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Magic Hill Mercantile Casts A Midcentury Spell On Kingston’s Wall Street
| April 27, 2023
Sinatra’s “Girl From Ipanema” provides just the right soundtrack for viewing the carefully curated Midcentury Modern furniture found at Kingston’s Magic Hill Mercantile. That’s why co-founder Maor M. Shefer can’t help but sing along as he shows off the silky white fur on a reupholstered Russel Wright chair or the loveseat he rehabbed in contrasting sections of black and white Holly Hunt boucle.
“The whole vibe of the store is ’50s-’60s-’70s with lots of colors and brightness,” says Shefer, a jazz vocalist, home stager, and interior designer known to his friends as Myron. “I always liked Midcentury furniture. I like to change things. I like fabric. I like to experiment.”
Every two to three months, the store receives a container of vintage Swedish and Danish furniture, which gets a woodworking and upholstery makeover before winding up at one of the two Magic Hill stores. Shefer co-founded the first Magic Hill brick and mortar in Hudson in 2015 with his best friend and business partner Bruce Mishell, an interior designer and abstract expressionist painter.
“We were antiquing in Hudson, which we had done for years, and I said, ‘Isn’t it magical?” Shefer recalls. “‘It would be a great place to open a store.’” The first shop has successfully focused on sophisticated Mid-Century furnishings since opening eight years ago. But over time, it became obvious there were more mercantile opportunities to explore—if only they had more room. So, six months ago, the store owners opened a second location: Magic Hill Mercantile on Wall Street in Kingston.
Mishell, a prolific painter, initially limited reproductions of his paintings to prints and giclées, but Shefer convinced him there were more ways to marry art and the art of marketing, and thus a proprietary line of Magic Hill clothing, accessories, and home goods was born using Mishell’s art.
While visitors might come in initially for the vintage furniture, Shefer receives many compliments on the store’s happy profusion of colors. The glimmering discs of an orange chandelier center the retail space, while vividly colored paintings and prints, mostly by Mishell, fill the surrounding walls. “We decided that since I own my artwork that it would be beneficial to the store to use my artwork,” said Mishell. “Initially I wasn’t going to do it, but it’s worked out really well for both of us. He’s gone crazy with it as a creative director. Now we have our own brand.”
As a result, the Kingston location carries a wider variety of products than the Hudson store. There are accessories, clothing, homewares, and gift items galore—many of which reproduce the fluid patterns and Fauvist palette of Mishell’s paintings. “It’s actually absolutely amazing to see that my work could be on utilitarian objects,” Mishell says. “I’m very happy my work is out there for color therapy and to help people. People who come into the store feel the energy of the colors and many people have told us it brings happiness to their lives.”
Mishell’s lush colors emblazon mulberry silk ties, lacquered trays, silk scarves and even pima cotton t-shirts. Shefer continues to find new ways to present his friend’s art—and expand the definition of what art is. “As an artist you redefine art every second,” says Shefer. “Life is about defining, about changing, transitioning. Why stay the same? We want to experiment. Whatever we see we filter.”
The store’s abundance of colors is not limited to Mishell’s art and the products it inspires. A pair of men’s penny loafers sports joyful primary colors a la Mondrian. Vegan leather loafer slip-ons, fit for a prince, sport detailed embroidered flowers. Color blooms throughout the store—in plush velvet, down throw pillows and monogrammed velvet-lined coasters. Display shelves feature vintage hand-blown Blenko glassware in jewel tones.
“We’re not for everyone,” says Shefer of the colorful and retro wares. “You need to like colors, you need to not be afraid of colors. We’re bold and edgy.”
Along with some fashion classics, like a 100-percent wool trench coat, a selection of cable-knit sweaters, and a lavishly embroidered opera coat, there’s a sampling of vegan leather bags with the Magic Hill logo, even retro scents inspired by the “Mad Men” era. “Everything here we designed and created,” says Shefer, wearing a sweatshirt he designed that reads “Music is Magic.” “We don’t carry other people’s clothes. It’s our brand, our style.”
Magic Hill recently opened a coffee/juice bar in their Kingston location.
The store occupies two floors and a third floor will serve as a gallery, featuring works by Mishell and other artists. “I’ve already hung the show that I’m going to be calling 23 for 2023,” says Mishell. “It’s going to be 23 paintings from over the last 23 years. A retrospective that will be opening sometime in May or June at the latest.” After that another show is on the agenda, possible musical events, maybe even poetry readings.
“We took a leap of faith going to Kingston,” says Mishell. “And we’re very happy there.”
Read On, Reader...
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Michelle Obama portrait by Amy Sherald: The critics respond
The official portrait of Michelle Obama, painted by Baltimore-based artist Amy Sherald, was unveiled at the National Portrait Gallery on Monday morning, and became a national event, with everyday tweeters, art enthusiasts and art critics sounding off.
While some critics complimented Sherald’s signature style, which included her trademark “grayscale,” others thought Obama’s floor-length dress, which was reminiscent of the quilts made by a black community in Alabama, was distracting, or worse — that the former first lady’s portrait looked nothing like her.
Here’s a roundup of some of the art experts’ reactions:
Philip Kennicott, the Pulitzer Prize-winning art critic for The Washington Post, wrote that “The first lady inhabits a world of calm, clarity and Wedgwood-hued enlightenment.” While others didn’t see the resemblance between Obama and her portrait, Kennicott told CNN that he saw it and the powerful message it conveyed:
“The simple fact of her portrait hanging with those of other first ladies is a cultural and emotional milestone. … That she chose Sherald as an artist is also significant. Sherald has a significant career, but has only in her 40s emerged on the national stage. Established artists don't need commissions; Mrs. Obama's selection of Sherald, however, will have a major impact on her career right when she needs it.”
Kennicott also stated that the art world “never agrees on much of anything,” and that portraiture is “considered to be a bit of an old-fashioned backwater in the larger art world, so there will be people who sniff at the whole idea of making a traditional likeness of an important woman.… But I think there will be considerable acclaim for this work, too, because Sherald managed to stay true to her own stylistic inclinations while producing a serviceable formal image. And my guess is that Mrs. Obama is a beloved figure throughout much of the art world, and Sherald's painting will benefit from that sentiment.”
“The shape of the dress, rising pyramidally upward, mountain-like, feels as if it were the real subject of the portrait. Mrs. Obama’s face forms the composition’s peak, but could be almost anyone’s face, like a model’s face in a fashion spread. To be honest, I was anticipating — hoping for — a bolder, more incisive image of the strong-voiced person I imagine this former first lady to be.”
Art critic Jerry Saltz wrote in Vulture that the portrait depicted Obama as an “everyday queen of heaven:”
“She is grand, elegant, gorgeous, but her jackrabbit-quick wit is right there. Set against a monochrome flat powder-blue, the First Lady is a guide star to another kind of glamour, a serious spirit whose sorrows were released, who spread warmth, respect, a sly sense of humor, and protectiveness. And a different idea of female power and beauty.”
The Baltimore artist Amy Sherald has known since the fall of 2016 that she had been selected to paint the portrait of former first lady Michelle Obama. The nearly 18-month build-up came to an end Monday, as her artwork and Kehinde Wiley's portrait of Barack Obama were publicly unveiled.
Vox staff writer Constance Grady called the Obama’s portraits “direct, vital, and above all, cool:”
“The former first lady’s gaze is steady and direct, her hair loose around her face, and her pose is framed by her bare arms. It’s not a cheesecake pose, but it’s embodied and physical in a way that’s unusual for this kind of portrait; you get why her husband thanked Sherald for capturing Michelle Obama’s grace, beauty, intelligence, and charm — and also her hotness.”
Philly Inquirer columnist Elizabeth Wellington said the portrait somehow missed the mark:
“I wasn’t sure what to make of Baltimore artist Amy Sherald‘s Michelle Obama, either. … Where is the definition in her arms? Where is her 100-watt smile? The hair is almost right. But quite frankly, she looks more like Kerry Washington than Mrs. O. … While the portrait was spot on in capturing her elegance, the gravitas of Michelle Obama was somewhat lost.”
Sherald's supporters think she's on the verge of becoming one of the most important painters of her generation.
But Wellington emphasized, our opinions on the piece don’t really matter:
“These portraits — the first ever to be commissioned by African American artists for the National Portrait Gallery — aren’t about me and how I want to remember the Obamas. Nor are they about you, or how you want to see them. They are the final piece of a legacy marked by breaking the mold. They are innovative. They are a shout-out to the Obamas’ beautifully unconventional way of bending the rules.”
Despite the critics, Michelle Obama’s biggest fan, her husband, former president Barack Obama, had nothing but admiration for the portrait. He thanked Sherald “for so spectacularly capturing the grace, beauty, intelligence, charm and hotness of the woman I love.”
After the official portrait for Michelle Obama, painted by Baltimore-based artist Amy Sherald was unveiled at the National Portrait Gallery on Monday morning, reactions were largely critical.
Recommended on Baltimore Sun
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Toyota rebrands with 2D logo and abandons wordmark
Toyota rebrands with flat logo and abandons wordmark
Toyota Motor Europe has joined numerous other car brands by opting for a flat redesign of its logo with a revised visual identity created by The&Partnership that includes removing its wordmark.
The new logo and branding was created by agency The&Partnership for Toyota's Europe division and sees the automaker's name removed and its old, 3D design flattened, leaving just a simplified, 2D emblem made up of three overlapping ovals.
This change, according to The&Partnership and Toyota, was an acknowledgement of the brand's visual recognition amongst European consumers, meaning it no longer needs to plainly state its name to be identified.
Toyota rebrands with 2D logo and abandons wordmark
Toyota has revealed a new 2D logo
This the first time the Japanese auto company have rolled out a new logo since 2005, and the first time it has renewed its visual identity since 2009.
The new logo follows in the footsteps of many other car brands including Nissan and BMW that have swapped out the 3D designs of their logos for more minimal, 2D formats.
However, head of art at The&Partnership Dan Beckett doesn't consider this wave of flat design to be a "trend", but rather a practical resolution to the growing issue of readability at a time when digitisation has taken over.
Toyota rebrands with 2D logo and abandons wordmark
The logo is designed for use in digital formats
"By their very nature, people experience car brand logos in the real world in the form of shiny silver things stuck on the nose of the car," Beckett told Dezeen.
"Twenty years ago it became fashionable to render logos with a shiny, three-dimensional aspect, but it wasn't just car brands, even masters of simplification – Apple – did it," he added.
"In print it looked OK – made the logo pop a little bit. But with the advent of digital brand touchpoints, and especially small mobile screens, all those fiddly bevels and gradients meant the logos became little grey smudges, indistinguishable from one another."
"So I don't see it as a new trend," he continued. "I see it as the logical solution to a universal problem created by a different trend. It's just more car brands got on that first bandwagon."
Toyota rebrands with 2D logo and abandons wordmark
The new logo was designed by The&Partnership
The rebrand was commissioned to ensure Toyota's "longevity in a digital world", as well as keeping its visual identity in line with its expansion into electrified vehicles, online retailing and new ownership models.
"The key to this project was not to simply see it as bringing the brand identity up to date, but preparing it for years to come," said Beckett.
"As well as re-modernising the brand we also sought to bring a more premium feeling while working hard to simplify the brand architecture and creating a design system which will be fluent across today and tomorrow's touchpoints," he continued.
"Toyota has recently made great forward strides in its product design and we really wanted to see that reflected in the visual identity."
The rebranding project was started in July 2019, and involved The&Partnership working with Toyota Motor Europe for over one year to create an online toolkit for those working with the brand to access.
The design studio was given a four-point brief: to be forward-thinking, to prioritise mobile display, to grant the company a more "premium" feel, and to offer consistency across all parts of the business and its sub-brands.
Toyota rebrands with 2D logo and abandons wordmark
Toyota Type will also be introduced by the brand
The agency also designed bespoke typography, called Toyota Type, for both digital and physical formats. The sans serif font features a monochrome colour palette with a red accent as a "distinctive nod" to the carmaker.
"The design communicates simplicity, transparency and modernity," said Toyota. "It is perfectly adapted to the digital space but equally effective in the physical world."
This new typeface accompanies several name changes across Toyota's different business areas, as "Toyota Insurance Management" becomes "Toyota Insurance Services", and "Toyota Plus" has been renamed "Toyota Approved Used".
Toyota rebrands with 2D logo and abandons wordmark
The branding has a monochrome colour palette with a red accent
The new logo, which was launched yesterday, will be rolled out across all internal and external Toyota brand communications in Europe, while the current logo will continue to be used for Toyota vehicles.
The current retailer signage will also remain in place and will be reviewed in the Toyota 2025 Network Strategy. The new logo won't be featured on any of Toyota's vehicles.
Toyota joins a long list of automakers that have also ditched the 3D design for a "flat" logo in a bid to modernise their brands.
Nissan was the latest company to launch its flat emblem – which reduced its original design of a circle overlaid with a rectangle for a pair of stylised lines – following on from BMW, Volkswagen and MINI.
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Stationery Cards
Alice X. Zhang (alicexz)
The Prince of Asgard
by Alice X. Zhang
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Clio Logo
Chicago Loop Walking Tour - La Salle Street to Michigan Ave
Item 9 of 28
Located in the Loop District of Chicago, the Monadnock building, originally known as the Monadnock Block, is a skyscraper whose construction began in 1891. The oldest section of the building, the north half, was designed by the architectural firm Burnham and Root and was the tallest load-bearing brick building in the world. The southern half of the building was designed by Holabird and Roche in 1893 and features more ornamental design elements. At the time of its completion in 1893, the Monadnock Building was the largest office building in the world.
• North half of building as seen from Dearborn Street, 2005
• 1893 image of aluminum cast staircases, first use of aluminum in construction of buildings
• 1910 postcard showing south half of building
• Discover Vintage Chicago,book
The building was commissioned by Peter and Shepherd Brooks, real estate developers from Boston. The Monadnock's construction was part of the building boom that followed the price recession known as the Long Depression, or the Great Depression of 1873-79. The Brooks family made a fortune in the shipping insurance business. They began investing in Chicago real estate in 1868 and had the Grannis Block building built on Dearborn Street in 1880. Property manager Owen F. Aldis convinced the Brooks brothers and other wealthy investors to build skyscrapers in Chicago. By the turn of the century, Aldis managed almost one fifth of the office space in the Loop and had created over 1 million square feet of office space in the city.
When the Monadnock was completed in its entirety, it included 1200 rooms and was capable of accommodating 6000. To put this in perspective, the Chicago Daily Tribune made the observation that the population of most Illinois cities at the time would've comfortably fit in the building. Some of the building's first tenants were the American Exchange National and Global Savings Banks and the Santa Fe, Michigan Central, and Chicago&Alton Railroads. Although it was quite an architectural feat, the Monadnock did receive some harsh criticism for its aesthetic. French architect Jacques Hermant said of the building, "The Monadnock was no longer the result of an artist responding to particular needs with intelligence and drawing for them all of the possible consequences. It is the work of a laborer who, without the slightest study, super-imposes 15 strictly identical stories to make a block then stops when he finds the block high enough."
https://en.m.wikipedia.org/wiki/Monadnock_Building
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Size Guide
What's the story? - People have been asking Richard to do a painting of Swanage for sometime now. We made a visit one rainy summers day and when we looked at the photos Rich decided the focus of the painting was going to be Wellington Clock Tower. The light in his photos weren't quite right so after a bit of internet searching he found the perfect shot taken by Richard Holway, a keen walker in this area, who kindly gave Richard the permission to use the shot. Rich still managed to get cars into the painting - look closely enough and you will see three VW vans on the quayside, 1 red, 1 blue, 1 yellow.
Prints and Posters
These are created from Richard's original painting, we print them ourselves using a method known as Giclėe, the paper is 100% cotton with a gentle texture. . The paper's bright white base and gentle texture delivers a quality print with a wide colour gamut, it's 100% acid free and accredited by the Fine Art Trade Guild as being of archival quality.
Free delivery on all prints - We send the prints via myHermes so you will be able to track your order and we will know they have been delivered safely!
Visit the Studio - If you live nearby we are happy for you to come and collect your print or look at the full collection. Richard is always happy to discuss his work and will take on board any suggestions for future paintings
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A digital design company specialising in interactive learning content.
we to
Transform dry information into interesting visual stories.
Create fun and engaging self paced learning.
Turn complex information into a clear message.
Enable learning through discovery.
what we've made
about us
zawadi solange
Tinc design (formally Tin Collective) began as a collaboration between Zawadi Sliepen, a long time digital designer with a passion for learning design, and Solange Kershaw a highly talented front end developer that likes to work with all sorts of interactive platforms and technical creative projects.
We came together to make it easier to work on projects that excite us, and with people we enjoy working with. Tinc Design projects are led by Zawadi, who ensures great design is at the heart of every project. Depending on the project she will then team up with developers, instructional designers, copywriters, videographers - whatever specialist is right for the project.
We do this work because we love it, which creates a happy team to work with resulting in projects that everyone can be proud of.
zawadi@tincdesign.com.au
+61 403 891 968
Surry Hills, NSW 2010
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Unfortunately your filter did not return any results. If you know of any buildings that match your filter, please consider adding them to our database. Remember that all buildings in the Archikey.com database are added by visitors just like you.
Freiberger Architects
e.g. Architect:Santiago Calatrava • Height:10ft-100m • Museum
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Find the Best Modern Art in Cebu at the Qube Gallery
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This sculpture depicting two boys playing Basketball is one of the pieces of art you can find at the Qube Gallery.
Cebu is known as the design capital of the Philippines, and was declared one of UNESCO’s creative cities in 2019. Spawning multiple world-renowned artists and designers, the locals’ best work can be found on the walls of famous food parks, the ceilings of old churches or in the chassis of public utility jeepneys. Modern art in Cebu may have adapted to the digital revolution, but physical works are still luxury items that even the most novice curator and museum fanatic would want to put their hands on.
The short corridor of the Qube Gallery’s first floor features some of the best modern art in Cebu for its customers to see.
Cebuano artists have represented our country in many international competitions and exhibits, and now you may see their handiwork first hand. The tiny art gallery in the Northern District of Cebu City has been the center of contemporary art outside Metro Manila since its inception in 2013.
The Qube Gallery in Kasambagan has been the outlet for works of the best Filipino contemporary artists, especially those hailing from the Visayas islands. For almost a decade, it has rapidly become the avenue in which many art aficionados get some of the island’s most memorable pieces of Cebu art.
This artwork depicts Filipino women revealing rifles behind white cloth.
Its organizers have passionately advocated the works of the old, the new and the undiscovered artistic virtuosos in the Queen City of the South. It has been the portal into which local artists introduce the world to their artistic visions and ideas.
This establishment can be found in The Crossroads, a small business center with pubs, restaurants, studios, a cafe, a gym and a karaoke bar. It is only a few meters away from Cebu Business Park, and a walking distance from Cebu IT Park. Nearby establishments include the Sentinel Hotel, 88th Avenue and the Cebu Country Club. You can come here by riding any jeepney that goes to the Northern parts of the city like Talamban and Banilad.
Art in the area is not only found in the gallery itself, as the outside structures are also peppered with colorful artwork. The walls and pillars of the area are painted and sprayed with interesting designs. You don’t have to go to the gallery’s viewing rooms to get inspiration for your next piece.
Building walls from outside the Qube Gallery display Cebuano creativity.
As you get inside the short corridor of the Qube Gallery’s first floor, you will automatically witness some of the best paintings in Cebu. Every exhibit has a theme, and they change it every month. Topics can range from the inspiring and uplifting to the surreal and suggestive.
Another artwork found in the gallery is a flower portrait made of recycled paper.
Though the Gallery showcases a lot of paintings, they also show other forms of Cebu arts and crafts. Handmade sculptures and images made from recycled paper are also present. This shows that Cebuanos are not one trick ponies and that they are resourceful with their materials.
The gallery is also a member of the world’s biggest online art marketplace, Artsy, making a strong presence around the internet. You can check out the art they feature in either the Artsy or the Qube Gallery website. You can also follow them on their social media accounts to get updates on their upcoming events.
When skimming through the gallery’s website for the artwork available, you can actually see how they would look displayed on a wall. You can also see sample photos of the sculptures that they sell, as well as the prices. These help you make a purchase decision without you necessarily walking around the gallery to see the products they have in store.
You can even check out the roster of artists that have contributed and are contributing to the gallery’s exhibits. Though it features modern art in Cebu, they also have many artists from other parts of the Philippines to display their artwork. International artists that have close ties with Cebu also provide their pieces to the curators of the museum. It won’t be difficult to find your favorite artists, or look for some new idols.
The Qube Gallery is located at the center of The Crossroads in Barangay Kasambagan, one of the best places to unwind in Northern Cebu City.
The Qube Gallery is a contemporary art hub that introduces the art enthusiasts of Cebu to the locals’ best craftsmanship. If you are an avid collector, or are just looking to improve his home setup, then consider this an attraction. You will have to invest some coin to get the best of the best, but you have many options to choose from.
Thanks to its presence in international art fairs, its artists have made modern art in Cebu more widely known around the world. This mini museum may be small, but a visit here should be one of the best things to do in Cebu for a long time. With more creators from younger generations gaining more artistic inspiration, the future is bright for this contemporary museum.
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Tag Archives: Fantasy
Stately castle lodgings for a weary traveler
I’m a sucker for the stories behind builds. I’m also one for nicely cut lines and color choice in architecture. This build by Brother Steven displays all of those traits. Although we’ve seen it done before, the journal of an adventurer chronicled in LEGO is a fascinating concept, and done well by Steven. This particular creation is part of a series of builds, all following “Zenas Abbington” as the hero. There are so many lovely aspects to the castle: the round base, the shape of the towers, the pearl gold carriage wheel in the windows, and the accents on the front door. Let’s not forget how adorable those sheep are too!
Rosewood Hall
And the flip-side is just as pretty! That tree is magnificent, with its color and angled branches. I’m also a big fan of the underside of those mushrooms! It’s no wonder that this, coupled with a few other creations, won a “Brickee” at BrickFair Alabama 2019!
Rosewood Hall
Some of the details of this build are reminiscent of other creations from Steven’s magical world, such as this floating castle we featured last year.
The Dragonborn speaks
Skyrim players the world over know the joy of a well-timed FUS RO DAH! The iconic shouted spell will blast your enemies, and if you time it just right, as in this scene by Victor, the results can be spectacular. This also happens to be the perfect use for LEGO’s new power burst elements from various Superhero sets, showing the blastwave emanating from the Dragonborn. Also not to be missed is the use of the tree-costume element as the tree’s trunk. Despite the obvious application, this is actually the first time I’ve seen a good tree made with that element.
Fus Ro Dah !
Worn with the sands of time
Builder W. Navarre takes us to a Middle Eastern-inspired fantasy world with this lovely vignette of a royal apartment. What’s striking as much as the excellent agglomeration of official LEGO stickers is the use of worn, dirty bricks to lend an ancient, chiseled look to the walls. Most builders eschew such bricks except as hidden filler, but scenes like this remind us that there’s a use for nearly anything if you’re clever enough.
The Queen's Room
It’s not wings that make the dragon, but the ferocity of his character
I used to think that a dragon without wings was simply a lizard, but I wouldn’t dare say that to the face of this wingless dragon built by Leonid An. His name is Glaurung the Fierce, and with his athletic, lean build and large claws, this dragon looks like it could easily rip any opponent to shreds, especially a heckling human who dares mock his lack of wings.
Glaurung the Fierce
What I love about this dragon in particular is the way the builder has used repetition throughout the body, neck, and tail to achieve a very clean organic figure. For example, the robot arm piece is used at least twenty times, laced through flex tube to give both the subtle and more drastic curves the body of the dragon required. The 2×2 round tan boat studs are used as armor plating from the top of the neck of the dragon, all the way down underneath the belly to the tail, making for a wonderfully consistent aesthetic.
Sail away in this Seanchan Greatship
The Wheel of Time is a classic series of Fantasy novels by Robert Jordan, first published in 1990. One of the empires in the Wheel of Time universe is known as Seanchan, and it inspired Douglas Hughes to build a LEGO version of a Seanchan Greatship. According to the builder, the Seanchan style is a fusion of medieval European and Asian influences. For example, the figurehead is European while the trio of ribbed sails are reminiscent of Chinese junks. I love the sculpting of the bow and the ornate detailing running the entire length of the ship. The golden hawk figurehead looks stunning and doubles as a reference to Artur Hawkwing, one of the Seanchan empire’s earlier leaders.
Seanchan Greatship
Enter the fanciest crossroad in the kingdom
Magical swirls, bright colours, and mysterious runes might impress you in this portal hub scene by LEGO builder Chris Perron, but with a bit of thought you realize it is just a glorified crossroad, which seems as magical to us as cars would to someone using a portal transport system.
Portal Wizard
There is so much to love in the scene. The swirling, colourful portals are highlighted in post-production to give an immersive magical feeling. The green runes on the floor add a bit of mystery, along with the eye symbols and other decoration on the walls. The real star is the forced perspective castle in the central, blue portal and how it is lit in beautiful sunset colours.
A fantastical fairy to leave you breathless
If you are a fan of William Shakespeare’s A Midsummer Night’s Dream, you are probably familiar with Titania, queen of the fairies. Loosely influenced by the bard’s play, Ben Cossy whipped up this lovely LEGO fairy stretching out on the curled leaf of a flowering plant. Ben’s fairy is well-built, with a calm-looking pose and skirt flowing to the side. While the fairy herself is visually stunning, she is made all the more impressive thanks to some detailed landscaping. The sculpting of the flower is breathtaking, including an excellent use of the natural flex of 1×2 plates and 1×1 round plates to form curves in the leaves. It completes the scene in such a way that feels bright and magical.
A floating LEGO village fit for a king
When you’re building a floating castle, space is limited. The City of Alaylon designed by the legendary architect Sir Alberto Mauriccio (according to the LEGO builder, Brother Steven) is a wonderful example of making the most of limited land. The island in the sky that this fortification and village are perched on is actually made up of two pieces of land connected by a sky bridge.
The City of Alaylon
There is nothing boring or plain about this castle in the sky. The many wall and tower fortification are built using some common elements of various sizes, like radar dishes and 1×1 round plates, and the inclusion of sloped elements at regular intervals along the walls ties the different structures together. The outer walls are gently curved to reinforce the crescent shape of the landscape.
The many upper towers, all in white, are also built to different dimensions using a wide variety of arches and other architectural elements that compliment each other quite nicely.
The City of Alaylon
The smaller shops and building inside the castle walls are the perfect addition to the scene, providing a glimpse into the day to day life of its residents and visitors. I really love the mason perched on a small platform to do some delicate repair work.
A charming LEGO dwelling fit for a dwarf
This humble Dwarven home by Isaac Snyder may look like a fairly simple construction, but if you take a closer look, there are quite a few techniques worth mentioning that bring this dwelling to life. The black roof uses small slopes in an asymmetrical pattern which is quite unexpected. Also, the corner pillars blend seamlessly with the walls. The inset alcoves for doors and windows have a very strong castle fortification vibe, and speaking of doors, this one is a gem, made from various brown plates stacked simply, and adorned with hinges made from one of my favorite “new” parts, the modified 1×1 round plate with handle.
Danyel's House
But there is one more thing… an interior.
Danyel's House
Visit the busy town of Khevroa in the Isles of Aura
There have been many entries in the continuing Isles of Aura saga, a series of floating islands creations, but I wanted to spend some time touring Isaac and John Snyder’s latest effort: the Town of Khevroa.
Town of Khevroa
We’ve previously featured models from the Isles after the concept’s genesis as Models Inspired by Music and later with Brother Stevens’ Sunset Slumber among others. However, this latest scene has some great examples of packing a lot of detail and building variety into one small town.
Continue deeper into the townA beautifully run-down cottage in the woods
A cottage in the woods is a very pastoral setting, but this cottage by Pavel Angelov Marinov looks a bit sad and neglected. Could be the perfect hiding spot for an evil sorcerer, or a fugitive framed for the murder of his wife by a mysterious one-armed man, or even a beautiful princess troubled by a curse. Between the overgrown landscape, the dilapidated stone walls, and the roof with a tree growing out of it, this cottage could use some love. Maybe some industrious little dwarves with funny names would be up to the task.
LEGO Cottage
One of my favorite features of this model is the roof. Using ball joints first introduce by LEGO in 2014 in the Mixels theme provides the perfect organic curve to build the crooked thatched look. Also, Pavel’s choice of olive green stems mixed in with the traditional green ones provides a nice contrast with the green flowers.
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Video ads
Pick of the Week
Cirque du Soleil - Quidam
Specializing in Quidam or French for stranger, Cirque du Soleil wants to emphasize that although we have loved ones and friends in our lives, we have plenty more strangers.
1:50
Rachel Rosenthal’s “TOHUBOHU!” is where her dance troupe combines ever-changing costumes, lighting, monologues and narratives during improvisatory dance.
1:50
Be transported to another culture with just a 5 minute walk from downtown LA – Chinatown!
Cabrillo Marine Aquarium
Want to feel a sea cucumber or sea urchin? Reach in and touch some of the weird creatures of the ocean at the Cabrillo Marine Aquarium!
2:00
Smuin Ballet
Recognized for its accessible and innovative dance repertory, Smuin Ballet will leave your night in awe.
1:59
Armand Hammer Museum
Housing the permanent works of Armand Hammer, the Armand Hammer Museum of UCLA offers a wide array of multi-cultural events.
Nixon Library
Our 37th president now has his own library showing the public Nixon’s life and its ups and downs.
Jean Rado Thorso
Still life, painting on canvases aren’t as moving as the sculpture. Full figure bronze or clay sculptures captures moving space where the viewer can reach and touch them.
1:49
Air Combat
Imagine yourself scanning the skies in a real military aircraft in search of an enemy airplane, right before your eyes an aerial dog fight emerges. 0:53
Medieval Times
Time warp back to the 11th century where you will dine while seeing your king present noble knights of the realm fighting to the finish! Medieval Times is a fine taste of the dark age for everyone!
1:55
Bergamot Station
An abandoned industrial plant turned art gallery entertainment hub.
1:59
Natural History Museum
Discovery centers, dinosaur exhibits, showcasing arts and crafts from Native Americans, and a vast collection of fine art is just the beginning of the what this museum has to offer.
UCLA Ocean Discovery Center
Experience the 3000 gallon water tank showing various creatures of ocean or even pet some at the Ocean Discovery center, enriching kids about how we effect the ocean.
1:51
Huntington Library
Ancient art, cool culture, and nature are just a few of the many attractions at the Huntington Library.
1:47
Cash Baxter
In this day in age two developing careers can be very hard. Cash Baxter proves to be a natural renaissance man; an accomplished artist he manages to produce and direct for the stage as well.
2:00
George C. Page Museum
Home of the La Brea Tar pits and many paleontologist, the George C. Page Museum has hands on exhibits on how life was like for animals in the prehistoric age.
Venice Art Walk
On your walk you will experience many different artists from Venice in their very own studios and if you’re lucky some art in the making.
0:37
Ric Wigallo
A metal welder by trade found his artistic talents over night.
1:49
Afro-American Museum
One of the city’s unique cultural resources California African American Museum (CAAM) has around 30,000 artifacts on display as well as an extensive research library.
Jazz Bakery
Home of the famous Culver Studios, Culver City has its hand in music as well. The Jazz Bakery offers the latest jazz and blues musicians coming up in the Los Angeles area.
1:13
Museum of Tolerance
With a mission to promote tolerance and enlighten understanding the MOT focuses on racism and how it effected the 20th century.
Craft and Folk Art Museum
In the heart of Los Angeles is a special museum where they exhibit spiritual found and folk art by African Americans of southern United States.
MOCA Summer Concert
The MOCA concert series is very well received event offering free admission to the museum of contemporary art, live music and wine tasting. All hosted on the California Plaza in Downtown LA.
2:04
California Poppy
Vast meadows, arts and crafts, helicopter rides and music concerts all at the California Poppy festival!
Theatre Row Hollywood
Hollywood Theatre Row is a strip of thirteen independent small theatres all spanning two blocks on the Santa Monica Blvd.
1:02
City Walk
Stores, shop and restaurants are the centerpiece at the Universal City Walk, which all have one fun thing in common – to entertain.
McCabe's Guitar Shop
Come out to Santa Monica and experience a music shop by day converted to concert hall by night.
0:22
Santa Monica Museum of Art
Like art? What about art in 3D? Lia Lou expands her work with colored beads so here new piece “backyard” can jump out at viewers.
Steven Lavaggi
An artist of hope, a modern day Micheangelo, Lavaggi finds a glimpse of glory. His murals can be peaceful and tranquil to complex and impressionistic.
1:50
Caetano Veloso
Touring for his upcoming album that features some of his favorite Spanish – American songs.
1:48
Los Angeles Public Library
The LA public library is the biggest collection in the county. It is a place to study or just browse, but don’t get too sidetracked, you have over 2 million books to chose from!
Ford Amphitheatre
Just North of the Hollywood Bowl is a little theatre probably most Los Angeleians do not know about.
1:59
Michael Kenna
Kena’s photographs are preserved in time and history, reflecting customs and manners of a different age.
1:01
Dave Chapman
Like Jim Henson (Kermit the Frog), Chapman’s fascination with muppets pushed him to produce a new breed of muppets show – The Beat City Puppet show in Long Beach.
1:48
LA Music & Art School
In these tough times the arts isn’t supported fully, however the LA Music and Art School’s mission is stay afloat and give students the best instruction in art, dance and music.
0:45
Comedy Improve
Like “Who line it is Anyway?” Improv fun to? Be taken back from your very own SNL with kids!
1:46
Harry Benson
He captures a private view of past presidents and their families. Either it be on tour with the Beatles or in Germany during WW II, Benson was behind the lense.
1:52
Moca Uncommon Sense
Come to MOCA’s uncommon sense where you actually become the art piece!
1:50
Hollywood Entertainment Museum
Explore the Hollywood Entertainment Museum where you can see props, sets, costumes and exhibits, which reflects that magic on the silver screen.
Korean American Museum
Having the mission to preserve Korean American history and art, The Korean American Museum most importantly wants to establish their contributions to America.
Experience love and betrayal in Umberto Giordano’s most notable operas, Fedora.
2:00
City of Angels Ballet
Want to get your kid off the streets? Many kids raised in poverty, near drugs and gangs don’t have such wonderful opportunities such as City of Angels Ballet.
0:55
Peter Max
Working in the Warhol tradition, Max uses portraits of celebrities, in this gallery Crosby, with radiant colors and neon moods.
1:44
Los Angeles Children's Museum
Kids can find a whole new world in learning through fun activities and computer interaction at the Los Angeles Children’s Museum.
Descanso Gardens
Descanso translates to “rest” or “relax,” which is perfect for the one of the most unique gardens in Los Angeles.
1:50
San Gabriel Mission
Interested in Los Angeles’ founding fathers? The San Gabriel Mission, founded in 1771, is where most of Los Angeles begun as wellas home for many exciting historic sights.
Barnsdall Art Park
Interested in art and can’t find any inspiration or don’t know where to study? The public art program Barnsdall Art Park offers instruction and shows for budding artists.
1:49
Tristan & Isolda
Tragedy, romance, lust. All reflected in Richard Wagner’s operatic masterpiece – Tristan and Isolde.
1:55
Planetfest '97
Interested in the planet Mars? Experience Earth gaining new feats to visit our red neighbor.
1:53
Lomita Railroad Museum
Step back in time at the Lomita Railroad museum. Dedicated to the proud era of the steam engine, complete authenticity is the hallmark of the Museum.
Tango Times 2
Tango Times Two, written and directed by Miguel Zotto and Milena Plebs, pays homage to Argentina’s vibrant and exciting dance – the tango.
