustrations, either online or for books would be a great start. So along with your bid, please include some images, or a link to this work you have done in the past, for me to check
$144 (Avg Bid)
$144 Avg Bid
35 bids
We need a designer who can draw a technical design from a photo of a furniture into a file. I want to show a new model to a supplier but dont want to show them the photo wich is from a other company.... I want him to believe it's my own design so he will not copy it and reproduce it. The first is product can be a technical drawing or a scatch or
$126 (Avg Bid)
$126 Avg Bid
95 bids
submit sample work to qualify Looking for a unique artists for custom designs looking for someone that who likes to draw all day, and has amazing skills and talents to be able to create unique designs via adobe products. long term project
$27 (Avg Bid)
$27 Avg Bid
10 bids
Hi, I'm looking to add a graphic designer to the team that can handle all my image needs. Work will include line drawings, cartoons, illustrations, etc... Take a look at some of the past drawings to see if you can create similar work. If able, let's chat! - Akoma P.S. Offer competitive pricing, deliver solid work, and you'll be our go to designer
$29 (Avg Bid)
$29 Avg Bid
41 bids
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RUB » CERES » Research
Transformations of Sacredness: Religious Architecture in Urban Space in 21st Century Germany
The project is a collaboration between CERES and the Chair for the History and Theory of Architecture at the Technical University of Dortmund. The researchers document, analyze, and interpret the transformations of architectural design and position in urban space of contemporary religious architecture in Germany since 1990. It is an interdisciplinary project, connecting the study of religions and the history and theory of architecture. Its overarching goal is to understand how, given the increase of religious and cultural diversity, Christian, Jewish, and Islamic architecture is situated in urban space, how its form conveys meaning, and how these aspects influence social interaction.
Religious transformations in the wake of migration and pluralization influence the role of sacred architecture in urban space. Many churches, for instance, are in the process of re-use, closure, or even demolition. At the same time, there has been an increase of newly built mosques and a re-orientation in the architecture of synagogues in the last twenty years in Germany. The three mentioned religious traditions undergo transitions with regard to the design and style of their places of worship. Often, these new designs are not easily understandable to visitors and believers alike. In addition, the role of contemporary sacred architecture in its relation to urban space is changing: Which meanings do sacred buildings convey, how do they position themselves in urban space, and how do they structure it and provide orientation? In a cooperation of the study of religions and the history of architecture, we seek to study the transformations of both material and symbolic design of contemporary sacred architecture in Germany in a comparative manner. We will survey Christian, Islamic, and Jewish sacred buildings, i.e. new constructions, re-used and demolished buildings since 1990 in Germany. Selected buildings will be studied in detail regarding their meaning and position in urban space
09-2018 - 08-2021
Funded by
Affiliated Persons
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Shopping Cart
S023 - The Prague Astronomical Clock - The Old Town Hall Tower
Product Code: S023
Availability: 6 pcs
Dimensions: 8.50cm x 9.00cm x 22.50cm
Price: 4900 Kč
Miniature porcelain tower:
In front of you are pictures of a detailed replica of a real tower. It is a hand-crafted and faithfully processed porcelain model of clock tower in Prague, which one of the well-known. Our porcelain towers are part of brand line that includes over 80 miniature houses found in Prague. From them you can build the Old Town Square, the Golden Lane or even a part of the Lesser Town.
How it comes about:
The basic model is made in scale according to the actual model. Then it’s converted in an elaborate way into a form, from which we obtain individual parts by casting porcelain mass. After assembling, retouching, drying and firing, careful and detailed revising begins again. This process is followed by hand painting with several layers of glaze and another firing at 1200 ° C. Last task is the final decor and firing in the kiln. It is a unique and sophisticated technique of creating models with the theme of historic towers. You can see the result in front of you…
The goal:
Our aim is to capture the beauty of architecture in the imprint of ceramic clay and to transfer a piece of poetry of old Prague to your homes. Old Prague lovers in our country, as well as travelers from all over the world, have sets of entire streets and individual pieces of our models at home. It is a nice and valuable reminder of visiting Prague and Bohemia.
This product is made based on The Prague Astronomical Clock - The Old Town Hall Tower, which can be found at:
Old Town Hall 1/3, Old Town, 110 00 Prague 1, Czech Republic
History of The Old Town Hall Tower - The Prague Astronomical Clock:
The Town Hall Tower, 72 m high, was built in 1364. The chapel with its oriel Gothic window is on the first floor. It was built by the iron foundry of Petr Parléř, who also built the cathedral at the Prague Castle. The tower clock was placed there in 1406 and the Astronomical Clock in 1410. It was made by the clock master Mikuláš of Kadaň and the astronomer Jan Schindel, who was a Professor at the Charles University. The clock was made during the reign of King Wenceslas IV. when astronomy was popular. The astrolabe of the clock was probably made by Master Hanuš. In 1659 wooden allegorical figures representing astronomy, arts, death etc. were positioned above it and the figures of the apostles made by the sculptor Vojtěch Sucharda were added in 1886 with allegorical motives and zodiac signs painted by Josef Mánes. Between 1830 and 1834 a Neo-Gothic eastern wing by the architect Sprenger was added. However, it was damaged during the uprising in May 1945 and pulled down after the Communist take-over in February 1948. The tower and the clock were renovated so it shows the time and the position of heavenly bodies for the past 600 years.
Quality and packaging:
Our models are miniatures of real buildings. We place great importance on the quality and detail of the processing of our products. All the miniature towers are hand-painted and hand-crafted from porcelain, so the individual pieces may differ slightly in size and color shade. Each item is original and unique. We pack them in handmade and fully recyclable cardboard boxes. Our more significant sets are packed in gift boxes with see through front.
Our usual customers come from Europe, but we also send our towers to the USA and Canada. We have been sending our little towers to Asia and they are most liked in Japan and South Korea. We are happy we can please customers from Czech Republic and in the other parts of world alike.
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Museo Thyssen-Bornemisza - Inicio
Versión española
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Zurbarán. A New Perspective
From 9 June to 13 September 2015
Advance booking already available
Francisco de Zurbarán
Saint Serapion, 1628
Oil on canvas, 120.2 x 104 cm
Hartford, Wadsworth Atheneum Museum of Art, CT.
The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund
Carmen Thyssen-Bornemisza Collection
Maurice Prendergast
ca. 1918-1923
Oil on canvas
49 x 62 cm
Carmen Thyssen-Bornemisza Collection on deposit at Museo Thyssen-Bornemisza
Numero de inventario
INV. Nr. (CTB.1974.2)
More information about this work
In Autumn only the russet tones in the foliage of the trees and the distant shore seen across the body of water indicate the season. Its compositional format, which was frequently used by Prendergast, shows a landscape laid out in broad horizontal bands against which is woven a rhythmic pattern of vertical accents. In the lower half of the painting an Arcadian frieze of standing female figures, anchored by two seated figures in the centre, spreads across the surface. The pronounced emphasis of the negative spaces between the trees, created by overpainting with lighter tones their dark leafy forms, unites with the light surface of the water, which itself was painted over a deeper hue. The colours of the figures' dresses echo the colors of the autumnal leaves.
Prendergast's numerous sketchbook drawings rarely relate precisely to specific paintings, but they offer insights into his creative process. Many of his compositional sketches are similar to Autumn and contain few or no figures, while other pages of his sketchbooks contain multiple drawings of figures, almost always female, both nude and clothed, with no indication of a physical environment. They suggest that the artist would create a landscape setting for his painting and then populate the composition with figures randomly chosen from his sketches. Often the drawings of clothed figures contain colour notations describing various aspects of their dress, less often were colours indicated in his landscape studies. As in his paintings, the features of his figures in his sketchbooks are generally anonymous. The dog-like figure in the lower left of Autumn is likely a hybrid of the various drawings which he made of donkeys pulling carts.
Autumn, c. 1918-1923, can be linked to a number of other landscapes by Prendergast, including Autumn Festival, c. 1914-1915, Washington (DC), The Phillips Collection, and Landscape with Figures, 1921, Washington (DC), The Corcoran Gallery of Art, whose dominant tonality is now green, but contains a similar dog-like form in the lower left of its composition. It has been suggested that a photograph of a Prendergast painting, preserved in an album of around 1918 in the Prendergast Archive, Williamstown (MA), Williams College Museum of Art, may be an earlier stage of Autumn. Prendergast often reworked his late compositions over a period of years, so that they became almost unrecognisable from their initial state. The photograph, however, relates far more closely to the Corcoran painting than to the composition in the Carmen Thyssen-Bornemisza Collection.
Autumn is a reductive variation of the Phillips and Corcoran compositions, distilled to densely-rendered forms, while at the same time retaining the festive joie de vivre found in the painter's late work. There is in the artist's paintings-as well as in the works of his brother, Charles-an innocent, child-like simplicity. "Prendergast sees the world," a critic noted in 1915, "as a small boy might-an endless procession of men, women, and donkeys moving through the trees by the water's edge." The painting was previously dated c. 1910-1912 but has now been placed much later in the artist's chronology in the catalogue raisonné of Prendergast's works published in 1990.
Kenneth W. Maddox
© 2009 Museo Thyssen-Bornemisza
Paseo del Prado 8, 28014 Madrid, España
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It's National Feed a Rescue Pet Week! Help us fund 3 million meals.
NOVICA Artisan Raul Ulloa Baylon
Raul Ulloa Baylon
Shop all Raul Ulloa Baylon products
The artistry of Raul Ulloa Baylon has been featured in The East Valley Tribune.
Raul Ulloa Baylon, born in the highlands on May 15, 1973, masterfully captures Andean culture in his work. After secondary school, he dedicated his energy to painting, finally cultivating the latent talent and imprecise skills of a self-taught artist. He felt the desire to strengthen his oil painting technique, and decided to go to the School of Fine Arts in the Prisma Cultural Center, where he distinguished himself through combining techniques and textures, and for discovering innovative ways to apply oil paints.
Ulloa grew up in the country and lived close to Tarma, which sits at nearly 10,000 feet above sea level in the central Andes of Peru, a region considered the "cradle of flowers." The incredible beauty of this area inspires his works to this day, as can be seen in his frequent portrayal of flowers, small streets, and Andean highland churches. His self-compelled dedication today attracts wide public appreciation, and Ulloa often participates in gallery exhibits.
"I inherited my passion for art from my father, who wove beautiful tapestries," Raul says with pride. "I began weaving smaller pieces when I was 12 years old with the techniques from San Pedro de las Cajas. My tapestries have now gone beyond our borders.
"I love to paint and I love to weave. They are both a form of expression and often, after I explore a theme in my weaves, I will repeat them on the canvas."
The artist signs his pieces "AULLOA", after his second name, Angel.
In 2008 Raul told us that:
"Novica came into my life at a time when I needed it most. For a while, I thought I might not be able to make my dreams come true, and to provide for my little son. My son is now seven, and it has been seven years since I joined Novica - seven years since I realized that dreams can be more than just dreams. Today I have my own home, and my own workshop. My family is doing well, and I have the energy to continue exploring my creativity because I'm sure that Novica will be there to protect us. When I joined Novica, I lived in a rented house with just one loom, my wife, and our newborn baby. Today, I have three looms and have invited other weavers to help weave my designs. Best of all, I can provide for my son the way I dreamed of doing so when he was born."
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Art Commissar of Hungary: “I don’t give a damn for this modern democracy”
[English subtitle, deutsche Untertitel]
The antidemocratic makeover of the cultural scene in Hungary
Please share and publicize!
Recent legislative steps in Hungary point towards the authoritarian transformation of the institutional structures and funding system of cultural life, by giving an ultra conservative artist group close to the rightwing government, the Hungarian Academy of Arts, an unassailable position of power. As a result of these decisions, the government has endangered the long term autonomy, professionalism and democratic procedures of Hungarian contemporary art.
The government established the Hungarian Academy of Arts (MMA) as the preeminent authority in the field of arts through the new constitution or Fundamental Law, which came into force on 1 January, 2012. The Academy, which was originally founded as a private association in 1992, is made up of artists strongly loyal towards the government. In order to be accepted as a member, the Academy requires a commitment to the nation, a certain “national feeling.” In 2011 the Hungarian Academy of Arts was transformed into a public body, in a process lacking the minimum of transparency, and was provided straight off with a considerable amount of funding and its own a grandiose headquarters. In November the government further extended the cultural political role of the Hungarian Academy of Arts, endowing the organization with unprecedented power, including exclusive right of decision making over the contemporary cultural infrastructure – and a gigantic budget at the expense of the whole of the Hungarian cultural scene.
According to the announcement of the Ministry, the Academy will have the right to be involved in the committees deciding about important state awards, and next year the entire system of public cultural funding and subsidies will be reviewed in a process involving the president of the Hungarian Academy of Arts. This funding system, which up till now has been operated through advisory boards made up of representatives of the respective artistic fields – including the National Cultural Fund, the organization with the most comprehensive activity in the field of distributing state support on a professional basis – is in danger of being centralized and subordinated to a particular interest group, an ideologically based community.
The Hungarian Academy of Arts, according to their stated intentions, would take over several state tasks and responsibilities in the field of culture, thus for example they would participate in the selection of directors of cultural institutions and museums, and even encroach on how professional organizations work.
From 1 January 2013 the Műcsarnok (Kunsthalle) Budapest, which is the most significant venue and symbolic space for contemporary art in Hungary, will become the property of the Hungarian Academy of Arts. The Hungarian Academy of Arts will also have the right to define the principles and professional concepts of the art policy of the institution. Following this announcement, the present director of Műcsarnok has resigned.
The legal background of the Hungarian Academy of Arts may guarantee its legitimacy in legal terms, it does not however make up for its lack of professional legitimacy. The upgrading and extending of the role of the Hungarian Academy of Arts in cultural policy, including raising its budget without any public and professional consultation, have taken place in an antidemocratic way, excluding professional organizations and forums. Together with the general, dramatic financial restrictions in all fields of culture, these processes will result in the mutilation of the possibility of maintaining a diverse artistic environment in Hungary.
With these measures, the Hungarian government, through the Ministry of Human Resources, have given over the right to make the most important cultural decisions to a society of artists that avows and commits itself to conservative values and national culture, that also opposes the rejection of state and the church control, and rejects a contemporary culture that stands for the autonomy of art and believes in the critical social role of art. It has become evident that the political executive power intends to control contemporary culture in a direct way with the help of legal regulations and put an end to its still existing plurality.
Board of the AICA Section Hungary
(International Association of Art Critics)
contact: nemma@autistici.org or aicahu@freemail.hu
http://nemma.noblogs.org/index.php/post/2012/12/08/announcement
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Nicholas Holmes
Nicholas Holmes is an ecological designer-builder with a passion for all things nourishing. He is co-founder of The Nourishing Tree, a mixed-use center for healthy & sustainable living located in Joshua Tree, CA, and runs his own design-build company, Holmes Ecological Design & Construction, as well as Solstice Eco Building Supply. For the last 10 years Nicholas has been based in the Mojave Desert community of Joshua Tree, CA, working professionally as a consultant, designer and builder on a wide range of sustainable building projects in the Western U.S. and Denmark. The majority of his work involves structures, including buildings that shelter and nourish, and the visible and invisible structures that support regenerative life in buildings and the landscape that surrounds. Areas of focus in Nicholas’ work include passive solar/ climate-adaptive/ energy-efficient building design & construction, non-toxic & healthy building materials & systems, adaptive re-use of salvaged materials, rainwater harvesting buildings & earthworks, and greywater irrigation systems.
Nicholas received degrees in Architecture and Sustainable Development from Cal Poly, San Luis Obispo, and continues to broaden and deepen his education, training and certifications in sustainable systems design & construction. He’s completed training in rainwater harvesting systems design & construction with the American Rainwater Catchment Systems Association, become a certified Greywater Installer through Greywater Action, and become a certified Permaculture Designer through Quail Springs Permaculture and the Permaculture Research Institute.
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jueves, 24 de junio de 2010
"Toy Story 3" Animator Was Trained as Architect
NEW YORK - JUNE 21: Workers sit beneath a billboard for the movie Toy Story 3 in Times Square on June 21, 2010 in New York City. Accused Times Square bomber Faisal Shahzad is slated to be arraigned this afternoon on ten counts of terror and weapons charges. (Photo by Mario Tama/Getty Images)
Daily Variety
Text size: AA
By -- Barbara Robertson
On animated films it's usually the characters -- and the animators who bring them to life -- who earn the oohs and ahhs. But every floor, tree, car, shelf, window and wall, every inch of Disney/Pixar's "Toy Story 3" is created by a team of virtual architects, toymakers, urban planners, set dressers and landscape architects led by sets supervisor David Eisenmann.
"My mother says when I was six, I saw some Disney animation in Florida. I looked to her and said, 'This is what I want to do,'" Eisenmann says.
But Eisenmann took a circuitous path to his dream. He became an architect and was working in San Francisco when he spotted a Pixar job posting.
He worked on set dressing for "A Bug's Life," and "Toy Story 2." "We had to take so many shortcuts back then," he says. "Andy's neighborhood was mostly buildings. Now, you see mature vegetation. And it moves."
Indoors, toys overflow baskets, boxes and shelves. "We had 2,600 unique models in the daycare center alone," Eisenmann says, among them a Fisher-Price farm from his childhood. "There's also a red piano that is surprisingly similar to my daughter's piano. And all the hanging artwork, even on the tiles in front, is from children of people working on the show."
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CNG Bidding Platform
Products and Services
Research Coins: Affiliated Auction
Sale: Nomos 9, Lot: 182. Estimate CHF200.
Closing Date: Monday, 20 October 2014.
Sold For CHF200. This amount does not include the buyer’s fee.
BAKTRIA, Greco-Baktrian Kingdom. Eukratides I, c. 170-145 BC. Obol (Silver, 11mm, 0.72 g 12), c. later 160s BC. Diademed and draped bust of Eukratides to right, wearing Macedonian helmet adorned with bull’s horn and ear. Rev. ΒΑΣΙΛΕΩΣ / ΕΥΚΡΑΤΙΔΟΥ The two caps of the Diokouroi, each with a palm branch beside it; below, monogram of ΗΜΑ. Bopearachchi Série 9C. SNG ANS 496. A very attractive, toned example, struck on a broad flan. Extremely fine.
From the collection of a European specialist.
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This blog...
...was initially for pieces done on a computer, but has since become a free-for-all. Here you'll find process work (digital and otherwise), sketch pages and studies, sometimes with commentary.
You can see the rest of my work here.
Remember kids : if you can't make pretty designs, at least make pretty lines!
Sunday, February 28, 2010
lifedrawing log - 02.27.10
Even after I paid for Saturday's session, I still didn't believe I had a right to draw this model. It's not the kind of thing you can place monetary value on. Now, had my drawings done her a scrap of justice, maybe I'd have earned it.
There was the usual pre-pose squabbling. Our moderator was kind enough to let us vote on whether or not to have her hair tied up. To me, this was a no-brainer. I can't even get into the mind of an artist who wouldn't leap at the opportunity to draw this kind of hair. It was a gift.
Crabby Pants Pastel out-nickpicked herself yet again. "Your fingernails were pointed down more before." Yes, because you really can't trust your lay-in drawing at this point. Because you haven't, in your 104 years of life, figured out how to draw a hand from memory. Incidentally, there's not much to remember. People have two wrists. They bend in certain ways. People have ten fingers. They bend in certain ways. Oh, and hey, if you forget any of this, LOOK AT WHAT'S CLUTCHING YOUR PASTEL STICK YOU HOPELESS DINGBAT.
Exorcising Demons
I kicked the year off by doing a demon a day, as warmups for work. While I can't rightly post any of those (as they were done under Vigil's roof and may potentially be used in Darksiders 2), I *can* continue the practice independently. So here are a few from last night.
Sometimes you just gotta draw demons, no matter who you're drawing 'em for.
Tuesday, February 23, 2010
pose exploration
Killin' time on the couch with my clipboard, letting the space on the page influence (dictate?) the next pose...like a puzzle...a sexy, sexy puzzle.
I need to foreshorten my legs more. I have apprehension when it comes to foreshortening arms, legs, trunks, feet, hands...foreshortening in general. Putting that on my to-do list, along with "make heads smaller" and "stop breaking necks."
The thing that's hardest about drawing girls is obscuring stuff. You feel like it's all good enough to be on display, but showing too much actually hurts the pose. Gets stiff and/or inplausible. Plus, even with a nude, something ought to be left to the imagination. Gotta be choosy and let your audience fill in the gaps.
lifedrawing log - 02.23.10
No drama...just drawings.
Monday, February 22, 2010
From Pencils To Pixels
My bosses talk about game development from adversity, realistic pitches, iterative design, the origins of Vigil, Darksiders and more!
Not to be confused with Star Wars Galaxies' "From Pencil To Pixel" (singular).
Sunday, February 21, 2010
A snippet of conversation...
Wendy : I don't understand why you always draw penises coming out of their mouths.
Me : It's like a double-dong.
Wendy : Then why is there jizz coming out of it?
Me : That's supposed to be saliva.
Wendy : Well it's not reading as saliva.
Me : Can you go now? I get really embarassed when you watch me.
Slapped some color onto one of these just to remind myself how. I can only seem to get into coloring stuff when my art metabolism slows to a crawl. Or when there's boobs involved.
lifedrawing log - 02.20.10
Upper right : While Jurassic Park was in the bathroom, I was able to stealth-capture one of his abstract masterworks with my cell phone camera. Kinda says it all, doesn't it? I'll bet when someone gives this guy a delicious cake, he uses it as a doorstop.
Crabby Pants Pastel, an old lady who's a dead ringer for Mama Fratelli from The Goonies, protested that the model had "changed the pose" after inhaling deeply. We were all of two minutes in. I had to laugh audibly, and the model shot her a vicious look I wish had remained. Crabby Pants Pastel is famous for the line, "We aren't drawing porno." I forget the exact context, but the model's vulva were most likely visible. Obscene!
Later, to see how much I'd absorbed, I tried redrawing the pose. Wound up breaking her in a bunch of places, but eh...a few things stuck. Not much point in going to these things if you can't retain anything.
Wednesday, February 17, 2010
Pixel Painting
Tonight I reduced the resolution and worked small, which will sometimes coax unpredictable results and help me not get so lost in the daunting, digital wilderness.
I could have noodled this all night, but I'm more interested in ironing out a process. Some people have this down pat. I feel like I've been neglecting it.
CG Channel Interview
This was filmed during my Thumb War presentation at Gnomon Live Workshop last summer.
You get to see my twiggy, childish frame flailing around and hear me talking with a slight lisp! Imagine a less composed version of this, and you'll have a good idea of what I'm like in real life.
Lots of Vigil plugs in this. Sellin' the brand, sellin' the brand!
Special thanks to Editorial Director Matt McCorkell for piecing this together.
Tuesday, February 16, 2010
Autodestruct music review : Broken Note
Review - "Terminal Static"
Thanks again to Headphone Commute for letting me pry into the lives of great musicians.
Monday, February 15, 2010
lifedrawing log - 02.15.10 (I attack weakness.)
Hand making contact with foreshortened face = double-hard.
The vibe the model was putting off was "defeated" or "Christ, I can't believe I'm doing another sitting pose." The drawing near the center where she's slumped conveys this better than the rest.
When the 2 hour session wrapped, the room erupted with strange applause. "Yay [model's name]!" someone behind me squealed. "Yes," I replied under my breath, "Yay for sitting there." My friend Matt, clearly unaware of my jaded attitude at these things, chided me. "Don't be a dick. They're just saying thanks."
On one hand, he was right. The model showed up and did her thing, and as sitting poses went, it had a good amount of character. But really? Applause for a pose where every limb was pretty much completely at rest? You might as well applaud a bowl of fruit. "Way to stay in that bowl, fruit." Now if that bowl of fruit got up and did a handstand or some cartwheels (as this model has practically done in the past, it should be noted) -- yes, applause.
A girl to my left came early and set up an elaborate painting station. A phalanx of supplies was splayed out, ready for action. The model showed up, got into position and -- oh no -- the girl packed up all her shit and took off. I'll give her the benefit of the doubt this time and assume something important cropped up (30% off sale at Michaels), but I'm betting dollars to donuts this is what went through her head : "Oh, unkind fate! I don't have a particularly good view of the model, and now there's nowhere for me to relocate my cumbersome art fort. Guess I can't be creative now."
Yes, I'm a dick.
trees + babes
This crap's been piling up over the past few weeks. I'm not going to attempt to justify it. It just is.
So much for ArTracker, huh?
Saturday, February 13, 2010
lifedrawing log - 02.13.10
Today's model was spunky and full of sarcastic quips, so of course The Powers That Be put her in a near-catatonic pose for the duration. What a waste. The drawings I did that look the most natural are the ones where I deviated from what she was actually doing and relaxed her into that padded backdrop. In all, I'm non-plussed with my performance, but what else is new?
Today I'll introduce another character in our rollicking cast. His nickname is "Oshkosh B'Gosh", for his trademark overalls. Think "Super Mario" minus the gloves. An architect in his 50s, he sports a curly black mustache and a green cap, which I guess would technically make him Luigi. Oshkosh B'Gosh lives by an art school joke I heard from one of my officemates : "If you can't make it good, make it BIG." To give you an idea of what Oshkosh B'Gosh thinks is cool, take a sheet of paper the size of a TX road map (or, in some cases, an actual TX road map) and fill half of it with the model's upturned head -- the more unflattering the angle, the better. Add train tunnel nostrils the size of avocados. Can you see gray matter behind the sinuses? Good. Now begin to arbitrarily fill the features with bright colors, making sure the eyewhites are ABSOLUTE WHITE, and use this exact same value to do the highlights in the model's DARK BROWN HAIR. Stop drawing once you're throughly repulsed, or until time is up.
I was explaining to a newcomer, who asked if I do illustration, that my goal in these sessions is to create from the model. To sit and record facts is to become a secretary taking dictation from a superior. Eff that. When I wake up at 8AM on a Saturday, drive 25 minutes and pay a fee to attend one of these things, I'm going to call the shots. The newcomer said the he prefers doing still lives of clothing and other "more traditional" gallery work. "That's cool" I said, lying through my teeth. The drawing he was slaving over was, unfortunately, only traditional if sucking is a tradition.
One more account. An artist friend of mine who works at Junction Point has (thank God) started attending. He does admirable work and makes good use of his time. His drawings show an actual thought process. But -- dun-dun-DUUUUUNNN! -- he does them on a laptop. Digital art to an older generation is like the monolith to the apes in 2001 : A Space Odyssey. They flock to it, their puzzled expressions a mixture of wonder and apprehension. "Might this glowing box be the key to our evolution?" their internal monologues ask, though what they say out loud is, "That's cheating." or "That's sooooooooooo amazing." or "Is that Photoshop?"*
*Response cheat sheet : "No.", "Not really." and "Actually, this is Windows Media Player. I'm just watching a movie of someone drawing while I swirl this robo-pen around in my asshole."
Thursday, February 11, 2010
Tree Envy
I have a sudden fascination with trees. Maybe it's because my pals Toph, Dan and Justin have been kicking ass with them lately, and I can't stand to see them having so much fun.
The one in color is a mangrove cluster done with ref, but the rest are all just winging it. I tend to to draw them leaning to the right...wonder if that's significant...
Tuesday, February 9, 2010
Oh, who am I kidding?
This is what you're here for.
A few random guns from yesterday. If you're ever in need of a confidence booster, draw stuff in profile. Though it doesn't look as nice as deep perspective, it's easier and faster and people get it.
Monday, February 8, 2010
Autodestruct music review : DJ Hidden
I recently reviewed DJ Hidden's "The Words Below" and interviewed him for my good friend & music afficionado, the always-savvy Headphone Commute.
It has nothing to do with concept art, but DJ Hidden is one of my biggest drum'n'bass heroes, so it was a big deal for me. Thanks and love to Headphone Commute!
Sunday, February 7, 2010
some color experiments
Gotta do this more often. Maybe forfeit a lifedrawing session here and there and buck down until it becomes easier... Develop stroke economy...
Saturday, February 6, 2010
Plug : Girls On Top!
My overseas homie Matt Dixon has a new book for sale of all his lucious lady-types.
lifedrawing log - 02.06.10 9 (more venom)
3 hours of drawing. During the session, I had to yet again explain that what I was doing wasn't cartooning, but rather taking careful inventory of things I knew to be true of the pose we were confronted with. "But you drew it with a 'style.'" Well, yes. Style takes care of itself. The point is, when I leave the room, this pose is now in my inventory, and can be reproduced and/or manipulated at will. Try doing that with your 'fine' art, dipshit.
To add insult to injury, some old bat rudely shhhhhhhhhhhhhhed two of my industry friends for softly discussing digital art technique. Because, you know, you need total radio silence to do a single, shitty pastel.
We were also treated to another abstract masterpiece by a guy I like to call Jurassic Park (because he looks like John Hammond). This clueless, sweatpants-wearing fucker spends the 3 hour period producing a drawing that consists of 6 wiggly lines. Occasionally he'll leave his little supply-cluttered workspot (you need a lot of tools when you're a fraud) and go "measure" the figure with his thumb, looking at it all quizzically, like he's on the verge of some major breakthrough. Then he goes back and pulls out one of those bendy french curves and uses that to make a 7th line. Holy shit. What genius.
Friday, February 5, 2010
Alpha Concept Artist : Nick Southam
My hetero lifemate, fellow Vigilite and personal whipping boy Nick Southam has pinned some of his brilliant Darksiders art. He's got oodles more, so go pester him to post it! God knows I've tried...
From The Archives - pt. 2
Monday, February 1, 2010
lifedrawing log - 02.01.10
Duuuurrrr! I'm making cartoons!
It's been another one of those days. Silver lining : had a beer with some of the Lightbox boys after tonights's session. Thanks for being cool.
From The Archives - pt. 1
Here are some drawings from a bygone era. In this particular batch are lightning-based creatures. More strangeness to follow!
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Showing 1699 results
Archival description
Arts and culture English
Print preview View:
25[Page with 3 pencil sketches]
Item is a sheet with 3 small pencil sketches. One shows oxen and the other two are rough layout sketches showing trees and mountains with oxen or horses in the foreground.
Innes, John Clarke
“Is Creator of Noted Picture”
Item is a newspaper clipping from The Vancouver Sun featuring a photograph of John Innes and a description of his painting “Harding in Canada.”
Innes, John Clarke
[Photograph of “The Builders” painting]
Item is a photograph of Innes’ painting “The Builders,” inscribed on the back “To dear Hoppie from Daddy, being a print of the First City Council of Vancouver - with the Civic officials - meeting in June 1886. With love of Ida May Innes my dear wife. John Innes.”
Innes, John Clarke
Cowboy Race
Item is a postcard featuring an image of a John Innes painting, addressed to Mrs. M. Akiyama from Mrs. Innes.
Innes, John Clarke
“Half a Century of Progress” [pencil sketch]
Item is a pencil sketch by Innes of a figure sitting next to 2 totem poles with a cityscape in the background. There are notes in the margin about the composition from Innes as well as “George.”
Innes, John Clarke
Series consists of a patent agreement filed by Innes and John Linkison King in New York City, for a device to be used in the navigation of ships and airplanes.
Innes, John ClarkSeries documents Stanley’s interactions with friends and other writers in the form of both incoming letters and copies of outgoing letters. The letters include critical discussions of new work, either by Stanley or the correspondent, or relate to personal matters.
Series includes: personal and professional letters, post cards, and cards.
Stanley, George Anthony
Results 1 to 30 of 1699
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Wednesday, 8 February 2017
Fun with Puppets
There is a lot of serious talk going on right now in the news and we must remember that our children are listening and observing. This is where play can help us to talk and reflect on our feelings about it all. When the news is gloomy, we can become over anxious and worried about what will happen. Imagine how dis-empowered children and young people can feel. I know play doesn't solve everything, but it can make us all feel better.
Playing with puppets enables the focus to be on the puppet which creates a safe space to openly think about what is bothering us, or to play out situations that are around us. Make-believe play is perfect for this. With young children you can let them lead the situation and narrate what is happening, alongside using the puppets to play the characters. Sometimes you can step out of the play and leave them too it, especially in a larger group. Your role can be to duck back into the play to add information or to move the story along, but the less you do the better.
With young people, you can use puppets in a silly, fun way to create short films and use humour to express what is happening. Just talking with puppets can be funny and poignant if you are respectful and light-hearted. Just pick a topic to discuss and communicate through your puppet. Look at the puppet and then look at the other person's puppet for a response. Keep all eye contact on the puppets and respond with thoughtfulness. Don't forget to listen to the response too. It is very effective.
Sometimes we need to lighten up and have some fun. All this seriousness is not good for the body and mind. Play in any way that suits you. I like to think we have the capacity to be child-like, which is important when so many are being childish right now.
Tuesday, 24 January 2017
Diversity in the Arts
On Friday, I attended an interesting conference at East Anglia University, concerning diversity. The question of how to create art for all was asked in many ways and by experts in their field, but the overwhelming feeling was to be welcoming and to make your art accessible for the audience. Within business, I am often asked 'who is your audience? I am advised to have a perfect customer in my head in order to market to that person. Who will buy my puppets or/and attend a workshop? I would love to say, 'anyone who will gain value by what we do', but is that enough? How can we make everyone feel welcome and know that the value is for them? How do we create that value?
I remember working with teenage girls where we were creating shadow puppets for a performance later in the day. It was a community festival and the theme was to explore culture through traditional stories. Interestingly, while we were making the puppets, the discussion was all about empowering women through story (linked to the performance) and we openly discussed the participants' own experience because our attention was on puppet making. The workshop became a place to express opinions and feelings that we wanted to share, where we could discuss actions and ideas to help other people and ourselves feel empowered within our communities. An element of this was brought into our story which we told with passion and a feeling of togetherness that wouldn't have happened without the discussion that preceded it.
We didn't start the day knowing that the process of creating story would lead to such a worthwhile and open discussion and the feeling that we all gained value through this shared experience. These girls taught me so much about their beliefs and where their feelings and views sat within this framework. Hopefully they felt I had something to contribute too. Is this art through diversity, or just people coming together and sharing something special? Is there a difference between the two? Respect, consideration and accessibility are surely starting points, with open dialogue and understanding coming a close second. Creating art that explores parts of us and our cultures, enrich our lives and remind us that we are not so different after all. I like the idea of having a universal audience where everyone is welcome - now that's something to aim for.
Thursday, 29 December 2016
December Dogs and Puppet Shows
It has been a real pleasure to make dogs for Christmas this year. I was able to spend more time on their design and the fur is so soft. We had one Christmas show this year: 'Where is Rudolph' where I was a head elf and enjoyed the company of both puppets and children in my quest to find Rudolph. As always, we included a scary character - this time a large snowman with a missing nose. To begin with, he could be heard grumbling and growling from behind the puppet theatre. Next we used scary music as we climbed the mountain to meet him, in the hope he could help us. When he was revealed, the children were relieved to find out that he was only grumpy because of his missing carrot nose which we could replace for him. Once again, we overcame a scary problem and were able to rejoice with Christmas songs and mince pies. ...And as for Rudolph, well, he was in the Elf Farm all along, preparing for full fitness to pull the sleigh. It is all a bit silly, but within our stories we include the joy of being kind and helpful, alongside overcoming problems by working together. The Hands-On Company believe these sentiments make a good resolution as we move into 2017.
Monday, 28 November 2016
Preparing for a Tudor Workshop - Melissa Waldron
Last week I was very lucky in being able to attend a talk by Lucy Worsley at Hampton Court Palace. A new BBC series will be launched soon exploring the roles of Henry VIII's wives and the talk focused on the role of each of the women in Tudor England. It was an entertaining and inspirational event.
We will set our Living History workshop in Elizabethan England. But the talk on Henry has really set the scene especially in considering the fate of Anne Boleyn, Elizabeth's ill fated mother.
Work is now being carried out to prepare a lively and interactive workshop for young people in schools. Set in a stately home outside Stratford-Upon Avon, we ask how the household will prepare for the arrival of the Queen...and Mr Shakespeare who is showing off his new play 'A Midsummer Night's Dream'. We are very excited about launching this hour and a half workshop at a primary school next week.
Wednesday, 2 November 2016
Puppetry For Sensitive People.
Recently, I’ve been working with sensitive children and young people. In fact, all of us are sensitive in some ways, but when children are sick, or going through trauma, their sensitivity is much more visible.
Puppetry is a lovely medium to use where laughter, silliness and care are wanted. The energy being focused on the puppet takes away the emphasis that this is about the participant’s needs and issues. Instead, it is the puppet that has our attention. It is similar to giving yourself permission to do something enjoyable such as eat cake or watch a good film. A puppet can give the same light relief with the added bonus that it is something we can enjoy together. If there is an issue to be discussed, we can make the puppet into a coat hanger, of sorts, by putting the issue onto the character and trying to help him/her. We use our brains differently when we focus outside ourselves, and this opens up options and solutions that are harder to come by when the process just remains in our heads!
The emotions that can be provoked through puppetry are perfect for sensitive people. It is possible to play around with feeling safe or threatened by creating an environment where both can be expressed openly. Finding solutions for difficult scenarios in real life can be acted out through make believe with truly effective results.
Take this example for younger children. A dragon flies into a story session and roars at the group while threatening to hurt them all, but he quickly is spluttering and coughing because he has run out of fire. He asks the group where he can go and get fire in order to breathe it all over them. It is up to the children to decide if they will tell him, help or trick him. For the puppeteer, it is a fine line between scaring the children and appearing too harmless. The aim is to take their power away initially, through being a bit scary, and then to judge when the fear becomes too much for any member of the group. At this point, the dragon’s body posture changes and his voice becomes whiny and softer as he asks them for help. The group gain their power back as they decide what to do. The puppeteer can use the dragon’s body and voice to diminish the fear and to provoke either empathy or humour (depending on the aim of the story). If the puppeteer can interject with the initial scary voice and body language to again threaten coming back and breathing fire, this can help keep the energy fresh and exciting. The fear is still there, but the group are keeping on top of it through decision making. Depending on the group’s decisions, the puppeteer can help implement the action of running away or tricking the dragon or maybe the group will decide to try and help him be kind and stop his behaviour. The puppeteer can lead the story forward, but the participants can be empowered to make the decision. When the dragon is dispensed with, the group can reflect on their decisions. How can this be used in everyday life when something is scary? Was working as a group helpful? If you have fearful feelings in real life, who can you tell? Are there dragons in real life? Why was the dragon being unkind? What else do we find scary? And so on.
Puppetry can be gentle, humorous, encouraging or unnerving, but all these emotions and more can be expressed in a safe environment. It allows us all to reflect on how we will deal with various scenarios in everyday life and helps us find solutions to problems. For the sensitive souls among us, that can only be a good thing.
Tuesday, 18 October 2016
The Ancient Egyptians - Melissa Waldron.
When I was young, my mum insisted we visited museums and art galleries in the school holidays. She thought it would be good for me. And she was right when it came to The British Museum and the Egyptian rooms. The artifacts were interesting, but it was the mummies in glass cases that were truly fascinating. A few years ago I was lucky enough to visit Egypt and I headed straight to The Valley of The Kings. I rode a camel and visited the Pyramids. My interest in the Ancient Egyptians, their culture and fantastical beliefs in the After Life, is still as strong today as it was when I was a child.
This is the first era I have tackled in exploring the history workshops. It's chronologically the first civilisation in our new repertoire.
The grisly and the bizarre is a great starting point for the content of this workshop. I am currently becoming a bit of an expert on mummification and dramatic rituals. I'm going to have the opportunity to wear lavish make up and play an intriguing character. I am really looking forward to finalising the details of the new workshop for Primary Schools.
Wednesday, 7 September 2016
Bringing our new Living History Workshops to life.
Launching the new one woman history workshops is Melissa Waldron - lead facilitator at The Hands-On Company.
So...how do I feel?
It's very exciting and a bit daunting. We have been in negotiation with Gill Whitten for nearly a year, concerning taking over her wonderful primary workshops for exploring specific historical eras. And now it is real.
Gill has been an inspirational presence in schools for the past 25 years. I have shadowed her and witnessed her impact on young people. There is a real sense of occasion and excitement when she arrives in a school from children and teachers. Can I fill her shoes?
I have spent a lot of time with Gill and her generosity in sharing her philosophy on interactive learning and her creative approach to history has been impressive. I know I'm gushing about Gill, but she is a force to be reckoned with.
This summer I've researched different eras, visited museums and made new artifacts. I am anticipating an awfully big adventure when I take on this work.
Back to the books.
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Mineral Wells based wedding & portrait photographer, serving Weatherford, Fort Worth, and beyond
Hello Dearies
I’m Rebekah Claborn
I’m an accidental photographer–I’ve got two biology degrees to prove it.
Yes, a camera was my first “big” purchase as a teenager, but only because I dropped the camera I’d gotten for Christmas within a month of owning it.
Fast forward a few years and my husband gave me my first DSLR as a Christmas present just before our wedding. A few months later I used it to photograph a friend’s engagement session, and after that, our lives in Europe.
I never expected it to turn into this, but now capturing memories for others–so they can focus on making the memories, is one of my favorite things.
learn about
currently on the blog
learn about
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r e s o n a n c e
a minimal, black & white abstract art series created from handcrafted black ink
“The sound was rich, wild and resonant.”
This line from Hazel Prior’s novel Ellie and the Harp Maker sparked in me an entire series of paintings.
The rich part of this series is the black ink that I handcrafted from creating my own lampblack. Lampblack is a black pigment made from soot. Using this black pigment, I composed a recipe to form a rich, black archival ink that is a delight to watch flow across the page.
The “resonance” series is built around the concept of resonance.
lexico.com defines resonance as:
• The quality in a sound of being deep, full, and reverberating.
• The power to evoke enduring images, memories, and emotions.
“The sound was rich, wild and resonant” resonated or struck a chord with me because sound and music is such an integral part of my process. I listen to “flowing” music that reminds me of water as I spread the ink on the paper. Fluidity of my mind and body is essential to ensuring that the thread that I lay down doesn’t appear jagged. When I add in the many tiny marks, I listen to folk music and add the marks to the beat of the songs. This helps me to enjoy the tedious task and, in a way, become a part of the rhythm of the painting.
I also resonate with the wild aspect of this line from Prior’s novel. Being outside in the wild completes my soul. Another line from Ellie and the Harp Maker that I resonated with is: “A walk in the wilds is what I need.” It is as though the “wild” speaks to me through the sound of the wind through the trees saying: “you are complete.” So much so, that my paintings reflect the wilds around my studio. As I lay down the ink, I envision the rolling hills and the trees that dot the horizon as marks on the page. The lines of thread are the paths I take through the hills and forests as I resonate in the wild.
It is my hope that this new series that I have entitled RESONANCE urges you to quietly reflect on “small truths”:
“The kinds of truth that art gives us many, many times are small truths. They don’t have the resonance of an encyclical from the Pope stating an eternal truth, but they partake of the quality of eternity. There is a sort of timeless delight in them.” -Seamus Heaney
May this artwork compel you to “partake of the quality of eternity.” May it help to quench that space in our souls that can’t be captured, like a glorious yet fleeting sunset. May it help you capture that magical emotion that we wish to enclose with our hands and hide in our hearts. And may you be inspired to discover the wilds of your world.
The “resonance” series will be released in my Etsy shop Wednesday, May 27 at 12 pm EST. Use the coupon code RESONANCE to receive a 10% discount.
The Handmade Pop Up – Canadian Style
4 canadians #3dog_mini_dish_1_1024x1024.jpg
Meg Does Pottery is a Winnipeg based luxury line of handbuilt and wheel thrown pottery. These items are intended to add interest or that special oooh la la to your favourite spaces.
https://www.megdoespottery.com/
The online market ends May 15th so be sure to head on over, where you can check out my “Circle” series and receive 10% off with DISCOUNT CODE HAPPYSPRING17 .
blush pink on shelf.jpg
What is your spring decorating style?
Etsy Canada and House & Home have joined forces to create a quiz to help you determine your decorating style this spring. The quiz is filled with gorgeous handmade and vintage items, all from Etsy Canada. And even better, when you complete the quiz you could win a $500 Etsy gift card. Plus, be sure to watch the video featuring three stylish looks for spring (including my “ring around the rosy” abstract painting). Contest open to residents of Canada only, excluding Quebec. Contest closes June 6, 2017.
1000 followers on Instagram Art Giveaway!
So big news in my world…I reached 1000 followers on my Instagram account! I know to many of you, that seems so minimal (but hey, I am on a bit of a minimal art kick right now, so it works for me) but the IG community has been so powerful for me. Why, you ask? Well here is a bit about me that might give you a few clues:
I have struggled with Lyme Disease and a few nasty co-infections for about 3 years, and before that a minor bout with non-invasive breast cancer. This has caused lots of havoc in my body and my mental health, so most days I really don’t like to leave my house. I have a few really good friends in the “real world” who I try and make an effort to visit and laugh with as energy allows, but the IG community has also been an integral part of my life in the last year or so. It has been a daily boost to my creative spirit, an immense support as I strive to sell my art and an encouragement to see that others can “push through” their challenges with kindness and grace.
So head on over to my Instagram account @melissamaryjenkinsart and follow the Giveaway Guidelines where you can win this “stripy” painting and one for a friend!
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Eugene Bozza: Dialogue For Two Trumpets
Books | Trumpet (Duet)
Publisher: Alphonse Leduc
Composer: Eugène Bozza
Format: Sheet Music | Instrumental Album
Dialogue by Eugène Bozza is a piece for two Trumpets, lasting three minutes. Sounding really majestic, this work exhibits the two Trumpets having an exchange, like a dialogue.
The piece is divided into three movements: Allegro Mastoso (4/4, tempo 120) – Moderato (4/4, tempo 80) – Tempo di Marcha (2/4, tempo 120).
This piece is a great work to play during a recital.
Eugène Bozza won different prizes at the Conservatoire de Paris such as the First Prizes for the Violin, conducting and composition, as well as the Grand Prix de Rome. He composed several operas, chamber works and ballets among others.
ISBN: 9790046214547
Language: English, French
Catalogue No: AL21454
Recently Viewed
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Samuel Folkman Viola Recital Highlights
Samuel Folkman recently performed his senior viola recital before an audience of family and friends. Performing technically challenging pieces by composers like Bloch, Halvorsen, Dvořák, Folkman played with poise and professionalism, confronting each challenge as it came. A culmination of the hard work, Folkman’s recital testified his dedication to his craft. Dr. David Brown writes, “Sam has come a mile in his playing.” Sam’s recital also included collaborations with many of his close friends. See photos here, and watch recital highlights below.
Suite Hébraïque, Bloch
accompanied by Lucie Drinkwater
Sam’s orchestra director, Miss Melody Steinbart remarks, “Sam’s recital demonstrated a lot of work. His performance of the piece by Bloch, specifically, demonstrated well the quality of musicianship and preparation as well as performing poise that one can bring to the table. His performance was well done and engaging.”
Sam writes, “This is easily my favorite viola work of all time. I learned the first movement during my sophomore year of college and immediately fell in love with it. The three movements have an immense variety of emotions that are expressed in many different ways. The work was composed for violin or viola in 1951. The piece draws heavily on Jewish music, and it simulates the blow of a shofar (a ram’s horn). One can almost hear the viola crying throughout the overly emotional first movement.”
String Quintet in A Major, Dvořák
Hannah Ostrander and Peter Holloway, violin; Judson Shoultz, cello; Graceanne Starr, piano
Sam writes, “This is the final movement in Dvorak’s A Major piano quintet. This quintet is one of my all-time favorite pieces, in fact, Dvorak is probably my favorite composer. The bright, happy melody passed throughout the instruments calls for fun, precise ensemble work. The middle section even contains a fugue-like section where the primary subject is passed throughout each voice.”
Passacaglia, Halvorsen
Peter Holloway, violin
This piece is based on a theme written by George Frideric Handel’s Harpsichord Suite in G minor. Johan Halvorsen took the theme in the last movement and created his “Passacaglia” for violin and viola. Featuring a theme and variation, the opening theme is the primary theme that is stated and varied throughout the entire piece. Halvorsen certainly wrote this piece as a show piece as it displays many difficult and showy techniques that only string players are able to produce. Some of these fun techniques include playing over the bridge of the instrument (ponticello), double-stops (playing multiple notes at once), and even quite a bit of plucking.
Samuel Folkman’s viola recital was prepared under the direction of Mr. Paul Hauer and is given in partial fulfillment of the requirements for a Bachelor of Science Degree in Music Education.
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Posted on: 02/07/2017 Posted by: Dan Howarth Comments: 0
Clusters of parasitic apartment units cling to the sides of the CN Tower in this conceptual proposal by Toronto studio Quadrangle.
The modular wooden residences would nestle between the giant concrete fins of the 553-metre-tall communications tower – one of the world’s tallest, and a major tourist attraction.
“Quadrangle saw an opportunity to reinvigorate the tower with desirable market condominiums, in an excellent location with unparalleled views, while maintaining the building’s existing and successful functions,” said the studio.
The idea involves hanging the prefabricated cubes between the wind-shielding wings of the structure, drilling supports into the concrete.
Each of pods could be designed to order, with a choice of sizes and layouts. This variety would create a pixelated effect up the sides of the tapered host tower.
Quadrangle proposes constructing the units from cross-laminated timber (CLT), which is created by gluing smaller pieces of wood and pegged as the architectural wonder material of the 21st century.
“CLT’s combined lightness and strength ensures that the units can be ‘hung’ between the wind-shielding ‘wings’ of the CN Tower,” said Quadrangle.
“Since CLT buildings are designed in panels that are made in factories, and snapped into place onsite, the construction will be quick and safe, having no negative impact on tourist traffic.”
The structural wood panels would also be exposed on the interiors, and inhabitants would be ensured views across Toronto and Lake Ontario through large windows.
It is unclear how the residents would reach their apartments, particularly the ones higher up, however renderings show staircases linking multiple units together.
The CN Tower was designed by local firm WZMH Architects and completed in 1976 as a TV and radio communications mast. It boasts a 360-degree restaurant and multiple observation levels, including a glass-bottomed deck for more adventurous visitors.
The tower held the title of the world’s tallest freestanding structure for 34 years, until it was overtaken by both the Burj Khalifa in Dubai and the Canton Tower in Guangzhou.
“Quadrangle’s proposal reinvents the landmark and in so doing also reinvents the tower as a symbol of Toronto’s ingenuity and progress,” said principal Richard Witt.
“We hope that the design’s versatility inspires similar projects on other large-scale freestanding developments globally, increasing the value they bring to their home cities and environments.”
Parasitic proposals for other iconic structures around the world include a latticed extension to the upper deck of the Eiffel Tower in Paris and a giant curvaceous greenhouse on top of Philip Johnson’s New York State Pavilion.
The post Toronto’s CN Tower reimagined as residential high-rise covered in wooden pods appeared first on Dezeen.
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Learning how not to take failure personally
Hi there. How was your weekend?