2:02
Mulligan Family Fun Center
Want to stay with the family over the weekend? Video Arcade, bumper cars, batting cage and miniature golf are only a few of the activities at the fun center.
0:38
We Tell Stories
The LA based story telling troupe caters to kids all over the city telling stories letting the kids act out and participate in telling the story.
1:28
Japanese American National
Ever been to Little Tokyo? Well, if you catch yourself near 2nd street you won’t want to miss the Japanese American National Museum.
David Hockney
Commemorating Hockney for his wild drawings and colors on cars, LACMA is doing a retrospective on his works.
2:00
LA Zoo
Want to see hippos interact or a giraffe eat? The animal kingdom is waiting all at the Los Angeles Zoo.
Hamilton Gregg Brewworks
Barley on the mind? Come down to Hermosa beach where you can taste your own personalized beer!
1:59
Tokyo Delve's
Craving sushi? How about sushi AND entertainment? Come down to the Tokyo Delve’s where your waiter will do more than just take your order.
1:32
Griffith Observatory
Wanna see the stars in whole new light? Or are you curious to know how much you weigh on Jupiter?
Madame Butterfly
At the turn of century two nations are torn from war. Lovers collide in Puccini’s tragedy Madam Butterfly.
1:43
Autry Museum
Interested in the wild west? The Autry Museum shows the real story of the West along with fictional tales using movies and media.
Nursery Nature Walk
Kids from the age 8 and under can now get out of the city to experience the wonders of nature. From 75 nature trails to choose from the sights are plentiful!
1:45
Walk of Fame
Glitz and Glam all along Hollywood Blvd where you have endless sights of celebrity memorabilia.
California Philharmonic
Concert goers of Orange County and South Los Angeles can now experience music to the next level!
1:57
Museums usually focus on several ages of the past. Dinamation focuses on the Jurassic age putting real life dinosaurs in the action!
1:49
Venice Canal
Wonder how Venice got its name? The Venice canals. Flaunting its venetian architecture the canals are a great place to jog, walk, or just relax.
Adventure City
Now there is a theme park for the young ones – Adventure city. Offering a petting zoo and numerous rides this educational and innovative park is great fun for the whole family. 0:47
LA Philharmonic
Here performing Sibelius’ Second Symphony you can see their passion and energy as if they are guiding the listener through a vigorous storm.
0:59
Robert Sturman
With only one teacher and an occasional art class, this self-taught artist find his unique voice with manipulating polaroids.
1:52
Marriage of Figaro
Being influential and radical for its time, Marriage of Figaro is the most highly recognized comic opera Wolfgang Amadeus Mozart wrote.
1:47
Robert Graham
Paying tribute to the jazz legend, Duke Ellington, Graham raises a triumphant statue in his honor.
1:53
Heli Usa
Ever wonder about soaring through the sky in a helicopter? Check out the gold coast line of southern California with Heli USA!
Pacific Asian Museum
See priceless treasures of the far east, or take a drawing or tai chi class at the Pacific Asian Museum of Pasadena.
Wayfarers Chapel
On shores of the pacific you can see the endless horizon, but behind you theres Wayfarers Chapel, blending in with its natural surroundings.
0:51
Hollywood Bowl Museum
Interested how the Hollywood Bowl got started? Check out never seen before footage, photographs and antiques of the venue coming up in the early 20th century.
Knott's Berry Farm
Take a walk down the creepy roads of ghost town, watch snoopy glide on ice, or take a ride on boomerang, all at the family theme park Knott’s Berry Farm.
1:12
Jon Planas
Tacky and primitive to one, brilliant and unexpected to another. Pervian native, Jon Planas shows his bright and abstract art from clothes on celebrities to Hollywood billboards.
1:46
Southwest Museum
From Alaska to South America the Southwestern Museum is home of important artifacts of Native American and Latin heritage.
Renaissance Pleasure Faire
Curious about the vibrant Renaissance era? Be taken back to 16th century and celebrate the spring in royal splendor!
2:16
Theatricum Botanicum
The Theatricum Botanicum is an open-air theater founded in Topanga Canyon by Will Geer in 1973. It features Shakespeare, as well as contemporary authors.
1:08Guillermo Bert
Layers and layers that were once garbage and fragments of visual posters, photography now made into art. Bert has a new take on art and archeology.
1:56
Show Boat
Widely considered one of the most influential works of American musical theatre, Show Boat is the first “musical play” deviating from traditional operettas.
1:46
The Wound & Wound Toy Store
See a fake chicken lay a fake egg, or check out a robot piggy bank both without batteries. Wind up your fun at The Wound & Wound Toy Store.
1:00
The Bob Baker Marionette Theater
Experience puppet masters in their prime at Bob Baker’s Marionette. Spanning over 30 years Baker has crated hundreds of puppets in many different settings.
2:05
Maestros Mexicanos
Capture a glimpse of four significant Mexican artists such as real sketches of Javier Alvarez Palimar or the bright and surreal paintings of Vladimir Cora.
1:49
Luis Gonzales Palma
Guatemalan life is a hard reality. The black and white portraits expose stern, cold and silent characteristics of the artist’s people.
1:46
Rodolfo Morales
The Museum on Latin American Art showcases Diversions and Remembrances by Rodolfo Morales.
2:00
Diego Rivera
The Museum on Latin-American art showcases “Del Tempo y del Color,” an intimate view of a great Mexican pioneer of still life, portraits, cubist paintings, and numerous drawings.
1:48
William S. Hart
Santa Clarita, just north of Los Angeles is the site of silent film star William S Hart’s (Bill Hart) ranch home now turned museum, showcasing some of the oldest and rarest collections of western art and american indian art. There are many types of animal residents from bison to horses providing entertainment for the whole family. Great place to learn about silent movie history.
Culver City Ice Arena
The west side of LA takes a chill peek into fun. Put on some razor sharp skates and break the ice at the Culver Ice Rink.
1:41
Rancho Dominguez
The famous Dominguez family was once partial owner of what we call San Pedro and Rancho Palos Verdes today.
1:48
San Diego Zoo
If you catch yourself in down south you don’t want to miss the world famous San Diego Zoo offering something for the whole family.
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Mighty "2,800 Brushes, Add-Ons & Graphic Elements" Bundle
A resource-packed design bundle. This Bundle features 2,800 different brushes, add-ons and graphic elements. Don't miss this bundle offer by Mighty Deals.
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Monday 25 September |
Saint of the Day: Bl. Herman Contractus
Art & Culture
The incredibly moving sacred art of Caravaggio
Public Domain
V. M. Traverso - published on 09/29/21
The iconic painter was born 450 years ago today.
Michelangelo Merisi, known to most of us as “Caravaggio,” was born on September 29, 1571 in Milan, Italy, to parents who were from the small town of Caravaggio. In the span of his 38 years long life he revolutionized painting with innovations like a unique use of chiaroscuro — with dark shadows contrasting with dramatic areas of light — and a deep sense of realism that later inspired the Baroque movement. But most of all, he developed such an iconic style that most of us can probably look at a painting and know if it’s a Caravaggio, or Caravaggio-inspired.
Merisi spent the first few years of his life in Milan, studying painting, and later moved to Rome, where his early talent impressed Cardinal Del Monte, who introduced the young painter to other high-profile Catholic figures who became commissioners of some of Caravaggio’s best work.
In the long list of masterpieces he left behind, both secular and religious works stand out. But it is perhaps in his religious works that the artistic transition of the master is more evident. Caravaggio is, in fact, known to have changed his style after harsh personal life experiences led him to reassess his outlook on life. In May of 1606 Caravaggio took part in a deadly brawl in Rome and was charged with murder. He fled to Malta, in search of asylum from the Order of Saint John, a Catholic order dedicated to helping the sick and the poor. The order commissioned some of the most important late life works of the Milanese artist. It is in these works that we notice the shift in Caravaggio’s art, from a strong focus on aesthetics to an interest in the spirituality of his subjects, which critics believe was motivated by his own introspection.
From “Saint Francis of Assisi in Ecstasy” to “The Beheading of Saint John,” here is a slideshow of the most important Catholic art works by the Baroque master, Caravaggio.
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The Format Project aims to collect, study and present a selection of collaborative formats, models and practices. It explores widely adopted practices of knowledge production, sharing and decision making. The project examines how these formats were born, how they work and how they help practices succeed and spread virally beyond their original contexts, locations and communities.
In the project we will study 40 cases from around the world. The cases will be presented on a website with text descriptions, interviews, visualizations and photos. Next to that we will shoot a short documentary movie featuring founders, initiators, adopters and users of specific formats as well as experts of the related fields.
The preliminary list of the formats to be featured in our study includes:
Restaurant Day, Critical Mass, Complaints Choir, Flash Mob, Café Philosophique, BYOB, BarCamp, Likemind, Galaxy Zoo, The Johnny Cash Project, ReCAPTCHA, Fallen Fruit, Crowdmap, Atlas of Vacancy, OpenStreetMap, Github, Wiki, Stack Overflow, Book sprint, Instructables, Etherpad, NaNoWriMo, Startup Weekend, Fablab, Coworking space, Media Lab, Hackerspace, Subjective Atlas, Use-It, TEDx, Meetup, Dorkbot, PechaKucha Night, CreativeMornings, Lange Nacht der Museen, One City One BookAirbnbCouchsurfingApp StoreKickstarterFlattrRSVP, Binary decision making, Kittenwar, User rating, Upvoting.
Do you have any other suggestion? Submit it here.
Subjects of study
Field of study
• collaborative knowledge production
• sharing of knowledge and resources
• collective decision making.
Selection criteria
• copied widely
What ingredients contribute to the success, replicability and global spread of a format?
How do formats spread across communities, continents and even disciplines?
What are the characteristics of the networks built up behind those formats?
What potentials do the strategic use of formats offer in a networked world?
With the rise of digital connectedness, collaboration methodologies have an increasing role and enabling power in contemporary societies as they establish and inspire new ways of social coexistence and cooperation, economic development and growth.
Our work at Kitchen Budapest spans across a wide range of disciplines, we develop projects on the intersection of design, media art, information and communication technology. This has always incorporated experimentation with collaboration methodologies.
If you have any question or idea regarding this project or you are interested to get involved, let us know!
Use the form on the right or email to attila.bujdoso@kitchenbudapest.hu.
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Create a new article
Write your page title here:
We currently have 3,185 articles on s23. Type your article name above or create one of the articles listed here!
SearchEngines/Russian
http://www.yandex.ru/
http://www.rambler.ru/
http://www.aport.ru/
Why am i listing russian search engines?
Well, because you can use them to find copyright-free images to use here:
Quote from Wikipedia:
"...For example, according to Soviet (and now Russian) laws all works created before 1975 are in public domain. All films, photos, music and books created anywhere in the world before 1975 are public domain in Russia. Of course, you can't use on Wikipedia anything that was created before 1975 abroad (it would still be copyrighted outside of Russia), but you can use any image created in Soviet Union itself before 1975 (and sometimes after that)."
from: http://en.wikipedia.org/wiki/Wikipedia:Finding_images_tutorial
Cookies help us deliver our services. By using our services, you agree to our use of cookies.
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Old Paper- Distress Oxide Ink Pad
Tim Holtz Distress Oxide Ink Pads are water-reactive dye & pigment ink fusion that creates and oxidized effect when sprayed with water. Use with stamps, stencils, and direct to surface. Blend using Ink Blending Tools and Foam. Re-ink using Distress Oxide Reinkers.
Water-reactive dye and pigment ink
Coordinates with the Distress palette
Add to Cart:
• Model: 096
• 2 Units in Stock
This product was added to our catalog on Wednesday 11 July, 2018.
Your IP Address is: 3.80.32.33
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Wednesday, 17 October 2018
dogs playing poker
The latest addition to Everlasting Blört’s expansive tribute Donald Trump is a piece of artwork that’s actually hanging in the White House—minus the Hieronymus Bosch (previously) background that lends an aesthetic merit not otherwise present.
The White House curatorial team has access to collections from museums around the world and can request any number of pieces be loaned for display on the walls of the residence and take the job of decorating quite seriously, given the symbolism and geopolitical undertones art can convey. The Republican Club (see the original here with the subjects labelled, Trump seated at a table joined by Richard Nixon, Abraham Lincoln, George W Bush, Ronald Reagan and Dwight Eisenhower—but caution as there is an accompanying video that automatically plays) somehow snuck in. Incidentally, the anonymous out of focus woman in the actual background of the painting represents the first Republican female president. Get more Daily Donald at Everlasting Blört here and at the link up top.
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Mercedes-Benz Sprinter
GTE Porto
Convention centre
Alfândega do Porto, Porto
7,500 sqm incl. training and presentation areas and workshop rooms
Special feature
Eight custom-made, glass workshop modules
Agentur Stagg & Friends, Düsseldorf
The Task
The Alfândega do Porto convention centre in the Portuguese coastal city of Porto was the venue for the Global Training Experience (GTE) Sprinter for 6,700 employees. The concept of the Düsseldorf-based agency Stagg & Friends envisaged that the exterior and interior of the old customs building would become a temporary training world for the newly launched van of the Mercedes-Benz VAN division.
The Artlife solution
For this purpose, we have transformed an area of 7,500 square meters into a brand-appropriate training campus. 16 rooms for interactive training courses, workshops and presentations were built for this purpose and designed according to the topic and product features. A delightful contrast in the columned hall of the old customs building is provided by eight specially manufactured, glass workshop modules that have been precisely integrated between the closely spaced columns. The visual starting point of the training event was the opening staging of the Sprinter. In the fusion of virtuality and reality into an almost lifelike live image. A 90 m² rear projection and a 15 x 9 m floor projection screen with integrated turntable represent the staging area for the multimedia spatial experience.
Your contact:
Verena Finke-Totzek
You would like to bring your idea to life?
We are looking forward to your inquiry!
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Branding and webdesign for a new way to get a discount on retail stores.
Pilot for discount website in Groningen
Dagpas is a new way to get a discount in the Netherlands. You can create a profile, add your preferences (like clothing, dinner, culture etc.) and you will be informed whenever there is a discount in one of these categories.
There will also be a heavy integration of social media so you can decide for which item you would like a discount. You can then use social pressure to actually get it. For example if there are more than 10.000 people saying they want 10% off uggs shoes, then you'll get it :).
This website is a first version that will go online to trigger people to create an account and join in. (I did al the illustrations, icons etc. myself.)
In the meantime a team of salespeople will try to convince as much stores as possible to join, so we will actually have some cool things to offer.
Branding and logo
A flyer I designed to approach people on the street and to get them to participate easily.
Homepage webdesign
Promotional clothing for the Dagpas sales people.
Back to Top
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Story blogs
Story Box at Mann Art Gallery interactive fun for family day
Michael Oleksyn/Daily Herald Kim Orynik reads to a group of children during the Story Box at the Mann Art Gallery on Monday.
The Mann Art Gallery hosted an interactive literacy activity on Monday as the gallery partnered with the Prince Albert Literacy Network to host a Story Box.
Kim Orynik hosted the event and planned it with Lana Wilson of the Mann Art Gallery. Orynik said they thought about doing a Story Box day before the pandemic, and this year they thought they would give it a try.
We thought we had something in the gallery, books that younger kids could read or that we could read with the kids,” she explained. “Because the Prince Albert Literacy Network already has an amazing collection of something called Story Sacks where we make interactive packages to go with a book, so because they already have these interactive story bags, we decided to create a story box.”
Both the Mann and the Literacy Network have a story box that can be loaned to schools or other daycares. Each story box features “The Museum” by Susan Verde, with works by Peter Reynolds.
The book tells the story of a young girl visiting a museum. It is written for children aged three to eight. Orynik reads the story and guides the children through the museum inside the box.
It’s all about how art makes you feel and how we express those feelings,” she said.
It is an interactive method of narrating and reading the story.
Each story reading featured a group of eight children who were able to select replicas of the illustrations from the book and install them on the walls of the story box gallery. Children were encouraged to put them on the walls and create their own displays.
The story box also offers games and activities related to the book. Games can be played immediately afterwards or on another day.
Orynik said no two bands do things the same way, which makes the storybox more accessible.
You can use it and play these games in a way that is appropriate for the age and stage of the kids,” she explained.
An example was the game of roulette where children spin a paintbrush and land on a shape.
They found that form and created a collaborative work of art,” she said.
Before or after the guided reading with Orynik, children and parents were able to explore the Prince Albert Winter Festival art exhibition and sale currently taking place in the gallery. The children received a small activity sheet where they could look at the different works of art to find pieces that made them happy, sad or other emotions. They then drew their own artwork on the activity sheet and returned to the education room to color or paint their sketch.
Orynik said the cold weather, which forced the cancellation of several outdoor Family Day events, helped draw people inside for the activity.
This very cold morning, five families have already arrived and we expect many more people to spend the day as we operate until 3pm,” she said.
Story Boxes weren’t the only activity either. Participants could also complete unfinished canvases by local artist Leslie Emiel.
Sometimes people do collaborative artwork and one of our local artists donated a number of canvases that were started but not finished,” Osyrik said. “The children are now finishing a painting that was started by an artist in town.”
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TC.810202-Antonio Bazzini-String Quartets n. 1 [WoO] and n. 3 op. 76-Quartetto Bazzini
Antonio Bazzini, violinist and composer, was born in Brescia on 11 March 1818 and died in Milan on 10 FebruaryThe works for string quartet performed by Quartetto Bazzini in this recording are no. 1 without an opus number and no. 3 op. 76. On listening to these two works, we can understand and appreciate Bazzini’s mastery as a composer: the solo parts are skilfully distributed among the string instruments, and we can detect an influence of French and German instrumental music, filtered by his creative genius, which is never predictable or recognisable.
xLanguage_Available: ,en,it,
Cod.: TC.810202
Compositore: Antonio Bazzini (1818-1897)
Composer: Antonio Bazzini (1818-1897)
Titolo: Quartetti per archi n. 1 [WoO] e n. 3 op. 76
Title: String Quartets n. 1 [WoO] and n. 3 op. 76
Esecutori: Quartetto Bazzini<br>Lino Megni · Daniela Sangalli, violini<br>Marta Pizio, viola · Fausto Solci, violoncello
Performers: Quartetto Bazzini<br>Lino Megni · Daniela Sangalli, violins<br>Marta Pizio, viola · Fausto Solci, cello
Edizione: Settembre 2018
Edition: September 2018
Testo_Musicologico: Fausto Solci
Musicological_Text: Fausto Solci
youtube-video-link: no
Price: EUR 14,50
Shipping: EUR 0,00
Loading Updating cart...
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A Studio Residency For Formerly Incarcerated Artists at the World Trade Center
This Spring, Silver Art Projects—a non-profit organization that supports overlooked artists—will open applications for its third round of year-long residencies, offering studio space at the World Trade Center, stipends and mentorships for disadvantaged artists. A quarter of the creatives chosen will be formerly incarcerated people. “It just made sense to bring in formerly incarcerated artists as a focused community that could be working alongside all the other marginalized communities we bring together,” says co-founder of the non-profit Joshua Pulman. Already, former artists-in-residence have had their work exhibited at MoMA PS1, using the medium to engage in social justice issues and provide support for life after prison. Learn more about the program and how it aims to help to deter mass incarceration at The Art Newspaper.
Image courtesy of Josh Katz/Silver Art Projects
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O U T S I D E L E F T stay i n d e p e n d e n t
Sunset Stalker (The Return of...) and Antonio Villaraigosa
The Sunset Stalker returns from jail to see stars where you don't see them and finds itself across a table or two or three from LA Mayor Antonio Villaraigosa
get the weekly Outsideleft newsletter
by LamontPaul, for outsideleft.com
originally published: October, 2008
the greatness that was Dmeocratic President Bill Clinton
by LamontPaul, for outsideleft.com
originally published: October, 2008
the greatness that was Dmeocratic President Bill Clinton
Sunset Stalker (The Return of...)
Overheard 52nd Mayor of Los Angeles, Antonio Villaraigosa discussing 'the homeless' at Craft on Constellation Ave. No irony there. Okay, so we're some distance from the Sunset Stalker's typical beaten path. But it serves to remind me of two restaurant and lodging encounters and then this story will wrap. One time we saw Monica Lewinski in a popular LA eatery. No sooner had she left than, well, lets call him Outsideleft Friend (at the time) #A, grabbed the chair that her bottom had been perched on and absconded or just plain ran out of the restaurant with it. It wasn't so much for Monica, but the closeness of her ass to the greatness that was Democratic President Bill Clinton. That proximity I think was what Friend #A was about.
Then there was the incident with the toilet seat in the favored suite of the reputed favorite Palm Springs hideaway of America's sometime sweetheart, Julia Roberts... I mean even if she hovers, in hotels, again, without wishing to be in the least bit vulgar, just that proximity of greatness would make that enormously desirable, I'd guess.
Now you may guess some of these episodes to be a little-bitty apocryphal. But the photographic evidence above supports some part of the tale.
Photo by Walt Disney. See more of his work at Flickr..Outsideleft Poll Results
The Robert Rauschenberg Combines
If you only go to one blockbusting art show this year, then unequivocally, Rauschenberg's Combines at MOCA must be it.
Dirty Harry
Seth Sherwood delves into the world of Harry Potter on the eve of The Goblet of Fire.
Bad Trip at the Troubador for Badly Drawn Boy
Badly Drawn Boy has a bad night in West Hollywood
2005: An Architectural Odyssey
Coleridge claimed the two grains of opium were to alleviate his dysentery
Happy Shopper #27 - The Real Tuesday Weld
Way back when we described the Real Tuesday Weld as sounding like Serge Gainsbourg at the end of the pier...
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The Hopper Prize, 2018
• Ημερομηνία ανάρτησης 30/01/2018
• Εμφανίσεις 286
Επισκόπηση θέσης εργασίας
The Hopper Prize is a grant-making institution and exhibition platform offering a series of individual artist grants totaling 5,000.00 USD administered through an open call juried by leading curators.
In a time when many sources of direct funding for individual artists have been reduced or eliminated, The Hopper Prize offers artists direct, unrestricted financial assistance. The organization awards 5 grants annually. Winning artists are selected through an open call for proposals. The Hopper Prize is a merit-based grant. Winners are chosen based on the quality of their work. Awardees are selected by guest jurors holding prominent curatorial positions at major institutions.
In addition to providing unrestricted cash awards to artists, The Hopper Prize seeks to create new relationships between artists, curators, writers, and collectors. The Hopper Prize network reaches professionals who are committed to supporting the field of visual arts.
Support from The Hopper Prize makes it possible for artists to fully realize their creative expression while reaching new curatorial audiences, collectors, writers, and advisors.
The Hopper Prize is open to all artists age 18 and older working in any media.
Total Awards: USD 5,000.00 USD in grants for visual artists
– 5 artists will each receive 1,000.00 USD in unrestricted grant awards;
– 30 artists will be selected to have their work digitally exhibited and archived at hopperprize.org.
Further details: The Hopper Prize, 2018
The closing date is 15 May 2018.
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i never draw this pairing in fact i dont know if ive ever drawn them before omg
i never draw this pairing in fact i dont know if ive ever drawn them before omg
is it just me or is julie a mega babe
i just realized i posted this on the wrong blog lmsfosdfposf
is it just me or is julie a mega babe
i just realized i posted this on the wrong blog lmsfosdfposf
(Quelle: trucy)
theres a neopet named eradia and it suddenly hit me
ive never seen eridan/aradia
wrong i am the number one eradia shipper there is back off my otp
I DREW IT ONCE………
(via poogieboogie)
im having some p bad art block ew
im having some p bad art block ew
just a noteim so extremely sorry if you havent gotten your commission yet ;_; ive been horribly busy and it wont get better until after school ends for me this coming week i hope i havent scared anyone lol
right now im watching the house while my parents drive a 3 hour trip to get our new puppy so im working on some now uvu
thanks for the patience!
Anonym asked:
Hello! I'm really sorry to hear about your family's situation and I feel bad that I can't help right now.. :( But I have to say, I looked through your art tag and I am absolutely in love with your art!!!!! :D It's all so pretty! Anyway, I hope things get better soon!
awww my gosh thank you UwU I’m really flattered hsjdkfjfjf ///////
Anonym asked:
can't the police,like, track down your car? :c. *also sends positive energy*~~~
i only know that they can find it based on license plate and the type of truck
but im not too hopeful that itd found, and if it is it wont be in good shape. they probably stripped it for parts to sell and totaled it or something bc thats what happens to almost every stolen car thats found in my area
and my town is the drug capitol of oregon which is a huge drug hub in the us so im almost certain thats what they did
but thank you so much for the positive energy <3
Anonym asked:
I'm so sorry to hear about your recent troubles. :[ I hope things get better for you soon! I just wanted to pop by and say you should totally be charging a bit more for your commissions. I understand the need to encourage people to buy with cheaper prices, but your work is TOTALLY worth more than you're asking. :] Best of luck!
awww thank you!!!! i really appreciate that you think theyre worth more but idk ;____; thank you though
Anonym asked:
your art is so beautiful commission worthy. my house was robbed just recently too, so i'm really sorry to hear about what happened. that is the worst! i was curious if you're still taking commissions? or are you overloaded right now?
oh my thank you!!! ;_; and im so sorry. its literally the worst feeling and i dont feel safe being at home but i feel conflicted because i feel like i need to be home to watch it
and i am, it will just be a while before you get a drawing. i promised a weeks tops but i think it’ll be a little bit longer because i have a lot i need to do in the next two weeks regarding school and home stuff. :(
Anonym asked:
hi i just wanted to let you know that although i cant buy any art from you cause i'm poor, i wanted to wish you good luck and even if you don't believe in this stuff i sent you some positive energy ♥ and i reblogged your post so my followers can see it too. i hope your family can get back up on their feet soon
oh my gosh thank you
Anonym asked:
this is weird but i just gotta say i really really REALLY REALLY like your lineless art it is amazing uvu
not weird at all just super sugary sweet aaaa <3 thank you
Anonym asked:
HEY i really hope things turn around for your family, that's a really shitty series of events and im sorry it had to happen to such a sweet n nice person. donating anon because i dont want to burden you with more commissions ehehehe
ohhh my gosh ;_; thANK YOU SO MUCH
i never thought people would actually want commissions SCREAMSYOU ALL ARE SO SWEET AND I CRIED HAPPY TEARS
oh ohive already started them and give me a week tops to finish them since i still have three weeks of school left and they are turning out to be the busiest
if it takes any longer than a week remind me ANGRILY and i will make it top priority though i will try to make sure i get it to you all ASAP
thank you for all the interest and the concern and sympathy and gosh ;_; just thank you all so much aaaaa
if youve asked for a commission and havent emailed me please do so! at heirtransparent@live.com
i got sosurprised and embarrassed that i accidentally didnt write down some names and THAT WAS REALLY DUMB OF ME IM REALLY SORRY but its mostly just a helpful reminder because i check my email a lot!!
again thank you i am so grateful and surprised and gosh ;u;
Anonym asked:
have you ever drawn anything from the legend of zelda? just wondering, I really love your art and i would love to see that c:. im really sorry about the robbing and if i can i will definitely donate.
i have but i am always looking for excuses to draw more of my favorite nintendo characters! thank you thank you thank you though oh my gosh <3
so my house got robbed last week and we lost about 10k~15k worth of items and in that includes a box of spare keys. in it included keys to all three of our vehicles. one car’s engine isn’t working, one car is with my brother and the third, our truck, is with my parents and i. we were warned there is a possibility the robbers will come back so we were just starting the process of trying to get our truck rekeyed.
well, last night, our truck was stolen.
i love my parents and it hurts me to see that they’ve lost so much. i’m 17, and jobs are scarce in my town unless i work out a special school schedule and i really can’t do that. but i want to help instead of sitting by idly and watching my parents stress over it like i have for the past week. i never really liked the idea of commissions because i feel that my drawings arent worthy of money but i’m desperate right now. i will work really hard on every drawing to make sure that it is worth your money i’m so sorry
i don’t want to just ask for donations, so i think the best thing to do will be commissions and i have set up a button on my blogs.
of course, my art can be viewed here and here.
oh my god all my sample art is fanart sorry :(
this would mean a lot to me and my family if you could please, please help; or even just spread the word. thank you so so so much
i can negotiate prices, i am honestly not sure how much i should even price them and if you think i should change them talk to me!!
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Telekom Electronic Beats
André Vida recommends Rashad Becker’s Traditional Music of Notional Species Vol. 1
André Vida is co- founder of the NYC collective Creative Trans-Informational Alliance and a frequent collaborator with musicians and artists as diverse as Oni Ayhun, Anthony Braxton and Tino Sehgal. In our forthcoming Fall 2013 issue he talks about Rashad Becker’s latest release on PAN.
Rashad Becker’s Traditional Music of Notional Species Vol. 1 is a collection of themes and dances documenting the formats of a hypothetical culture. Their musical materials betray the approximate gestures of a mouth but remain ambiguously balanced between indecipherable lyrical narratives and morphing instrumental bodies. Sounds of voices hint at language, but the undermining entropy of the arrangements, their dissolve and decay, indicate this might also be a form of camouflage that allows this mysterious species to fulfill its rituals under the radar of human listeners.
In Becker’s earlier works such as “Many Critical Minded Officers Suffer From Their Jobs and Hence Breed a Likeable Melancholia”, a narrative progression can be heard in the vein of a foley table used for sound effects. In contrast, these pieces hang in their own internal moodiness, lashing out from time to time. Themes I and II have cyclical progressions, filled with taunting, smarmy, wallowing, and erotic cadences, which come into focus with the kind of comical timing of a Laurel and Hardy routine. Themes III and IV teeter more on a musical edge, playing with the language of solos, dislocations and accompaniment. Here begins a move into more densely populated sonic environments where the society of this species expands beyond conversation into something ritual. And with ritual, questions begin to emerge: Are they generating these sounds by rubbing against themselves? Are tools involved? How strong is the vocoded tradition in this culture anyways?
Some ethnomusicologists theorize that the variations of human folk verses that survive time are those that most comfortably fit the vocal range and languages of their singers. Becker’s themes share that sense of ease with the instruments of their transmission. This is perhaps what I find so misleading about the role of voices in this recording. They warp and snuggle up against one another, creating fields of activity that swoop in and out of focus. A process of natural selection recurs within every new generation. Becker’s mouths sometimes puke back, murmuring codes and displaying uncanny features, only to then disappear into a muted cudgel of feedback. The limp, repetitive, hungover intro to “Dances I” opens up a lyrical, folksy sounding narrative. The presence of Eastern European gestures of ornamentation hint at a village context and forms of local inebriation.
“Dances II” is a far more aggressive and taunting affair, progressing with the abrupt and repetitive belligerence of a mating ritual. The sequences are driven by such a complex sound palette that the repetitive fiction dissolves. As much as I want to understand the poetic implications of these Dances/Chants, I find myself unable to wrap my head around the meaning of it. Is the distinction designed to open a parallactic angle in on the phenomenon of tradition and its idiosyncratic codes? Or is this sound world too distracting to think in words? I find myself looking for traditional human music to compare. Listening to Ugandan court music, I’ve become hyper aware of the implications of collective telepathy and trance via the human body. In relation to Becker’s society, the sounds gnaw at me with their distorting shapes. They thrive in a dislocated sense of physicality and expectation, and for me that feeling sheds its inverted shadows back onto the royal court. The invitation to backwards engineer the traditions of this notional species from the gestures and moods of these sounds is provocation enough for me to recommend this to anyone interested in expanding their sense of creative listening. ~
Rashad Becker’s Traditional Music of Notional Species Vol. 1 is out now on PAN. This text first appeared first in Electronic Beats Magazine N° 35 (3, 2013). Read the full issue on issuu.com or in the embed below. André Vida’s new exhibition/interactive musical installation Score and Seek is open in New York from September 19-30.
Published September 11, 2013. Words by Andre Vida.
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• Christina M
Process and SHARKS.
As an artist, I really enjoy seeing how the sausage is made in other people’s work. The artistic process can feel like a black box, or even nonexistent, when much of the art we are exposed to online is on carefully curated Instagram accounts. I say, share the messy sketches! To me, art doesn't feel like a magic trick - it's more like a math problem. Show your work!
Sketches made in Procreate, then transferred to Adobe Photoshop for further revision.
Here are my messy sketches, and some of the process of creating of the infamous megalodon shark (Otodus megalodon) - a Miocene monster thought to have measured from 45-60 feet in length when fully grown. I was given primary sources by the paleontologists who needed the illustration as a jumping off point. From there, we went back and forth with the sketches and the color illustrations until the experts were satisfied with the anatomy, dentition, posture, proportion, and coloration.
Above you can see the measured proportion of the shark, reverse engineered from the drawing itself. I used good old graph paper (albeit the Photoshop kind) to work that out.
Here you can see the subtlety of the revisions made from the bottom shark, to the top shark. The blue arrows indicate the the changes.
To help me execute the final illustrations, I made a maquette out of Super Sculpey polymer clay. I’ve made a couple of maquettes before, and I find it to be just pure joy. I loved sculpting this shark.
Shark maquette made with Super Sculpey on a wire and tin foil frame. Pay no mind to the rest of my desk.
I’m still nailing this process down, so my wire frame was a little… wobbly at times. In fact, the tail kept falling off. Make a note, do better next time! The maquette helps me see depth, proportion, light and shadow, etc when drawing. My sculpted shark didn’t need intense detail, she just had to exist in reality so I had a solid three-dimensional reference. One day I’d love to make detailed models from clay, painted and everything!
After back-and-forth with the clients, we landed here:
We agreed our queen of a shark should have lived some life - scars on her body indicative of mating bites, her skin the mottled, damaged gray of older great whites sharks, and some intense personality. Plus, look at them shark tummies.
I hope this sheds a little light on my artistic process. Feel free to contact me with questions! Thanks so much!
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88371453-4637-4742-8b6b-30b3e87a4b6a
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MoMA’s new naked-art exhibit
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Maria Stamenkovic and Matthew Rogers perform naked in the Museum of Modern Art's eyebrow-raising new exhibit, Marina Abramovic's "The Artist is Present."
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The exhibit features 38 performers in rotating shifts of eight facing each other at a doorway or lying under a skeleton or posing in other pieces, mostly in the nude.
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One performer, Amelia Uzategui Bonilla, told The Post last week, "We're all prepared for discomfort. You just have to suck it up!"
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Matthew Rogers (pictured), 31, who teaches Pilates when he's not on display, says, "It can be a little sketchy. Sometimes, there's that feeling like, 'Oh, this is a little gross,' and then it's gone."
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All the "The Artist is Present" performers went through a mini-boot camp to prepare for the exhibit. For five days, they led a monk-like existence -- fasting, not speaking and not reading -- while doing exercises designed to help them develop self-control, including bathing in an icy pond, walking in slow motion and counting grains of rice. READ MORE: NAKED-ART EXHIBIT DRAWS 'TOUCHY' CROWD
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Little Greene at Münchner Stoff Frühling 2017
From 23rd – 27th March, our Little Greene Munich Showroom welcomed interior designs and architects to celebrate the annual event, Münchner Stoff Frühling.
Ruth Mottershead & Bastian Pfeiffer.
The springtime exhibition, featuring over 28 showrooms in Munich is an exclusive textile and design trade fair where visitors catch the first glimpse of the latest collections.
Wallpaper: Pall Mall - Canton Gold.
Showcasing our wallpaper collection, ‘London Wallpapers IV’, Marketing Director, Ruth Mottershead presented the range, introducing each paper and explaining the historical story behind each design.
Wallpaper: Upper Brook St. - Minuit.
The showroom was decorated especially for the event in our lead paper from the collection, ‘Upper Brook Street – Minuit’ which was complemented perfectly with a bold highlight of ‘Citrine 71’ (left wall) and ‘Jack Black 119’ on the skirting and floor.