I participated in a local holiday art & craft fair this past weekend. I was really excited about this one....I attended this show as a shopper last year and was impressed by the large crowd in attendance. The show was so busy that it was almost hard to shop! I like my odds at those kind of events. I really thought this was going to be a good show for me.
If you read the title of this post, you've probably deduced that my experience as a vendor this year was not what I had expected....In fact, it was awful...I didn't even make enough money to cover my booth fees. It was the worst show I've ever had! Ouch.
It's so easy for me to work myself into a funk after I've had a bad show....I take what I do very seriously and very personally. I wonder, "Is what I make sub-standard? Do I really have talent? Is it time to hang up the "artist" towel and go back to teaching?"
After a little pouting, I put on my "critical thinking" hat and tried to figure out why this show went so wrong. I quickly deduced that my lack of sales had little to do with the quality of my work. It had more to do with the venue and my placement in it. My booth was placed in an almost hidden portion of an immense show. At any point during the show you could walk into the main area of the show and be met by throngs of people, while only a trickle would make it back to my locale. The numbers were against me Had more people seen my work, I'm quite confident I would have been more successful.
I jotted this down in my sketchbook during the show.
This will be my goal in the coming months.....I need to find that target audience, and maybe it's not at the local craft show. Maybe I have to think bigger and beyond local. All I know is that I'm not giving up. Creating is a part of me. I will make and eventually...the buyers will come more readily than they are today.
So my fellow maker friends, how did you connect with your target market? Any advice for me?
Thanks for reading. Ta-ta for now.
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Help, my photos are blurry!
When photographing in low light conditions you are forced to make compromises. You can either increase the shutter time, use a larger aperture or increase the ISO. The third option does not affect the sharpness of the photo, but the other two will. Let’s say you took your photo at a party with dimmed lights and it looked blurry, what can you do to make it sharper?
I should say that I am here assuming that you are stuck with the light level. Of course if you have the chance then bring some candles closer or move to a window for the shot. Even using a mobile phone as a light can help. Try and avoid the on camera flash as it will make the image look very flat.
The first thing to check is that you have your subject in focus. This might sound like a no brainer, but if you have a prime lens or a good zoom that allows you to photograph with large apertures then your depth of field (the distance from your camera which is sharp) might be very narrow. For example if I shoot with my 50 mm at f/1.4 and have my subject at a distance of two meters then the depth of field is only 14 cm. If your focus is a little bit off, the eyes will look blurry. Also if you have several subjects that you want sharp then make sure they either have their eyes at the same distance from your camera, or you need to increase the depth of field by either taking a few steps back (depth of field increases with distance to the focusing point) or using a smaller aperture. By stopping down to f/4 you get 40 cm of depth of field at a distance of two meters and 93 cm depth of field at a distance of three meters. This region will be roughly divided as 1/3 in front of the focusing point, and 2/3 behind. So choose your focusing point accordingly. When you look through the viewfinder of a DSLR the aperture will be fully open to create the brightest possible image for you, however this does not represent what the camera sensor will see when you press the shutter if you shoot at a smaller aperture. On high-end cameras there is usually a button next to the objective which allows you to momentarily shrink the aperture. If you press it you will see the viewfinder getting darker, but you will also see it getting sharper as the depth of field increases.
Let’s say now everything looks sharp in the viewfinder, but your photos still come out blurry. If you decrease the aperture from f/1.4 to f/4 then the sensor is receiving roughly eight times less light, so odds are that if you shoot in aperture priority mode your shutter time is now a lot longer. This will cause motion blur, either because your subject moved, or because you were unable to keep the camera steady. If the latter then make sure you are holding your camera steady with both hands, maybe you could lean on something or support your elbows on the table. You can also increase your ISO to allow a shorter shutter time, or turn on image stabilisation if your lens has that function. I have never had a lens with that, but from what I hear it can really help. Another thing I often do especially if the light is bad is not just to take one photo, but several in rapid succession. That will increase the odds that you managed to get one when you were holding the camera still enough to get a sharp photo.
Let’s say you took the photo of your friends, and on the little screen it looked great but when you view it on the big monitor at home it is not perfectly sharp. This can be really painful since by now you won’t be able to take another photo. There are some things you can do in post processing to sharpen your image. What I will talk about here, after this somewhat long introduction, is Photoshop’s new feature “shake reduction”. This will not work if your image is focused incorrectly or if your subjects moved, but it will help if you have moved the camera during exposure. Shake reduction tries to estimate how the camera moved during the exposure time. Imagine you have a really small light in a completely dark room. If you take a perfect photo of this light only one pixel becomes lit up. Now, because we are humans holding the camera, it won’t be perfectly still, this will cause the light to make a trail over many pixels. Photoshop tries to estimate this trail (the blur kernel) and then calculate what original image (without the shake) would have created the image you got (a process called deconvolution). This of course is complicated by the fact that things at different distances will make different trails as you move the camera, so there will be artefacts in the photo, but even so the results can be pretty impressive.
Let me give you two examples. The first example photo was taken during a backpacking trip in Scotland back in 2006. I had been to a neuroscience conference in Edinburgh and a postdoc at Karolinska Institutet had recommended I take the opportunity to go with the MacBackpackers on a week trip around Scotland. I met some great people there, and took a lot of photos. Most of the photos turned out great, but in this example I will talk about a photo of Averil behind bars in Carnasserie Castle which did not turn out as planned. I remember wondering if I had moved the camera while taking the photo, but looking at the little display on my pocket camera it looked fine. It was not until I got home that I realised it was blurry. For some reason I had heard about Rob Fergus’ work, he is a researcher at MIT that was working on advanced techniques to sharpen images, and he offered to send me his Matlab code. My inner nerd awoke! I was fascinated by the fact that his program could do a reasonable estimate of how I had shaken the camera. Unfortunately after burning a lot of CPU time there were simply too many artefacts in that photo and I ended up moving it to the reject pile.
The second example has a happier ending (otherwise I’d not be writing this blog post). I am slowly going through pruning my selection of photos since I am running out of disk space. Unfortunately I am not doing a good job at reducing my storage footprint, there are a lot of previously rejected photos on my backup disk that I add back to my archive, so it is not really going as planned. Anyway, this morning I was looking at some photos from my mom’s birthday in 2012, which coincidentally was the day my brother Josef and Sophie told us that they got engaged during their trip to New York. There are two photos of them that I particularly like, one is sharp the other one is blurry and the second photo has a better expression. Last time I used the shake reduction I was not particularly happy with it, but because I really wanted to save this photo, I decided to try and see if it could improve this photo.
So the lesson is always try to get it right when you take the photo, by increasing the light level on your subject and making sure you have a short enough shutter time to avoid camera shake blur and a small enough aperture to include all that you want in focus. However if things go wrong then there are some things you can do and if you are lucky then the Shake Reduction function in Photoshop CC will be able to recover the sharpness that was supposed to be in your photos.
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Studio and Design
design goodness.
Today’s artists share an intimate relationship with their computer as it has become their paint-brush, pencil, or darkroom. We have personally experienced the frustration a computer can cause for an artist who used to be able to work more proficiently without it. It’s our goal to ensure that technology systems don’t interfere with the design process and that they move as quickly as you do.
Working with Good Electrons can avoid the ‘my nephew helped me syndrome’ that leads to poor performance, unsafe data storage, and an overall disappointment of the computerized creative process.
Our Approach:
Planning and Experience. We leverage our experience with a multitude of clients to ensure that our design clients always get 'the best bang for their buck' and real performance for their money.
We Use the Tools You Use. Two Electrons hold a degree in Art and Design from Cal Poly, and the Lead Electron spent a decade learning how designers interact with computers and technology systems by managing a thirty user computer network for a engineering firm in SLO.
We Understand your Budget and Goals. There is a reason they call us 'starving artists' and we recognize the financial burden of being a digital artist. Even if you are not starving we always have a strong focus on your bottom line and ensure that computer systems always offer a good return on your investment.
What our clients say:
I've used this companie's services in the past at the place were I'm employed and now have used them to repair and upgrade my personal business computer. They were very timely, courtiuos and knowlegable. They didn't try to sell me the world -- only told me and provided me with what I really needed. I would highly recommend them to anyone who has any computer service needs!
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Here at Relax The Back, when we came in one day and found our point-of-sale computer DOA we were hard-pressed not to panic. I immediately called Michael at Good Electrons and he made time in his busy schedule to come over that morning to diagnose the problem. After arriving he quickly discovered our fried hard drive and took it back to his business for repair. He left us with a loaner computer (so we could process transactions) and we had our repaired computer back at the shop up and running the following afternoon. All through this process Michael was exceptionally professional and competent while doing a great job clearly explaining the problem and optional solutions. His great service and very reasonable prices makes Good Electrons an obvious choice for us if we ever have computer problems again. I highly recommend Good Electrons to anyone!
Bruce Kaspian
Relax the Back
San Luis Obispo, CA
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Well Canvas Art Actually A Royal Class Hobby
Our creator has provided everyone the present to remember and even always be recalled. Each human indeed being may almost certainly would like to convey love in most novel means. A handful of gift or their loved ones dependant on his or her purses. Demonstrations range from person to person, then again a highly important and additionally wholly exceptional road to gifting is to substitute an incredible capture in a canvas which unearths folks creativeness in fact it is likewise effortless. Shots of your sorts might be became a Canvas Art that has a tiny bit of purchase, effective along with several pieces. A half way decent chosen canvas art impress is one thing for being prized for life-long by just an individual who might appear to have all sorts of things. They manufacture elegant marriage gift ideas, event exhibits or perhaps could very well be gifted upon any specific special events. Listed here are things that you can bear in mind while you're deciding on canvas art to be gifted:
You ought to ponder within the specific personal taste of the individual. Would that they gown? Might it be correct that they may be conventional and also ambitious in terms of garments along with hair cut? Do they have on gear together with smacking designs and colors or do they really benefit plainer colours and more ordinary styles? In the event they are really as an alternative regular afterward go for a distinctive Canvas art in two or simply three fundamental shades. Supposing that they are outgoing well then look into a handful of colored and elegant canvas art craft or an ex post facto geometrical description. Perhaps they can push a minivan, really enjoy dogs, as well as they're an immense admirer regarding Madonna, if that's so pick out a summary with an extremely particular topic, like a conventionalized super star image.
Advanced canvas Art Motion had been one more innovative development of Modern Art, that was main confined to paintings and stats. In any case, it all possessed crucial relation to typically the infrastructure of recent Art work. Cubism came up, whereby pictures ended up altered above in to blocks, and other topographical systems, along with Surrealism, underscoring the particular subconscious.
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#LL21C #LL21c Presents Level Up! LL21C Interviews The Reinvention of Lady Liberty
Day 81/90: #LL21c Concept Video
To all my Liberty Leaders,
You have assisted, listened, smiled,
Lent me your idea’s, and sticker’ed it up
From the top of the toy torch to the souls of my feet
Thank you for helping incubate this crazy idea.
<3<3<3
LL21C Interviews
#LL21C WrArtist Keelin Siobhan
Keelin Siobhan
Female – 38 – White: Irish/German/Italian – Born: Burlington Vermont – Lives: Southern California – Spiritual (Agnostic) – Peace & Freedom Party
What does Liberty mean to you?
Liberty is the right to live the life you want, as long as you are not hurting others.
Who is your Role Model/Super Hero?
Obviously, I am very inspired by Lady Liberty and literally have looked up to her! I am also inspired by women who have made a difference by rising above hard situations and using the power of their words, to help others —> such as Malala Yousafzai.
Tell us about something that confuses you or that you do not understand.
There are a lot of things I am working to understand, hence this project. Some days it is how best to understand the root cause of racism, other days I fight understanding SoCal traffic!
What did you have for dinner last night?
Ha! I think this might be my favorite question! I was at a family BBQ and in SoCal that means carna asada and pollo tacos. For dessert, I had a piece of delicious white cake, of which, I just ate the frosting.
What are your thoughts on the current National Conversation, in the summer of 2018?
Through my personal filter, think it is very provocative. When I watch corporate “news,” I hear a lot of yelling and blame shifting. I rarely watch it now, because it’s really just a time suck. I think there is a lot of deflection going on, so I do my best to pay attention to my immediate surroundings and figure out ways to help my family, friends and community on a local levels.
What comes to mind when you think of the Statue of Liberty? Have you visited Liberty Island?
Liberty Enlightening the World has always inspired me. When I was a child, I actually climb to the crown -which was really cool and I encourage the experience! When I lived in Brooklyn in the early Y2K’s, I would always seek her out from the F train, to/from work in Manhattan. Just spotting her shimmer, even from the distance, always gave me chills. There has always been a connection there, near and far.
Keelin Siobhan, is a Vermont-born writer and artist currently residing in Southern California. A creative leader with a colorful and energetic history in the Arts and Technology, she has worked across diverse platforms and multiple brands for two decades. Through retrospective and playful prose, jarring visual content, and an unquenchable lust for World Peace, she strives to bring a fresh and positive focus on the current human condition.
Enjoy this blog? Please spread the word :)
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High res paper texture
High-Resolution Vintage Paper Texture This paper texture comes with a spectacular high resolution that makes it very defined and authentic. Apply past surroundings or battle reenactments onto current landscapes. We work with high-end packaging partners in the U.
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This is already starting to help us understand certain behaviors and phenomena; researchers are trying to use diffusion MRI mapping to trace how High res paper texture like depression and anxiety disorders disrupt healthy brain function.
This freezes the neuronal pathways in place before they can begin degrading, High res paper texture gives you a brain that's stored as intactly as science can currently imagine it, for up to a year or two without losing information.
Meet the connectome The connectome is, in essence, the wiring diagram of the brain. Also a viewer application to enable both interactive control over the level of dynamism of the output video, as well as manual editing of which regions are animated or static.
Download 10 Premium Handmade Patterns For You You are getting a wide collection of interesting handmade patterns here. Specialty packaging is both an art and a science. The paper textures come in a wide range of attractive colors just to ensure you have enough options for you to choose from. We know that details matter, and can show you how different combinations of offset or digital printing, engraving, hot stamping, embossing, debossing, and die cutting can make your luxury printing production one-of-a-kind.
And assuming even that this gargantuan set of infinitely complex and connected problems can be solved, and you could run a model of yourself in a computer — a model of yourself at a specific date and time, of course, because neuroplasticity ensures that "you" is a constantly evolving concept — there remains the question of whether that model could be said to be alive, or to have a consciousness.
Download 4 Organic Handmade Paper Textures Organic coloured backdrops are required to colour the backdrop for a website for a herbal product and item. And whether you're a biological essentialist who believes that the entirety of consciousness is embedded in the meatware of the brain, or some kind of spiritualist that sees consciousness as something separate and not of this plane that drives, observes and works with the brain, it's clear that the brain is responsible for a ton of the stuff that makes you who you are.
They are easy to use and you can easily change their blending mode and opacity. Create virtual objects in museums and exhibitions, theme park attractions, and books. The textures come with some remarkable resolution, something that makes them appear authentic with your creative projects.
Create art in real time, integrating media such as painting, drawing and modeling. Thus the map of a brain changes over time, constantly reinforcing some pathways as others are left to die from disuse.
Because it connects to all kinds of physical systems and sub-systems, from the sensory inputs, to unconscious reaction circuits, to hormone secretions, motor impulses and background organ regulation.
These are easily customizable and you can switch between the hues anytime by adjusting the saturation layer. Download These handmade paper textures are available in gorgeous neutral shades and colors such as off-white, beige, yellow, tan, grey, light shades of brown, blue and several others.
The shapes are endlessly complex — imagine a densely packed bowl of spaghetti but with each strand varying its shape, thickness and 3-D geometry all the way down, to accommodate other strands and connect with them multiple times. And inRobert McIntyre and his team nailed stage oneto the satisfaction of the judges, preserving a rabbit brain using the ASC techniques described above, and keeping the full connectome mappable in the process for the first time.
Our extensive ranges of handmade paper textures are beautiful and can be used for multiple purposes. David and his team are masters. Simulate planned construction projects. But while MRI imaging in live subjects is more likely to be useful in the short term, the technology is far too low-res to reach the ultimate goal of a full human connectome map.
Functional representations of things, concepts, ideas, people.
Paper texture stock photos
Get real-time information such as instructions, maps, enemy locations, and fire cells via wearable AR devices. They come in a range of attractive colors including red, yellow, beige, etc.As you can see from the web design here at kaleiseminari.comraphics, I am quite a fan of the distressed and craft like feel of brown kaleiseminari.com five textures are straight from my collection of resources, scanned from the likes of.
The pack contains 5 high resolution texture images that are great for adding vintage overlays to your photos or providing a cool background for your designs.
This free set of textures contains 5 high resolution files from the full pack of Grungy Paper and Card Textures that’s now available at Design Cuts. The connectome is the physical map of your brain's neuronal structure.
If we can fully capture it, map it and upload it to a supercomputer, is that enough to create a simulation of you that.
5 Fantastically Free High Res Brown Paper Textures
Vision provides a primary sensory input for food perception. It raises expectations on taste and nutritional value and drives acceptance or rejection. So far, the impact of visual food cues varying in energy content on subsequent taste integration remains unexplored. Using electrical neuroimaging, we assessed whether high- and low-calorie food cues differentially influence the brain processing.
These are 6 high resolution canvas textures.
High Resolution Old Paper Texture Stock Images
The images are around xpx. The pack includes linen canvas, cotton canvas and some burlap (hessian) fabric textures. I have also made 4 seamless patterns that can be used as textile backgrounds. Share the post or leave a comment if you like them.
8 Macro High-Res Paper Textures
Download Hi-Res Canvas Textures. Paper has been present in the world of analytical chemistry for centuries, but it seems that just a few years back it was rediscovered as a valuable substrate for sensors.
We can easily list some of.
High res paper texture
Rated 5/5 based on 77 review
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Public Works: Reconsidering the Town Square | cityscape | Torontoist
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Public Works: Reconsidering the Town Square
What Washington D.C. can teach Toronto about great public spaces.
Public Works looks at public space, urban design, and city-building innovations from around the world, and considers what Toronto might learn from them.
One of the major themes of urban design in the 21st century has been the return of the “town square.” Modern city centres have long been places associated with heavy gridlock and commercial development, but trends like holistic sustainability and community development have revived the notion of the agora—a central space, whether literally a square or not, for city dwellers to congregate, recreate, and communicate.
In 2012, architecture, planning, and design firm Gensler launched “The Town Square Initiative,” a challenge to its designers to “unearth and re-imagine” public space in major cities around the world. Hypothetical designs were thought up for Shanghai, Tokyo, New York, Chicago, and many more. But perhaps the one most applicable to Toronto was devised for Washington, D.C.
In tourism pamphlets and establishing shots for House of Cards, it’s clear Washington has a lot of great public space. The iconic National Mall alone is over three kilometres of public square. Why, they could probably fit, like, a million people there. The city’s grid, designed in the 1790s, is famous for its wagon-wheel configuration. Roads angle out like spokes from circular centres, creating a bevy of small, round, or triangular plots of land, many of which have been put to use as public space.
But, as D.C. has developed from a modest government town into the heart of a thriving greater metropolitan area that is a home to 5.8 million people, the centralized spaces that have served the city for centuries have become less accessible to a large number of residents. The Washington Post declared the National Mall too big to serve as a proper community space. One assumes it might be overly touristy, too. How much community-building can take place in a spot where half the people are just trying to find the Air and Space Museum? And, as for the vaunted 18th-century city grid, it “disintegrates along the city’s southern borders, where it collides with the Anacostia and Potomac rivers,” Gensler’s Carolyn Sponza writes. That means none of the neat colonial-planned public space for Washingtonians outside the city’s core.
Toronto has had a similarly difficult relationship with major public space. Ninety years ago, University Avenue was slated to be our landmark, our National Mall. That dream died with the start of the Depression.
More recently, we’ve been given Dundas Square, a concrete pad with a long and troubled history. Some people have gradually come to like it. And it has, indeed, become a successful setting for concerts, festivals, demonstrations, and other large-scale events. But day to day, it’s still bleak, grimy, and underused—and associated (rightly or wrongly) with horrific incidents that have occurred both in the square and the surrounding area.
There’s also the problem of its location. Much like Washington’s centralized public space, which is criticized for being inaccessible to many of the D.C. citizens, Dundas Square is awfully far from the neighbourhoods where so much of the city’s residential growth is happening—in the east (Leslieville, Cabbagetown) and west (Roncesvalles, Parkdale) ends. The same could be said of other “town square” candidates like Nathan Phillips or Maple Leaf Squares.
Which raises an interesting question: Can a single public space effectively serve a modern metropolis?
While some Washingtonians complain that their existing public space is not public-friendly or easily accessible, others counter that new town square–like areas are being built across the city, albeit in outlying areas and on a smaller scale. And maybe that’s a better model for Toronto to embrace.
We’re already partway there, after all. Our big advantage over Washington is that, unlike the American capital, we’ve made pretty excellent use of our urban parks. Christie Pits, Dufferin Grove, Kew Gardens, the Sunnybrook sports fields—from downtown to the suburbs, there are countless public parks that bring Torontonians together for recreation and socializing. And if you’re looking for the “town square” to be a space shared by many different demographics, the ideal might be Trinity Bellwoods Park—with or without the booze.
Toronto hasn’t perfected the big all-purpose town square yet. But in smaller sites across the city, we’ve developed public spaces that unite citizens and create interaction. Maybe it’s not quite the agora, but it seems to be working out pretty well.
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It’s been quite a while since I sold a piece. Maybe that’s something I shouldn’t admit, but it is a reality of life for many of us in markets where art is under-appreciated. It is just such a lovely thing to have some one like one enough that they want to bring it home. Or to have some one say “It will be perfect for him” as my customer did today. All the Honorable Mentions, all the places, and even all the Best in Shows, really don’t compare to the feeling of selling a piece. It is so much more “human” and “heart oriented”, as opposed to the judges head bent calculus. NOT that I don’t LOVE having my abilities acknowledge by fellow artists who are often more accomplished than I am.
Ode-to-Emile-whole
“Ode to Emil”
One thought on “SOLD!
1. Pingback: SOLD! | shared visions art
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Magic Of Coffee On Display At The India Art Fair 2015
Coffee in all its artistic brilliance
The India Art Fair 2015, held at New Delhi's NSIC exhibition grounds was about expression, beauty, and thought provoking ideas. Almost like the perfect balance in between Delhi's chilly spells of weather! It also happened to be the occasion where Le Meridien showcased Coffee art at their counter, or rather, it was where 'Coffee met art'. What was previously restricted to snapshots on social networks, was on live display at their counter, with Le Meridien's global latte artist Esther Maasdam doing what she does best; recreate master works on cups of foaming Lattes! From the Lord Ganesha to peacocks and the likes, she completed the event theme really well with the block prints by visual artist Sohan Jakhar on canvas. Yes, Coffee as a medium of artistic expression wasn't restricted to just the Lattes alone!
The primary attraction of the Le Meridien counter was obviously Esther Maasdam's mastery of the Latte designs, which got its perfect compliment from Sohan Jakhar's motifs on the canvas below. It is not everyday that a medium like coffee is used for such creativity like motifs, and goes to show what fascinating things a creative mind can be up to if given the right forum.
One of the block print motifs by Sohan Jakhar
While the bigger block motifs formed the base on canvas, it was the cups of Latte which drove everyone to buzz around the stall. The efforts of the artist was truly meant for grabbing eye balls at large, and did so with aplomb. But reaching here isn't really a child's play. On asking Ms. Esther, she said, 'going through courses and training' was her route to the unconventional career choice and notary, just as it would for any other stream of work.
Esther Maasdam
On asked about having a bad day on the job, Esther's answer of eerily similar to that of what one would generally expect in creative fields. "Once at an event, I was asked to wrap up simply because they needed to churn out coffees in larger numbers, and the hearts were the easiest things to make," lamented the Latte artist. It was an echo of what one might experience especially when encountering volumes as a criterion for judgement, rather than quality work output to speak for itself.
Sohan Jakhar
Sohan seemed just as excited to be doing his part at the event. He is someone who works more on acrylics and oils, and this too was something new he experimented with. As an art lover, one would hope he continues with this line of work in the future as well, and perhaps go beyond block prints to showcase creativity with coffee.
Delicacies like the rose cardamom rolls to enjoy with the artistic lattes
There were a few delicate treats to enjoy with the attractive Lattes. A personal favorite was the Rose Cardamom rolls, which turned out to be delicious, perfectly soft and crispy at the same time.
Some of the art on display was obviously where the major crowd was, at the India Art Fair. It was rather apt that this was a medium used by the Le Meridien team to get themselves a chunk of the aesthetic attention flowing about. Some of the displays were:
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nicole&corelle
Are literally the two sweetest souls in the world.
Their day started in their suites...
where we captured them while they were getting ready and grabbing all those beautiful detail shots.
first look
The rain started coming so we did an indoors first look and private time for photos.
bridal party
hall of kings
Historical Event Venue
the walk down the aisle
Nicole and Corelle absolutely love kids and integrated them into their wedding at every angle and aspect. The kids had so much fun participating in the wedding and loved that they had just as important roles as all the adults.
congrats Nicole & Corelle!
Thank you for choosing Maivab Photography to capture one of the most important days in your life. We had a blast photographing you both and your families on this wonderful day.
Photography: Maivab Photography
Associate Photographer: PLP By Kalia
Venue: Hall of Kings Historical Event Venue
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Page 1
Halfway Down the Lane
by Ileana Collazo Volume 3
“I hide in Nature, no matter where I am, for I can always call it home.” “I learned all I needed to about creating art as a young girl in my grandmother's garden - where I sat doing what as an adult I call meditating. That quiet spot became my temple. Many years passed before I began to birth the creations conceived in my early daydreams. I started to write fiction and poetry, and then my mind exploded into a galaxy of colors, shapes, and movement as I started to paint on a variety of surfaces, digitally, and then added photography and digital visual art to my artistic spectrum. My art is representative of the twists and turns we take in the course of our daily lives, and of the awe-inspiring beauty that surrounds us. My work is my gift to the world, and to everyone who falls in love with it. I was born in Cuba, and have lived in Spain, New York, Vermont, and Massachusetts. I presently reside in Miami, Florida; where I work and play at Collazo Art Studio with my artist husband Miguel Collazo, four dogs, and cats in the yard. I take photographs - sometimes of all the obvious things that we all see, and others of things we tend to overlook - like items tossed roadside, a section of what I initially see in the frame... - and then, I digitally mix and match the images to create the finished work. When I paint, I allow colors, shapes, and movement to guide me to express the language that floats inside my brain.”
“I paint with words, and write with images.� At the dawn of time, visual arts was born, holding her breath until words joined her. Together, they move the senses with a reckless force only matched by nature. I sometimes meld the two to create one experience, and other times let them each forge their separate paths. Music, the elusive ghost, often accompanies me in my creative journeys.
Dedication: “Creating is in many ways akin to falling in love - at least for me because it takes a deep commitment to expression to make our daydreams real. Most people brush over that concept when they meet an artist or a writer, but a few do not, and my youngest daughter, Daphne Collazo, is one of those few. I thank her for her unvarying support, for reminding me that a dose of reality is a necessary part of the ‘artist life,’ and for always being there for me in every aspect of my life. I profoundly admire her for her own creativity, her philosophy of life, her spunk, and her beautiful kind heart.”
“For Volume 3, I randomly chose 10 poems. From 2001 to 2011 I found myself back in Miami, Florida; working in places I never expected to, watching my parents age at an accelerating rate, and experiencing what I refer to as “a sad sense of belonging.” People change, places change, and one can never truly come back home again.”
Artwork Information:
Front Cover: By the River Bed | Manipulated Digital Photography | 2016 | Ileana Collazo
Artist Statement: A Ghost of Her | Manipulated Digital Photograph | 2015 | Ileana Collazo
Poetry Statement: At the Dawn of Time 3 | Digital Art | 2015 | Ileana Collazo
The Fabric of Time: The Fabric of Time | Digital Art | 2016 | Ileana Collazo
Living Together, Sleeping Apart | Living Together, Sleeping Apart | Manipulated Digital Photography | 2016 | Ileana Collazo
Washed Out Washed Out | Manipulated Digital Photography | 2016 | Ileana Collazo
Fated for Mating, Destined to Weep | Fated for Mating, Destined to Weep | Manipulated Digital Photography | 2016 | Ileana Collazo
Lying Beside You | Lying Beside You | Manipulated Digital Photography | 2016 | Ileana Collazo
Drowning | Drowning | Manipulated Digital Photography | 2016 | Ileana Collazo
Weightless | Weightless | Manipulated Digital Photography | 2016 | Ileana Collazo
Looking at Herself | Looking at Herself | Manipulated Digital Photography | 2016 | Ileana Collazo
Smoldering Grief | Smoldering Grief | Manipulated Digital Photography | 2016 | Ileana Collazo
Concealed Identity | Concealed Identity | Manipulated Digital Photography | 2016 | Ileana Collazo
One Million Questions by Ileana Collazo Sitting on a stoop, arms crossed, legs spread out; looking at the sky all day long - remembering, forgetting. Nightfall bringing death one-inch closer, daybreak making heartache one-ounce lighter. Day by day, night by night, tumbling in a space so vast it makes one gasp. A tumbleweed, a dandelion, a feather, a man; blown about by the winds of life, crushed to powder by the weight of time. Time, who can explain it? Who wants to? For explanations are the birth mothers of one million more questions. Thursday, August 20, 2009
Living Together, Sleeping Apart by Ileana Collazo Man and woman grapple over sex and money, a half-eaten apple, a child, internet porn; their marriage now a corpse they dress up every day. He groans, she mourns; he moans, she subs. Conformity brews the coffee, resentment fries the bacon and eggs; no toast, they won’t be breaking bread. What’s dead is dead, but it can’t be buried yet; Society is peaking through the keyhole, and they won’t admit defeat. So they drive off each morning, too quickly returning, shout and curse with windows shut, and fret in their separate beds. Miami, Florida, May 4, 2014
Washed Out by Ileana Collazo A mother is a woman, who once was a daughter, who once was a child, who once was an infant, who started off as an embryo created by two. A mother is an object of love and affection, resentment, and rejection; a person of sorts. Not always seen as human, but rather a reflection of all that spells perfection and sacrifice. All giving and forgiving, pious and understanding, never the least demanding; an effigy of light. All skin and bones shed, all wants and needs forsaken, she sits around and waits for those who want and need her. In dreams, she runs barefoot, plunges into the ocean, walks down a wooded path until nighttime approaches. Awakened by reality; dishes clang, phones ring, dinner burns, she drives, mends, and shouts as children squirm. A mother is not perfect, but if you ever hurt her, remember that in essence, she is no more than a girl. Miami, Florida, May 8, 2014
Fated for Mating – Destined to Weep by Ileana Collazo One breath inhaled, one gulp of air thick with despair. I lay inert on the wet grass daring time to pass. One thread of gold around my finger; the reason for it gone. I strain to listen to the faint whisper of words that have been said, but all I hear is the wind hollowing and my sobs gone astray. Miami, Florida, May 10, 2015
Lying Beside You by Ileana Collazo Trapped in a garden without gates, eyes fixed on things I cannot see, that my heart longs for in vain. The rain falls softly over me; flowers smothering my chest, petals choking me with dread from memories for too long dead. Miami, Florida, May 17, 2015
Drowning by Ileana Collazo When your chest aches, and your heart breaks, and you fall into an ocean so deep that your lungs fill up with brine; the world ceases to roll over, and sun rays become so dim that the visions you have seen blur into a veil so thin that it rips in the warm wind as you feel the waves that swell as they sway you to and fro until you can hear the song of those mariners long gone who still weave with crooked hands shreds of hope that have long gone. Miami, Florida, May 1, 2016
Weightless by Ileana Collazo A drum beats inside my head: unrest. The best is gone, and I am left with all the rest. Unkempt, the garden overgrown with pests chokes the daylilies at night, withers in the light of day. While I lay frozen in bed waiting for things that do not come, calling out names into empty space, digging my nails into my chest, trying to rip out the heart preventing me from floating away. Miami, Florida, May 1, 2016
Looking at Herself by Ileana Collazo Two figures linger on the path; One moves, one stays, one approaches, the other retreats. One hears a sigh as a beam of moonlight dives into a puddle at her feet, and the gust of wind she greets kisses her cheek and scuttles through the trees. They touch, and meld into one shadow, looking up at a sky so starlit that it shimmers. Miami, Florida, May 7, 2016
Smoldering Grief by Ileana Collazo We dream that there are things that matter, we wince when we think this is all there is. Paradise found and paradise lost are two very different things; one sought after, and the other one feared. Endearing is the promise that we will go on for eternity; appalling is the notion that we will dissolve into matter that in turn no longer matters and is of no consequence as the world turns on its axis and we no longer exist. To sit and wonder and ponder, counting each second that passes; knowing that each time a clock ticks and our heart beats our chest, we come closer to that hour when our eyelids will stop fluttering, and our last breath will announce it is time for us to go. Miami, Florida, May 9. 2016
Concealed Identity by Ileana Collazo The heart hurts in different ways than does any other organ; with a scalding pain that smolders, making us almost ignite as an unseen hand that presses until it leaves a deep dent tears our flesh from inside; twisting and shredding out gut. Sorrow comes trailing behind, carving a ditch on the grass, exposing the jagged rocks that cut our feet when we walk. Those quiet talks with ourselves, when we whisper words of hope, fall to the ground and break like glass slipping from our hands. No matter how fast time flies, leaving all the hurts behind, ashes continue to burn, and sadness continues to stew in a cast pot with no lid that lets it spill on our lap and sip right down to our bones; staining and scarring our souls. Miami, Florida, May 16, 2016
Published by Art Daily News International Magazine Special Editions Fatima Cรกnovas artdailynewsinternational@gmail.com 305.302.6803
Profile for Fatima Canovas
Halfway Down the Lane
by Ileana Collazo Volume 3
Halfway Down the Lane
by Ileana Collazo Volume 3
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Tracy Paine
Tracy Paine
Deputy Chief Executive
Tracy is a longstanding member of the Belong executive team and has been actively involved in the creation of Belong villages – an award-winning community village model that aims to provide the very best in accommodation, services, support and community facilities, all designed around the needs of people living with dementia.
Tracy is involved in the research, design and operation of Belong. She ensures that each new village improves on the design of the previous one. This has led to a continuous evolution of design, models of care and leadership for Belong to expand and develop home care, day care and Admiral Nursing services.
Tracy was awarded a Winston Churchill Memorial Trust Travel Fellowship in 2016 enabling her to visit aged care facilities in Australia and the USA and was previously designated a Healthcare Design Champion in the Building Better Healthcare Design Awards.
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Art law USA
Patrick Cariou wins copyright case against Richard Prince and Gagosian
Judge orders that all infringing copies of Cariou’s Rastafarian photos be impounded and destroyed
Cariou v Prince: Left, a photo of a Rastafarian from Patrick Cariou's "Yes, Rasta" and, right, a painting from Prince's Canal Zone series
new york. A US District judge has ruled in favour of photographer Patrick Cariou in his copyright lawsuit against artist Richard Prince.
Cariou originally filed suit for copyright infringement against Prince, Larry Gagosian, Gagosian Gallery, and Rizzoli books in December 2008 after a number of his photographs were reappropriated without consent in Prince’s “Canal Zone” series. The photographs first appeared in Cariou’s 2000 publication, Yes, Rasta, a photographic book produced after spending six years documenting Jamaican Rastafarians.
Prince “admits to using at least 41 photos from Yes, Rasta”, according to the judge’s decision, but had claimed “fair-use” for transforming the original works, as opposed to creating derivative images.
US District Judge Deborah Batts has granted Cariou’s motion for summary judgement on the issue of copyright infringement and ordered the defendants to “deliver up for impounding, destruction, or other disposition, as Plaintiff determines, all infringing copies of the photographs, including the paintings and unsold copies of the Canal Zone exhibition book, in their possession, custody, or control and all transparencies, plates, masters, tapes, films, negatives, discs and other articles for making infringing copies.”
The defendants must also notify in writing any current or future owners of the paintings to inform them that the works infringe Cariou’s copyright, and “were not lawfully made under the Copyright Act of 1976, and that the paintings cannot be lawfully displayed”.
At its heart, the case focuses on Prince and Gagosian’s “fair use” defense. This legal doctrine is intended to mediate between the First Amendment and the Copyright Clause, which are “intuitively in conflict”, according to the judge’s decision. Four factors determine fair use.
Firstly, “the purpose and character of the use,” ie the extent to which the new work is transformative. However, rather than adding value solely through transforming elements of the original, the new work must comment on the original in some way, and create something “plainly different from the original purposes for which it was created”, according to the judge’s decision, which refers to the landmark copyright case of Rogers versus Koons: “If the infringement of copyrightable expression could be justified as fair use solely on the basis of the infringer’s claim to a higher or different artistic use...there would be no practicable boundary to the fair use defense.” In the earlier case, Koons failed to prove that his “parody” of an image of a couple surrounded by puppies, by commercial photographer Art Rogers, constituted fair use.
After noting Prince’s testimony that “he didn’t really have a message” and did not attempt to comment on any aspects of the original, the judge ruled that “there is vanishingly little, if any, transformative element.”
The less transformative a work, the more important its commerciality becomes. The papers quote Gagosian’s sales figures to determine that the “defendants use and exploitation of the photos...was substantially commercial...[which] weighs against fair use”. Gagosian had sold eight of the Canal Zone paintings for a total $10.48m, 60% of which went to Prince, with the remainder to the gallery. Seven other paintings were exchanged for art “with an estimated value between $6m and $8m,” according to court papers. Gagosian gallery also sold $6,784 worth of exhibition catalogues.
“Bad faith” is also taken into consideration. Despite instructing an assistant to contact Cariou’s publisher to buy extra copies of Yes, Rasta, Prince never asked “about licensing or otherwise sought permission to use” the images. “Prince’s bad faith is evident,” ruled Judge Deborah Batts.
The second element is the “nature of the copyrighted work”. The defendants had questioned Cariou’s copyright of the images, asserting that his “photos are mere compilations of facts...arranged with minimum creativity.” The judge ruled against this: “Unfortunately for defendants, it has been a matter of settled law for well over 100 years that creative photographs are worthy of copyright protection,” found the judge.
The third issue taken into consideration in the fair use defense is the “amount and substantiality of the portion of the copyrighted work used”. The judge found that, by appropriating the central figures in Cariou’s publication, Prince had gone “to the very heart of his work. Accordingly, the amount of Prince’s taking was substantially greater than necessary, given the slight transformative value of his secondary use...[which] weighs heavily against...fair use.”
The final deciding factor is the extent to which Cariou’s real and potential markets had been harmed by Prince’s appropriation. The defendants’ claims that “Cariou has not marketed his photos more aggressively (or, indeed, as aggressively as Prince has marketed his paintings) are unavailing,” found Judge Batts, who said that Cariou’s potential market had been “usurped”. Cariou’s real market was also effected after Manhattan gallerist Christiane Celle cancelled a scheduled exhibition of prints from Yes, Rasta because she did “not want to be seen to be capitalizing on Prince’s success and notoriety...and did not want to exhibit works which had been ‘done already’ at another gallery”, according to the papers.
The “Gagosian defendants” were also found “directly liable for copyright infringement” by distributing images of and selling paintings from Canal Zone. In addition, all Gagosian defendants were found as “vicarious and contributory infringers” after the judge ruled the they had “at the very least the right and ability (and perhaps even responsibility) to ensure Prince obtained licenses”. She added: “The financial benefit of the infringing use to the Gagosian defendants is self-evident.”
Cariou had also claimed for conspiracy under the Copyright Act, which was dismissed.
In an emailed statement, a Gagosian spokeswoman said: “Gagosian Gallery declines to comment on the Court’s decision at this juncture. Gagosian remains committed to the promotion of the arts through its continued support of artistic freedom in the studio for appropriation artists, such as Richard Prince, the creator of the Canal Zone series.” It is not known whether the gallery or Prince will appeal the decision.
All parties are due to appear in court on 6 May for a status conference to settle damages and fees.
More from The Art Newspaper
1 Apr 13
15:15 CET
L.H.O.O.Q was ruled fair use.. I think this art makes a similar statement. I don't really like the images but that's irrelevant isn't it?
18 Jun 12
15:6 CET
CLAUDE NELOMS, ANGLETON I am a 10th Grader Rastafarian at angleton high on pot school and we are learning about copyright infringement and all this is is copy and paste so unprofessional a child as old as picasso could do it. ART I~I ART
17 Jun 12
21:33 CET
copyright laws do not trump constitutional rights.read the constitution art is mentioned but not copyright.art has special priveledges like the press does.
10 Nov 11
16:22 CET
I am a 10th Grader at angleton high school and we are learning about copyright infringement and all this is is copy and paste so unprofessional.
28 Oct 11
15:6 CET
Only weak artists infringe the copyrighted works of others. Copyright law balances the needs of the original artist to profit from his works against the needs of the public and other artists to use those works. If the appropriation is not deemed to be a "fair use," and the appropriator has not obtained the copyright owner's permission, he must wait until the work goes into the public domain. Under the current Copyright Act, works generally fall into the public domain 70 years after the artist dies. If you believe the length of copyright is too long, take your complaint up with Congress.
5 Oct 11
15:16 CET
It would be nice if more artists commented on this issue. I am not a fan of copyright–it was invented not to protect artists but to punish them. This is all starting to sound Orwellian. Scary. Art doesn't care about copyright, only weak artists do.
19 Jun 11
19:12 CET
I have to ask Mr. Lawrence Stanley how he would feel if someone took an image he originally created, pasted a couple of images on top of it in Photoshop then turned around and sold it for millions. That's essentially what happened here. A substantial portion of the original work was used to make money. As such, the original artist should have been compensated by the thief. Who gives a damn whether it usurped the market for the original work? This guy is a disgusting, talentless thief and every cent he earned from his thievery should go to the original photographer.
11 Jun 11
16:31 CET
I just don't get how this guy is considered an artist. It's almost like a joke and he is thinking, "got you idiots who are going to pay me lots of money." I mean it's someone else's picture, that they used their own creativity and skill to capture. Then this guy takes the picture, adds a guitar (not even a painted one). A guitar from someone elses picture, marks out the eyes and mouth like a 2nd grade girl would do to a picture of the boy who ignored her, and it's called art. People paid millions of dollars for that?!? I am all about expression and creativity but I just think this is a joke.
18 Apr 11
0:59 CET
First off, Prince's piece does not look like a painting. If it had been a painting, he would have had to put something of himself in the effort. This is a copy~n~paste of Cariou's photo, with a guitar and some facial masking pasted on the top in Photoshop. Not very original, at all!
7 Apr 11
5:27 CET
One word: respect. Glad to see this. Copyright exists for a reason, and I'm sure the original artist did not appreciate the changes made on the photograph, so a back-room deal was not an option. Sometimes it's really not about the money. I'd rather buy a copy of the original, personally. JL http://contemporary-art.webs.com
5 Apr 11
20:34 CET
How can one claim that the above image (one of the simpler in the series) usurps the market the original work? Why would someone who wanted Cariou's photo accept an essentially defaced version of it instead? As for the supposed cancellation of a Cariou show because the gallery didn't want to capitalize on Prince's success, this is wishful thinking more than anything. The gallery owner, Celle, actually testified that “I was very committed, I wanted to represent him. We agree on it but we never really pursue it, no.” When asked, “You never got to an agreement?” Celle answered: “No. In general when I do a show with ... an artist, I do not do a show if I don’t represent him, because it’s very expensive to put a show together." Subsequently, when Celle was asked if she ever gave Cariou a contract to review or sign, Celle answered: “No, no. It didn’t go so far.” Prince may be guilty of copyright infringement, but the market for Cariou's work was not hurt by it
3 Apr 11
15:31 CET
In the type of work that Mr. Prince chooses to engage in, there's one cardinal rule - always remember- "There's a fine line between clever and stupid" Ala Spinal Tap. Stupid is as stupid does. Art is not the spiritual side of business as usual. www.collectingorphanart.com
3 Apr 11
15:31 CET
Perhaps had the 'artist' produced a more creative copy the original photography would have forgiven the plagerism. However, with the visual crap that was shown as art with what is a 'sensitive' photograph, one can hardly blame the originator for taking this 'artist' to task. Personally, I think Prince was just taking the piss.
28 Mar 11
19:32 CET
Here we go, I'm so glad again that this nonsense is coming to an end. If the so called artist had any real talent these things wouldn't happen period. Don't blame Andy Warhol he is not here to defend himself and its not his fault these artist don't have an original Idea of there own. "I would so love to go head to head, painting for painting with these bluechip spoiled gallery artist, I could make one stroke on canvas and kick all their A__es, just try me.(Talking to you Larry Gogo) Great comments on this people, we know good art when we see it!!
28 Mar 11
15:7 CET
I guess Warhol's Mustard Race Riots should be destroyed as well.
28 Mar 11
15:7 CET
This type of thing is not allowed (without permission) in the audio art form - music so it's entirely right that is should be outlawed in the visual art - this is a small step on a longer journey.
28 Mar 11
15:7 CET
Reminds me of two similar cases a while back. Tom Waits and Bette Midler sued and won over corporate appropriation of their distinctive voices in an attempt to sell product with implied endorsement of the artists.
28 Mar 11
15:7 CET
in 100 years this decision will be laughed at as oh-so-primitive, in the light of the well-known existence of collective consciousness, and the interchangability of mediums
25 Mar 11
1:44 CET
Copying without written permission is robbery and a lot of robbery is happening everywhere in the world of art. I love this verdict. Bravo!
24 Mar 11
21:35 CET
At last Duchamp and all his Readymade plagiarists - Prince et al aka copy cats - are seen for what they really are. Well done Judge Batts for restoring Cariou's rights to his own work.
24 Mar 11
21:21 CET
Wow! This lawsuit gives so much insight to the evil at work in the commercial art world. What a spiritual violation Prince/Gagosian committed in crossing the "fair use" line so heedlessly -- not only of Cariou but a spiritual community. Bad karma! And how grand that Lady Justice came in the form of a woman!
24 Mar 11
18:18 CET
Justice has been served. One artist stealing from another is just plain bad manners as well as dishonest. All of these lawsuits wouldn't have to happen if the artists would just pick up the phone and ask.
24 Mar 11
13:39 CET
The Ras Tafari community welcomes this Judgment. Mr. Prince’s ‘art’ distorted and misrepresented photographs of Rastafarians. The exhibit defamed the Ras Tafari brethren and sistren photographed, and by extension the entire Ras Tafari community. The exhibit also breached our religious, cultural, moral and intellectual property rights as a traditional minority community. Mr. Prince abused his freedom of expression at the expense of a vulnerable, peaceful, spiritual community and we are glad that his indiscretions have been halted by the Court. Non-Ras Tafari individuals and organisations that exploit and/or misrepresent Ras Tafari imagery, culture, words, symbols, music, art and craft without the prior informed consent of and appropriate benefit sharing with the Ras Tafari community, will be regarded as hostile to the community and treated accordingly. We will continue to vigorously monitor this and other infractions to preserve and maintain our cultural and religious integrity.
23 Mar 11
15:3 CET
It's hilarious that Ashley Bickerton, another 80's art star, says that it's all about the money, that Patrick Cariou should have shut up, held his nose, and simply demanded a payoff. Perhaps Andy Warhol is to blame if so many art worlders mistake business for art. Prince's work is, quite literally, a travesty, and anyone who thinks Prince's work is art is deluded.
22 Mar 11
23:42 CET
The entire art world is made up with copy rip off artist and in my opinion an art dealer is equivalent to an ambulance chasing attorney and a use car salesman. The whole art world is corrupt and despicable.
22 Mar 11
23:42 CET
It is what it is? Well..it actually is not what it is. It is in fact someone else s work stolen to self aggrandize post modern lazy art. Its wrong morally and legally as the judgment proves. About time 'appropriation 'artists' made some more authentic art rather than pillaging other image makers. Walker Evans it aint.
22 Mar 11
23:42 CET
If it looks like the original photo or image, then it is in copyright violation. Come on people, really? To have 41 different images used without written permission is not right. It's like selling a Picasso as your own work.
22 Mar 11
13:42 CET
This is actually my favorite body of Prince's work, so I am saddened it comes to this. Some backroom maneuvering and an out of court settlement would have left all parties a lot happier (and richer) in the end. It looks like there were no real winners here. And btw, I think Cariou's images are fantastic and did have a lot to do with the power of The Canal Zone series. No moral call here, it is what it is.
22 Mar 11
2:54 CET
Great read! Shocking that Gagosian/Prince would let it go to trial, considering how weak their defense was.
22 Mar 11
1:39 CET
Wow that is quite a damning verdict, worth reading in full. Clearly there is a line and it was crossed substantially. The judge goes out of her way to stress that fair use is just that, and that this was not in any way fair. Fascinating! Alan
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starting at $2,000
Coverage begins at 2 hours. Up to a full day of coverage is available. Inquire for details and pricing.
- Maya + Shawheen
Michelle was absolutely incredible. She made us feel so comfortable the whole day and we are in love with our photos. She is the best communicator and kindest soul ever. We can’t stop looking at our photos. Thank you Michelle!!!
- Angela + Harold
Michelle's quick photography skills are unparalleled. Switching effortlessly between her digital and film camera, she captured every moment with precision. Her nimble movements ensured no detail was missed, expertly immortalizing our elopement. Michelle's ability to anticipate the perfect shot and adapt to different mediums added a dynamic touch to our memories. If you want a photographer with swift agility and artistic finesse, Michelle Navarro is the one.
- Danika + Rico
Michelle IS AMAZING. My husband and I aren't so photogenic so we knew it was going to be a bit awkward doing our engagement shoot but boy were we wrong. Michelle works along side with her husband Niko, who also did our videography, and they are the perfect duo to capture those special moments in your lives! They both made us feel so comfortable and their energy were both great. Michelle's communication throughout the entire process was perfect. 1000/10 recommend!
- Brenda + Noe
Michelle was wonderful to work with. Her and husband's business combined was very personable and inviting. They were both very nice and a happy couple and made that much more pleasant on our wedding day! The process of booking and getting our photos was very easy and they also communicated with us well and responded in a timely manner. Lastly, our photos and footage were amazing, we are so happy with their work! Thank you Michell and Niko!
- Nicole + Ian
This is the third time we've worked with Niko & Michelle and every time I'm still OBSESSED with what they deliver!! Absolutely amazing and super friendly! Can't wait to book more!
- Lily + Josh
Absolutely INCREDIBLE! Michelle and Niko are a fantastic duo to work with and were very comforting to work with. Great quality photos, captured everything (and more) than I asked for. Made the process from start to finish very simple and not complicated. Worth every single dollar spent and if you're on the fence, this is the sign to book Michelle and Niko asap!
- Kaylie + Tyler
They quickly became our friends and we will continue to book them for any special events we should have. Our wedding pictures and video was absolutely beautiful and made us relive our wedding day all over again. We are both truly happy we found great friends after our wedding was over, we will recommend them to all of our friends and family.