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👑[TAP]👑 background credits to @_stardust_snaps I’m not really proud of this, but the whole point of this account is loving the good and the bad, and I hope I can learn from this
97 0
thanks for the follow❤️
you deserve so many more followers! such a great message and beautiful collage'
this is a great collage!! keep up the good work!
glad you liked the background!
those are so cute! thanks for entering!!
oo gorgeous
re:// sure lets do a collab- if you don't mind, could i do the bg and the quote (unless you do it another way) and you do the text? thankiew
ok thx!! just that i don't want to do much like i'm just kind of restarting my account. AND UR AMAZING AT TEXT WHAT R U TALKING ABOUT
NO U DO NOT!! I'm sorry, i'll try and do it soon!!
love this ❤️❤️
amazing collage ❤️💜
for everyone out there that sees this comment. just know that you need to be following txlented!
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In 'Old ways, new ways', works from three collections sit together to consider the ways that First Nations photography makes links between times gone by and the present, placing traditions within contemporary practice.
Iranian-born Australian artist Hoda Afshar returned to her homeland to make the work on the islands off the southern coast of Iran.
Images from the 57th annual Wildlife Photographer of the Year, run by the Natural History Museum in London, are now on display in an exhibition at the Australian National Maritime Museum in Sydney.
'Land of Milk and Honey' depicts an imagined space below the surface of contemporary fantasy, where material ecologies, consumption, destruction, desire, and human and non-human bodies entangle.
The Monash Gallery of Art's exhibition, 'Being a voice', celebrates LGBTQIA+ young people aged between 15 and 25 who live, study, play, or work in the City of Monash.
The winner of TOPshots 2021–22 will receive the inaugural Rosie Hughes Memorial Prize, sponsored by The Waverley Camera Club, in memory of their late member Rosie Hughes. The announcement will be made on 28 May.
Monash Gallery of Art (MGA) has again joined forces with their artists to create a unique auction where they will share equally in the sale proceeds of their work. Tickets for the event on 31 May can be purchased until 24 May.
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Kaj Franck - Glass Art-Object / Goblet, model KF 539 - Nuutajärvi-Notsjö circa 1975
KF Pokali oranje web-2
KF Pokali oranje web-6
KF Pokali oranje web-10
KF Pokali oranje web-2
Kaj Franck (Vyborg, Finland 1911 – Santorini, Greece 1989) was an influential Finnish designer and leading figure in Finnish art-world between 1940-1980.
Born in 1911 on the Finnish Russian border in a family of architects (his grandfather was director of the famous Arabia Ceramics factory) of Finnish design object (most notably his Kilta tableware and Kartio glassware).
He is often referred to as “the conscience of Fin Franck Design Prize” annually awarded by the Finnish Design Forum.
Bright orange, clear, blue and bottle green colored, turned mold blown, flared art-object, model KF 539, on a speckled glass stem.
Designed by Kaj Franck in 1972, executed by the Nuutajärvi-Notsjö glassworks circa 1975. These art-objects / goblets were made between 1972 and 1977 in several color combinations.
Marked underneath the base: Kaj Franck - Nuutajärvi-Notsjö. it also bears part of the original paper label.
Price including VAT: € 649
Signed underneath the base: Kaj Franck Nuutajärvi-Notsjö
Nuutajärvi-Notsjö glassworks, Finland circa 1975
This Art-object is in good condition, some minor scratches and wear consistent with age and use.
Marianne Aav (ed.), Kaj Franck, Universal Forms, p. 330
H. 15.4 cm
Diam. 9.9 cm
Weight: 538 grams
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Find Local Wedding Vendors
Discover and connect with wedding vendors that share your taste and your budget. With trusted reviews, you can rest easy that your wedding day will be as beautiful as you envisioned.
Photography in Bozeman, MT,
(406) 633-3330
About Us
First of all, I’m so happy for the experience you get to share with your loved one. Congratulations! My name is Bailey Jo and I started Bare Mountain photography after graduating with two degrees in Neuroscience and Psychology- I dropped everything to pursue what I love which has always been art & taking photos. I’m a photographer that thrives off of all of the happy emotions that come with starting a new chapter of your life, and I want to help solidify those memories forever for you. I have a passion for art, composition, and candid moments that really bring back what you were feeling in that moment. I love to capture artistic portraits that the bride can truly feel beautiful, empowered, and completely herself in.
My biggest joy in my profession comes from seeing the looks on brides faces when I show them their albums, especially from their boudoir shoots. My favorite line is “ I didn’t know I could look like that” or “I’ve never thought I looked beautiful in pictures before these”. I see your beauty and want to make you see it as well! I specialize in intimate boudoir photography which many brides take advantage of before their wedding so they can give “for their eyes only” albums as day of gifts. I want you to feel like you can trust me and my ability to capture your day and the days leading up to for you- so that you can be completely in the moment for one of the happiest days of your life! I know my photos serve as an emotional anchor to these memories for my brides, down to the people laughing and the smallest details of their day. Photographing a wedding should be like telling a story, from the engagement all the way to the “I do” and the celebration after. I hope I can get the opportunity to help tell your story on your big day!
Amber Price
5 out of 5
Quality of Service:
• Value for Cost:
• I cannot say enough good things about Bailey!! She flew to Florida to shoot my wedding and although not being familiar with surroundings, she was able to find the best places to take photographs! She was there to photograph my rehearsal dinner and was with me the entire day of my wedding! She also did bridal boudoir with me which I thought I’d be super uncomfortable with but Bailey made me feel soooo comfortable. I’ve never felt better about myself and Bailey being so supportive was incredible. Bailey caught all the precious moments that you want to be able to look back on. Bailey has such a good eye for photography and I can feel the emotions in the photos that she takes. Highly recommended!!!
Find Amazing Vendors
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Talk delivered in Dublin by Architect Herman Hertzberger.
By Brian Ohanlon, published at 10 May 2007 - 8:12pm, last updated 7 years 18 weeks ago.
I was listening lately to Danah Boyd's lecture at Vienna on Google Video. And all throughout the
talk I was reminded of a piece I wrote having attended a lecture given by the famous Architect
Herman Hertzberger. Enjoy.
The opening Slide was of his office building design, Central De Beer in Holland. Herman
comments, that a revolution in Society facilitated a revolution in Architecture. Nowadays Herman
seems to enjoy re-designing schools, more than re-designing office space. Because after 35 years
since the design of Central de Beer, this architect still wishes to follow where ‘the revolution is
happening in society’. Herman Hertzberger wants a building to become a city. “This is not a
building, it is a settlement”. Herman proclaims about Central De Beer. He designed it to promote
the working of people in groups. But this response to the program of designing office space is no
longer possible, given the widespread engraining of a ‘managerial mentality’ in today’s society.
John Meagher made strikingly similar comments on the design of church architecture in his talk,
relating how the priest on the pulpit likes to eyeball his listeners at all times. Herman described in
architecture today, the use of the ‘sliced sectional diagram’ – the slices in the building’s section,
slicing the occupants of the office building into a many distinct and separate social islands. None of
who are aware of any of the other ‘slices’.
Herman even goes further in places, to compare the Victorian notion of school design to
sophisticated prisons. The building Herman is interested in designing becomes like a three
dimensional city, with lots of open space where socialisation of many different cultures can occur.
Contrasted within the brief for a school building should be ‘spaces for concentration’ with a space
designed around the concept of ‘togetherness’ and ‘view lines’. Not only that, Herman’s brief for a
school project even extends to the entrance spaces, where the kids parents meet one another as they
deliver their children each morning and receive them in the evenings. I guess you only have to
observe the chaos that surrounds entrance spaces to many schools here in Dublin city, to understand
where Herman is coming from. Certainly kids’ parents in Dublin like to meet each other too, but
often we do not provide adequate space for it to happen. The resulting traffic chaos saying it all – an
opportunity for better social integration missed. We tend in this country to think of the school-run as
a cause of vehicular congestion. It only underlines how much we have learned to view environments
from the traffic engineer’s point-of-view of the automobile. Note how many schools have featured,
in the keynote lectures at the AAI this year. Carme Pinos also described some very worthy school
projects of hers in Spain. There must be a revolution happening in society at the moment, strongly
centred around the school as a building type. Though in fairness, the lessons derived from hearing a
talented architect speak about school design are important to almost any other building type – and as
Herman would argue, even the design of cities.
The issues Herman spoke about, reminded me of the Theatre or Cultural Centre Building projects
done in Architectural Schools. Where the project explores at its extreme best, the possibility of
social interaction amongst the staff working to produce performance projects –varying in form from
small experimental productions, to dance, art exhibition, up to larger commercial productions. The
brief for a Cultural Centre will often include an accommodation unit for a visiting artist. Here
Herman Hertzberger’s comments about ‘slices of space’ and slices of people are equally as valid.
Throughout a career in architecture spanning many decades, Herman Hertzberger has always been
interested more in the ‘in-between’ objects, as opposed to the objects themselves. Indeed Herman
relates this to being interested in what urbanists are interested in, rather than what architects might
be interested in. In his school project, Herman observed how 1,300 people all move around the
school at once. So in his resultant design, he maintained stairs in the middle of the building, which
were ‘as open as possible’. The school whose occupants consisted of many different Ethnic Groups
were encouraged to be in more contact with one another. In another slide for a juniors school, you
could see two kids were busy removing the ‘wall’ between the formal space of their classroom and
the social space beyond – somehow, from the budget of a school building, Herman was able to
organise for this very nice sliding wall/door element, which offered the occupants some flexibility
in how they used their space. Architecture is about people – not making architecture easier for
people – it is about, what they are. “Everywhere you make steps”, that is, if you wish a building to
become a city in microcosm. Space becomes about connection of people, without any separation.
Changing the use of the ground, whether it became steps for socialisation, or an outside roof that
took the form of a hillock for crowds to sit on, coated in Astro-Turf.
I thought I had remembered everything I could from the Hertzberger lecture, but while I was
walking past the Central Bank in Dame Street the other day, I was reminded of something else that
Herman said about young people wanting to be dynamic. I got nervous that some kid on a
skateboard was going to plough into me, and swirved around me just at the last moment. Initially I
began to feel angry and to think of something to fire back at the young twit, when I remembered
suddenly how Herman manages to turn all of these things, we see as negative, into a positive.
Herman was invited to stand in as part of the jury for a competition in France to renovate an area of
Social Housing. Herman sifts through some of the eliminated entries and happened to come across
one in particular, one which featured a lot of tarmac areas around an existing social housing
complex. Although the jury had discarded this entry, Herman instead re-included it in the final
shake-up,... because he decided the entry made an important statement about the reality of young
teenagers, who love to appear dynamic, who have all of this energy they need desperately to
release, and how our perception that everywhere needs greenery - a surface not exactly suited to
skate boarding - denies the realities of the human condition for kids of a certain ages, in their living
environments. The example he showed of a basketball court on the roof of a bookshop/cafe, was
also used to drive home the same point. So I definitely learned something from Herman
Hertzberger's lecture in the context of my experience with skate boarders on Dame Street.
On Form and Significance.
Herman is someone, who struggles to find meaning first and then form. Hence his use of physical
models through which he tries to understand the existence of what he calls ‘view lines’. All of the
ideas about the building as a city, and how to raise people - are thereby incubated and encouraged
through his process of using physical models. ‘I am one of those older Architects who tries
desperately to find meaning first and then form, as opposed to form first and then look for meaning’.
Though the above is a rough approximation to Herman Hertzberger’s comments on the search for
form in Architecture, the are very similar to the words uttered down through time, by other people
in other fields of expertise. I always like this quote from Sun Tzu in the ‘Art of War’.
What the ancients called a clever fighter is one who not only wins, but excels in winning with ease.
Hence his victories bring him neither reputation for wisdom nor credit for courage. He wins his
battles by making no mistakes. Making no mistakes is what establishes the certainty of victory, for it
means conquering an enemy that is already defeated. Hence the skillful fighter puts himself into a
position which makes defeat impossible, and does not miss the moment for defeating the enemy.
Thus it is that in war the victorious strategist only seeks battle after the victory has been won,
whereas he who is destined to defeat first fights and afterwards looks for victory.
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(nice people singing my praises)
Aaah the sound of a
bugle blown...
“Amazingly creative”
I worked closely with James on a number of projects during histime at Iceland. I have to say that I thoroughly enjoyed working with him. Not only is he amazingly creative but with it comes his fantastic personality. Which meant every job was a success and we had fun in the process! Would absolutely recommend!
Laura Caddick, Brand Manager
at Iceland Foods
“His take on things is always unique”
I have known James both personally and professionally for the last 20 years. He is teeming with ideas which are always original, surprising and delivered to the highest standard. He has worked with me on several projects and I hope to do many more. His take on things is always unique and makes you think - vital to any business wanting to stand out from the crowd. I wouldn't hesitate in recommending him as a person, or indeed his services. In fact, he's one of the best people I know.
Anna Wharton,
Journalist, Writer and Broadcaster
“Off the wall and cleverly business focussed”
I worked with James at Bluewhistle Creative and found him to be a real inspiration. His creative ideas are well researched, stylishly executed, off the wall and cleverly business focussed. He listened to my brief, challenged some of my thinking and came up with a diverse range of options for us to discuss and develop. It was great fun and he delivered to me a brand proposition that I am really proud of. Professional contacts have always given me great unsolicited feedback on the quality and impact of his work. I would not hesitate to recommend him and have done so to other businesses on a number of occasions.
Karen Summers Founding Director, Seahorse Coaching & Consulting
"Deeply creative with great results"
As a musician, writer and curator I have worked with James/Bluewhistle on numerous occasions and always found it a rewarding and deeply creative process with great results. Whether designing a theatre poster, a logo, an album cover or creating a set of press shots, James has the skills and understanding to adapt to the task and deliver high quality work across a range of platforms and genres.
Lizzie Nunnery
Playwrite, Musician, Curator
“I recommend James unequivocally"
I can’t thank James enough for lending us his skills to create wonderful branding for Hope Fest two years on the run. His ability to deliver a brand identity which is exactly what I want without me even knowing it is quite amazing! The designs have been imperative to us building a successful festival, gaining public and press interest and raising awareness for the cause. When updates to posters etc. have been needed, they have been delivered very quickly and efficiently and always perfectly. James, as a person, is brilliant to work with and has fantastic vision! I recommend James unequivocally and really hope to work with him on every subsequent festival.
Anna Grace Henney
Hope Fest - music festival
for the homeless of Liverpool
“It was fun"
“James was an incredibly personable and passionate designer to work with. I say ‘work’ but unlike previous design endeavours this one felt more like a great collaboration with a skilful friend. It was fun. The hardest part was deciding which of his designs to choose. Would recommend for your branding. Go on book him”
Alice and Mark, The Performers' Playground
“Powerful communication”
Bluewhistle started work with AMECs Nuclear division in 2009. AMEC is a top FTSE 100 company and James has provided us with highly effective marketing materials with a strong ethos of creativity and quality. His branding for the joint venture, AXIOM, gave us the confidence to employ his skills again for other major joint venture projects. Our deadlines can be high pressured but Bluewhistle not only fulfils the schedule but adds elements that powerfully communicate our intent to the market. From presentations to newsletters and awareness campaigns, James has more than earned his place as a preferred supplier. His wider network has also meant he can provide a team, and this has been a great advantage to us in our bid work. I whole-heartedly recommend.
Tom Jones, AMEC,
Vice-President of the European
Clean Energy Business
“Irresistible advertising”
James has worked with us on our brand perception for nearly three years now and has successfully helped us to move forward with our subtle ‘image change’ - helping to inspire new and existing customers with irresistible advertising and promotional material for a wide variety of uses. James’ work is always to an exemplary high standard, reflecting his unique, creative and considered approach. Thank you James.
Ali Tyrer,
Tyrers Department Store,
St Helens
"An expert in his field"
James Wafer at Bluewhistle is an expert in his field and a very pleasant likeable person. We have thoroughly enjoyed working with James on the branding for our new business and will continue to collaborate with him on all aspects of design.
Michael, Keibra
“Amazing professional creativity”
Bluewhistle Creative has been key to our growth and success as a business. Since our start-up in 2004, Bluewhistle Director James Wafer has supported the development of our brand and public image, creating our very first brand, logo and communications materials, plus a whole range of resources on the way – brochures, learning materials, and our web site. We constantly get highly positive feedback on our brand and have recommended Bluewhistle without hesitation to many of our clients. We value the personal attention, friendliness, the connection with what we are all about, the amazing professional creativity and hard work that goes in to everything he does, and the value for money.
Alison Holbourn Managing Director,
Hope Street Centre, NHS Consultants, Liverpool
“He has loads of ideas"
I approached James to work with me on designing a logo and brand identity for my new food business. From the beginning I knew that this was going to be a good working relationship. He had loads of ideas and advice that went further than simply designing a logo. The result has been fantastic and I am looking forward to continuing to work with James as the business grows and develops.
Marcus Kerr, House of Mallow
About me
My name is James and I'm a Liverpool UK based creative graphic designer. I have over 25 years experience in marketing and publishing solutions.
Graphic design solutions. Branding, logos, brochures, illustration. Web design and digital imagery. Not forgetting photography in particularly creative portraiture.
Contact me
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home page contact us add accommodation terms of use
Zgurovska House, Shiroka Luka
name:Zgurovska House|stars:1|website:0|category:7
Zgurovska House
117 Petko Voyvoda Street, Shiroka Luka
+359 3030 277, +359 887 942004
Елена Петрова
23 August 2010, 13:47:55
value for money:
Страхотна закуска.
Нова година съм посрещала при тях. Много намръщени хора. Нищо общо с гостоприемството на родопчаните.
Иван Попов
18 November 2007, 19:02:43
value for money:
Стаите са абсурдно малки и тесни за разлика от банята. Домакините са намусени и ако решите да вечеряте в механата и да се повеселите ще ви "помолят" да напуснете до 23 ч. защото гостоприемните домакини ще си лягат. Ако сте много гладни, храната става за ядене.
Share your impressions of Zgurovska House, Shiroka Lu
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Capsule reviews of current area art exhibitions.
"At This Time, 10 Miami Artists": Donald and Mera Rubell's newly refurbished warehouse and legendary art holdings make the Rubell Family Collection one of America's best privately owned contemporary venues. Its current exhibit suggests Miami artists are internationally respected. Curator Mark Coetzee created a dynamic interaction among the pieces by not hanging each artist's works separately, thereby allowing viewers to move from the awe-inspiring -- José Bedia's raft installation -- to the bizarre -- Cooper's cryptic and angst-ridden Our American Cousin assemblage. Naomi Fisher offers some of her color-saturated and visually enticing Assy Flora series, while Jiae Hwang showcases I'm the Real Princess of the Magical Land, a witty and delicate collection of pencil drawings. Miami and its art scene are relatively young, and with an eye on the future, one easily understands why shows like this are needed: They bring to light historic points of reference for tomorrow's artists and historians. (Through October 30 at the Rubell Family Collection, 95 NW 29th St., Miami. Call 305-573-6090.)
Aquarian Age in Boca Raton smells incredible, with a light incense infusing the air. The shop, part boutique and part art gallery with a spiritual theme, opened April 1 in a storefront inside a bright-yellow, upscale minimall on just another unremarkable stretch of Federal Highway. Paintings, glasswork, and pottery from local and far-flung artists are propped up along the floors, mounted on the walls, and placed on the shelves amid books and bundles of sage. Much of it is good; all of it is worth a look. Particular standouts include a half-dozen watercolors by Coral Springs resident Lynne Kroll. Her work is far from the tepid landscapes of crafts-fair watercolorists. The work has depth, rich color, and an abstract quality that appeals to women, according to the shop's co-owner, Julia George. This is Florida, however, and much of Kroll's work contains the flora and fauna seen in so much local art. But it's far from chirpy and tropical. Harlan Whitman, a design student at the Art Institute of Fort Lauderdale, has two eye-catching industrial-art pieces on display. His Balance of Time clock, made of stone, wood, copper, and metal bolts, is irresistible, like something you once saw in a weird dream. You can't resist touching the base and the clock hands or getting up close to see (ouch, can't help it) what makes it tick. Aquarian Age is not for those who are befuddled by a lack of boundaries between the books and incense for sale and an exhibit space, as everything in the store occupies every available surface. It isn't, however, cluttered. As soon as the shop owners find an artist with enough work to display, they plan on featuring an artist for a gallery show -- right next to the wind chimes and hand-painted glass. (Aquarian Age, 2884 N. Federal Hwy., Boca Raton. Exhibits ongoing. Call 561-750-9292.)
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With an Original Drawing by Marc Chagall
CHAGALL, Marc. CHAGALL, Bella. Burning Lights. Thirty-six Drawings by Marc Chagall. New York: Schocken Books , [1946].
First edition. Published posthumously by her husband Marc Chagall. Inscribed on the front free endpaper "'Mazel Tov'/ Marc Chagall/ 1946" along with an original drawing by Marc Chagall of the head, wings and hands of an angel. This original drawing resembles the gilt-stamped illustration on the cover. Octavo (8 7/8 x x 6 inches; 226 x 151 mm). Translated by Norbert Guterman.
Publisher's full blue cloth. Front board stamped in gilt with a drawing by Chagall. Spine lettered in gilt. In original unclipped dust jacket. Jacket spine a bit darkened and a bit toned overall. Some small chips to head and tail of the jacket spine as well as the top edge. Book with some very light shelf wear to corners. Otherwise an about fine book in a very good jacket.
In the lower left-hand corner of the front free endpaper, below Chagall's drawing is an inscription reading "To Sally and Bob/May all life's blessings/be found in your home/with the brightness of/unquenchable light./ Tamar & David de Sola Pool." David de Sola Pool (1885-1970) was a Rabbi and an author who wrote several books about Jewish history in Colonial America. Some of these books he wrote together with his Wife Tamar. He was also the president of the American Jewish Historical Society, located in New York City.
"In the book Bella Chagall, wife of famous painter Marc Chagall, re-lives and recollects her life as a child in a Russian-Jewish family...Thiry-six drawings by Marc Chagall, one of the great painters of our time, bring us into immediate contact with the very essence of that world. They combine a moving tenderness for the Jew of that time in his every-day existence with an inspired rendition of the religious exaltation and ecstasy of which he was capable." (from the dust jacket)
HBS # 65899 $6,500
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Phil Douglis | profile | all galleries >> Gallery Nine: Composition -- putting it together tree view | thumbnails | slideshow
Gallery Nine: Composition -- putting it together
Some believe that photographic "composition" is purely a matter of aesthetics. I don't take this approach. Making a beautiful image, one that follows all the "rules of composition", is not the way I shoot. Rather, I use composition to organize my pictures for meaning. How and why I relate things to each other within my frame, and how I emphasize the point I am trying to make, is more important to me than making a classically beautiful image. I always try to keep my viewers in mind. I hope that my composition will simplify the image for them, making it coherent. Our cameras see unselectively. We must make them see selectively -- eliminating random chaos, rather than passing it on to the viewer. I use a number of methods to structure my images to make them express what I want to express. Here are examples generally selected from my archive of digital travel articles posted at http://www.pnd1.smugmug.com/
This gallery is presented in "blog" style. A large thumbnail is displayed for each image, along with a detailed caption explaining how I intended to express my ideas. If you click on the large thumbnail, you can see it in its full size, as well as leave comments and read the comments of others. I hope you will be able to participate in the dialogue. I welcome your comments, suggestions, ideas, and questions, and will be delighted to respond.
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A professional resource for the design curious
Future-proofed: Geyer designs new home for Suncorp
Sometimes the most evolved designs are those left incomplete. When conceptualising the new Suncorp headquarters in Sydney, Geyer worked to the idea of ‘designing to 80 per cent’. The result is a radical take on workplace flexibility. While the building caters to its occupants in the present, it comprehensively avoids dictating their needs going into the future.
May 4th, 2018
To state the obvious, design is – at its core – for people. The best commercial designs work on a granular level to ensure that the most idiosyncratic and fine-grain needs of its occupants are anticipated in advance, even before they move into a building. But the glaring disparity between design and the people it works for is that, while people change and adapt, large-scale design – once implemented – often can’t.
In this sense, Geyer’s interior scheme for Suncorp’s new Sydney headquarters is more organic than monolithic. Mark Talbot, studio leader at Geyer, runs through the various conceptual overlays that informed the project, all of which came back to flexibility. For instance, he says, the idea of ‘designing to 80 per cent’ was one of the key aspects of Suncorp’s brief, an idea that was “a ‘wow’ moment” for Geyer; a breath of fresh air from the polished and perfect designs so commonly sought by big corporates.
“Thinking ahead was a really important part of this,” says Talbot. “The space needed to be elastic and fluid; Suncorp knew that, considering how fast technology is changing, everything would need to be transformed, so they didn’t want to make it so that everything was integrated. They needed to be able to undo stuff when they needed to open up more space, or when they needed to enclose space. They wanted stuff to be easily swapped in and out.” Geyer’s response to this was to treat the building as two separate design components to be tackled: “a shell and scenery”.
“The space needed to be elastic and fluid; Suncorp knew that, considering how fast technology is changing, everything would need to be transformed…” – Mark Talbot, Geyer studio leader on the future-proofed concept that led the design
The ‘shell’ aspect refers to those necessary structural components that frame and map any built project: the walls, the roof, the rooms, and anything that could and should not be easily moved. But the ‘scenery’ is where this project really distinguishes itself. To describe this deep-rooted and pervasive flexibility, Talbot uses the analogy of a theatre set: inside the cocooning shell, all of the components that form Suncorp’s scenery are able to be constantly curated and reinterpreted by occupants. Geyer’s design is such that all Suncorp employees become designers in their own right. “One of the key principles was to completely untether people from where they were working so that they were able to work anywhere,” says Talbot.
As we walk through the building, Geyer designer Lisa Beetson points out all of the components that are there one minute, but might be completely different the next. In smaller conference spaces, we are shown walls that can be completely retracted to merge three adjoining rooms; walking past a large boardroom whose shell of writable whiteboard wall panels are currently configured to accommodate a team of about 20, we are told that these panels can be moved around the overarching metal framework and re-configured into smaller sets of two, three, six or more individual spaces; a demonstration of the furniture around the oce proves that all of it is highly moveable.
“It was very different from other workplaces I’ve worked on, where they don’t like furniture to move; where the furniture just stays in that one spot,” says Beetson. “Where here, it has to be on casters or easily moveable so that [employees] can spread it and move it and curate the space however they want.”
As much as many contemporary workplaces are being designed as ‘agile’ or ‘mobile’ to accommodate a changing workforce, this is only so helpful if workers have no motivation to move around a space. To encourage Suncorp employees to try out the various iterations of workspace across the building levels, Geyer designed four key floors: two ‘community floors’ on levels seven and 15 that can be used for larger gatherings or as an alternative to off-site meetings, and two different layouts of ‘typical’ work floors sandwiched in-between.
“Here, [furniture] has to be on casters or easily moveable so that [employees] can spread it and move it and curate the space however they want.” – Lisa Beetson, Geyer designer
The two layouts of these work floors have been dubbed ‘A’ floors, which have a larger range of meeting spaces and drop-down desk arrangements; and ‘B’ (or ‘hub’) floors that have a greater mix of social spaces, as well as larger kitchens. These typologies have been arranged in a BAAB configuration across floors. “The idea is that you’re only one floor away from the other floor type, so it encourages mobility and people making use of other facilities,” explains Beetson.
We recently chatted with Geyer’s new CEO, Wendy Geitz, catch our interview.
Photography by Richard Glover.
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The 9th Asia Pacific Triennial of Contemporary Art in Brisbane eschews the Western art world’s reliance on checkbox diversity in favour of genuine immersion in our region. By Neha Kale.
9th Asia Pacific Triennial of Contemporary Art
A still from Monira Al Qadiri’s DIVER.
Credit: Monira Al Qadiri
In the weeks before the opening of the 9th Asia Pacific Triennial of Contemporary Art (APT9) in Brisbane, a New Yorker article by Margaret Talbot materialised again and again on my Twitter feed. “The Myth of Whiteness in Classical Sculpture” explores our ignorance of polychromy – the practice of painting artefacts in different colours. This ignorance erased non-Europeans from defining aesthetic traditions. It also – quite literally – helped cast whiteness, in the form of pristine white marble, as both signifier of beauty and arbiter of value. Sure, today’s rollcall of biennales and triennials, often helmed by globetrotting celebrity curators, challenges our populist post-Trump era. But they often do little to upend these endemic power structures. Too often, artists who have been producing exemplary work, sometimes for decades, beyond the limited reach of the Western art world, are given a platform in service of a diversity checklist. They are invited to perform their identity. Or worse, their trauma. To borrow a term from the African-American philosopher George Yancy, the white gaze remains intact.
APT’s 25-year history predates our current fixation with performative wokeness. It is the largest exhibition devoted exclusively to contemporary art from the Asia-Pacific region. And, remarkably, the only one to position Australia within this context. The show was overseen by Dr Zara Stanhope and an in-house team who’ve deeply immersed themselves in the region’s art scenes – an imperative that does far more for the presentation’s depth and vitality than the nebulous “themes” so beloved by curators. It features upwards of 80 artists and collectives from 30 countries including – for the first time – Bangladesh, Laos, the Republic of the Marshall Islands, the Solomon Islands and the Autonomous Region of Bougainville, a constellation of atolls that was once part of Papua New Guinea.
The 400-strong series of artworks, exhibited across the Queensland Art Gallery and Gallery of Modern Art (QAGOMA), represent a universe of artistic styles and practices – monochrome photographs and rainbow-bright assemblages, woven basketry and high-concept video art. Threads recur. Some pieces deal with tangled colonial histories and the attendant feelings of displacement and longing. Others with nature, flux and matriarchy. But navigating the bottom floor of QAG and GOMA’s airy, sun-splashed galleries, the idea that sprung to mind isn’t diversity – diverse to whom? – but plurality. The notion that there is no one way to make art or, indeed, see art, shouldn’t strike me as fresh, exhilarating or downright radical. However, I’ve become so accustomed to the invisible presence of the white gaze, especially in rarefied spaces such as the gallery, that it does.
During the past two years, the art world has been preoccupied with politics, understandably. In some ways, grappling with the tyranny of borders, the scourge of racism and the fallout from the refugee crisis has never felt more necessary. The trouble is that so much work that brands itself as political – take Ai Weiwei’s Law of the Journey at this year’s Biennale of Sydney – comes off as empty and bombastic, designed to mirror rather than expand our world view. As Stanhope, referencing the Indian art historian Geeta Kapur, pointed out at the APT’s media preview, the Triennial is as concerned with poetics as it is with politics. The show pays attention to how the forces of history don’t just shape global events but can refract, fragment and transform the consciousness of its subjects. This gives rise to some of its most poignant moments.
In a darkened gallery of GOMA, I sat mesmerised in front of Monira Al Qadiri’s DIVER (2018). The four-channel video work, in which synchronised swimmers duck, dive and spin to haunting Kuwaiti pearling songs, is a study in viscous, prismatic surfaces. It draws aesthetic parallels between the Persian Gulf’s 19th-century history of pearling – Al Qadiri’s grandfather was a singer on a pearling ship – and the modern-day oil boom, an industry equally implicated in human and environmental exploitation. The work conjures both the languid pleasure of gliding under water and a push-pull between desire and terror, the sensation of drifting towards something whose contours are both familiar and unknown.
Elsewhere, the aftermath of historical narratives sparks new ways of recouping cultural practices and reclaiming collective memory – to powerful effect. Ly Hoàng Ly’s Ashes (2013), the result of the Vietnamese artist’s attempt to simmer cow bones for her daughter while living in Chicago, tenderly evokes the way homeland rituals become phantom limbs in the lives of immigrants, doomed to be replaced but never re-created. Over at QAG’s Watermall, Singaporean artists Donna Ong and Robert Zhao Renhui riff on the ways that the city-state’s lush tropical jungles are filtered through the colonial imagination in My forest is not your garden (2015-18). The installation channels the botanical displays that adorn the lobbies of luxury hotels in big Asian cities. Exoticism internalised and spat out for Western consumption. To me, it also nods at the troubling yen for Empire-era interiors across bars in cities such as Melbourne and Sydney.
Back at GOMA, the Western Arrernte portraitist Vincent Namatjira, the great-grandson of the legendary Arrernte landscape painter Albert Namatjira and part of the Triennial’s largest cohort of First Nations artists, playfully skewers the hypocrisy that underpins the distribution of privilege in Australia. Three of his series from 2016 – Seven Leaders, Prime Ministers and The Richest – pit the artists and lawmen who helm South Australia’s APY communities with Australia’s richest magnates and the country’s past seven leaders. The latter represents an in-joke that references their wilful disregard for Indigenous sovereignty. The work also winks at the self-interest that has seen each leader’s hapless grin become interchangeable during the past few years.
APT has always shown monumental pieces, sometimes in partnership with major Asian institutions. This year’s highlights include For, In Your Tongue, I Can Not Fit (2017-18), a room affixed with microphones that relay fragments of verse from Indian new media pioneer Shilpa Gupta; and an audacious technicolour mural by Iman Raad, an Iranian artist whose practice references Mogul painting and the intricate artwork that adorns buses in South Asia. Along with freewheeling mixed-media paintings by Philippine artist Kawayan De Guia and giant rings of cane or Loloi – created for APT by the Tolai people of New Guinea – Raad’s work reflects the exhibition’s commitment to elevating vernacular art forms alongside the pieces we might see in a gallery. This feels subversive for a Western institution. It’s also a reminder that those of us who grew up outside this context have long suspected that the aesthetics of everyday life may have as much to say as paintings and sculptures when it comes to how we see the world.
So much of the work here is wildly ambitious, aimed at widening our visual horizons and elevating undersung artists. The sensibility is kaleidoscopic. But not everything is executed to equal effect. Chinese artist Qiu Zhijie’s Map of Technological Ethics (2018), an epic painting that adorns the main wall of GOMA’s Long Gallery, draws on calligraphic traditions to map the moral landmines – artificial intelligence, climate change – that define our cultural moment. The brushwork is gorgeous, but the notion of imagined geographies doesn’t feel distinct enough to live up to the work’s aspirations. I tended, instead, to connect most with quieter explorations of the natural world. The exquisite Untitled (giran) (2018), an installation of 2000 winged sculptures made from tools such as emu eggshell spoons, animal bones and feathers, mines the connections between the breath and wind, language and country by Kamilaroi-Wiradjuri artist Jonathan Jones.
Similarly, Women’s Wealth, a first-time project that foregrounds the cultural practices – weaving, pottery and adornment – at the heart of matrilineal communities in Bougainville, is admirable in its intention. It could have delved more deeply into the way in which the erasure of female labour continues to uphold capitalist systems. But the fact this edition of APT plays host to more female than male artists also allows for a range of intriguing and specific perspectives on female agency. There is Taiwanese artist Joyce Ho’s video work Overexposed memory (2015), in which a manicured hand plunges its fingers – ever so slowly – into pulpy hyperreal fruit, revelling in the juices that spurt out, a nod to the porous nature of the female body. Dark Continent (2018) is an image by Latai Taumoepeau featuring the Tongan performance artist covering herself in fake tan – an exploration of white Australia’s fetish for tanned skin and the relationship therein between colour, power and value. It also tries to reframe it. In the end, this may be the best metaphor for APT’s project itself.