- Shelly + Andy
Michelle photographed our wedding and I could not be more happy! Michelle did amazing with picking locations to take photos. All of our photos are absolutely beautiful! We are so happy with her work and finally have photos to hang on our walls.
- Cassie + Jonathan
POWER DUO!!! I can't say enough about how sweet, and professional Michelle is, so quick to respond and made our first experience such a breeze. If you're nervous the day of your shoot, don't be! Michelle and Niko will guide you through it all! Exceeded our expectations! It's so hard to choose which photos were our favorite, we LOVE them all! We were so pleased with our session and final photographs, we will definitely continue to use them in the future.
- Lupe + Richard
If you don’t book Michelle you’re missing out! Michelle was so great during our surprise engagement shoot, going above and beyond hiding from my fiancé. Both of us were a little nervous since we have never done anything like this before but Michelle made us feel so comfortable! We had a ton of fun while getting our pictures done, and she really made it feel personable which was amazing. Not to mention our pictures turned out wonderful and we’re beyond happy with the results!
- Haley + Jake
If i could leave 100 reviews, I would. Michelle is awesome at what she does, and makes the process so easy. Her and her husband are so easy to work with and make it so much fun. We have used her for family, engagements and our wedding pictures and I will continue to use her in the future. We received our photos back in the time frame that she gave us and loved every one of them. 10/10 will use her again!
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Savage Messiah
Format: Screening presented by Days Are Numbers
Part of Ken Russell Forever
Date: 16 March 2012
Time: 3pm
Venue: The Montpelier, London
Director: Ken Russell
Writer: Christopher Logue
Based on the book by: H.S. Ede
Cast: Dorothy Tutin, Scott Antony, Helen Mirren, Lindsay Kemp
UK 1972
103 mins
After making The Devils, Russell felt exhausted, burned out. He turned to an adaptation of Sandy Shaw’s musical The Boy Friend, intending a light-hearted tribute to a childhood spent watching MGM musicals. The film proved nightmarish to make: ‘we had nervous breakdowns and near suicides among the company,’ Shirley Russell reported. Russell was once again near breaking point. Believing he had delivered a surefire hit, but finding that the sort of creative doors he wanted to open remained closed, Russell re-mortgaged his house to finance his next project, a personal film that took him away from art deco glamour and complex dance routines, and back to his days as a struggling still photographer living in West London.
Savage Messiah is the story of the French sculptor Henri Gaudier-Brzeska (referred to as Henri Gaudier in the film) and his relationship with the unpublished author Sophie Brzeska, a Polish woman some 20 years his senior, whom he met in 1910 (and whose name he appended to his own). Russell had picked up a copy of H.S. Ede’s biography Savage Messiah (actually mostly just the couple’s correspondence, with explanatory gloss by Ede) while a young man, and something about Gaudier-Brzeska’s story profoundly affected him: the determination, the arrogance, the contrariness, the seemingly contradictory desire to transcend one’s drab, quotidian surroundings while at the same time resisting the pull of airy transcendentalism.
For the script, Russell turned to the poet Christopher Logue, who had previously acted for Russell, providing a superbly acid characterisation of Cardinal Richelieu in The Devils. And for the all-important set design (Gaudier-Brzeska: ‘I shall derive my emotions solely from the arrangement of surfaces, I shall present my emotions by the arrangement of my surfaces.’) he turned to another collaborator from The Devils, Derek Jarman.
But for such a grand, threatening title (actually a sobriquet given to Gaudier-Brzeska by Ezra Pound) and from a director with Russell’s reputation for controversy, Savage Messiah is actually a visually subtle, character-driven work, featuring little of what was to come; the gaudy comic-book primary colours of Tommy, or the giant phalluses of Lisztomania. The film sets the tone from the outset: a pencil scratching an image onto paper (with accompanying closely recorded sound effects) recalls past enthusiasms for a caméra-stylo approach to making films. At the time Russell felt paradoxically liberated by the external constraints on the film, but he later came to view the work as too talky, too static.
Although Logue’s script is indeed dialogue-heavy, Russell’s own analysis does not do justice to the film. It features a great variety of techniques; sometimes the pace is gradual and stately, sometimes the camera and editing are as restless as Gaudier himself. Scenes such as Gaudier’s impromptu rant outside the library seem to suddenly explode into life, banishing the passive, austere mood created by the previous sequence. These abrupt shifts in tone and mood seem calculated to infuriate Russell’s detractors, but they also reflect the fractious, volatile relationship between Henri and Sophie, the way in which tender moments between the two can suddenly flare up into arguments. Dorothy Tutin’s performance as Sophie is delivered sensitively. Though her character is tightly wound and prone to outbursts, she is somehow the perfect counterweight to Scott Antony’s testosterone-fuelled, posturing Gaudier, who wilfully changes his opinions and his plans by the day.
That Logue was the originator of Private Eye magazine’s Pseuds Corner column is visible in the characterisation of the art world’s glitterati, whom Henri and Sophie first meet at a dinner party at the house of Gaudier patron’s Corky (played with camp relish by Lindsay Kemp, perhaps best known to cinephiles for his role as the scrofulous landlord in The Wicker Man). What distinguishes Henri and Sophie from these shallow dabblers is that they are willing to take an idea to the end; Sophie’s novel is titled Truth: A Novel of the Spirit and Gaudier, when he tosses his famous female torso through an art dealer’s window in an act of rage, demands to be thrown in jail and insists that nobody pay his bail. It is principle, then, that underpins the value structure of this film, although Gaudier’s principles are sometimes clouded in contradiction (the idea that it’s only through paradox, oxymoron, that we can express what we really feel) such as when he tells the assembled dandies, ‘I like what everyone likes - and EVERYBODY likes war’. The real Gaudier-Brzeska heckled the poet and war enthusiast Filippo Marinetti during a lecture in London, but Logue’s script is not interested with presenting Gaudier as an earnest ideologue.
The character of Gosh Boyle is introduced as a counterpoint to Sophie. Gosh is a suffragette who impresses Gaudier with her disruptive demonstrations and her almost cartoonishly voluptuous figure. But when world war breaks out her imperialist background is too strong to resist and she joins the army (her father is a Major who commissions a bust from Gaudier). When Gaudier last sees her she is a crass, jingoistic parody, shorn of her previous feminist and bohemian tendencies. Some quarters may feel that as a character she is used to critique feminism (and with Russell’s prurient interest in her physical charms, such an interpretation is hardly surprising). In fact, she figures in the film’s commentary on commitment. Gosh is just another dilettante, like the luminaries of the art crowd that Gaudier is introduced to. Such characters soon reveal that their pretentions to artistic and political activity are motivated by social climbing rather than Gaudier’s relentless termite burrowing.
Gaudier-Brzeska enthusiasts are often critical of the film, not only for its compression of the artist’s biography, but because it reveals little of the complexity of Gaudier-Brzeska’s thought and of his participation in the thriving pre-war avant-garde (no mention of Gaudier-Brzeska’s friendship with figures such as T.E. Hulme and Ezra Pound.) The Vorticist movement as a whole is portrayed rather dismissively, as a group of style-over-substance dilettantes rather than the strident firebrands many of them were.
But here as in his biographies of famous composers, Russell is less interested in historical accuracy than in communicating the energy of the creative process. When Andrei Tarkovsky coined the phrase ‘sculpting in time’ he was in part trying to elevate cinema to a fine art, inspired by a divine muse and revered in a gallery. Russell uses the same medium as a figure for his aspirations: ‘The central image of our movie is the titanic struggle of the sculptor to release his genius from the intractable marble,’ Russell told Jarman, perhaps somewhat haughtily.
Unlike Tarkovsky, Russell was thinking less of the hallowed portals of high art and more of the sweat, exertion and chipping away that characterise the sculptor at work. It is instructive (and gratifyingly blasphemous) to compare the end of Savage Messiah with that of Tarkovsky’s own artist biopic, Andrei Rublev (1966). Both films end with a close look at their subjects’ artworks, but while Tarkovsky’s is hand-wringingly reverent, Russell’s approach is more ludic - he shows the sculptures in close-up, but he also shows them in a gallery, as passers-by consult their exhibition catalogues and seem mildly bemused. Two young women point and giggle at Gaudier’s now-celebrated head of an idiot - ‘art is alive; love it, laugh at it, but don’t worship it,’ as Gaudier bellows from atop a huge (and obviously not stone) Moai [near the film’s outset. The prim period dress of the gallery visitors seems utterly at odds with Gaudier’s vindication of primitive beauty.
The BBC’s recent documentary on Russell, attempting to cram a vast and prolific career into the sort of narrative that suits a 60-minute programme, ironed out many of Russell’s more quixotic moments. But to omit Savage Messiah, as the BBC did, seems surprising as it is one of Russell’s key films. Reducing the complexity of a film to the intentions/private obsessions of a single author can be reductive. But Gaudier-Brzeska can really be seen as an analogue for Russell; he loves life, hates the quotidian, often expresses his high ideals childishly or through paradox or provocation. Throughout, the film presents an individualistic philosophy, portraying the artistic community as a safety net of self-regard. Russell told his first biographer John Baxter: ‘Gaudier’s life was a good example to show that art, which is simply exploiting to the full one’s own natural gifts, is really bloody hard work, misery, momentary defeat and taking a lot of bloody stick - and giving it.’ A fitting epitaph for Russell himself.
Days Are Numbers present Savage Messiah on March 16 at The Montpelier, London, as part of Ken Russell Forever.
John A. Riley
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Branding: Cara Totman Photography
Cara Totman’s work has been catching my eye for years. Her photos have always stood out to me as having this magical atmosphere about them, capturing light and shadow in a way that elevates every one of her subjects and makes them sparkle. Whether it’s an engagement shoot, a wedding party, an intimate portrait, or a lush landscape, there’s this consistent mood in Cara’s photos that never fails to intrigue me.
Photo by Cara Totman Photography
Photo by Cara Totman Photography
So I was thrilled when she got in touch to work on some branding; designing for artists that inspire me is the very most satisfying!!! And, I was just so happy to finally meet Cara IRL! Turns out she is just as magical as her photos.
Cara wanted her logo and branding to embody a vintage, ethereal style, and wasn’t afraid to get a little quirky. She loves retro surf poster typography, and is very inspired by Oaxacan culture and art, where she recently spent time taking some seriously incredible film photos. My goal was to make sure we came up with something that complemented and spoke to the consistent style and atmosphere of Cara’s work.
Taking all that inspiration into account, we arrived at a logo that we both agreed was very her:
Cara T Color Logos-03.jpg
Cara is particularly good at capturing the female form, and it is a subject that speaks to many of the avenues she pursues with her business. I also think Cara is exceptionally good at inspiring a sort of radiant confidence in her subjects, no matter the context, and I wanted to convey that here. The woman in the logo is inspired by an actual photo by Cara, and when framed by stylize flora and vintage typography, the result is that retro, mystical, playful feeling we were going for.
IMG_8552.jpg
The fun part was expanding this logo into its larger branding. Secondary logos and marks came naturally, a feminine and earthy palette was pulled from themes in her photography, and the brand pattern was actually the crowning piece, where a fleet of ladies joins our logo woman, to create several little repeat scenes. I’m a little obsessed.
Cara Totman Secondary B pink-01.jpg
cara totman Business Card mock ups final.jpg
pattern test 4-02.jpg
This was a dream project for me, and I’m so excited to see it shine alongside Cara’s work as she begins her 2019 wedding season, holds super fun and empowering events like Celestial Sessions, and continues to flex her creative muscles in capturing the beauty of every day moments. Thanks Cara!
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lp-photo
Student Artist Feature: Sanjay Pamaar
Meet Sanjay! As a 2015 Arts Award Recipient and an active member of the Boston College music scene, he has plenty of art stories to share. Read on as he reflects upon his BC art experiences. Spoiler Alert: you may spot Sanjay on stage with bOp! a couple of times during the 2016 Arts Festival! Don’t miss BC bOp!’s free performance on Friday, April 29th at 12:00pm in the O’Neill Plaza, and definitely don’t miss the swirled-dance-and-music-extravanganza that is…
Dancing with bOp! 2016, this Saturday, April 30th, at 8:00pm in the O’Neill Plaza. All Students get in for FREE with your Eagle ID, and tickets are available at the door for the general public ($15, or $10 for senior citizens).
In what ways have you been involved in the arts at Boston College?
I’ve heavily involved myself with music here at BC. Since my freshman year, I’ve been heavily involved in the BC Bands program here as a percussionist. I’ve been an Executive Board Member and Percussion Section Leader of the Symphonic Band (affectionately known as SymBa), Drumline Section Leader in the BC Marching Band, and a drum set player in both BC bOp! and the Pep Band.
Lately, however, I’ve also been taking classical music composition very seriously, studying with Professor Ralf Gawlick, which eventually led to my Senior Composition Thesis – a work for Symphonic Band, which was premiered on April 12th.
I’ve also been doing some music teaching around BC. I currently volunteer as a Student Mentor at St. Columbkille through the BC Bands Service Group and assist our percussion instructors in teaching the Percussion Tech class, or winter drumline. I also love to attend other concerts with groups I’m not involved in, keeping my ears filled with the music made by my friends.
What has participating in the arts meant to you during your time at BC?
Well, in January I decided to leave my pre-medical studies behind to pursue graduate school in music composition. So perhaps being so engrossed in music at BC caused an entire career change for me! Musical and artistic processes also require me to pour 100% of myself into them. My time at BC has definitely taught me a lot about my weaknesses and strengths as an artist, leader, and teacher. Speaking with all of my teachers, professors, and directors about musical leadership has also helped me become more aware of my role as a musician.
Studying composition, in particular, has kept me engaged in the artistic process. I really like being around artists at BC too, because they are so well-rounded and willing to discuss their art. For example, I compose more modern classical music, but my friend likes to write music for musical theater, and my roommate writes screenplays, short stories, television scripts, and comedy. The three of us really enjoy speaking to each other about our work, and discussing different problems in the creative process.
Who or what inspires you and why?
My teachers and mentors have definitely been huge role models for me, encouraging me to keep working hard in music, whether with composition, conducting, or teaching. The work that they all do is fascinating, and they greatly influence me. My family has also been so supportive, and they keep me motivated to continue in my musical path. Other than that, my friends and I who are involved in the arts help push each other, and keep each other in check. I really enjoy our lively discussions about art.
What is your most memorable arts experience and what did you learn from it?
Tuesday, April 12, 2016 is a day that I’ll never forget. That night was the premiere of my senior composition thesis with Symphonic Band. This 15-minute piece for wind band is titled Visions of Marian Rose, and it’s a reflection and meditation on conflicting emotions that occur during my involvement in my family’s medical mission work on our home island of Iloilo in the Philippines. Marian Rose World Mission has teamed with LIG Global Foundation to bring our volunteer services to Iloilo each January for the past four years, focusing on women’s health and well-being issues, providing medical and surgical services to less fortunate women and young girls with limited access to necessary health assistance.
The premiere itself was emotional to say the least – the energy in that room was incredibly spiritual. It was really scary to share and conduct this extremely personal work with so many people in the audience and Symphonic Band, but I felt the love and support of the people in Trinity Chapel that night. My family and some of the mission workers were also there to experience that special moment. I’m still processing all of it a few days later, but it’s something for which I’m eternally grateful to everyone involved – audience, mission workers, teachers and musicians alike. That night really taught me that so many people go into art, including the source of inspiration, parents, teachers, friends, supporters, and performers.
What are you most looking forward to for this year’s Arts Festival?
I’m looking forward to seeing my fellow seniors perform all over BC – I really appreciate their camaraderie and friendship over the past four years. We all love to see each other’s events and works, and this Arts Fest is a great culmination of our work. Although SymBa is not performing at Arts Fest this year, I’ll be playing with BC bOp! on Friday, April 29th at 12:00 PM and at Dancing with bOp! on Saturday, April 30th at 8:00 PM.
Dancing w- Bop-final
Screen Shot 2016-04-19 at 9.26.27 PM
Student Artist Feature: Meet Parker!
Arts-Fest-Logo-Green
Meet Parker Aubin! This accomplished musician shares his art story with BC Arts Insider: a four-year love affair with music, BC Bands, and all things bOp!
Don’t miss Dancing with bOp! 2016, this Saturday, April 30th, at 8:00pm in the O’Neill Plaza. Students get in for free with your Eagle ID, and tickets are available at the door for the general public ($15).
Screen Shot 2016-04-19 at 9.26.27 PM
In what ways have you been involved in the arts at Boston College?
Of all of the opportunities in the arts that BC provides, I have felt most at home in the performing musical arts. I have been a member of several ensembles in the BC Bands program in my four years here. Without downplaying the merits of the other groups in which I have played, I have undoubtedly had some of the greatest musical (and otherwise) experiences as a member of BC bOp!. I have also grown the most as a musician and artist in the atmosphere of high-caliber playing and friendly camaraderie that is bOp!.
What has participating in the arts meant to you during your time at BC?
I found my second family as a member of BC bOp!. The tight social bond that we have in bOp! stems from the common goal of creating art through quality music on various stages across New England (and once in Idaho). We each bring something different to the ensemble, and playing together, we forge a sound greater than the sum of the individual components.
Who or what inspires you and why?
With any college group, there is the unique property of member rotation as veteran members graduate and underclassmen join. In my first two years of the ensemble, I was fortunate to have the guidance of two upperclassmen in my section, Dave Bonaiuto and Terry Peng, who were a great source of inspiration to my playing and understanding of our media, jazz. In my last two years, I took on the role of section leader with their influence in mind as I tried my best to impart some of the same wisdom on the other members of my section and the ensemble. I am humbled by the tradition that we uphold in BC bOp! and remember that a portion of our present musical success is owed to the players who came before me. I am inspired not only by my contemporaries in the ensemble, but by the bOp! alumni who set the scene for us.
What is your most memorable arts experience and what did you learn from it?
I have always gotten a lot of enjoyment and satisfaction from our annual Dancing With bOp! show during Arts Fest. This performance is unique for us because we work with the dance groups on campus to provide live musical accompaniment to their routines – which is hardly ever our usual style. It is fun music to play, and the environment of the performance is unparalleled. Each dance group has a different flavor and style and it is a real joy to play with each of them throughout the night. The atmosphere of the audience is also different from most of our other shows. Because of the individual fan clubs from each group coming together with our fans and spectators interested in the show as a whole, the audience is always vibrant and supportive. I love the opportunity that the Dancing With bOp! provides us with to collaborate with various dance groups combining visual and musical arts in a captivating event.
Dancing w- Bop-final
Student Artist Feature: Anne Wilder of BC bOp! and The Golden Eagles
Meet Anne Wilder! A natural perfomer, Anne has fond memories of her time with BC bOp!, the Golden Eagles dance team, and the Arts Festival! Read on as Anne shares her art history and lets us know what is so special about the Festival’s featured event Dancing with bOp!
Don’t miss Dancing with bOp! 2016, this Saturday, April 30th, at 8:00pm in the O’Neill Plaza. Students get in for free with your Eagle ID, and tickets are available at the door for the general public ($15).
In what ways have you been involved in the arts at Boston College?
I am a vocalist and Student Executive Board member of BC bOp!. In addition to that, I also am the Section Leader of the Golden Eagles Dance Team. I have been performing with both these groups since I was a freshman at Boston College, so performing has been of my life here at BC.
What has participating in the arts meant to you during your time at BC?
The arts have been a huge part of my college experience. The arts have not only provided me with great opportunities but it also allowed for me to meet some of my closest friends! It has been so much to have such great creative outlets where I can express myself and still have a lot of fun in the process.
Who or what inspires you and why?
I am inspired by all different types of art forms. Boston College has such rich and diverse art forms on campus that it allows for us to be continuously surrounded by such great creative inspiration.
What is your most memorable arts experience and what did you learn from it?
My most memorable arts experiences are whenever I have an opportunity to perform. One of my favorite performances of the year is Dancing With bOp! during Arts Fest. It allows me to collaborate my love of dance and music into one show!
Dancing w- Bop-final
playwriting extravaganza
Student Artists Feature: Danny Quinones!!
Meet Danny Quinones! As a featured BC student artist, we have invited him to share his art story! This talented theatre and writing enthusiast has a short play being performed in this year’s BC Arts Festival as part of..
Contemporary Theatre’s Playwriting Extravaganza on
Saturday, April 30th, at 3:30pm in the Stokes Art Tent! Don’t miss it! (It’s free and open to the public!)
Screen Shot 2016-04-11 at 2.16.32 PM
In what ways have you been involved in the arts at Boston College?
I have participated as an actor in a number of shows with the Boston College Theater Department, namely Big Love, Almost, Maine, and with this Art’s Fest, The Servant of Two Masters. Additionally, I am a member of the student theater board Contemporary Theatre. Last semester I took the class Dramatic Structure and the Theatrical Process with Scott T. Cummings, a class which culminated with a presentation of original short scenes; I wrote a scene, and acted in another for this event. And lastly, I am participating in CT’s Playwriting Extravaganza, in which I am excited to say another of my original scenes will be featured.
What has participating in the arts meant to you during your time at BC?
For me participating in the arts here at BC has been about finding a place to belong. In the BC theater department I have found good friends, whom I care for, and on whom I can count on. They accept me for who I am, and appreciate me for what I have to offer.
Who or what inspires you and why?
I am an inspired by my audience, and I don’t mean that it an “oh, look at me!” kind of way. By that I mean, I am inspired by having someone to make feel something through my art. Even if that something is only a few laughs, it inspires me to know that I had some kind of an impact. This is what inspires me to write, and this is what inspires me to act, and in this way there is very little difference between the two for me.
What is your most memorable arts experience and what did you learn from it?
It’s tough to say for certain, because there have been quite a few moments worthy of being called memorable, but if I had to choose only one… I’d say it was when I wrote one of my first plays with my cousin, and standing on stage I heard the audience hard laugh at our jokes for the first time, and could see they were entertained by what we had made. This moment for me was big, because it made me realize that writing was something that I could actually do. Writing wasn’t some unattainable goal for people who were smarter, or more talented than me. As long as I worked hard and practiced, I could make art too.
What are you most looking forward to at this year’s Arts Festival?
I am looking forward to the Playwriting Extravaganza! Not only because my play will be put on (yay!) but also because a lot of other exciting original works will be performed, and we’ll get to see the hard work of a whole bunch of people pay off.
Arts-Fest-Logo-Yellow
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Rêverie Reset
Yan Lei (CN)
POSTCITY, Bunker / Basememt, Ars Electronica Gallery Spaces, Säulenhalle
Rêverie Reset is a system that expands on Yan Lei’s practice of dissolving images into concepts. The video-installation makes use of cutting-edge computational systems and networking technologies in order to reaffirm the artist’s notion of the artificiality of representation and the irrelevance of the image.
Each of the sixteen displays is networked into a system programmed to constantly show images submitted by the audience through their phones and from a local database. Every time an image is uploaded, the software processes it by calculating its average pixel color, while the local, artificial neural network describes it textually, in human-like terms.
Lei constantly probes into the image’s cultural relevance by recursively questioning what is implicit in its act of representation whilst emphasizing its superfluous nature. One could refer to Yan Lei’s creative process as a destructive practice that is closest to conceptualism; in which layers of ideas are superimposed over visual expression in an action that reduces realistic representations into abstract monochromes.
Project Credits:
• 北京技艺云文化有限公司 Beijing jishu&Art Culture Co., Ltd.
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64 Top Inspiring Buddhist Tattoos For Men and Women
Many religions are pretty among tattoo lovers, which could help them show their belief and devotion to their creator.
Contents show
The Buddhist tattoo has a considerable following among all the sacred and religious tattoos. Many tattoo lovers opt for tattoos showing their religious belief and dedication to the Buddha, while some love the artistry of these tattoos.
Whatever the reason, these Zen Buddhist tattoos are gaining immense popularity worldwide.
Buddha Tattoo Meaning:
The Buddhism religion was established by Siddhartha Gautam around 450 BC. The Buddhism tattoos show the belief which Buddhist monks follow.
They believe that Ahinsa Parmo Dharma means non-violence is the best religion. Buddhism’s religion stands for peace, and they think to find inner peace rather than materialistic things.
The people who believe in peace, self-exploration would love to get these tattoos.
Here we will discuss a few best Buddhist tattoos you would love to have on your body.
1. Grey Buddha And Lotus Back Tattoo
If you believe in self-exploration and non-violence, Buddha tattoos are a perfect choice for getting inked.
You may combine these artistic tattoos with other elements like flowers, just as shown in the picture, and they will look extraordinary.
Image: @dermaldelights_tattoo
2. Dotted Buddhist Back Tattoo
Buddha tattoos look stunning whether you go for small tattoo art or bigger. They will keep you sane in tough times and provide you with inner peace.
You may try these tattoos on your back, covering it wholly, and trust me, the canvas of your back will look mind blowing.
Image: @ ukoktattoostudio
3. Black Ink Buddha Sitting On Lotus Tattoo
Many arts are famous for Buddha tattoos, and the lotus flower with Buddha sitting on it is highly demanded. You may try these on a medium size on your upper back with a few background art, and you will love the outcome.
Image: @ genbu_inktattoo
4. Light Colored Mandala Buddha Tattoo
The calm and peaceful Buddha tattoo with intricate detailing and fine lines with a Mandala background gives a charming appeal.
The black ink with green-colored leaves on the back provides a tremendous and mind-blowing look to the tattoo.
The peaceful Buddha design on the back gives a detailed look with the addition of other elements.
Image: @ mikecsanki
5. Innovative Outlined Buddha Back Tattoo
The lotus flower represents one symbol of fortune in Buddhism, signifying enlightenment.
Representing purification and faithfulness for the flower is one of the Buddhist relics that often appears with the Buddha statue.
The back Buddha symbol tattoo design of Buddha signifies purity of the soul, rebirth, and triumph over obstacles.
Image: @ 1982idc
6. Japanese Buddha Tattoo With Lotus
The Japanese Buddha tattoo symbolizes determination, focus, hard work, and power. It is pretty straightforward, as well as perfect for men.
The granite ink styling with a distinct appeal on the back makes the style elegant. The Japanese Buddha design makes the style appealing gorgeous with intricate detailing and fine-line shading.
Image: @ twigatattoo
7. Detailed Religious Buddhist Back Tattoo
In Buddhism, there are eight Buddha symbols, and each one stands with different symbols and meanings. The image of Buddha relates to solitude, reflection, and meditation.
As a symbol of love and comparison, the tattoo represents the path of enlightenment.
The entire back design looks elegant with finite detailing to help enhance the design’s overall look.
Image: @ python.tattoo
8. Outlined Laughing Buddha Tattoo
Laughing Buddha symbolizes happiness and joy and eliminates all problems and sorrows.
One can also have the face tattoo of the laughing Buddha inked on the other parts of the body, such as the back, giving a stunning look.
The outlined Buddha tattoo design ideas with the belly button creates a delight and provides a festive look.
Image: @ ikaw_storyzii
9. Cover-Up Leaf And Buddha Tattoo
Buddha Tattoos are not just popular among men but women as well. The Floral Buddha Tattoo is one of them. They are marvelous and gorgeous to look at.
It simply contains the image of Buddha surrounded by flowers. It is best worn on the back of the shoulders. It stands out, looks lovely, and is very pleasant.
Image: @bodyarthousee
RELATED: 100 Creative And Magnificent Tattoos Ideas Of Buddha On Full Sleeve
10. Creative Hidden Lord Buddha Tattoo Design
If you have a creative mind with out-of-the-box thinking, you can have many different designs with unique ideas.
But, if you don’t believe me, look at the picture below how beautifully the artist has combined the Buddha tattoo with a dragon
Image: @tat2life937
11. Linework Full Back Buddha Tattoo
Some people love to go for a full black and grey tattoo with proper detailing, while some prefer to keep it simple and sober.
If you are also one of them, you must try the stunning linework tattoo of Buddha. Trust me, and they will look gorgeous on your back.
Image: @ nine.tattooer
12. Realistic Tiger And Buddha Tattoo
Buddha has often been associated with a lotus. Therefore, it can significantly choose a Buddha’s tattoo design and a lotus. It speaks the language of power and purity.
It looks incredible on the skin and is very popular among the Buddhist crowd. The full-back tattoo design inked in realistic appeal gives a tremendous appeal.
Image: @dandy_tat2
13. Sketch Work In Buddha Tattoo
The lotus flower is not just as beautiful to look into. The flower holds a sign of purity and beauty, connecting it with religion next to flora.
The outlined Buddha and flower tattoo design in black ink symbolizes patience, happiness, and strong will.
Image: @tattos_by_jasminzemlin
14. Amazing Floral Half Face Buddha Tattoo
The tattoo design attracts millions of followers and significantly influences millions of individuals. The colorful flowers and Buddha on the back give an appealing look.
In addition, the small design idea with fine lines and color detailing gives a delicate look to the tattoo style.
Image: @jana.gerhardt.tattoos
15. Dotted Style Chakra Buddha Tattoo
Buddhism symbolism includes different elements and an image of solitude and reflection. The firmness and intricate detailing design of Buddha with the addition of Mandalas enhance the design.
Furthermore, the shading effect on the full-back with dotwork makes the style enlighten the path of Buddhist culture.
Image: @the_permanent_marker
16. Mandala Buddha Back Tattoo
Men and women also love the different artistry and unique creativity of Buddha tattoos, and they are not behind.
Women also get Buddha tattoos with unique and aesthetic backgrounds, which enhances the beauty of these tattoos.
Image: @ nicoleellisse
17. Colorful Buddha Face Tattoo With Lotus
Buddha tattoos have their beauty hidden in the artistic representation. Whether you opt for a full Buddha tattoo or the Buddha’s head only, they will look mind-blowing.
Image: @dan_gosinski75
18. Meditating Buddha With Followers Tattoo
The realistic Buddha tattoo, long with the devotees and followers, makes a unique tattoo.
You could see the other Muni face in the face of Buddha in the given image, which shows how beautifully a simple design can turn into art and take creativity to the next level.
Image: @andypho
19. 3D Buddha Back Tattoo Design
If there are good and religious powers in the world, then evil forces also exist, and these messages could quickly be delivered with the help of tattoos.
As you can see in the image below, the half-face shows the calm, peaceful, clean, and religious powers while the other half face shows the devil’s face with negative energy, making it one of the best tattoos to try on a big canvas like back.
Image: @lun_bullpentattoo
20. Nice Buddhist Sculpture Tattoo
The word Buddha might immediately bring peace and inspiration. Visualizing the Buddha tattoo design on the full-body back gives an elegant look to the tattoo.
Providing a pleasant outlook, the delicate shading design of black and brown ink on the back makes the tattoo look elegant and gorgeous.
Image: @berkunst_tattoo_utzenstorf
21. Buddha Tattoo With Brain And Heart
The tattoo depicts the soul’s journey to enlightenment, and the Buddha tattoo design is inked on the back with the balance of brain and heart.
The red ink addition and black ink Buddha make the style look elegant.
The heart represents dharmachakra, and the design is directly linked to the origins of religion itself and represents the path of peace and harmony.
Image: @bruceisdunn
22. Creative Black Ink Buddha Tattoo
The Buddha can symbolize peace, purity, and spiritual awakening, and the realistic design inked in bold black ink on the back makes the style distinctive.
The Buddha tattoo gives an incredible appeal with intricate detailing in bold black ink. The perfect design brings magic, sound health, and good fortune in life.
Image: @fishmon_entinta
23. Buddha And Galaxy Tattoo
The simple design goes back centuries and holds worth in both the Buddhist and Hindu beliefs.
The outlined Buddha design signifies the connection of higher power in the universe. The black lines with wide-ranging prowess and protection to the universe
Image: @_inktattoostudio
24. 3 Different Buddha Face Tattoo
Symbolizing insight for the blissful and outstanding Buddha tattoo gives anything you want in life. It is generally believed that Buddha got wisdom worshiped as a Bodhi tree.
This Buddha tattoo design can be featured in black and grey or vibrant colors.
Image: @aplustattoos
25. Amusing Buddha With Lotus Tattoo
Buddha tattoos are meant to replicate the teachings of this great spiritual leader and mentor. Only the followers of Buddhism do not necessarily prefer tattoos.
Still, many people believe in the ultimate truth of life, that one needs to overcome all sufferings and temptations to reach the stage of salvation.
Image: @stressfreitattoo
26. Pink Lotus And Grey Buddha Tattoo
The lotus flower is a beautiful thing, and in Buddhism, the design holds a sign of purity and beauty. Therefore, connecting flowers and religion is considered more relevant.
Furthermore, with its beautiful pink color, Lotus simplifies the fact of simply being perfect.
Image: @the_tattooedqueen
27. Tiny Buddha Hands Tattoo On Back
The meaning of a Buddha tattoo is usually above love and devotion toward Buddha.
The Buddha’s hand design on the back symbolizes love and compassion, representing calmness and serenity. The black ink idea makes the style look gorgeous and elegant.
Image: @ tattooist_kimria
28. Golden Buddha With Dragon Back Tattoo
The red Lotus flower symbolizes the original state of the heart. This tattoo design, often shown in open bloom, represents love, passion, and compassion.
The addition of flowers with Buddha associates deep meaning to the wearer with spiritual awakening and expansion of the soul.
Image: @cultureshocksolli
29. Praying Buddha Tattoo
A Buddha tattoo design can take many forms, from a traditional-looking Buddha sitting to a realistic Buddha with his arms raised as if in blessing.
The religious Buddha tattoo design with various patterns reflects the story of one’s life. With improved and intricate detailing, the tattoo looks gorgeous on the back.
Image: @nomads_aschaffenburg
30. Geometric Buddha Back Tattoo Design
Buddha tattoos are popular among the interested in inking style. With the concept of elegance, the strong belief with a sensitive appeal on the back gives comfort to the upper back.
In addition, the black ink design with intricate detailing helps enhance the style.
Image: @mikel_tattoosangha
RELATED: 80 Best Star Tattoo Designs for Men and Women with Meaning
31. Fineline Buddha Tattoo
The Mandala is a mind-boggling plan that delineates the universe, enlightenment, and insight, making it lovely and fascinating for a Buddhist tattoo.
The striking Buddha Mandala tattoo design on the back gives a distinct look. With intricate detailing, the tattoo looks elegant.
Image: @ naat.ad
32. Thick Outline Buddhist Tattoo
The shading effect of the tattoo with one-of-a-kind choices leads to the existence of honesty and goodness.
A Buddha Tattoo always stands as a representation of peace, loyalty, and prayer. It also speaks about meditation and stands as a sacred symbol for all its followers.
Image: @joshprogression
33. Huge Snake And Buddha Tattoos
The black ink tattoo design of Buddha with the addition of Skulls and Snake. The tattoo design speaks the language of beauty, peace, and love.
The gorgeous pink on a woman’s back surrounded by additional elements makes the tattoo design elegant and beautiful.
Image: @munsin_bb
34. Inked Buddha Face Tattoo
When you ask about Buddha tattoos’ meaning, they are all meant to convey the teachings of Buddha, the great spiritual leader, and mentor.
A Buddha face tattoo can show devotion to a particular aspect of Buddhism or an admiration of the meditative mind.
Image: @lellis_ink_tattoo
35. Artistic Buddha Face Tattoo With Moon
The tattoo symbolizes that you are a fighter and someone who believes in yourself as a spiritual human being. These eyes see inside out and can also mean seeing the light covering the world.
The tattoo’s black ink design on the back with the spiritual world superstition represents a deeper meaning for this divine look
Image: @alienstattooindia
36. Illustrative Buddha Back Tattoo
The tattoo symbolizes the opportunity to grow spiritually and mentally simultaneously. Agreed with the teachings, Buddha represents solitude, reflection, and medication.
The most popular subject is getting a Buddha tattoo with different styles and patterns to getting a Buddha tattoo inked, which is a sign of good luck.
Image: @ink_district_heidelberg_
37. Creative Grey Buddha Tattoo
The stylish Buddha tattoo design inked on the back gives a stunning look to show balance, protection, eternity, and unity.
The spiritual significance across many cultures with universe, consciousness, and the self is seen within the tattoo style.
Getting an intricately detailed tattoo makes the style look elegant with the improved appeal.
Image: @kumbia_ink
38. Black Shaded Buddha Tattoo
The stylish Buddha tattoo design inked on the back gives a stunning look to show balance, protection, eternity, and unity.
The spiritual significance across many cultures with universe, consciousness, and the self is seen within the tattoo style.
Getting an intricately detailed tattoo makes the style look elegant with the improved appeal.
Image: @ calli_redwoods_tattoopag
39. Elegant Buddhist Floral Tattoo On Back
Buddhism is the fourth most popular religion globally, and it helps influence society.
The tattoo has a deeper meaning if you are practicing Buddhism, and the teachings of Buddha have a meaningful sense.
The tattoo on the back represents power, strength, and enlightenment.
Image: @mimmo_nasti
40. Red Line Buddhist Back Tattoo Design
The fully symmetric geometric style Buddhist tattoo is for both men and women.
Different color patterns of several lines and shapes represent the relationship between the spirit and the universe.
A more profound connection with oneself shows other reasons for getting a Buddha tattoo on the back.
Image: @sudanim._
RELATED: 27 Name Tattoo Ideas For Men and Women
41. Buddhist In Eye Tattoo Design
The Awakened One or Buddha states that truth and righteousness convey the truth to reach the sight of enlightenment.
The eye style design with numerous positions to show the position of Buddha gives a decent meaning to the tattoo.
The tattoo on the back of the shoulder provides a stunning look with the addition of blue color to represent the universe.
Image: @laurafoxy.tattooartist
42. Black & White Back Tattoo Design
The bold black ink design of the Buddha tattoo with a typical meditating position is seated appeal gives a positive vibe to the wearer.
A Buddha tattoo conveys the truth of life where one needs to overcome all sufferings and temptations to reach salvation.
Image: @vasotattoo
43. Outlined Tiger And Buddha Back Tattoo
As a spirit animal, the tiger tattoo design with Buddha holds a deeper meaning. The Laughing Buddha or fat Buddha tattoo represents joy, luck, and the tiger represents strength, courage, ambition, hope, and attention.
The bold and massive tattoo design on the back with a bold outline of black makes the style look elegant.
Image: @ aureoletattoo
44. Distinct Tree Of Life And Buddha Tattoo
Gautama Buddha tattoo designs are most popular among the sage, Muni-inspired style.
As one of the most delicate tattoo designs, it almost gives a worldly pleasure to find inner peace with the creation of Non- Violence of all mighty.
Moreover, the bold black ink design with the universe makes the style elegant.
Image: @dotsbyevan
45. Black Shade Buddhist Tattoo On Back
Buddha’s Stupas usually inspire tattoo design in various countries like China and Tibet.
The meditating pose of the Buddha gives inner peace with the famous saying that one can follow the whole time for obvious reasons. The outlined design offers a subtle appeal to the tattoo.
Image: @ robo_bas
46. Ultimate Moon & Buddha Tattoo
The Buddha tattoo design depicting meditation offers symbols to follow for your whole life. The tattoo design is worth inking on the body with a distinctive appearance.
Showing different meanings, the addition of global concepts offers different meanings to the wearer.
Image: @karolinanaz
47. Crowned Buddha Tattoo Back Design
It is not necessary to be Buddhist while wearing a tattoo. The design symbolizes faith or devotion, and the intriguing attractive tattoo design with intricate detailing in bold black gives a subtle yet beautiful look.
The addition of shading to the tattoo makes the design look great on the back.
Image: @thisisblacklabel
48. Elemental Buddha Tattoo On Full Back
Buddha meditating and holding a lotus symbolizes purity, spirituality, and enlightenment. The flower connects three spheres of earth’s existence and is truly a beautiful symbol of beauty.
The whole black ink tattoo design with intricate detailing of fine lines makes the tattoo look elegant. Getting different faiths for the charming design looks excellent on a woman.
Image: @tattoos_by_simon
49. Intricate Detailing Buddha Tattoo
The Buddha tattoo design inked with Japanese tradition represents wealth and prosperity. The significant and realistic tattoo design on the full-back symbolizes the incarnation of the Japanese tradition.
With ultimate space for adding elements, the Buddha meditation is represented with no limit to space.
Image: @john_martin_tattoo
50. Waves And Buddha Head Tattoo On Back Body
Representing insight of a brilliant tattoo enlightens being destined. With love and devotion to Buddhist practice, the addition of waves essentially shows a water connection.
The outlined face tattoo design of the Buddha gives a popular look. The intricate details with shading make the style look different and bold.
Image: @panthro_ator
51. Buddha Tattoo On Shoulder Back
A Buddha tattoo represents a shield and a path of enlightenment who might not want to feel enlightened. As an image of solitude, reflection, and meditation, the Buddha is believed to bring happiness and prosperity.
The black color shades to enhance the look of the Buddha tattoo on the back give a distinct appeal to the back piece.
Image: @firthjonny
52. Full Back Creative Buddha Tattoo
A golden Buddha shows that one believes in the teachings of Buddha, and the tattoo comes as a sign of devotion.
With extraordinary deep satisfaction, the colorful tattoo design offers the origin of religion where Buddha himself discouraged any of the symbols.
Moreover, the design on the whole back gives a deep satisfaction with the face of Buddha.
Image: @simonemuttitattoo
53. Colorful Sitting Buddha Tattoo
Buddha tattoo comes as a shield and the power of overcoming your fears. Making the design look great on the back for the tattoo denotes that a person is serious about their faith in Buddhism.
In addition, the different colors of the tattoo can be used as the teachings of Gautama, making the style look elegant.
Image: @ eyeofthetigertattoo
54. Realistic & Bold Buddha Tattoo
With a clear indication of spiritual belief, getting flowers and a Buddha tattoo design on the back makes the style elegant.
Getting a tattoo is a way to convey your feelings with a long-term impact.
The black ink style of the tattoo shows the meaning of the temptation of life and to reach the stage of salvation.
Image: @mikey_onedeep
55. Detailed Foo Dog And Buddha Tattoo
Foo dogs represent a good reason to guard homes and important buildings.
With symbols to have complete faith in their power, the protective charm protects those who have full confidence in their ability.
The Buddha design enhances the tattoo with a bold look on the back.
Image: @anto_ghostkoi
56. Inked Buddha Tattoo On Back
The tattoo design symbolizes patience, happiness, and strong will as it is the perfect design idea for men.
There are endless ways to envision the enlightened perspective on the skin, and getting a colorful design of Buddha makes the tattoo look stunning.
Image: @cikk_azzo
57. Laughing Buddha With Compass Tattoo
Laughing Buddha is one of the most popular tattoo designs and is an understated style with meaning for happiness and wealth.
The upper back tattoo design also gets religious reasons. The distinct kind of laughing Buddha design gives a styling appeal to the tattoo.
Image: @amynguyenart
58. Graceful Flowers And Buddha Tattoo
Signifying purification and faithfulness with peace and purity of life for the graceful design idea makes a styling appeal.
The flowers with the spiritual awakening are considered more sacred. It also shows an individual’s spirituality.
The bold black ink with intricate detailing helps enhance the overall body look.
Image: @jobojoangles
59. Creative Butterfly With Buddha Tattoo
The great Gautama Buddha tattoo design for the back simply implies that you agree with the teachings of Buddha.
With one of the peaceful religions, the materialistic pleasure of getting a tattoo design inked on the back mentions devotees.
The face tattoo design in bold black with the addition of flowers makes the tattoo distinctive.
Image: @_life_is_better_2.0
60. Green Buddha Tattoo
There is a special meaning for a purple lotus tattoo with eight petals. The design with Buddha shows an integral part of the teachings.
The green Buddha with an incredibly detailed and beautiful design signifies Boddhisattva Avalokiteshvara. Famous for precise shape, the design on the back makes the style look elegant.
Image: @ foreigntothelandofnod.tumblr.com
61. Buddha With Mandala Art Tattoo
It symbolizes determination, focus, hard work, and power. It is pretty straightforward, as well as perfect for individuals.
Giving a deliberate look to the tattoo design with peace and purity of the realistic tattoo shows endless ways of envisioning your skin. The fascinating design idea looks incredible when inked on the back.
Image: @blackdot_tattooart
62. Grey Ink Buddha And Foo Dog Back Tattoo
The Foo dog tattoos show reincarnation. The traditional Japanese Foo dog tattoos are related to Buddhism.
These tattoos also symbolize protection and good luck. The stylish tattoo design on the back makes the style look elegant and helps impact calmness.
Image: @ryan.inky
Frequently Asked Question
What Does A Buddha Tattoo Mean?
The meaning of a Buddha tattoo is usually all about love and devotion to Buddhist practice. A Buddha tattoo for a person is serious about their faith and wants to show this on their skin.
What Tattoos Are Disrespectful?
Here are seven types of tattoos considered highly inappropriate or illegal worldwide. Nazi or white Pride symbols, Buddhist symbols or Buddha, face tattoos, visible tattoos in Japan, any tattoo in Iran.
Who Is The Female Buddha?
Buddhist savior-goddess with numerous forms are widely popular in Nepal, Tibet, and Mongolia. She is the feminine counterpart of the bodhisattva Avalokiteshvara.
What Are The Three Central Beliefs Of Buddhism?
The Basic Teachings of Buddha, which are core to Buddhism, are The Three Universal Truths, The Four Noble Truths, and the Noble Eightfold Path.
Which Buddha Is For Luck?
Laughing Buddha is known as Hotei among the Chinese and is considered auspicious. It is usually placed facing the door, and the large protruding belly is symbolic of happiness, luck, and prosperity.
YouTube Video:
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We are a creative digital agency, providing unique creative concepts followed by smart technical solutions...
inspired by life,
influenced by art, motivated by love and fame... located in Prague.
We offer more than ten years of experience in the realm of internet business. Our 20-member in-house team comprises of highly skilled people, experts in their individual professional field. We don’t complicate, we choose simple yet sophisticated solutions.
Brainzmobile is a dedicated team specialising in mobile devices, as these are taking over the digital realm. They handle anything related to mobile applications - design, development, promotion, application launch and everything else associated with it.
Some of our Clients and Friends
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Tagged: Climate Change
Nonceptual Meme Art 7: Even ants have a point
“I think that the simpler you get, the more direct you get, and part of that energy you feel is because of the simplicity.” Alan Vega “Even the stones are conscious and alive.” Sri...
Holding the hope and fear about climate change. A dialogue with Fern Smith of Emergence.
Last November’s COParty22 at Volcano Theatre celebrated the anniversary of the signing of the Paris climate change agreement and also showcased some of the fantastic projects happening in Swansea. Inspired by the event I decided to...
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Local artist sparks controversy with painting
NEW HAVEN, Conn. (WTNH) — New Haven based artist Gordon Skinner is the man behind a series titled “Urban Totems.” The four unique pieces were designed to engage people in the inner city in coming together and choosing basketball over trouble. The series was to be featured at this weekend’s Citywide Open Studio Festival.
“The idea is to invite different neighborhoods around New Haven to host an exhibition that is unjuried and uncensored,” said Sarah Frtitchey, the Gallery Director at Artspace New Haven.
All four of the pieces were to be displayed outside of the Goffe Street Armory. After receiving multiple complaints about one of them, the Parks and Recreation Department asked Skinner to have it moved. The artwork depicts a pig wearing a police cap and now hangs at Artspace on Orange Street.
“It is a bit disappointing that it’s not there and it’s no on the totem as it was supposed to be because there was supposed to be two free standing pieces,” said Skinner.
Originally the piece, titled Cops, was placed on the left side of the Armory, the same street as the Whalley Avenue Jail.
“I would describe it as an iconic figure, you know, highly identifiable,” said Skinner.
Parks and Rec said they received complaints from a correctional officer at the jail as well as an area cop.Skinner says the artwork isn’t a symbol of disrespect but rather a representation of what is happening in society.
“It’s bigger than me. It’s just my way of responding to the tragic events that have happened recently,” said Skinner.
While no longer in its intended location Skinner says he’s happy the piece has people talking. Artspace has scheduled a community forum about the artwork and the controversy surrounding freedom of expression for Thursday, October 20 from 4:30 to 6:30.
“It’s really doing its part in starting a dialogue for the community that I’m a part of. So, it’s already made me proud,” said Skinner.
News 8 reached out to the Parks and Recreation Department for comment but they did not return our ca
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Street art – as its name implies – is set right in the centre of the metropolises of our contemporary urban society.
Lastly, it is an artistic expression in public space which by now influences urban life to a great extent. Especially Berlin has turned into a hot spot for international art affiliates, visitors, and street art artists.
Street art techniques such as stencil, painting, ready-made, collages, drawings, and graphic design will be applied to the exhibition rooms. All pieces of art are exclusively made for this exhibition and crafted on site while their finishing can be followed live on Saturday afternoon. Numerous events and performances invite the audience to participate. Parts of the mutually created works will be shown in the Art-Store when the event will have passed.
There is a great diversity of techniques, materials, and styles within street art and it offers various mediums for one’s own take and perspective. During this exhibition street art is supposed to introduce the audience to urban art. Having its origin in graffiti, contemporary urban art is largely inspired by art movements such as fluxus, avantgarde, pop art, and conceptual art.
URBAN AFFAIRS will reflect on current developments of this field and then try to discover new facets together with the participating artists.
Urban art and street art are largely recognised worldwide through collections, publications, and institutions of the established art production. Additionally, there is an increase in academic approaches to this genre, from a historic perspective too. And lastly, works of selected street art artists repeatedly reach records in renowned auction houses. The fact that El Tono and Nano 4818, both artists that were invited for URBAN AFFAIRS, are currently showing their works at Tate Modern, London, is an important index of the incredible development the field has been gone through.
The exhibition is hosted by RIOTARTS – Agentur für zeitgenössische urbane Kunst and Stockartists, a hybrid art project for the development of new perspectives for the contemporary art market. The project will be held in cooperation with Circle Culture Gallery, ATM Galerie, and Galerie Zero. It will be supported by ArtFacts, Montana, Mittes Backpacker, Polish Institute Berlin, and the Stiftung für Deutsch-Polnische Zusammenarbeit.
Fotos: JUST (http://fk.1just.de)
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Performa, an organization dedicated to live performance across various disciplines, will be launching a new program centered around the relationship between architecture and performance in New York City for their seventh edition of the Performa Biennial.
The program, titled Circulations, is comprised of site-specific live performances and architectural experimentations in iconic venues throughout the city. Through performance, Circulations aims to examine the movement of bodies in space while looking at how architecture exists in today’s built environment.
“From our daily routines, to the spaces that Performa identifies as frame or backdrop for Performa Commissions, it is the built environment that shapes our behavior and impacts our understanding of space,” said RoseLee Goldberg, founding director and curator of Performa, in a press release.
Projects by various architects will be brought to life. Montreal-based architect François Dallegret’s “The Environment-Bubble,” a blueprint envisioning a flexible dome capable of hosting multiple occupants, will become a (temporary) reality and roam the city as an inflatable structure, hosting dance workshops. Philip Johnson’s Glass House will be occupied by French artist Jimmy Robert, transforming the icon into a stage “that delves into the intersections of architecture, visibility, and black representation.”