Arts Diary
Penrith Regional Gallery, NSW, until March 24
MULTIMEDIA HyperPrometheus: The Legacy of Frankenstein
Perth Institute of Contemporary Arts, until December 23
CLASSICAL Australian Brandenburg Orchestra: Noël! Noël! Follow Your Star
Melbourne Recital Centre, December 8
City Recital Hall, Sydney, December 12 and 15
VISUAL ART Picasso: The Vollard Suite
Art Gallery of South Australia, Adelaide, until February 3
CLASSICAL Handel Messiah
QPAC Concert Hall, Brisbane, December 8
INSTALLATION Steven Rhall: Defunctionalised Autonomous Objects
The Substation, Melbourne, until December 7
OPERA The Merry Widow
Festival Theatre, Adelaide, until December 6
MUSIC Let There Be Rock
Home of the Arts, Gold Coast, until February 17
Last chance
MUSIC With One Big Voice – With One Voice 10th anniversary concert
Melbourne Town Hall, December 2
This article was first published in the print edition of The Saturday Paper on Dec 1, 2018 as "Plurality bites". Subscribe here.
Neha Kale
is a Sydney-based writer and former editor of VAULT magazine.
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Tuesday, November 9, 2010
The next couple posts revolve around 'motivating the camera'. What is motivating the camera you might ask? Good question, you get a gold star.*
Motivating the camera is a simple technique of using visual cues to set up a cut or camera-move and in doing so, ease the audience into a new shot or new information.
Below is a simple example of how utilizing the above theory can have a huge influence on the overall feel/continuity of a sequence.
I think I made it a bit overly-complicated. Just look through each of the examples and feel the difference.
Use a character's eye line to motivate a cut. It helps ease the audience through the cut and into new information. (While also putting us directly in the character's shoes)
There are many other ways to motivate the camera. Below is a short sequence I've boarded out with various examples all strung together. The idea is to create as much continuity within the sequence as possible, making everything clear and easy to follow.
Below I have pointed out the specific methods used to motivate the camera.
So as per the above sequence, ways to motivate the camera;
- Using a Character's eyeline/P.O.V.
- Having a character move on screen and adjusting the camera accordingly.
- Having a character exit frame.
There are other ways not represented in the above example, for instance;
- Having a character enter frame. (This will be illustrated in a future tip sheet.)
I think ultimately what it comes down to, specifically for 'cutting', is the fact that a 'cut' is not natural, it doesn't happen in real life (unless you take really long blinks). Obviously we have seen enough film/television that we are accustomed to 'cutting', nevertheless, anything you can do to smooth out the transition will only help create and maintain the continuity of your sequence.
To be continued shortly...
* Gold stars are neither gold nor stars and consist almost entirely of your imagination.
Casey Crowe said...
Very good info, thanks for posting this. One question, if in example 1 you'd already established the shot of the plate of food and it's spacial relationship to the guy (prior to that first shot in the board), would you still feel the need to motivate the cut with the guy looking downwards? So, for example, if after eating that piece of bacon, he reached down for something else on the plate, would you again use him looking down to guide the audience?
Dani said...
You are very talented and smart. Would have never known that "motivating the camera" - even was a tool/instrument. Just thought it was a flow of sequence.
Daniel Huertas said...
great stuff Josh! I love to read your tip sheets...
and I do want a gold star.
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Tourbillon Barrette Miroir
In the fifth creation by Rexhep Rexhepi and AkriviA, the focus moves to finishing. Only the very highest quality of traditional finishes — fine-grained brushing, matt treatments and mirror polish — have always been used in AkriviA timepieces, but in the Tourbillon Barrette-Miroir, they take core position.
Textures become the primary signifiers of quality, from the hour numerals, which are polished and then heat-blued by hand, to the openworked tourbillon bridge, with its sharply bevelled internal angles.
The Tourbillon Barrette-Miroir is a watch for connoisseurs who not only value the precision chronometry of a tourbillon with free-sprung balane, but can also recognise the hallmarks of traditional haut-de-gamme finishing.
The smooth and symmetric curve of the steel bridge emphasises its sharp internal angles and black-polished surface
More details
AK-05 - manual-winding movement with hours and minutes, 1 barrel created and developed, decorated and assembled in-house
Movement dimensions
30.00 mm x 7.80 mm
Power reserve
100 hours
Number of components
Number of jewels
Balance wheel
In-house developed variable inertia balance wheel(10.5 mm) using 4 adjustable weights combined with Breguet overcoil
21,600 vph
60-second tourbillon, cage diameter 13.80 mm, composed of 63 parts with hand-bevelled and hand-blued escapement wheel with bercé-polished upper bridge
The entire movement’s visible and non-visible parts have been hand-finished to the highest Geneva traditions using several traditional techniques : black polish, Côtes de Genève engraved striping, hand polished and brushed surfaces, rhodium treatment, beading and hand engraving and 69 entirely handmade inward angles
Two toned, matte-polished dial with handmade blued steel numbers, black polish treatment, and black polished inserts
42.5 mm x 12.90 mm, composed of 30 parts, with anti-reflective treated front and back sapphire glass
Water resistance
3 ATM (30 meters)
Blued steel – handmade AkriviA pattern hands
Hand-sewn alligator strap
Pin buckel
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Nevermore (Gauguin)
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O Taiti
Paul Gauguin 091.jpg
ArtistPaul Gauguin
MediumOil on canvas
Dimensions96 by 130 centimetres (38 in × 51 in)
LocationCourtauld Gallery, London
Nevermore is an 1897 oil on canvas painting by the French Post-Impressionist artist Paul Gauguin. Since 1932 it has been in the collection of the Courtauld Institute of Art and on display in the Gallery. It was executed during the artist's second stay on the island of Tahiti in the South Pacific.
The enigmatic work depicts a naked Pahura, Gauguin's teenage vahine or wife, lying on a bed in their hut, her voluptuous figure echoed by the curves of the headboard. In the background behind the bed can be seen a raven and two mysterious human figures. [1]
The title "Nevermore", painted in relatively large capitals in the top left-hand corner, and the presence of the raven is an obvious reference to Edgar Allan Poe's 1845 poem "The Raven", which was well known to Gauguin and recited at his farewell party in 1891. In the poem a mourning student is visited in his room by a raven which croaks the one word "nevermore" in response to his every question. At the time the painting was executed Pahura was grieving the loss of her first child (by Gauguin) and Gauguin the loss of his favourite European-born daughter Aline. The artist himself claimed the bird represented a "bird of the devil who watches".[2]
The painting was purchased in 1898 by the British composer Frederick Delius from Gauguin's friend George-Daniel de Monfreid for 500 francs. It was later bought by the British businessman Samuel Courtauld in 1926, who gifted it to the Courtauld Institute of Art.
In 2010, the painting was voted Britain’s most romantic in a poll organised by the Art Fund Charity. It beat competition from a five painting shortlist, which included masterpieces by Jan van Eyck and Titian. [3]
References[edit]
1. ^ "Nevermore, 1897". gauguin.org. Retrieved 7 January 2020.
2. ^ "Nevermore – Paul Gauguin". Courtauld Institute. Retrieved 7 January 2020.
3. ^ Telegraph.co.uk/culture
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Corazón humano colgante plata 925
Corazón humano colgante plata 925
Raty PayU
This product requires a saved engraver
Technical data
Metal: plata 925 (libre de níquel, rodiado o chapado en oro de 18K)
Tamaño del colgante:
• altura: ~2,7 cm
• ancho: ~1,1
30 otros productos en la misma categoría:
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12141/80
N. F. Schiøttz-Jensen (b. Vordingborg 1855, d. Copenhagen 1941)
Italian woman. Signed N. F. Schiøttz-Jensen 1914. Oil on canvas. 55×45 cm. Framed.
Seller informs
In need of a light surface cleaning.
Please note that Bruun Rasmussen Auctioneers has not physically examined this item, the estimate is solely based on the seller’s photographic material. Therefore, we cannot provide a description of the condition, and it is not possible to request a report on the item’s condition.
Art, antiques & collector's items, 14 October 2021
2,000–3,000 DKK
Price realised
3,400 DKK
16 bids
When Bidder Bid
3,400 DKK
(Auto bid) 3,200 DKK
3,000 DKK
(Auto bid) 2,900 DKK
2,800 DKK
2,700 DKK
2,600 DKK
(Auto bid) 2,500 DKK
2,500 DKK
2,400 DKK
(Auto bid) 2,300 DKK
2,200 DKK
(Auto bid) 1,150 DKK
1,100 DKK
1,050 DKK
1,000 DKK
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Film library » 2017 » ANIMATION » Film details
World Premiere
Director: Catya Plate
United States, 2017, 10 min
Shooting Format:Digital
Festival Year:2017
Cast:Richard Steven Horvitz, Misty Lee, John McBride
Crew:Producers: Catya Plate, Todd Aven - Screenwriters: Catya Plate - Sound Editing, Foley, Re-recording: Matt Davies, MPSE, Rich Bussey, Kevin Hill, Jaime Horrigan - Animation: Catya Plate - DOP: Catya Plate - Music Composition, Original Score: Zac Zinger - Cinematography: Catya Plate - Script Edit: Sara McDermott Jain - Titles, Trailer: Carolyn Maher - Production Assistant: Nikko Cruz, Nadia DeLane - Intern: Maggie Boyd - Film Edit, Post Production, Consulting: Todd Aven
Email:catya AT catyaplate.com
In a post-apocalyptic future where humanity has fallen apart, a group of scientists and an animated sign complete the construction of a new human race and meet a groundhog climatologist who prepares them for their mission to restore balance to the decimated Earth.
About the director
Catya Plate, born in Barcelona, Spain, is a Brooklyn based award winning filmmaker and multidisciplinary artist. Raised in Germany, she attended the Werkkunstschule, Köln, where she completed her Fine Arts studies with a BFA before coming to New York in 1987 through a Fulbright Scholarship for post-graduate Fine Arts studies at the School of Visual Arts. She has been exhibiting regularly and internationally since the mid-1980's. Her work can be found in many public and private collections worldwide, including the Brooklyn Museum and the Museum of Modern Art Library in New York City. Articles and reviews of Plate's films, exhibition and installation projects have appeared in Film Threat, The New York Times and The Independent, among others. In 2009, she created Clothespin Freak Productions to bring her "Clothespin Freaks" characters to life through stop-motion animation short films. In 2012, her first film "The Reading", was awarded Best Animated Film at the Seattle True Independent Film Festival. Her second film "Hanging By A Thread", screened at over 22 film festivals in the US and abroad, like the Academy Award-qualifying St. Louis International Film Festival and won 9 awards. The script for "Meeting MacGuffin", the sequel of "Hanging By A Thread" and second in a trilogy of animated shorts, made it into the Quarter Finals (Top 40 Shorts) at the renowned Cinequest Screenwriting Competition in 2015. "Speaking Of Freaks", a short documentary about the making of "Meeting MacGuffin" directed by Hamad Altourah and produced by Catya Plate, was released in November 2016.
Website Filmography BFF Alumni
Catya Plate's filmography
Filmmaker's note
Catya Plate is a multidisciplinary artist, whose work relates to feminism in its focus on conventional domestic and low-tech items like clothespins and through the usage of feminized materials like thread and fabric. In her sculptures, installations, paintings, and drawings, she has been referring to concepts such as mortality, ambiguity, transformation or vulnerability to talk about the ephemeral nature of existence, questioning certain aspects of the human condition. All aspects of her previous works appear in her animated films within the context of a larger fabricated universe. This futuristic universe depicts a new mythology where the animal and the mineral appear interconnected in surreal, surprising, as well as disturbing and humorous ways. In the center of this mythology are two-headed mutations called 'Clothespin Freaks', which are figures made of clear clothespins and sewn pieces. These 'other-worldly scientists' are responsible for the reconstruction of a new human race. The new genetically modified human (Homey) is empathetic and altruistic because the necessity of biological transformation for the greater good of the world requires a gaze that goes beyond the anthropocentric.
Director CATYA PLATE will be participating in a Q&A after both screenings.
Related links
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Performative Ecologies
Curated by Patricia Watts, ecoartspace
See the immersive virtual tour here- compatible with Oculus!
CURRENTS 826 Gallery hosts the exhibition Performative Ecologies including eleven women artists who explore the role of ritual while engaging the natural world. The exhibition includes artifacts and documentations from performative works dating from 1971-2019, engagements of ecological consciousness in both urban and rural spaces.
Artists: Fern Shaffer, Cherie Sampson, Shana Robbins, Mary Mattingly, Jenny Kendler, Minoosh Zomorodinia, Basia Irland, Alicia Escott, Claudia Bucher, Dominique Mazeaud and Bonnie Ora Sherk.
In 1987, Suzi Gablik published her radical book, The Reenchantment of Art. This was the authors’ manifesto in which she proposed a more engaged, empathetic, participatory, and socially responsible approach to art. She also called for a revival of the mystical, which Gablik felt was often dismissed because of our rational modes of perceiving the world. Two artists whom she wrote about in her book, Fern Shaffer and Dominique Mazeaud, are included in Performative Ecologies.
Performative art, unlike performance art, does not require an audience. The artists in Performative Ecologies take on the role of shaman or magical messenger to perform acts of cleansing or engaging the spirit world. These other worlds that the artists have envisioned offer a depth and meaning that has either been long forgotten or is being acknowledged in a new way. The remains of these performative works include photographs, video documentation, artifacts and “magic clothing” the artists wore.
Patricia Lea Watts, curator
Patricia Watts is the founder and West Coast curator of ecoartspace, a platform for artists addressing environmental issues since 1999. She has curated over thirty art and ecology exhibitions and has participated on numerous panels at symposia internationally. In 2013 she was curator-in-residence at the Santa Fe Art Institute where she curated the exhibition Shifting Baselines; and in 2012, she organized an artist residency for an independent project Getting Off the Planet at the Institute of American Indian Art digital dome in conjuction with the International Symposium on Electronic Art. Watts recently moved to Santa Fe summer 2019.
Nine Year Ritual (Shaman) 1985-2012,
The Swamp, 9th Ritual, September 9, 2003, Cashe River Basin, Illinois
In 1980, inspired by her research on clairvoyant Edgar Cayce, anthropologist and Core Shamanism pioneer Michael Harner, and Romanian philosopher Mircea Eliade—and while prompted by ecological concerns—Fern Shaffer and her collaborator photographer Othello Anderson began a series of performative shamanistic rituals sited in and around Chicago. Shaffer would practice her spiritual interventions, special ceremonies performed during equinoxes and soltices while wearing ceremonial garments made of raffia and canvas. Anderson would document her with sequental shot using 35 millimeter film.
Fern Shaffer is an American painter, performance artist, lecturer and environmental advocate. Her work arose in conjunction with an emerging Ecofeminism movement that brought together environmentalism, feminist values and spirituality to address shared concern for the Earth and all forms of life. She has been a long-time activist for women in art through her involvement and leadership at the Chicago alternative art space Artemisia Gallery and through her work with the National Women’s Caucus for Art. Shaffer’s ritual work was featured on the cover and written about in The Reenchantment of Art by Suzi Gablik in 1991.
At the Pole of Heaven, 2008-2012 (9mins, 40secs)
This performative work was intended for the camera and took place on Lake Mekri (Mekrijärvi) near Ilomantsi, in eastern Finland. It is a segment from a 40-minute performance titled “Her Blue Sea Fire,” which was inspired by the illustrative ‘myth of origins’ described in canto 1 of the Finnish epic poem, The Kalevala.
Cherie Sampson has worked for over twenty-five years as an interdisciplinary artist in environmental performance, sculpture and video art. She has exhibited internationally in art-in-nature symposia, video/film screenings and exhibitions. Sampson is the recipient of many grants including two Fulbright Fellowships to Finland, a Finnish Cultural Foundation Grant and multiple research grants. She is a Professor in the School of Visual Studies at the University of Missouri, and also spends half-time at her husband’s organic farm in Northeast Missouri. Sampson is the current President of Artists in Nature International Network (AiNIN). She received her Master of Fine Art Degree in Intermedia & Video Art from the University of Iowa in 1997 with a minor in Sculpture.
The Other, 2016 Yellowstone, Montana (3 minutes, 51 seconds)
“The Other is bodying forth the desire to connect and co-create with more-than-human beings. Ritualized dances and intuitive gestures arise from an open present awareness of the rhythms and cycles of the Earth. Within a spiritual ecology in which creatures are constantly disappearing, deer, snakes, jellyfish, turtles, jaguars, and owls begin to populate The Other’s dreams. The power of the Earth is a sustaining force. Something unknown is doing we don’t know what.” SR
Shana Robbins is an Atlanta-based artist who works with multidisciplinary processes that cross a spectrum of performance, film, drawing/painting, video, and installation. Her work aims to create new cartographies that advance the self as a set of relations; eco ritual as a way of relating with the world; landscape as a cultural mirror; the identity of the in-between; the bodying forth of natural forces. Her performance-based work comes from decades of co creation in natural habitats around the world. Robbins has exhibited and performed in galleries and museums internationally and has received fellowships and grants from the Vermont Studio Center, Andy Warhol Foundation, and Idea Capital.
Pull, 2013
While living in her Greenpoint studio space, Mary Mattingly undertook the process of recording every object she owned and tracking the history of each of her belongings—how it came into her life, it’s distrubition via complex global supply chains, as well as where the raw materials for it’s manufacture was sourced. She then uploaded a digital version of each object to her website OWN-IT.US for others to access. Mattingly then assembled her belongings into a boulder-like sculpture, which was held together with twine so she could roll and drag it as a performative gesture. The artist first pulled the heap across the Bayonne Bridge from Staten Island to Bayonne, New Jersey; and then along King Street from Kitchener City Hall to Waterloo Public Square.
Mary Mattingly is the founder of Swale, an edible landscape on a barge in New York City to circumvent public land laws. She is currently artist-in-residence at the Brooklyn Public Library and is getting ready to launch “Public Water” – a performance and sculpture about NYC’s drinking watershed with More Art. Her work has also been exhibited at the Museo Nacional de Bellas Artes de la Habana, Bronx Museum of the Arts, Storm King, the Brooklyn Museum, and the Palais de Tokyo; and featured in Aperture Magazine, Art in America, Artforum, Sculpture Magazine, The New York Times, New Yorker, NPR, and Art21.
Offering, 2017 (2 hour performance, 2min 55sec loop) + hummingbird feeders
In this performative action, the artist remained motionless next to a hummingbird feeder for two hours—moving only to refill her red-painted ear by slowly dripping a home-made nectar from an eyedropper. This image of cross-species intimacy and gift-giving is a concept that Kendler has considered for many years. At ACRE residency in Wisconsin’s Driftless region, she had the chance to make this ‘offering’ to the many local Ruby-throated Hummingbirds (Archilochus colubris). As the artist stood next to the feeder, remaining still long enough for the hummingbirds to approach and fly past her ears—a somatic sonic experience occured that defied words. This performative gesture contained both an implied threat, considering the long sharp beak and a fragile eardrum; and an embedded eroticism, a vulnerability and a desire.
Jenny Kendler is an interdisciplinary artist and environmental activist whose work asks us to de-center the human, making space for the radical, transformative otherness of our biodiverse Earth. She received her BFA from MICA in 2002 and her MFA from SAIC in 2006. Her work has been exhibited at Storm King Art Center, the MCA Chicago, the Eden Project, the Pulitzer Arts Foundation, the Albright-Knox, the California Academy of Sciences, the Chicago Biennial. Kendler is also Art Coordinator for Extinction Rebellion Chicago, Board Chair of artist residency ACRE, part of artist collective Deep Time Chicago—and since 2014 has been the first Artist-in-Residence with environmental non-profit NRDC.
Sensation 2018, Talaghan, Iran, HD Video 1:53 min loop
“Physical sensations produce different psychological states within human beings. This work is the result of my performative engagements during high winds at different natural sites. I search for myself in nature, while resisting the wind, letting the mylar embrace the shape of my body. I’m interested in the connection between my body and the landscape as an expression of my feelings. My body merges with my surroundings, as reflected on the emergency blanket, so that I can become one with the land and sky. The evidence of my sensory experience of nature is documented through the camera lens.” MZ
Minoosh Zomorodinia is an Iranian-born interdisciplinary artist who makes visible the emotional and psychological reflections of her mind’s eye inspired by nature and her environments. Zomorodinia earned her MFA in new genres from the San Francisco Art Institute. She has received several awards, residences, and grants including the Headlands Center for the Arts, Djerassi Residency. She has exhibited internationally at Yerba Buena Center for the Arts, San Francisco Arts Commission, Pori Art Museum, and ProARTS. Her work has been featured in SF Chronicle, Hyperallergic, and KQED. She is currently at The Artist in Residence (AIR) Program at Recology San Francisco and lives and works in the Bay Area.
Riverberations, 2015 (5:32 min loop)
Riverberations was performed in 2015 by ten percussionists on the banks of the Río Grande, beside a constructed wetland pond. Sound Sculptures, created from books about rivers, were played percussively to a score, for Basia (2015), written by the eminent composer, Dr. Christopher Shultis. The books acted as sounding boards for the attached local, natural materials, including stones, equisetum, tamarisk, and turquoise (a healing stone referencing sky and water). The resonance created in this performance is intended to reverberate out across rivers everywhere helping restore these necessary arteries of our land.
Basia Irland is a Fulbright Scholar, author, poet, sculptor, installation artist, and activist who creates international water projects featured in her books, “Water Library” (University of New Mexico Press, 2007) and “Reading the River: The Ecological Activist Art of Basia Irland” (Museum De Domijnen, 2017). These books focus on projects the artist has created over four decades in Africa, Canada, Europe, South America, Southeast Asia, and the United States. Irland is Professor Emerita, Department of Art and Art History, University of New Mexico, where she established the Arts and Ecology Program. Her art is featured in over 70 international publications.
Love Song for a Republican in the 6th Extinction, 2010 (3 minutes, 44 seconds)
This performative work was the artists first time taking her handmade drawings outside, and donning them to document on video. The play between the artist’s body and the flat transparent drawing of the last California Grizzly Bear, which became extinct due to bounty hunting in 1927, speaks to our deep longing for the non-human relatives and relationships we have lost; as well as the reduction, essentialization and appropriation of these animals into an image, brand or signifier that we coopt for our own human purposes. This work was made in California where the state flag still presents the bears image, and where it has essentialized the actual spirit of this primal figure into a brand representing a natural “entrepreneurial western spirit.”
Alicia Escott is an interdisciplinary artist based in San Francisco. She’s interested in how we negotiating our day-to-day realities and responsibilities amid an awareness of the overarching specter of climate change, mass-extinction and the unspoken experience of loss, heartbreak and longing. Escott’s work has been shown in over 80 art institutions, museums, galleries and alternative spaces. She has been Artist-in-Residence at Recology SF, Djerassi, Anderson Ranch and The JB Blunk House residency. Escott is a founding member of 100 Days Action. She is half of the Social-Practice Project The Bureau of Linguistical Reality featured in The Economist, The New Yorker, The SF Chronicle, and KQED.
To the Air Born? DAY OF THE DAEMON (Deliberating Anemochore Embryos Manifesting Ontological Noesis) 2019
To the Air Born? is a performative work where the artist is strapped to a large kite sited in the landscape. As the wind blows intensely, Bucher is in a state of deliberation on whether she wants to become air-born(e). In this work she contemplates agency in the not-yet-born. Bucher asks, “If pre-born entities have agency, would they automatically choose to be born? Are they aware of their own viability? What if fertilized forms are mostly antinatalist and would prefer to avoid existence?” Bucher was inspired by the Day of the Dead celebration, in particular the Guatemalan Giant Kite Festival, and the class of wind-dispersed organisms, such as dandelions, known as anemochores.
Claudia Bucher is a Southern California artist who creates performative sculptural installations exploring ideas about extended sentience. She’s interested in the crossover between art, science and technology, architecture, mysticism and science fiction. Her recent work is inspired by space exploration, the Mojave Desert, biomimicry, biomorphic design, and DIY culture. She has an MFA from Art Center College of Design and has taught new media at UCLA, Otis College of Art and Brandeis University. In 2019, she was artist-in-residence at the North Dakota Museum of Art’s McCanna House and at Buckwheat Space in Morongo Valley, CA.
perfec-art.com/claudia-bucher
The Great Cleansing of the Rio Grande (September 17, 1987 to April 17, 1994)
Mazeaud weaves together her roles as a ceremonialist, a cultural peacemaker and a heartist to create sacred artworks and performances. In The Great Cleansing of the Rio Grande,the artist walked the tributary Santa Fe River monthly doing a literal cleaning and a symbolic cleansing over a seven year period, which she describes as a performative pilgrimage.
Dominique Mazeaud came to the United States from France in 1967. She lived in New York City for twenty years where she worked as a director of a fine art gallery. In 1979 she attended Experience Week at Findhorn, the ecovillage in Scotland, where she learned about sustainable living. In 1987 Mazeaud moved to Santa Fe, New Mexico. Her encounters with vast river beds here have since inspired over twenty peformative projects to date, including: The Great Cleansing of the Rio Grande 1987-1994; The Most Precious Jewel 1998-2002, a participant based interactive piece where beads are stiched on a fabric globe of the earth on the Santa Fe Plaza; and 60 Water Weaving Women 2008/2009, a ritual performance at the Capitol building in Santa Fe.
Public Lunch, 1971
Bonnie Ora Sherk refers to her early performative artworks as Environmental Performance Sculpture. For these works the artist either used found environments or environments that she created, sites systemically integrated with performative elements. For her Sitting Still Series, which culminated with her performative work Public Lunch in 1971, the artist ate a meal in a cage in the Lion House at the San Francisco Zoo adjacent to the cages of the lions and tigers. The piece began at the public feeding time of 2pm on a Saturday. Sherk was let into the cage in the same way as the other animals, from an outdoor cage through a door that opened automatically and then closed again. She was one of the animals being fed on that Saturday, which was a surprise to most of the spectators who had come to see the Zoo animals eating.
Bonnie Ora Sherk is a San Francisco and New York-based environmental performance sculptor, landscape architect, planner, educator, and founder of A Living Library, a project that engages communities in creating unique ecological transformations. Her pioneering conceptual performances in the 1970s evolved to become systemically integrated community programs and/or hands-on, transformative, interdisciplinary curriculum – always relating directly to the place. She was the founder of Crossroads Community (the farm) in 1974, a pioneering, urban agriculture, environmental education, multi-arts, community gathering place that incorporated a major freeway interchange in San Francisco.
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Photography at first sight
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Isabelle Le Minh: A Dada archeologist of photography
The Christophe Gaillard Gallery in Paris is showcasing several emblematic works by Isabelle Le Minh. The exhibition Before Something New is an insight into the photographer’s approach: it examines her exploration of the photographic medium as well as reflects on the possibilities of photography’s renewal.
Isabelle Le Minh started out as a patent engineer and got her degree in photography in 1993. Her first career has left a trace in her work: she deploys her skills as an inventor to examine the photographic medium and its life over time. In an interview given to Arte in 2017 she said that the emergence of digital photography was decisive to her approach: “what will it change, what difference does it make with respect to traditional analog photography?” She tackled this question for the first time in Trop tôt, trop tard (After Henri Cartier-Bresson), a series in which she began to define her style by experimenting with citation and appropriation. In these photographs, she drew on the works of Cartier-Bresson which she modified, removing any human presence. Starting with the oeuvre of Cartier-Bresson, who formulated the idea of the “decisive moment,” Le Minh examined the effects of digital technologies on this moment which one could now create from scratch.
Questioning post-photography
The title of the exhibition, Before Something New, evokes the idea of reflection on post-photography which the photographer pursues in her latest series Traumachrome. Le Minh set out to photograph the Kodak Company headquarters in Rochester, NY, and document the decline of the brand using its iconic black-and-white Tri-X film. As she was scanning the film, the images became streaked with yellow and red (Kodak’s company colors). The photographer did not hesitate to assume this unwittingly initiated dialog with the history of photography in order to better examine the development of the medium.
Le Minh’s dialog with the history of photography does not stop at works and artists, but also addresses the medium’s technical and theoretical dimensions. This is the case, for example, of Life Time: After Robert Heinecken, which subverts the Time-Life encyclopedia (a multivolume publication produced in the 1960s and aimed at young photographers) by digitizing it and then re-photographing it, this time using analog film.
A tribute to the early photography
Halfway between photography and conceptual art, employing playful techniques, subversions, allusions, and superpositions, Isabelle Le Minh gives proof of extensive knowledge and understanding of the history of photography. By interacting with the past, she foregrounds the forgotten beginnings of photography. Rather than merely paying it a tribute, she brings it back to life, albeit in her own way.
By Sophie Puig
Before something new, Isabelle Le Minh
From September 7 to October 12, 2019
Galerie Christophe Gaillard, 5 Rue Chapon, 75003 Paris
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Having a hospital transformed into your house might sound a little bit strange and creepy, but looking at these images there’s nothing weird about them. This contemporary apartment in Battersea is making use of the hospital’s bright ambiance and modern furniture to create a charming interior that would be perfect as a bachelor pad. The talented designer also has managed to come up with a contrast trick with the furniture, exposing the apartments conventional (but attention drawing) brickwork. But the most stunning feature of them all is the 360-degree view roof terrace that you can enjoy staying on during the hot summer days or to view a movie with your loved one — just like in the movies. Creative redesigning, eh? –
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Cascade Brewing’s rebranding efforts were rewarded this week as Portland design firm Murmur Creative received the MAX Award for branding on behalf of its work with the brewery; the award was presented at the 2018 AMA MAX Awards Ceremony, held on Feb. 7 at Revolution Hall.
The AMA MAX Awards honor the work of the eclectic mix of marketers, creatives, freelancers, entrepreneurs, strategists and innovators in the Pacific Northwest. Murmur was specifically awarded for creating work that reflects the direction and intent of an intelligent business strategy.
“Cascade creates artisanal beers and they needed a new logo and packaging to truly showcase that level of quality,” explained Andrew Bolton, Murmur Creative Director. “Their logo also needed to reflect their place in Portland’s rich craft brewing history and their packaging had to help customers to visually distinguish between their three tiers of sour beer while maintaining clear brand aesthetics.”
According to Tim Larrance, V.P. of Marketing and Sales for Cascade Brewing, “When we first set out on this journey for a new brand and identity, we were pretty well set on what we wanted with regard to a particular look and feel. But after just a few meetings with the Murmur team, they opened our eyes to a whole new direction. After seeing their concepts, we completely ditched our previous ideas and let Murmur take control and guide us to where we need to go.”
Murmur set out to create a new brand aesthetic that felt both accessible and high end. The final design referenced the beer crafting process in the new branding and also created packaging that positioned the brand for less customer confusion and better sales.
The new logo featured the top view of a barrel in the shape of a C, paying homage to the brewery’s barrel aging process. A hammer and spigot was added, representing the tools used to tap the barrels, while also lending a playful nod to Cascade’s revolutionary influence on Portland’s beer scene. The “A” in Cascade was designed to mimic the nearby mountains in the Cascade Range, from which the brewery gets its name.
In addition to the logo, Murmur Creative designed three distinct label formats, one for each of the three tiers of products the brewery produces. The three tiers are based on the ingredients used in the beer, the time the beer is aged in the barrel, and the type of barrel used – all of which establish the pricing tier of the project. Each beer within each tier features its own color to delineate between brands; overall, the three tiers use the new branding to position for three slightly different markets.
The highest tier label showcases a woodcut inspired design with illustrated flourishes and stamped foil to communicate value. The second tier label features a watermark background and the third tier is rendered in brighter colors to highlight their accessibility.
“The logo and packaging work together to create an overall high end brand that evokes the craft and history of Portland beer,” explained Murmur Creative Director Andrew Bolton. “The impression is one of regional history, artistry, and uncompromising craft. It’s Cascade in a bottle.”
Larrance was impressed not only with the end product, but also the communication along the way. “The constant discussion on the fine tuning of this project worked really well to come to a final brand idea in a timely manner. From start to finish it was just over six months, which was half the time we were expecting.”
This rebrand project, which debuted one year ago, was one of the most important undertakings that Cascade has ever been a part of. “Cascade has a worldwide following, and many people know us by the old labels and logo; change can be hard for some people,” noted Larrance. “But in the end, we have seen an overwhelmingly positive response to our rebrand; I would say that 99 percent of the feedback we get is very favorable.”
About Cascade Brewing
Cascade Brewing has been a pioneer in the sour beer renaissance since 2006 and is the proud innovator of the Northwest Sour Ale. Its distinctive sour beer blends feature fruit forward, barrel-aged ales with an emphasis on project year-to-year variation. The beers offer a complex array of flavors derived from the acid, the fruit and the residual flavors present in the barrels in which they age; each project year captures the unique subtleties of that year’s growing season. Cascade Brewing ales are brewed and blended in Portland, Oregon. For more information, visit CascadeBrewing.com and join the brewery on social media @CascadeBrewing, #CascadeSours. Cheers to the sours; enjoy in a profoundly wise manner.
Be sure to follow us on Social Media to get to see our beer adventures live as we invade more breweries and discover more awesome craft beers from all over the world! Cheers humans!
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About The Author
Raymond Melendez
Co-Founder / Editor-in-Chief
Co-Founder of Beer Alien. Raymond Melendez is the Founder and Editor-in-Chief for Local San Diego Metal website sdmetal.com. Besides Heavy Metal music, Raymond is also a movie buff and Craft Beer enthusiast. Which it's why he is also the Founder and Editor-in-Chief of Popular Movie Review website 'MovieFloss.com' and Co-Founder of Craft Beer website 'BeerAlien.com'.
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The National Portrait Gallery loans six works to The Box - The Box, Plymouth
By: Jo Clarke
Added: 21 September 2021
The National Portrait Gallery is loaning six portraits of the nation’s best-known historical characters to The Box from 25 September until 6 March 2022 as part of its National Skills Sharing Partnership programme.
This is a rare and exciting opportunity for visitors to explore the National Portrait Gallery’s treasured Collections while it undergoes its transformational Inspiring People redevelopment. The National Skills Sharing Partnership programme, funded by the National Lottery Heritage Fund and Art Fund, will see the National Portrait Gallery work with 12 museums and galleries across the UK, to create a network involving exchanges, mentoring, seminars and the chance to collaborate on exhibitions and displays.
The six works that are coming to The Box will be shown in its 100 Journeys gallery, which highlights Plymouth as the starting point for some of the world’s most famous expeditions and voyages. The works include depictions of Captain CookCharles DarwinNapoléon BonaparteSir Francis Drake and Sir Walter Ralegh all of whom took part in or led some of history’s most momentous and notorious voyages.
The portraits – many of which have not been on display for a long time – will be exhibited amongst The Box’s significant collection of breath-taking original explorer materials from voyages of exploration and scientific discovery, including Sir Francis Drake’s sword, globe and drum, Scott of the Antarctic’s skis and mittens and Darwin’s sextant from the Beagle, as well as letters written by Ralegh and archival material from Plymouth’s anti-slavery movement.
The National Portrait Gallery works include a portrait of the British explorer Captain Cook shown in his uniform as a naval captain painted by John Webber, the official artist to Cook's last voyage which set sail from Plymouth to the Pacific in 1776. Two lithographs of naturalist, geologist, and originator of the theory of evolution Charles Darwin whose voyage of discovery aboard HMS Beagle started from Plymouth in 1831 will also be on display. One is by 19th century caricaturist Faustin Betbeder, while another titled A Venerable Orang-Outang: A Contribution to Unnatural History by an unknown artist was first published in the Hornet in 1871 by Frederick Arnold.
Having been famously imprisoned aboard HMS Bellerophon in Plymouth Sound in the summer of 1815, Napoléon was subsequently exiled to the remote Atlantic Island of St Helena. Painter and diarist Benjamin Robert Haydon (born in Plympton St Maurice, just outside Plymouth) was a great admirer of Napoléon, painting dozens of pictures of him. He even bought his death mask and tried on one of the emperor’s hats, which to his delight, fitted exactly. His portrait of Napoléon is contemplative and reflective, as he muses on his fortunes and misfortunes.
Also on display will be a rare bromide postcard print of Scott of the Antarctic. Memory of the Antarctic Heroes was published in about 1912 by the Rotary Photographic Co Ltd and depicts the Plymothian explorer who became the first British man to lead an expedition to the South Pole in 1912. Additionally, an etching by James Barry titled Triumph of Navigation dates to 1 May 1791 and depicts James CookSir Walter Ralegh and Sir Francis Drake grouped together.
Councillor Mark Deacon, Cabinet Member for Customer Services, Culture, Leisure and Sport said: "We’re delighted to be collaborating with the National Portrait Gallery as part of this national partnership and to be able to display works of such well-known historic figures at The Box over the next few months. The objects in the 100 Journeys gallery already help us tell some fascinating tales about Plymouth as a point of arrival and departure. These new loans will enhance the displays and the experience for our visitors even more."
Dr Nicholas Cullinan, Director, National Portrait Gallery, London said: "We are delighted to be partnering with The Box on the National Skills Sharing Partnership as part of our transformational Inspiring People project. By working collaboratively with museums and galleries in this way we hope to encourage exchange of skills and knowledge which will benefit both museum professionals and our audiences, and to develop collaborative displays which will make our portraits accessible to many more people across the UK."
The relationship between The Box and the National Portrait Gallery dates back to 2007 when Plymouth’s former Museum and Art Gallery hosted ‘Snowdon: Iconic Portraits’ as part of the DCMS/DfES Strategic Commissioning Programme. The partnership also saw further exhibitions, ‘Family Album’ (2008), ‘Writers of Influence: Shakespeare to J.K. Rowling’ (2010), ‘Comedians: From the 1940s to now’ (2011) and ‘Laura Knight Portraits’ (2014) displayed in the city.
The new loans can be seen in The Box’s 100 Journeys gallery from 25 September until 6 March 2022. Opening hours are 10am-5pm Tuesday to Sunday. Admission is free and there is no need to book a ticket in advance.
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Artist unknown
Hua-yan Ching Pu-hsien Hsing-yuan Pin (Book of Sudhana, from the Garland Sutra)
16th century - 17th centuryartist unknown
Creator Nationality: Asian; Far East Asian; Chinese
Creator Name-CRT: Artist unknown
Title: Hua-yan Ching Pu-hsien Hsing-yuan Pin (Book of Sudhana, from the Garland Sutra)
View: front
Creation Start Date: 1500
Creation End Date: 1699
Creation Date: 16th century - 17th century
Object Type: Books
Materials and Techniques: woodblock print on paper
Dimensions: H.16-1/16 x W.4-3/8 x D.5/8 in. (closed)
Inscriptions: MARK
AMICA Contributor: The Minneapolis Institute of Arts
Owner Location: Minneapolis, Minnesota, USA
ID Number: 98.71
Credit Line: Gift of Ruth and Bruce Dayton
Rights: http://www.artsmia.org/restrictions.html
The final chapter of the Garland Sutra was considered essential reading for all Buddhists. It concerns the Indian boy Sudhana who, while searching for knowledge of the Buddhist law, sought advice from 53 different bodhisattvas. Finally, the bodhisattva Samantabhadra taught him his ten great compassionate vows and how to fulfill them in order to attain enlightenment.
This woodblock printed edition features a printed frontispiece in which a large seated Buddha is shown surrounded by thirty followers. Following the frontispiece is a colophon wishing prosperity and long life to the emperor. The seventy pages of text contains three large red temple seals.
AMICA ID: MIA_.98.71
Component Measured: overall
Measurement Unit: in
AMICA Library Year: 2002
Media Metadata Rights: ? The Minneapolis Institute of Arts
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Lifting the lid on GPMD's fresh new look
The new GPMD branding and business cards
As we approach our 20 year milestone in December this year, we thought it was time to freshen up our branding.
GPMD logos, old and new
We have essentially had the same yellow logo for over 10 years and it’s served us well. I am sorry to see it go, but also excited by the re-branding done by our very own Matt Bailey, who had this to say:
“Re-branding GPMD has felt a bit like a coming of age. These days we are somewhat older, a touch wiser and, hopefully, the new identity reflects this. It was time to say goodbye to the ‘fun’ yellow branding, and to introduce a more grown-up aesthetic.
It’s true that in recent years there has been a general ‘Helvetica-isation’ of brand logos, but for good reason - design trends come and go, but some things stay consistent, such as the appeal of a good geometric sans-serif typeface. They are able to strike a balance between functionality and craftsmanship, and a warm and friendly personality. Also part of the new logo is the dot-motif and new colour palette.
The speech bubble in the old logo was somewhat limiting, in meaning and in application. But the simple elegance of the dots and new palette opens up many more design possibilities. I am looking forward to seeing where this re-branding journey takes us.”
The new GPMD website
On reaching this milestone we have taken the opportunity to make some changes, not only to our branding, but also to our values and business strategy. Our new branding reflects a renewed drive and focus for us, delivered by a very experienced team.
This is just the start though - we are currently reworking everything from internal processes, quality control, and growing our team. I am also taking the opportunity to reflect on the first 20 years of GPMD - look out for the (rather long) blog post in December…
We use cookies for analytics and marketing purposes. By continuing to browse our website you agree to their use.
For more information please read our privacy policy.
I Understand
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Morro Bay Women’s Workshop
Waiting a year for the Morro Bay Women’s Workshop didn’t stifle any of our fun. We spent four fantastic days photographing the ocean, wildlife, harbors, and of course, Morro Rock. We spent four days capturing sunrise, sunset and everything in between. Don’t worry, I always offer a little down time and image critiques. We managed to schedule three image critiques throughout the four days.
A highlight to many photo workshops (and definitely the Morro Bay Women’s Workshop) is the time bonding behind the camera and in social settings like meals. For example, we found many great restaurants to taste local seafood and baked goods. We had a blast! If you haven’t been on a women’s workshop, here is a photo gallery of our trip. To learn about our next workshop visit ahps.org.
Wildlife Photography – Practice
Wildlife Photography image of a cormorant
Practicing at local ponds prepare me to capture this Cormorant in Morro Bay, CA.
Photography is like any other hobby – to improve you need to practice and this is especially true with wildlife photography. To practice my wildlife photography, I love to visit local ponds and zoos in my area. After all, I’m not much of a tracker, so I go where it is easy to find the animals. That way I can practice camera settings, technique, and composition to prepare for when I see animals in the wild. Fortunately, there are several ponds near my house with a variety of waterfowl and birds to practice photographing.
My Gear
Along with my camera, I pack a long lens (100-500mm range). My favorite Olympus lenses are the 300mm f/4 and the 40-150mm with a 1.4x extender. If I am photographing at a zoo through fences, I prefer the 300mm. Longer focal lengths eliminate the fence better. My gear is in my hand, or my backpack and I make sure to include extra camera batteries, memory card, water, and snacks. Sometimes I will use a monopod, but not if there are a lot of people around.
My Settings
African Lion image from a zoo.
This lion image was captured through a fence at the Wildlife World Zoo.
Setting the shutter speed correctly is crucial in wildlife photography. Generally, you have two options – a fast shutter to stop the action (like wings in flight) and the shutter speed should be at least 1/2000 sec. The second option is a slower shutter speed for panning shots. Panning requires a little more practice and the shutter speed changes depending on the speed of your subject. For example, 1/30, 1/60, 1/125 sec are shutter speeds I have used on wildlife. So, once you decide on the vision of your photo, set the shutter speed.
Focus is most often in continuous and either a single spot or a small group of spots. Birds flying in the air are easier to focus on using multiple spots. But to focus on a bear’s eye, the single spot is best. Get eye level with the animal to capture the strongest possible image. Below are a few images from zoos, ponds and my backyard.
Next time you have the opportunity – go out and practice!
Dandy Dandelion
Every spring we remove those pesky dandelions from our yard. This year, before the weed & feed came out, I picked a dandelion to photograph.
As a child, I enjoyed blowing the dandelion seeds everywhere, not grasping why it upset my parents. As an adult, when I look at a dandelion, I imagine myself wandering through those tiny seed pods; maybe it comes from reading The Borrower’s or Dr. Suess’s, Horton Hears a Who. So, I spent a few days photographing dandelions from my yard and I thought I would share my process with you.
Olympus OMD 1 Mark III, 60 mm macro, with Raynox DCR250 close up lens, 1/200 sec, f/4, ISO 200, two off camera flash, 50 image focus stack.
I started with a perfect, fluffy dandelion. But the image was busy and I struggled seeing into the seed pods, so I removed some of the seeds to gain a better vantage point. Using my macro lens, tripod and a Raynox DCR250 close up lens, I captured the above image at approximately 2.5x magnification. The off camera flash units were at 1/64 power with diffusion (copy paper). At this magnification, I chose to focus stack so that the closest seed pod would be in focus.
Next, I moved in closer keeping my exposure and flash settings the same. By adding extension tubes to the macro and Raynox lenses, I isolated an individual seed pod achieving almost 4x magnification. When using the Raynox, I use a plastic container on the end of my lens to diffuse the flashes. Anyone that has taken our Arizona Highways PhotoScapes Super Macro workshop (ahps.org) has used this diffusion technique. For these next images, I included my super macro setup and the single seed pod image.
Then, I continued to play with the dandelion seeds, pulling some away to reveal less seed pods drawing me to different compositions. The colored paper background added variety and I chose to capture single images with varying depths of field.
No Flash
Dandelion with green background
1/60 sec, f/4, ISO 200
While setting up the next shot, I added a continuous light to the background and loved the silhouetted dandelion. So, I turned off my flashes and captured silhouettes with and without extension tubes. Much to my surprise, I found a bug crawling around in the dandelion. It took a lot of twisting and positioning in front of my lens, but I finally captured the bug in the seeds. The final bug image expressed my original intent – as if I was that bug within the dandelion.
So, if you are looking for a project, find something simple around your house and keep “working the subject” by changing settings, lighting, backgrounds, etc until you achieve what you want. These images were captured over the course of three days. When I take on new projects, I like to review, reflect, and then reshoot several times. Regardless, have fun and I hope you enjoyed reading about my process.
dandelion in grass
iPhone photo.
High Key Effect
Some days, I just need to play in Photoshop. After spending a couple of hours at Lake Mary with my son and his new dog, Ryder, I had many fun images, but, the lighting was harsh. We went in the middle of the day and to compensate for the harsh light, I used center weighted metering to expose for the shadows. The images were okay, but I decided it would be challenging and different to create a high key image.
After making basic adjustments in Lightroom, I pulled the image into Photoshop. Here I opened the Silver Efex Pro plugin and chose the high key preset. That gave me the basic look but I felt it needed a few finishing touches. So, I added a dodge/burn layer to lighten and darken areas at whim. If you haven’t created a dodge/burn layer, it is very easy.
Hold down the Alt/Opt key while adding a new layer in Photoshop. change the blend mode to Overlay and then check the box to fill the layer with gray. Now, use a white brush to dodge and a black brush to burn in details. You will want to drop the opacity of your brush to 10-15% so that your dodging/burning is subtle.
That’s all it takes to dodge and burn in Photoshop. Next time you are working on images, take a few minutes to try something different – maybe you will like it?
Abstract Art with Flash
abstract colored paper
Olympus OMD1 Mark III, 60 mm macro, 1/60 sec, F/8, ISO 200, 2 off-camera flash.
Paper – check; off-camera flash – check; flash gels – check; macro lens – check. Grab those supplies and you are ready to capture abstract art. My YouTube video isn’t ready yet, but I couldn’t wait to show you how to capture these images.
Step-by-step
Let me take you step-by-step through capturing these images:
camera setup shooting abstract paper
Notice the two flashes facing each other? Each with a
different colored gel.
1. Grab white computer paper and roll or curl it to a desired shape, then either staple or paper clip it so the shape holds in place.
2. Place two off camera flashes facing each other pointing toward the paper (see image). A good starting point to the flash power is 1/32.
3. Add a gel to each flash. I used a red and a blue.
4. Set your camera on a tripod and focus on the front edge of the paper. I used Manual exposure, 1/60 sec, f/5.6 to f/10 and ISO 200.
5. Take a photo.
6. Review your image checking the histogram and composition. Adjust camera settings as needed.
7. Now, modify your shape or change gel colors. The images below represent some of these changes.
Example images
Image A: For this image, placed one flash with blue gel on the background (wall) and a green felled flash on the paper. Olympus OMD1 Mark III, 60 mm macro, 1/60 sec, F/10, ISO 200, 2 off-camera flash.
Image B: This image uses an orange gelled flash from the left and a purple gelled flash on the right. I added small curls of paper in my loops to create different shapes. Olympus OMD1 Mark III, 60 mm macro, 1/60 sec, F/10, ISO 200, 2 off-camera flash.
Image C: Here is the looped paper and added curls to create image B.
Gels are transparent colored material placed on the flash unit. Purchase them where you purchase lighting equipment. If you find the Rosco Swatchbook in stock – buy it! The swatchbook gels are sized perfectly for flash units and includes a variety of colors.
Water = Camera Insurance
Pumphouse Wash water pool.
The memory card survived the water!
Olympus OMD 1 Mark III, 12-100mm lens,
1/200 sec, f/7.1, ISO 200.
On a recent hike with my husband through Pumphouse Wash I dropped my two-month-old camera. The hike required wading through many thigh-high polls of water, and I was careful while wading. Hiking was slow through the water, so after three hours of hiking, we turned back toward the car. That meant wading through the pools of water again. The walk-able ledge on the last pool meant we would stay dry, well that was the plan anyway. Somehow, my pack was open and my camera took a swim. I watched it submerge 18” under water, so I jumped in too. As I grabbed the camera strap the lens broke off and water gushed inside the camera. After getting the camera, I spotted the lens wedged between two rocks and retrieved it. I pulled the battery and memory cards from the camera immediately, hoping to keep the images from the hike.
Broken camera lens
Broken lens with water inside.
Once on dry ground, I wrapped the gear in a towel, and we hiked the last 1/3 mile back to the trail head. At the car, I opened every compartment to dry them out and knew Monday I would call my insurance company. Almost ten years ago, I purchased a policy from State Farm Insurance to cover my gear since I own too much camera gear for a traditional homeowner’s policy. On Monday, I called in my claim. A few days later, a claims adjuster called and by the end of the phone call, he issued me a check for the full value of my gear minus the $100 deductible.
Camera in bag of rice
Camera in rice to dry out.
Hopefully, this event got you thinking about insuring your gear. My policy cost $20/month and with over $3000 replaced gear, insurance was a wise choice for me. Not only can you get a special policy through most homeowner’s insurance agents, but many photography organizations offer insurance as part of your membership. Here is a short list of options for insurance, but there are many more.
• PPA – Professional Photographers of America
• PSA – Photographic Society of America
• NANPA – North American Nature Photography Association
• Howard Burkholz of Allstate
New Olympus camera gear
I contacted Olympus to see if a repair was possible. Although they couldn’t say for sure without evaluating it, dropping the camera in water void the warranty. While I waited to hear from my insurance agent, I placed the camera in a bag of rice. I’m glad I had insurance.
Walking with Ryder
Francis Short Pond with the San Francisco Peaks in the background. Olympus OMD1 MIII, 31mm, 1/160 sec, F/10, ISO 200
Our son, Austin adopted a dog last month. Ryder (dog) is a great addition to our home and we walked him day and night for the first few weeks. Most of these walks were to Francis Short Pond, a ½ mile from our house and easy to maintain social distancing. Here are several photos from these walks.
Photographing Water in Oak Creek
Oak Creek at Slide Rock State Park, water
Oak Creek at Slide Rock State Park
Spring Break started with the announcement of a pandemic and the cancellation of, well, everything. What was a week of photography, workshops, and relaxation became stressful, instantly. My husband saw my stress and suggested a road trip through Oak Creek Canyon to Slide Rock State Park. Water in nature always calms me and the brisk March afternoon meant we had the place to ourselves.
waterfall at Slide Rock State Park
Olympus OMD1 MIII, 57mm, 2 sec, F/18, ISO 200, Bryan Hansel Waterfall Polarizer.
We hiked down to the creek noticing a waterfall we didn’t remember on our last visit in October. Since it was a cloudy afternoon, I used the Singh-Ray Bryan Hansel Waterfall Polarizer to blur the water. Next, we found moss under the bridge too. The contrasting textures from the exposed tree root and bright green moss drew me in. Therefore, it was time for the macro lens. After several different compositions, I used the 60 mm macro lens for a close-up image instead of capturing a 1:1 macro image.
Green moss and tree root
Olympus OMD1 MII, 60mm, .6 sec, F/10, ISO 200
Next, we walked down the west side of the creek and I noticed the ripples in the water. When photographing patterns like these, it takes me a few attempts to find the right shutter speed. Let me take you through my process. In the images below, number one is with a shutter speed of 1/30 sec., just slow enough to look blurry. Image number two used a shutter speed of 1/3 sec. creating an abstract image about the ripples. That was what I wanted: the right shutter speed to tell my story. Lastly, I adjusted the composition. Image number three used a shutter speed of .4 sec. and the blurred water ripples lead the eye through the frame.
Our short trip to Slide Rock State Park was a success. I walked away with a two photos I loved and two more that I really enjoy. That’s a successful shoot to me and to think the day started out stressful.
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Walter Robinson – Souvenir
In stock
Artwork Description
Walter Robinson – Souvenir
Dimensions: 68 x 18 x 4″
Year: 1996
Media: polychromed wood
Souvenir by Walter Robinson embodies all the essence of Robinson’s artistic practice. Spending time listening to his own thoughts is the key to problem solving in his life. Souvenir is a tribute to the artist’s father after his death. Walter’s father served as a cryptographer during the Cold War, a fact that played a major role in the artist’s work and career. Robinson’s art is full of visual metaphor and word play; each work is a surreal puzzle waiting to be solved. The key represents Robinson’s attempts to decipher the codes embedded in textual and visual language, as well as the secrets imparted to him by his father.
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Surfing Madonna Mosaic Draws Mass Following
By: Julie Watson, Associated Press
ENCINITAS, CA (AP).- The surfing Madonna appeared just before Easter weekend and has been stirring a soulful debate in this Southern California beach town ever since. The striking mosaic of the Virgin of Guadalupe riding a wave was affixed to a wall under a train bridge by artists disguised as construction workers in April. It technically is graffiti that should be removed under the law. But the surfing Madonna’s beauty is drawing a mass following, and even city officials who say she must go acknowledge they too have been taken by her. They have spent thousands to hire an art conservation agency to find the best way to remove her without causing damage. The 10-by-10-foot rock and glass mosaic poses an interesting dilemma over whether a city should spend lots of money to get rid of artwork
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Winsor & Newton Professional Cotton Canvas Traditional 40inch x 30inch Box of 5
Save 15%
Winsor & NewtonSKU: 7516000615
£180 £211.75
This Professional Cotton Canvas is part of the Winsor & Newton range and measures 40 inches x 30 inches and comes in a box of 5 canvases in total. Each canvas consists of carefully chosen and prepared pre-stretched canvases made from cotton duck guaranteeing outstanding and premium level quality.
They have a heavy weight medium grain cloth and are 480gsm making them very dense with a well balanced absorbency and tooth which has perfect adhesion qualities for oil and acrylic based paints. The 5 canvas included are triple primed consisting of two coats of primer and one of Winsor & Newton sizing.
The reverse side of the canvas has been stapled giving neat edges and the ability to paint on all four sides of the canvas as it's so taught. The depth measures approximately 18mm and the stretcher bars for the frame give great stability and endurance to the whole surface.
- Brand: Winsor & Newton
- Size: 40 inch x 30 inch / 101.6cm x 76.2
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Peta Collett – Wallpaper and Pattern Designer
This story first appeared in Design Online in February 2015.
Peta Collett’s ‘Australica Tropical Delight’ celebrates the hibiscus flower and leaf.
Peta Collett’s ‘Australica Tropical Delight’ celebrates the hibiscus flower and leaf.
PETA COLLETT’S observation of human behaviour blends with her observation of the minute details of nature to form an innate understanding of what makes someone tick and what it is they need.
Design is at the core of her being, intertwined with resilience and a love of learning. Her career spans contemporary fashion and bridal couture when she started hand painting on fabric, to surface pattern design and millinery. She is one of the first rural women in Victoria, Australia to develop a fashion website and is a successful author with her first book, …And Flourish, available in 20 countries. The book, about Collett’s journey of overcoming personal challenges, first sold internationally three months after its launch in the USA.
Collett works from her rural home near Red Cliffs and Ouyen in north-west Victoria. She has lived in the region for more than 20 years and is used to the long drive to Melbourne which she does often. “I’d rather drive five-and-a half hours than get a plane,” she says. “My husband can’t understand that because he is always driving but I enjoy that thinking space. When you drive you see so much more. You see that little old stone church or that beautiful tree with purple flowers.” It’s these details which she files in her memory during the long drives and retrieves at a later date when developing sketch designs.
Collett has always been a “country girl”. After growing up in Gippsland in south-east Victoria, she moved to Melbourne in her early 20’s and then went to Perth to train in colour analysis and theory. This course laid the foundation for her career. But it’s the inspiration she gets from those long drives, the red desert sands near Red Cliffs and the lush underwater seascape and colour combinations of the Great Barrier Reef which Collett develops into wallpaper and textile patterns. Her detailed sketches of the environment and its natural colour combinations have resulted in an enviable collection of rolls of original drawings and a handy reference file. “I pull them out when I need them and when I’m ready to work on something else,” she says.
Collett then reviews the designs and colour combinations and refines the designs by hand. She then creates pattern repeats using a computer program. “In my head I have probably worked out three seasons ahead which sounds a lot but is not really.” Collett has always travelled for inspiration but it is only in the last couple of years that she has begun to finetune what she is best at. Her work is unique and intuitive and she strives to keep it that way.
Australica evolved out of a conversation with a friend who had lived in Australia,” Collett says of her new range of wallpapers and co-ordinating cushion collection which she will launch at Decor + Design in Melbourne this July. Vibrant and unique, the range encapsulates what she says she is best at. Her love of colour, pattern, print, textiles and paper is “rolled in together.” The artwork is defined by line work in “bold black texta” (felt-tip marker) and a blend of chalk pastels and colour pencils.
“I worked flat out there for a while just drawing up ideas,” she says. “I love getting my hands dirty on a big piece of paper and I’m not afraid to use colour or clash it.”
There are several colourways in the Australica range including vivid bold blues and softer pastels which will be revealed at the trade fair. Collett also looks to Pantone colours for inspiration while the mix of bold patterns are inspired by the vivid colours of the Great Barrier Reef and the wildlife throughout Port Douglas along the tropical north Queensland coast. As she travelled through the region, tourists often said that it was these things about the Australian environment that make it an exotic location.
“We are really quite exotic in colour and landscape so it’s really about how you put that together,” she explains. “If you go somewhere in the outback you are really looking at the exotic colour, that sunset and red dirt. And you see that cactus out in the middle of the desert which has that really vibrant yellow flower on it.”
The ‘Australica Lush’ leaf pattern looks great as a feature wall.
The ‘Australica Lush’ leaf pattern looks great as a feature wall.
Australica is inspired by the Australian lifestyle which, for Collett, represents freedom and independence and incorporates the landscape, particularly the exotic and the lush side of Australia. “It’s inspired by living in a green environment and inspired by listening to what people say,” she explains. When conversations turn to lifestyle, she has noticed that when people talk about what they need, it usually has something to do with getting back to nature. When she meets new people, the first thing they want to know is how large the farm is and if it’s green. It is. But the question is an automatic response following the worst of the recent Australian drought conditions.
“I listened to people say, ‘Yes one day we’ll have that piece of land with a house and a picket fence,’” she explains. “It’s all about green space and it symbolises that place of peace, that quiet place where you can go and click off.” She says Australica wallpapers can be used as feature walls in an apartment or restaurant as a reminder of where you want to go.
“I think people whether it’s conscious or unconscious, always look for those things to surround themselves with that motivate and inspire them. I know I do.”
Collett only recently framed up a panel of Australica Lush. Set in a black frame, she says the individual green leaf pattern looks vibrant on a black rustic wall. She is observant of minute details so the design picks up on the variation of colour and detail found in a hibiscus leaf and brings the flat plane to life. The hibiscus flower and leaf are the basis of the Australica collection while the graduation of colour in the Tropical Delight wallpaper is inspired by the sunset.
Tropical sunsets and hibiscus flowers are the inspiration for this design.
Tropical sunsets and hibiscus flowers are the inspiration for this design.
As a business woman, teacher and leader in her community, Collett has created pathways for young local women interested in fashion design through a short course scholarship she created and her relationship with the Whitehouse Institute in Melbourne. She also sat on the Sunraysia Student Excellence Awards for four years.
“I know what it is like for young people when they go to a city to study. They don’t know anybody and they’re not connected. I know what it’s like to have that lack of support and I hate seeing young people flounder because it is a waste of talent,” she says.
Collett’s life-long love of design has nurtured her creative independence and inspiration. With each desire to learn a new skill, she has either enrolled in courses or simply taught herself through trial and error. She calls these her ‘apprenticeships’ and she is not finished yet. In addition to her business, Peta Collett Designs and Styling, and her community involvement, she is also studying to be a qualified counsellor. She sees both disciplines as a drawing out process that requires working with people to find out what they need. They require resilience and forward thinking and the ability to move and adapt quickly – traits which Collett has in abundance.
“It’s not even a conscious thing,” she says. “It becomes so natural to build on and move forward and do something different.”
Australica Tribal makes a bold statement of colour and pattern.
Australica Tribal makes a bold statement of colour and pattern.
This entry was posted in Design, Profil
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Mohamed Bourouissa
Visiting tutor
Born in 1978 in Blida (Algeria), Mohamed Bourouissa lives and works in Paris (France). Mohamed Bourouissa describes contemporary society implicitly, by its contours. With a critical take on the mass media image, the subjects of his photographs and videos are people left behind at the crossroads of integration and exclusion.
Preceded by a long immersion phase, each of Mohamed Bourouissa’s projects builds a new enunciation situation. Unlike false simplistic media constructions, the artist reintroduces complexity into the representation of the margins of hypervisibility.
His work has been shown in numerous solo exhibitions, at the Kunsthal Charlottenborg in Copenhagen, at the Goldsmiths CCA in London, at the Rencontres d'Arles, at the Musée d'Art Moderne de la Ville de Paris, at the Centre Pompidou in Paris, at the Barnes Foundation in Philadelphia, at the Stedelijk Museum in Amsterdam, at basis in Frankfurt am Main, at the Bal in Paris, at the Haus der Kunst in Munich, and at the FRAC Franche-Comté in Besancon. He has participated in the Biennials of Sydney, Sharjah, Havana, Lyon, Venice, Algiers, Liverpool and Berlin and in the Milan Triennial.
In 2019, he is the recipient of the Deutsche Börse Photography Foundation Prize. In 2018, he was nominated for the Marcel Duchamp Prize. In 2017, he was selected for the Prix Pictet, an international photography prize. His work is held in major collections including LACMA in Los Angeles, the Centre Pompidou and Maison Européenne de la Photographie in Paris and the Stedelijk Museum in Amsterdam, as well as the Art Gallery of Ontario, Toronto and the Philadelphia Museum of Art.
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Design a visually sophisticated logo for a new international lifestyle brand
Mums baby wraps
Boho Vagabond
Lilly Pilly Baby
Logo for handmade baby clothes and accesories
Elchkids decor and accessories
Help me come up with an eclectic, whimsical, hand-drawn, bomemian logo for my flower shop!!
Candid Owl
Create a logo for a small business helping struggling young families. Baby Charmz!
Create a cute logo for our "Mini Me" kids boutique
Not Sorry a sexy lingerie company
Create Logo for Merchant
Graphic Designer for over 25 yrs.
Member since: February 07, 2014
Contests won
Runner up
1-to-1 Projects
Repeat clients
Mid Level
"Patti was amazing! She was extremely responsive to our requests, and went out of her way to make sure we got exactly the logo we wanted. I highly recommend her to a anyone. We love our new logo!!!"
Profile pictureMarissaJulia
"Patti did a fantastic job creating a logo that fit our vision and concept! She is so easy to work with and innovative. She had no problem switching gears as we asked designers to switch and always came up with spot on designs! She is extremely respon..."
Profile pictureMhc33
"Her design is elegant and creative. I don't believe It is just because of her sense of art or tool skills. I didn't ask her but it looked like she thought hard and spent much of time to make an creative and elegant output. We have created around 10 logo..."
Profile pictureat bizinone.com
"asset-design took the example I had in mind, and created a custom image that was exactly what I wanted, and provided multiple versions to be used on multiple backgrounds, which is perfect for my project."
Anonymous client
"Patti at asset-design made my vision of my business name come true! She nailed it! My logo is simple, sophisticated , and PERFECT! She worked with me with quick responses and made my choice easy!"
Profile pictureAmylynn1208
"I selected Asset-Design as the winner of my logo contest, and have used her on a one-on-one project. She is very creative, listens to my ideas very well, and is extremely responsive. I'm sure I will use Asset-Design for future projects."
Profile picturepoetdonald
"Rather than stalling on a single design, Asset Design kept trying different concepts until she identified one we likes. She then produced variations around this, and ultimately produced something just right for us. Thanks!"
Profile picturecmcthorne
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F L O R I A N . R I T T E R | Life without Limitation
sonova, jiao jiao, Florian Ritter, life without limitation, phonak
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The GEMBA Experience
The globally recognized USC Marshall MBA degree, from a business school consistently ranked among the top in the world. Plus the prestige of Shanghai Jiao Tong University (SJTU), widely recognized as a top-five institution in mainland China.
A film produced by Sonova recounts the story of a Chinese dancer with hearing loss – and how her dream comes true. The film crew travelled to wintery Harbin, China, for the shoot.
This film about a Chinese dancer is part of Sonova’s long-term storytelling concept. Individuals tell their stories and by their examples, show how they lead lives free of limitations with the help of hearing solutions from Sonova. Through these stories, viewers can experience how Sonova’s corporate vision is being turned into a reality. The films produced by Sonova only present authentic emotional portraits that transport the viewer into the world of each featured individual. This is why the ambience on the set feels like a documentary film shoot, where the aim is to capture glimpses of real life.
Jiaojiao Zhang’s story inspires courage. Despite her hearing loss, this dancer has already won national and international prizes – even though she is only 20. Achievements on this scale call for talent and iron discipline. “It hasn’t always been easy,” Jiaojiao admits in the interview. She speaks slowly, concentrating hard as she considers her words carefully. She’s not used to speaking into a microphone.
The soundtrack with her voice will eventually be synchronized with the images to guide viewers through the film. The images will also be backed with music played on Jiaojiao’s favorite instrument: the piano, whose clearly defined tones she can hear especially well. During the interview, Jiaojiao keeps moving the tip of her foot around in a circle on the floor. It’s as if her body is saying: “What are we doing here, sitting on a chair for hours and hours? Let’s dance!”
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University of Southern California
Florian Ritter
Florian Ritter
Elliot de Bruyn
Director of Photography
Florian Ritter, Elliot de Bruyn
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1. National
Masters' works in Nazi art find
Previously unknown artworks by masters including Marc Chagall, Otto Dix, Max Liebermann and Henri Matisse are among a haul of 1,500 paintings believed to have been confiscated by the Nazis and now found inside a flat in Munich.
View all 7 updates ›
Historian attempting to establish looted art owners
German art historian Meike Hoffmann has been trying to establish the origin and value of around 1,500 artworks found in Munich that were looted by the Nazis in the 1930's and 1940's.
One of the works was reported to be a Matisse painting previously owned by Jewish collector Paul Rosenberg.
His granddaughter Anne Sinclair, the French journalist and ex-wife of the former head of the International Monetary Fund Dominique Strauss Kahn has been campaigning for many years for the return of looted art.
More top news
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Saturday, June 25, 2022
A visit with Garner Holt
Judith Rubin, InPark contributing editor
The city of San Bernardino, Calif. regards animatronics leader Garner Holt Productions (GHP) as a local treasure and government officials were up front and vocal about it at the company’s June 12, 2010 open house. The sunset over the San Bernardino Mountains furnished a glowing backdrop as some 450 attendees mostly from the themed entertainment industry gathered in the company parking lot in front of GHP headquarters. The scene was made more festive by the presence of two GHP signature items: a 40-foot animatronic tarantula waving its tentacles and brandishing its fangs (part of the Backyard Monsters rent-a-critter menagerie) and Wendell, the animatronic unicyclist traveling back and forth on his high wire (in the 1980s, one of Garner Holt’s breakthrough creations and still pedaling).
In his remarks to the assembled crowd, San Bernardino Mayor Patrick J. Morris called upon Holt to produce a fleet of animatronic police officers. Bob Botts, mayor of nearby Banning declared Holt an honorary citizen of that town. San Bernardino city attorney James F. Penman and Karen Serrano on behalf of Rep. Jose Baca of the 43rd Congressional District likewise sang Holt’s praises as a good corporate citizen. On the attractions industry side, we heard from the likes of Disney veteran and animatronics pioneer Bob Gurr (he used the words “lifetime martini” to express the spirit of unicyclist Wendell) and Gay Blackstone, widow of magician Harry Blackstone (she brought greetings from Neil Patrick Harris). Holt’s parents were also in attendance.
The open house was held in connection with the Themed Entertainment Association. TEA members present included Phil Hettema and George Wiktor of The Hettema Group, TEA manager of member relations Brian Szaks, Lynn Allmandinger of Wells Fargo, Larry Tuch of Narrative Concepts, who is one of the organizers of TEA’s annual SATE conference, and TEA Western Division president David Aion of Aion Creative. Several past presidents of TEA were present, including Wiktor, Roberta Perry of ETI and TEA founder Monty Lunde of Technifex. Carole Mumford, former event planner for TEA, had just accepted a job with GHP.
From the podium Garner Holt spoke about various projects where GHP has applied state-of-the-art animatronics, ranging from Chuck E Cheese characters to dark ride figures for Universal Studios and other major theme park operators, to military training environments, educational touring exhibits for museums and zoos and of course, the cradle of animatronic civilization: haunted houses.
GHP employs about 80 people and plenty of them (several in costume) were on hand to talk about their work as open house attendees toured the animatronics company to observe the workings of the very specialized and complex design and fabrication processes by which animatronics are brought to seeming life. There were character heads and body parts everywhere… It was clear that employees at GHP relish the creative opportunities and challenges they find there and are engrossed in and proud of their work. Each project presents a new set of conditions to solve in design, execution and installation and Holt himself continues to take a hands-on creative role alongside his staff. “There’s a lot of talent in this company,” says Holt. “There are a lot of dreamers and artists who have found it is a place to collaborate with others. In their off hours, they’re back there building all kinds of neat stuff, and that feeds back 100% into their work for the company. It’s nice to see all their gears turning.”
Holt also regularly puts resources into animatronics research & development, and the latest manifestation of this is the Yeti, a creature nine feet tall and several years in the making, expected to step into the spotlight for the first time later this year. The GHP team is working hard to finalize the Yeti for a 2010 debut – to get this gentle, hirsute talking giant assembled and in full working order all the way from his powerful internal actuators to his extensively articulated appendages to his astonishingly mobile facial features – so that the industry can meet him and mull over the possibilities. According to Holt, the Yeti has 54 individual moves in his face and 164 functions in his body, and can “see” via a camera in his eye. Through the combination of an image database and his vision, the Yeti will have the ability to identify people, single them out to communicate with, track their locations and follow them around – a real party animal. He weighs 1,800 lbs and speaks in a Scooby Doo type voice. And he embodies what Holt sees as the future of animatronics: “Technology is causing the role of animatronics to change – it’s becoming more based on interactivity.”
Quotes from Garner Holt:
“Not a lot of clients or companies will pay for R & D, but we’re interested in pushing the envelope just for the sake of furthering the art.”