Other artists and architects will present installations and performances, including a collaboration between the Marching Cobras of New York, a Harlem-based after-school drum line and dance team, with Bryony Roberts and Mabel O. Wilson, architects and professors at Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP). This performance, “Marching On,” was commissioned by the Storefront for Art and Architecture.
“New York, with its dense urban fabric and complex history—from its Downtown mystique to its real estate–driven present—is the ideal location for a program like this,” said Charles Aubin, principal curator of Circulations, in the press release. “The artists and architects treat the city as a platform for experimentation where human beings and their activities confront the built environment.”
Performa will also be launching a publication focusing on historical and contemporary works by architects who have incorporated performance into their practice, as well as a symposium that further examines the historical relationship between buildings and cities.
Circulations will take place from November 1 to 19, 2017.
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I Am The Architect.
{via Tumblr}
{Photo via Tumblr}
I am an artist,
an architect of the imagination.
With broad strokes and bold designs
I choose the color,
the angle and just the right light
at which my life is
If the tones don’t suit me,
I’ll choose another.
If the temple of my life
doesn’t match
the beauty in my mind,
I add, subtract,
I build up and tear down
until the glow can radiate
through the cracks
from the inside out.
I am an artist,
the architect of my imagination.
I alone know the blueprints
from which I work,
if there are blueprints.
The temple I erect to house
my holy life is organic,
erratic, completely unplanned,
allowing me the freedom
to add until the piece, the color, the tile,
feels just right.
I am a Winchester Mansion,
a forever work-in-progress.
I am nothing more nor nothing less
than a monument to my own existence
and the ghosts of those who came before me.
I am flawed and frayed,
cobbled together from their scraps
to create something more than I once was.
I am purposefully and accidentally built
with the intention of finding not perfection,
but a reflection of what I wish
to leave for the next soul
when I’m gone.
My life is a work of art,
and architectural miracle!
Some walls may fail to hold,
yet the patterns formed
when they fall is worthy of a frame.
Paint runs together
creating swirls and eddies of color.
Some are muddy,
some almost neon in their brilliance,
But all are mine – so much me.
This body that refuses
to follow the rules and plans in my head
knows itself better than my vision.
So I adjust accordingly,
to once more find the cathedral
among the rubble.
This body may not appear perfect,
unblemished, unbroken, unbound,
but if you step twice back
and to the left when the sun rises
and the clouds are just right,
you’ll see it as I do;
a work of art.
A church worthy of worshiping
the grand beauty of that which is life,
both mine and all other.
This form is a carnival,
a funhouse, a madhouse
and everything in between!
It holds cemeteries of lost dreams
and birthing huts filled with the new.
It encompasses the thoughts
too big to describe in words
and the fears too wild to be trapped,
Like mustangs breaking free
from their pens.
In every cell,
of every part,
I hold the universe
in all its awe-inducing glory!
Mine may not be the painting
you choose to hang on your wall,
or place on your shelf,
and for that very reason,
my soul continues to sing.
Because art is subjective – reflective,
And mine must live
and breathe
and grow,
For it wishes to remain alive,
Not withering under the dust
and shadows of a static existence.
On those days
when it’s hard to see the beauty in my life,
I must remind myself to remember —
I’m not looking
with the right set of eyes.
Because I am an artist
and an architect of my imagination
and I alone choose when and where
My work is done.
ChrisDeanChris Dean writes at pixie.c.d.where she shares acts of stupidity, life with adult offspring, and advocates for chronic illness and mental health awareness. Her work has appeared on Huffington Post, Scary Mommy, In The Powder Room, Bonbon Break, Midlife Boulevard, The Mid and as a contributing author to Clash of the Couples and It’s Really 10 Months: Special Delivery (coming Labor Day 2015)
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Posts Tagged ‘interior design
How the Designs of the Past Influence Trends of the Future
Trends come in cycles. It’s apparent in everything from fashion to interior design to art and lifestyle movements. They do come about as reactions to past trends and ways of living, but many trends are simply recycled versions of what came before. Seasoned designers understand this cycle and use it to their advantage. This is why art auctions are so valuable in the design world.
Ostervig Rosewood Dining Set
Ostervig Rosewood Dining Set
What’s Old Becomes New Again
Many trends hearken back to past decades for inspiration. Interior designers know how these trends come about and in many cases can even predict them. They additionally understand the fundamental aspects of classic trends that repeat themselves over the years. These aspects include functionality, simplicity, and balance. When pieces from history resurface at auction with some combination of these attributes, they will look good well into the future in addition to right now. Seasoned interior designers can spot these hallmarks of classic design from a mile away.
Art Auctions Offer the Best of Old Trends Making a Comeback
Classic furniture and decor will never go out of style. These are crafted from sturdy, fine materials like wood, stone, and metal, and have simple lines. If they do have details, they are elegant and not over-the-top. Auctions are a treasure chest for finding items like these, ones that will look good in any home. One of the reasons for this is that people tend to keep what’s timeless, and so an item is handed from person to person and lives a long life before eventually making its way onto an auction block.
However, trendy pieces are also hallmarks at an auction. Consider the mid-century modern trend, which finds its roots in the 1950s and 60s. New pieces are being manufactured and sold in modern stores that exactly mirror pieces from 60 years ago. Go to an auction, however, and one can find original mid-century modern furniture made in the era that birthed it.
Pair of Knoll Mies Van der Rohe Brown Leather Upholstered Barcelona Chairs
Pair of Knoll Mies Van der Rohe Brown Leather Upholstered Barcelona Chairs
Good Designers Respect the Past
No décor was created in a vacuum. All design springs from inspiration from other sources. Good interior designers are well aware of this fact and use it to their advantage. They have respect for original pieces from past eras that are in style again, and they understand how past trends can morph into something new.
Art Auctions are one of the best places to find where trends start, or where inspiration for new trends is born in the first place. This format specializes in the sale of the unique, the historic, the valuable, and the special. At auction, what is old and has potentially lost its value for one person transforms into something new and full of value for someone else. In this vein, good interior designers are able to see the potential in objects, art, furniture, and the like that perhaps have not made it back onto the trend radar. In these instances, a new trend might be in the wings.
Using Art Auction Houses as a Source for Interior Decorating
Auctions aren’t just for collectors. They aren’t even just for those with a lot of money. Surprisingly, more and more interior decorators are using art auction houses as a source for finding unique furniture and décor for their design clients. The right unique piece can add the perfect element of surprise and interest to any room, and savvy interior designers know this very well. Auction houses are treasure troves for art, antique pieces, items of historical value, and more — any of which can be used as décor.
Sevres Style New Haven Clock Co. Gilt Metal Porcelain Mounted Clock Garniture
Sevres Style New Haven Clock Co. Gilt Metal Porcelain Mounted Clock Garniture
Reasons to Use Art Auction Houses as Sources for Interior Decorating
Most People Love the Idea of Owning Something One-of-a-Kind
Owning something no one else has, or something that is very rare, makes most people feel important and special. It’s something they can boast about, and it signifies their cultured status. The idea of the piece is just as important as the piece itself.
A Big Design Trend Has People Looking Backward
A design trend that is not going away anytime soon is vintage decorating. Large swathes of people enjoy combing flea markets and antique malls in search of unique items for their homes, ones they won’t find in modern stores. However, often a trip to a thrift store or flea market amounts to little more than sifting through piles of junk. In contrast, auction houses provide the best of both worlds: uniqueness and value. If something is not very desirable, it will not sell for much money. Truly valuable pieces go for higher amounts. Time is not wasted on items that belong at the garbage dump. Most of the items have historical value if not monetary value.
Auction Pieces Add Character to an Otherwise Bland Interior
Modern homes often suffer from a certain amount of sterility. They usually lack the architectural detail of homes built earlier in the 20th century, and can all appear alike. Interior decorators who wisely insert unique pieces from auctions into their designs bring life and character to these otherwise bland spaces. The resulting look is warmer and more inviting than could be achieved with modern furniture and décor alone.
French Walnut Standing Cheval Mirror
French Walnut Standing Cheval Mirror
Mixing Style is an Effortless Design Trick
Designers who boldly mix styles of art, décor, and furniture create an effortlessly stylish look for their clients. For example, mixing 19th century antique chairs with a modern table, or using a vintage trunk as a coffee table or end table with a modern couch. This juxtaposition creates interest, not to mention serves as a conversation starter. This design technique therefore proves to be anything but boring.
The art of using unique pieces to accent interior design is an old designer’s trick. However, sourcing these pieces can often prove difficult. In these cases, auctions can be an indispensable source for purchasing the perfect one-of-a-kind find, artwork, antique, or collectible item that sets off a room’s style and acts as the finishing touch.
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What the heck is UX Design?
And what does a UX Designer actually do? These are difficult questions to answer because if you ask 5 different people, you’re going to get 5 different answers. UX, obviously, stands for User Experience. And when we say “user experience”, we’re referring to the what, when, where, why, and how someone uses a product, as well as who that person is. So: what, when, where, why, how, and who: these cover the user experience of a product, which is pretty much everything that affects a user’s interaction with that product. So as you can imagine, a UX Designer, which is someone who designs these interactions, is constantly asking a ton of questions. If you’re someone who naturally questions things, UX Design could be a great career for you, because it’s the answers to these questions that shape a product’s design.
It’s not all about the user’s needs
UX Designers need to take into account a business’s needs as well.
It’s no use having a product that people love, if it doesn’t help a business achieve its goals.
That’s not a product, that’s a side project. A UX Designer aims for that sweet spot where user needs and business needs overlap. So how do they do this, other than by asking a lot of questions? Well, a UX Designer follows what’s called a user-centered design process.
We use a set of tools and techniques to make the user’s needs into account at every stage of the product’s lifecycle. I’m going to repeat that because it’s a bit of a mouthful when you hear it for the first time: a user-centered design process takes the user’s needs into account at every stage of the product lifecycle. I say product because these techniques apply to web apps, mobile apps, desktop apps, or even physical objects. OK. So that’s all well and good, but why should you care? I’m going to give you four reasons why I believe this stuff matters so much, and this list doesn’t include the one, which is the fact that paying attention to UX results in you building a product that’s awesome, instead of one that people hate using. Hopefully, that’s a given.
Why you should learn more about it
The reasons why I think you should learn more about UX are 1): You’re probably doing some of this already. One thing I’ve learned is that when you understand how it is that you do what you do, you become infinitely better at it. Like the fable about the centipede who, when asked how it was that he walked, couldn’t give an answer. But when he picked himself up and examined and flexed each of his hundred legs, he danced the most beautiful dance in the world.
Here’s Number 2): user-centered design is a process, which means it’s practically scientific! It’s like taking the scientific method, using analysis and measurement, and applying it to humans and their behavior. And that’s fascinating to me — this notion that designers are artistic geniuses with a penchant for cutting off their own ear … it’s nonsense! This is a science! Well, a quasi-science. This leads me to the third reason that UX matters 3): it’s not that hard. Especially for people who are already technically inclined. I don’t want to go putting myself out of a job here, but you know what? This stuff is not rocket surgery, to borrow from Steve Krug. Anyone can learn the basics of user testing and card sorting and writing scenarios and creating wireframes. It’s actually very straightforward. This is a good segue to the fourth reason you should care about UX, and that’s that 4) … it’s fun! This stuff is fascinating! A career as a UX Designer is interesting, it’s challenging, it’s rewarding, it pays well, and there’s a very low barrier to entry.
Don’t feel uncomfortable
A lot of people feel uncomfortable calling themselves a “designer” because they’re no good at choosing a typeface or a color palette. Get over it! UX Design is the design behind the visuals. Visual design is just one small part of it. It’s an important part, but some of the best UX Designers I know actually aren’t that great at visual design, but they’re really good at those other areas that are so important. And that’s pretty much it. So while you might hear terms like information architect, user interface designer, interaction designer, or usability specialist, these can all be considered UX professionals. Now they might specialize in marketing or technology, or maybe they come from user research, social media, or even customer support background. Either way, they’re all asking a ton of questions and following a quasi-scientific process to do the design behind the visuals. And they’re having a blast doing it! So that’s what I’d like to leave you with: that if this stuff interests you, you may very well be well placed to have a promising career as a UX designer.
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Before & After Photos! Do NOT believe everything you see!
Photography is an ever-evolving field and with the advent of digital cameras and even more sophisticated smart phones, we are taking pictures in seconds with a quality that wasn’t conceivable only 10 years ago.
Before and after photos in the aesthetic and beauty industry can be found a dime a dozen, especially on social media. These photos show off the amazing effects of treatments that were performed on a specific person with a specific concern, be it skin or body related.
Unfortunately, with the advancements of technology we have readily available to us along with the need to exhibit the perfect image, too often apps and filters are used to distort the reality of a picture.
Products and treatment results are altered to attract attention and sales. The untrained eye of the consumer likes what promise it sees and falls into an unfortunate marketing trap.
It is not only the after photos that are distorted to give an impression of a drastic change. Before photos can also be taken in such a way to make a certain condition look worse than it actually is, giving the after photos that much more of a ‘wow’ effect.
To assist and educate our clients and the general public here are 5 points to look out for when looking at any before & after photos:
1. Make up
Make up enhances any features you want to draw attention to. It also draws the eye away from features you do not wish the viewer to notice.
Before and after photos should always be make up free!
2. Jewelry & accessories
Our eyes are naturally drawn to color and sparkles. Similar to make up, jewelry can draw the attention away from certain areas, and distract or enhance certain features of the face and neckline.
Before and after photos should ideally be free of any jewelry or accessories.
3. Lighting
We all know that how we see ourselves in changing room mirrors in department stores. In stores where the lighting is mostly from above, our wrinkles and cellulite will look worse. This is due to the fact that light shone from above will cast shadows, making dimples look deeper and other features more pronounced.
Lighting from the bottom can let unsightly features look better than they are, and blends them away.
For Clinical photography the ideal light setting is:
· Lighting that is always consistent in both before and after photos
(A before and after photo that has different lighting should warn us to have a more skeptical assessment of the image!)
· Before and after photos should ideally be taken in a closed room with no windows, that has constant light settings
· No natural light source, as this varies during the day, with seasons, and different weather conditions
· Ring lights have gained popularity in the last few of years and are not favorable because they tend to overcast light. This can either enhance or blend specific features away.
4. Distance & Angle
The distance of the person in the two comparative photos should always be the same.
A zoomed in look can draw the focus to a specific problem or area, rather than exhibiting the full appearance.
The angle of the camera that is used to take the photo should always have a 90⁰ angle to the subject face and body.
Many ‘selfies’ are taken from a higher up angle to make the person look slimmer. Taking the photo from below will make an object appear larger than it is or emphasize features, like a double chin.
A ‘selfie’ image should never be used as a comparative photo at all!
5. Filters
Lastly, any before and after photos should be free of filters that may smooth out any flaws. The use of filters has unfortunately become extremely popular. For the occasional leisure photo using a filter is completely acceptable. However, in clinical photography and more importantly in comparative photos, a filter should never be used. More often than not filter overuse is clearly visible, and these before and after photos should be completely disregarded.
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Planning conferences capable of engaging emotionally with the participants is an important and delicate challenge for a brand. Our team boasts decades of experience in the preparation of business events, acting as an all-around technical and logistical partner.
Exhibition solutions for meetings and fairs
When a company decides to take part in a convention or conference, it must, first of all, ask itself: how can people who are interested in my brand find me? We at Prezioso Leonardo have found the solution for this problem and we offer it to all those who want to become the highlight of conferences.
We allow brands that rely on us to develop and express their image through their booth. In fact, stands for fairs and conferences can create an atmosphere that is welcoming but also coherent with the company’s values and field, and this allows them to become a precious tool to communicate with a company’s customers.
Prezioso Leonardo’s designers and architects carefully evaluate all your company’s needs, keeping your resources and opportunities in mind, and developing solutions that are aesthetically pleasing but also highly functional.
Our stands for conventions and conferences
Creating a stand for a convention or conference, for us at Prezioso Leonardo, means developing a creative project personalized to suit your company’s objectives. This is why we follow your project from the planning phase all the way to assembly, guaranteeing a result that meets high standards of quality.
In order for a stand to be effective, it must not only express the values of the company it represents, but it must also be able to use these values to stand out and attract the attention of passers-by. The ability to appear recognizable and memorable is the guiding principle behind our team’s organization of conferences.
To obtain this result, we make use of a highly qualified and completely in-house team, which is always up-to-date with the latest trends and with the newest technologies. After the creative design phase, our team moves onto the production phase, during which they make use of our instruments, systems, and equipment to build the internal construction of the stand. Logistics, installation, and assistance for bureaucratic issues are some of the other services that we provide to all the companies that decide to work with us, in order to never again go unnoticed at a conference.
Every stand for fairs and conferences that we have built during our 50 years of operation is the result of the work of a team of experts, made up of people who can give their individual contributions on creative and technical consultation, graphics, audio, video, and logistics, depending on their field of expertise. The speed at which we can complete projects, without ever sacrificing quality, is one of the reasons why so many companies have up to this day chosen to work with us in developing their stands and installations for national and international fairs.
Our internal production division has all the tools available to develop an exhibition installation that combines carefully selected furniture, highly advanced audio and video systems, and a style that makes the stand easily recognizable inside the fair. Every project for conferences or conventions is studiously crafted to satisfy the expectations of your company, express its identity, and capture the interest of all those who are participating in the event.
Prezioso Leonardo is a fully rounded-out partner for the creation of a stand or a conference installation: thanks to the competence and experience we have obtained in the field, we can guide our customers from planning to installing the stand in your venue.
Place your trust in conference planning professionals and get ready to experience an entirely new kind of fair.
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KUWAIT – Photo shows the two winning designs by Denny Kurien, based on iconic Kuwaiti landmarks, parliament building (purple stamp) and the Grand Mosque (blue stamp). — Photo courtesy Denny Kurien
KUWAIT: Stamps, the price paid to send a letter, were often utilized not only as a revenue source for the postal service but also as a way to commemorate a country’s milestones or achievements. Designing those commemorative stamps are an important part of the process and often involve artists from all over the world.
One such designer is Denny Varghese Kurien, who won a contest to design stamps for Kuwait in 1998. Now based in Toronto, Kurien cannot forget his childhood memories of Kuwait and the iconic buildings he grew up seeing.
KT: Tell us more about yourself.
Denny: My name is Denny Varghese Kurien. My job title is Creative Director & Co-Founder of Rayvn Design (www.rayvn.io). It’s a creative design studio based out of Toronto and Boston that does logo identity design, website design and digital and social media marketing.
KT: How long have you been working in Canada?
Denny: I’ve been in Canada since 2002. I’m currently residing and working in Toronto. I spent my childhood in Kuwait (from 1979 to 1996) before heading to the US to do my undergrad degree. After that I returned back to Kuwait, worked for three years, then immigrated to Canada.
KT: How do you compare Canada and Kuwait?
Denny: Weather-wise, it’s the exact opposite of Kuwait. It gets super cold and sometimes goes down to -40 C. Job-wise, I worked in Kuwait for three years (1999 to 2002) – this was right after I graduated from university. I worked in the marketing department of an IT company called Path Solutions, as well at the Commercial Bank of Kuwait in their marketing department. Since I work in the creative sector, I think working in Canada and the US is a lot more beneficial for me – there are a lot more creative freedoms and creative opportunities for my kind of work. The people of Canada are super friendly, and I now consider it my home. I’m now a Canadian citizen – I’ve lived in Toronto for 15 years. I have a wife, a 7-year-old son, 3-month-old daughter and a dog.
KT: What do you miss most about Kuwait?
Denny: I have very fond memories of Kuwait – especially growing up in Hawally and attending the New English School (class of 96). I miss my parents and extended family (most of my cousins are still living and working there). Friends I went to school with at NES are now all over the world, and I still make it a point to keep in touch with them via Facebook or WhatsApp.
KT: Describe your favorite place/s in Kuwait when you were here and why?
Denny: I miss the food – Naif Chicken shawarma and eating at Mais Alghanim – these were popular hangout spots for me and my friends from high school. They don’t have very good shawarma here in Canada. I also miss the KFC Spicy Zinger burger, Hardees roast beef sandwich and Caesar’s mini-pizzas -we don’t have those too here in Canada.
KT: When was your last visit to Kuwait?
Denny: The last time we visited Kuwait was in 2011. My parents and much of my extended family are still in Kuwait. My parents come to visit us in Canada every other summer. In January 2019, I’ll visit Kuwait with my family for a couple of days.
KT: Tell us about your entry in the stamp competition. Where did you see the ad? What were the inspiration and the reason behind the design?
Denny: It was in 1998, when I was attending University of Denver (studying graphic design). I had come home to Kuwait during the summer vacation, and my younger brother Benny saw an ad in a local newspaper calling for entries to design Kuwait’s 8th Liberation Day anniversary stamp. He convinced me that I should design something. This was during the early days of Adobe Photoshop. The concept and inspiration for my design were based on two particular landmarks in Kuwait – the Kuwait parliament building (purple stamp) and the Kuwait Grand Mosque (blue stamp). Both these illustrations were hand-drawn. After I submitted my designs, I got a call from my dad saying that the Kuwaiti government had selected my design. This became my claim to fame.
KT: Why from so many iconic places in Kuwait did you select these particular buildings?
Denny: My initial postage stamp design was an illustration of the Kuwait Towers. But then I got a request to explore other landmarks so that they could create different denominations of the stamp. So I drew the Assembly building, the Grand Mosque and the old Kuwaiti gates. I grew up around these iconic landmarks, so it was only natural I chose them as my design inspiration (this was before the telecommunication tower was completed).
KT: Tell us about the challenges you faced while drawing?
Denny: Back then I didn’t really consider myself an artist – it was me experimenting with traditional drawing media, and then bringing it to the computer and adding CGI elements to it. Like I mentioned, this was during the early days of Adobe Photoshop – there were no layer tools, and the “glow filter” had to be done manually.
KT: How long did it take to make the designs?
Denny: It took me three days to design them – I submitted three design options.
KT: What did you gain by winning?
Denny: An interview on KTV, reports published in the newspaper and recognition from the Kuwaiti government. Designing a postage stamp is like designing currency – there is an archive of the collection. I even had stamp collectors from all over the world come to see me, interview me, get autographs and take pictures with me for designing the stamp.
KT: How much prize money did you get?
Denny: KD 250, but the fame and recognition was much more. The news even spread to my extended family and friends in Kerala (where I was born). A report was published in Malayalam Manorama (an Indian newspaper). I was the first Indian to design a Kuwaiti stamp.
KT: What year the stamp was released and how long was it in circulation?
Denny: The stamp was released in 1999 on Kuwait’s 8th Liberation Day anniversary.
Interview by Ben Garcia
Source: View original article
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Art Basel in Miami is a 3 day Art Festival which brings in over 75,000 people to the streets of Miami, it is the place to stay on top of the art world. In this entry we reveal who our favorite artist is and what we take away from this historic art event.
We spoke to owner Nader Nasiri to get his thoughts on young artists presenting at Art Basel. “ To see the creativity of the young artists is truly inspirational to my carpet design and selection. They are not afraid to be bold and try new things. It encourages me to stay fresh and relevant while selecting our vintage collection. One particular artist that I admire is Lucy Dodd. Her use of unconventional materials reminds me of perfecting the color of our carpets with organic earth dyes. Her minimalist designs have a similar energy to our carpet designs.”
From far away you notice natural aesthetics and symmetries. Upon closer inspection you’re able to see the splotches and strokes which seem to be the result of pours that have pooled and evaporated.
We believe she was the standout artist of the show.
Dodd is an abstract artists whose paintings are quite large, some as wide as 25 feet. She does this by sewing individual sheets of canvas to another, which makes it physically the size of a carpet. She combines a multitude of ingredients into her artwork ranging from black lichen, saliva, iron oxide, charcoal, and dog urine. Some have fermenting smells, it truly is a blend of the senses, visually stimulation at its finest.
Here are some of our favorites from the show:
Lucy Dodd Art Basel PaintingLucy Dodd Art Basel Painting
Check out some of our handpicked carpet inspired by the artworld:
Nasiri Mazandaran Flat Weave Carpet
#3787 - Mazandaran Flat weave
Nasiri mid - century modern carpet
#3784- Mid-Century Modern
Nasiri Wool and Silk Carpet
#3772-wool and silk
Art Basel allows us to be inspired by an array of artists that share the same passion that we have for carpet design. It’s invigorating meeting with so many artists both young and old and discover what inspires them, learn their backgrounds, and share your work with them. It “definitely keeps the passion for what I do burning” says owner Nader Nasiri. “I believe that Art Basel fuels innovation and provides insight into what artists are doing to push the boundaries of their respected medium.”
Nader is ready to hit the ground running with new ideas heading into 2015!
Check out some of the other art we found stimulating.
Art Basel Miami 2014
Art Basel Miami 2014
Art Basel Miami 2014
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Professor Griselda Pollock: Graduation Speech 2019 - The Courtauld Institute of Art
Professor Griselda Pollock: Graduation Speech 2019
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Professor Griselda Pollock: Graduation Speech 2019
Professor Griselda Pollock, a visual theorist, cultural analyst and scholar of international, postcolonial feminist studies in the visual arts, was awarded the degree of Hon. D. Lit. honoris causa of the University of London in July 2019 in recognition of her outstanding contribution to visual arts. You can read her powerful acceptance speech below:
“I cannot express how deeply honoured and delighted I am to stand here before the graduating class of 2019, composed of undergraduates and postgraduates.
I congratulate each and every one of you for your achievements and commend you also for your choice of discipline to which you have dedicated anything from three to possibly ten or more years of your intellectual life.
I also congratulate your family and friends who have supported and sustained you in these important educational endeavours.
I stand in awe of the remarkable community of scholars who have inspired and taught you. My congratulations to all at this time of celebration.
Garbed in this gorgeous scarlet that represents the honour you bestow on me today, I am minded to quote a famous feminist. In 1936, at a point when women were still not awarded degrees by Oxbridge, and under the shadow of mounting fascism and imminent world war, Virginia Woolf prompted all educated women to question their desire to tag along at the back of the grand ceremonial processions all dressed up in mock medieval splendour of what Woolf, in her class terms, named then the ‘sons of educated men’. She wrote:
For we have to ask ourselves, here and now, do we wish to join that procession, or don’t we? On what terms shall we join that procession? Above all, where is it leading us, the procession of educated men?… Let us never cease from thinking—what is this “civilisation” in which we find ourselves?
What are these ceremonies and why should we take part in them?
What are these professions and why should we make money out of them? Where in short is it leading us, the procession of the sons of educated men?”
We are no longer in that position now. We are, however, deep in what Hannah Arendt named Dark Times. The values that underpin democratic polity are being undermined by both our enemies and our friends. The Arts and Humanities are seriously at risk in a manner unthinkable to those sons and aspiring daughters of educated people of Virginia Woolf’s generation, class and empire.
Far from being an isolated specialism confined to the bowels of museums and stacks of great libraries or lecture theatres of elite academies, art and its contemporary histories are now big business. Curatorial practice offers more pathways than shrinking academic futures.
These are challenging times for our subject and our field. Only a few years ago we had to fight hard to save an A level in Art History, which is, however, now taught mostly in private rather than state schools and not at all north of Watford, privator state. I spend a lot of my time defending and promoting the field and the subject of art history which now has had to create its own defence league. What used to be an Association of Art Historians is now the Association for Art History.
The fragility of art history in whatever form we pursue it is the outcome of the dominating ideology of excellence whose key instrument is value. Value entails measurement and calculation: it is the instrument of what we now understand as audit culture. The terms of measurement and calculation for culture now are overwhelmingly economic, financial, monetary. Art is now is traded for investment on a vastly inflated speculative market. Much is stored unseen in duty-free ports on the margins of international airports. With their vast financial resource a handful of commercial galleries determine the shape of our knowledge of art. It is they who build the careers of their chosen stars while museums dutifully follow.
In such a world what other values can we propose to our society by speaking through and with expanded, diverse and inclusive histories of art as we disinterestedly study world cultures past and present?
My relation to the history of art (the discipline) has been somewhat tortured. My often critical stance is not agonistic so much as interrogative (I really wanted to be barrister). It is not political but ethical. I think there are many profound ways to justify our subject and field, our analytical practices, our commitments to art, histories and creativities. Yet they all need to be perpetually questioned as we can easily fall into the trap of playing the value game and selling our subject short. Sure, art is now an economically thriving business, on both art market and through museums and their blockbuster attractions showcasing the international art stars. Sure, it contributes vastly to the economy through tourism and heritage. Far be it from me to deny anyone the right to idealize great white men artists with their ever increasing investment and sale values. Yet as part of the Arts and Humanities, our value as an academic discipline has been not only questioned but undermined, as if we represent a frivolous luxury that economically-realistic societies can no longer afford. If you want to waste your time on art, literature, history, philosophy and so forth, the prevailing ideology is ‘pay for it yourself.’
Yet, what disciplines if not the Arts and Humanities train and educate the future teachers, lawyers, civil servants, politicians, businessmen, in ways of thinking and of grasping the intersections between social, economic, political and historical change and human thought, invention, belief, delusion, fantasy and imagination? What disciplines elaborate the cultural memory of societies in all their diversity, their beauty and their violence? What disciplines situate our children in the many histories of humanity and the environment on which it depends?
As the Arts and Humanities are treated as a cheap surplus to urgent social requirements of societies guided by the marketization of all human activities, Art History can stand against this trend if we stop serving the fundamentally economic investment in the figure of the artist and the real and symbolic value of the artwork and focus on our field as a socio-historical method of analysis that articulates materialities, embodiments, processes of creation and the power of images in a society now saturated by, and enthralled to the promiscuity of digital image culture and its social platforms.
For me, Art History is the name for a transdisciplinary project that has taken me to the limits of my understanding of related ways of thinking– science, theology, philosophy, linguistics, psychology, economics– areas I never studied but now must think with. Once I disowned the bourgeois myths of great artists and a mythic idea of personal creativity – you may recognize my perpetual war against the mythic Van Gogh and other idealized and thus betrayed white artist-men–I learned to see the world with and through art made across of multitude of situations, perspectives, bodies, minds, agonies and desires. In my work I have struggled make known the art created across all the genders, sexualities, ethnicities and geo-political situations that have not been valued monetarily in order to show how they offer meanings and insights beyond value.
Since 2015, we have been called upon by the students of my natal country, South Africa, to decolonize our thinking, our curricula, our minds, our public spaces and thus our imaginations. Art history has been deeply implicated in the perpetration of colonial imaginary while also being a site for this probing, intellectually challenging, thought-inciting and psychologically transformative commitment to critical thought.
So, as you graduate with your well-deserved certificates of achievement at all levels, please ask yourself Virginia Woolf’s question: what parades are you following?
As I receive this honour from The Courtauld Institute, in recognition of what my graduate exposure to art history at the institute incited as a critical trajectory sustained over almost fifty years of dedicated art historical thinking, I encourage you to wander widely but always ask the questions that may place you on the outside of the comfortable but on the right side of a history in which not only the Arts and Humanities will be preserved. Perhaps with our help, we will use our values to ensure that the planet itself survives a looming economically driven disaster, when any kind of education, art or thought will become irrelevant.”
Professor Griselda Pollock
BA.MA (Oxen) MA, PhD (London) D.Litt honoris causa (London)
July 2019
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Online Exhibition: Smile | TIM KELLY
Smile from Tim Kelly on Vimeo.
Digital video
Duration, 5:04
Tim Kelly, 2012
Two weeks ago my mother posted a cartoon on Facebook of a man drowning in a river. On the shore stood several people taking photos of the gulping figure with their iPhones, no one attempted to help, we can only assume that he is now dead. Below the post my second cousin commented [sic], bits sad that this is what the world has come too!!!
Humans and our accumulation of roughly 40.000 years of culture are very much struggling, together, to come to grips with what all this means. This excess of information, this connectedness, this desire for content, this digital age. We, the babies of the singularity, the first to notice the incline is getting faster, steeper, harder to comprehend. It's going to be a wild ride. Quick! Distract yourself! Take an Instagram of your lunch. Some indigenous tribes believe that a photograph can steal your soul. Does a salad even have one?
In The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin comments on how the values of society change over time, "the manner in which human sense perception is organised, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well." We live in the global village where historical circumstance is homogenised, everyone's experience is equally public and personal at the same time, anyone can get a latte, anyone can get pho, anyone can find out who Jack Nicholson's second wife was, anyone can answer any curiousity right now, anyone can look at a screen and tell you that Jack divorced once but never remarried (Sandra Knight, 1962-1968).
Early summer 2012 I found myself in the Louvre, the giant white tomb where priceless works of art go to quietly and honourably die. I had never been to Paris and totally forgot that the Mona Lisa was there, it felt like I hadn't thought about the Mona Lisa since I was in primary school, having some suburban teacher in a Coogi sweater explain what art is, why it is important and why this is the most famous painting ever. And as with everything nowadays, you can watch it online right now.
- Tim Kelly, 15 January 2013
Tim Kelly [b. 1986, Mornington, Australia. Living and working in Montréal, Canada and London, UK] Trained as a director in film and television [Bachelor of Film & TV (first class honours) at Swinburne University (Melbourne)]. Taught film and video studies at Concordia University, Montréal. A versatile and curious individual who is passionate about filmmaking and video production, curated and specialised in moving image art practice from 2010. Relocated to London in 2012. Currently in production of three separate feature-length films; two documentaries about musicians in Montréal and Looner, a minimalist film about globalisation, bored immigrants and balloon fetishes.
Currently in collaboration with Arvida Byström on the performance installation piece Mattress. A seven day exploration of sex, emotionalB transparency and modern relationships. To be performed in February 2013 at Wayward Gallery, London.
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Treasure Gallery, Palace Museum
The Treasure Gallery is a series of exhibition spaces in the northeast part of the Forbidden City in an area of the Museum known as the Palace of Tranquil Longevity Sector (Ningshou gong qu). It consists of six gallery rooms displaying pieces from the imperial collection and extant accoutrements for palace life. All of these exquisite items are made of precious materials, such as jade, jadeite, gold, silver, pearls, and other precious and semi-precious stones. The superb craftsmanship and inestimable value of each piece is aptly summarized in the title of the gallery. WANGDA SHOWCASES customized museum grade display cases for the new Galleries.
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ILIO Revolve
Preset Pack for Spectrasonics Omnisphere 2
About the Sound Designers
Jesse Scott / Summer Channel is a producer and composer who has released countless original albums and singles, and has written original music with Adam Lambert, Saffron of Republica, and many others. He’s also remixed artists such as Madonna, Seal, David Bowie, Paul Oakenfold, Curve, Johnny Cash, and Frank Sinatra (just to name a few). He’s written music that has appeared in major motion pictures such as Bad Boys II, Tomb Raider, and The Art Of War; television shows like CSI and Buffy the Vampire Slayer; and numerous video games.
As founder of Magpie Modular, Kris Northern has found the perfect blend of his favorite pursuits in the wide world of modular synthesis; hand-building synths made available from the Open Hardware & DIY communities, applying his skills as a graphic designer to make aesthetically pleasing panels, and of course, the generation of weird fascinating sounds. With a pre-existing passion for fractals, non-linear mathematics, and generative and iterative structures, Kris uses that interest to guide his sound design as well as the modules he includes in his custom-built modular.
System Requirements
Spectrasonics Omnisphere version 2.1 or higher (sold separately)
Crossgrade Proof
This crossgrade is for owners of a competing DAW. To prove your DAW ownership, we require that you upload proof in the form of an image/PDF.
Types of proof
A copy of your purchase receipt for the original license or the most recent update/upgrade
A screenshot of your product registration
A photo of your package (either CD/DVD or printed manual), with the unique serial number included in the photo.
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’s Light Is Calling (2004) opened the prestigious 2013 Orphans Midwest Film Symposium at Indiana University, setting an avant-garde tone for the event.
Morrison’s credentials as a experimental filmmaker are considerable, having received widespread critical recognition for the feature Decasia (2002). Morrison’s collages are composed and juxtaposed to music, often by his frequent collaborator composer, Michael Gordon. This technique, combined with Morrison’s obsessive use of decaying silent film and newsreel footage, makes him one of the most startling, original homegrown artists since New Englander Charles “take your dissonance like a man” Ives. Comparing this twenty first century filmmaker to an early twentieth century composer is not as fanciful as might be first imagined, since inherent musicality abides in both, as does a shared aesthetic of deconstructionist Americana.
Light Is Calling will be shown Thursday night at 830 pm. It is part of an evening of film and music, which will includeJust Ancient Loops (2012) and the world premiere of Morrison’s All Vows (2013). Israeli American cellist and Bang On A Can founding member Maya Beiser will supply live musical accompaniment. (Beiser’s reputation for collaborating with composers such as Louis Andriessen, Steve Reich, and Brian Eno may prove to be refreshing in a city whose symphony rarely defines progressive art-music beyond the nineteenth century).
Continue reading “BILL MORRISON’S LIGHT IS CALLING (2004) AND JUST ANCIENT LOOPS (2012)”
Spark of Being can be watched in its entirety for free on IMDB.
Spark of Being (2010) is an example of an artist resisting an aesthetic anchor. ‘s films are often categorized as non-narrative and experimental, so the idea of this artist tackling such a perennial chestnut such as “Frankenstein; or, the Modern Prometheus” leads us to wonder exactly how he is going to deconstruct such a familiar narrative. Throwing out all preconceived assumptions, Morrison pays homage to Mary Shelly and makes her Gothic creation fresh again with a startlingly literal interpretation. Indeed, Spark of Being may be one of the most faithful cinematic adaptations of the book to date.
Using found footage, Morrison teams with jazz trumpeter Dave Douglas and his electric sextet, Keystone, to illustrate Shelly’s tale. Douglas is an eclectic trumpeter who once worked as a sideman with the John Zorn ensemble Masada. With an original score that is simultaneously mercurial and animated, it is hard to imagine a more perfect composer forSpark of Being.
Still from Spark of Being (2010)A frequent (and sometimes justifiable) criticism in films this textured is that the style becomes so all-important the end result is a viewer deprived of a heart to identify with. In short, often, a human element is missing. Morrison has referred to this film itself as “the Creature,” and given the agonized condition of footage chosen, Morrison’s creature may be the most pathos-laden performance of the character since . One can only imagine the painstaking process it took in assembling Morrison’s creation into a cogent psyche, imbued with personality as predominant “presence.” A popular comparison might be the collaboration between and Claude Rains in producing a personality-driven Invisible Man (1933), but Morrison’s approach is more innovative, while still being true to the author’s tenets. Douglas’ music provides an informative touch of flesh stretched over the cranium supplied by archival footage from Ernest Shackleton’s film of an Antarctic expedition. As in the novel, the film opens here in the segment titled “The Captain’s Story.” The viewer steps with the Captain in his interaction with creator and created and the unfolding tragic drama. Continue reading “BILL MORRISON’S SPARK OF BEING (2010)”
Bill Morrison composed Decasia (2002) as a decomposing homage to Fantasia (1940). Far from being a pedestrian imitation (i.e. Fantasia 2000), Morrison’s film is an astonishingly unique cinematic experience: a diaphanous visual collage juxtaposed to the music of composer Michael Gordon.
There is a breed of minimalistic new age composers espousing a play-it-safe spirituality. Gordon is not among them. He is a one of a handful of authentic, spiritually challenging voices in 21st century artmusic. Gordon’s rich use of dissonance and atonal language puts him shoulder to shoulder with the likes of such 20th century artists as Luigi Nono and John Coltrane. Gordon’s “Decasia,” composed for the Basel Sinfonietta, is called a “symphony,” and is a response of sorts for those who (often correctly) believe that the symphony, as an art form, was extended to its death in the works of Anton Bruckner and Gustav Mahler. Some would argue that Gordon’s opus, a continuous movement utilizing synthesizer and electric guitar together with full orchestra, does not fit the symphonic criteria. But then, neither did Roy Harris’ iconic work. Like Coltrane’s “Ascension,” Decasia is a demanding journey. Gordon previously came to prominence with his intimately provocative psychological opera “Alarm Will Sound.” Based on Vincent Van Gogh’s letters to his brother Theo regarding the ear lobe cutting incident, it is desolate and suffocatingly beautiful. “Decasia” is a further development of that aesthetic, moving beyond words to the tragedy of silence, making Morrison a quintessential collaborator. Continue reading “BILL MORRISON’S DECASIA (2002)”
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Hudson Opera House begins work on historic performance hall restoration
Hudson Opera House Performance Hall (above) and exterior (below). (Will Dendis | Almanac Weekly)
Hudson Opera House Performance Hall (above) and exterior (below). (Will Dendis | Almanac Weekly)
opera-house-exterior-@It may seem to the City of Hudson’s residents and visitors that the marble restoration of the historic Hudson Opera House has been going on forever – since 1993, anyway – but the most important step has just gotten started. Stabilization of the building, including a new roof, fire stairs and restored cornice, made it possible to use its ground floor for public programming, and that will continue while the big work upstairs is underway. One year from now, if all goes according to schedule, audiences will be able once more to enjoy concerts in the magnificent second-floor performance hall at 327 Warren Street.
Built in 1855, originally to serve as Hudson’s City Hall, the Hudson Opera House houses New York State’s oldest surviving theater. It became a regular stop on the national lecture circuit that was such an important component of public life and thought in the late 19th and early 20th centuries. Bret Harte read his poems here, and Frederic Church and Sanford Gifford exhibited their paintings. Ralph Waldo Emerson gave a talk on “Social Aims,” and Teddy Roosevelt on his expeditions to Africa. Susan B. Anthony visited twice, lecturing on abolition and women’s suffrage. But in 1962, the deteriorated building was abandoned and sat vacant for three decades.
Now, after a very ambitious fundraising campaign that has so far secured $7 million of the $8.5 million needed for the next stage of the capital project, the performance hall is finally being restored. Its adaptation for modern use promises to yield an intimate and flexible 300-seat theater to provide contemporary programming, accessible for the first time to the mobility-impaired via a new elevator tower. Besides rehabilitation of the performance hall itself, this next phase will include work on the mezzanine, stage and support spaces, including five dressing rooms, a lighting and sound booth, a Green Room, laundry and accessible restrooms. Lead and asbestos abatement and new electrical, fire protection and HVAC systems are all on the docket, along with some more upgrades to the building’s exterior masonry, windows and doors.
The team assembled for the project has very impressive credentials in historic preservation, with restoration work on the State Capitol, the FDR Library and the Brooklyn Academy of Music, among other New York architectural treasures, under their collective belts. They promise that “the character of the historical building will be retained,” and that “new elements will be sensitively incorporated to retain the overall historic character of the spaces.” Notably, the 19th-century raked-floor stage will be preserved – an arrangement rarely seen nowadays (but beloved by opera companies), in which the performers are positioned on an incline, rather than the audience.
This major phase of renovation is expected to be completed in spring 2017, with the recommissioned hall housing a full 2017/18 performance season. “We look forward to reopening the space to artists and our public a year from now, when the Hudson Opera House will be transformed into a beacon for artistic discovery and exploration,” said executive director Gary Schiro upon announcing commencement of the work on March 21.
Want to chip in and help the ongoing effort to complete the Hudson Opera House restoration? Visit https://hudsonoperahouse.org for a link to donate toward the final $1.5 million needed for additional fixtures and fittings, soft costs and operating capacity. The website will also post updates on the project, also with continuing programming in the ground-floor gallery.
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How choreographer Mina Nishimura inhabits sacred space
WITH THE WINDING TITLE of her latest dance, Mapping a Forest While Searching for an Opposite Term of Exorcist, the choreographer Mina Nishimura suggests she’s looking for a role, a word, which she has so far grasped only by way of its inverse. As the audience filed into Danspace Project at St. Mark’s Church before the show, the work’s title was projected across one wall. If an exorcist expels spirits from a body, or a space, would Nishimura and her collaborators be inviting spirits in, summoning the supernatural into their bodies and the space of the church?
It sometimes seemed that way, if fleetingly, over the dance’s seventy minutes, in the loose and spooky matrix of appearances and interactions that materialized throughout the building. Like Nishimura’s 2018 work, Bladder Inn (and X, Y, Z, W), also presented at St. Mark’s Church, Mapping a Forest whimsically investigated the architecture of the East Village landmark, highlighting portals and passageways in particular. Sitting on and around the church altar, the audience faced the main entryway and the two smaller doors that flank it. Those doors lead to shadowy backstage rooms and two sets of stairs, partially obscured, which lead to a balcony that wraps around the performance space, providing a second, elevated stage.
In their capricious comings and goings through these and other channels, the eight performers lit up the edges of our vision: the crevices of carpeted risers, stretches of unadorned wall, a distant corner that holds a grand piano. Nishimura—an extraordinary mover who made her first entrance from beneath that piano, although how and when she got there was a mystery—is curious about peripheries, both in the physical realm and less empirically observable dimensions. What lies beyond that which the audience can see? How can a performance attune itself to this? Mapping a Forest also arises from her interest in Buddhist concepts of “emptiness” and “no-mind.” In a conversation with curator Seta Morton for Danspace’s online journal, Nishimura describes “no-mind” as the cultivation of a “soft and quiet inner state,” a kind of openness to whatever may enter one’s consciousness. In her dance practice, she notes, she begins from that state, “so that anything from outside can arrive.”
Before any discernible movement in Mapping a Forest, there was sound: the chiming of bells that at first seemed like St. Mark’s Church’s hourly toll, until you remembered that the show started on the half-hour, and noticed that the bells weren’t fading, they were growing louder. (These turned out to be the first notes of Kenta Nagai’s subtle, intermittent score.) Dancer Jace Weyant, who had been kneeling near the main entrance, her torso draped over a riser, peeled herself up and walked down the center of the room, a slow and hollowed-out drifting that would return in other guises. Meanwhile, Glenn Potter-Takata, up in the balcony, walked in the other direction, like a gentle opposing force.
Building on these simple pathways, much of the material, dance and otherwise, unspooled in solo or duet form, like scattered islands of activity. evan ray suzuki sat scribbling in a notebook; Potter-Takata applied pieces of tape to the wall. Early on, Emma Rose Brown crawled across the floor while telling herself aloud, “Don’t think, don’t think, don’t think.” She repeated this later while writhing vehemently, before coming to rest in a fetal position, her body curled around a pillar. Other performers also seemed to beckon alternative states of consciousness, through vigorous, jittery exertion or more internal, incremental shifts, like the pulsations that flickered across Stuart B. Meyers’s face. At times, video footage from the group’s recent Danspace residency (which involved local “pop-up performances”) showed them engaged in similar exploits on the streets outside of St. Mark’s Church. Kathy Kaufmann’s expert lighting added discreetly to the play with what could and could not be seen.
As is often the case in Nishimura’s work, it was the choreographer herself who most fully inhabited her own vision. Her presence electrified the space, most notably in an extended solo toward the end of the piece. As she kneeled on the floor, her feet tucked under her and torso folded forward, Potter-Takata began to chant the Heart Sutra from the balcony. (Nagai processed the vocals live to give them a growling, textured depth.) Chanted several times daily in Zen Buddhist monasteries, the Heart Sutra translates from the Sanskrit as “form is emptiness, emptiness is form.” As Nishimura’s torso began to churn and thrash—in a repetitive action that somehow gradually brought her to standing—the chant’s driving, cyclical rhythms seemed inseparable from her being, as if she had swallowed and digested the sonic vibrations. Her plain white t-shirt appeared to be inside out and backwards, states mirrored in her twisting movement. (Kota Yamazaki, her husband and frequent collaborator, designed the understated costumes; he is also credited with dramaturgy.) Whatever plane her fellow performers had occupied, intriguing as they were, Nishimura ascended to another.
If the work felt drawn-out or diffuse at times, perhaps that was an effect of creating conditions hospitable to the unknown. Watching on two consecutive nights, I found my mind wandering during the first show. During the second, now with a sense of the overall structure, I realized how much I had missed: patterns, tensions, repetitions. What had first seemed random or chaotic revealed itself to be a carefully assembled order—a ritual for welcoming the unexpected, a map that could be redrawn again and again.
When another dancer drifted into the space during Nishimura’s solo, it felt like an interruption of something holy. And yet, what happened next, and last, was just as uncanny. Other performers returned, taking up introspective tasks, as a peaceful, nocturnal mood settled over the room. Then the front door opened, and someone we hadn’t yet seen wandered in. For a minute at least, I was sure this stranger was a lost, inquisitive passerby, and that Nishimura’s summoning had worked—not for a ghost or a spirit, but for an ordinary person.
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For 2015, Zenith is producing a total of 10 very limited edition versions of their surprisingly successful Pilot Type 20 watch – and yes, I am talking about the very large 60mm-wide version of the Pilot Type 20 and not those “puny” 48mm wide (reviewed here) or even smaller versions. Actually, all of the Pilot Type 20 watches that Zenith has produced over the last few years have been limited edition models, to my knowledge. The two limited edition Zenith Pilot Type 20 watches for this year are the Pilot Type 20 Squelette – that we covered here – and this Zenith Pilot Type 20 Hommage à Louis Blériot. This unique timepiece series of five numbered pieces of each strikes a chord with various collectors with its impressive size, fun dial, retro aviation style case, and 1960s chronometry award winning base movement.
What you need to know in a nutshell about this watch (aside from its impressive size and interesting movement) is that the case is produced from sapphire crystal and 18k white gold, that the movement has some very interesting hand-carved engraving decoration, and that the large dial is meteorite. Together, this makes for one cool timepiece, in my opinion, even though it is extremely limited, and also very expensive.
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The 60mm-wide case of the Zenith Pilot Type 20 Hommage à Louis Blériot is 18.50mm thick and has some serious weight to it. Good thing the attached black alligator strap has a rubber lining so that it wears a bit more snugly on your wrist. Although some people might scoff at the idea of wearing a 60mm wide watch – it is doable. With that said, this might be one of those circumstances where carrying around the Zenith Pilot Type 20 Hommage à Louis Blériot like an actual pocket watch might not be a terrible idea.
What helped me fall in love with this watch is really the meteorite dial. I really love meteorite dials and think that Zenith incorporated one really well here into the Zenith Pilot Type 20 Hommage à Louis Blériot. The textures and colors of the meteorite do not hinder dial legibility, and a hint of red on the face adds a welcome bit of color. The dial has indicators for the time with a subsidiary seconds dial, as well as a power reserve indicator for the movement.
Perhaps the most impressive part of the Zenith Pilot Type 20 Hommage à Louis Blériot is how Zenith decided to decorate the movement. Look at the Zenith in-house made caliber 5011K movement through the sapphire crystal on the rear of the watch case and you’ll see a series of scenes inspired by aviation history engraved right into the movement bridges.
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If you noticed, the name of this watch is the Pilot Type 20 Hommage à Louis Blériot, and Louis Blériot was an early aviator who, according to Zenith, wore a Zenith timepiece on his wrist when flying across the English Channel in 1909. That must have been a very early wrist watch – but it was common during that era for watchmakers to help equip early aviators with timing instruments.