“I’ve pulled out all the stops with the Yeti: I may have gone a little overboard. He’s my child.”
“Video is not going to replace animatronics.”
“If the overall concept of a show involves animatronics, we should be there at the table during the concept stage. There are issues of practical implementation and systems involved: hydraulics, pneumatics, maintenance, infrastructure, safety. The environment needs to support the animatronics as a show element.”
“Robotics and animatronics are overlapping and we’re going to see interesting new manifestations in education, business, medical, industrial, military, role playing, training, retail and more.”
Photos: Garner Holt Prodns. Top to bottom:
Gilbert Lozano, GHP Sr. Sculptor introduces the Yeti
Garner Holt introduces Gay Blackstone
Wendell the animatronic unicyclist
Disney legend Bob Gurr
Bill Butler explains GHP operations to guests
GHP staffers: Holly Conrad adjusts her costume, her original creation. Tayler Hudson at her graphic arts station
Ben Schwenk in latex
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MMD > Archives > November 2003 > 2003.11.17 > 02Prev Next
Orchestrion Languishes at Public Museum
By Julian Dyer
Purely by coincidence, today's Times reports a new publication,
"Too much stuff? Disposal from museums", published a couple of
weeks ago by the National Museum Directors' Conference. This report
summarises the different issues involved in a most readable manner:
see http://nationalmuseums.org.uk/pr_too_much_stuff.html
The consideration for an orchestrion is probably "denial of
opportunity": while it doesn't work nobody can hear it. That can
be rectified by fixing it or passing it over (gift, loan, swap or
sale) to those capable of fixing it and then displaying it. Selling
to a private individual is not likely to improve opportunities for
the general public, for whom the museum holds the object in trust.
The record of British museums selling off unwanted stuff for cash
is fairly dismal -- they get rid of unfashionable or awkward items,
usually for far too low a price, and regret it soon afterwards.
Curators are rarely experienced dealers!
I like the report's suggestion that if cash is the aim (and it allows
that it might be, which presumably raises howls of protest in some
quarters), then sell off fashionable and well-known items, because
you'll get a high price for them, and those who pay high prices tend
to look after their goods.
The report notes that British public museums rarely (ever?) treat
their collection as a tradable entity to buy and sell to create the
best display, although this is commonplace in American art museums.
Julian Dyer
[ Sometimes I feel that many big private collectors in both Europe
[ and USA (those who welcome visitors and tours) also treat their
[ instruments as a tradable entity, although they don't speak in
[ such terms...
[ Found at http://www.nationalmuseums.org.uk/de-accessioning.html :
[ "Too Much Stuff?, published by the National Museum Directors'
[ Conference on 27 October 2003, is intended as a contribution to
[ the important, but often muted, debate on disposals from museum
[ "The paper, produced by an NMDC working group and approved by
[ NMDC directors as a whole, asks difficult questions. How do museums
[ justify retaining collections which are not well used or even well
[ cared for? Is it really always wrong, as the current Museum
[ Association Code of Ethics suggests, 'to undertake disposal
[ principally for financial reasons'? Is it always the case that the
[ public interest is best served by retaining every object that has
[ ever entered a museum within the public domain? Might not some
[ objects provide more enjoyment to more people out of a store and
[ in a collector's hands?
[ "Members of NMDC recognise that the questions of acquisition and
[ disposal of their collections go to the heart of what museums seek
[ to, and are able to, provide. They also understand the importance
[ of entering the debate on these issues while acknowledging both its
[ complexities and current legal restraints. This document, produced
[ by an NMDC sub-committee chaired by Mark Jones, Director of the
[ Victoria & Albert Museum, is intended as a contribution to this
[ The complete paper is available as a PDF document (417 kb) at
[ http://www.nationalmuseums.org.uk/images/publications/too_much_stuff.pdf
(Message sent Tue 18 Nov 2003, 01:07:36 GMT, from time zone GMT.)
Key Words in Subject: Languishes, Museum, Orchestrion, Publ
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I'm a documentary, blend-in-the-background style of photographer based just outside of Stroud, Gloucestershire in the heart of the Cotswolds. Mostly I shall be taking photos when you and your guests aren't looking but I'll help you pose for those special moments as well to make it as natural looking as possible. To me, natural equals timeless elegance and whatever type of photographs you are looking for, that's what I aim to deliver for you.
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Experience the Art of Middle Tennessee
Angel Kane - Kane & Crowell Family Law Center
WLM - Various works on display at the Art Center's Cultural MuseumThe Middle Tennessee region has a rich history in the arts. From the unique crafts that evolved from necessity, to the sounds of the old-time music passed down through the generations, Middle Tennessee has developed a distinctive style all its own. But, whether you enjoy live stage productions, artwork, or the diverse styles of pottery and jewelry created in the area, there is a place where you can find something for every interest.
The Art Center of Cannon County arose from humble beginnings through dedication and hard work from volunteers. Located in Woodbury, Tennessee, the one-time simple community playhouse slowly grew into what is now a hub for arts activities, creative expression and the preservation of the local arts and crafts.
“The organization started from several other organizations,” said Donald Fann, Executive Director of the Art Center of Cannon County. “The oldest was the Cannon Community Playhouse which started in 1980. The fi rst season was done in the Lion’s Club building. After that, they talked to the County, and the County gave them the basement of the old high school gym. The high school itself had burned down, and the gym was being used for various things. So, they offered them what was essentially the old coal room, or old boiler room. The organization shoveled out all the old coal, drug all the stuff out, found some old theater seats and built some platforms. For ten years they lived in the basement of the high school gym, with two poles right in the middle of the stage, with the basketball floor immediately above. The theater had a nine-foot ceiling and sat about one hundred people, and they rehearsed with a basketball practice going on right on top of you.”WLM - A scene from one of the many productions at the Art Center of Canon County
Fann says the early days of the playhouse were difficult, but a following was built up and the organization began to look to the future. “The organization built itself up at that point, and in that first ten years put away $60,000. Sometime around 1988 or 1989 they began looking forward to building an art center. The organization started a capital campaign for $300,000 to build the facility. The original facility was about 6,000 square feet as designed. They raised that $300,000 with only two gifts above $10,000. The rest were very small, very grassroots-oriented gifts that were given to the organization. They asked people to pledge over three years, and at the end of that three year time period well over ninety-percent of those pledges had been fulfilled.”
As the Art Center grew in popularity, other venues were added to the schedule. From doing a few shows a year, the Center grew to an event being held almost every weekend. “It was primarily four shows a year,” Fann explained. “We tried to build a really solid season ticket base at that point and probably ran 70 to 80 percent capacity in those days. We added a series of other self produced plays, for the Art Center Trust, and concerts so the two things went side by side.
Once the two organizations merged, we kept that and expanded, so now we have a concert series, we still have the stage door series, and we’ve added another series of shows on top of that. We’re basically doing something once a month now with a show pretty much every weekend.”
Fann says that after several expansions, today the 18,000 square foot Art Center serves around 40,000 people a year, including 12,000 students that attend student matinees. “We’ve worked really hard to expand the experience of just coming to the building outside of the show. I think the museum does that. Every time you come back, we want you to discover something new.”
The Art Center’s Cannon Cultural Museum is made up of three parts. One, the Robert Mason Historical Museum, focuses on Cannon County history, while another section focuses on a unique tradition of the area, the Caldwell Basket Collection. “The Caldwells collected Cannon County baskets for years,” Fann said. “As they downsized, they donated those baskets to us because they felt they needed to be in Cannon County.”
Fann says another part of the museum is the Self-Taught Art Collection, which was also donated by the Caldwells. “As we were negotiating for the basket collection, they said, ‘You know we have 700 pieces of folk art. Do you want any of that?’ So, now we have one of the largest collections of southern self-taught art in the United States.”
While the museum highlights the history and art of the region, the Art Center also hosts various exhibits throughout the year. “The exhibit we have up now is one of ‘homeless’ signs that were collected by a local gentleman when he was traveling around working in the fi lm industry all around the United States. He would buy the signs from the person and give them some cardboard and a Sharpie to make another sign. They’re really fascinating.”
“We also focus on local artists that theme with the show or, like we did last month, something that was themed with Mental Health Month. So, we had an artist that was schizophrenic that had committed suicide at 27, but his parents had collected all of his paintings. So, we had all those exhibited in the gallery.”
While the Art Center features several works of art and historical pieces, that doesn’t mean that you can’t walk away with your own piece of art. In addition to the White Oak Crafts Fair, which is held September 10 – 11 and is now in its 21st year, the Center features a gift shop where local crafters and artisans display their wares and offer them for sale. “Our crafts gallery or gift shop is our retail part of our organization,” Fann said. “We have artwork from local artists on consignment where people can come in and shop and buy. We also use it as a pointer. We have something we call the Crafts Directory that points people out to artist in their homes. So, if there’s something that you like, but it’s not exactly what you want, we’ll give you the artist’s name and number and you can go out to their place of business and purchase it directly.”
“We have jewelry, pottery, ironwork, woodwork, and just a little of everything. We’ve got some glasswork and fused glass, and some wonderful fused glass jewelry. The other thing that people find, I think it is because the cost of living is so low here, for the quality of the work, the price is super low. They’re all local artists, from a 30-mile radius, some that are developing a national reputation.”
Education is one of the most important aspects of the Art Center, and educational programs include the School Matinee Program that provides educational programming for over 10,000 students annually from a seven-county area. The program introduces students of all ages to what is many times their fi rst formal arts experience. Also the Summer Youth Conservatory Program is an ongoing summer program consisting of three multi-week sessions of intensive theatrical training for students ages 6-18.
Music is another area that the Art Center focuses on and their award winning music label, Spring Fed Records, has received national recognition. “It started in an offhand way,” Fann explained. “We had a barber who was a well-known and respected fiddler inside the music circles. His name was Billy Womack. If you went to the Smithville Fiddlers’ Jamboree, or to any of the fiddle contests around, people knew who Billy was. In 2001 we had just got a CD recorder and were going to transfer some of Billy’s recordings over to CD for future generations.”
WLM - One of the exhibits features "homeless" signs collected from all over the USFann says the Center received a grant to fund the project and through circumstances ended up producing several CD’s, including the Grammy Award winning release, John Work III: Recording Black Culture. The label offers the old-time, bluegrass, gospel, and historical recordings, and has been featured in The New York Times, The Bangkok Post, and The Old-Time Herald. Today, the label has built a catalog of 25 titles, which have been reviewed by major national music publications.
While the Art Center has branched out over the years, the life’s blood of the organization has always been its stage productions. With an auditorium that now seats 225, Fann said that with the recent addition of an eatery at the Center, the weekend shows are a better deal than ever. “You can have dinner and a show now, and for around $20. A meat and two for seven or eight dollars, and our show tickets top out at $12. Concerts top out at $15. So, for one person you could easily come do dinner here, and do an event for under $30, which is a pretty amazing thing.”
Needless to say, whether your interests are with the performing arts, or old time music; whether it’s history or the distinctive crafts created in the area, the Arts Center of Cannon County has something for you. Stop by and see what the performers and artisans have to offer.
Directions – From Lebanon, Tennessee – Head east on I-40 E toward Exit 239A. Take exit 239A to merge onto TN-26 E/US-70 E/Sparta Pike toward Watertown. Continue to follow TN-26 E/US-70 E for 23 miles. Turn right onto Hwy. 53. When Hwy. 53 dead ends turn right on TN-1 W/US-70S W toward Summitt St. (TN-1W/US-70S W will turn into John Bragg Hwy.) The Arts Center is located approximately one mile west of town on Hwy. 70S on the right. It is a red metal building with a message center sign. For more information visit their web site at www.artscenterofcc.com.
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Showing 3 results
Finding Aid
South Dakota -- Brookings
Print preview Hierarchy View:
Gray's Watercolor Collection
• AR 001
• circa 1960s and 1970s
This appears to be a collection of commissioned works, created sometime in the 1960's or 1970's according to the organization's web site. These were most likely done in the later part of that period, as evidenced by the citation on the picture of Lincoln Hall as the "Lincoln Music Hall" – the library had already shifted, so this was after 1975 or so. Given this date, the painting of Old North (razed in 1962) was very likely done from a photograph, as the others also may have been reproduced.
Gray's Watercolors
Evelyn T. Hubbard Painting
• AR 002
Painting by Evelyn T. Hubbard; Oil on Panel, of Old Central and Old North at South Dakota State University;
The painting is a ‘legacy’ in the archives. A handwritten note in the Greater Federation of Women’s Clubs collection from Chuck Cecil (Nov. 3, 1967) reads “Contact Mrs. Earl Washburn of Fulton, S.D. regarding painting by Mrs. Evelyn Hubbard of Old North & Old Central. They desire the painting go to the Art Center.
Hubbard, Evelyn T.
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CryptoArt News: Women of CryptoArtNet
Recent discussions on CryptoArt Twitter point to the need to support a stronger presence of women in cryptoart. While the cryptoart scene seems more welcoming to women overall than many tech domains, women make up only 20% of CryptoArtNet listings.
Hopefully more discussion and action are ahead. For my part, highlighting the women who have listings at CryptoArtNet seemed like a good place to start. There is some ambiguity around gender in some cases so I may be adding or even subtracting from this list in the near future. If I get one wrong, let me know!
Let me also say that CryptoArtNet is very supportive of the presence of all genders and gender combinations. Binaries can be useful but ultimately limit human identity and artmaking in sometimes brutal fashion.
The cryptoart scene has generally been a very positive and welcoming space. Part of what’s great about it is its international makeup. I’ve been very glad that artists choosing to create listings on CryptoArtNet offer a strong representation of many different parts of the world.
Women of CryptoArtNet (Alphabetical with notes from Artists’ Listings)
image of sculptured woman's faceArtbymitrai
Indrani is a self-taught artist inspired by the shapes, colors and form of natural objects. She is especially moved by the engaging simplicity of illustrations created for children and how Vermeer’s treatment of light can bring out the ethereal beauty of a simple moment in time.
She was elected for juried exhibition, lightandspace, which was impactful in focusing her research efforts into a variety of new methods and techniques. She has entered a more experimental phase with digitized works and the use of digital tools paralleling her discovery of blockchain technology which she sees as an open door to a whole new world of possibilities.
Twitter: @artbymitrai
Abstract image hiding woman's face by Anna Stoyanova-Spontaneart at CryptoArtNetAnna Stoyanova/Spontaneart
Traditional and digital painter. I am working in different styles and techniques, and I am mixing them digitally….
With the event of the internet and the new technological progress, I discovered a new way to express my creativity and started to paint digitally. At this moment I am creating daily digital art, very personalized, because, usually I love to create with custom brushes that were painted or designed in separated applications. Mostly I am remixing my photos of my traditional art in different variants and techniques and I am experimenting new ways to create. Some of my fans called my transformations of old art in new “Recycled art”.
Twitter: @anfasesto
colorful abstract figures by Barbara Tosti on CryptoArtNetBarbara Tosti
digitalart, drawing, masks, photography, Portraits, Spacedivers, storytelling, Timetravel
Twitter: @spacedivers
image of an eye by BrightLight on CryptoArtNetBrightLight
I am a Mixed Media Artist from England who enjoy’s experimenting with various mediums to create pieces to provoke thought and prompt the observer to look and explore.
Twitter: @brightlite76
Abstract image of women's head in purple, red and black by Cechk on CryptoArtNetCECHK
CECHK is the pseudonym used by Gabriela Cecchin, a brazillian visual and crypto artist.
The themes of her works includes a neo-cyberpunk world, a glitched reality, womanhood, mental illnesses, substance abuse, and the self reflected ego on the internet.
Using bold colors and a unique painting style, she seeks to communicate chaos through her art. Creating her works with traditional and digital techniques, she explores the tangent between reality and digital reality.
Her works are inspired by the works of Francis Bacon, João Ruas and Katsuhiro Otomo.
Twitter: @cechk_art
Handdrawn girlish bedroom by Fullmetal Magdalene at CryptoArtNetFullmetal Magdalene
All my life I have loved creating visual works that I would describe as ‘Art Out Loud’. My artistic influences include Andy Warhol, Roy Lichtenstein, Theodor Seuss, and Leonardo Da Vinci. I love celebrating the female form in my works. My pieces incorporate influences from my findings in psychology, theology, blockchain technology and pop culture; as well as my personal journeys through meditation and psychedelics.
‘Become content at heart, while also remaining discontent and disobedient; indeed become contented and agreeable (only) in the presence of that other Image of nature.’
The Gospel of Mary Magdalene
Twitter: @fullmetalmagda1
Image of angelic women intertwined, floating by Gala Mirissa on CryptoArtNetGALA MIRISSA
Gala Mirissa is a digital artist based in Barcelona and Reus (Tarragona). She works still artistic digital artworks, but one particularity of Gala are their multifaceted skills in the combination of Photography and Art with motion graphics and thus create something that looks alive, feeling the movement as an universal language and the song of our bodies.
Finalist in VISUAL ARTIST AWARDS MIAMI 2018 for The Best Technical Innovation, she was selected in the International Filmaker Biennale Women Cinemakers and interviewed for claim the participation of women in Multimedia Art.
In 2015 she began to develop the Redhawk effect using morphing softwares. Inspired in George Redhawk and Bill Domonkos, soon she began to have more curiosity for all the specialities about motion art while she was developing their Artworks.
She studied Philology, Madrid, and Multimedia at the UOC, Catalonia.
Twitter: @gala_mirissa
ethereal image of explosion of light by Gisel X Florez on CryptoArtNetGisel X Florez
GiselXFlorez is an artist that incorporates photographic & cinematic techniques with conceptual practice to explore the ways in which we are interconnected within the space of existence. Gisel creates using traditional manual controls with a digital 4×5 incorporating immutable technology on various platforms & blockchains such as ETH EOS, DGX, ENJIN & WAX. She is currently is developing a VR immersive installation & forming artistic community initiatives within Cryptovoxels & Somnium Space.
Twitter: @giselflorez
A close up of a person in psychedelic rorschach ink test style by Julia K Ponsford on CryptoArtNetJulia K. Ponsford
Julia K. Ponsford is a self-taught inter-planetary and multi-disciplinary crypto artist residing in Montréal, Québec and a founding member of the Alien Art Hive collective. Her visual arts style is ever evolving and hard to pin down, thriving on experimentation and floating through a world of dreams. Recent interests involve creating psychedelic inspired collages using the assistance of artificial intelligence elements. She is also an ambient electronic musician and enjoys making hypnotic and surreal soundscapes and has recently began mixing mediums to create multi-sensory visual and auditory experiences.
Twitter: @juliakponsford
portrait of woman's head and neck, lying back, in dark colors by Kitty Bast on CryptoArtNetKitty Bast
Kitty Bast creates characters that reappear and reside in a place where things are not as they should be. They each have a name and are often found in scenes of ambiguity for the viewer to unravel. Each piece of work is like a window with a view into the characters world.
I am aware of the boundaries of language. Art gives us a way to release what lives inside our head.
Kitty was awarded at the Khojaly Peace Prize for her work in the exhibition & ceremony held at the Houses of Parliament in London 2017.
She is also a Tattoo Artist and Studied BA & MA Fine Art at The Manchester School of Art, UK.
Twitter: @KatSheKittyBast
dark landscape of tree by a lake by Luisa Espeineira on CryptoArtNetLuisa Espiñeira
I am a photographer and digital artist based in Galicia, Spain. I’m in love with spaces without people or in which people are only part of the landscape. I like the long exposure, I can spend hours trying to get the perfect picture. Then the editing part will begin, until I get what I am looking for, what I felt when I decided to photograph that space. I use Photoshop, After effects and Premiere to editing a to animate my images.
Twitter: @LuisaEspineira
A woman with eyes covered by Mar.E on CryptoArtNetMar.E
From Twitter:
Arte +Diseño+cosas, Artista descentralizada #powerdada #collector #opensea #knownorigin #creary #cryptoart #rareart #mare #makersplace
Twitter: @marespi
A screenshot of a video game with cute bear by Miwa on CryptoArtNetMiwa
Love drawing cute animals for long time and enjoy making happy art. Also, love trying new things.
Twitter: @Miwa79530603
dark blue somewhat abstract portrait of human head by Nad Art on CryptoArtNetNad Art
Artist. Dancer, mixed media and technological experiments in Corvus Project.
Twitter: @Nadart12
bottom half of woman's face by OoakosiMo on CryptoArtNetOoakosiMo
audiovisualart, cryptoart, digitalart, experimental, multimediaart
Twitter: @OoakosiM
abstract in purple, red, blue and black by oculardelusion at CryptoArtNetoculardelusion
I’m a writer and multidisciplinary artist transplanted from the West Coast of California to the Norfolk coast of England.
My visual work straddles analog and digital media – from traditional letterpress printing to still and moving lens-based images and large-scale animated projections on medieval buildings. A longtime participant in multiuser digital worlds, I’m currently exploring the possibilities of VR and cryptoart as tools of expression.
Founding member of 105collective.uk, a group of UK-based cryptoartists bringing a diversity of voices to the cryptoart space.
Twitter: @oculardelusion
A woman with collar shirt and head wrap by Paola Castillo on CryptoArtNetPaola Castillo
Minimalist Illustration Artist-Inspired by fashion, social media, toys and beautiful people all around the world.
Twitter: @les_dore
bubble wrap art by Pistissofia on CryptoArtNetPistissofia
Pistissofia is an interdisciplinary artist from Montreal (CA) based in NJ (USA). She works in performance, installation and publication.
Twitter: @sofiapistis
Abstract of mineral cross section by Placeofmany on CryptoArtNetPlaceofmany
Brandi Kyle aka PlaceofMany is a traditional and digital artist based in Nashville, Tennessee. Since her first cryptoart piece was published in 2018 she has expanded her art presence from the physical into the digital using pour painting textures to drive her 3D works while still painting Velvet as well.
Twitter: @Placeofmany
abstract construction including eyes and small figures by Souline Art on CryptoArtNetSouline Art
Argentine artist currently residing in Spain. World traveler. Through my works I try to reflect how labyrinthine reality can be. Combining different techniques, styles and registers, I recreate the complexity of the perspectives that surround us. The lines prevail in my works, through which I seek to play interactively with my works to unite them and create more complex structures and symbolisms.
Twitter: @OrfanoSolange
An abstract drawing of a face by Stina Jones at CryptoArtNetStina Jones
Stina Jones is an independent artist, best known for her quirky character designs which incorporate her trademark use of clean lines and bright, happy colours. She has managed to find an overlap between her two main disciplines – Graphic Design and Illustration – creating her own niche in the digital art world.
Twitter: @stina_jones
abstract lime green by Sparrow on CryptoArtNetSparrow
Sparrow Read is a software engineer, traditional artist (encaustic wax medium) and digital artist. Finding a synergy between technology and art, Sparrow explores the latent space of Generative Adversarial Network (GAN) deep learning algorithms and other digital manipulation techniques to create artworks that are a collaboration between human and machine. Most recently she has been creating “programmable art”, where owners of individual elements of an artwork can control the rendering of a master image to create an artwork that changes over time based on their selections. Her current focus: allowing control of some elements of the master artwork to be controlled by external data, such as weather, Tweet sentiments and market prices.
Twitter: @blackboxdotart
abstract image of nude woman reclining on stomach by Squirterer on CryptoArtNetsquirterer
Squirterer is a fine artist from the Philippines. Mainly focusing on traditional media, she found herself experimenting with digital media. Though the majority of her works are oil painting, she also does photography, video art, sculpture, and a bit of animation. She likes to explore human experiences and the unconscious mind.
Her works have been exhibited in various exhibitions in the Philippines.
All photographs are original and are taken by her.
Twitter: @hidetheblade
Stefania Paintsfour models posing by Stefania Paints on CryptoArtNet
I started with digital drawing last year end of october and now you can buy merch of my drawings in my redbubble and society6 shop
Twitter: @Stefaniapaints
abstract outer space style image in reds, purples, blues and black by sturec on CryptoArtNetsturec
I am a multifaceted artist with a lifetime of trying to find a career that not only suites but also inspires. trying a multitude of different crafts. Geometry loves colors and I love them both..
Studied industrial engineering back in college and have masters degrees in graphic design and computer technologies. Love coding, designing, tattooing and swing trading.
Twitter: @sturec5
a mannequin from three sides by Twistedsister.io on CryptoArtNettwistedsister.io
Brigitte Fässler is a member of TWISTEDSISTER.IO: a project-based multidisciplinary collective of artists and designers exploring new avenues of artistic production in the digital realm. Connecting visual thinking, game theory and incentive systems as elements of social interaction and collaborative creation practices, the eponymous project investigates the forces behind manifestations of self-portrayals in social media networks.
Twitter: @twistedsisterio
A woman's head with collar shirt and glasses by Voke at CryptoArtNetVoke
Creative Expressions Without Boundaries
Twitter: @VeeArt7
name yrdgz in circular design by yrdgz on CryptoArtNetyrdgz
digital artist. works range in methods of creation; from digital paintings and doodles, to GAN-assisted works, to minimalistic expressions in the form of digital glitches.
Twitter: @yelitzardgz
We welcome all cryptoartists at CryptoArtNet and would love to see more women and folks with all possible gender identities join us, even if you don’t wish to disclose such identity!
Do NOT follow this link or you will be banned from the site!
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About Us
“There’s a reason why SFCMP is considered the Bay Area’s premier new music ensemble.”
— Joshua Kosman, San Francisco Chronicle
San Francisco Contemporary Music Players (SFCMP) provides world-class contemporary classical music performances of the leading national and international artists of our time to San Francisco Bay Area audiences. SFCMP expands and enhances the contemporary music repertoire by collaborating with composers on the interpretation, recording and commissioning of new works. SFCMP helps develop emerging audiences for this genre of music through the education and mentorship of emerging composers and players.
The San Francisco Contemporary Music Players (SFCMP), a 24-member ensemble of highly skilled musicians, performs innovative contemporary classical music based out of the San Francisco Bay Area. SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings.
SFCMP plays an important role in the regional and national cultural landscape as the most long-standing, continually performing new music ensemble outside the East Coast.
SFCMP was founded by Jean-Louis LeRoux, Marcella DeCray and Charles Boone in March 1971 and incorporated as a nonprofit in August 1974. Throughout its history, SFCMP has been led by six Artistic Directors and seven Executive Directors with continuous support and oversight by an active Board of Directors.
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31 thoughts on “Katie Hopkins”
1. I like the last photo a lot. The background is relatively cold and dark, which emphasis the warm of the light in the front. For me, it would be better if I could see the upper part of the light in the photo.
2. Some of these photos look like someone’s spying around a corner which I think is cool! It might be interesting to experiment with depth of field in that third picture, maybe have one where the light in front is in focus like in the fourth picture. I love how you can almost feel the texture of the snow in the second picture.
3. I like this set of photos, though I would have maybe flipped the focus on the third photo. I feel like the third photo would have better composition if the focus was on the light in the forefront of the photo and the background be blurry. But overall, nice job on the rest of the photos!
4. These series of photos feel homey, and warm, despite the fact that snow is always around somewhere in them. I think in the two that have a foreground, middleground and background are very strong, and make the photo more interesting. These are lovely!
5. I like the second and last photo best. The photographer focused on the important things and made the background vague. It is a shooting skill I personally like pretty much. For the first picture, the leaves are vague while the street view is very clear. It makes people feel like they are observing the street view after a tree, which is pretty cool!
6. I’m such a big fan of shallow depth of field. Focus is a big tell as to what’s important in a photo. That’s why I think it’s interesting to see what you chose to have in focus, and what is not. It makes me want to know the story, though their may be none. I particularly find the lines in the last photo effective. Excellent job!
7. Liking the fast shutter speeds capturing the snow. also the short depth of field creates a very moody atmosphere. With the second to last photo being my favorite I would like to see more shots that are a little more thought out. Most of these seem to be taken from a sidewalk or from very common angles.
8. These photos have such an interesting depth to them. The overall dimness of the photos gives the series a dark mood! Nice job!
9. I love your exploration in focus in this set of photos. Different photos have different style points but they do tie together nicely. I like how, in the 1st and 3rd photos, the blurriness creates a frame for the in focus objects. You almost accomplish this, I think, in the last one, whereas the 2nd is focused as a more straightforward approach. I think going forward, maybe focus on one way of directing the viewer, whether that be as straightforward or through a framing tool.
10. The first and third photos are functioning a lot differently for me than the other two. I like how you’ve framed the scenes with very close up objects in the foreground. It makes me feel like I am actually there peering through the trees. The other two images don’t work as well for me because I can’t tell if I’m supposed to be looking at the subject or the background.
11. I like how you capture certain views with unfocused objects in front of the camera, and how you switch the focus to make the bigger street as a background. It was a great idea to utilize the distance between objects and background. However, I personally think these photos could be more lighten up a little bit.
12. I really enjoy looking at this set, as many of the photos have a very holiday feel to them. My favorite is the first photo, as I feel the tree helps frame the building in a nice way.
13. The image to me that most shows warmth is the third one with the out of focuses light in the foreground. I love the tone of the light compared to the building. The warm color tone of the leaves and other surrounding also help to make this image feel very warm.
14. I am especially drawn towards the first photograph in this set. Because you’ve included a foreground element (bushes), it gives off a feeling of surveillance, which in turn makes the rest of these photographs embody that feeling. Nice work!
15. To me, I feel as if the photos are not warm enough. I saw that your intentions were to “capture warmth on a cold day” but I wish that you had emphasized the warmer tones a bit more. I do realize that it may be your intention to make both the cold and the warm temperatures apparent in your photos, but if you wanted to enhance the warmness, I think you should pump up the orange and yellow tones up a bit more. Or, if you wanted to show both, I think you should have increased both warm and cold tones to really show the difference between them.
Your photos give off a very whimsical vibe, almost like in Harry Potter. I think it might just be because it’s winter, but the compositions of the photos also add to that sensation.
I feel that picture number 3 might have too much blur in the photo. It distracts just a little bit from the rest of the photo, but I also understand if you wanted to include a blurry aspect in each of your photos.
Besides that, nice job!
16. These images are interesting but I do not see them matching necessarily with your statement. I see these as being images of voyeurism. The close perspective to objects directly in the foreground make them feel this way.
17. I really like the first and third pictures. In the first picture, I love that you chose to take it with the tree blocking some of the view. The background is clear and perfectly lite, while capturing some of the snowfall, which is really awesome to look at. In the third picture, even though their is a glare on the light, I love the way it makes the picture look. It makes me feel like the light is so close and the background is so far away.
18. I like how you captured the scene in each photograph. It made me feel as if I was standing there. I like the last photo a lot. I think the focus on the lamp is perfect for the angle and where it is placed in the picture. The lighting, or lack of, was great for the essence of the photograph.
19. I love the depth in all these photos. The last photos is difficult for me because there is so much space that is not in focus. Maybe cropping could make it fit into the series a little better.
20. I really like the unusual angles or blurred foreground objects. The color grading gives the photos a rainy/cloudy vibe. I love how in the third image, the yellow light contrasts the surroundings/buildings.
21. The warmth that the lighting in these winter scenes convey is a great contrast to the snowy places they depict. Especially in the third image, the warm glow of the man-made lighting complements the cool overcast of the winter day, bringing out the softness of the scene. Use of a shallow depth of field also aids this theme. I would say the first and third are the strongest, as they have interest and intrigue in both the fore and backgrounds, whereas the background of the second is quite drab. Lights, had this been captured closer to night, would help provide the sense of detail in the out of focus background. Similarly, in the last frame the angle is too wide for the limited view we have of the lantern, either back out at this focal length or opt for a longer lens for this composition.
22. I enjoy the last two photos, even though they all are great, because it really emphasizes the use of color. The last one shows contrast between light and dark and the second to last photo really makes the colors pop out (the green in the trees and grass). I also like how the photo is positioned, how the camera is hidden behind the tree and the light in the last photo is off to the side yet the center of the picture.
23. Despite the subject matter the photos feel incredibly warm, especially the softness of the final photo. Your gentle use of light and little dabs of yellow convey a feeling of comfort, more than if you’d decided to shoot just bright things.
24. I really love the second photo with the fire hydrate in the picture. The yellow fire hydrant contrasts the blur building in the background. Also the textures of snow particles sitting on the hydrant bring nature or life to the photograph.
25. I think this set does communicate what you want it to. Interestingly enough, because there is a lack of subjects in the photos it also feels eerie, as if this small town was recently abandoned. Your first photo adds a contemporary setting to the set, but without it, there is a sense of mystery and silence.
26. The first in the third photos are both my favorite of the set. I’m from a small town and both just remind me of a cozy, familiar setting that I can relate to. I think they do a good job of finding detail and beauty in everyday things. The others don’t do that for me so much as those, I think when capturing these types of settings, a wider view works best!
27. These photos are nice close ups of different things in the town. I really like the third because the glow that comes from the light does portray warmth. Even though the second photo is not light the yellow color adds warmth to that could snowy day. I would have tried to capture the snow more clearly in the background.
28. I enjoy the feeling that these images bring up personally. To me, they bring a sense of family and joy around the holidays and the comfort of a quaint, decorated small town in the winter.
29. These photos are beautiful! However, the first one feels more stalker-esk and doesn’t quite match up with the heart warming scenes of the remaining three that remind you of the holidays. If the building was decorated in some winter fashion or if the branches weren’t in the shot as much it might have been different.
30. I think the third and fourth photos are the strongest. The light really adds the warmth you were aiming for, as opposed to the second photo, which has the yellow color but doesn’t have the same warm feeling. The first photo has the warmth with the yellow building, but I wish the red car wasn’t in it because it takes away some of the contrast of that building.
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Who are we?
We make travelling easier for everyone, regardless of nationality or spoken language by using a universally understood process with color coding.
Imagine walking into an airport and immediately being able to recognize where you need to go without reading a sign or asking for help.
The PAMS system was designed to ease the stress of traveling by providing our travelers that are burdened with language barriers, hearing impairments and visual impairments a universal, easy to understand, color coded directive and informational system.
Public Access Management System (PAMS) can facilitate movement throughout the airport and reduce confusion and wait times during the boarding process at the gate by creating a universally understood and inclusive environment, using remote controlled, colored LED lights on an easily transportable barrier.
Meet our team
Montana Lorenzo
Montana is the heart and soul of PAMS. He and Kenley developed the concept, then Montana constructed the LED lit barrier, applied for the San Diego Airport Innovative Lab Program, attended the program after PAMS was chosen as a participant and continues to be the face, facilitator and contact for the PAMS product development.
Kenley Blackmore
Kenley came up with the idea of color coded lights as directional aids. He and Montana combined their ideas to create the PAMS.
Danitza Lorenzo
Danitza uses her graphic design degree to create the logos for the product and the site. She provides assistance and advice with the PAMS product development.
Laura Lorenzo
Laura is a material engineer that advises on construction technique and materials, proposal writing and business matters, as well as financially investing in the product.
Rhonda Moore
Rhonda assists with communication and business matters.
Sara Haight
Sara assists with research.
Loi Nguyen
Loi contributes financially to the development of the product.
Bobby Moore
Bobby contributes financially to the development of the product.
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Jun 20 2022 to Jun 22 2022
Zieglergasse 25
Vienna 1070
Phone: 0158787740
19:00
18 € / 14 € / 9 €
Monday, June 20, 2022 to Wednesday, June 22, 2022
Add to Calendar
In her new solo work, choreographer Liv Schellander explores the complex and vibrant relations within the cluster of human–animal–nature–spirit. Can we, as a presumably empathic species, acquire a deeper understanding of vitality, resilience, and connectivity by encountering non-human life forms? HYPERNURTURES sensitively weaves movement, voice, sound, and scenography into a hybrid sensual landscape, where whispering and vociferous bodies express themselves both softly and radically.
Due to an illness in the ensemble, HYPERNURTURES cannot take place as planned. The event will therefore be postponed to June 20th / 21st / 22nd at 7:00 p.m. in studio brut (Zieglergasse 25, 1070 Vienna).
HYPERNURTURES is part of Liv Schellander’s long-term series Strange Natures. A research that explores human contact with the more-than-human worlds and the potentials this brings forth for enhancing sensorial versatility and intuitive forms of knowing.
Inspired by grief and hope for a ‘planet body’ in crisis, the project focuses on perspectives of co-existence, ecological imagination, and hyper-objects: things that expand beyond our grasp, that lack reliable shapes and elude the distinction between nature and culture.
‘This body feels like a burning nervous system army of tiny lovers dancing through dark city forests hijacked by other dimensions. A whispering entity that yearns for a utopian mode of encounter within a force field of supernatural nurture. It’s a slow-motion timelapse on the materiality of the felt sense and the oral imaginary as vessels of pleasure, fantasy and connection…’
Liv Schellander is a choreographer and performer. She has been developing her Strange Natures series as well as, with Lena Kimming and Alexandra Wingate, the Animalarium project since 2020. In 2022, she will be part of Michael Turinsky’s new ensemble piece. In 2019, she worked on Tricks for Tips at steirischer herbst with Manuel Pelmuş and with Doris Uhlich on the choreographic realisation of Habitat/Halle E. Her collaboration with Sara Lanner and Jasmin Hoffer, Volume, had its world premiere at the 2019 imagetanz festival. Liv Schellander has a BA in dance theatre, acquired at the London Laban Conservatory and an MA in choreography at the Institute of Dance Arts in Linz.
Artistic direction, choreography, performance Liv Schellander Sound design Natalia Domínguez Rangel Light design Sveta Schwin Objects, set design Susanne Songi Griem Dramaturgical advice Costas Kekis Project and costume assistance Daniel Nasr Camera/Video Claudia Lomoschitz Production management Strange Natures, Sophie Menzinger
A co-production by Strange Natures Verein and brut Wien.
With the kind support of the City of Vienna’s Department of Cultural Affairs, the Federal Ministry of Art, Culture, Civil Service and Sport, Im_flieger, Bears in the Park, Veem House Amsterdam Exchange Residency, and Tender Steps Residency/Raw Matters.
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National Day Rally 2023: Sacrifice, Effort Needed to Preserve Harmony
Politics is the art of looking for trouble, finding it everywhere, diagnosing it incorrectly and applying the wrong remedies
3 Min Read
Good web design has visual weight, is optimized for various devices, and has content that is prioritized for the medium. The most important elements of a web page should have more visual weight to “naturally attract” • Direct the Eye With Leading Lines
• Balance Out Your Elements
• Use Elements That Complement Each Other
• Be clear about your “focal points” and where you place them
Diving into UX and UI design
UX and UI: Two terms that are often used interchangeably, but actually mean very different things. So what exactly is the difference?
UX design refers to the term “user experience design”, while UI stands for “user interface design. Both elements are crucial to a product and work closely together. But despite their relationship, the roles themselves are quite different.
Breaking down the barriers
Design is not the end-all solution to all of the worlds problems — but with the right thinking and application, it can definitely be a good beginning to start tackling them
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'Itsaso' by TOMAAS Conveys Movement and Grace
By: Josh Triantafilou - Published: • References: tomaas & photographyserved
'Itsaso' by TOMAAS reveals the elegance and gracefullness of water, movement and models. The New York City-based fashion and beauty photographer captures motion-filled, water-drop-bespectacled beauty within each shot in this dark red, almost crimson-hued series.
From streaks of hair whipping across the frame, to the black background and dispondant expressions worn by the model, there is an elusive, wandering beauty cyrstallized in these photographs.
TOMAAS has fixed his lens exclusively on the model's head, as obscured by drops of water streaking. In this way, the viewer is left alternating their focus between the water droplets and the model. This shifting focus further enhances the sense of motion in the series. To convey such movement with what is inherently a still artform is telling of the photographer's talents. Stats for Red-Hued Raindrop Captures Trending: Older & Mild
Traction: 1,726 clicks in 142 w
Interest: 3.7 minutes
Concept: Itsaso By Tomaas
Related: 99 examples / 76 photos
Segment: Neutral, 18-55+
Comparison Set: 36 similar articles, including: avant-garde witchy editorials, haunting hippie portraits, and 32 fiery artwork creations.
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Souza, Francis Newton
Trimurti, 1971
Image for Trimurti, 1971
F. N. Souza is one of India’s most revered artists. The title of this work, Trimurti, refers to a Hindu cosmological concept in which the gods of creation (Brahma), preservation (Vishnu), and destruction (Shiva) are joined as a single cosmic force. Here, Souza uses strong contrasts and solid outlines to depict faces. The three heads fan out from the neck—an arrangement often seen in temple sculpture—with each head framed by a different color. They appear to be in motion, an illusion achieved through boisterous application of splotches of bright contrasting colors. White lines break through these color fields, creating pulsating rhythms.
Born into a Roman Catholic family in Goa, Souza lived an artistic life marked by a spirit of rebellion and restlessness. He was expelled first from St. Xavier’s College and then, in 1942, from the esteemed Sir J. J. School of Art, Bombay, for his vocal anti-British stance. Galvanized by India’s independence in 1947, Souza founded the celebrated Bombay-based ProgressiveArtists Group. Through this revolutionary association he championed art that transcended regional and national boundaries. But Souza’s career in an independent India was short-lived. In 1949 the police raided his apartment on charges of obscenity; disenchanted with India, he left for London. By the time he painted Trimurti, Souza was residing in New York, where he remained for the next thirty years.
Medium Oil on canvas board
Dimensions 30 x 24 in.
Credit Line Grey Art Gallery, New York University Art Collection
Donor Gift of Abby Weed Grey
Object ID G1975.216
Collection Years: 1971
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"Here I am on my most special night-- being feted as Designer of the Month at FENDI Casa in West Hollywood. I am sitting next to my mentor Jerry Shimer who took me under his wings when I started in the business and taught me professionalism in interior design by sponsoring me as a member in the Interior Design Society of America (A.S.I.D.) and getting into prestigious showcase houses that garnered a lot of publicity.
At the FENDI casa event I had over 300 of my most favorite friends and family there from all over the county to celebrate with me! I got to choose the menu, music, and got TESLA- the first all-electric car, to debut their speedster there in front of the boutique. Because of the FENDI I was invited to design the Royal Palace in Qatar.
I love volunteering!! I was the oldest girl scout in history I think. I support the arts especially, but I have done a lot of things out of my comfort zone such as becoming a Community Emergency Responder. I was on the first flight back to New York to get to Ground Zero. The area was filled with SWAT teams, 1st responders, military... They didn't even need my blood. But I took photographs and a few of them were on a traveling exhibit and now are in the Smithsonian archives in Washington D.C.
I also had the most humanly humbling experience of doing recovery work in New Orleans after the Katrina disaster. It changed me forever and I use it as my motto whenever I encounter challenges. "It ain't Katrina" I say to myself and it grounds me."
In addition to designing interiors spanning from, villas, palaces, private jets, model homes, oceanliners, boutiques and hotels Antoinette Galisky has designed furniture, fabric, jewelry and even lipstick colours.
-Toni Galisky
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Sanding Carved Profiles
A small sand-blaster can be used for smoothing intricate carved profiles. September 19, 2009
I'm looking for a good technique for cleaning up a carved 3D part such as a corbel.
Forum Responses
(Sawing and Drying Forum)
From contributor S:
An abrasive flapper wheel in an electric drill might do the trick. They make several types with different widths.
From contributor T:
I don't know if this will work, but couldn't you use a small sand blaster? Something like the Paasche Air Eraser.
From contributor H:
Oh, yeah! Sand blast is good. My father used that method and I have to share this design tip. For small, intricate graphics with thin stroke widths, choose a tool with a steep angle, such as the 90° tool. For large graphics with wide stroke widths, choose a tool with a shallower angle, such as the 150° tool.
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Some of the best photos are often taken without a plan. They happen. That doesn’t mean that a great photo can’t come from great planning, don’t get me wrong but in my experience it often only takes to bring your camera. I had been taking photos that morning, I already edited these photos and when looking at the weather forecast for the evening, it wouldn’t be anything special. So when I decided to go for a last short hike along the beach that evening it wasn’t the idea to bring the camera. But while leaving the house I stumbled upon the camera bag and thought, why the hell not. It took me a couple of minutes to get over the first dunes before I noticed that, while not predicted, the sky was opening up completely.
Through the Sunset Dunes
I grabbed the camera and started shooting because I knew, this wouldn’t last long. That gap in the sky turned everything into gold! I grabbed a few shots, this being one of them and the light dimmed and went away, not to return till the next morning. Not planned at all, just bringing along the camera, was all it took.
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Art of the Shelfie, by @stokey_abode
The power of having all your favourite objects beautifully curated together in your day to day eye-line is not to be under valued. Shelves are much more than just functional storage but instead are a way for us to express ourselves which can evolve and change as easily as we do. You can have real fun with your shelfie and it can work anywhere in your home, even in the tightest of spaces or budgets. And right now, while we’re all stuck indoors, having fun with your shelfie can be a welcome distraction!
Here are a few things to think about….
1.Scale
You would have a pretty dull shelfie if all your items were all the same height and size. Group objects together and play with the different heights, you can create a more staggered effect giving a good sense of asymmetrical balance which is easy on the eye. I love the effortless grandeur this Bruce McClean piece gives this mantle arrangement.
2. Colour
Be clever with your colour as your shelf can knit your room together It can be as easy as a single item popping to echo another colour in the room or simply be tone on tone like these sophisticated moody blues with this piece of art.
3. Vibe
What is the mood you want to evoke from your shelfie? Create a hero piece like this tranquil poolside print that the other objects can vibe off. Don’t be afraid of mixing across textures, old/new etc , and let your shelfie tell a story.
4. Less is more
In the age of digital this should be an easy one as clutter is a big no no where your shelfie is concerned! Let your shelfie breath and be selective. Make sure your groups of objects are not suffocating one another but close enough to still work together. Here, artwork by Iona Stern acts as a strong focal point for this punchy mantel.
5. Style vs Function
Cooking and dining spaces are vital for bringing us together in the heart of the home. Your kitchen/diner can be fun and inspiring by making room for a little art on a shelfie next to everyday items like coffee pots, pretty jars of grains and your favourite crockery. The perfect way to combine style and function.
6. The Multi-story Shelfie
Think diagonal lines… your eye tends to move from one shelf to the next diagonally and recognise related objects along the way giving a sense of pattern and similarity between the shelves. These mini pieces of art work perfectly sync in and complement everything else on the shelves with out overpowering. Absolutely mix up your textures and throw in some foliage to break those hard edges.
Feeling inspired? Read more articles with tips and ideas for bringing art into your home here.
Visit @stokey_abode‘s instagram for more gorgeous home styling ideas.
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Libro digital
AR$: 174,65
Disponible solo en Argentina
Libro digital
Libro Papel
Wassily Kandinsky (1866-1944) was a Russian painter credited as being among the first to truly venture into abstract art. He persisted in expressing his internal world of abstraction despite negative criticism from his peers. He veered away from painting that could be viewed as representational in order to express his emotions, leading to his unique use of colour and form. Although his works received heavy censure at the time, in later years they would become greatly influential.
• Formato: EPUB
• Protección: Adobe DRM
• Limitaciones: Compartir: Permitido según las limitaciones (6 Dispositivos)
• Edición: 2015
• Idioma: Inglés
• ISBN 9781785250606
Ultimos vistos
El blog de boutique
Cuando me siento a escribir...
Cuando me siento a escribir, siempre comienzo creando el mundo (o, en el caso de la saga Zodíaco, los mund.. Seguir Leyendo
Desarrollado integral del sitio: TAP
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Part of our job is to make your wedding planning a joyful time. Another part goes to making your wedding a beautiful day. We believe that Wedding flower design is a collaborative process involving many people. Consider us as an Architect to your event, beginning from creating a concept, selecting flowers, giving you options of furniture, creating layouts and customising the smallest details on each table.
Weddings at White Peonies Project doesn’t happen in just a clap of a hand. They are a product of passionate and dedicated team who is not just only flowering your moment but works behind the production pipeline. I hope you give us an opportunity to create something magic for your memorable day.
Mrs. Febe
I’m a flower enthusiast and I love everything that screams Wedding.
I felt that wedding decorating is my calling, and I started White Peonies Project in late 2017, specialising in designing weddings florals and decorations with my own signature look for destination weddings in Bali.
To me, planning a wedding is an exciting adventure. I could still recall vividly what I did for my own wedding. Colour swatches, Pinterest, sketching designs, vendors visit, and I consider myself lucky to be repeating this journey with my brides. It just never gets boring.
Mrs. Febe
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer adipiscing erat eget risus sollicitudin pellentesque et non erat. Maecenas nibh dolor, malesuada et bibendum a, sagittis accumsan ipsum. Pellentesque ultrices ultrices sapien, nec tincidunt nunc posuere ut. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
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Dodo Boutique by Paola Navone Offers a Stunning Shopping Experience
By: Katherine Vong - Published: • References: dodo.it & retaildesignblog.net
A retail shop's interior can definitely influence the time a shopper spends in the store, but this is something I'm sure Dodo Boutique has no problem with. This incredibly vibrant jewelry shop in Florence was designed by Paola Navone and takes inspiration from the extinct bird the dodo.
Featuring eye-popping hues, the interior of the Dodo Boutique offers a fantastical shopping environment. Green is a color used throughout -- the ceiling is made of bold green tubes that are suspended vertically, while green displays and lighting fixtures spotlight many of the boutique's offerings. Electric blue is also prominent, adding life to one of the walls as well as several chairs placed throughout the store. Some of the walls also feature a textured circular pattern, while display stands and tables are crafted of wood, bringing the whole theme of the dodo and its habitat together. Stats for Avian-Inspired Jewelry Shops Trending: Older & Average
Traction: 19,513 clicks in 201 w
Interest: 3.6 minutes
Concept: Dodo Boutique
Related: 82 examples / 63 photos
Segment: Neutral, 18-35
Comparison Set: 30 similar articles, including: contemporary fast food interiors, flower-covered walls, and vaulted fabric rooms.
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June 6, 2012
Art Class Wrap Up: Mixed Media Collage
People who are familiar with the sort of work I do know that my typical first choice medium when working on an artwork are graphite pencils, especially when working on serious, realistic artworks, such as portraits.
This aside, I always put vast effort into trying to experience other types or art, experimenting with new mediums and sharpening my skills to the most prevalent they can possible be. In honor of these morals, when my school's art instructor explained the types of projects we'd be focusing on this year in art class, I decidedly made a commitment to push myself to the limits and perform to the best my ability (and time restrictions) would allow.
This is an untitled mixed media project I completed for our class. First and foremost, I want to point out that the images here are exactly that-- photos cut from a magazine. I don't feel that the photos were altered near enough for me to own this artwork in entirety, which is why I consider it mixed media collage practice.This particular collage was made by cutting out carefully selected images in a variety of strategic shapes and patterns, gluing them down in layers with a glossy medium, painting designs over these, and finally adding unique and peculiar textures to add visual interest. The following is an excerpt from the artist statement I wrote regarding this piece, detailing the importance of color within the artwork itself.
"Most of the colors represent feelings themselves as purely as I could procure them. For example, the tinges of green with shades of turquoise and cyan represent euphoria in my mind. Often times, however, people associate greens with tranquility, equality, peace of mind and relaxation. A simple explanation for my deviation is the human experience and a bit of habituation; The flush of tidal waves and sea foam in a Seaside mural, salt heavy in the air, childhood dreams captured in the power of the waves; the vibrant sheen of the cloudless dome of heaven as I walk towards summer from the last day of school, from my past and into tomorrow; the crystalline glow of a sculpted jade dragon, every immaculate scale a small wrench in my artist’s pursuit of whim and fantasy: all these things I remember, and in essence feel, when I look into this shade of green. My euphoria."
I haven't the faintest idea who painted the solemn clown I found and placed near the bottom right hand side of the piece, but I absolutely loved their portrait. I very much so became an instant fan of their artwork and hope their identity doesn't always remain a mystery to me.
I'm in the process of planning some truly original mixed media pieces, crafted entirely from my own personally taken photographs and artworks. If you're interested in seeing me create some more artwork of this vein let me know--an artist always loves feedback.
Leave a comment here, or on Facebook.
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Commencement 2002
Events Schedule
Directions & Visitor Information
Parking & Shuttle Information
Commencement Speaker
Honorary Degree Recipients
Disability Information
Class of 2002
2002 Emeriti
2002 Commencement Home
Commencement Home
2002 Emeriti
conferring upon
the title of
Professor of Art, Emeritus
WHEREAS Mr. Bill Brody served the University of Alaska Fairbanks with distinction in teaching, research and public service from 1967 to 2000; and
WHEREAS Mr. Brody has opened the world of art to a generation of students during his 33 years as professor and advisor; and has demonstrated his dedication to the academic development of artists by helping to institute the Bachelor of Fine Arts and Master of Fine Arts programs in art in addition to creating and teaching many new undergraduate and graduate courses; and his expertise and consistent high standards have inspired many students to become accomplished artists in their own right; and
WHEREAS Mr. Brody served as department chair for seven years; and developed the printmaking program and successfully led the efforts to establish a degree emphasis in computer art; and is now applying his substantial knowledge and experience to his new role as visualization research specialist with the Arctic Region Supercomputing Center, an appointment which has garnered recognition and respect for the University; and
WHEREAS Mr. Brody has encouraged collaboration among artists by serving on the Board of Directors of the Fairbanks Arts Association for many years and by creating the professional group Printmakers North; and has been recognized by the community, being commissioned for a sculpture in the Rabinowitz Courthouse; and has received national and international acclaim for his prolific work in painting, printmaking and computer art, including awards from juried shows such as the Harrisburg National and the Salon du Portrait de Montreal; and has secured numerous grants for a wide range of activities, from refurbishing student computer labs to creating a visualization of the Healy Clean Coal Project;
NOW, THEREFORE, BE IT RESOLVED that the faculty of the University of Alaska Fairbanks expresses its deep appreciation to Mr. Bill Brody for his extensive contributions to both the state of Alaska and the University; and
BE IT FURTHER RESOLVED that the University of Alaska Fairbanks, in further recognition of the invaluable services rendered by Mr. Brody and as evidence of the University's desire that his identification with the University be maintained, hereby salutes the appointment of Mr. Bill Brody as Professor of Art, Emeritus; and
BE IT FURTHER RESOLVED that this resolution be appropriately engrossed and signed by the Chancellor of the University of Alaska Fairbanks as further evidence of the esteem and respect in which he holds Mr. Bill Brody, and conveyed to Mr. Brody on this day of May 12, 2002.
University Relations
Last modified March 20, 2008 by University Relations Web Developer.
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St. Ives Wharf ~ Photograph
The Story: I initially wanted a shot with the tide in but that was my fault for not checking tide times. However I was more than satisfied with the result. I love how the two colours of the sea and harbour sands contrast with each other, and the people out and about exploring.
Photographer: George Cryer
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Counterpane Blue Formal Party Invitation
Counterpane Blue Formal Party Invitation
Odd Balls
OB-3422
Polka Dot Design Traditional Pricing Block Spinner Tiny
Scroll down to view Custom Printing Options and pricing.
5.75 x 8.75 Invitation
6 x 9 Envelope
Odd Ball Invitations like this Counterpane Blue Formal Party Invitation are a warm and traditional addition to any one of your everyday party ideas. These classy realistic watercolor painted images of each invitation design is what Kit at Odd Balls is widely recognized for. Currently, from the name alone, you could anticipate some bizarre layouts as well as insane styles, however this business is fairly the other. They satisfaction themselves on including typical, enchanting, charming, watercolor pictures that mirror the individuality of the occasion as well as its hosts. Odd Balls stationery as well as invites are so special we simply needed to include a few of our faves. Beyond simply the conventional invites they bring, there are a lot more enjoyable, fresh, as well as modern-day invites from you to pick from, you'll never ever lack.
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We wish to make certain that when you're picking the best stationery, wedding rehearsal supper invites, or child shower invites, you called much regarding the collections we bring as feasible to make sure that you're never ever dissatisfied. This attractive brand name from Arkansas that has actually continued to be a prominent option for invites since they started in 1992. However prior to you key in "Odd Balls Pine Bluff AR" right into your web browser as well as see just what they are everything about, have a look at why we enjoy this brand nam
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Get Connected
W.Va. sculptor’s work used to commemorate 9/11 rescue dog work
CHARLESTON, W.Va. - When terrorist-piloted airliners brought down the Twin Towers, rescuers immediately set to work scouring the rubble for survivors.
Rescue dogs were an invaluable part of the effort as they used their powerful sense of smell to search out people buried beneath the debris.
Those four-legged rescuers now have a monument to commemorate their hard work and dedication, thanks to a West Virginia artist.
Morgantown sculptor Jamie Lester created the 36-inch, life-size sculpture of a German shepherd that now sits in the Diamond in the Pines Park on Long Island, N.Y.
It was unveiled on Sept. 11 of this year, the 11th anniversary of the terrorist attacks.
Although Lester is an accomplished bronze artist - he's completed hundreds of works for clients around the county - it is not the career path he envisioned when he was an undergrad at West Virginia University.
He graduated in 1997 after studying visual art with a focus on ceramics. He hasn't done much ceramic work since college, however. His daughter, Hannah, was born shortly after he graduated, and he quickly realized there wasn't much money in making gallery pieces.
"I was kind of motivated by that to find a way to make some money with my art. I couldn't afford to be a starving artist."
He got a contract with a foundry in Kingwood and spent two years there doing portrait sculptures. Once the contract was up, he started doing more work on his own.
Lester has now done commissioned pieces for foundries and clients all over the United States. He contributed a bronze sculpture to the Brooklyn Wall of Remembrance, which commemorates the Brooklyn firefighters who died in the 9/11 attacks. Each year, he makes bronze-relief busts of new inductees to the World Golf Hall of Fame in St. Augustine, Fla.
His most famous creation has probably jingled in your pocket. Lester's design of the New River Gorge Bridge was picked to adorn West Virginia's state quarter, released in 2005 as part of the U.S. Mint's 50 State Quarters program.
Lester also has produced several notable works for West Virginia University. He crafted the life-size Jerry West statue that stands in front of the WVU Coliseum, as well as the bust of broadcaster Jack Fleming that sits inside the Erickson Alumni Center.
He returned to his alma mater to cast his latest bronze piece.
Lester said he usually contracts with foundries to bronze his works but wanted to have more control in the process this time around. He contacted WVU and asked if he could use the art department's foundry.
"It ended up being the biggest piece they'd ever cast there," he said.
He began the sculpture in June, building the dog from wet clay.
Although he briefly studied a neighbor's German shepherd as a reference, Lester said he mostly relied on photos from the Internet when making his sculpture. Dogs don't usually have the patience to sit for an artist.
His finished work is actually a composite of many dogs. Lester said he picked attributes of different animals to build an image that would convey the dogs' "good-heartedness."
"If they're doing their job and they're not finding anybody, they really get down about it. Their body language just starts to change. It's obvious these dogs are really dedicated to what they do," he said.
Once the clay sculpture was finished, Lester used it to create rubber molds. He made a wax cast using molds and then used that cast to make another, "monolithic" plaster mold.
He fired those molds and with the help of several WVU art students made a bronze cast.
"It came out beautifully," he said.
The dog had to be cast in four separate pieces, so Lester hired John Logewski, a Morgantown welder, to put it back together.
"I didn't want to make any errors," he said.
That was the only part of the process Lester didn't do himself. Once Logewski had the shepherd reassembled, Lester set to work grinding and shaving the metal to make the welds appear seamless and put finishing touches on the sculpture.
He then polished the piece and applied a patina to give the dog its intended coloring.
"Rarely do I do all of that, so it was pretty cool," he said.
The statue now sits on a tall stone pedestal with a plaque explaining the crucial role rescue dogs played in the aftermath of the Twin Towers' collapse.
The original clay sculpture is sitting in front of Lester's South Pierpont Street studio in Morgantown, melting in the rain. Lester said that's just part of the process. The rubber he uses to make the molds ruins the clay.
"The clay is a means to an end," he said.
Although his German shepherd statue will stand on Long Island for years to come, he's already moved onto his next work. Lester has been making bronze statues for 15 years now and is busier than ever.
"It seems like the more time I work in it, the more opportunity I get to do more work. I'm having a fun time with it," he said.
Contact writer Zack Harold at 304-348-7939 or zack.harold@dailymail.com. Follow him at ww.twitter.com/ZackHarold.
User Comments
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Max's first storyboard: a Halloween Story
My son is now wrapping up his undergraduate degree in digital design. These days, his work is very sophisticated. But even when he was still in elementary school, he had that eye for telling image.
For instance, here's a little storyboard he did on index cards, in pencil. It's a funny narrative. But what amazes me is that he was able to capture real emotion and intent in just a few lines. He clearly delineated panic, dismay, determination, bravery, utter deflation (when his hair goes from up to down), fear, and more. I wish I could tell you what year it was. I want to say that he was in fourth grade. I love it, and particularly that he described noticing something by saying that he "heard it with my o[w]n eyes." He was visually oriented even for sound.
Oh, and what was the problem, really? A little colony of mice got into the kitchen. It took us several months to catch them all.
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Christian ROHLFS (1849-1938)
Christian ROHLFS (1849-1938) is an artist born in 1849 The oldest auction result ever registered on the website for an artwork by this artist is a painting sold in 1984, at Sotheby's, and the most recent auction result is a print-multiple sold in 2020. Artprice.com's price levels for this artist are based on 2,608 auction results. Especially: painting, print-multiple, sculpture-volume, photography, drawing-watercolor, tapestry, furniture. 2 art works by artist Christian ROHLFS (1849-1938) will soon be available in auction rooms. You can also discover 6 artwork(s) currently for sale on Artprice's Marketplace. , sold by 3 Artprice store(s).
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The Architecture
The language of design
Chelsea Barracks reimagines exquisite Georgian architecture for the modern era. The development is an ingenious approach to space, function and design that perfectly complements the site's peerless location. These are designs that will stand the test of time, expressing a new architectural language as graceful and as resonant of its location as its distinguished antecedent.
The Residences Film
"We believe that buildings need to reveal themselves as fundamentally connected to the history, culture and physical characteristics of the place in which they are located. Our architecture resists the temptation to imitate the past or descend into postmodern irony, setting itself the task of evolving a contemporary language which reflects the characteristics of its location." Michael Squire, Master Architect
Here you can take in views of genuine distinction, heritage and interest.
Tailored to your taste
A Bespoke Space
A choice of interior palettes ensures these residences will perfectly reflect their owners
Savile Row
Catering to the well-travelled connoisseur, the Savile Row residences evoke contemporary style and refinement, using immaculately crafted materials. Smoked oak doors, floor planks laid in herringbone style, stepped coved ceilings and the sculpted, pearl grey limestone fireplace of the living room translates British Georgian style into a contemporary vernacular. Complemented by ivory pearl toned timber cabinetry and stone counters in the kitchen, with an Arabescato marble feature wall in the master bathroom.
English Garden
The English Garden residences set the stage for chic, modern English living. Fluted pearl grey limestone panels at the fireplaces in the living rooms, and light oak wooden flooring throughout enhance their light-filled ambience. Joinery and the kitchen’s fitted units are in warm, platinum grey timber veneers while grand master bathrooms are clad with large, vein-cut marble slabs, with polished nickel finishes completing the luxury detail.
Superior British Artistry
Crafting perfection
The craftsmanship at Chelsea Barracks is of superlative quality, with an emphasis on British artistry. From the elegant entrance lobby to the private residences, materials and finishes have been selected with the utmost care, ensuring every detail is steeped in quality, experience and skill.
Landscape architecture
Exceptional outdoor spaces
In addition to the beautifully landscaped gardens at Chelsea Barracks itself, the surrounding area is interlaced with elegant parks and garden squares where it takes its inspiration. This careful attention to a sustainable landscape offers an innovative yet timeless answer to the challenge of creating an inviting and enduring public realm for the modern era.
Nowhere else captures London’s combination of heritage and modernity
The Residences
The residences reflect the taste and refinement of their owners, speaking the language of the city with grace and elegance. Careful consideration has been given to every architectural detail, resulting in superlative living spaces, imbued with timeless British style. Please contact your agent for further information.
Traces of the Chelsea Barrack’s heritage continue to shine through even in this most modern expression of the development. Providing a seamless transition between outdoor and indoor entertaining, the penthouses offer the perfect stage to admire this unrivalled location in the heart of London. Please contact your agent for further information.
The Townhouses
These grand and richly appointed buildings represent an entirely new category of living for the capital. The layout creates absolute flexibility, accommodating the variety of cultures and traditions of those who choose to make these refined and substantial houses their home. Please contact your agent for further information.
Contact us
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Join The–Dots
Tag yourself in this project
Ozan Korkut will need to approve that you worked on “Methodology” before we add you as a collaborator.
Steps of Methodology is one of the experiments in dimensional typography that I created during my research at LCC, 2015. Starting point of the experiment was explaining the concept of relation between method and methodology.
It is created to highlight a metaphor; methodology is a stairway, methods are its steps.
In detail, there are many methods that can be chosen for researchers but only certain steps are work in particular order to create a methodology to get the result.
Share your new project
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Saturday, October 31, 2009
Thursday, October 29, 2009
Flaming maples, bleached pavilions
After Sunday night on the El Día de los Muertos, the Burnham pavilions will close. The green of the maples will return in spring; the Zaha and the Ben, only in memory. (This spectacular photo courtesy our indefatigable correspondent Bob Johnson. Click on it to see a larger version)
So much for memory
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw.
Already, the inscription had begun to be effaced by time, the loving gesture to create a place of healing, simple, open and eloquent, fresh air, stately trees, and beautiful plantings to ease illness's desolation, and nurture the convalescent.
Now it's dust. All of it. Grahm Balkany of the Gropius in Chicago Coalition reported yesterday that the Friend Pavilion at Michael Reese Hospital, one of the small handful of buildings in Chicago co-designed by the great architect Walter Gropius, has been demolished.
And it's just the appetizer. There's still 28 more, an irreplaceable storehouse of International Style architecture, the sister to Mies van der Rohe's IIT campus. Watch them all die. Watch the wonderful trees be uprooted, the breathtaking landscaping trashed. Two structures saved as cheap Disney souvenirs, and one of the most historic, characterful places in Chicago ground into nothingness.
And for what? The Athletes' Village that was supposed to rise on the site is as dead as Chicago's failed Olympic bid. City officials talk about a new housing complex with affordable housing. There's no plan, no developer, no money.
So why the rush? Plain and simple: to end an argument. To destroy Michael Reese lest more people discover its quality and begin asking uncomfortable questions. Scorched earth as an expression of raw power. Is Paris Burning?
The Chicago of Berman and Hannah Friend is dead. It's now the city of the hollow men, and women. People who have run out of ideas, just as the mayor told us he had "nothing up his sleeve" for securing the city's future other than a mad Olympic circus. People who are selling off the city's future at bargain basement prices, just to get through the day. Who cry poor while diverting billions into corrupt TIF's that shower money on the connected few. People who destroy, just because they can.
Michael Reese: the new Block 37. Chicago: the new Detroit.
Tuesday, October 27, 2009
Have I Got a Deal for You: Beethoven 1-9, Haitink, LSO: $15.99
Not that there aren't other bargains. (the 4 Brahms symphonies, with Rattle and the BPO, for $16.00), but for a penny less, iTunes is now offering Bernard Haitink's recent Beethoven cycle with the London Symphony - all nine symphonies plus the Leonore #2 and Triple Concerto, for $15.99. How could anyone resist? Check it out here:
Glass Aloft in revised designed for Three new River North Hotels
42nd ward Alderman Brendan Reilly on Tuesday sent out a link to a presentation with revised designs for the proposed 621 room complex of three new hotels to be built on the half-block in River North demarcated by Illinois, Clark, and Grand.
When compared to the earlier design, which we wrote about this past August, the elevations along Illinois Street and along a mid-block driveway are essentially unchanged. A major change has been made, however, in the design for the Aloft Hotel, at Grand and Clark, with a glass curtain wall replacing the previous windows set in a wall of precast brick. Here's the original Grand Avenue elevation:
and here's the revised version:
The vertical bracket that seemed a cheap rip-off of Jackie Koo's chartreuse lightning bolt on the Hotel Wit is gone, as are the brick pilasters with lighter insets that were reminiscent of the style of an old four-plus-one in Rogers Park. The stub of a curtain wall makes it kind of a pug, but the new brick wall design is much more attractive, and much more in harmony with the historic loft buildings in River North.
The change in the dominant Clark Street elevation is even more pronounced. Here's the original:
and here's the revised version:
Here, all the previous brick and insets are ditched for a glass curtain wall. The raised arcade along the roofline of the original design is now a slender glass cornice. This is certainly a more elegant solution.
The interesting thing is that the original two story lobby structure seems to have been left untouched. Here's the previous design:
And here's the revision: Against the curtain wall, that entrance structure now looks almost like a non sequitur. Not only does it have no visual relationship to the glass block behind it, it also retains that same bent bracket that mirrors a design element on the Grand Avenue elevation that now no longer exists. It's as if the workday whistle sounded and all the architects went home without really finishing their design.
This still isn't great architecture, but to me, it looks like a significant improvement. What do you think?
Monday, October 26, 2009
This Wednesday - Building the Burnham Pavilions, and the creation of Lake Point Tower
Still one more event for the October calendar that we missed. This Thursday, October 28, from 5:30 to 6:30 p.m., at the South Chase Promenade of Millennium Park, site of the two pavilions designed by Ben van Berkel UNStudio and Zaha Hadid Architects to commemorate the 100th anniversary of Daniel Burnham's Plan of Chicago, there'll be another of the Talks with the Burnham Pavilions Teams. An insider's look at their creation will be provided by two people deeply involved in the process - Julie Burros, Director of Cultural Planning for the City of Chicago, and Chris Rockey of Rockey Structures, LLC, the structural engineer for both pavilions.
And a reminder that earlier on Wednesday, at 12:15 p.m., in the John Buck lecture hall at the Chicago Architecture Foundation, 224 S. Michigan, there will be a great panel discussing Lake Point Tower: Back-story of an Icon - including the building's architect George Schipporeit, its developer William F. Hartnett, Jr., architectural historian Kevin Harrington, and architect Edward Windhorst, author of the excellent new book Lake Point Tower: A Design History.
October 31 deadline for schools to register for next Future City competition
October 31st is the deadline for schools to register to participate in the Chicago Regional of this year's Future City competition, to take place January 16, 2010 at UIC, where 7th and 8th graders will design future cities with simulation software, build scale models, write essays and give oral presentations on their city's design. This year's challenge, Providing An Affordable Living Space For People Who Have Lost Their Home Due to a Disaster, is about designing affordable housing while adhering to LEED standards. The Chicago Regional winning team travels to Washington, D.C. during Engineer's Week, February 15-17, 2010 for the national finals. Grand prize winners win a trip to Space Camp in Huntsville, Alabama. Second and third prize winners receive $5,000 and $2,000 scholarships for their schools’ technology programs.
As of Monday, there were 26 schools signed up for the Chicago Regional, with the North and Northwest suburbs as yet unrepresented. You can register your school by emailing Don Wittmer or on-line.
Sunday, October 25, 2009
I know everyone hates waiting for the elevator, but this is ridiculous . . .
On this Sunday's edition of CBS' The Amazing Race, contestants were freaking out at having to ride down a nine-story-high water slide in Dubai, into a pool filled with docile (?) sharks.