It isn’t entirely clear whether the caliber 5011K movements are newly made or vintage and restored. Zenith has claimed that it found a number of 5011K movements in its archives and had dutifully restored them. I don’t know if they have enough of these movements for a series of limited editions or if Zenith is now producing new iterations of the 5011K movement using its historical plans. I think the story is, of course, more “romantic” if Zenith is using all old movements, but the reality of old movements is that many parts will likely need to be remade. More so, in some areas, producing new movements using caliber 5011K plans is perhaps a better idea than using only old ones.
While the connection with Louis Blériot is tangential at best, the Zenith Pilot Type 20 Hommage à Louis Blériot is a very interesting limited edition watch. Sometimes I think that Swiss watchmakers like Zenith feel that creating some “reason” for making a new watch, collectors will be more inclined to fall in love with a story as well as a product. With that in mind, I feel that when the products and the stories they are meant to connect with don’t necessarily glue together, then the product/story associations feel contrived and at best are merely confusing to consumers. Well, that’s the Swiss watch industry for you.
The caliber 5011K is said to have (in 1967) won a competition for the most accurate chronometer movement ever presented. That’s pretty cool, and I hope that such stories of exceptional performance still hold true today. See, at least the story of the movement’s award-winning nature is true and can be verified – so connecting it more to the product might have been a good idea.
Cool to look at and “just over the top enough,” the Zenith Pilot Type 20 Hommage à Louis Blériot watch will be limited to only five pieces total, with a price of 200,000 Swiss Francs each. zenith-watches.com
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New Acquisitions: 5 Highlights from 2020
Valerie Kane, Assistant Registrar
As the Wellin Museum continues to grow its permanent collection, I am thrilled to highlight five objects that were recently acquired in 2020.
Charles Burchfield (American, 1893-1967)
A Dash of Rain From the Sky, 1916
Watercolor and pencil on paper, 13 15/16 × 19 15/16 in. (35.4 × 50.6 cm)
Gift of D. Roger Howlett, Class of 1966
Charles Burchfield was well known for his visionary and inventive watercolor paintings detailing his deep love and respect of nature. Painted on June 17, 1916, A Dash of Rain From the Sky is indicative of his early period which featured romantic stylizations of nature and weather with a decorative quality. It was during this time that the artist was in the habit of meticulously planning and outlining the design of his pictures, and creating color notations to be filled in later. We see Burchfield doing so here in the upper left near the rainbow and the tree line, making several markings indicating color palette. By late summer 1916, Burchfield gradually abandoned this practice, and by 1917 much of his work became unplanned. The painting itself features a blue and white sky seen over top of Weaver’s (Lodge) House with a partial rainbow visible on a cloud and was completed near the artist’s home in Salem, Ohio.1
Thornton Dial (American, 1928 - 2016)
Untitled, 1998
Watercolor, 22 1/2 × 30 1/2 in. (57.2 × 77.5 cm)
Gift of Ronald and June Shelp
Thornton Dial, a celebrated self-taught folk artist from the rural South, used his work to address a wide range of American history and sociopolitical issues including racism, violence, war, and homelessness. He is known for his incorporation of found or discarded objects, such as scrap metal, wood, rope, chicken wire, and old appliances, into assemblages and sculpture on a large scale. Dial often used the symbol of the tiger in his paintings as a multifaceted representation of the African-American male, possibly the artist himself, and the Civil Rights movement in the United States. Largely illiterate with no formal artistic training, Dial worked as a metalworker for most of his life and created art on the side before dedicating himself to it fully in 1981. He was eventually brought to national attention in 1987.
Priya Kambli (Indian, born 1975)
Me (Flour), 2009
Archival inkjet print, 11 × 14 in. (27.9 × 35.6 cm)
Published by Light Work, Syracuse, NY
Purchase, The Wynant J. Williams '35 Art Collection Fund
Priya Kambli often calls upon the themes of identity and family in her work as a means to connect the culture of her childhood growing up in India to her adult life in the United States. As seen in Me (Flour), the artist takes inspiration from old family photographs and culturally significant artifacts, mainly domestic or humble in nature, as well as old clothing, either from her mother, or when she was a child. This diptych features a portrait of the artist, kneeling on a wooden floor in a white dress decorated in a botanical pattern made of flour. It is visually reminiscent of Indian saris. Beside the kneeling image is a pewter cup holding a cone of white flour. As her face is not visible, the work displays a certain longing and loss of identity between her two cultures, while also exploring the connection between her past and the present through the visual of similar textures, materials, and patterns.
Hock E Aye Vi Edgar Heap of Birds (Cheyenne and Arapaho Nation, born 1954)
No Zone Today, 1990
Pastel drawing on paper, 22 × 30 in. (55.9 × 76.2 cm)
Purchase, William G. Roehrick '34 Art Acquisition and Preservation Fund
No Zone Today is one of two drawings acquired this year by Edgar Heap of Birds, whose work centers around the history of violence against Native American communities by the United States government. The artist uses bold colors drawn with harsh lines to portray themes of colonization and displacement. In particular, the use of the color pink is representative of words the artist associates with white culture, seen here with the depiction of “zone.”
The drawing specifically references the forced relocation and oppression of the Cheyenne and Arapaho, two distinct tribes with different histories, languages, traditions, and cultural artifacts, though federally recognized as one. In 1887, under the Dawes Act, the federal government divided tribal lands into individual allotments, granted to those that accepted US citizenship. However, much of the land was not profitable. As a result, it is estimated that over 90 million acres of land was removed from tribal control, achieving the government’s goal of forced assimilation of tribes into American society.
Charles T. Scowen (British, 1852 – 1948)
Entrance to the Buddhist Temple, Kandy, Ceylon, ca. 1880s
Albumen print from a collodion negative, 8 1/2 × 10 7/8 in. (21.6 × 27.6 cm)
Gift of Thomas J. Wilson and Jill M. Garling, P2016
British photographer Charles Scowen arrived in Ceylon, modern day Sri Lanka, in 1873 and by 1876, he established his first studio, Scowen & Co. in Kandy. A second would open in Colombo by 1885. The firm soon became one of the leading commercial photographers in Sri Lanka known for producing superior quality photographs for tourism, commerce, and industry, while also capturing the beauty and culture of the island. Known for his botanical photographs, Scowen also produced architectural and landscape studies, photographs of ancient ruins, city and street views, and portraits of native people.
The view seen in this work depicts the main entrance to Dalada Maligawa or the Temple of the Sacred Tooth Relic, one of the most sacred places of Buddhist worship in the world. Constructed during the 17th and 18th centuries, the temple holds the shrine containing the left canine tooth of Buddha, which was first brought to Sri Lanka during the reign of King Kirtisri Meghavanna (301-328).
1. Trovato, Joseph S. Charles Burchfield: Catalogue of Paintings in Public and Private Collections. Utica, NY: Munson-Williams-Proctor Institute, 1970.
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Marcia G. Yerman Reporting. Reviewing. Reflecting. 2015-05-27T02:42:18Z http://www.mgyerman.com/feed/atom/ WordPress Marcia G. Yerman <![CDATA[“Frida Kahlo: Art, Garden, Life”]]> http://www.mgyerman.com/?p=4302 2015-05-27T02:42:18Z 2015-05-26T22:03:08Z Frida in Front of the Cactus Fence, San Ángel, 1938 Nickolas Muray © Nickolas Muray Photo Archive
Frida in Front of the Cactus Fence, San Ángel, 1938
Nickolas Muray
© Nickolas Muray Photo Archive
One might think that as the subject of innumerable books, a Hollywood movie, and status as a feminist and artistic icon, there wouldn’t be anything more to add to the conversation on Frida Kahlo. However, the recently opened exhibit at the New York Botanical Garden entitled, “Frida Kahlo: Art, Garden, Life” is proof to the opposite.
The New York Botanical Garden, located in the Bronx, has previously presented shows that delve into an examination of public figures and their connections to nature and gardens. The subjects were Charles Darwin, Emily Dickinson, and Claude Monet.
With the Kahlo exhibit, visitors not only experience what the staff has termed “an evocation” of the artist’s garden at the Casa Azul (Blue House), they have the opportunity to view artworks by Kahlo that specifically reference her relationship to the natural world.
Over two years in planning, a top-notch team was assembled to bring veracity to a replicated environment. Todd Forrest, Vice President for Horticulture and Living Collections, spoke about efforts to “create a sense of place.” Kahlo’s vegetation imagery was “rendered with botanical specificity,” noted Forrest, who pointed out her “sophisticated understanding of plants.”
Adriana Zavala, Ph.D, was tapped to be the guest curator. Author of Becoming Modern, Becoming Tradition: Women, Gender, and Representation in Mexican Art, Zavala brought a specific sensibility to her focus. Moving away from the drama of Kahlo’s life and loves, her goal was to have attendees see Kahlo through “her plants and house,” and to comprehend her as the “exuberant, deeply intelligent” intellectual that she was. Zavala spoke of Kahlo’s work as being “charming and challenging — reflecting a sharp wit.” Qualifying Kahlo’s home as an “extension of her personal cosmology,” Zavala said, “There are still things to learn about Kahlo.”
Leading several trips to Mexico, Zavala steered the exhibition team to resources needed for immersion in the sphere of all things Kahlo. This included researching archival materials and photographs of the garden at the time it was being developed. Scott Pask, a Broadway design veteran, implemented his digested analysis to formulate the “scenic design” he then staged in the Bronx. One of his stunning contributions was translating the organ cactuses situated at Kahlo’s and Rivera’s home In San Ángel to an “organ cactus wall” abutting the outside of the Courtyard Garden.
D-F Casa AzulWEB
Photo: mgyerman
Kahlo’s husband, Diego Rivera, is sharply felt in the Casa Azul, specifically in a regeneration of the pyramid that Rivera had built to house his pre-Hispanic collection. This structure is front and center, with each individual step showcasing flowering plants and and a vast array of succulents and cactuses.
Pyramid FrontWEB
Photo: mgyerman
The Mexican pots were hand-dyed with tea and coffee to capture the exact hue sought by Francisca Coelho, who designs and installs the major exhibitions in the Conservatory. At the base of the pyramid, are additional specimens.
Photo: mgyerman
Photo: mgyerman
In the Casa Azul setting, we see Kahlo’s work table with paints, brushes, and books on botany. She regularly pressed flowers and leaves in the pages of her volumes of reading material. It was not surprising to learn that she observed specimens of insects and plants through her father’s microscope.
Photo: mgyerman
Photo: mgyerman
Another feature of the exhibit is an installation by artist Humberto Spindola. Originated at the Museo Frida Kahlo in 2009, Spindola used the painting, Two Fridas, (1939) a quintessential Kahlo oil on canvas, as the premise for his creation. Building mannequins structured from reeds, hemp, yarn, and wax, and dressing them in acid-free tissue paper colored with special pigments, Spindola incorporates traditional Mexican folk art techniques to fabricate the dresses from the painting. Kahlo’s two outfits, one of European derivation and the other from her mother’s region of Oaxaca, share equal power in the balanced halves of Kahlo’s personal character.
In a performance piece, two male models in wearable versions of the clothing, walked in opposite directions circling the sculpture. The use of men to embody both Fridas operates as a subtle nod to Kahlo’s fluid sexuality.
Photo: mgyerman
Photo: mgyerman
The daughter of a marriage between a German father and a Mexican mother of Spanish and indigenous descent, Kahlo strongly identified with the melding and fusion of disparate cultures — particularly as they evolved toward a new nationality unity. This concept was encompassed in Kahlo’s work as a manifestation of unified differences: the Mesoamerican and the European, the sexual and the emotional, the life force and the decay of death.
Duality and “hybridity,” as Zavala repeatedly underscored, are primary in Kahlo’s world outlook. With these premises in mind, Zavala made her selection for the paintings and works on paper in the LuEsther T. Mertz Library’s Art Gallery. It is this backstory and the context of Kahlo’s horticultural passions that inform a reading of her fourteen showcased works.
Small Life (II) is an observational watercolor that records organic forms scrutinized by Kahlo. At the time she signed this piece, Kahlo used the German spelling of her first name.
Small Life (II), c.1928 Private Collection Courtesy Galeria Arvil © 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust Mexico, D.F. / Artists Rights Society (ARS), New York
Small Life (II), c.1928
Private Collection Courtesy Galeria Arvil
© 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust
Mexico, D.F. / Artists Rights Society (ARS), New York
The Preparatory Sketch for Portrait of Luther Burbank is displayed in tandem with the resulting oil painting. Burbank was a horticulturalist who pioneered food development through grafting and cross-breeding. In the drawing, there are literal items referencing Burbank’s work, such as hands planting seeds and wielding a spade. Burbank rises from a tree trunk, while the roots envelop a corpse-like figure. (He was actually buried under a tree in his garden.) The painting is simplified, with greater emphasis on the cycles of growth and decomposition, along with imagery commemorating Burbank’s achievements.
Portrait of Luther Burbank, 1931 Museo Dolores Olmedo, Xochimilco, Mexico © 2015 Banco de México Diego Rivera Frida Kahlo Museums Trust Mexico, D.F. / Artists Rights Society (ARS), New York
Portrait of Luther Burbank, 1931
Museo Dolores Olmedo, Xochimilco, Mexico
© 2015 Banco de México Diego Rivera Frida Kahlo Museums Trust
Mexico, D.F. / Artists Rights Society (ARS), New York
The lithograph Frida and the Miscarriage is a diaristic recounting of Kahlo’s angst about her lost pregnancy, imbued with her knowledge of biology that came from her early medical studies. The child that might have been is rendered in totality, down to the male genitalia.
Two Nudes in a Forest is emblematic of the ongoing theme in Kahlo’s pictorial vocabulary of her European and Mexican roots. Set off to the left of the canvas, rather than centered, the sky and the knotted branches have a foreboding aspect. As in other paintings, it is the Mexican figure that is nurturing and giving succor.
Two Nudes in a Forest, 1939 Collection of Jon Shirley © 2015 Banco de México Diego Rivera Frida Kahlo Museums Trust Mexico, D.F. / Artists Rights Society (ARS), New York
Two Nudes in a Forest, 1939
Collection of Jon Shirley
© 2015 Banco de México Diego Rivera Frida Kahlo Museums Trust
Mexico, D.F. / Artists Rights Society (ARS), New York
Securing the widely reproduced Self-Portrait with Thorn Necklace and Hummingbird (which is also the face of all the exhibition’s material), was a major coup. It is always a revelation to see, in person, a work well-known through reproduction. In this contemplative presentation of self, Kahlo brings into the picture plane personal iconography through the use of favored pets and plants. Situating herself in front of a curtain of huge elephant ear leaves with various veined patterns, Kahlo places an animal at each shoulder. The monkey appears almost childlike. It is engaged in its own thought process, while examining Kahlo’s necklace — which recalls Christ’s crown of thorns. The black cat, in a stalking position reminiscent of a leopard about to pounce, is watchful and protective. Despite the allusion to pain and mortality that radiates from the lower two-thirds of the painting (including the inert hummingbird), the delicately rendered butterfly pins in Kahlo’s hair and the fused winged insects and flowers suggest hope. Their palette tonalities tie in with Kahlo’s shirt, as well as the lone white leaf behind Kahlo’s head — speaking to her unique individuality.
Self-¬Portrait with Thorn Necklace and Hummingbird, 1940 Harry Ransom Center, The University of Texas at Austin © 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust Mexico, D.F. / Artists Rights Society (ARS), New York
Self-Portrait with Thorn Necklace and Hummingbird, 1940
Harry Ransom Center, The University of Texas at Austin
© 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust
Mexico, D.F. / Artists Rights Society (ARS), New York
A group of still life paintings from 1951-1953, the last years of Kahlo’s life, are intense studies of fruits and vegetables that emphasize seeds, ripeness, sexuality, and fecundity. Inserted are totems and objects from Mexican culture from a miniature flag to Kahlo’s favored hairless dog, the xoloitzcuintle, rendered here as a piece of pottery. Despite her failing health, Kahlo was firmly entrenched in capturing the vitality of life.
Still Life (For Samuel Fastlicht), 1951 Private Collection, Courtesy of Caleria Arvil, Mexico © 2015 Banco de México Diego Rivera Frida Kahlo Museums Trust Mexico, D.F. / Artists Rights Society (ARS), New York
Still Life (For Samuel Fastlicht), 1951
Private Collection, Courtesy of Caleria Arvil, Mexico
© 2015 Banco de México Diego Rivera Frida Kahlo Museums Trust
Mexico, D.F. / Artists Rights Society (ARS), New York
The New York Botanical Garden has supplemented the exhibition with programmed activities — music, dance, film, poetry, and lectures. There is a top-notch catalogue (Included are photographs and information on relevant plants, with the American and Mexican names as well as the Latin nomenclature.) and a mobile guide. All labels are in English and Spanish.
Photo: mgyerman
Photo: mgyerman
The museum has projected that 300,000 visitors will experience the exhibit. With the riches to be discovered, that may prove to be a low estimate.
Base cactusWEB
Photo: mgyerman
Frida Kahlo: Art, Garden, Life
New York Botanical Garden
Through November 1, 2015
Marcia G. Yerman <![CDATA[2016 Presidential Election: The Candidates On Climate Change]]> http://www.mgyerman.com/?p=4290 2015-05-17T19:32:12Z 2015-05-17T19:30:22Z Although the country is over a year and half away from the 2016 presidential election, candidates are stepping up to throw their hats into the ring.
Voters may be exhausted by the time November ’16 rolls around, but the upside is that it will give them plenty of time to dig deep into each entrants position on the environment, climate change, and the commitment (or lack of) to protecting the planet for future generations.
Gallup has put together a poll on the views of the American electorate focusing on the question of global warming, and looking at responses on a Conservative Republican to Liberal Democrat continuum.
On the question of, “When will global warming happen?” — using the response, “Will it happen in your lifetime?” the break down was:
• 89 percent of Liberal Democrats said yes
• 66 percent of Independents said yes
• 37 Percent of Conservative Republicans said yes
On the question of whether global warming was the result of human activity the break down was:
• 81 percent of Liberal Democrats said yes
• 54 percent of Independents said yes
• 27 percent of Conservative Republicans said yes
On the question of whether global warming was the result of naturally occurring changes in the environment the break down was:
• 16 percent of Liberal Democrats said yes
• 38% of Independents said yes
• 70 percent of Conservative Republicans said yes
This information is essential to understand the posturing of most candidates who have to appeal to one demographic in the primaries and another in a nationally contested race between (most probably) two candidates. This becomes clear specifically for those who emanate from within a narrower base core (such as the Tea Party).
Here’s a brief look at the declared candidates:
Marco Rubio: On the record in an interview with ABC news, Rubio stated, “Our climate is always evolving and natural disasters have always existed.” He doesn’t believe that “human activity’ is causing the extreme changes to climate change “the way scientists are portraying it.” He does not support legislation to ameliorate what has been laid out as industrial causes, seeing them as “destroying” the economy. His point of view has changed dramatically since 2007, when he was not on the trail of pursuing higher office.
Ted Cruz: Cruz does not believe the “data” supports the point of view that humans contribute to climate change. He recently likened those concerned about global warming to the “equivalent of the flat-earthers,” casting himself in the role of renowned scientist Galileo (1564–1642). He also opposes government intervention as a “job killer.”
Mike Huckabee: Rather than answering questions about climate change with transparency, Huckabee has used deflection in recent speeches to comment on the President’s efforts. Huckabee maintains that Obama was adrift in his State of the Union speech, when he spoke about the importance of tackling environmental issues. Huckabee’s response was that America had more to fear from ISIS and “Islamic jihadism.”
Rand Paul: Staking out potentially different ground than many of his fellow Republicans, Paul has publicly acknowledged that climate change is accelerated by the actions of humans. He has implied that he would support regulations that are not at odds with job loss. However, a recent article in Climate Progress, suggests that a seismic shift from his previous stand (climate concern as “dubious stuff”) is suspect.
Carly Fiorina: As recently as an April interview with MSNBC, Fiorina put forth that “a single nation acting alone can make no difference” through regulatory action. “We need to innovate our way out of this,” she said. “That’s what the scientists are telling us.” Six months prior, Fiorina penned an op-ed for the Washington Post entitled, “Companies shouldn’t cave in to the demands of climate change activists.”
Ben Carson: A well-regarded neurosurgeon, Carson doesn’t see global warming as a concern because, “There’s always going to be either cooling or warming going on.” He believes the emphasis should be on the EPA working “in conjunction with business, industry and universities to find the most eco-friendly ways of developing our energy resources.” Carson also supports building the Keystone Pipeline, assured that it is “perfectly safe.”
Hillary Clinton: With clear statements evidencing that she will follow the initiatives of the Obama presidency, Clinton is a strong supporter of the Clean Air Act’s mission to curb power plant emissions of carbon. Like Obama, she references natural gas as a “bridge fuel.” adding the caveat of concern for “methane leaks” and placement of drills sites. Clinton supported fracking abroad while Secretary of State, a topic examined in depth by a Mother Jones article. As a Senator in 2006, she voted for drilling of the coast of Florida’s Gulf of Mexico coastline. Clinton has spearheaded efforts for Clean Cookstoves, a global move to “empower women and combat climate change.”
Bernie Sanders: Sanders is as good as it gets. He has a 95 percent lifetime score with the League of Conservation Voters, and was the highest scoring Senator in the 113th Congress according to the group Climate Hawks Vote. He has pointed to the U.S. military’s warnings on the dire results of global warming, pushed to end fossil fuel subsidies, and consistently advocated for reducing greenhouse emissions. He has reiterated in speeches that climate change is real and that the future of our children depends on immediate action.
Stay tuned!
Demand the Presidential Candidates Give Us a Climate Plan!
This article originally appeared on the website Moms Clean Air Force
Marcia G. Yerman <![CDATA[Ellen Weider: Drypoints in a Digital Age]]> http://www.mgyerman.com/?p=4273 2015-04-29T23:46:39Z 2015-04-29T23:46:39Z The impact of an increasingly digitalized world has affected all areas of our lives, including the arts. As many creatives embrace new technology to enhance or supersede mediums that are centuries old, others continue to find inspiration in the tactility of pencil on paper, oil on canvas — or in the case of Ellen Weider, the technique of drypoint.
Weider has been engaged with the print medium for over thirty years. Her work is in the print collections of the New York Public Library, Rutgers Print Study Archive at the Zimmerli Museum, the Newark Library, and the Free Library of Philadelphia. Her solo exhibit at the Manhattan Graphics Center in Manhattan showcases twenty-five black and white prints.
Drypoint is a type of intaglio process, frequently used in combination with etching and acquatint. The former presents line, and the latter creates areas of tonality. Weider uses solely drypoint. With a diamond point stylus, she achieves a range of depth and density by her manipulation of the metal burrs raised by her incisions on copper plates. For those familiar with the world of printmaking, Weider’s offerings bring to mind the anticipation of seeing how incised lines will translate after a proof is pulled. By making a decision to leave a definitive plate tone, Weider ensures that all native markings endemic to the plate remain intact. These elements add an additional layer to the final imagery.
The majority of Weider’s plates are circular. This serves to stand either in contrast to rectangular and angular constructs, or as a repetitive iteration of spherical elements within.
Top motifs for Weider embrace the use of organic forms that speak to the mysteries of nature, and an ongoing vocabulary of geometric, architectural, and personal iconography.
In To-Do, Weider places an oval shape containing concentric lines within the lower two-thirds of the space. The black furry dots, when viewed en masse, read less as pattern and more as components of a unit larger than themselves. There is a compulsive, repetitive quality. In their sameness, they yield an individuality of the whole — resembling a slide viewed under a microscope or an enlarged fingerprint.
9129WEB4"High
To-Do
Drypoint on Rives BFK
15” x 11”
New Year suggests the cross-section of a plant or fruit form. A distinct three-dimensionality emanates from the central flat core to the edges, which resemble a raised beaded border. The result has a meditative quality, as well as the stimulation of optical illusion.
New Year
Drypoint on Rives BFK
15” x 11”
In The Plan, Weider combines signature symbols into one composition. Three are pure line, the fourth is shaded. The bed, chair, and staircase record elemental objects that in Weider’s hands become mysterious and laden with metaphor. Repeatedly, the pictograms co-exist with a visual background that originates from the plate’s unpolished surface.
The Plan
Drypoint on Rives BFK
22″ x 15″
That Way invites the viewer to contemplate a modern riff on formal structure — both ancient and contemporary — that we interact with every day. Whether a reflection on the staircases the Mayans built to the gods, a way out of the depths to a higher place, or just as basic building blocks of rectangle upon rectangle — Weider mines the subconscious, both hers and the observer’s.
That Way
Drypoint on Rives BFK
15” x 11”
With a sensibility similar to Elizabeth Murray’s preoccupation with an examination of domestic objects, Weider’s terrain is repeatedly populated with diaristic contemplations of ordinary furniture: dressers, chairs, tables, beds. Frequently there is something off about them. They are presented in an isolated, existential setting, stripped of their utility — as if objects in a dream. In Wish List, Weider places totemic hieroglyphics onto the façade of a chest of drawers. A series of scratchings evocative of the female body inhabit the center panel.
Wish List
Drypoint on Rives BFK
15” x 11”
The nervous energy and quirky, tactile lines of Expand reference the ironic humor of a New Yorker cartoon. Contained within the impression, here is a chair without a sitter. Weider has conveyed the absurdity and ordinariness of every day life.
Drypoint on Rives BFK
15” x 11”
A companion piece, Balance, offers the viewer another piece of ambiguous minimalist furniture — a table without a fourth leg. The subtext hovers between a metaphysical interpretation of a concrete structure and the question of, “When is a table just a table?”
Drypoint on BFK Rives
15” x 11”
Weider — like all artists — dating back to those who scrawled the first primal characters on a cave wall, demonstrates the desire to visually narrate her thought process, and to comment on the world around her.
The immediacy and spontanaiety of the drypoint process has served her well.
Drypoint on BFK Rives
15” x 11”
Printed in collaboration with Kathy Caraccio
Manhattan Graphics Center
Fifth Floor
Through May 31
Marcia G. Yerman <![CDATA[Fracking New York: It’s Not Over ‘Till It’s Over]]> http://www.mgyerman.com/?p=4270 2015-04-24T00:28:20Z 2015-04-24T00:28:20Z When Governor Andrew Cuomo decided to ban fracking in New York State in December 2014, New Yorkers thought their worries were over.
They were wrong.
It was a great start, but too many people don’t realize that the state is riddled with infrastructure that supports the fracking industry through the construction of pipelines, compressor stations, and storage facilities for Liquefied Natural Gas (LNG).
Currently, there are approximately forty infrastructure projects in various stages of approval. Communities are beginning to grasp what this will mean to the health and safety of heavily populated localities, as well as New York’s water supply sources, air, and wildlife.
Highly volatile crude oil from the Bakken fields in North Dakota and Canada is being transported to the Port of Albany through New York State. The received oil is transferred into huge storage tanks before being loaded onto barges, which make daily trips down the Hudson River to refineries. Counties including Rockland, Orange, and Ulster are at risk for fires, spills, and even potential explosions.
These undertakings are getting push back from local New York communities. Included are:
The proposal for Port Ambrose has received notoriety and resistance because it has the potential of being a terrorist target — aside from putting the local environment and economy at risk. It is 27.1 nautical miles from the New York harbor entrance, and 16.1 nautical miles southeast of Jones Beach.
Ironically, a wind project has been under consideration for the same area of ocean that would host the Port Ambrose Port. If constructed, it would become the largest offshore wind project in the United States.
When the public comment period for Port Ambrose was open, there were 62,000 responses registered in opposition. Both Governor Cuomo and Governor Christie have the option of vetoing its approval. The New York City Council has authored Resolution 549, requesting Cuomo to move forward on nixing Port Ambrose.
How does infrastructure get approved? In New York, the New York State Department of Environmental Conservation (NYDEC) oversees this, and they are supposed to have first crack at issuing decisions. This includes designating a Section 401 Water Quality Certification (as per the Federal Clean Water Act), and air permits for compressor stations — which emit high amounts of particulate matter, formaldehyde, and carbon monoxide.
All gas pipelines need to have federal approval. That is under the jurisdiction of FERC (Federal Energy Regulatory Commission).
Peter Nightingale, Professor of Physics at University of Rhode Island, explained by e-mail the science of why fracking infrastructure is so problematic. He wrote:
“To avoid irreparable harm to current and future generations, mankind must reduce greenhouse gas emissions by 7 percent per year, as of today. This amounts to a 50 percent reduction over the next decade. This herculean task is at odds with a build-out of the fracked gas infrastructure, which commits us to about fifty years continued reliance on fossil fuels.”
Infrastructure accelerates climate change. “Robust scientific research shows that fracked gas has a larger greenhouse gas footprint than do coal or oil, for any possible use. The reason is that the gas escapes at the well, during transport, and because of incomplete combustion,” Nightingale noted.
Nightingale addressed concerns about the Spectra pipeline. “FERC approved siting of the 42-inch diameter, high pressure pipeline next to the Indian Point nuclear facility in a seismic zone in Buchanan, New York, without satisfactorily addressing concerns raised by the local community and safety experts.” (Senators Schumer and Gillibrand have asked FERC to reconsider its approval decision.) Residents of West Manhattan are none too pleased about the fracked gas pipeline either, for safety reasons including the question of how much radon is in the gas.
In response to the viability of the Port Ambrose Project, Nightingale stated, “We have roughly a decade to avoid climate chaos. Rather than investing in more fossil fuel infrastructure, we should focus on using energy more efficiently. The answer to cold weather is thermal insulation.”
Wes Gillingham, Program Director for Catskill Mountainkeeper, was clear in his appraisal of why New Yorkers need to be concerned. Via e-mail he elaborated:
“The scientific community is giving us a concise message to leave as much carbon and methane in the ground as possible, as we switch to different sources of energy. The oil and gas industries are using every tactic they can to dig us into a deeper toxic hole for the next fifty years. We need real solutions to deal with the crisis and have very little time to respond. We don’t need new pipelines. We need a freeze on new fossil fuel projects now.”
Marcia G. Yerman <![CDATA[The South Bronx Fights Air Pollution in “Asthma Alley”]]> http://www.mgyerman.com/?p=4255 2015-04-23T23:45:35Z 2015-04-23T23:45:35Z Parents want the best for their children. Lois Gibbs said of her fight to clean up the poisonous dumpsite of Love Canal, “The government wouldn’t help me, so I decided to do it myself.”
From necessity, activists are born.
In the South Bronx, a father who cares about his infant son and the other denizens of his community, has taken up the call to arms. A. Mychal Johnson, co-founder of South Bronx Unite, has squared off against a formidable foe—the food delivery service FreshDirect.
In a story with more twists and turns than a political thriller, Johnson’s narrative of the facts pits him against the Bronx Democratic Machine, public officials, and big money.
On his side are those who live in Mott Haven-Port Morris, where elevated death rates and children with high levels of respiratory disorders are the norm.
This area is not called Asthma Alley without reason.
It is here that FreshDirect has “broken ground” to site a 500,000-square-foot facility. A Federal Express hub, a printing and distribution center for the New York Post and the Wall Street Journal, a waste transfer station and sewage treatment operation — all impact the area’s air quality. “Enough of dumping in our communities,” said Johnson with palpable frustration.
Mott Haven-Port Morris is primarily populated by people of color, with almost 75 percent Latinos. It’s the poorest district in the country. “Over one-third of the residents live below the poverty line,” Johnson said. “We’re five miles from Wall Street, New York City’s financial district.” He added, “The tale of two cities doesn’t exist anywhere else like the South Bronx.”
That comment referenced the tagline that Bill de Blasio ran on to capture the Mayor’s seat. Since the election, de Blasio has been quiet on the situation in the South Bronx. According to Johnson, politics has played a large role in the genesis of the FreshDirect project. This includes $140 million of taxpayer-funded subsidies to keep FreshDirect in New York State — rather than see the company accept offers to locate in New Jersey.
Both former mayor Michael Bloomberg and Governor Andrew Cuomo backed the deal. Bronx Borough President Ruben Diaz has also stood with FreshDirect. “He wants the project,” said Johnson.
On the issue of potential jobs, Johnson was clear. Aside from the fact that none of FreshDirect’s promises of employment are “binding,” Johnson pointed out, “They don’t pay a living wage. They’re known as union busters and have outstanding discrimination claims pending. We don’t want those kind of employers in our neighborhood.”
Johnson’s engagement has been an unrelenting fly in the ointment to FreshDirect’s plans. It may be why Borough President Diaz didn’t reappoint him to Community Board 1. His leadership is also the reason Johnson was chosen to be a civil society delegate at the UN Climate Summit in September 2014.
In a phone call to FreshDirect, their spokeswoman maintained that the community was behind FreshDirect. She sent me an “official comment” from the company and documentation from an Empire State Development memo (2/19/15).
There was a subtext of deflection in the verbiage. The statement emphasized that FreshDirect was “proud to have strong support from the local community, including numerous tenant leaders, Bronx elected officials and local business owners.” It claimed that their “green fleet” would “represent a tiny fraction of the vehicle traffic in the area.” The official missive ended with, “The company has committed to creating 1,000 new jobs, many of which will go to Bronx residents.”
Presented with FreshDirect assertions, Johnson responded without missing a beat. “Their stuff doesn’t hold water.” FreshDirect stated, “This increase in truck traffic is very small in proportion to the total number of vehicles currently passing through the community on local streets and highways.”
“Even at its lowest estimate,” Johnson said, “that’s a lot of truck trips through Asthma Alley. It’s a heavily, over-trafficked area.” Numerous bridges and highways intersect the neighborhood, including Interstates 87, 95, 278, and 895. “When you bring in more vehicles, the air pollution goes up exponentially. Traffic congestion also adds to the idling of cars and trucks.”
Johnson’s bottom line: “We’re oversaturated.”
There is a definitive disconnect between the conclusions presented in the ESD document and the reality on the ground. In answer to the concern that “the air pollution (especially particulate matter) emitted by truck traffic generated by FreshDirect would increase asthma rates,” the response was, “Urban communities such as the South Bronx historically have a high average incidence of childhood asthma. The reasons for this are not well understood, but they are likely to include demographic characteristics and air pollution, among other risk factors.”
In the South Bronx Environmental Health and Policy Study (April 2009), part of the report is devoted to the results of an NYU School of Medicine research initiative called the “Backpack Study.” Over a three-week period, it had ten fifth-grade students with asthma carry specific devices in a backpack, to measure the air pollution they encountered on a daily basis. The data results were then examined in relationship to the asthma symptoms they experienced.
Top takeaways included:
• There is a strong association between Bronx zip codes with high asthma rates and those with a large concentration of industrial facilities.
• In the South Bronx, approximately 50 percent of the children attending pre-Kindergarten through the 8th grade go to schools that are “less than two city blocks” away from a truck route or a highway.
• More green spaces and green buffers, especially around sources of environmental health risks, need to be developed.
Johnson outlined a plan that would benefit the community through open space. “It’s about a robust park waterfront that creates sustainable green jobs and related businesses,” he said. It also considers solutions for storm mitigation by building “resilient barriers.” Superstorm Sandy showed the ramifications of flooding. “All of these ideas add up to a quality of life improvement,” Johnson said.
Clearly, there are two very different mindsets looking at the challenges facing the people of the South Bronx. The situation reminded me of the difficulties of those in Port Arthur, Texas — another area besieged by health problems brought on by pollution.
Dr. Bob Bullard, the Father of Environmental Justice, wrote the following via e-mail in response to my request for a comment:
“There is nothing ‘fresh’ about FreshDirect’s proposal to relocate its dirty diesel trucking operation in a community that’s already overburdened with pollution and where residents suffer elevated asthma and respiratory problems. This is a classic example of toxic dumping that further identifies the South Bronx as an environmental ‘sacrifice zone.’ ”
HPFresh Direct ManhattanSouth Bronx Unite is taking the fight outside of their area and expanding outreach efforts to the other boroughs. In a series of Wednesday night “Spring Actions,” they are hitting subway stops in Manhattan locations on the east and west sides, as well as Brooklyn.
The approach is to bring their case to the consumers, and appeal to conscience over convenience. They have a boycott, a Change.org petition, and a hearing on April 20th at Bronx Supreme Court for their lawsuit.
Johnson is resolute and determined. His final thoughts were clear.
“I have a right to speak up. We’re working to create the solutions we want. We love where we live and the people who live here. When we started this fight three years ago, one in five kids had asthma. Now it’s one in four. Children are dying.
We’re going to sound the alarm.”
Photos: Courtesy of South Bronx Unite
This article originally appeared on Moms Clean Air Force
Marcia G. Yerman <![CDATA[Air Pollution is Making Me Anxious]]> http://www.mgyerman.com/?p=4257 2015-04-23T17:32:28Z 2015-04-23T17:32:28Z ClimateAnxietyFinal copyA new study has come to my attention. It proposes that air pollution may impact mental health. The BMJ published a paper that examined whether “higher past exposure to particulate air pollution is associated with prevalent high symptoms of anxiety.”
Melinda C. Power, based at John Hopkins University, was the lead author on the report. Using data on over 70,000 women between 57 and 85 years old, the Nurses’ Health Study had participants answer an anxiety survey comprised of eight questions. The conclusions found, “Exposure to fine particulate matter (PM2.5) was associated with high symptoms of anxiety.”
However, Power noted that there could be other explanations. Her research took into account other potential causalities, including if women had lung or heart illnesses, or if they resided in big cities.
As an urban dweller, I may finally have something to pin my personal angst on.
When I moved out of Manhattan to a more bucolic borough, I thought my daily exposure to air pollution would be lessened. Unfortunately, I picked an apartment building right off of a major parkway. Fine particulate matter comes from car exhaust, and the smaller the particles the easier it is for them to get into the lungs.
The funny thing is that I know that air pollution is impacting my mental health, just not in the way the study suggested…
Recent shortness of breath and palpitations began when Sen. James Inhofe (R-OK) took over the Chair of the Environmental and Public Works Committee (EPW). Then Sen. Mitch McConnell (R-KY) decided that he was going to spearhead an effort to encourage states to be non-compliant with the EPA, in an effort to derail the Clean Power Plan put into play by the Obama administration. Invoking the rallying cry of a “War on Coal” and the subtext that clean air is at odds with a thriving economy, he sent a letter to state governors. While McConnell was busy rounding up states to join him, he apparently missed the bulletin that air pollution can impact developing babies while they are still in the womb.
On a day the weather turned a bit warmer and the snow began to melt, I opened a window — inadvertently welcoming particle pollution into my home. That same week, I was already feeling nervous after listening to Sen. Jeff Sessions (R-AL) duking it out with EPA administrator Gina McCarthy about droughts and the “moisture content of soil” worldwide. Dissatisfied with her responses, he wrote her a missive complaining that he hadn’t received direct answers, and “many responses contained caveats and conditions.” He requested additional “models” employed by the EPA to predict climate change. Others co-signed the communiqué, including Inhofe — after he put down his snowball.
Despite Power’s findings, I still think my anxiety can be attributed to causes beyond particle pollution.
I have frequent and disruptive fear. I’m frightened because sea lions off the coast of California have been dying in unprecedented numbers due to climate change. My scalp tingles when I look at the image of a polar bear clinging to a piece of Arctic ice smaller than my bathroom. Then there was the mice study showing that “breathing high levels of ozone could impact women’s fertility.”
When The New England Journal of Medicine reported in March, “Reduced air pollution benefits lung health in children” I noticed that my symptoms eased up. Yet as soon as I read Sen. Lamar Alexander’s (R-Tenn.) statement about the President’s message on greenhouse gas emissions goals and international negotiations, I felt queasy. “The Obama administration’s national energy policy is practically a national windmill policy,” he said.
Every day is a seesaw of emotions. Just when I was feeling elated that India and China have come to the realize they better work on their air pollution problems sooner rather than later, back in the United States, Sen. Rob Portman (R-KY) put forth a budget amendment to allow each state to “opt out” from the federal clean air regulations in the Clean Air Act.
All right. I have to admit it. I can’t blame all my anxiety on what I’m breathing in the air.
I have to attribute it to the fact that fossil fuel big business, their supporters in the Congress, and the money men like the Koch brothers (who sponsor newspaper “editorials”) are going to do everything in their power to prevent regulations that would impact climate change.
A poll conducted by The New York Times, Stanford University, and Resources for the Future shows that climate deniers are out of touch with 83 percent of Americans, including 61 percent of Republicans who believe that global warming is becoming a serious problem. Ironically, 74 percent of Americans believe the federal government should be doing “a substantial amount to combat climate change.”
I have a horrible feeling that my anxiety isn’t going away any time soon.
Tell Your Senators to Help Stop Climate Change!
This article originally appeared on Moms Clean Air Force
Marcia G. Yerman <![CDATA[A Conversation with Amaranth Ehrenhalt]]> http://www.mgyerman.com/?p=4188 2015-03-14T01:32:09Z 2015-03-07T06:50:11Z In what was previously a school building on 108th Street in East Harlem, I entered into the universe of artist Amaranth Ehrenhalt. I first saw her work in an exhibition at the Anita Shapolsky Gallery in New York. She is currently included in the gallery’s group show, “Abstract Approaches,” running through March 28.
Having briefly met Ehrenhalt, I became intrigued by the statuesque, older artist who had a backstory that included art world history in both the United States and Europe. I was inspired by her steadfast commitment to her art, and curious as to why she was—for the most part—under-the-radar. Here was a female artist, almost 90 years old, who was still producing.
I had to know more.
Amaranth PortraitFinal
Photo: Marcia G. Yerman
When Ehrenhalt opened the door to her apartment, I walked into a foyer that had boxes, flat files, and stacked paintings on either side. Deeper into her space was a passageway to the area that she had designated as her studio. A folding rack, filled to capacity, held prints and works on paper. Canvases were hanging on the walls and there was a painting on plywood in progress. African masks and Berber pottery from North Africa, collected on her travels, co-existed with ceramic bowls and plates made by Ehrenhalt in Paris. Examples of her virtuosity were displayed via her sculptures, mosaics, tapestries, and prints. It was as if an artist in a frenzy had touched every surface with their talent. “Yes,” Ehrenhalt informed me, the pillows on the sofa were her design as well. She was wearing a long colorful scarf, one of her textile projects.
The kitchen blended into the work area. A dining tabletop was composed of her ceramic tiles. Framed prints were in a narrow hall. Articles and images pulled out of the New York Times were tacked up for reference. Ehrenhalt explained the layout of her duplex—which is totally geared to her practice. She said, “It’s the first thing I look at when I get up in the morning, and the last thing I see before I go to bed.”
Ehrenhalt exudes an aura of vitality; one would be hard pressed to guess her age. She is tall (“I was 6’ when I was 14 years old.”), with large, strong hands. Listening to a series of narratives, in response to my questions, it’s easy to imagine the vibrancy of her 20-something self. One of those stories was featured in the September 2012 issue of Vogue, where Ehrenhalt wrote of her days in Paris and friendship with sculptor Alberto Giacometti.
Beginning at the age of four, Ehrenhalt had a strong desire to paint. She grew up in Philadelphia, in modest circumstances. Her parents were first-generation American Jews, with old-school ways. Ehrenhalt clearly remembers, “Art was all that I ever wanted to do.” For a girl born in 1928, it wasn’t going to be smooth sailing. However, she did get an early start. A public school teacher told the principal that Ehrenhalt needed to be placed in the “creatively gifted” Saturday morning program at the Philadelphia Museum of Art. Rather than leave the museum premises when her class was over, and unbeknownst to her parents, Ehrenhalt wandered around the galleries looking at everything from El Greco to Cezanne. She envisioned a future for herself making great works of art.
On a full tuition scholarship at the Pennsylvania Academy of the Fine Arts, Ehrenhalt took classes in perspective, anatomy, still life, portraits, and the science of materials. One afternoon per week she attended an art history class at the Barnes Foundation, taught by Violette de Mazia. Ehrenhalt said, “It was an incredible grounding.” She added, “I came to know Violette and Dr. Barnes quite well.”
Determined that she would travel to Paris, Ehrenhalt worked and saved money throughout her teens. It was to be the next step after she graduated. Ehrenhalt sought support for her plans from her father—knowing that if he didn’t offer his blessings, she was going anyway. He didn’t approve, and Ehrenhalt was on the boat to France. She built camaraderie with the other students en route to exploring life and education abroad.
Settling in at the American building at the Cité Universitaire, Ehrenhalt met two American girls who invited her to hitchhike to North Africa with them. Rides were picked up with truckers from Les Halles market, headed to the south of France. After reaching Casablanca, Ehrenhalt journeyed on to Marrakesh. As if reliving the sights and sounds Ehrenhalt said, “Everything you see, you take in like a sponge. And I always had a sketchbook with me.”
Roslyn IIWEB
Roslyn II. Blue Portrait, 1951 Watercolor on Paper
It was at this time, at a youth hostel, that Ehrenhalt encountered another young artist—Friedensreich Hundertwasser (then known as Friedrich Stowasser). A black and white photograph of the two of them from this period sits on Ehrenhalt’s table, framed in silver and draped with beaded necklaces. Ehrenhalt related how the two of them crossed North Africa together, on the way to Sicily. She was the subject of three of his portraits.
Their parting came as a result of Hundertwasser’s return to Vienna, due to family concerns. Ehrenhalt continued on to Rome. When I asked her about her decision to continue solo—thereby ending an important relationship—she replied, “My first true love is, has, and always will be art.”
In Rome, needing money, Ehrenhalt secured a job teaching English. Continuing to paint, she sold works sporadically. Ehrenhalt developed relationships with other artists, including Alberto Burri. When his American dealer, Martha Jackson, came to Rome to make arrangements for his upcoming exhibit, Ehrenhalt served as his translator.
When Ehrenhalt returned to America, she moved to Manhattan’s Greenwich Village. The apartment she shared with three girls was so small that they had to keep their clothes under the beds. She eventually found a larger place, and began doing her artwork there. She spent evenings at the Cedar Tavern, where she met Franz Kline, Al Held, and Ronald Bladen. The evening before she left for a short excursion to Paris, Willem de Kooning told her, “As soon as you get back, call me. We’ll have dinner.”
It didn’t happen. The trip stretched out—indefinitely. She met the man who would become her husband, also an American artist. They each painted, showing their work in their home salon-style, and living off the sales. As Ehrenhalt describes it, circumstances didn’t sound easy. After two children and fifteen years of a difficult marriage, she got divorced. However, she made a point of sharing, “I couldn’t imagine my life without having children.”
Despite the hardships, life in Paris had plenty to offer. Ehrenhalt became part of a circle of expatriate Americans that included Shirley Jaffe, Sam Francis, and Joan Mitchell. It was during this period that she changed her first name from Roslyn to Amaranth. “I love words,” she remarked. “That’s why all my works are titled.”
Perhaps the most critical connection Ehrenhalt made while in Paris was with Sonia Delauney. Impressed by her abilities, Delauney became a patron. She told Ehrenhalt, “You’re a very talented artist. I’d like to see more of your work.” Realizing that Ehrenhalt was struggling, Delauney arranged for her to buy paints on her account. Ehrenhalt shared an anecdote about Delauney sending over Christmas dinner, art books, and presents for her son and daughter. Ehrenhalt met Alix de Rothschild, who purchased one of her pieces. The day the Baroness made a studio visit to Ehrenhalt’s flat, it was extremely cold. The following day, de Rothschild sent a heater to the family.
Ehrenhalt became well-integrated into the European art scene, with a core of collectors, numerous exhibitions, and frequent reviews. As early as 1962, poet and critic John Ashbery singled out her painting, Jump In and Move Around, in his review of the “New Forces” exhibition at the American Center. He wrote in the International Herald Tribune, “A key figure among these 31 artists from 14 different countries might be the American Ehrenhalt.” Discussing the canvas he stated, “It is both an excellent example of New York School abstraction (lush colors, fluent brushwork, bustling composition) and an attempt at a new possibly eerie form of figuration. The large flat areas juxtaposed with smaller, detailed ones seem always on the point of resolving themselves into a landscape or a portrait.” Ehrenhalt pointedly emphasized, “There’s no first name used, so you don’t know what gender I am.”
JumpInWEBJump In and Move Around, 196I
Oil on Canvas
59” x 77”
Ehrenhalt went on to specify the list of collections she was part of in France, including the Bibliothèque nationale de Paris. “Being in America—it’s so big. She said, “If you’re an artist in a small country, you get much more support.”
Returning to the United States in 2008, in order to be close to extended family, was a definitive transition. Ehrenhalt had a rude awakening regarding the art scene. There was palpable frustration evident as she lamented the lack of opportunities for an artist still producing prolifically at a later career point. “My newest work doesn’t have enough exposure,” she stated with exasperation.
I asked Ehrenhalt how many pieces she estimated she had in her studio. “I have a mattress on top of flat files! I have thousands of pieces of work,” she exclaimed.
Ehrenhalt was one of fifty-eight artists in the book American Abstract And Figurative Expressionism: Style Is Timely Art is Timeless (2009), along with Mark Rothko, Lee Krasner, and both Elaine and Willem de Kooning. Her painting, Umatilla, is scheduled to be included in an exhibit at the Denver Art Museum in 2016.
Umatilla WEBUmatilla, 1959
Oil on Canvas
59” x 87”
Being frank about the art world, Ehrenhalt reflected on the past and the present. “It’s hard to survive. In my generation, women had to either be financially independent or have connections with a top male artist.” Commenting on the gallery system, she said, “A gallery can make or break an artist. They can take a young artist and put them on the map.” Of much of the work that she sees these days she admits, “It doesn’t touch me in a deep way.”
In 2006, Ehrenhalt was part of a show at the Sidney Mishkin Gallery, entitled Encore: Five Abstract Expressionists. The subtitle was, “Less Well-Known Figures Emerge, Extending the Canon.” Her paintings have been acquired by American collections including Philip Morris, Downey Museum of Art, and the Hirshhorn Museum. One of her catalogues featured a quote from Joseph Hirshhorn stating, “What makes an artist important is the fact that she develops her own language, which is what Amaranth is doing.”
#9inSeries8WEBNumber 9 in the Series of 8, 1973
Watercolor and Gouache on Arches paper
30” x 22”
Collection: Hirshhorn Museum
Showing me images of a series of oil on canvas paintings called Poggibonsi I—V, Ehrenhalt said, ”The more you see my work, the more you love it, the more you can’t live without it! I had a collector who bought one work from this group, and then he came back to purchase another and another—until he owned all five.”
Poggibonsi1WEBPoggibonsi I, 1999
Oil on Canvas
77” x 51”
As early as My Mother, there are precursors to what will become Ehrenhalt’s vocabulary for handling paint. Her use of shorthand—through pattern—to designate areas of the bed and floor, suggest the approach she will employ later on to evoke space and depth.
My Mother WEBMy Mother, 1946
Watercolor on Paper
15” x 11”
Six years after Jump in and Move Around, Ehrenhalt explored a different direction in Wend. Using a grid format over a mixed palette background, she introduces a third motif—that of a sinuous snake-like form. Her gradations of color reference the school of Orphism. Enclosed in the tail end is a photograph of the artist.
WendWend, 1967
Oil on Canvas
64” x 51”
In Snow Today, geometric and organic shapes share the paper surface with an energy of movement that refuses to be contained. As in future work, Ehrenhalt combines tightly manipulated forms with broad areas of wash.
SnowTodayJPEGSnow Today, 1974
Watercolor and Gouache on Arches paper
22” x 30”
A year later, Ehrenhalt transformed her imagery into a large-scale tapestry. In discussing the woven pieces, Ehrenhalt made clear that she was hands-on in the process, making decisions about all aspects of the project.
Euphrasia TapestryEuphrasia, 1975
102” x 75”
Constantly experimenting, Ehrenhalt takes previously established stylistic elements, and does a modern day “mash-up” of seemingly unrelated components. In the 1980s, she worked in acrylic, combining opaque areas of color bands with free flowing amoebic forms.
AlembertWEBAlembert, 1987
Acrylic on Canvas
79” x 85”
Ehrenhalt returned to using oil paint by 1991, engaging active stroke marks alongside scumbled patches. Throughout her oeuvre, color is primary. Tonalities are vibrant and intense. Each hue is consciously placed, creating a tense interaction within the visual field. During the same time period, responding to her paintings with works on paper, Ehrenhalt used line drawing and crayon-colored areas to explore another iteration of her large-scale work.
SusquehannaSusquehanna, 1991
Oil on Canvas
46” x 36”
In the late 90s, Ehrenhalt took on the challenge of doing individual works that could be configured in more than one way. She coined the term of “Double Look” to describe the possibility of viewing a diptych in two different configurations, using the process of inversion.
ZalmonZalmon (Dyptych: Two Views), 1997
Oil on Canvas
77” x 60”
Ehrenhalt showed no signs of slowing down in the new century. If anything, she expanded her repertoire to include the new medium of monotype.
Greg C WEBGreg C, 2007
20” x 28”
Having previously worked in etching and woodcut, I asked Ehrenhalt, questions about her techniques. “I just experimented,” she replied. “The first print I did was a woodblock. I used a spoon on the back of the paper!”
Querceta WEBQuerceta,1991
33.50” x 24.50”
Moving into three-dimensionality, Ehrenhalt combined her painting imagery on wood with the structure of marble. In a moveable, pivoting sculpture, Ehrenhalt both challenges and enables the viewer to observe her creation in several ways.
Blk Bear WEBBlack Bear Square, 2005
Marble and Painted Wood
20” x 20” x 4”
During seven decades of exploring her artistic voice, Ehrenhalt has achieved innumerable permutations of visual expression. She told me with pride that her public art project in Bagneux, France, was so beloved by the local residents that it had never been marred by graffiti.
DouzeSouriresMuralWEBDouze Sourires, 1990-1991
Mural at Bagneux
Glazed Ceramic Tiles
Recognition as an artist is a combination of talent and luck. Sometimes it’s about being in the right place at the right time. As I spoke with Ehrenhalt about her career trajectory, she said definitively, “I feel certain, and there has never been any doubt in my mind, that my paintings could stand up next to the best of either generation of the Abstract Expressionists—male or female.”
Regardless of what the curators and “decision-makers” of today’s art scene are looking for, Ehrenhalt is not waiting for anyone’s validation. “I know what I want to do,” she said resolutely, “and I’m my own best critic.”
Before I departed, Ehrenhalt reflected, “When I paint, nothing else exists. It’s just so intense.” She added, somewhat dryly, “When I stop painting, I’ll already be dead.”
Hopefully, there will be an opportunity for her to show the full range and depth of her works in a retrospective in the near future.
Cascara 2Cascara 2, 2004
Gouache on Arches paper
30” x 22”
Photo of Roslyn II: Courtesy of Hundertwasser Foundation
Photos: Courtesy of the artist
This article is from the series “Evolution of an Artist”
Marcia G. Yerman <![CDATA[New Congress Targets Climate with “Fifty Days of Nay”]]> http://www.mgyerman.com/?p=4182 2015-02-25T03:38:20Z 2015-02-25T03:37:35Z Shades of NayWhile the public is coming off the Oscars, and a fascination with the new movie Fifty Shades of Grey, I have been focusing on a different story. It’s called Fifty Days of Nay. It’s the sad narrative of the first weeks of the new 114th Congress.
It may not be sexy, but it has a lot of the same elements you would expect in a less than savory tale. There’s big money, men who wield their power to bend others into submission, and plenty of questions about denial and morality.
Needless to say, Sen. Mitch McConnell is not going to get the leading role in any film, but he is a star player in this script. He has been practicing his lines of dialogue since the November election, with rhetoric about pushing through the Keystone Pipeline and vowing to deadlock any advancement in the regulation of coal. Backing moves to reduce the carbon pollution emanating from power plants is not in his screenplay—no way, no how.
However, McConnell has creatively managed to construct a scenario for undoing two decades of environmental legislation. In his rewrite, there will be no going back to the days when safeguarding the environment and health of Americans were embraced by both parties—and were not a mater of partisan politics.
In the key role of supporting actor is climate-denier, Sen. James Inhofe, 80, who has landed the part of a lifetime. He is now the Chairman of the Environment and Public Works Committee (EPW). As the protagonist character, despite being “cast against type,” Inhofe will have dialogue coaches reeling as he delivers many of the off-the-cuff, improvisational remarks that have won him renown. (“Man can’t change climate.”)
Ironically, there is one scientist who Inhofe does put his faith in. His name is Wei-Hock Soon, and he is currently in the middle of a paparazzi media storm. Soon is a researcher affiliated with the Harvard-Smithsonian Center for Astrophysics. He has testified in front of Congress to dispute the findings of 97 percent of his colleagues. Soon elucidated upon his doubts on the connection between the actions of humans and the causes of global warming.
Last week, Greenpeace and the Climate Investigations Center, which got hold of records through the Freedom of Information Act, released documentation showing that Hock had received in excess of $1.2 million from those in the fossil-fuel industries throughout the past decade. Hock neglected to mention the fact of his funding in his published papers and findings on climate change. It’s possible that the additional $230,000 bestowed upon him from the Charles G. Koch Foundation made his memory foggy.
Over in the House of Representatives there is some encouraging news. The Safe Climate Caucus is up and running under the new leadership of Rep. Alan Lowenthal. He wrote in a mid-February blog, “This caucus aims to speak the truth, even in the face of denial.”
I’m hopeful. Maybe this story will have a happy ending.
Image: Courtesy of RVR Associates
This article originally appeared on Moms Clean Air Force
Tell Your Senators to Help Stop Climate Change!
Marcia G. Yerman <![CDATA[Birds Tell an Urgent Climate Change Message]]> http://www.mgyerman.com/?p=4168 2015-02-16T04:43:21Z 2015-02-16T04:43:21Z 2012_Rufous_Hummingbird_Helena_Reynolds_AudubonPhotographyAwards“The canary in the coal mine.” That phrase has become part of the lexicon as a warning for danger.
Now birds are cautioning humans about the imminent threat of climate change—and the news is not good. This from a report based on seven years of research by the National Audubon Society. I checked out their website, which featured material on environmental events—both national and international. I learned that the Baltimore Oriole may no longer be in Maryland by the end of the century and that coastal species, like the sandpiper, were imperiled by rising sea levels.
I reached out to Gary Langham, Audubon’s “chief scientist,” to learn more. Langham has a Ph.D. in Ecology and Evolutionary Biology from Cornell University. We discussed a wide range of topics, and he passionately delivered his insights and concerns.
Langham explained that at Audubon, “Activism is part of the story.” The organization was founded 105 years ago by people alarmed by the slaughter of egrets being killed in order to supply women’s hats with “plumes.” Audubon spearheaded the 1918 Migratory Bird Treaty Act, the first American law to protect birds from indiscriminate hunting. “Concerned citizen interface has always be part of the Audubon agenda,” Langham related. “All our conservation work to protect birds and nature is based on science, policy, advocacy, and education.” He paused, “So is standing up and doing the right thing.”
Walking me through the top points of the study, Langham detailed that 588 species were examined within the context of how climate change would impact them in 2020, 2050, and 2080. Taking into account the consequences of greenhouse gases, 314 species are going to be highly impacted unless, as Langham emphasized, “we recalibrate how we consume and generate energy.”
Having the longest running animal census in the world (since 1900), Audubon is strategically positioned to contribute to the conversation. Langham discussed “habitat shifts” that evolved as a result of a changed landscape over the past century and a half—an outcome of humans “converting land use to their own ends.” Alarmingly, in the past forty years, “even common birds have declined by 40 to 70 percent due to habitat shift.”
Langham underscored, “Birds have an urgent message.” The reason they are on the move is due to climate change. In the past two decades, more than 200 species of birds have moved their “habitat range” substantially north in order to achieve comparable living conditions. This migration then impacts the ecosystem where they resettle. Langham stressed, “All this disruption is not good. Birds are an excellent indicator of nature overall. What impacts them will impact us. As the birds go, so do we.”
On the bright side Langham assured me, “When you give nature half a chance, it can respond in a positive way.” The bottom line is, “Restorative measures are the key. If we take concerted actions, the birds can recover.” He gave the example of the country’s national emblem, the Bald Eagle, which was brought back from the brink after being devastated by the effects of DDT.
Commenting on the newly elected representatives in Congress, Langham observed that the “fingerprints of big oil and gas” were clearly evident. “Climate change shouldn’t be a partisan issue,” he insisted. “It’s about doing the right thing for future generations. It’s about protecting nature and our children.”
When I asked Langham about the XL Pipeline, he was unequivocal in his response. Audubon is officially opposed to it because of the inherent risks and disruptions from spills. Regarding fracking, Langham pointed to the challenges facing birds that nest in the Bakken Shale area of North Dakota. He said succinctly, “Unregulated chemicals used in fracking are the wild card. What’s being pumped into the ground cannot be good for birds or people.”
Langham was clear. “Most of the opposition comes from the extractive industries. They just use nature for their own purposes. They cut it, burn it, or extract it. They want the fewest regulations with the most profits.” For Audubon, supporting renewable energy is a core belief, as is reducing emissions via legislation and public policy.
On how he would convey his concern to the average citizen, Langham said, “Birds often represent or symbolize places in ways that are meaningful to people. The Common Loon is a familiar bird for people out fishing or swimming in the 10,000 lakes of Minnesota. Our Climate Report suggests that loons may no longer be in Minnesota by the end of the century. The idea that one cannot share the call of the loon with kids or grandkids is troubling because it foreshadows not just the loss of the loon, but of one’s sense of place.”
Langham concluded, “Climate change threatens everyone’s sense of place by introducing ecological disruption on a scale never seen before.”
Photo: Helena Reynolds/Audubon Photography Awards
This article originally appeared on the website Moms Clean Air Force.
Tell the EPA We Need Protections from Natural Gas Pollution
Marcia G. Yerman <![CDATA[Dorothea Lange: Grab a Hunk of Lightning]]> http://www.mgyerman.com/?p=4099 2015-02-10T05:45:36Z 2015-02-10T05:44:30Z Dorothea Lange coverOne of America’s foremost photographers, Dorothea Lange (1895-1965), has too often been viewed through the narrow prism of her best-known work. The groundbreaking photos that she took during the Great Depression of breadlines, and the despair she recorded of those forced to migrate in response to the Dust Bowl, are permanent fixtures in the pictorial history of the United States. However, the depth and range of her photography extend far beyond those iconic depictions.
In the book, Dorothea Lange: Grab a Hunk of Lightning, Lange’s “lifetime in photography” is presented with equal weight given to Lange’s intuitive eye for structure and composition, as well as to her burning commitment to social justice.
Author Elizabeth Partridge is uniquely positioned to deliver the 192-page monograph. The goddaughter of Lange and granddaughter of Imogen Cunningham, Partridge has captured the essence of Lange’s work and heart. With over one hundred photographs, Partridge traces the themes and world events that shaped Lange’s persona and oeuvre.
I spoke with Partridge to discuss her vision for the book and how she chose which prints would be included. She explained that she wanted to present the “narrative arc” of Lange’s output, and was extremely conscious of the “layout.” Lange regularly used the spoken words of her subjects paired with their photographs, and Partridge pulls from that precedent in the text she has chosen to feature.
In a discussion of Lange’s reticence to identify as “an artist,” Partridge emphasized that at the high point of “social ferment” in the nation, documentary photographers did not want to be considered fine artists. Partridge said, “That was considered a diminishment.”
It wasn’t until late in her life, when Lange was traveling with her second husband, Paul Taylor, that she truly connected to herself as an artist. Her thirty-year partnership with Taylor had originated in their shared experiences recording on the ground conditions around the country for the Farm Security Administration. When Lange voyaged overseas with Taylor, in his capacity as a land reform expert for the United Nations, she was free to operate as a photographer without an assignment. It was at this time Lange said, “I believe that I can see. That I can see straight and true and fast.”
In her essay, Partridge breaks down the periods of Lange’s life and career into sections: Childhood; Apprenticeship; The Trade; To the Streets; To the Fields and Camps; World Traveler. The culmination is the genesis of Lange’s one-person exhibition at the Museum of Modern Art in 1966—which opened three months after Lange’s death. While organizing her photos, Lange pushed past ill health, arranging and rearranging prints on a wall as she culled from thousands of negatives. Lange had a vision of what she aimed to accomplish with the exhibit. Partridge quotes her saying, “The time for me is past to do what is called the ‘documentary’ thing. I have done that. But out of those materials, I want to extract the things that are the universality of the situation, not the circumstance.”
Like the MoMA exhibit, the book contextualizes Lange’s pictorial journey, but most importantly, allows the photos to stand as individual pieces. Even when an adjacent page has comments by Lange, as with Man Beside Wheelbarrow, it is still the visual components that make the portrait so visceral.
Man Beside Wheelbarrow
San Francisco, California, 1934
The man’s cap, reminiscent of the one worn by Henry Fonda in his portrayal of Tom Joad in The Grapes of Wrath, echoes the shape of the wheel. The creases in the hat mimic the spokes. The darkest area is the abstracted shape of the coat, which gives rise to pant legs that blend with the shadows. Making contact with the earth are scuffed and worn shoes, similar in tonalities to the body of the wheelbarrow. The pockmarked brick wall bears the white graffiti markings of some individual who needed to be heard. It could be a war-torn area rather than San Francisco in the late thirties.
In the 1920s, Lange spent a period of time in the Southwest with her first husband, artist Maynard Dixon. Here she experienced the wide-open spaces and the majesty of nature. She photographed the Native Americans of the region. It was a precursor to her interest in the stories of those who had been oppressed, beaten down, or ostracized by mainstream culture.
HOPI MAN WEBHopi Indian During Snake Dance
Walpi, Arizona, 1926
Lange detailed the lives of black denizens in the south during the late 1930s. From North Carolina to Mississippi and Alabama, Lange observed moments from their daily routines. The pictures serve as archives of those who hoed the cotton, children of sharecroppers, and the hierarchy of power between the races, seen clearly on a country store’s porch. Ex-Slave with a Long Memory captures an elderly woman whose lifetime has straddled two eras. Her walking staff imbues her with a Biblical presence—a prophet with an oral history full of untold narratives.
WEB Ex-Slave With Long Memory1937Ex-Slave with a Long Memory
Alabama, 1937
Type of Hay Derrick Characteristic of Oregon Landscape is a piece of documentation that works exquisitely as a study in line and composition. Although it records a farming tool, it could be a shot of an outdoor sculpture—each component interactive and balanced between the tensile strength of wood, chain and wire.
Hay Derrick1939Type of Hay Derrick Characteristic of Oregon Landscape
Irrigon, Morrow County, Oregon, 1939
During the 1950s, Lange tackled environmental issues in the series “Death of a Valley.” It was a prescient examination of the human impact upon the land. Witnessing a valley north of San Francisco being flooded to create a dam, Lange depicted the destruction of a habitat, as opposed to what at the time was seen as “progress.” Unlike the hay derrick, this piece of modern machinery looks like an iron monster with curved teeth poised to attack the earth. Lange renders an interplay of rhythms. Two types of mesh grating in the back, and the diagonal structures that comprise part of the tractor’s design, interact with the darkened wheel at the center of the photograph. Diminished by the massive equipment, is the young man operating it.
Bulldozer, 1956Bulldozer
Berryessa, California, 1956
Perhaps the event that devastated and impacted Lange the most was the internment at the beginning of World War II (by Executive Order) of Japanese-American citizens. Tapped by the government, who knew her abilities from the Farm Security Administration, the War Relocation Authority wanted visual proof that the evacuation and prison camps were humane and warranted, a necessity for national security. Lange viewed the actions as impingements upon civil and human rights, and subverted her assignment with photographs that turned the government’s premise upside down. Lange demonstrated the shortcomings of America without flinching. She said, “The deeper I got into it, the bigger it became.” She chose her subjects with specificity: children with identification tags, conditions at Manzanar, and a shot of the American flag waving in the wind, framed by mountains, sky, and barracks. The subtext was clear. Much of Lange’s work was impounded and remained unavailable to the public until 2006. A simple visual of two items of clothing drying on a wash line captured it all. One has a traditional Japanese design; the other has gingham checks—as American as apple pie.
Wash 40 yoursWash-Day 40 Hours Before Evacuation of Persons of Japanese Ancestry
from this Farming Community
Santa Clara County, San Lorenzo, California, 1942
In Lange’s travels with Taylor, “field work” was no longer the motivation. However, whether Lange was taking pictures in Ireland, Korea, Vietnam, Ecuador or Egypt, the priority was always the people, their lives, and their struggles.
Having faced the challenges of functioning in a man’s world in the early 20th century, Lange’s camera was always attuned to the circumstances of women—and their station in life. Her representation of a woman in Pakistan from 1958 resonates as strongly today. It is both frightening and riveting to contemplate the life of the person beneath the article of clothing. The texture of the cotton, the design in the crown, the dark holes poked out for her eyes, the stitching mending a rip—they all add to the ghostlike appearance of an individual who has been instructed by her culture not to exist openly. Upon closer examination, an arm comes into view with a hand upraised in a supplicating pose. Rather than framing the figure centrally, Lange has placed her off to the side.
Lange contracted polio when she was seven. The illness left her with a withered foot and a limp. It also imbued her with a great sense of empathy towards others. The displaced, disenfranchised, and discarded—Lange gave them all a voice.
Lange’s search for truth yielded political and philosophical understanding, while remaining a timeless testament to the human spirit.
All photos: Courtesy of Dorothea Lange: Grab a Hunk of Lightning
Published by Chronicle Books
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Boris Godunov : Work information
Modest Petrovich Mussorgsky ( Music, Images,)
Performed by
Marco Pauluzzo (Bass), Compagnia d'Opera Italiana, Antonello Gotta (Conductor)
This work
Work name
Boris Godunov
Work number
n/a
n/a
1869-01-01 02:00:00
This recording
n/a
n/a
Recording date
n/a
The Composers
Modest Petrovich Mussorgsky
Mussorgsky was taught the piano from an early age by his mother, and at the age of nine played a concerto by Field to an audience in his parents’ house. In 1852 he entered the Guards’ Cadet School in St. Petersburg. He tried to write an opera in 1856, even though he had not studied harmony or composition. He joined the Guards in the same year. In 1857 he met Dargomïzhsky and Cui, and through them Balakirev and Stasov. This was the beginning of The ‘Big Five’, or ‘Mighty Handful’, consisting of Mussorgsky, Balakirev, Cui, Rimsky-Korsakov and Borodin. Mussorgsky persuaded Balakirev to give him lessons, and he composed some songs and piano sonatas.
In 1858 he resigned his commission, and the next year, after an inspirational visit to Moscow, his works began to be performed in public. But he remained uneasy about his life, and started to write music which he then abandoned. He worked in the Ministry of Communications and lived in a commune with five other young men. In 1865 his mother died and he developed dipsomania. Two years later he lost his job. Mussorgsky spent the summer of that year at his brother’s house, where his compositions included his first important orchestral work, St. John’s Night on the Bare Mountain.
Early in 1869 Mussorgsky reentered government service and completed the original version of the opera Boris Godunov. After some difficulty and much re-writing, it was eventually staged in February 1874. Despite an increasing dependence on alcohol, which reduced his ability to concentrate on composing, he continued to write such music as Pictures at an Exhibition. This was written for the piano and only arranged for orchestra by Maurice Ravel after Mussorgsky’s death. In 1878, his director at the Ministry allowed him to leave for a three-month concert tour with the contralto Darya Leonova. After he left government service in January 1880, Leonova helped provide him with employment and a home. However, on the 23 February the next year he went to her in a state of despair, rambling about having nothing to live for. He was taken to hospital and found to be suffering from alcoholic epilepsy. He died there a month later, leaving many of his works unfinished.
Related Composers: Cui, Balakirev, Rimsky-Korsakov, Borodin, Ravel
-MIDI FILE - Night on the Bare Mountain (11'58'')
Track listing
• Yeshcho odno poslyednye skazanye 4:37 min
Boris GodunovMussorgsky's most famous operatic contribution to the musical canon, has a chequered history.
Begun in 1868 and based on Pushkin's play, the original version was completed by December 1869. Mussorgsky had found financial stability by returning to work in the civil service at the Ministry of State Property and his settled lifestyle allowed rapid composition. Negotiations for performance began, but work on a new opera intervened.
In February 1871 the Mariinsky Theatre rejected the score, prompting Mussorgsky to heavily revise the work in 1872. Extracts of the revised score were performed throughout St. Petersburg, but the Mariinsky Theatre continued to reject the work. Finally they relented to popular pressure and a complete performance was given on 8 February 1874.
Following Mussorgsky's death, however, the score was further revised to an almost unrecognisable state by Rimsky-Korsakov. Recent years have witnessed a return to the original text as the favoured version for productions.
In any version, Boris is a masterpiece of lyricism and naturalism. Large set-pieces place it firmly in the Grand Opera tradition, while the score is also full of harmonic and melodic subtleties. Popular extracts include the Coronation Scene (Prologue, Scene II) and Boris's Act II monlogue Dostig ya vysshei vlasti (I stand supreme in power).
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The Misery Memoirist
Caravaggio was the greatest pictorial dramatist of his age—and is the most popular of ours.
In the Renaissance, a man's soul was believed to be mirrored in his body, and an artist's soul in his art works. Artists had nowhere to hide. Leonardo was said to have imbued all his figures with his own physical beauty and elegant manners—and he complained that devout artists gave all their figures bowed heads, and good-for-nothing artists painted figures who looked lazy.
No Old Master has been more praised—and blamed—for "painting himself" than Caravaggio (1571-1610), the archetypal bad-boy genius. Few commentators...
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Your presentation-development partner … demonstrate and inspire!
Best Practice
Technique for making text distinct and readable
It's difficult sometimes to select the right color for text when it is placed over a photograph or graphic that contains many colors. The example below shows how to use a simple little device to that will make your text distinct and readable without trying to find a color that shows well over dark and light (not an easy thing to do, anyway).
Group dynamics and working style image
Left-hand graphic: the word "Group" is washed out by the background photograph
Right-hand graphic: all of the words are clear and readable, including "Group." A little gradient-formatted oval was placed under the text and over the photograph, making "Group" appear more clearly.
An oval was used here, but you can use any shape and color you wish. The gradient should be from the center, the outside color should be completely transparent, and the center color can be either opaque or semitransparent (you choose the percentage of transparency). This is a very easy and quick solution to making text pop on your slide.
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Hot Steampunk R&D Posts
The Black Dandy: People of Color in Steampunk
I just returned from a trip overseas and I came across this great article over at The Chronicles of Harriet about the role of black men in the evolution of Dandyism. Dandyism rose to prominence at the end of the 19th century, so there's a clear connection to Steampunk. I hope that many black men embrace the fashion and find their way into steampunk!
News: Steampunk Surfboard
I made a Steampunk Surfboard recently, just for the fun of it. It took quite a bit of time, but I really like the end result. If interested, you can check out my blog for more pics and info on how I made it.
How To: Print Your Emails in Style with This Steampunk Tape "Ticker Machine"
Last year, Instructables user Horatius.Steam created Dr. Brain, a small computer connected to a model brain that can tell stories and have Skype conversations. But one thing it couldn't do was print, so to solve that problem, he came up with this awesome Steampunk "Ticker Machine". A wooden base and glass dome make up the housing for a thermal printer, and the driver is hidden in a paper tube that's painted to look like wood. A slot at the bottom feeds the paper out from under the dome and a ...
News: Steampunk Fashion - Timetravelers and Warriors
There are many opportunities to make Steampunk clothing. Clothing can be elegant and relate to the aristocrats of the 19th century. But Steampunk also can be rough and dirty, inspired by the adventurer from stories like 2000 miles under the sea or even movies like "Mad Max" or Wild "Wild West".. There are no rules how Steampunk has to look...
News: The Vatican's Hidden Steampunk Treasure Inside the Sistine Chapel
While the pope himself may not be Steampunk, you might be amazed at what is: the coronation stove. For those who don't know, it's been a tradition for a very long time to signal the election of a new pope (or the lack of a new pope) via colored smoke. More specifically, once the cardinals have all voted for the new pope during the conclave, the ballots are burned in a special stove in the Sistine Chapel, and the smoke is visible in St. Peter's square.
How To: Steampunk Yourself for Halloween in 10 Minutes or Less
As you know, it's impossible to be a Steampunk without a pair of goggles. In fact, there are entire communities dedicated to judging other Steampunks based solely on their goggles. A Steampunk without goggles is like Samson without his hair, or a duck without a beak—totally powerless. As I'm sure you also know, the right pair of goggles can instantly render any outfit Steampunk, no matter what it looks like.
News: Why Defining Steampunk Is Worthwhile
I've tried my hand in the past at defining Steampunk, but as anyone else who has made a similar attempt will tell you, there's a significant backlash from the community against working to create a real definition of what Steampunk is. That may sound ridiculous to some, but it's a very serious matter to others. With the recent announcement that TeslaCon 4 will be called the Congress of Steam, I think it's appropriate to talk about why all of this stuff is worth it. In this article, I'm going t...
How To: 7 Things Every Steampunk Should Know for Making It Through Airport Security Stress-Free
There was recently a case that came to national attention where a gentleman was arrested at an airport for having a watch that looked like a bomb, among other things. As it came out, the watch was, in fact, not a bomb, and the man was just an artist who was probably trying to make a statement of some sort. Well, that message was lost amongst the hail of people shouting that either he had been stupid for bringing that watch on the plane and so deserved to be arrested, or that it's a free count...
News: What Is Steampunk?
So I have been wondering this for a while now. What exactly is steampunk? I know a little bit about it but I feel as thought the internet definitions can only give so much information. What do you guys think? Is steampunk a lifestyle? A fiction base? A for of a art? I think that steampunk has way more potential than people think. Share your ideas on what you think steampunk is and what you would like to see be done with it!
How To: Steampunk Your Next Party with the Elixirator, a Truly Exquisite DIY Robotic Bartender
So, you want to throw a steampunk party and you have almost everything in place—your steampunk persona and iPhone are ready to go, and you've even got your own steampunk straight razor. What's missing? The Elixirator, that's what. The Elixirator is a steampunk cocktail-making machine by Botronics that can hold four different ingredients and mix up to ten drinks. It has a Picaxe microcontroller for a brain and was built using a lot of pieces from thrift shops. It has a plasma globe at the top ...
News: Caption Contest with Veronique!
Post your most imaginative captions below this saucy, (but not pornographic) pic here, and win your very own personalized copy of Issue #6 of Steampunk Glamour Revue, published by Antarctic Press featuring The MAD-emoiselle One Herself, Veronique Chevalier! Ready, aim, (light my) fire! ;-)
News: Steampunk Pin-Up (Not Porn!)
The lovely Kato of Steampunk Couture has gone hardcore. For those who prefer to exercise their imaginations a bit more, Voila! Veronique Chevalier in Gearhearts Steampunk Glamour Revue- click here should do... A recent kerfuffle unfolded on facebook's Steampunk Revolution group when a discussion was started by Steampunk R &D''s very own Austin Serkin on the subject of Kato's new foray into steampunk porn, which was, ahem, examined in detail. (Well, figuratively, not literally, since her websi...
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Maryanne Petrinolis
United-Kingdom
• Age: 19
• City: Wales
• Model Agency: N/A
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I am a Model and VIP Events Hostess. I love travelling and meeting new people from different parts of the world. I love raising money for different charity's . Helping people in need is a big passion of mine.
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Maryanne Petrinolis 's Gallery
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Easter Holidays
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Photography Requests
Any activity on the mall which involves a photographer will require prior approval from the marketing team and the security team will be notified of the details. Please see photography check-list below for further requirements.
Any in-store photography requests or retail shop-front requests, Manchester Arndale cannot approve. Approval needs to come direct from the individual store and this is something the enquirer will have to take responsibility for.
Regular photo-calls are staged at Manchester Arndale as part of the centre’s managed relationship with the media.
Photography Checklist
An up-to-date Public Liability Insurance form to the value of at least £5million will be required by anyone wishing to photograph within the centre; either during working hours or after the centre closes. A photography application form will need to submitted 7 days before the requested date.
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"What design is" and "what its purpose in the future will be" are questions always on the minds of those behind Thought At Work. Accordingly, the sixth iteration of the annual student-run design conference aimed to connect aspiring designers with notable professionals to discuss such topics. From Oct. 20 to 22, students — particularly those within the College of Imaging Arts and Science (CIAS) community — networked and learned from speakers and fellow attendees, including visitors from abroad and other universities alike.
Thought At Work is an event organized by students for students. It offers attendees a look into interactive design subjects that would otherwise not fit into their courses' curriculums. Events ranged from lectures about GIFs and wearable technology to a fast-paced sketch-off.
“[Thought At Work] is a great time and we absolutely love doing it,” said Frank Barletta, a third year Industrial Design student. Barletta was the budget organizer and merchandise team leader for this year’s conference.
“We dedicate so much of our time to this every year,” he noted. According to him, planning for Thought At Work is a year-round process — one that only allots a two-week reprieve from the end of the conference to planning for the next year’s.
“It is really cool to see everyone on the team grow.”
“Our group ranges from 40 to 60 people. We get 60 volunteers for the weekend of and closer to 40 that are year-round,” Barletta said. “It is really cool to see everyone on the team grow.”
Workshops: the Bulk of Thought At Work
Many of the conference’s workshops were conceived to help students better stand out in their various design industries. Attendees of Thought At Work could find discussions about upcoming trends and technical aspects of the tools they use in their fields. The three day event aimed to provide students with a variety of opportunities to advance their understanding of several facets of design.
One of the workshops that stood out most was "Make Your Better Future." Hosted by Mark Capper — president of Kompas Strategy — and Xerox, this event was promoted with the bold tagline “the best way to predict the future is to create it.” This workshop challenged students to explore unique trends in the workplace by quickly developing conceptual business models. Students worked in teams to envision a future where Xerox offered new communication techniques set forth by the student teams.
“Make Your Better Future” interestingly lead into the subsequent event, the “Sticky Note Vote!” There students were shown the conceptual work of the teams in the previous workshop. After consideration, the students voted on which idea they thought would be best for Xerox to pursue in the future.
Two other workshops (“Animated GIFs: Creation, Optimization & Alternatives” and “GIF or GIF: Create your Own”) focused around the iconic means of digital communication. With minimal conversation around its proper pronunciation, speaker Miguel Cardona — a professor within RIT’s CIAS and a key member in the creation of imgix.com and Dumbwaiter Design — explained the more technical aspects of the format.
The workshops covered the reasons behind the creation of the file type and why it is apparently near obsolete in today’s internet. Cardona’s previous work at imgix.com hosted video content for sites, making his talk about the use of GIF versus MP4 formats and compression highly informational. Cardona also demonstrated many ways to create looping videos and the unique style they can bring forward.
Even Java Wally’s held their own workshop centered around logo-design. Titled “Caffeinate Your Creativity,” students were tasked with redesigning the iconic Java’s logo. The designs were required to represent the culture the coffee shop brought forward. Winners were selected by that day’s keynote speaker and announced at the closing ceremony.
Keynote Speaker — Gordon Reid
Gordon Reid, the thoroughly enthusiastic founder of Middle Boop was this year’s keynote speaker for Saturday. His keynote titled “Blag, Borrow, and Steal Your Career” focused on his achievements going from a college student to artistic director of Visa’s Rio Olympic advertising campaign.
Middle Boop (middleboop.com), Reid explained, was started by himself right out of college, initially as a music blog. His portfolio would grow to include works done for Nike, Maker Studios and the aforementioned Visa Olympic campaign.
Reporter got a chance to sit down with Reid after Thought At Work to speak more about his professional experiences as a designer and feelings on the conference — and by extension the design community.
“It has been a long old trek to get [Middle Boop] to where I am, a sustainable small agency,” said Reid. “I have had a number of inspirations from all sorts of people. One big moment was when I met this guy called Matt Moore. He is the founder of MWM Graphics. He had this amazing vector-based artwork.”
Reid recalled seeing Moore traveling with his artwork in a professional capacity and wanting to chase the same aspirations. He had been doing artwork for some musicians and magazines, but very much wanted to take his design work to a level like Moore’s.
“All of my friends at the time were kind of suburban friends all getting office jobs,” he remembered. “It was interesting because they would all look down on the fact that I was in this shop [doing artwork for musicians and magazines]. They couldn’t see past the fact that in the evenings I was doing this cool shit.”
“The dream was to travel with my artwork which I believed to be possible if this guy, Matt Moore, could do that,” added Reid. Following someone like Moore, who was a success within the design industry, definitely was a large motivation to him.
Reid also expressed a great interest in not just design, but the community as a whole it can bring together. “I didn’t join the design community to come off and do these lectures,” he indicated. “But a couple got offered to me and I leant into it till I realized that I really like doing it.”
When asked about what he knew about Thought At Work before coming, Reid admitted he knew very little. “I did FITC [Future of Innovation, Technology and Creativity] as my first big conference for me to talk at, that was at the beginning of the year,” Reid recalled. “I had spoken a lot before, but not at that scale. I caught the bug! [So] I was asking around to speakers who did conferences in America.” Eventually Reid, through his network, was in contact with the organizers of Thought At Work.
“There aren't many places in the world that will have a student run conference that is anything like this.”
Reid expressed amazement at how Thought At Work was run. “Getting students to run something like this is very, very special,” he postured. “There aren't many places in the world that will have a student run conference that is anything like this.”
To Reid, conferences like Thought At Work embody the importance of learning what’s happening in all the different fields of design; even if you don’t think of yourself as a part of the industry.
“You could be a journalist or a designer today but you might be something else tomorrow,” he concluded. Reid believes, as others expressed at the conference, that it is important to lean into how interdisciplinary and wide-ranging design really is. For similar reasons, that is why Thought At Work always strives to have a selection of speakers and workshops reflect this too — to better immerse attendees in all of design's possible purposes.
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Pamela Bannos: Micro
Pamela Bannos
The DNAge was a New York City based festival celebrating the 50th anniversary of the discover of DNA in 2002.
Women in Science (Genomically Yours) was one of six exhibitions that were mounted as part of the celebration. The exhibition was presented at Universal Concepts Unlimited, located at 507 W. 24th Street.
An ongoing aspect of my photo-based works has been to challenge the veracity of the photographic image. I have done this in a number of ways including presenting found photographs along with my original photographs, re-presenting objects through photographic depictions, titling a work to shift the meaning, and presenting the work as 'scientific' imager. I have been interested in how the reading of my photographs can change in relation to the context in which they are presented. I would like the viewer to be able to approach the work in more than one way. That is, to see the work in an initial way and then have the works become transformed when additional information is presented or a change in context becomes apparent. I have recently become interested in how in the guise of science photographs are inherently 'believable.'
In the Micro series, I am presenting circular abstractions which allude to biological or chemical structures. I was interested in how the circular form seems to occur naturally in these and other branches of science and how these abstract images can be 'read' by a scientist. These photographs seem as plausible as the image attributed to Rosalind Franklin of "x-ray crystallography of DNA" used as this exhibition's postcard image. A representation of this sort seems inconceivable to me.
As in my previous series, Imagining Space, the Micro images were made in the dark without a camera. As opposed to the "space" pictures that were made in the darkroom, often manipulating the prints while in the developer chemical, the "observations" were made directly on 4x5 inch film. Each image was drawn with a glowing ember.
(Click on image for larger version.)
20 x 16" selenium toned silver prints, 2002.
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Pantone, Painting & Pestering Kittens for Science
By Alex Walker
Design & UX
Grumpy Kitten
Back in the 1980’s, David Hubel and Torsten Wiesel won a Nobel Prize for applied kitten teasing.
Or so it seemed. Technically, they were asking the question: Do we learn how to see — or is it built-in and innate?
In their experiment, they separated a litter of newborn kittens into two groups. One group was raised in a world made entirely of horizontal lines (let’s call them the ‘H Cats’). The other group was raised in a vertical-line only world (the ‘V Cats’).
After three months, the kittens were all moved to a normal environment and monitored.
While the H cats bounded from chairs to tabletops with ease, they were seemingly completely blind to vertical shapes. As such, they were constantly bumping into chair legs and door frames.
Predictably, the V cats had the opposite problem. While they weaved expertly around chair legs, they were simply unable to comprehend the horizontal chair and table surfaces that the H cats played on.
The conclusion? Our brain writes its own ‘vision software’ based on whatever we’re exposed to in those first months of life.
Faces in buildings, clouds and trees
This at least partly explains why humans are so attuned to looking for faces. As newborns our world is dominated by looming faces above.
We search for faces from a very early age, so it’s not at all surprising that we often find them in clouds or trees or houses.
This week I came across some really amazing artwork that made me particularly aware of how good we are at spotting patterns.
Nick Smith's Van Gogh
British artist Nick Smith has created a new form of pixel art using — of all things — Pantone color swatches.
Famous portraits from Leonardo, Warhol, Magritte and Vermeer serve as the starting point for Smith’s work, and he build the images chip by chip.
While Pantone offers an almost endless color palette, the grid Nick works with is quite limited. The Van Gogh inspired piece here uses a 19 X 20 grid, so it’s a very blocky and low on detail rendering.
The strange thing is, the longer you look at it, the more detail seems to fill in. It’s as if someone is turning a dial to slowly focus it.
That’s your trusty face software filling in the blanks!
But what ever happened to those poor kittens?
Mastermind cat
I dont know for sure — but I like to imagine they all banded together and hatched a sinister plot to gradually take over the internet.
I think it worked too.
Republished from the SitePoint Design Newsletter.
Alex has been doing cruel and unusual things to CSS since 2001. He is the lead front-end design and dev for SitePoint and one-time SitePoint's Design and UX editor with over 150+ newsletter written. Now Alex is involved in the planning, development, production, and marketing of a huge range of printed and online products and references. He has designed over 40+ of SitePoint's book covers.
Integromat Tower Ad
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International Women’s Day - Artist Spotlight: Jessie Cutts
Celebrating the power and importance of female creativity
Jessie Cutts is a Kent-based textile artist creating hand-stitched art quilts. Harnessing traditional quilting techniques, her works are both contemporary and deeply rooted in tradition, transcending the limitations often associated with craft.
Historically fibre arts have been dismissed as ‘women’s work’ or merely ‘decorative arts’, failing to gain recognition in the broader art world. Cutts’ artworks challenge these stereotypes, merging craft, abstract art, functionality, and graphic design.
Her work celebrates the profound beauty and craftsmanship of quilted textile art, breaking free from the confines of gendered domesticity while carrying forward the legacy of pioneering women artists who redefined the artistic potential of this medium.
With an intuitive and improvisational approach to composition Cutts’ vibrant and textural pieces are a direct response to the fabric itself. Working with deadstock fabrics, trimmings, scraps and offcuts from clothing manufacture, she breathes new life into discarded materials, infusing her work with a sense of purpose and responsibility towards the environment.
Jessie Cutts: Shop Available Artwork
© All rights reserved
Using Format
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The Association’s response to a further Jumbo’s Cottage planning application
posted in: News, Planning 0
The Association has responded to the planning application regarding the Rope Kiln building at Jumbo’s Cottage, Iken as follows:-
Planning Application DC/19/1324/FUL – Jumbo’s Cottage, Iken
From the Alde Ore Association (Registered Charity number 1154583) – The Alde and Ore Association exists to protect for the public benefit the Alde, Ore and Butley rivers and their banks from Shingle Street to their tidal limits together with features of public interest. It has some 2000 members.
Whilst the Alde Ore Association is pleased to see that repairs to the Rope Kiln building are proposed we OBJECT to the proposed construction of the roof.
Slate is not a local product. The evidence from the painting by George Rope in the Design and Access Statement does not support the use of slate. The roof of nearest neighbouring building, as well as that of the original Jumbo’s cottage, is traditional local tile.
S85 of the Countryside and Rights of Way Act requires the planning authority to have due regard to the Area of Outstanding Natural Beauty designation. The glass lantern will harm the tranquillity of the AONB due to the likelihood of light spillage at night, especially during winter where daylight hours are short. Such spillage needs measures to minimise it.
ESDC/SCDC Planning Policy DM13(b) requires the alterations to respect the character of the existing building particularly where it is of traditional design. The introduction of foreign materials, as a roof covering and structure, fails to do this.
Planning Policy DM21(c) requires alterations to existing buildings to respect the style, detailing and finishes of the original building. The original building would have had a local clay tile roof covering.
Keith Martin
Planning Trustee
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Place: Pr. of Monaco
Year(s): 2013
Sector: Photovoltaic
The project of the new Yacht Club of Monaco celebrates the spectacular coastline of the principality of Monaco with a development that, recalling the shape of a boat, rises along the waterfront with a series of terraces / upper decks offering incomparable views over the open sea and the inner part of the city.
The project, developed by the architecture firm Foster and Partners, includes some aspects of environmental sustainability, such as the integration of photovoltaic panels on the canopy of the upper terrace, whose design and realization was carried out by ETA Florence.
The photovoltaic system envisages the adoption of 117 sunshading double glaze panels with integrated pv cells, designed to obtain the aimed aesthetic, mechanical and functional objectives . The system is equipped with power optimizers to maximize the energy harvested by each panel and ensure the highest level of operation safety.
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Nulla consequat massa quis enim. Donec pede justo, fringilla vel aliquet nec eget arcu. In enim justo, rhoncus vitae.
About Me
/ Lucius Lee
Lucius Lee
Lucius has many years of experience in lighting design engineering. Lucius has a strong background in lighting design, having worked on a range of projects in various industries and sectors.
Owning a BA in Theatrical Lighting Design, with experience in the Disney world, he implements lighting designs with a touch of magic. Originally from Shanghai, he lived in the United States for a few years, he can link international teams with the local culture tightly and seamlessly.
With a keen eye for detail and a passion for innovation, his role is to lead the team of lighting designers to create exceptional lighting atmospheres that meet clients’ needs and exceed their expectations.
Lighting Design Manager
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dragoart mobile drawing battles
NormalCompactSlideShowDraw Sheet
Uploaded: August 31, 2008
Artist: Dawn
Difficulty: Novice Novice Skill Level
Steps: 4
Updated: August 31, 2010
P.O.V: Front
Favourited: 0 times
Artist comments
Today I have another tutorial on a character that is associated with Halloween. Since this awesome day is only like a month away, I wanted to draw some more cool characters that I think you will all enjoy. Today I will be showing you "how to draw a ghost". When drawing ghosts you can create any type of body you want to since they are suppose to be wisps of energy that float around. In my drawing I drew the ghost in a scary creepy way with an open mouth and a body that disintegrates in the air. I also added a castle in the background that is faded out really well. If you were to ask me if I believed in ghosts I would have to say that I am undecided about that. I mean it is hard to sit there and say that you believe in an entity that is watching you 24/7 and who knows if they want to haunt you or not. Although I did experience something weird before that made me from a nonbeliever to undecided. One day I was sitting in my room as usual working on my computer. The door was shut and no one was in there with me, it was just me and my music. While I was working, I felt a presence in the room with me which made me stop what I was doing and just look around for a sec to see if someone snuck in my room. After turning up no live bodies hiding in my room (like my brother or sister), I continued on with what I was doing. An hour probably passed when I felt a chilling breeze on the back of my neck, it almost felt like someone was blowing on my skin. I turned around and saw absolutely no one again. What really freaked me out is that when I opened my door and went down stairs, my whole family was watching a movie together. I knew at that moment I wasn’t alone in my room. The ghost I drew represents that same eerie feeling I felt in my room that day. I will show you how simple it is to "draw ghosts", step by step with easy to follow instructions. Now I say ghosts because you can draw as many ghostly characters as you want. I will be back with another tutorial for you all. In the mean time stick around and see what will be submitted next.
how to draw a halloween ghost
Drawing a ghost, Added by Dawn, August 31, 2008, 3:33:55 am
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fine art of poisoning
Hi, Everybody!
I have started this project with a challenge to make something concept-like, and chose a theme of vintage detective stories. The ones where naughty husbands and rich old women got poisoned, and well-known detective still finds out who did the thing.
Unfortunately, I don't have a decent camera to show the progress of practicing, still I will show the final pieces.
This was meant to be the cover:
Also, it's a title of the song by Jill Tracy - The Fine Art Of Poisoning
And then I started with some old-fashioned script and arsenic:
This how I found out that art-nouveau fonts better be vectorised. The idea of geometrical font in raster may be appealing but does not work equally well for all the fonts.
Then was another poison, strichnyne, which I made with copic markers:
This one was real pain, because a brush script is tricky and needs a lot of practice. I still don't feel the brush and will surely continue practising with the brush markers.
The last one was cyanide, which reminded me of secret agents or maybe spies. I used image of BMW Roadster (1935) to get behind the letters:
Overall I am pleased with the result, though there is so much more to do and to practice.
Thank you so much, Andrea, your course was a helpful one, especially the tips about paper & pens and about tracing things! I enjoyed lettering a lot.
Please sign in or sign up to comment.
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9fb5778e-2f19-4d07-97c2-cd5a4506cf25
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Palaver Strings – Season 6
I’m very excited to announce my collaboration with Boston-based, musician-led ensemble, Palaver Strings on their sixth season. A little about them from their site:
Palaver Strings is a musician-led string ensemble and nonprofit organization founded in Boston in 2014. Now in its fifth season, Palaver has established itself as a forward-thinking ensemble whose mission is rooted in community and creative programming. Palaver has performed at the Kennedy Center, the Shalin Liu Center, and a celebration of the Lullaby Project at Carnegie Hall, and has toured the East and West Coasts of the United States. Palaver has been Ensemble in Residence at the Boston Center for the Arts since 2017, and continues a longstanding residency at Bay Chamber Concerts in Rockport, ME. Equally passionate about education, Palaver plans to open the Palaver Community Music School in Portland, ME in 2019, with the goal of fostering creativity and dialogue and making high-quality music education accessible to students of all backgrounds.
For the collaboration, I created six unique pieces to illustrate each curated program theme. The original works are drawn with graphite on 8 x 10” archival paper.
PTown for the summer
If you happen to visit the *magical place* that is Provincetown, MA (aka. PTown), stop into beloved contemporary art and design gallery, Room 68, and see some of my most recent work.
“Founded in 2011, Room 68 first opened its doors at 68 South Street in Jamaica Plain, Boston. In 2014, the main showroom was relocated to Provincetown, Massachusetts —at the very tip of Cape Cod. It has become a lively destination spot on Provincetown’s bustling Commercial Street, hosting regular art openings and special events with artists, makers, and fellow local businesses.”
You can also shop select pieces and prints online at room68online.com (or click the image below).
*NEW* Limited edition prints!
Just listed this afternoon—I’m excited to offer my very first (very short) run of archival prints!
Printed on Moab Entrada Rag 100% cotton fine art paper, these are acid-free and rival the originals.
Find them in my Shop or on Etsy
If you happen to be in Provincetown, MA this summer, stop by and say hello to Brent and Eric at Room 68, where they’re showing a select few original drawings, custom framed by my husband, John Greiner.
IMG_1544.jpg
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How to use Photoshop to convert an image into 6 solid colors?
I'm attempting to make some simple rubiks cube art like this:
example of rubiks cube art
I'd quite like to see what a source image is going to look like before buying a load of rubiks cubes and solving them for hours.
Is there an easy way in photoshop of converting a regular image into 6 different, solid colors? I figure once I have that base of 6 different colors it will be relatively easy to convert them to the 6 colors on a rubiks cube.
2016/05/22
5/22/2016 4:21:00 PM
Accepted Answer
1. Take your image
original image
1. Pixelate your image. Work out the exact number of Rubiks cube cells you will have and make your image that size in pixels, so 1 cell = 1 pixel.
pixelated image
If you don't know what scale you want to work at, don't know how many cubes you want to use etc. Using the Mosaic effect (Filter → Pixelate → Mosiac...) will help you preview quickly.
mosaic filter
1. Set a Gradient Map adjustment layer over your image with your chosen colors. To prevent the gradient between colors just double up each color and set the next color directly next to the previous. You can see how I set up my gradient:
gradient map
Your result may not work exactly as intended. You can play with the levels in your original image and the distribution of colors in your gradient map to get a better result.
resulting image
It's worth noting that you will most probably still get some variations on color from the gradient map but you can manually redraw any problem areas. As a quick preview this is probably fine. If you truly want only 6 colors you can convert your image to indexed color with a palette of only the 6 colors you want.
These images can be fairly unrecognisable when you are zoomed in so if you are manually redrawing areas, use the navigator window to keep a preview visible.
image with navigator window
2016/05/22
5/22/2016 7:43:00 PM
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The New Show In Town by ARTalk
[by David Freilach, Guest Blogger/Assistant Director, LVAC] ARTalk guest blogger David Freilach checks out the new Central Square Theater, just a few steps from MIT.
[by David Freilach, Guest Blogger/Assistant Director, LVAC]
The entrance to the new Central Square Theater. (Photo by CST)
I had the chance to take a hardhat tour of the new Central Square Theater less than two weeks before it opened. I suppose as a member of the MIT community and a museum administrator, I could claim I went for professional interests, but to be honest, it was because I live around the corner and had been watching the construction for the past year that I wanted an early look at the space.
As we walked through the spaces—public, backstage, and offices—we encountered a dozen or so workers finishing up many tasks. Fortunately the HVAC crew had finished their work, since it was a muggy day outside. It was tough to see how they would be finished by opening night. The performance space itself seemed essentially done; it was a large open box. No seats, no stage, basically a ceiling grid and a control room to allow maximum flexibility for performances. Outside the auditorium, a small lobby with a bar and two walkways overlooking the building entry stairway, offer visitors space to mingle.
A scene from URT’s productions of Alice Underground. (Photo by CST)
The tour was lead by Debra Wise, Artistic Director of the Underground Railway Theater [URT]. She probably remembers me as the person who kept saying, “I’m sorry, but when you say ‘we’, who do you mean?” Central Square Theater [CST] is not a traditional operation, and she sometimes spoke for CST and sometimes for URT. For those who haven’t followed its development, CST is a physical building, not a theater group. It was co-developed by the Underground Railway Theater and The Nora Theatre Company, two decades-old local groups (with financial support coming from a host of sources, and I’m sure they’re looking for more). URT and the Nora are sharing certain resources beyond the space, such as theatrical equipment and box office operations. This makes some sense; The Boston Foundation recently issued a report saying some non-profits ought to merge for financial and operational reasons, and to a certain extent these two have, while maintaining their own artistic freedom. Perhaps it is analogous to the way we at the MIT List Visual Arts Center co-organize contemporary art exhibitions with other museums, sharing the costs of developing catalogues, crating and shipping art, and advertising in national publications. Of course, there is also the possibility of conflict, as both theater companies need to raise funds from a limited pool of donors and the calendar needs to be equitably split (I’m guessing that October is a better month for ticket sales than August). I look forward to seeing how this new model works out. One thing I do know is that the first production was an artistic hit.
QED (written by Peter Parnell; directed by Jon Lipsky) was a production of Catalyst Collaborative @ MIT with URT (and I was confused by who “we” were before this new group was introduced!). Catalyst Collaborative is based at MIT and works with Underground Railway Theater to produce pieces dealing with science; I hear great things about last year’s production based on Alan Lightman’s Einstein’s Dreams. Close to being a one-man show, with Keith Jochim as Richard Feynman, the play uses a creative range of devices—such as phone calls, answering machine messages, a stamp collection, the plans for a public talk outlined on a blackboard, and an exchange with a female student—to flesh out the achievements and personality of a Nobel Prize-winning physicist (for his work on quantum electrodynamics, i.e., QED), a subject that could be very dry (apologies to my colleagues in physics at MIT, particularly MIT Institute Professor Emeritus Jerry Friedman, who has earned his own Nobel, spoke with the audience after a different production of QED than the one I saw, is as engaging as they come, and serves on the advisory committee for the List Visual Arts Center). Jochim did a remarkable job as Feynman, holding the stage solo for so long, switching from confused to exuberant to contemplative to humorous at the drop of a hat.
A scene from URT’s productions of Einstein’s Dreams. (Photo by CST)
As far as my wondering during the hardhat tour if the workers would have the theater ready for the first production, it looked to me as if all was done except for signage. An artist-designed sign/marquee promised for the brick wall outside the building has not yet been installed, and upon entering the building, there is only a small paper sign on the wall pointing up the stairs to the theater.
I’m very pleased to have a new performance venue in the neighborhood. We’ll see over the coming months if the collaborative efforts at CST live up to this first entertaining presentation.
7 responses to “The New Show In Town”
1. Amsal says:
First! Einstein’s dreams looks quite interesting.
2. Beth Dunn says:
I am very interested as well to see how this collaboration of space and other resources plays out. Two struggling theater groups in Provincetown began a somewhat similar operation in 2005 (www.provincetowntheater.org), and the arts community of Cape Cod is watching it with keen interest.
I remember when the Boston Foundation report came out, and many arts groups were up in arms about the observation that some smaller groups might do well to merge rather than continue to compete for scarce donor dollars. It’s good to see a creative response, one that acknowledges the importance of maintaining different groups’ identities, while wisely sharing resources when it makes sense to do so.
Best of luck to the new Central Square Theater, and thanks for the intriguing post.
3. Yeah, great post David! Also, if any of you are interested in checking out shows at CST, be sure to check with the Office of the Arts–they give away FREE TICKETS to students smile
http://web.mit.edu/arts/see/freetickets/index.html
4. Omar says:
Great, free tickets! I hope I have enough free time to take advantage of them.
5. the second picture is freaky
Richard Feynman is awesome, i highly recommend his “You’re surely joking Mr. Feynman!” book.
6. Debra Wise says:
I am delighted to read this blog! I truly hope that many in the MIT community become engaged with the Central Square Theater, and think of it as your theater ‘home’, your friendly neighborhood theater… because it is. We have as many internships available as there are talented and interested MIT students to take them –
See you at the theater.
Debra Wise
Artistic Director, Underground Railway Theater
Artistic Co-Director, Catalyst Collaborative @ MIT – Science Theater Inititiative
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The obvious and unarguable benefits of engaging in an art class
I have been mentioning in my articles for numerous times how huge the gain from learning drawing, sketching and painting is. I noticed that people rarely paid attention to that, and most of them are still convinced that drawing and painting is only for those who want to be artists or already are involved in creative activities.
However, there is more and more proof that learning and doing arts is a unique activity which boosts brain activity and development of new neurons and their connections that there is no doubt: drawing, sketching and painting is the best exercise to keep our brain fit, thus, preventing early memory loss and age-related dementia.
I recently read about a new brain fitness trial which was carried out at the Newcastle University in a population of 30 volunteers divided in 3 groups for 8 weeks. One group was walking for 3 hours a week, the second doing puzzles and crosswords, and the third group took part in art class 3 hours a week. All participants were tested before and after their respective activities.
Reference: What’s the best way to fight memory loss?
The best results undoubtedly showed the art group, which is no surprise to me because I’ve observed that during all years of teaching. I would like to just mention that I have been working with student groups of 5-30 people for almost 35 years, and those who did arts quite often excelled in ANY area of their life.
Is everybody able to draw? Yes, everybody is able to draw, but in order to do so they have to learn seeing and processing the object of interest in their brain so that the hand knows what it should be doing.
Along with maintenance of good brain health and memory, it is a fantastic, rewarding leisure activity.
Once one knows how to draw, they can forget about camera, image processing on computer, they can forget about copying photos.
Well, those who want to master drawing from life, must count on 10,000 hours, at least that’s the estimated time frame to learn drawing flawlessly and effortlessly.
Although, the benefits are so obvious, we all know that majority of people will admit they cannot draw. In fact, the truth is they don’t know how to look at something, how to pay attention and how to abstract oneself from other parts and surroundings while drawing one part of an object. The ability to draw is based on our visual ability to process the visual information and to make our brain move the hand with pencil. Basically, the visual perception is the key to drawing.
Therefore, before we draw, we have to learn pay attention and notice relationships between parts of an object, its layout, size and to reproduce this all on a correct scale. That means, most people see things, but they never focus enough to memorize what they see to the extent they could draw this from memory.
What are the usual problems when starting out with drawing, sketching and painting? Well, it depends on whether one is at the class only for the result, or for the process. Process is good for everybody, but results are evident after some longer time. I have sometimes people who want to achieve excellent results right away, in 1 workshop or 1 class, or they think, it’s not worth continuing. While we get better, we can still enjoy a lot and give our brain the necessary exercise.
drawing still life
Here: drawing still life
Detailed drawing which I made much darker in order it was visible
value sketch for watercolor
Rough value sketch for watercolor
floral detail sketch
Floral detail sketch: when my paper is too small, I do drawing on separate sheets and adjust them on the main painting
The entire drawing
The entire drawing: full sheet watercolor paper, 22 x 30 inches
First washes
First washes
More watercolor applied
More watercolor applied
Second: watch, learn seeing and exercise focusing ability.
Third: drawing is not the same what copying photos, transferring images from photos or printing off outlines, etc. Once one gets used to flat objects in a photo, they will have much harder times to ever learn drawing in reality. Reproducing photos also does not facilitate the brain activity as drawing for real does.
All people who wanted to participate in drawing and sketching classes noticed soon that they are seeing everything in a different way.
Would you like to boost your memory and have some pleasurable pastime? Join the club. We are starting out next week.
I’m sharing some pictures which show different types of drawing.
We usually draw with very light lines for watercolor painting.
We can sketch out main values if the reference object can go bad or disappear soon.
Sketch in pencil
Creating a drawing or sketch library is a good thing because we can reuse our drawing when we need it again.
Vegetables: sketch
Vegetables: sketch for painting
Outline drawing for watercolor
Outline drawing for watercolor
In my opinion, the only way to draw is using real objects, real setups or ask somebody to be a model. Everything else is reproducing photos. Some do this very creatively, some not that much, but only drawing for real makes one free and allows not to depend on any devices.
0 Replies to “The obvious and unarguable benefits of engaging in an art class”
1. I really have done most drawing and painting from photos, but I am going to try and do something from a real object… Not sure what to try first though.. I’ll maybe do some flower or something…. Diane
1. Very nice! Simply learning to re-create any object is great. I use anything which is in the garden or on the table. However, I’m obsessed with large drawings (eyesight!) and complex things. It’s completely ok to draw 1 leaf or one cucumber, as long as it’s somewhat pleasure.
1. Well, nobody should be struggling with drawing. Just like I said, we have to exercise the ability to see, therefore, look at that object you are drawing intensely. I am going to continue this post because it started to become too long. I find that many students do not look at the object they draw or paint at all, they look at the paper or canvas all the time, and it should be straight the opposite.
2. These are beautiful, skilled drawings, and thank you for a very interesting read. I remember in a drawing class I gave, quite a few years ago now, a woman said she had never seen this way before; and was quite fascinated how drawing from keen observation, had opened up a new way of “seeing” things, even when she wasn’t drawing. I found this wonderful to hear. Hope you have a lovely creative day! Cheerio, Janette. 🙂
1. I think everybody suffers from this condition here and there. I’ve noticed, however, there are people who never have a problem making themselves 100 times more important than they are. You have plenty of great material which simply asks to be published.
2. I’ve never had ego to spare. I’ve been granted a meager portion I’ve spread out over my art attempts, like too little butter on toast. But I won’t give up, dented ego or not. 🙂
3. That’s just the right thing to do. We have to keep working on whatever makes the most sense for us. I like this comparison: too little butter on a toast. I know what you mean. I believe it’s better in this case to have too little butter than make everybody eat only butter which is an extremely inflated ego. We are seeing this all over the internet nowadays. I personally prefer people who really have done something, but they don’t expect this to be the message written with the largest letters on every wall.
4. Yes, everything takes effort and work. Being busy is great, the only drawback of this is we still have to do everything else while rich people can focus only on the area they want to and hire help for all other things. That’s why it’s so complicated: there’s family, laundry, cleaning, dishes, cooking, house and garden and personal things, too. That takes away lots of time which we could otherwise spend on the subject we are most interested in.
5. That’s the main issue with everything. I was watching some program late at night, and that made me feel very bad because people spend 14 K for 1 night at some resort, and I never make that in 1 year. Not being self-employed, because the globalization and the main trend of cheaper everything does not leave any space for tiny businesses. I am missing a lot private small bakeries and grocery stores where one can buy everything almost home made.
6. I make way less than that. I simply know that many people are in even a worse situation. For me, some medications are covered, quite a lot are not, but most stuff goes to art supplies and medications. I cannot pay for housing.
7. Well, you’re doing better than me. I make zilch at the moment. If it weren’t for my hubby, I wouldn’t have time to write at all. I would be working super long hours in an office, and would seldom see my kids.
8. Nothing nice about that. I have to say the same, if my husband didn’t have patience and understanding how that is when one just spends money on arts and brings in close to nothing, I would be sewing again wedding dresses for others, because I can’t imagine teaching in Canadian schools, kids are very very spoiled here. I also was dealing with all those health issues, pretty much did the minimum and made from arts 3K and from writing 3K last year. Some months zero. This is what I mean, and when I hear somebody spends 14K for 1 night at a resort, I feel that things just don’t add up. I am happy you have a chance to write and I am happy I get some time for arts, although, that’s not often. I have again large dental job about new products to write, that will keep me busy until the end of August.
9. I know. This is called globalization and everything has to be cheap or it’s not competitive. 10 years ago I could make 30K doing the same. This is how it goes: not good. Thanks to all work going to China and India, believe or not they take there also Latvian texts and do them at an abnormally bad quality. It’s also all devices and CAT tools, voice recognition software, etc.
10. That isn’t right. It’s destructive to local living. I guess it’s good for developing countries, but bad for anyone trying to make sense of the documentation. And it’s killed some companies here.
11. This is totally destructive, and it seems just getting worse and worse. I cannot imagine how these governments imagine people can live without work or when work is paid with peanuts? I mean, we work a lot and that just doesn’t result in any income, and that is not right at all. I know, this has killed even fairly large companies, not to mention tiny businesses. It is profoundly awkward and wrong. Outsourcing all work so that some major companies get higher profits is killing lots of jobs here. Not only that, who’s gonna pay taxes if they cannot find work that results in some kind of decent income?
3. Thank you so very much for continuing to,share with us all your ideas, your encouragement and your enthusiasm, it is infectious and you do get me off my seat and into action.
1. Thanks Aquileana! I am trying to promote creativity as much as I can since there’s already way too much consumerism and too less personal touch to many things, in fact, I was just thinking I should post on the other blog how much globalization and trending on the Internet makes people loose their personal features, their true identity and the uniqueness which we all are given. Thanks for stopping by!
4. Wonderful Post Inese, and its good to know drawing is health benefit and keeps our brains active.. I get totally absorbed when in my art..
Loved all of the talent that you have shared .
Love Sue <3
1. Thanks Sue! Practically, that’s all one needs: some hours either every day or at least 2-3 times a week of learning about new shapes, objects and value and line relationships, and they might maintain a good brain health. There has been a lot of research, but I don’t think we need any research, whenever I look at all people who are doing a lot of hobbies, arts and crafts at old age, I have to say they all have perfect memory and no sign of brain aging. Drawing is calming and mind cleaning activity, as well. I hope more people go for it!
1. So do I Inese.. 🙂 and I find that those with such hobbies are ‘in tune’ with themselves, content and focused at the same time.. Its good that science is now seeing this 🙂 .. Thank you also for following my gardening blog.. 🙂 xx
1. Well, science is desperately seeking for Alzheimer’s cure and also is trying to prevent the brain aging whenever possible. I think most people ignore such things as hobbies with lots of learning on a daily basis because it seems just too simple. The choice is always ours and we mainly are what we consume and what we do or don’t. Well, I also have one more blog, therefore, I know it’s sort of difficult to refer traffic to that, too, because not everybody reads what I’m writing. Have a blessed Sunday!
1. It definitely does. Art also teaches us decision making hence we need a decision every second or even more frequently, it helps hugely with brain flexibility and visual memory, leading to overall improvement of memory. The more challenging the art task is, the more new neurons one develops and extends the life expectancy of the existing ones. People who do art and artistic exercises have better stress management because they add a very important coping mechanism by first thinking and then doing (which beginners quite often miss) and kids who engage in arts have much better results in all disciples. It’s proven by now that it is the entire brain which participates in creation of something, not the right side. Art has lots of benefits and prevention of age related dementia is just one of them. I watched a program where old people who were at old folks place could participate in visual art programs, some were 85-90 years old and their paintings were amazing, but most of all they decreased the depressive states which accompany people when they don’t have any new challenges in their lives.
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Square_H_White R home recommended_events search_white ticket_shop trending_events
Wednesday 9th February 2022
Paula Rego, Donna Huanca, Sutapa Biswas
Join us for our Spring 2022 programme, with exhibitions across our galleries, Reading Room, Light and Dark Studios
price: Headfirst Tickets
Paula Rego : Subversive Stories
Arnolfini welcome you to venture into the extraordinary imagination of Dame Paula Rego RA, one of the leading figurative contemporary artists of our time.
Rego makes a welcome return to Bristol (almost 40 years after her first exhibition here in 1982-83), creating an opportunity for a new generation of visitors to discover the artist’s rich and imaginative world. Featuring over 80 prints from across Rego’s extensive career, the exhibition explores her interweaving wit and dark humour, delving into the art of storytelling through Rego’s reinterpretations of well-known narratives and classic tales, repositioning the role of women at their centre.
Subversive Stories also looks deeper at Rego’s mastery of the printed medium, revealing the process of printmaking as it informs Rego’s multi-layered interpretations, bringing shadowy readings to childish mischief, whilst casting a light on present-day politics, most notably those affecting women.
Bringing together early examples of experiments in etching and lithography, her much-loved series Nursery Rhymes, Peter Pan, Jane Eyre and the Pendle Witches, and less familiar stories, such as The Prince Pig and The Curved Planks, Rego pulls us into a world of not so ‘wicked’ women, childhood adventure, folklore and fairy tales, in which the underdog reigns supreme, as Rego reinforces her reputation, taking ‘the side of the beauty not the beast.’
*Please note this exhibition includes images that explore sexuality, abortion, and the practice of female genital mutilation.
Donna Huanca : CUEVA DE COPAL
Arnolfini are excited to present CUEVA DE COPAL, a new and immersive site-specific installation by Donna Huanca, a celebrated, rising star of the international art world.
Drawing on painting, sculpture, performance, choreography, video, and sensory interventions, Huanca’s interdisciplinary practice focuses upon the human body, exploring our physical relationship to the world around us.
Huanca builds her experiential installations around the architecture of each new site, with CUEVA DE COPAL plunging audiences into a cocoon-like space. Encouraging audiences to reflect upon their environment, the installation integrates ideas explored through previous installations, in which Huanca has transformed the masonic temple of Marciano Art Foundation in Los Angeles, the early-18th century palace of the Belvedere Museum in Vienna, and the high desert landscape surrounding the Ballroom Marfa in Texas.
Building on past remnants of her own work, Huanca excavates and layers, transforming her live ‘skin’ paintings into new multi-layered and hybrid forms that sit somewhere between performance, sculpture, photography, and painting. Explored within the darkness of CUEVA DE COPAL, these bodily forms take on new lives enhanced by sound, scent, and texture.
Donna’s new commission brings this acclaimed artist to Bristol and the south west for the first time as part of Arnolfini’s commitment to showcasing the best contemporary artists of each generation.
Sutapa Biswas : Arnolfini at 60
Dark Studio, Gallery 5, Reading Room
Sutapa Biswas (b. 1962), is a British Indian artist, whose work is recognised nationally and internationally. Her art engages with questions of identity, race and gender in relation to time, space and history. Her works are inspired by oral histories, literature and art history. She is particularly interested in the ways in which larger historical narratives collide with personal narratives.
Biswas was included in two exhibitions that toured to Arnolfini in the 1990s, both of which played an important role in promoting de-colonial discourses within British art: The Circular Dance, in 1991, an exhibition of British Asian women artists; and Disrupted Borders, in 1993, curated by Sunil Gupta, which sought to escape the European rhetoric of modernism with a ‘new internationalism’ approach. Arnolfini is delighted to invite her back in our sixtieth anniversary year, to present new and existing work: Magnesium Bird (2004), a film work created as a poetic and ritualised response to the death of the artist’s Father; and Zoo – Edge of the Indian Ocean, 20.1990° S, 57.7823° E (2021), a new painting, commissioned by Arnolfini, which overlaps botanic and colonial histories in Mauritius.
The Periphery
Light Studio
Arnolfini are excited to share new work by students from UWE Bristol’s Art, Design and Photography courses, in response to the major exhibition: Stephen Gill: Coming up for Air – A Retrospective. Gill’s interest in ‘the periphery’ – the outer limits of an idea or environment, is the focus of students’ responses to Gill’s rich and expansive photographic career. The work spans an eclectic variety of media, presented through a series of independent projects. Responses explore Gill’s own method of working, which often involved pursuing an idea over a sustained period of time asking how we might view the world around us from different perspectives.
The Periphery is a collaboration between Arnolfini, The School of Art and Design and ACE Faculty Technical Learning at UWE Bristol.
Artist Audio:
Paula Rego
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Digital preview rendered by Sculpteo
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Welcome to your 3D printed design! camille sand was created and sold by lentengre so you are able to modify it, make it your own then use it often! Choose among more than seventy five different 3D printing materials to create the 3D printing item so it fits your style of living or the wish and style of the person you would like to gift it to. Choose the 3D printing component which fits your needs, the color that matchs your state of mind, the proportion you want your camille sand in and you will obtain it 3D printed very soon. Thanks to Sculpteo Marketplace, you can modify this design conceived by lentengre and immediatly get an observation of how the 3D printed object will look like. If you happen to hesitate or aren't a 3D printing specialist yet, we'll also deliver you advices to optimize your camille sand and make the most beautiful of the vision lentengre bring in it to create a very extraordinary and custom-made design. If you want to have camille sand 3D printed for your own use or for someone you will let you to track it until it comes to you. You can change the details of this 3D model and change bits to truly obtain a one of a kind of object, do not hesitate to adjoin details and make this 3D printing design more special and fitting your personality. And if you love camille sand, do not bypass to look at other 3D models imagined by lentengre to create other amazing 3D printing projects!
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Design Diversity: Freelance Interior Design in Singapore
In the bustling city-state of Singapore, a myriad of Freelance Interior Designer Singapore styles coalesce to form a rich tapestry of design diversity. With freelance Freelance Interior Designer Singapores at the helm, each space becomes a canvas where innovation and creativity intertwine to redefine contemporary living.
These freelance designers bring a fresh perspective to the table, offering bespoke solutions that cater to the unique preferences and lifestyles of their clients. From minimalist chic to opulent extravagance, they navigate the vast spectrum of design aesthetics with finesse, transforming spaces into personalized sanctuaries.
Singapore’s melting pot of cultures serves as a wellspring of inspiration for these designers, fostering an environment where East meets West in a harmonious blend of influences. Traditional motifs find new life alongside modern sensibilities, creating interiors that resonate with a sense of cultural depth and historical resonance.
Moreover, the rise of sustainability in design has spurred a wave of eco-conscious practices among Freelance Interior Designer Singapores in Singapore. By integrating green technologies, upcycled materials, and energy-efficient solutions into their projects, these designers champion environmentally-friendly design that not only enhances aesthetics but also minimizes ecological impact.
The freelance landscape offers a platform for emerging talents to shine, allowing them to carve out their niche in the competitive world of interior design. Armed with a passion for innovation and a keen eye for detail, these designers push boundaries, challenge norms, and push the envelope of what is possible within the realm of interior design.
As Singapore continues to evolve as a design hub in the region, freelance interior designers play a pivotal role in shaping the city’s aesthetic identity. Their work transcends mere functionality, elevating spaces into works of art that reflect the diverse tastes, aspirations, and personalities of their clients. In this dynamic milieu of design diversity, freelance interior designers in Singapore stand at the forefront of a creative revolution that promises to redefine the way we inhabit and experience our built environments.
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Wake up and smell the roses. Even better – draw some
November 2009, and the competition is hotting up to be crowned ‘art world’s biggest chancer’ on BBC Two’s School of Saatchi. I can say with hand on heart that I seriously considered putting my boot through the telly – and it’s quite an expensive telly.
If anyone else happened to witness this debacle, I’m sure they too would have shared my shock and ire at the utter, utter, drivel being produced by the candidates for Saatchi’s patronage, and even worse was some of the fantastical codswallop being espoused in support of it. This particular episode centred around the young hopefuls’ life-drawing skills – or complete lack of – and their incredible arrogance in the face of said inability. Even more horrifying to me was the revelation that life drawing wasn’t even being taught in art schools any more.
Hopefully by now this abominable situation is being remedied because, for me, drawing from life (or, more impressive – being able to draw the human form accurately in the absence of a model) is the most technically challenging activity in which a visual artist can involve his or herself.
I might be behind the times as far as ‘high art’ is concerned, certainly in regard to conceptual art, but I do know that as far as design is concerned, a base level of traditional draughting ability is still an essential skill that is sadly becoming increasingly rare. In the process of design, it’s vital to be able to communicate ideas, investigate problems, illustrate possible solutions and to understand form. Drawing teaches you to see and understand how things fit together. It’s immediate, satisfying and – if properly looked after – permanent.
I was lucky enough to see the Leonardo da Vinci exhibition at the National Gallery in London earlier this year, and being so close to those priceless artworks was a very moving experience. Most impressive of all, for me, was being so close to a number of images created by the great man so many years ago. The vitality that leaps from the page is awe-inspiring, as is the dynamism of his thought processes. Any given study is accurate and detailed enough to grace a modern textbook, but to have a priceless life drawing share a sketchbook page with an architectural thumbnail sketch, or a design for some form of war machine, is what completely blew my mind. I’ve always been aware of these drawings, but to be so close to illustrations of the man’s mind at work left me feeling both elated and humbled.
Being invited to submit this opinion piece led me to thinking what the great man would choose to engage himself with in terms of design and creativity if he were practising in this day and age... Would he be a Mac or PC? Which operating system? He’d have to be using a graphic tablet of some sort, I’d imagine, and given that he’d no doubt be enjoying the patronage of the highest power in the land, he’d most definitely be using the biggest, fanciest one on the market, but what about software? My bet is he’d go straight for the Python manual and have his underlings do the dirty work of visualisation.
What about the great man’s great rival, Michelangelo? I’m pretty sure he’d be a wizard with Z-Brush. And Caravaggio would have worked wonders in a physical renderer. Monet’s Water Lilies scream Corel Painter to me, but Picasso’s ‘Guernica’ wouldn’t be half as impactful at 1920x1080. Shakespeare would have loved Final Draft, no doubt, and Dragon Dictate would have accelerated his output immeasurably. Tchaikovsky and Logic Pro? What would Saul Bass have made of Nuke, I wonder?
I do know that I’m a touch ‘old fashioned’; a smidgen long in the tooth (I revel in it). And I’m well aware that increasingly astonishing artworks are aided, if not entirely created, by technology. I see my colleagues do it on a daily basis. It’s just that being a pretty crappy draughtsman myself, I hold these abilities in supremely high esteem and I’d like to see a few more sketchbooks being employed. (And no – I’m not sponsored by Daler-Rowney.)
Perhaps I’m flogging a dead horse here? Perhaps digital technology will win out on ecological grounds? But for me, the immediacy of opening a sketchbook and attempting to make a creative mark is what’s seductive. Holding it in my hand, touching it, smelling it, rotating the page as required to create a fluid curve will always be preferable to the digital option (as long as paper is available). Take some time away from your computers to smell the roses, people. Maybe even sketch a few? On paper!
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I've dreamt in my life dreams that have stayed with me ever after, and changed my ideas: they've gone through and through me, like wine through water, and altered the color of my mind.
Emily Bronte
Wuthering Heights
vrijdag 20 november 2015
Charlotte Bronte and a case of mistaken identity
Chalk drawing by George Richmond, 1850, left; photograph, right, date unknown
Published: 30 September 2015
Chalk drawing by George Richmond, 1850, left © National Portrait Gallery, London; photograph, right, date unknown, © Brontë Society
A s the bicentenary of Charlotte Brontë’s birth approaches (April 21, 2016), many picture editors, exhibition organizers and publishers will be looking round for a suitable image of the author and perhaps feeling a little disappointed with the available choices. Only two pictures of Brontë survive that were made from life: the first, crudely painted by her brother Branwell when she was a teenager (in the group portrait known as “The Brontë Sisters”), makes the subject look doughy and dull; the second, a chalk drawing commissioned by the publisher George Smith in 1850 and executed by the fashionable artist George Richmond, veers the other way towards flattery. When Richmond’s portrait was published as the frontispiece to Elizabeth Gaskell’s Life of Charlotte Brontë in 1857, two years after Brontë’s death at the age of thirty-eight, it drew some blunt comments from the subject’s old friend Mary Taylor. “I do not altogether like the idea of publishing a flattered likeness”, she told the biographer; “I had rather the mouth and eyes had been nearer together, and shown the veritable square face and large disproportionate nose.”
Taylor was by no means the only person to remark on Brontë’s un-beautiful appearance. Gaskell herself had written of her subject’s “plain, large and ill-set features”, “crooked mouth and large nose”, and in private had been even more specific about “a reddish face; large mouth & many teeth gone; altogether plain; the forehead square, broad and rather overhanging”. George Smith was so impressed by the prominence of Miss Brontë’s brow that he took her to a phrenologist in 1851 to have it analysed, but thought little of her personal charms, recalling that her head “seemed too large for her body” and that “her face was marred by the shape of the mouth and by the complexion”. William Thackeray described Brontë as “homely-faced”, “without a pennyworth of good looks”, while his daughter Anne recalled their famous visitor’s defensive and unpleasant demeanour: “I remember how she frowned at me whenever I looked at her, but perhaps it was specially at me – at least so I imagined. There was a general impression of chin about her face”. These plain-speaking judges did all grant Brontë one outstanding feature; large, shining eyes “of extraordinary brilliance and penetration”. From their descriptions, it seems safe to conclude that Charlotte Brontë had an unusually large brow, large expressive eyes, a wide mouth collapsing over missing teeth and a big nose (like her father, whom she was said to resemble). Richmond’s portrait, for all its prettification, does actually indicate those characteristics in a veiled form. Read all: http://www.the-tls/The Times Literary Supplement
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Celebrating the art and design of pop-up books
April 10, 2013
Rebecca Vargha"Celebrating the Art and Design of Pop-Up; Books" lecture and demonstration took place in Manning Hall on April 8, 2013. SILS Librarian, Rebecca Vargha, discussed the history of the pop-up books and demonstrated the complexity of the beautiful books that literally pop-up off the pages. SILS graduate student, Anne Miller, led those in attendance through the creation of their own pop-up art project. Photos of the event are available on the SILS Flickr site.
The SILS Library has an extensive collection of pop-up books, many which were shared during the lecture and celebration of the art and design of this unique book art form.
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Paul Outerbridge
Country: United States
Birth: 1896 | Death: 1958
Paul Outerbridge, Jr. was an American photographer prominent for his early use and experiments in color photography. Outerbridge was a fashion and commercial photographer, an early pioneer and teacher of color photography, and an artist who created erotic nudes photographs that could not be exhibited in his lifetime.
Paul Outerbridge, while still in his teens, worked as an illustrator and theatrical designer creating stage settings and lighting schemes. After an accident caused his discharge from the Royal Canadian Naval Air Service, in 1917, he enlisted in the U.S. Army where he produced his first photographic work. In 1921, Outerbridge enrolled in the Clarence H. White school of photography at Columbia University. Within a year his work began being published in Vanity Fair and Vogue magazine.
In London, in 1925, the Royal Photographic Society invited Outerbridge to exhibit in a one-man show. Outerbridge then traveled to Paris and became friends with the artists and photographers Man Ray, Marcel Duchamp, and Berenice Abbott. In Paris he produced a layout for the French Vogue magazine, met and worked with Edward Steichen, and built the largest, most completely equipped advertising photography studio of the times. In 1929, 12 of Outerbridge's photographs were included in the prestigious, German Film und Foto exhibition.
Returning to New York in 1929, Outerbridge opened a studio producing commercial and artistic work, and began writing a monthly column on color photography for the U.S. Camera Magazine. Outerbridge became known for the high quality of his color illustrations, which were done in those years by means of an extremely complex tri-color carbro process. In 1937, Outerbridge's photographs were included in an exhibit at the Museum of Modern Art and, in 1940, Outerbridge published his seminal book, Photographing in Color, using high quality illustrations to explain his techniques. Outerbridge's vivid color nude studies included early fetish photos and were too indecent under contemporary standards to find general public acceptance. A scandal over his erotic photography led to Outerbridge retiring as a commercial photographer and moving to Hollywood in 1943. Despite the controversy, Outerbridge continued to contribute photo stories to magazines and write his monthly column. In 1945, he married fashion designer Lois Weir and worked in their joint fashion company, Lois-Paul Originals. He died of lung cancer in 1958.
One year after his death, the Smithsonian Institution staged a one-man show of Outerbridge's photographs. Although his reputation has faded, revivals of Outerbridge's photography in the 1970s and 1990s has periodically brought him into the public's awareness.
Source: Wikipedia
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Donald Graham is an internationally recognized portrait, fashion and fine art photographer whose work is in the Metropolitan Museum of Art in New York and the International Center of Photography. He has exhibited his photography in numerous exhibitions and his photographs are held by many collectors. He is well known for his work photographing everyday people, celebrities and fashion for magazine and advertising clients including Vogue, Vanity Fair, Sports Illustrated and Time. Donald began his career in Paris as a fashion photographer. He then moved to New York and Los Angeles where he broadened his work to include portraiture for the movie, music, editorial and advertising industries and began devoting significant time to his personal fine art work. During his career, Donald has photographed in more than forty countries, with extensive travels in India, Asia, Africa, Latin America and Europe. A book of his portraits, entitled ONE OF A KIND, was published by Hatje Cantz in 2021. After 20 years in New York City, Donald is currently based in Los Angeles, California and Taos, New Mexico. Statement "My portraits are about honest moments that display qualities of the human character including wisdom and sensitivity, peace and vulnerability, both joy and tragedy. I seek to make portraits that are driven by one's inner dialog. I'm not interested in poses or performances for the benefit of the camera. I'm interested in what a person is like when they are their most authentic." Authenticity, honesty, and trust characterize Donald Graham's portraits. They are not simply photographic recordings. Looking at them is like seeing human beings in the flesh, revealed to us by Graham with his virtuoso technique and sensibilities. His exquisite, strongly contrasting black-and-white photographs are evidence of attitude, rather than studied gestures. Eyes and faces are not model-like masks; instead, they express the unique nature of those portrayed. Inevitably, viewers find themselves in a dialogue with the images. You wonder about the stories behind these faces; though unfamiliar, they are nevertheless an emotional experience. One of A Kind
Sohrab Hura (born 17 October 1981) is an Indian photographer based in New Delhi. He is a full member of Magnum Photos. Hura's self-published trilogy Sweet Life comprises the books Life is Elsewhere (2015), A Proposition for Departure (2017) and Look It's Getting Sunny Outside!!! (2018); the latter was shortlisted for Photobook of the Year in the Paris Photo–Aperture Foundation PhotoBook Awards. He has also self-published The Coast (2019) and The Levee (2020). His work has been shown in solo exhibitions in London and in Kolkata, India. Hura was born in Chinsurah, West Bengal, India. He attended The Doon School in Dehradun, Uttarakhand and has a masters in economics from the Delhi School of Economics, University of Delhi. He began making photographs during college with a Nikon FM10 given to him by his father. He is now based in New Delhi, India. Hura's Sweet Life trilogy of books focuses on his relationship with his mother, who was diagnosed with paranoid schizophrenia in 1999, when he was 17 years old. The trilogy's Life Is Elsewhere was made between 2005 and 2011, and Look It's Getting Sunny Outside!!! was made between 2008 and 2014. In 2011 The British Journal of Photography included Hura in its "Ones to Watch." He became a nominee member of Magnum Photos in 2014 (the second Indian photographer to become a nominee member) an Associate member in 2018, and a full member in 2020. Sean O'Hagan, writing in The Guardian, included Hura's The Lost Head and the Bird exhibition in his "The top 10 photography exhibitions of 2017".Source: Wikipedia Sohrab Hura’s vivid, sometimes surreal photography explores his position with the world that he exists in. Though Hura initially worked through the prism of social documentary, he soon turned his strong vision inward, creating visual journals of his life and personal relationships as a means to “find his own logic”. Hura was born on 17th October 1981 in a small town called Chinsurah in West Bengal, India. He grew up with many varied career ambitions but eventually settled on photography, after completing his Masters in Economics at the Delhi School of Economics. His first projects, The River (a series that explores three cities along the river Ganges and its tributary) and Land of a Thousand Struggles (which followed a grassroots movement in rural India that led to an important social security act), were made simultaneously in 2005-06. Though both were made with auspicious intentions, Hura later decided to turn his back on this kind social documentary work and instead focus on issues which reflected his personal experience. Hura’s work has been shown in exhibitions around the world. Upcoming exhibitions include The Levee at Cincinnati Art Museum, The Lost Head & The Bird at True/False Film Festival: Columbia Missouri and La Fete Du Slip, Lausanne and Snow at Kettle’s Yard, Cambridge UK—all in 2019. He has published three books to date: Life is Elsewhere (2015), A Proposition For Departure (2017), Look It’s Getting Sunny Outside!!! (2018) with the fourth, The Coast (2019). He is currently working on a series called SNOW, which looks at Kashmir through the prism of the arrival and melting of snow across the three phases of winter. Hura is currently based in New Delhi, India. He joined Magnum Photos as a nominee in 2014 and became an associate in 2018.Source: Wikipedia
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cofo toronto
Toronto company is doing high-end furniture by local designers
Fresh grads and budding furniture designers are getting a chance to showcase their creativty through a company that helps them build and sell their work.
COFO—short for Cofounders—is a local studio that accepts designs from emerging Toronto talent through an annual competition.
Choosing submissions from entry-level designers, students, and recent grads from interior or industrial design programs, COFO founders Desmond Chan and Randy Simmen have already produced one full collection 0f six furniture designs since launching in late 2017.
"The whole goal for us is to put Canadian design on a platform and also give emerging designers the opportunity to see their designs in real life," says Chan.
Those who apply to their design challenge are judged by criteria like style, originality, functionality, innovation, and social and environmental responsibility.
Chosen designers are awarded $500, and have their pieces produced by Visual Elements, a manufacturer in Vaughan (co-owned by Simmen's dad John) which has designed high-end retail spaces for the likes of Louis Vuitton, Coach, and Nordstrom.
After some collaborative tweaks on details like materials, palettes, and wood finishes, the designs are made available on COFO's website as part of one larger collection.
"The goal isn't to release a bunch of random furniture pieces," says Simmen. "The idea is collaboratively pulling together a cohesive collection."
Aside from having all the marketing and distribution taken care of, designers also receive an industry standard of three per cent royalty on every unit sold, which is a big boost for any amateur designer's resume.
The 2018/19 collection, which launched in October, includes work like the Garcia ($2,230), a multi-purpose piece with an adjustable mirror made by Mary Anne Garcia, a recent OCAD grad, or the Soma shelf ($2,500) from Humber grad Olivia Sementsova.
One of the designs, The Roque chair ($1,500) from Trish Roque, was even nominated for a 2019 German Design Award and can be seen at Toronto menswear store Area+001
COFO has also partnered with the publication DesignLines to showcase the 2018/19 collection at the Interior Design Show, happening at the Metro Toronto Convention Centre this weekend.
As for the 2019 design challenge, it's already on: submissions are due by February 28. As long as you've graduated from an Ontario institution within the last five years, you might be able to flesh out your dream design in real life.
Lead photo by
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All images in our archive are available for professional licensing and as fine art prints. More than 70 exclusive photographers. Over 4 million images. You won't find these anywhere else. Can't find what you’re looking for? Contact us for free research by one of our experts. Bundle and save. Find out about our Image Credit packages.
Gene Trindl
( 1924 - 2004 )
His subjects were the faces of Hollywood. His photographs and picture stories were as legendary as the famed celebrities that he captured on film for nearly half a century. Often described as amusing and yet sentimental, his photographs provided an artist’s personal and intimate look at the people who made Hollywood.
Once referred to as “the Will Rogers of photography,” Gene’s homespun humor and quick-draw shooting style caught even the most celebrated stars in whimsical and often out-of-character situations. Within the 45-year span of his career in Hollywood, he created images that became trademark visions and spoke as witnesses to an unforgettable era. Gene’s professional longevity was attributed to his life-long passion for photography. From his days as a Boy Scout to his stint with the Air Force, his growing skills led to a degree from Woodbury College. His early career was marked by apprenticeships, teaching at Pierce College and co-producing some 22 educational films. Widely recognized, Trindl’s work has been published in LIFE, The Saturday Evening Post, and Colliers. The largest body of his work has graced over 200 covers and more than 600 assignments for TV Guide, which was one of the most prolific collaborations of his career.
Trindl’s roster of subjects over the years reads like a “who’s who” of the true famed era of Hollywood. With notables such as Frank Sinatra, Louis Armstrong, Doris Day, Rock Hudson, Jack Benny, George Burns, Alfred Hitchcock, Orson Welles, Raymond Burr, Red Skelton, Henry Fonda, Ernest Borgnine, and Fred Astaire sharing the pages with faces that include Jane Fonda, Tom Selleck, Natalie Wood, Robert Wagner, the cast of Star Trek, Richard Chamberlain, and Mary Tyler Moore… the list speaks for itself.
As a master of studio lighting and darkroom magic, his gallery work was worthy of exhibition alongside the finest photographic work of his day. Mptv Images currently represents his work around the world, and his life as a photographer has been documented by the Photographic Guild International. In addition to countless awards and honors throughout his career, Gene was most proud of his coveted C.H. Bach Award in honor of the man who inspired him to pursue his talent.
“How can I retire from doing something that I’ve never considered work? Both my trade and art has always been nothing more to me than a true labor of love,” he often replied to the question of retirement. Obviously, retirement was not an option for Gene Trindl. His phone still rang as movie studios, TV networks, and public relations firms continued to request his services and talent. “I’ve got well over 90,000 slide images and tens-of-thousands of film negative images in my files,” he stated on the size of his archives. His photo credits were well represented in major publications throughout the world. His contemporary photography was valued as much as his archival collection and his experiences from decades in the entertainment world.
Gene stayed in the town where he was born and raised: Hollywood. When he wasn’t on assignment, he frequented Colorado Springs where he collaborated with his daughter, Joani. The two worked together on a book that was both a collection of his work and a reflection on his life. Aside from photography, Gene’s other passions and interests included gardening, making bread, reading, drinking good wine, and spending time with friends… his formula for his youthful vibrancy.
See all photos by Gene Trindl
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Berhampore Flats
493-507 Adelaide Road, Berhampore, Wellington
• Berhampore Flats. Image courtesy of Vivienne Morrell.
Copyright: Vivienne Morrell. Date: 27/04/2016.
• Berhampore Flats. Image courtesy of Vivienne Morrell.
Copyright: Vivienne Morrell. Date: 27/04/2016.
• Berhampore Flats, Wellington. Model of the Centennial Flats, Adelaide Road, Berhampore, Wellington. Ref: MNZ-2160-1/2-F. Alexander Turnbull Library, Wellington.
Copyright: No Known Copyright Restrictions.
List Entry Information
List Entry Status Listed List Entry Type Historic Place Category 1 Public Access Private/No Public Access
List Number 7432 Date Entered 28th August 1998
Locationopen/close
City/District Council
Wellington City
Wellington Region
Legal description
Lot 2 DP 57300, City of Wellington
Assessment criteriaopen/close
Historical Significance or Value
This historic place was registered under the Historic Places Act 1993. The following text is from the original Historic Place Assessment Under Section 23 Criteria report considered by the NZHPT Board at the time of registration.
The Berhampore Flats are a 50-unit block of rental accommodation built in 1939-40, the inaugural multi-unit scheme in a vast State housing scheme that was dominated by detached and semi-detached houses and flats. Only 13 of these higher density blocks were built, making them an aberration in a public housing programme that has continued to favour the single-unit detached cottage or the semi-detached house.
Nevertheless, the multi-unit complexes had significance for being designed for "those who have interests other than babies and gardens". Berhampore Flats was the first of the big State complexes and with its medium density accommodation set around a central green space and circular community hall, indicates the sense of community that the Labour Government and its bureaucratic servants were attempting to cultivate in its housing programme.
This historic place was registered under the Historic Places Act 1993. The following text is from the original Historic Place Assessment Under Section 23 Criteria report considered by the NZHPT Board at the time of registration.
The Berhampore Flats were designed in the Inter War Modern style otherwise known as the 'International' or 'Functionalist' style of the period 1915-1940. The Style continued after the Second World War as the Post War Modern style. Important style indicators are:
- Cubiform overall shape.
- Plain, smooth wall surfaces.
- Corbusian (after Le Corbusier, 1887-1966) window motif in the form of a distinctive rectangular fenestration containing window casements arranged in a continuous horizontal line.
- Contrasting non-rectangular shapes in the form of semicircular or circular wings, porthole windows, and rounded streamlined comers.
- Stairs expressed by vertical emphasis.
This historic place was registered under the Historic Places Act 1993. The following text is from the original Historic Place Assessment Under Section 23 Criteria report considered by the NZHPT Board at the time of registration.
(a) The extent to which the place reflects important or representative aspects of New Zealand history:
The provision of housing has long been an important aspect of New Zealand history. The Berhampore Flats were part of a massive state housing programme initiated by the First Labour Government. Viewed in the light of the numerical insignificance of high-density accommodation to the state housing programme and the fact that detached and semi -detached residences remained the norm long after the high density flats were finished, it cannot be said that the complex greatly influenced public housing programmes. However, the International Style-influenced Berhampore Flats are important for a number of reasons: they were designed in part to meet the needs of people who did not belong to the typical nuclear families for whom the orange-tiled cottages were designed; in pushing the complex back from the road and in placing a large green space in the centre and in maximising privacy for each unit, architect Gordon Wilson and his assistants consciously tried to bridge the gap between New Zealanders' attachment to the concept of detached suburban housing and the large inner-city blocks of Austria and Germany which influenced émigré architects. Finally, the addition of a large, circular communal social hall (complete with small stage and kitchenette) jutting out into the communal grassed area, demonstrated contemporary belief in the positive value of aspects of communal living; perhaps not surprisingly, that space was later converted into an individual flat.
(g) The technical accomplishment or value, or design of the place:
DATE: 1939-1940
ARCHITECT: Francis Gordon Wilson, 1900-1959. (See Biographical Essay)
STYLE CODE: 66: Inter War Modern of the period 1915-1940
DESIGN: The Berhampore Flats constitute five blocks of flats which were formally arranged so as to make up four sides of a rectangle. The quadrangle thus formed in: the centre of the design was planned as a communal green space with a Circular community hall located on the south side projecting into the middle of the quadrangle. Modernist design aesthetics were thus firmly established from the outset by the architect, Gordon Wilson, who contrasted the rectangular shapes and flat roofs of the accommodation blocks with the non-rectangular or circular shape of the community hall.
An emphasis on contrast was continued by employing a curvilinear shape for the three storeyed stair-well located at the north west end of the east block. The stair-well also exemplified the modernist penchant for vertical emphasis by being placed externally rather than internally. Balconies on the three floors adjacent to the stair-well had (in the final design as built) segmented or rounded ends thus adding to the design a delightful touch of Art Moderne streamlining characteristic of late 1930s architecture.
Porthole windows located in the ground floor doors and walls of some of the blocks continued the modernist emphasis of contrasting shapes by being set against the so called Corbusian window motif. In the Berhampore Flats this motif took the form (in keeping with its European origins) of individual rectangular window casements arranged in a continuous horizontal line containing, in some cases, up to twelve lights divided by glazing bars. Top hung, Hinged casement, and sliding windows made up groups of windows for each block, and these various types of window were in themselves a very cogent expression of modernist design principles.
The interior planning of the flats corresponded to the conventional lay-out of state houses, and are therefore not particularly notable for having the open plan concept of some overseas examples of modernist houses such as those designed by the Taliesin school of Frank Lloyd Wright architects, although this particular type of modernism was of the American rather than European persuasion. Julia Gatley describes the Berhampore Flats as being transitional, and while this is certainly true in respect of site planning, materials of construction (reinforced concrete), and design aesthetics, it is perhaps more directly evident in Gordon Wilson's adherence to the conventional planning of rooms divided up by walls as distinct, that is, from the eight inch thick party walls with their historical reference to English terrace housing.
(m) Such additional criteria not inconsistent with those in paragraphs (a) to (k):
International Modernism had arrived in New Zealand by 1930 although it is more generally known by the title 'Art Moderne' in the decade 1930-1940. A review of some buildings from this decade is a useful basis for comparison with the Berhampore Flats. Good examples of modernism early in the decade were few and far between but the New City Hotel, Christchurch, 1930, Cat.II, with its smooth wall surfaces and semicircular comer, has the typical contrasting shapes of modernism in its design as does the Gloucester Court Flats, Auckland, 1935, Cat.II.
Architects had become much bolder in their handling of the style by the end of the decade, particularly as a result of travel, publications, and overseas immigrants. By 1938-40 some brilliant essays in the style were being produced in New Zealand. In this latter bracket one may, for convenience, include examples of both the ordinary and the extraordinary, these being the former MED Building, Christchurch, 1938, Cat.II; the Herd Street P & T Building, Wellington, 1938-40, Cat.II; the Maisonettes, Christchurch, 1939-41, Cat.II; the Departmental Building, Wellington, 1938-40, Cat.II; the State Insurance Building, Wellington, 1940, Cat.I; and the Dixon Street Flats, Wellington, 1940-44, Cat.I.
Examples of International Modernism built in New Zealand following World War Two became more rectilinear in form with less reference to the circular motif but with more direct references to radical shapes like the roof of Broadcasting House in Wellington, and to the construction techniques of modernism such as reinforced concrete, cantilevered floors and roofs, and cubiform shapes with various types of window lighting including the glass curtain wall. The common thread, which was that of contrasting shapes, continued right through the post-war period into the 1960s and 70s. Buildings of note in this latter period include the Greys Avenue Flats, Auckland, 1946-47, also by Gordon Wilson, Cat.II; the B.J. Ball Building, Auckland, 1958, (proposed Category I registration), and Broadcasting House, Wellington, 1960-63, formerly Category I, but now demolished.
On a comparative basis the Berhampore Flats sit very comfortably with both the pre-war and post-war group of buildings given above, since the Flats have all the Modernist design elements identified above. They have, in addition, the special and outstanding feature of being designed in the form of a quadrangular scheme with a contemporary emphasis on the social idealism of the 1930s. This is important and significant for a number of reasons associated, not least, with the radical idea (for New Zealand in the 1940s) of European community style apartment living, and with 1930s concepts of public health, natural sunlight and open spaces exemplified in the open grass space at the centre of the original design for the Berhampore Flats. The Flats were unique in attempting to combine all these ideas into one unified design and, in no small way, they perhaps compare better with Modernist urban planning in New Zealand such as the Naenae Civic Centre by Ernst Plischke (designed in 1943), a scheme which ultimately suffered from modifications and compromises for reasons similar to those which affected the subsequent history of the Berhampore Flats.
Linksopen/close
Construction Professionalsopen/close
Wilson, F. Gordon
No biography is currently available for this construction professional
Additional informationopen/close
Construction Dates
Original Construction
Completion Date
1st May 1998
Report Written By
Gavin McLean & Wayne Nelson
Other Information
A copy of the original report is available from the NZHPT Central region office
Please note that entry on the New Zealand Heritage List/Rarangi Korero identifies only the heritage values of the property concerned, and should not be construed as advice on the state of the property, or as a comment of its soundness or safety, including in regard to earthquake risk, safety in the event of fire, or insanitary conditions.
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CowParade Austin Calendar - March
CowParade Austin Calendar – March – Cowjunta Music
The painted cow for the month of March in my CowParade Austin calendar for 2012 is called Cowjunta Music. The artist was Elizabeth C. Sullivan, and the financial sponsor is 101.7 LaZ, a Tejano Austin FM radio station.
The name Cowjunta is a play on words, as it is the “bovine version” of Conjunta Music. Now I readily admit that I did not know what that music genre was. But since this is Austin,TX – the city that calls itself the “Live Music Capital of the World“, and since I live here, I thought I should at least find out what Conjunta Music is. Besides, I had to write something semi-intelligent about this cow in this post!
Conjunta Music is apparently Spanish for Cantina Music. I did find a nice YouTube video that quickly gives you as pretty good explanation about it. If you want to really get the academic details about it, The University of Texas has a very complete web page on the subject called The Roots of Tejano and Conjunto Music.
OK, so after you’ve checked out those two web sites, you will now know why Elizabeth made the accordion so prominent in the center on her very artistic and colorful cow.
Cowjunta Music was on display at 419 Congress Avenue at the Mexic Arte Museum, which is at the southeast corner of East 4th St. and Congress Ave. That’s just north of the Frost Bank Tower. Cowjunta Music was facing west towards Congress Ave.
The photos that I took of this cow were only about 25 minutes after the photos of Moosic Capital that was selected for the “February Cow” in my calendar. So, it was still pretty early; just 5 minutes before 9:00 AM on Saturday, September 3rd, 2011.
The sun was still low in the morning sky, and you can see the shadows of the cow in the photo. The sun was shining brightly and was unobstructed coming in from the east on 4th Street. The side of the cow that I wanted to photograph was in its own shade. (That would make it The Dark Side of the Cow.) This presented a photographic challenge. If I simply took a photo of this shaded side of the cow, combined with the bright areas that the sunlight was directly hitting (beneath and behind the cow), I could end up with one of a few very different exposure possibilities.
If I exposed for the shaded side of the cow, everything in the direct sunlight would be very bright, and appear “washed out”, or worse yet: “blown out”. I could expose for the brightly lit areas, but then the cow would pretty much be a silhouette. A third possible outcome would be to expose for the average brightness in the scene, but that would result in an “average” photo – just like everyone else would make with their iPhone as they walked by this cow and snapped a photo. The cow would be “half as dark”, and the sunlit areas would be “half as bright”, but neither area would look right.
I thought about these alternatives for a few moments, and decided upon my fourth option. I would simply add a bit of light to the Dark Side of the Cow by using my portable flash unit; a technique known as Fill Flash. So I got out my Canon Speedlite flash unit, put it in the hot shoe of the camera (oh no!), set it to TTL mode, and simply took the picture you see below.
Now that brightened up the cow to a level to match the brightness of the areas in the direct sunlight. There are two not-so-great side effects of having used the on-camera flash, though. First, you can see 4 or 5 bright little “hot spot” reflections on the cow itself, and second, the flash lit up the street sign all the way across the street above the shoulder and neck of the cow. I never saw that street sign until much later – when I was post-processing my photos on the computer!
I didn’t feel that the “hot spot” reflections were that bad – they sort of gave the cow some extra sparkle (I hope Elizabeth doesn’t mind), so I left them alone in post-processing. The bright street sign was another matter completely. I didn’t like it at all, so I spent a few minutes removing it by using the Spot Removal Tool in Lightroom. You can see that it is no longer present in the photo on the calendar. In looking at the photo again today, perhaps I should have also spent some effort to remove that silver colored fire hydrant in front of the cow’s face (which now looks like a Rhinoceros horn).
I also needed to get a photo of the other side of this cow, so I waited for a moment with no traffic coming down 4th Steet, walked out to the second traffic lane, leveled my camera on the tripod and snapped this photo of the “sunny side” of the cow.
The cow wasn’t completely broadside to the sun’s rays, so it did show some interesting shadows on the cow. The most notable one is how the cow’s ear shadowed the side of the face.
If you look very closely at the larger version of this photo (just click on the photo – but then use the “Back Button” on your web browser to return), you will see my reflection in the storefront window right above the cow’s nose.
I didn’t want to stand out in the middle of 4th Street any longer than needed, so I only took that one photo of this side of Cowjunto Music.
Although I actually took the next photo first, I show it to you last, just to document the plaque that identified this cow.
Dad and I had a large number of cows to photograph along Congress Avenue that morning, so we were moving along at a pretty good clip. By examining the EXIF metadata (the information embedded into the photo by the camera), I see that the time-stamps on these three photos was just over 3 minutes from the first to the last.
For some reason the cow named Cowjunto Music appealed to me a lot. Maybe she was all decorated up for an evening of dancing at the Cantina… I think the artist, Elizabeth C. Sullivan, did a very clean, colorful job with her cow!
20120225_Salad_Ingredients_028-Edit-2
Salad Ingredients
This week’s Project 52 assignment was to shoot the ingredients for a salad on a white background, and they would need a little white space at the foreground for some type (words). The photo above is what I submitted for this assignment, and this post is the story of how that photo was created.
Since I will be shooting family portraits for Diane V. and her sisters next Saturday, I wanted to get this “salad shooter” assignment out of the way this weekend. So yesterday, Barb and I headed over to the HEB to get our groceries, and also anything that looked like it might be interesting to include in the photo. It was important to remember that this wasn’t going to be a photograph of a salad, but rather a photo of the ingredients that were to be going to be used in a salad. We were looking for anything that had lots of color!
After we got home, I started setting up my lights. Following Don Giannatti’s recommendations, I put my largest softbox on a C-Stand with a mini-boom and positioned it directly over the island in our kitchen.
We then spent the next half hour or so just washing and trimming the vegetables that we thought would make interesting items in the photo. We then got out one of Barb’s white tablecloths and thought about how we could use it for the white background requirement portion of the assignment. Our solution was to prop up a large piece of poster board right next to the gas cooktop and then drape the tablecloth over that poster board and the counter top. We then placed a large white cutting board onto the tablecloth.
With that in place, Barb started to arrange some of the vegetables onto the cutting board while I started setting up my other two strobe lights. We quickly decided that we didn’t know how to position the veggies, as we didn’t know how the picture would be “framed” by the camera…. So I went and got out my camera and tripod. I put on the 50mm f/1.4 lens, even though I knew that I would be using a much smaller aperture (larger f-stop number) to get as much depth of field as I could (front to back in focus).
A requirement was that they final image was to be 8.0 wide by 10.5 high aspect ratio, so I positioned the camera in the “portrait” orientation. I also realized that some cropping of the photo that the camera took would be required to get from the 2 wide by 3 high aspect ratio that the camera captures to get to the 8.0 wide by 10.5 high aspect ratio. This meant that I would not be cropping anything from the sides of the photo, but rather I would leave extra space at the top and/or bottom to cut off later.
By knowing this, we arranged the vegetables to fill the entire frame from side to side, and left plenty of room at the top and the bottom – especially the bottom, as that’s where the client was going to want to add the text for the recipe. So Barb made a reasonable first attempt at veggie placement while I finished setting up the two other strobes in stripboxes.
With the large 30 inch by 50 inch softbox directly overhead, and the front of the softbox pointing straight down, it was about 24 to 26 inches above the surface of the countertop. To get the 30 inch long stripboxes to come in under the overhead softbox, I simply rotated them to the horizontal orientation. Next thing to do was to meter the light, adjust the power level of all the lights, and position the two stripboxes on the sides.
In the end, the stripboxes were slightly below camera height, and shining their lights in at 45 degree angles from the line of sight that the camera had. I set the shutter speed on the camera to 1/125 second, and the ISO to 100. I also manually set the White Balance to 5700 Kelvin, as I knew this would be close to the color of the light that the strobes produce, and I was going to adjust it to the final correct setting in post processing anyway. I set the aperture of the camera to f/18 to get a lot of depth of field, and set the light output power of the strobe in the overhead softbox to the level that would result in a proper exposure at f/18. From there it took 10 or so trials with power levels and resulting meter readings to get to the final setting. With all 3 lights firing I now had too much light for an f/18 aperture, so I stopped it down to f/20.
The power of the stripbox on the right ended up being 1/2 the power level down (-1 f-stop) from the overhead softbox, and the stripbox on the left was 1/4 the power level down (-2 f-stop) from the overhead softbox. I did not want the lights all at the same power level, as this would result in a photo with no shadows. (The distance of all the lights to the subject was almost identical.) I did not want “no shadows”, just some “soft shadows”.
OK, so we were pretty excited how things were looking on the LCD on the back of the camera, but experience has taught me to zoom in to 10x magnification and check out the details. Everything seemed to be pretty good, but the top of that iceberg lettuce was sort of blending into the background. Easy enough, we’ll just rotate it to get more of the green portion on top.
Well, that didn’t look very good…. so we fiddled around with that for a while and decided it simply needed to be replaced with something different. While I grabbed a bunch of the green leafy lettuce that we had already cleaned, Barb noticed our wooden pepper grinder, and said, “Hey, that’s a salad ingredient“. I thought it was a brilliant idea! So we spent another few minutes arranging our new items, and then made this photo.
Looking good! Zoomed in to check on the finer details, and noticed the radishes now had a white “dust” on them. Hey, so did the carrots! It had been quite a while since we had washed the vegetables, and now they were drying out and looking rather crusty. Think. Think fast….
Hey, this is just a picture, so why don’t we oil them down! OK, so I took the radishes and the carrots over to the kitchen sink and rubbed olive oil all over them. I also cut the ends off of the radishes to reveal more of the “white dots”. I then used paper towels to wipe off the excess olive oil, and finally tried to reposition the radishes and the carrots back in their places.
That looked pretty good, but upon zooming in to examine the details, I didn’t like how one of the carrots was now blocking the stem on the yellow bell pepper. Easy enough, just move it over a bit.
OK, so that shot turned out to be the “hero shot”. It was taken with the aperture at f/20, but I wasn’t sure that there might be some highlight clipping, so I also took another shot with a smaller aperture of f/22 (not shown).
Before heading upstairs with my memory card, I wanted to take 2 more photos that would help me with the post processing on the computer. I always try to get a shot with a gray card in it. This isn’t a traditional 18% gray card used for setting proper exposure, but rather this gray card is certified to be free of any color cast (Red, Green, and Blue are all equal value).
Once on the computer, using RAW processing software, such as Adobe Camera Raw or Lightroom, you can select all of the photos taken under the same lighting conditions, make this photo the “most selected”, and then using the White Balance Tool, click once in the center of the gray card in the photo, and voila!, all of the photos are set to the correct White Balance setting. You might remember that earlier I had set that to 5700 Kelvin in my camera, which turned out to be very close, but just about 100 too high. (Now I don’t know why Adobe and Canon can’t agree on their number systems. When I set my Canon camera to 5700 and then use Lightroom to open the RAW file, it’s “As Shot” setting is about 500 Kelvin down – at 5200.)
When I really want to make sure that all of the colors of the photo captured by the camera are as accurate as possible, I also take a photo of the X-Rite ColorChecker Passport under the exact same lighting conditions.
I don’t want to really get into the details of how this thing works, as it would double the length of this already-too-long post. I will just say that the ColorChecker Passport comes with some software that can examine the photo with the color swatches in it, compares the color values that the camera records to the actual known values, and then creates a “profile” that can be used by either Camera Raw or Lightroom to “calibrate” your camera colors.
So I got the series of photos processed on my computer using Lightroom 3.6, and everything was looking fine, until I noticed the pattern in the tablecloth seemed to be very visible on my 24 inch monitor. This was going to have to be taken over to Photoshop for more work. Using the Quick Selection Tool, I selected the white background in the top half of the photo, decreased the size of the selection by 20 pixels, feathered it by 10 pixels, and copied that selection up to a new layer. There I simply used the Gaussian Blur filter with the setting at 28 pixels wide.
That was enough to “blur out” the pattern in the table cloth, which you can see if you look closely above and below my hand in the previous two photos. I also had to blur out two of the stripes in the fabric below the tomatoes.
Lastly, I thought that the white background at the top left wasn’t quite white; it definitely looked gray when compared side-by-side to true white on my monitor. So I used a simple Curves Adjustment Layer, and using its Targeted Adjustment Tool, clicked in the area that I wanted to brighten up, and dragged the mouse straight up for just “a little bit”. Every Adjustment Layer comes automatically with a Mask, where you can be very precise in which areas of the photo that you want the adjustment to effect, and which areas it will not. I masked off the vegetables and the bottom of the photo, as I did not want them to get any brighter. Here’s the result of all of the Photoshop work
Only two things left to do.
First, to meet the requirement for the assignment, the photo had to be cropped to 8.0 wide by 10.5 high, and right now it was still 2 wide by 3 high. Simple enough; I handed the Photoshop file back over to Lightroom, made a Virtual Copy of it, and then took that Virtual Copy into the Develop Module where I just typed in the Custom Crop aspect ratio. (I find that MUCH easier than cropping to a specific size in Photoshop. Besides, doing it to a Virtual Copy preserves all the pixels in the original file.)
The final version that I submitted for the Project 52 assignment is at the beginning of this post.
Oh, I almost forgot…. the second thing to do was to put away all of my gear, and sit down to a WONDERFUL salad that Barb had made while I was working on the photos. Any guesses on what was in that salad?
20120219_Barb_Mack_Cell_Phone-01
Cell Phone Portrait
Last week’s Project 52 assignment was to pretend that a local cell phone distributor and online data service (think AT&T or Verizon) had contracted with me to shoot a point-of-purchase poster sized image that people would see in their stores and kiosks.
The “art director” had scribbled some concept of how he/she wanted the phone and the model to be positioned in the frame of the photo. (Check out the sketch by clicking on the Project 52 link above.) The photo was to be tall and skinny (3-wide by 7-high), and there was to be some room down the left side for the addition of text on the final poster.
A major part of the exercise was to also to submit a realistic estimate for the job. I’ll not go into that in this post.
Last Friday I received my order of three Einstein studio flash strobes from Paul C. Buff in Nashville,TN.
I also purchased the Cyber Commander radio control units, and several light modifiers to go with these flash units. I had spent all of Friday evening, almost the entire day on Saturday unpacking, inspecting, and putting together everything to make sure it was all in good working order. Sunday morning and early afternoon I spent trying to figure out the Cyber Commander radio control for the Einstein lights.
I was tired of all of this unpacking, organizing, and studying, so I told Barb that I was going to go our for my 3 mile walk, and when I got back, we’d try to take the photos for the Project 52 assignment I talked about above.
When I got back, it was about 3:30 PM, and I was hoping that we would be done by 5:00 – but I also was going to be using a whole bunch of equipment that was new to me. I told Barb that I was really going to need her to be ultra patient with me for this shoot.
First thing to do was move the couch and coffee tables out of the way, and swing my Lazy Boy around so that I could position it where the fireplace would be visible behind the edge of the chair. Even though it was sunny and 60 degrees outside, I lit the fireplace and turned it up pretty high, just to make the flames visible. That was the easy stuff…
Brought down my trusty Gitzo tripod, got out my favorite portrait lens; the Canon 85mm f/1.8. I definitely wanted the fireplace and mantle to be very blurry in the background, and the only way to do that is with a wide open aperture (low f-stop number). I put the camera in Manual mode of operation, set the ISO to 100, the shutter to 125th of a second, and since I wanted a shallow depth of field (that’s why the background would be blurry) to a fairly wide open f/2.2. (The lens is capable of f/1.8, but lenses are not their sharpest at either extremes of their f-stop range.)
For the lighting, I used all three Einstein flash units. I put one inside a 47 inch octabox on a light stand about 3 feet to the camera left side of the chair. I also put a grid on the front of the octabox, as I wanted to keep the light coming out of it going straight out, and not also lighting up the fireplace and mantle behind Barb. To the camera right side of the chair, I put an Einstein inside a 32 inch by 40 inch softbox, and positioned it so that the front of it was about 4 feet from Barb’s face. Lastly, I put the third flash unit on a short light stand, put a 7 inch reflector on the front of the light (one that you could also add colored gels to), and aimed it at the wall between the fireplace and the mantle (thus called a background light).
Using the Cyber Commander, I set the power level of the flash unit in the 32 inch by 40 inch softbox about ½ the power (1 f-stop) below the level of the flash in the octabox on the left. I also set the power of the background light to about ¼ the power (2 f-stops) below the flash in the octabox. I was going to have to take a few test shots, using my Sekonic L-358 flash meter to make sure that the lights were putting out the amount of light that I had set my camera to get a correct exposure with.
After about 4 iterative test shots, I pretty much had the photo that you see above. It was OK, but not terribly exciting. It should meet the requirements of the Project 52 assignment – but not until it was cropped to a 3-wide by 7-high aspect ratio. Now my camera, a Canon 5D Mark II has a light sensor that is a 6-wide by 4-high aspect ratio. I could get it close by simply rotating the camera 90 degrees from the landscape orientation to the portrait orientation. That’s easy enough for me, as I keep an L-plate permanently attached to this camera. That allows me to reposition the camera without changing any of the angles of the ball head on the top of the tripod. Even so, some cropping must occur in post processing (I use Adobe Photoshop Lightroom). Here’s what the same photo looks like with a 3-wide by 7-high aspect ratio.
Of course, you can’t see a 3-wide by 7-high aspect ratio photo while looking through a 4-wide by 6-high viewfinder on the camera. You can kind of guesstimate how much of the photo will have to be cut off (cropped) to get there, but you don’t really know until you do it on the computer. I didn’t do that until the shooting was all over, and then when I saw the result, I was pretty disappointed that the fireplace had to be pretty much lopped off and wasn’t even part of the photo anymore… I could have set that chair up anywhere!
I had to submit at least 3 photos for the Project 52 assignment, so I had to get imaginative. I didn’t want to re-position Barb or the chair very much, as the sketch I had received from the “art director” although crude, was pretty clear about how they wanted the model and the phone to be positioned within the frame of the picture (also known as “composition”). I’m not sure how creative this will be perceived by Don Giannatti (the pro who operates Project 52), but my solution was to try a few colored gels over the reflector on the background light.
I thought that if I used an orange gel, it would give a nice warm appearance, just like the flames from the fireplace. Here’s how that cam out:
Not too bad, but let’s see how taking it a little but further would look. Here’s the effect I got by using the Magenta gel on the background light:
Here’s what you get with a Rose colored gel:
OK, so that one probably went too far, but it does kind of match Barb’s cell phone, her painted finger nails, and her red lipstick, so I will submit that one as one of the group.
Since I already thought this was as far into the “red spectrum” that I wanted to go, I decided to reverse direction somewhat and head into the “blue spectrum”. I also slightly repositioned the tripod and camera a little, so as to see a little more of the fireplace. Here’s how the background appeared with a Light Blue gel:
Not as bad as I had anticipated, but it definitely gave the photo a “cooler” feel. So I went further towards a stronger Blue gel, and here’s what I got:
Not bad, either! Kind of gives me a Red, White, and Blue sort of photo. Even better, having repositioned the tripod and the camera slightly, I could now see more of the fireplace after the photo was cropped to the 3-wide by 7-high aspect ratio.
In conclusion, I hope that my attempts to make the various photos “different” by simply changing the colored gels on the background light meets Don Giannatti’s approval. We’ll find out next Wednesday evening!
Lake Travis in a Historic Central Texas Drought
Last week’s Project 52 assignment was to pretend that a major online magazine wants you to shoot the photos for a lead story on the impact of weather in your area. The historic drought in central Texas immediately came to my mind, and specifically how it has affected LakeTravis. We have been hearing on the local TV weather that Lake Travis was down more than 50 feet (15m), but we have not been out there to see it ourselves. Seemed like a great way to make my Project 52 assignment!
So last Saturday, Feb. 11, 2012 on a chilly 40 degree morning, Dad and I headed out to see LakeTravis. The sky was clear and a beautiful shade of blue! While on RR 620, just past Comanche Trail, but still about 2 miles east of Mansfield Dam, we pulled into the parking lot of St. Luke’s on the Lake Episcopal Church. This is normally a very scenic overlook of the beautiful waters of LakeTravis. Using my Canon 5D Mark II camera, I put a circular polarizer filter on the 70-200mm lens, mounted it all on my sturdy Gitzo tripod, zoomed the lens to 140mm and took the photo of the lake you see above.
(Note: you can see a larger version of each photo by simply clicking on the photo – just be sure to press the “Back” button on your web browser to return to my story.)
In a normal year, nothing that appears “sandy brown” would be visible – it would be under water. Land being visible in the middle of this lake is such an uncommon occurrence that when it does ”come to the surface”, the exposed land is referred to as “The Sometimes Islands”. Right now they are peninsulas that have lots of vegetation growing on them. The small clump of trees on the far right are on Windy Point.
We moved on to Mansfield Dam Park. With all of the stark, barren exposed rock, the bright blue sky, and surrounded by water, I knew that the circular polarizer was really going to help by reducing glare. I changed my lens to the 24-105mm (with the circular polarizer), and we got out of the CR-V to walk around. It was very windy, and with the temperature still very close to 40 degrees F, we were quite cold.
This is looking east towards The Sometimes Islands, and yes, that is the Oasis restaurant on the cliff just to the left of the tree.
The boat ramp was closed. This was the last of all the boat ramps into Lake Travis to close, and currently there are not any boat ramps open to get a boat into our out of Lake Travis. In the photo above, it doesn’t appear to be such a great distance down to the water, but the next photo changes that perspective.
It wasn’t windy on this north shore, so I decided to spend more time investigating this area.
From here, it still appeared to me that there was no reason to close the boat ramp. What would stop anyone from simply removing the orange pylons and backing their boat into the lake for a care-free afternoon of cruising around the lake? Well, maybe this would prevent that:
But even if that didn’t stop them, this certainly would.
We decided to move on and head out and see how things appeared over by the popular lake-side restaurant named Carlos ‘n Charlie’s. We turned right onto Hudson Bend Road, and then a left onto Highline Road.
If your boat is already in the water, and docked at a marina, you are OK, as long as the marina is floating and can be moved further from the shore as the lake levels drop. That appeared to be case at Emerald Point Marina, which pretty much surrounds Carlos ‘n Charlie’s.
Of course this doesn’t look anything like the photo that you see on Emerald Point Marina’s web site, but then I exaggerated the appearance of the distance by using a wide-angle view by zooming my lens in to only 24mm. But even so, it really is quite a way out from where it would be in a normal year.
We then decided to head back over across Highline Road to see what it looked like on the other side of Carlos ‘n Charlie’s restaurant.
If you’ve ever been there when the lake is up at its normal level, you know that the water line isn’t very far below the tops of the cylindrical concrete supports – and you can see the stains on them showing just how high the water should be! This was looking towards the northeast, and by turning to my left, and looking towards the northwest, you could get a sense of the fabulous view that the current customers were experiencing.
Although this photo doesn’t show it as well as I had hoped, the water level is at least 20 feet below the ledge. The ledge is higher than anything on the few boats remaining in this shallow part of the marina.
I thought it was would make an interesting photo to zoom my lens out to 105mm and get as much of a close-up as I could of the beached floating boat dock that was in the previous photo.
It was getting close to 1 o’clock. We were getting hungry, and the Longhorns were about to play Kansas State in basketball, so we packed up our photography equipment into the CR-V and headed home. We didn’t have much conversation on the way home. I’m sure it was because were were somewhat in a state of shock over what we had just seen. The only hard thing left for me to do was to choose which 3 photos to submit for my Project 52 assignment.
20120212_Chocolate_011-2
Happy Valentine’s Day – Chocolate Lovers
I’m not sure where the connection between Valentine’s Day and chocolate comes from… Does it really matter? Just be sure to enjoy some today!
I took this photo on my kitchen table, using natural light. I placed a large diffuser just out of the frame to the right of the plate. I then positioned a large white bounce card to the left of the plate. To capture the largest depth-of-field (front to back in focus) I set the 100mm macro lens to the smallest aperture it was capable of (highest f-stop number): f/32. With the camera’s ISO setting of 100, my handheld light meter told me that the proper exposure would be obtained with the shutter set to be open for 8 seconds.
entrepreneur-portrait environment
Editorial Portrait of an Entrepreneur
A few weeks before last Christmas, I became aware of Project 52. This is a web site that makes “real world assignments” to those learning the aspects of commercial photography. Since this is an area of photography that I would really like to get into, I thought that I would have nothing to lose, and everything to gain by participating in this exercise.
From the Project 52 web site, Don Giannatti explains: “What does “real world assignments” mean? It means you will be given assignments that are similar in scope and diversity as any commercial photographer in a small town. It means authentic work that is exactly the kind you will get the day your shingle gets posted. We work hard to make assignments that both challenge the creative, and produce work that could end up in your portfolio.”
The 4th assignment for 2012 was to make an “Editorial Portrait of an Entrepreneur”. You can find the assignment description here: Project 52 2012 Assignment 4. As you can quickly determine, the assignment can be “faux”, or stated another way – “pretend”. Thus explains the photo at the beginning of this post.
Here is my lighting diagram that I used to create the photo above:
Hint: Click on any image to see a larger version.
The assignment required 2 photos: one showing the entrepreneur in their environment (see above), and one photo to be a close-up of the entrepreneur. For the close up shot, I simply took the camera off of the tripod and handheld it as I physically got closer to her, which you can see here:
If you would like to hear what Don had to say about my photos, you can go to the Assignment 4 web page, scroll down to where you see the “Audio Crit for Page One”, click on the Play button, and let the audio begin downloading. Once the download progress is about 50% complete, simply drag the leading edge of the white slider to the 31:15 mark.
Austin Over the Loop 360 Bridge
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2021-2023
2019-2023
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2018-2020
2016-2017
2016-2019
2015-2017
2015-2016
2013-2014
2012-2016
2009-2010
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2007-2011
TRES-CHIC-Est MSCA 101022318
Horizon 2020 in cooperation with the Vienna University of Technology (funded by EU)
Time-Resolved Electron Spectroscopy: a Challenging Highly Innovative Collective Excitation Study
GRANT FUNDERS: https://cordis.europa.eu/project/id/101022318
Role: Project lead Angewandte, artist, designer, teacher
PROJECTDESCRIPTION: Existence is not an individual matter - ...and Time is relative, but not irrelevant
Research Question: How can I convey the meaning of an attosecond (physics) in an interdisciplinary way in art lessons?
The goal of this project is to explore one's own art teaching or the teaching of others. Results from your own school practice (self taught lessons, master practice) at your own school will be discussed. Here we will deal exemplarily with practice-impact and teaching research, but especially here with the topic of time, physics and the attosecond, from which a mediation concept is to be developed and implemented. Students will analyze work results as well as pursue their own personal research interests on the given topic in connection with their school practice and write a seminar paper on this topic.
Artistic Research on Patterns of Perception and Action in the Context of an Aging Society University of Applied Arts Vienna
GRANT FUNDERS: FWF The Austrian Science Fund is Austria‘s central funding organization for basic research, AR 609 PEEK: Programme for Arts-based research: https://www.fwf.ac.at/en/research-funding/fwf-programmes/peek/
Role: Project lead, artist, designer
WKP 132 „Art 4 Science“
GRANT FUNDERS: funded by FWF
Projectlead: Eva Maria KÖNIG, St. Anna Kinderkrebsforschung e.V. – Tumor-Immunoediting (funded by FWF): The Austrian Science Fund.Science Communication Program.
https://www.art4science.at/
https://pf.fwf.ac.at/en/research-in-practice/project-finder/49095
Role: artist, designer
Design & Dis-ability (Co-ability)
LINKS: https://www.researchgate.net/publication/342151059_co-Ability_catalog_A
Time: 2018, 2019-2020
GRANT FUNDERS: Austrian-Hungarian Foundation for Knowledge Sharing and Education
Project Partners: University of Applied Arts Vienna (Angewandte), Laszlo Moholy Nagy University, Design Insitute, Budapest, Hungary. Csillaghaz School
Objective of this project is research & education within the Knowledge Sharing Exchange Program on Co-ability/Designcultures and Disability studies, based on the theory of Rosi Braidotty and Posthuman Critical Theory. Aim of the project ist to co-design concepts, prozess and objects with and for people with multiple impairments.
INTERREG: Design & Innovation
https://www.ots.at/presseaussendung/OTS_20190109_OTS0043/kick-off-design-innovation-mak-future-lab-laedt-zur-diskussionsveranstaltung-bild
https://www.mak.at/_human_by_machine_2019-07-16
https://www.mak.at/_human_by_machine_2019-07-23
https://mak.at/programm/ausstellungen/in_machine_we_trust
https://www.mak.at/programm/ausstellungen/in_machine_we_trust
https://www.ots.at/presseaussendung/OTS_20190109_OTS0043/kick-off-design-innovation-mak-future-lablaedt-zur-diskussionsveranstaltung-bild
https://www.mak.at/programm/veranstaltungen/vortraege__diskussion/vortraegediskussion?article_id=1561818640483
https://archiv.angewandtefestival.at/2020/projekt/digitale-kunst-im-physischen-raum/
https://base.uni-ak.ac.at/showroom/dWiqrGoehtYinoyTPw7pAR/
http://socialdesign.ac.at/design-innovation
https://base.uni-ak.ac.at/courses/2018W/S00964/
https://kultur-online.net/inhalt/human-design-untersuchung-sozialer-und-methodologischer-innovationen-im-design
https://www.galleriesnow.net/shows/human-by-design/
Time: 2018-2020
GRANT FUNDERS: EU, https://www.interregeurope.eu/
Project Partners: University of Applied Arts Vienna (Angewandte), MAK (Museum of Applied Arts Vienna), SCD (Slovakian Design Center, VŠVU (Academy of Fine Arts and Design, Bratislava/ Institute for Design, Textil and visual Communication)
Objective of this project“Design & Innovation“ is to follow the research question ? How can digital revolution of our times be used for human beings as best as possible and how can we cope with predictable misdevelopments ? in close and interdisciplinary collaboration with the Academy of Fine Arts and Design, Bratislava/ Institute for Design, Textil and visual Communication. The results will be presented at either Vienna Biennale 2018 or Bratislava Biennale 2019.
Role: Partner of Lead Austria Museum of Applied Arts Vienna,
Role: Project lead Angewandte, curator, teacher
GRANT FUNDERS: Vienna Business Agency: https://viennabusinessagency.at/
TIME: 1.3.2016 - 28.2.2017
LINKS: https://www.fluxguide.com/en/portfolio/personal-curator/
Project Partners: University of Applied Arts Vienna, Fluxguide Project Lead: Fluxguide
This project fokusses on wearable technologies for innovative museum education by developping the „personal.curator“, an app with diverse technological interactions. The research group aims to design a context-sensitive education tool. Museum visitors do not have to use just Audioguides or a Smartphone App but receive at the right moment at the museum space informations to relevant exhibits in their immediate vicinity. By simple touch of wearable mobile devices (f.e. Apple Watch) they are guided by a personal curator. The contents and strategy of the guide will be co-developped with the research team oft he University of Applied Arts Vienna and by stakeholders: Albertina, MUMOK, Vienna Museum of Natural History, Leopold Museum, Vienna Museum, Google Austria.
D.A.S. Dementia. Arts. Society.
“Artistic Research on Patterns of Perception and Action in the Context of an Aging Society”
GRANT FUNDERS: FWF The Austrian Science Fund is Austria‘s central funding organization for basic research, AR 609 PEEK: Programme for Arts-based research: https://www.fwf.ac.at/en/research-funding/fwf-programmes/peek/
TIME: 01.03.2016 - 28.03.2019
Project Partners: University of Applied Arts Vienna
Project Lead: University of Applied Arts Vienna (Ruth Mateus-Berr)
The project DEMEDARTS Dementia.Empathy.Education.Arts. builds upon PEEK 00366 Dementia. Arts. Society and is about integrating the potentials of arts-based research into the challenges which dementia brings to society. Around the world, there will be one new case of dementia every 3 seconds. 152 million people worldwide living with dementia in 2050, by then 2 billion people will be over 60 years of age. There are negative attitudes towards elderly people and ageism is extremely common. DEMEDARTS will be the first arts-based schooling strategy for empathy for people with dementia. Objective of DEMEDARTS is to develop artistic strategies to strengthen empathic abilities with arts-based methods and interdisciplinary collaboration between people with and without dementia, caregivers, artists, designers, musicians, teachers, multimedial art therapists & students. How can art and design strategies help secondary school students develop a better sense of empathy towards people with dementia?
What questions and reflections arise by students of secondary schools, (trainee) art and music teachers on the topic of dementia and how can these be elaborated by arts-based means? DEMEDARTS uses art-based research (ABR): drawing, designing, moving, dancing, writing, music as narrative story telling, embodied learning, phenomenon-based approach, multimedial art therapy. It is about co-developing artistic workshops for education & interpreting with various arts. Expert symposia & interviews guarantee evaluation.
LINKhttps://www.demedarts.com
Role: Project lead, artist, designer
Playful interfaces for Music Audience Participation
(Breaking the Wall)
PEEK FWF, University of Applied Arts Vienna & University of Technology Vienna & University of Music (Austrian Science Fonds, Programme for Arts-based Research: https:// www.fwf.ac.at/en/research-funding/fwfprogrammes/peek/) http://www.piglab.org/ breakingthewall AR 322
GRANT FUNDERS: FWF Programm for Arts-based Research: https://www.fwf.ac.at/en/ researchfunding/fwf-programmes/peek/; http://pf.fwf.ac.at/de/wissenschaft-konkret/ project-finder/36537
TIME: 2015-2017
LINKS: http://www.piglab.org/breakingthewall/
Project Partners: University of Applied Arts Vienna, University of Technology, University of Music and Performing Arts
Project Lead: University of Technology
Breaking the Wall - Playful interfaces for audience participation and artistic expression in musical live performances Audience participation allows the audience to influence and shape musical live performances together with the performing artists. The field has a rich history of custom-built instruments and devices, and ways to facilitate collaborative performances. The artistic potential of audience participation, both for musicians as well as their audiences is very high. Recent advancements in sensor and interface technology have further increased this potential. While research on audience participation shows both practical as well as theoretical perspectives, a structured creative and evaluated approach to fully explore the artistic potential is missing so far. Thus this project addresses the central research question “Which new ways of artistic expression emerge in a popular form of music performance when using playful interfaces for audience participation to facilitate interactivity among everybody involved?” To answer this important question, and to shed light on the artists’ creative practice, we develop,document and evaluate a series of interfaces and musical performances together with popular music artists, among them Austrian DJ and media artist Electric Indigo. The focus will be on providing playful game-like interaction, facilitating collaborative improvisation and giving clear feedback as well as traceable results. The interfaces will be deployed in three popular music live performances at one event. The artistic processes and the performances will be evaluated using mixed methods, including a focus group and surveys as well as quantitative data logging and video analysis to identify parameters of acceptance, new ways of artistic expression and musical experience. The evaluation will allow us to present structured guidelines for designing and applying systems for audience participation.The FWF PEEK funded project is a collaboration between the Vienna University of Technology, the University of Apllied Arts Vienna and the University of Music and Performing Arts.
The team is comprised of artists and researchers that cover diverse areas such as media arts, computer science, Human-Computer-Interaction, game design, musicology, ethnomusicology, technology and interface design. The results of the project will be situated at the interdisciplinary intersection of art, music and technology. We will present structured and evaluated insights into the unique relation between performers and audience, leading to tested and documented new artistic ways of musical expression that future performances can build on. We will further deliver a tool-set with new interfaces and collaborative digital instruments. The results of the project will be highly relevant to musical practice, and contribute to theory from the areas of media arts and musicology. The project greatly increases the visibility of experimental music performances and audience participation through a large public performance, detailed online documentation, media coverage, and a public symposium at the Ars Electronica Center.
Sparkling Games Sparkling Science (bmwfw)
GRANT FUNDERS: bmwfw: Ministry of Science and Economy: https://www.sparklingscience.at/en
TIME: 2015-2016
LINKS: http://www.piglab.org/sparkling-games/
Project Partners: The project is hosted at the Institute of Design and Assessment of Technology (Vienna University of Technology) Department of Communication (University of Vienna) and the Viennese schools Schulschiff Bertha von Suttner, HTBLVA Spengergasse and BFI Margareten.
Project Lead: University of Technology
Designing Educational Games about the Relation of Informatics and Society Together with secondary school students we will investigate how concepts from the field of game-based learning can be used to develop learning methods and materials to the topic informatics and society. Starting with a detailed analysis of existing learning and mainstream commercial games students will iteratively conceptualise and develop games and game-like materials to support teaching about topics including copyright and intellectual property, privacy, surveillance, social media, and big data. The project will lead to a transfer of academic competencies to students, who will gain expertise in the areas of game design and serious games as well as in social science research methods to assess and reflect their creations. Key results of the project include a commented collection of existing games supporting learning about topics form the area of informatics and society, new games and game concepts developed by students, and bottom-up insights into how game-based learning can be used in schools. Sparkling Games strives to expand the potential of games as media for learning, reflection and for teaching media literacy. We further hypothesise that the process of creating learning games itself constitutes a highly valuable learning experience.
Art Lector
GRANT FUNDERS: ZIT: Technology Agency of the City of Vienna, Vienna Business Agency: https://viennabusinessagency.at/
TIME: 2013-2014
Award: 3.Prize Call IKT Vienna 2013
LINKS:https://www.fluxguide.com/en/portfolio/art-lector/
Art Lector is a transmedia art technical solution for specific arts and cultural education work for schools and young people in the museum, a combination of interactive multimedia-guiding & a material and exchange platform for teachers and their schools. As a communication technology and mediation scientific innovation Art Lector should show that the use of new technologies and media in the arts and cultural education in no way competes with the current mediation work , but can be seen as a supplement and path to a new technologically-supported mediation offer. The University of Applied Arts Vienna ( Department of Didactics of the Institute of Art Studies, Art Education and Communication ) research needs of the target groups and develop participatory with them and Fluxguide solutions.
Project Partners: University of Applied Arts Vienna, Fluxguide
Project Lead: Fluxguide
INTegrating Entertainment and Reaction Assessment into
Child Cancer Therapy & University of Vienna, St. Anna Children Cancer Research Center Institute, T-Systems
GRANT FUNDERS: FFG: The Austrian Research Promotion Agency: https://www.ffg.at/en
TIME: 2012-2016
Project Partners: University of Applied Arts Vienna, University of Vienna (Games4Resilence Lab- Psychology; Faculty of Computer Science, Entertainment Computing) St. Anna Childrens
Cancer Research Center, T-Systems Austria, Austrian Schools (Schulschiff Bertha von Suttner)
Project Lead: University of Vienna
https://interacct.cs.univie.ac.at
https://www.t-systems.com/at/de/branchen/gesundheitswesen/interacct
https://publik.tuwien.ac.at/files/PubDat_212857.pdf
https://pubmed.ncbi.nlm.nih.gov/32602847/
https://ieeexplore.ieee.org/document/7454528
https://www.researchgate.net/publication/301912769_INTERACCT_Remote_data_entry_system_with_game-elements_for_young_leukaemia_patients/figures?lo=1
https://futurezone.at/digital-life/interacct-app-soll-kranken-kindern-helfen/115.182.650
https://www.ffg.at/sites/default/files/allgemeine_downloads/basisprogramme/programmdokumente/interacct_layout.pdf
https://link.springer.com/chapter/10.1007/978-3-319-19126-3_2
https://ep.liu.se/ecp/073/037/ecp12073037.pdf
https://eudl.eu/doi/10.1007/978-3-319-49655-9_21
https://mhealth.jmir.org/2020/6/e18781/citations
https://www.ccc.ac.at/news/singleview/preis-fuer-kommunikation-in-der-onkologie-an-cancer-school-vienna-sowie-projekt-migrate-your-mind-der-meduni-wien/63b062eaf4135af81ef3d528b1f113a4/?tx_ttnews%5Bpointer%5D=27
https://www.netidee.at/interpreting-game-scores-and-data-serious-games-health-using-decision-support-systems-1
https://www.ots.at/presseaussendung/OTS_20170301_OTS0042/st-anna-kinderkrebsforschung-eaward-bundessieger-2017-anhaenge
https://europepmc.org/article/pmc/7367529
https://www.beyondpixels.de/interacct-serious-game-fuer-schwer-kranke-kinder/
https://www.diepresse.com/4871599/ein-spiel-fuer-arzt-und-kind
https://books.google.at/books?id=Aa-4CQAAQBAJ&pg=PA16&lpg=PA16&dq=interacct&source=bl&ots=-j4U4uTrYG&sig=ACfU3U2ry7FcW5WfYY3hM2q5a0pTIN66PQ&hl=en&sa=X&ved=2ahUKEwjevtmHhOX9AhURtaQKHZwGDPY4RhDoAXoECAMQAw#v=onepage&q=interacct&f=false
https://books.google.at/books?id=CzqgDQAAQBAJ&pg=PA157&lpg=PA157&dq=interacct&source=bl&ots=Fbux_NjRCy&sig=ACfU3U2LWTQS7NOChm0ohy2UkjVPbRaT4A&hl=en&sa=X&ved=2ahUKEwjevtmHhOX9AhURtaQKHZwGDPY4RhDoAXoECBsQAw#v=onepage&q=interacct&f=false
https://www.auslandsschulnetz.de/wp-content/uploads/archiv/aktuelles/bmukk_folder_final_3.12.13_1288.pdf
https://books.google.at/books?id=SDgxCgAAQBAJ&pg=PA893&lpg=PA893&dq=interacct&source=bl&ots=978psoQ2ij&sig=ACfU3U1sdbnAjmhmaPeO87BzPaMr67Z3IQ&hl=en&sa=X&ved=2ahUKEwjevtmHhOX9AhURtaQKHZwGDPY4RhDoAXoECBwQAw#v=onepage&q=interacct&f=false
https://scholar.google.at/citations?user=Fyzp8wgAAAAJ&hl=en
https://www.bg8.at/inhalt/tröstgeschichten-3c
https://www.schulschiff.eu/archiv/17-highlights-aus-der-schulgemeinschaft/165-foerderpreis-occursus-fuer-das-projekt-interacct
Hematopoietic stem cell transplantation (HSCT) treats serious malignant and non-malignant diseases (e.g. leukemia or sickle cell anaemia) by destroying the patient’s ill immune system and replacing it with new, healthy stem cells. It is a life saving procedure for children and adults with cancer or blood diseases. However, the procedure itself is still associated with considerable morbidity and high risk for mortality (approximately 40%) due to infection, toxicity and immunologic complications. Over the past years, progress in HSCT has significantly improved survival, but mortality has been shifted into the long-term follow-up. In this context, high quality aftercare is an essential part of the therapy, and in particular prompt information is warranted to enhance early diagnosis and to deliver appropriate treatment. The project INTERACCT investigates the design and development of an E-Health platform specially focusing on juvenile HSCT patients in aftercare. INTERACCT is mainly meant to improve the communication between patients and clinicians in order to detect possibly life-threatening complications as soon as possible. In this context, compliance of patients to follow the treatments as well providing their health status to the clinicians is one of the main factors for survival. INTERACCT specially focuses on supporting compliance by making the design as child friendly as possible. This includes a fun and entertaining user interface, as well as the provision of specific computer games inside an online world. Although we focus on juvenile HSCT patients, we think that our approach can be generalized to any child related chronic disease. The entertaining and playful INTERACCT Web platform is developed in a multidisciplinary approach at the interface of clinical research, design thinking and information communication technology (ICT). Augmented clinician-patient communication may enable the clinician to early identify behavioral changes which precede manifest symptoms of diseases. Furthermore the tool will be adaptive to developing problems e.g. enhanced “drinking games” if fluid intake is decreasing. An entertaining user interface specially designed for juvenile patients should foster interaction with the tool and improve long term treatment adherence. In the long run, the use of INTERACCT could lead to earlier diagnosis and, thus, to a better quality of care after HSCT. INTERACCT therefore should have the look and feel of modern entertainment platforms, including various elements of entertainment, challenges, games and social aspects, etc. Seen from the children’s perspective, INTERACCT delivers mainly entertainment, and is a source of challenges, competitions, empowerment and fun. The E-Health aspects of fostering compliance, communication, and treatment should be visible, but not dominating. INTERACCT does not require any newly created hardware devices. Unlike other E-Health projects, we do not aim at using special health sensor hardware that automatically detects and sends health data. Data collection will only include information as requested in the patient handbook like eating and drinking behavior, bowel movement, observation of pain etc.). Any clinical examination will only take place in the hospital during the regular mandatory visits. Therefore, INTERACCT is a pure software solution, but will integrate state-of-the-art low-cost and off-the-shelf consumer equipment like web cams, smart phones or a Kinect sensor to increase the fun factor for children and adolescents. Also, we do aim at using the Kinect or even Android based smartphones as input sensors for health data. The Kinect for instance can be used to guide treatment games fostering movement. Also, we aim at analyzing player performance data to help clinicians in detecting worsening of a patient´s condition.
PlayDecide for blind and elderly people (Science & Art)
GRANT FUNDERS: EU microFUND “brain doping”
TIME: 2011
How can we offer DECIDE for elderly people who are blind or can hardly see? This was a challenge we took on when word-of-mouth about our microFUND “brain doping” DECIDE series prompted the Austrian Association for Blind People to invite us for this very specialtarget group.
Ruth Mateus-Berr developed the Workshop for the blind and elderly people with haptic elements and conducted this workshop part.
Project Partners: University of Applied Arts Vienna (AT), Science Center Netzwerk (AT)
Project Lead: Science Center Netzwerk (AT)
Communication Lab & Science Center Netzwerk
(WWTF: The Vienna Science and Technology Fund WWTF. http://www.wwtf.at/) SSH08-F02
Fellowship: Communication lab for developing network-based spaces for science center activities in Vienna, Art(s)&Sciences Call 2008, Science Center Netzwerk
Barbara Wenk, http://www.science-center-net.at/
LINKhttps://www.wwtf.at/funding/programmes/past/ssh/SSH08-F02/
This fellowship will be based around an experimental communication laboratory that will be jointly designed by the applicants and partners, including the University of Applied Arts. These spaces will be used to test how interactive science center activities interact with elements from science, art, culture, and society, and how these practices can subsequently be used for similar open and participatory discussion processes - such as those pushed by the Science Center Network.Barbara Wenk will come to Vienna as a Fellow for a total of 6 months to help design and further develop this experimental communication laboratory and to provide scientific support.
Project Partners: University of Applied Arts Vienna (AT), Science Center Netzwerk (AT)
Project Lead: Science Center Netzwerk (AT)
Visuality & Mathematics:
Experiential Education of Mathematics through Visual Arts, Sciences and Playful Activities & Universities in Finnland, Hungary,
Serbia and Belgium
GRANT FUNDERS: TEMPUS European Union’s programme: EU-Tempus: http://eacea. ec.europa.eu/tempus/index_en.php)
TIME: 2012-2014
https://vismath.uni-eszterhazy.hu/
https://vismath.uni-eszterhazy.hu/student_book_v2.0-online/student_book.pdf
Educational Toolkit: https://vismath.uni-eszterhazy.hu/index.php?l=en&m=311
Attitude survey: https://vismath.uni-eszterhazy.hu/index.php?l=en&m=331
2nd. International Summerschool on Visual Mathematics: https://vismath.uni-eszterhazy.hu/index.php?l=en&m=233
Serbian students‘ attitudes towards mathematics and mathematical education : Tempus Attitude Survey (TAS) 2013—2014 report: https://jyx.jyu.fi/dspace/handle/123456789/44803
Adventures On Paper. Math-Art Activities for Experience-centered Education of Mathematics
Project Partners: University of Jyväskylä (FI), Belgrade Metropolitan University (RS), University of Novi Sad (RS), Serbian Academy of Sciences and Arts (RS), ICT College of Vocational Studies (RS), Sint-Lucas School of Architecture (BE), University of Applied Arts Vienna (AT), Eszterházy Károly College (HU)
Project Lead: Eszterházy Károly College (HU)
TEMPUS is the European Union’s programme which supports the modernisation of higher education in the EU‘s surrounding area. Tempus promotes institutional cooperation that involves the European Union and Partner Countries and focuses on the reform and modernisation of higher education systems in the Partner Countries of Eastern Europe, Central Asia, the Western Balkans and the Mediterranean region. Training a new generation to accomplish the prerequisites established by a knowledge-based competitive society and economy is a significant goal to reach. Our project aims to achieve this goal by supporting the development of technology and the pragmatic educational methods of the educational institutions and their teachers and tutors in Serbia. We also intend to raise students’ interest for mathematics and sciences and make these disciplines more appealing to the youth, invoking inter- and trans-disciplinary instruments. The ultimate purpose of this development project is to expand and modernize the tools‘ system used in the field of mathematics and other sciences. Above all the methodology of the Visual Mathematics project offers a great possibility for teachers to present mathematics creatively, and in an interesting, appealing way. The 24-months program and the comprised two Summer Schools and Experience Workshops are constructed in a way that the subsidiary materials and tools used for education purposes are involved from everyday life spiced up by artistic techniques which are very catchy for the youth. Thus this project uniquely combines mathematics with art, and other ordinary assets with the intention of attracting Serbian children to learn mathematics, and inspiring them to improve their achievement in sciences. Ruth Mateus-Berr researched the attitudes of Serbian children towards mathematics (2014), she organized and taught at the study visits an interdiscipinary team of students, she co-organized conferences and book editions and curated an exhibition in Belgrade (arts & mathematics).
Haptic and olfactory Design
for Viennas Creative Industries & University of Vienna, University of Natural Resources and Applied Life Sciences Vienna
GRANT FUNDERS: WWTF: The Vienna Science and Technology Fund WWTF. http://www.wwtf.at/) http://www.science-center-net.at/index.php?id=478
TIME: 2007-2011
Project Partners: University for Applied Arts, (Institute for fine arts, art pedagogy and mediation), University of Vienna, (Department of Clinical Pharmacy and Diagnostics) University of Natural Resources and Life Sciences, Vienna, (Institute of Botany) ZOOM Children's Museum
Project Lead: University of Vienna
https://www.wwtf.at/funding/programmes/past/ci/CI06-009/
https://homepage.univie.ac.at/~diaconm2/WWTFen.html
The project investigates which haptic qualities and smells – due to materials and activities in public
places – constitute Vienna’s specific identity, how they contribute to the local residents’ emotional wellbeing and attract tourists, finally which materials and strategies can be used by architects and designers in order to enhance Vienna’s flair and raise its quality of life for all age groups.
Fall studies are Vienna’s parks and gardens, its public transport, cafés, popular public spaces, vintage shops and playgrounds. How and where does Vienna smell most intensively? Which atmosphere do customers expect in a Viennese café and how do materials produce specific moods? How does it feel to sit in the public transport and how does a blind person perceive public places in Vienna? Did the city smellscape change in the last decades and can be the old smells “revived”? Finally, do Vienna based architects and designers have interest in cultivating these two senses? The project makes an inventory of the tactile qualities and smells in public spaces, analyses and measures their smell intensity and the emotional reaction to odours. The research will result in a city smell calendar and smell maps for selected city areas, including an experimental “fragrant garden”.
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Inktober 4 Dragon Dash by oneflymagpie
Inktober 4 Dragon Dash
4 October 2016 at 19:46:42 MDT
Day four of Inktober, still on the move! This time I wanted to do another kinetic kind of piece for a very rad dragon adopted from squeedgemonster squeedgemonster Her character's shaping up, but word on the street is she goes under the pseudonym Bobbie (you'll need to snag her driver's license for her real name!) and she is all about spitting hot takes and fire.
Definitely feeling like I am building up excellent momentum with these drawings, it has been a lot of fun and I've been pretty satisfied! Progress, piece by piece--trying new things all the time, pushing to keep on honing my own style and battling to keep a drive for better speed.
It's all quite the adventure and I'm pleased as punch to have you folks who have been following along and encouraging me on this path! Coming up in November will be one year since I started these drawing pursuits and I'm -so- excited for what the future yet holds! ^<^
Here's a link to an animated gif of the process: http://i.imgur.com/lcDvnER.gif
Submission Information
Visual / Digital
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