Pikers! Also on Sunday, up to 100 brave individuals chose to rappel down the 27-story-high facade of the Wit hotel at State and Lake, the new Jackie Koo design with the chartreuse lightning bolt that's fast becoming one of Chicago's liveliest new landmarks.
The "Skyline Plunge" was a fundraiser for the Respiratory Health Association of Metropolitan Chicago. Each plunger - keep the toilet jokes to yourself, please - ponied up a $150 registration fee and was committed to raising at least $1,000 in pledges, for an overall take for the day projected to be in excess of $100,000.
Next up will be a special fundraiser where brave spelunkers commit themselves to raising $10,000 each just to see whether there's any bottom to the black hole of the Block 37 Superstation.
Prudential2 punches hole in night sky
. . . then moves to the side and stares straight ahead to try to look innocent.
Friday, October 23, 2009
Walk-in slots still available for this Saturday's one-time only CAF Emerging Chicago tour
If you're catching up with this blog late tonight or early tomorrow, a quick note that we're told there are still a few walk-in slots available for the Chicago Architecture Foundation's Emerging Chicago tour, which will take place only once, Saturday, October 24th, beginning at 10:30 a.m., and offer a rare look at such exceptional new Chicago architecture as Farr Associates' Yarnell Residence, Studio Gang's Brick Weave House, and Brininstool+Lynch's Claremot House, and more. Tickets are $45.00 for this four-hour tour. You can read more and reserve on-line here.
Mickey One: smoke and flame at Marina City
About a week ago, Cecil Adams The Straight Dope Chicago tackled why so few movies were filmed in Chicago during the reign of Richard J. Daley in the 60's and 70's. Adams cited the then Chicago mayor's antipathy to how productions such as the popular The Untouchables television series reinforced Al Capone gangster stereotypes. Still a few films slipped by, most prominently Haskell Wexler's extraordinary Medium Cool, filmed in the city during the tumultuous 1968 Democratic convention (although, ironically, Wexler finished up shooting just before the night riot at the Hilton.)
A far lesser known exception is 1965's Mickey One, starring a very young Warren Beatty as a mediocre comic, on the run from Detroit mobsters, hiding out in Chicago. It was an early film by Arthur Penn, who had come out of television drama to direct such films as The Miracle Worker. In the year before Mickey One, Penn had been fired by Burt Lancaster (who had also been the force behind his hiring) as the director of The Train, and had just directed a Broadway flop that closed after only two performances.
Penn made extensive use of Chicago locations - the dark side - from auto graveyards, to skid rows, back alleys and strip clubs. Yet, as shot by famed cinematographer Ghislain Cloquet , whose work includes some of the most seminal works of a mad mix of directors from Jacques Becker, to Francois Traffaut, to Robert Bresson, Roman Polanski and Woody Allen, there's a terrible beauty in the images. Cloquet captures the city with an extraordinarily vivid sense of place and time, using locations from the old Gate of Horn nightclub, to the briefly reborn Chez Paree. Here and there you'll notice a surviving building - the Mariano Park Pavilion at 1031 North State, designed in 1895 by Birch Burdette Long, one of Frank Lloyd Wright's first associates, the low building restaurant at the northwest corner of Dearborn and Chicago, the Woods theater on Randolph.
The most striking sequence, however, is one in the now lost skating rink of Marina City, where an assembled audience watches a rube-goldberg like construction created by a mysterious artist played by Kamatari Fujiwara, a famous Japanese actor who was one of Akira Kurasawa's stock company of players, from Ikiru to Kagemusha. Fujiwara's character is directed by Hiller to be, in the words of Village Voice critic J. Hoberman, "a cosmically annoying mime." He pushes a button and his Jean Tinguely inspired kinetic sculpture comes to life - rotating wheels, conveyor belts, gears, pulleys, beams banging at the keys of a piano.
And then, on cue, it starts to self-destruct, to the delight of the artist and the onlookers, until the fire and smoke bring out the Chicago Fire Department, which puts out the blaze to the jeers of the audience and the despair of the artist, with what seems to be a billion cubic meters of foam. How all that got past Mayor Daley I can scarcely imagine. (You can see the sequence on the excellent Marina City Online website here.)
Penn's next film would be a great one, the sensational Bonnie and Clyde. A Bonnie, Mickey's not - I certainly don't want to oversell it. It's pretentiously Kafkaky and often a bit clumsy, but there's great turns by people like Jeff Corey, Franchot Tone and Hurd Hatfield, as an urbane, vaguely menacing night club operator whose Marina City apartment we get to see, along with the original design of the elevator foyers. His all-white office (do you think he knew the young Renzo Piano?) is entered through a door like an airlock, and his monologue on organic foods plays as both amazingly prophetic and creepily satiric.
Mickey One is an amiably paranoid, shaggy dog of a movie that still manages to be entertaining and arresting. And for those of us who love it, there's all those images of Chicago that make you feel you've time-travelled back four decades. Although it's popped up on TCM, Mickey One is not available on video, but you can watch the entire film, complete with short, ten second commercials every reel or so, on Sony/Columbia's Crackle website here. See how many locations you can identify.
Wednesday, October 21, 2009
Demolition to begin this week on Gropius buildings at Michael Reese
The Sun-Times media group is reporting that demolition of the buildings on the former Michael Reese hospital site previously marked for the Athletes Village for the 2016 Olympics will begin this week. The city has now added the Singer Pavilion, one of many buildings on the campus co-designed by architect Walter Gropius, to the original 1905 hospital building as the only two structures that are to be saved. However, the city is also leaving open the option of backing out of the commitment to save Singer by the time the request for proposal process is finalized.
Tuesday, October 20, 2009
Chicago Streetscene: Lost in the Funhouse
Go Play on the Stairs!
A neat promotion from Volkswagen in which a Swedish subway stair was covered with a continuous keyboard just like the one in the movie Big, lowest notes at the bottom, highest at the top, so you can pop out your own composition on the way, or just immerse yourself in the melody of compositions for piano, two dozen feet. John Cage would have loved it. The claim is that it's cut use of the adjacent escalator 66%. Thanks to Andy Spyrison for posting this on Facebook, and to The Fun Theory.com, where Volkswagen has also posted a streetside bottle collector that lights up like a pinball machine, and a park trash bin that, when fed, makes it sound as if your trash were falling all the way down to somewhere near the center of the earth. Now that's entertainment.
Monday, October 19, 2009
What's black and white and Jung all over?
Today marked the arrival of The Red Book, Carl Jung's long secreted artifact of his journey into the dark night of the soul.
It came in a very big box (cat not included) . . .
That held another, slightly smaller box . . .
That coughed up the actual book, hermetically sealed in a thin plastic skin . . .
and the final object inside . . .
and, yes, it's really, really red.
as red as blood, as red as passion, as red as my bloodshot eyes by the time I finish it. If I disappear for the next month or two, you now know why.
Sunday, October 18, 2009
On it's 50th anniversary, Hitchcock's North by Northwest reborn
The Chicago International Film Festival on Sunday screened a new print of a newly restored Alfred Hitchcock masterpiece, 1959's North by Northwest, which is not only one of the director's best, but in the minds of many, one of the most entertaining films ever made, a witty travelogue with menace, suspense and sex that starts in midtown Manhattan and ends atop Mount Rushmore, with intermediate stops in Chicago and a now immortal Indiana cornfield. The perfect cast included Cary Grant as an ad executive mistaken for a spy, James Mason as the suave villain, with a darkly ominous Martin Landau in his first major screen role as his henchman, and Eva Marie Saint as, Grace Kelly notwithstanding, the sexiest and most intelligent of Hitchcock's blond femme fatales. The film had it's world premiere at Chicago's United Artists theater, leveled to create Block 37.
The restoration involved an 8K scan of the original VistaVision elements. While the film was nowhere in as bad a shape as Hitchcock's 1958 Vertigo, meticulously restored by Robert Harris in 1996, all the prints I've seen have had a bad case of the fuzzies, colors bleeding at the edges.
This new version was remastered for a November 3rd video re-issue that will make NbN the first Hitchcock film to be released on Blu-Ray. Seen in the theater, the images are, with some exceptions, razor sharp, giving new weight to interplay of the characters and the backdrops in which they move, and revealing details perhaps never before seen, like the buildings at the far horizon of that Indiana cornfield. More to the point, you can't really experience NbN without seeing it on the big screen. So much of the film, when you come right down to it, is about people who fall into things much larger than themselves, expressed symbolically in such oversized settings as the United Nations, train stations teeming with people - any one of them who could be the one to recognize Cary Grant and betray him to the police - in New York (Grand Central) and Chicago (the late LaSalle), as well as the aforementioned festival of giant President heads in South Dakota. On a small screen, even a 50 inch HDTV, you simply don't get the same visceral sense of existential drama.
No one from Warner Brothers' technical team was at the Chicago Film Festival screening, but there was Hitchcock historian and biographer John Russel Taylor and, most importantly, Martin Landau who, in this clip from Sunday, discusses how he got the role:
Landau also talked about how he arrived at his conception of his character of Leonard. "When I read the script," he said on Sunday, "coming from the Actors Studio, I said this character wants to get rid of Eva Marie Saint with such a vengeance that it would be interesting if he were gay. Now we shot it 51 years ago, and I choose to do that. I thought it would be very subtle and Hitch liked it, obviously, because he didn't tell me not to do it, he encouraged me. And by saying encouragement, I'd ask him once in a while, because he would whisper something to Cary Grant or James or Eva Marie and he'd walk past me. So, coming from the theater, I asked him, "Is there anything you want to tell me?" "Martin, I'll only tell you if I don't like what you're doing."
Screenwriter Ernest Lehman actually picked up on Landau's concept after he watched the early filming, and added a famous line from late in the film when James Mason asks Landau's Leonard for the source of his suspicions about Saint's character, Eve Kendall. "Call it my women's intuition, if you will," says Leonard, "but I've never trusted neatness." James Mason dismisses Leonard's newly revealed crush on his boss. "Why Leonard, I do believe you're jealous! I'm actually very flattered." Pretty daring for 1959. If it were a film about being gay I'm sure it would never have passed the censors. Being just another Hitchcock potboiler probably gave it cover.
We usually think of films like War of the Worlds or X-Men when we think of special effects, but in his films, Hitchcock often showed an advanced mastery of the art. In NbN, this included the incredible, "trapped insect" shot, from the top of the UN Building, which was actually a painting on glass, showing Cary Grant as a small spec making his escape far below, to the climatic chase on a Mount Rushmore entirely reconstructed, complete with footholds that apparently don't exist on the real version, on MGM soundstages.
Add in Robert Burk's photography, the great Saul Bass title sequence, and another iconic score by Bernard Hermann, and you have one of greatest films of all time. Taylor told a story of how critics at the French film journal Positif. taking a cue from the way the title Northwest by Northwest cribs on a line from Hamlet, actually concluded the film was a retelling of Hamlet, with Jessie Royce Landis as Gertrude, etc. But NbN is no Shakespeare retread, nor was it ever meant to be. It's all American (with a British accent, to be sure), with a lot of very interesting ideas going on beneath it's shimmering surface.
Sunday was the only showing at the Chicago International Film Festival, which runs through October 22, but here's hoping there'll be a local theatrical booking to let people see this amazing film the way it was meant to be experienced.
Friday, October 16, 2009
Bates, Bad granite, Beasts Mythical, a Big Balloon, and more - news notes from all over
Two more events for the October calendar - And in this corner, going up against Jason Payne at UIC and Christian Veddeler at the AIC, Roderick Bates will being talking about the work of his firm, Kieran Timberlake, at Archeworks, Monday, October 19 at 6:00 p.m. Then on Saturday, October 24th the Pleasant Home Foundation will offer a rare interior tour of Joseph Lyman Silsbee's May Chapel at Rosehill Cemetary, with a 10:00 a.m. tour of the historic cemetery.
Legends of the Fall(ing Granite) - following up on a story we broke about a month ago with the help of our indefatigable correspondent Bob Johnson, Blair Kamin had a report on how the 1,000 granite panels that make up the arcades and diminishing monoliths at Helmut Jahn's 1985 Thompson Center have come to be considered "attachedly challenged" and will all be removed, at a cost of a cool million, to avoid the prospect of falling panels making pancakes of passing pedestrians. According to the Sun-Times' David Roeder, the work will begin by the end of the month and take eight weeks, with no word yet of when or with what the panels will be replaced with, or how much that will cost.
Calatrava and the Unicorn
- also on the Blair Kamin front from last Friday, an interview with Santiago Calatrava in which the architect speculated that Chicago Spire might still get built. Then again, this week Crain's Chicago Business reported that the Spire's developer Shelbourne Development, is about to be evicted from its $10 million sales center in the NBC Tower, where it hasn't paid rent since April. "My personal wish is that is not dead," was Calatrava's distinctive phrasing. My personal wish is that my intense personal relationship with Elīna Garanča is not dead, either, but, in both cases, I wouldn't recommend placing any big bets on it.
401-(k)0'ed - Time Magazine has a report on another toxic gift of the Reagan era, the 401(k), which encouraged large corporations to dump pensions for their employees, and the big financial firms to fleece them on the way out, leaving them holding the bag after the financial collapse. The average 401(k) balance in 1998: $47,000; by the end of 2008, $45,519. Inflation-adjusted, you're down 26%. Five-year return: - 0.5%. You think the Social Security crunch is scary? Wait until you start reading about the looming 401(k) washout, when millions of Americans find themselves having exhausted their unexpectedly diminished savings while still having decades left to live.
And now for something completely different.
In honor of Falcon(!) Heene, a really big balloon:
Wednesday, October 14, 2009
Chicago Streetscene: An Infinity of Bollards
More Mas, please. Stylish and informative Mas Context explores Work and the urban environment
The story goes that when Pope John XXIII was asked by a reporter how many people worked at the Vatican, he wryly replied, "About half of them."
I'm not quite sure what that has to do with anything, but Iker Gil of Mas Studio and his band of contributors have just brought out the latest version of Mas Context, an on-line quarterly journal on "issues that affect urban context." The Fall issue is a collection of eight essays that . . .
. . . explores how WORK is changing the landscape of our environment and determining the decisions that are affecting our cities. WORK diagrams economy, analyzes workplaces, studies appropriation of public space, interviews entrepreneurs, and portraits isolation.
It's not by accident that one of Andreas Larsson's photographs in Mas Context's Empty shows a chair holding a copy of S.M.L.XL, the iconic collaboration between architect Rem Koolhaas and graphic designer and futurist Bruce Mau. Mas Context captures that book's combination of inquiry and eye-catching graphics, leading off with Work Review, a snappily charted portrait in statistics of work worldwide.
The United States has a workforce of 154 million, Indian, 523 million, China 807 million. Overall, the world's workforce is put at about 3.2 billion, including 158,000,000 children aged 5 to 14. Koreans work an average of 2,316 hours a year; Americans 1,798. In 1968, there were 470 strikes and lockouts in the United States; in 2008, 15. Perhaps not coincidentally, in 2008, U.S. workers gave back $63 billion in vacation days.
Maria Moreno's Public Works: Reinventing Street Vending in Global Mexico City zeroes in on one of the poster children of the new global economy. Santa Fe, Mexico, just outside Mexico City. Not long ago, it was made up mostly of sand mines and a massive garbage dump, the principal population 2000 garbage pickers. What better place to convert to a home for transnational companies?
The new Santa Fe has 10,000 residents and 100,000 workers. No new urbanism here, just a Corbusian hellhole, shorn of the master's great parks and design genius: skyscrapers, a shopping mall, few pedestrian crossings, almost nothing within walking distance. The only vitality comes from a small guerrilla army of street vendors, creating the only the true urbanism in this arid landscape when the usually deserted streets fill with office workers fleeing their cubicles to buy snacks and hot lunches sold out of the trunks of cars, Maxwell Street redux, where the vendors, probably the only poor people still allowed in Santa Fe, will also take your order on their cell phones.
Elsewhere, David Schalliol's Isolated Buildings Study offers a photoessay on the last buildings standing in decaying order environments.
Iker Gil interviews Jessica Lybeck, co-founder of the layoff moveon.com website, a sort of Facebook for the laid-off, where they can advance their job search and forge bonds by creating a profile, chronicling the story of their layoff, and talking about their talents, job-seeking adventures, and ambitions.
In Farmer's Work architect Kathryn Clarke Albright looks at how farming and the city. Agricultural labor efficiency increased from 27.5 acres per worker in 1890 to 740 acres in 1990, but now the number of small farms is increasing by 2% a year, with an emphasis on organic farming and farmers markets, which have exploded in number from 1755 in 1994 to unofficial 4800 in 2009.
And there's more where that come from, including two videos available on the website. Work is a great read or you can just look at it for the pictures. The entire edition can be downloaded, free, in pdf form, here.
The next Mas Context promises a issue on Living with Winter. It's due out in December, but, boy, we could really use the help right now.
Tuesday, October 13, 2009
FOA's Farshid Moussavi, ACADIA '09, Lamda Ely's Burnham, Ross Barney, ARUP's Hamilton at CAC - Still MORE October events
It's getting to the point where you can exhaust yourself just reading about all the incredible architecture-related events going on in Chicago, and, believe it or not we've just added a bunch more to the October calendar.
Farshid Moussavi - Wednesday, October 21, 6:30 p.m., Fullerton Hall of the Art Institute. One half of the founding partner team of Foreign Office Architects, Moussavi's lecture: The Function of Form, shares the same name as her upcoming book, to be published in November. It's a follow-up volume to her 2006 The Function of Ornament, in which she talks about the twin towers of Bertrand Goldberg's Marina City as "fluted columns", apparently a: columns without capitals b: inverted columns, or c: columns with the world's tallest capitals. Just what I need: another two books added to my definitely-have-to-read pile. (Which, come to think of it, is increasingly beginning to resemble the illustration at the far right.)
ACADIA 09: reForm()
- October 19 through the 25th, various locations. It's not enough that we have the Council on Tall Building and Urban Habitat's extraordinary conference, Evolution of the Skyscraper, taking place at IIT on the 23rd and the 24th, but at the same time Chicago is hosting the 2009 conference of the Association for Computer Aided Design in Architecture.
We've already listed the conferences "public keynote lectures" - Herzog & de Meuron's Kai Strelkhe on the 22nd and Robert Aish on the 23rd (there's also an October 24th talk, Wired for War, by Peter W. Singer), but the full seven days offers up three days of workshops and four days of lectures by a battalion of Illuminati, such as William Baker, Julie Flohr and Neri Oxman, who promises to offer up a talk on tiling methods and their alternatives.
Although the names of the papers are often so clinical - Cultural Performance in robotic timber construction, Multiperformative Efficient Systems (MES) Toward System Thinking - that you might be forgiven for thinking that these are people unable - or uninterested - in talking to anyone but themselves, when you read the actual descriptions for the talks, you can tell this will be a fascinating event. Brady Peters' paper, for example, Parametric Acoustic Surfaces,is actually about how most architects ignore the importance of acoustics in any building that isn't a concert hall, and how acoustic qualities can be quantified and made part of a building's digital design and finished performance no less than a window, wall or column.
Odds are if you're in the target audience for this event, you knew about it long ago, but, if not, and if you've got deep pockets or a large expense account, there's amazing stuff here.
Burnham's Plan of Chicago: History or Inspiration
- October 23rd, Lamba Alpha International Ely Chapter offers up a morning symposium with a panel that includes Carol Coletta, Howard Decker, David Roeder and others.
5 Concepts: Envisioning the Bloomingdale - October 27th, the Chicago Architectural Club offers up an event at the i-Space Gallery with architect Carol Ross Barney and Nancy Hamilton of ARUP, who, along with landscape architect Michael Van Valkenburgh, have been selected by the City of Chicago as the design team for the long-gestating Bloomingdale Trail, the abandoned raised railway that many see as Chicago's answer to New York's High Line. The event is a reception for the publication of CAC's Journal #14.
Make no Medium-Sized Plans - WORKac - October 29th at Madlener house, a presentation by the New York based firm in conjunction with the Graham Foundation's new exhibition, ACTIONS: What You Can Do With the City.
Yes, check out the full October calendar here, and watch that your head doesn't explode from contemplating all of the often competing possibilities.
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Branding + Identity
Web Design + Development
Search Engine Optimization
Email Marketing + Social Media
Marketing Photography
Print Design
Video Production + Animation
Packaging + Promotional Design
Creative + Technical Writing
Can a website be handcrafted? We do it every day.
Recent Site Launches
The Chop House
(web design, SEO, photography, creative writing, menu design, social media)
Haube Range Hood Co.
(branding, web design, SEO)
TN Whiskey Trail
(branding, web design)
Norman Askins Architect (Atlanta)
(branding, web design, SEO)
F.E. Trainer Construction, Inc.
(branding, web design, SEO)
Hexagon Brewing
(branding, web design, mobile, SEO)
(branding, web design, mobile, SEO)
Rocky Hill Dental
(branding, web design, mobile, SEO)
LawlerWood Commercial Real Estate
(branding, web design, mobile)
G&G Interiors
(web design, SEO)
Connors Steak & Seafood
(web design, SEO, photography, creative writing, menu design, social media)
For over a decade (a long time in our industry), we have provided individualized web strategies that meet our clients' expectations and budgets. Our web programming capabilities are wide-ranging, our projects are executed to a high level of precision, and our designs speak of originality and taste. Namey Design Studios can help you achieve a bigger, better online presence.
What sets us apart:
1) TOTAL INTEGRATION. Not only with your website, but with our capabilities. Having design, programming, photo, social and SEO under one roof means you get a quality product every step of the way.
Our websites don't come with any strings attached. You pay only the price we quoted, and only once. We've never exceeded a budget.
2) host your site wherever you like. If you need help registering a domain and host, we're there for you. Or, if your site is already online, we'll load your new and improved website onto the existing server. Simple as that.
3) HANDS DOWN THE BEST CUSTOMER SERVICE. Web designers are a dime a dozen, but someone who will recognize you as an individual and takes the time to explain anything and everything about websites ... well that's just priceless. We also work quickly and are extremely responsive. Some clients even claim that we reply to their emails quicker than they can send them.
4) ALL Original. Looking at our work, you'll notice that every site we make is totally unique, offering a distinct look that was crafted to each individual business. We take the time to help you stand out.
5) We don't Oversell or Overcomplicate. We believe in pure and simple messages delivered in a catchy but concise way. Based on your needs and expectations, we'll develop a web strategy that works for you ... not against you.
How much do websites cost?
That depends. If you've been browsing the internet today, chances are you checked out a website that cost $1,000, one that cost $10,000, and one that crested $100,000 or more. The point is, your website should cost as much as it takes to do the job right. In the end, a $30,000 investment that generates over $15 million dollars in sales over five years is well worth the cost (TRUE STORY, and we have lots of 'em).
BUT JUST FOR THE RECORD, our websites start at around $2-3k. After that, the sky is the limit!
What programming languages do you use?
All of them and/or whichever it takes. This can include HTML, PHP, Flash, jQuery and countless other proprietary and open-source languages. We are always working with the newest technology.
Will I be able to update my own website?
Yes, if you want to be able to update your website, we will make sure your strategy includes a content management system (CMS). Or, many of our ongoing clients prefer to have us manage their site for them, which makes perfect sense to us.
Don't forget ...
1) Photography will make or break a website. Make sure it's great.
2) Clients can spot a canned site from miles away;
just say no to templates!
3) We are worth every penny.
Namey Design Studios is a strategic web design, marketing and digital communications company based out of Knoxville, TN. Since 1998, we have continually provided a wide ranging client base with some of the best creative media in the marketplace. From custom, cutting edge websites and new media productions to traditional print, logo design and branding, our in-house capabilities allow us to offer complete digital marketing packages that drive our clients’ businesses—online, in print and over the air. We are an award winning boutique marketing company with a reputation for quality, creativity and value.
Advertising + Branding + Marketing Strategy
Web Design + Custom Website Development
Search Engine Optimization (SEO + SEM)
Commercial Photography
Print + Graphic Design + Illustration
Digital Video Production + Animation
Product Packaging + Promotional Display Design
Creative Writing + Technical Communications
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Designer to Improve Presentations and Create Illustrations/ Infographics
Job Description:
I am looking for a freelancer who can help me with occasional design-related tasks. Specifically, I am looking for someone who can create
- high-quality illustrations,
- improve PowerPoint presentations,
- create infographics
- and assist with other design projects as needed.
I am looking for someone who is creative, reliable and has a strong portfolio showcasing their design work.
If you are interested in working with me, please let me know your availability, rates, and some examples of your previous work. I would love to see how your skills can help take my projects to the next level.
This is not a one-time project. I am looking for regular research tasks that can go up to 10 hours per week.
Please only contact me if you are willing to work for the suggested price range. DO NOT AUTO-BID. I will only consider bids that add #innovation to the beginning of the text. Other bids will not be regarded.
Færdigheder: Grafisk design, Infografik, Photoshop, Illustration, Powerpoint
Om klienten:
( 4 bedømmelser ) Soeren, Germany
Projekt ID: #36288385
60 freelancere byder i gennemsnit €8/timen for dette job
#innovation Hi Yes, I will help you with your occasional design-related tasks on a Regular basis - I am a India based graphic designer with over 8+ years of experience in this field & have all the required skills & q Flere
€15 EUR / time
(755 bedømmelser)
Hello, Greetings Kai S. ! I'm a Graphic designer with 13 years of experience and specializing in Illustration, Powerpoint, Infographics, Graphic Design and Photoshop. This includes : Logo design, Vfx effect , after e Flere
€46 EUR / time
(90 bedømmelser)
Hi, ⭐⭐⭐⭐⭐ I will illustrate your design in a beautifully, professional way. Thanks for sharing your Illustration work detail. Yes I can do it because I have already work on a similar project in the past. I can do it. I Flere
€6 EUR / time
(1259 bedømmelser)
Hi, I am ready to start the work now & I assure can update you the High quality Info graphic PPT designs within 11 hours, Kindly check my profile review: https://www.freelancer.com/u/nikil02an Thank you for valuab Flere
€4 EUR / time
(91 bedømmelser)
Hi Yes I can provide you all type of graphic design work including presentation design, Infographic illustrations, etc. lets have a quick chat about the project to get started Kundan M
€10 EUR / time
(287 bedømmelser)
Hi, I have read your project description Designer to Improve Presentations and Create Illustrations/ Infographics I CAN DO BEST FOR YOU AS I HAVE GREAT EXPERICE IN VECTOR ILLUSTRATION ,Hand drawing from pencil, digit Flere
€4 EUR / time
(77 bedømmelser)
I will provide you quality powerpoint presentation design and writing. I am a PhD writer with 10 years of experience. I have worked on several similar projects of presentation writing, and can deliver professional pres Flere
€3 EUR / time
(34 bedømmelser)
Hi, I've checked your project details. I am a Graphic Designer with 9 years of experience. I have worked on several similar projects before. You can see an example of one of those projects in my portfolio here: http Flere
€6 EUR / time
(96 bedømmelser)
#innovation ~~ LET’S DESIGN A ILLUSTRATIONS, POWERPOINT PRESENTATIONS, INFO-GRAPHICS, AND ARTWORKS FOR YOU! ~~ Hi, Rabia here - the most PREFERRED FREELANCER and an accomplished graphic designer with over a decade w Flere
€6 EUR / time
(109 bedømmelser)
Ready to Show Initial Design Now! Having read your requirement of "Design to Improve Presentations ", I would like to tell you that I have created hundreds of splendid graphic designs for corporate clients up till now. Flere
€4 EUR / time
(54 bedømmelser)
#innovation Hi there, I can help you with your project which is about Improving Presentations and Create Illustrations/ Infographics. Please review my relevant samples https://www.freelancer.com/u/KreativeTeam I am Flere
€2 EUR / time
(34 bedømmelser)
Greetings ! I assist you with creating ppt presentation . I will use canva or MS powerpoint for the execution of your project. Please confirm total number of slides needed for the presentation. I will share a well desi Flere
€3 EUR / time
(92 bedømmelser)
#innovation Hello, I would love to grab this work opportunity please give me a chance to prove my skill I assure you high quality work on time with fare price. I have extensive experience in Graphic Design, infograp Flere
€4 EUR / time
(30 bedømmelser)
Hi, I just got your Project Designer to Improve Presentations and Create Illustrations/ Infographics and wanted you to know that I'm very interested and passionate about the Graphic Design industry and have experience Flere
€9 EUR / time
(32 bedømmelser)
"innovation"I am a talented and experienced Graphics Designer. I have good experience with Graphic Design and I have been working as a Graphics Designer for many years. I am a hard worker and enjoy working at all criti Flere
€6 EUR / time
(20 bedømmelser)
Esteemed! I am confident in my ability to successfully and promptly complete your project entitled Designer to Improve Presentations and Create Illustrations/ Infographics, having thoroughly reviewed all details and de Flere
€18 EUR / time
(31 bedømmelser)
hi, i can go your presentation work. Feel free see my previous completed work and buyer review : https://www.freelancer.com.bd/u/Humaiyunk 24/7 Online service for unlimited revision. So, am waiting for your response. Flere
€2 EUR / time
(70 bedømmelser)
Good Day i read the details of this project and would like to offer you my services for your project I am doing graphics, logos, flyers, photoshop works , image manipulation and image editing for last 16 + years i co Flere
€4 EUR / time
(14 bedømmelser)
#innovation I have understood your project and I can immediately start and perfectly Improve Presentations and Create Illustrations/ Infographics Hi, Your project caught my attention and I am 100% confident that I Flere
€2 EUR / time
(7 bedømmelser)
Hi there, I have just seen your job post and will love to work with you for this opportunity and provide you eye catching and elegant design, I'm an expert graphic designer having tons of experience in designing and un Flere
€4 EUR / time
(20 bedømmelser)
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Text to design jobs
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104,511 text to design najdenih del, po cenah EUR
I have a Logo and a Business Card from a previous designer. I just need a change in the text on the Logo and the Business Card. I want to keep the same Font Style and Design. And then have it sent back to me, in PDF. --Very Simple things (Full details needed i will sent you)
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€21 Povpre\u010dna ponudba
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Logo, Stationery & 1 Page Website 6 dni left
Dear All I would like to get Logo design, Stationery & 1 Page Website for business as below: 1-Logo (5 different designs/concepts) 2-Business card (90mmX50mm) [A minimum of 2.5mm bleed on each edge and Trim Marks] Supplied in CMYK / Spot PMS Colour only 3-Letter Head A4 (297mm X 210mm) [A minimum of 2.5mm bleed on each edge and Trim Marks] Supplied
€309 (Avg Bid)
€309 Povpre\u010dna ponudba
54 ponudb
Need to prepare advert exactly as on attached example, but change product picture, company logo and company website link, some minor changes in text. All files exist in vector format so no problem to use them. Ad size is 1/6 of A4 page. exact size 3 3/8" x 2 3/4" I will be happy to get ideas how to make this ad better design source files in p...
€26 (Avg Bid)
€26 Povpre\u010dna ponudba
1 vnosov
I need an iPhone/iPad app. I already have a design for it, I just need it to be built. Need mobile app created for YouTube. I have the design, photos, text, and future apps ready and need you. Serious inquires only. Professional program language coders / writers only. Please provide apps and success received.
€979 (Avg Bid)
€979 Povpre\u010dna ponudba
42 ponudb
Design approximately eight pages of 26 page magazine, including cover. Pictures and text provided by publisher. Final proofs will be provided to publisher in pdf form. All pictures 300 dpi Deadline July 27th, 2018
€85 (Avg Bid)
€85 Povpre\u010dna ponudba
1 ponudb
...redesigned my website & my intention was to get the single 'Under construction' pg coded & ready while I do final design touches on the full site. Unfortunately I have been let down and the assignment was not completed as per the precedent, nor it is fully responsive across the platforms & browsers. I would like to get the page coding completed, fix ...
€175 (Avg Bid)
€175 Povpre\u010dna ponudba
29 ponudb
I have text CV needed to be converted into an infographic one. I need modern design .. I have to see samples made by the freelancer
€27 (Avg Bid)
€27 Povpre\u010dna ponudba
25 ponudb
Trophy icon Escape Room - Poster Design 8 dni left
Hi everyone, we need a poster design for our upcoming escape room. The concept is that the team needs to find the gold bullion which has been stashed by thieves in the saloon. The specifications are as follows: *The poster needs to be 50cm by 70cm (portrait) * Perspective element to the room required. * On either side of the room would like decorations
€74 (Avg Bid)
€74 Povpre\u010dna ponudba
8 vnosov
Visual Basic NFC reader/writer app 5 dni left
Hello, I want to find freelancer who can make NFC data reader/writer in Visual Basic. HW: I have ACR122 NFC Reader and Writer, see tech specs and Application Programming Interface here: [prijavite se za ogled URL] WHAT I NEED: - basic app without any design with few buttons, text areas and labels programmed in Visual
€442 (Avg Bid)
€442 Povpre\u010dna ponudba
5 ponudb
Trophy icon Tee shirt logo 5 dni left
I need a tee shirt design, based on the following: The text as is in the attached document (front_design) black text on white background. ______________ Black River CrossFit ______________ Then surrounding the entire logo (in roughly an oval shape) I want small deltas (see wall ball delta attached) scattered around. These deltas can be at different
€17 (Avg Bid)
€17 Povpre\u010dna ponudba
41 vnosov
logo design 5 dni left
Need to design 3 logos and 3 icons, requirements: 1. Background transparent; 2. Web safe colors; 3. Picture, text and both combined; 4. Resizable; 5. Chinese designer preferred (text is Chinese)
€71 (Avg Bid)
€71 Povpre\u010dna ponudba
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Trophy icon Design a Logo 5 dni left
Looking for someone to design a small logo and mascot combo. Name: Gran's Got Game Concept: Mascot granny above the words, Gran's Got Game. Mascot idea: Looking at the top half of an older woman, holding a playstation controller. Old Woman Look - [prijavite se za ogled URL], possibly drop the glasses, but the hair style
€19 (Avg Bid)
€19 Povpre\u010dna ponudba
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Trophy icon Design a Logo for AWQAF.IO 5 dni left
...organizers all around the world to bring waqf easier, traceable, auditable and accountable. Our tagline therefore is : TECHNOLOGY FOR BETTER WAQF. We need unique, modern and hitech logo, either with or without arabic text , with or without tagline. Attached is the arabic text for AWQAF, but it is not mandatory to use it. Wil select based on
€85 (Avg Bid)
€85 Povpre\u010dna ponudba
381 vnosov
image OCR from Telegram via c# 5 dni left
I have a working c# desktop application to buy-sell Cryptocoin. I am also a member of a Telegram coin alert channel which sends name of coin pair and buy-sell values. I need a C# coder to implement auto buy/sell operation in Visual Studio (v 2017). Main flowchart of the software: 1) When a text message received from Telegram channel; trigger existing
€372 (Avg Bid)
€372 Povpre\u010dna ponudba
9 ponudb
Trophy icon logo design 5 dni left
design a logo - text over an image or incorporating one Two elements need to be brought together and made to work. Do not have design software as word doesn't allow me to do this! LOL. Will want to play around with a few alternatives but have the general gist. So some text and a love heart and open to suggestions. But it needs ...
€31 (Avg Bid)
€31 Povpre\u010dna ponudba
4 vnosov
Power point slide presentation 5 dni left
We have some training material with complete text and link to the powerslides. Need to design professional power slides for about 20 slides.
€43 (Avg Bid)
€43 Povpre\u010dna ponudba
61 ponudb
Objective: modernize the DRAFT page [prijavite se za ogled URL] Details - It’s no necessary changes the scripts (the iframes) - The text (there are some text fixed in images) needs to be in HTML or configuration file. - keep or make better the responsiveness (large, medium and small screen) - make share links (like in [prijavite se za ogled URL] – if Andoid or Iph...
€122 (Avg Bid)
€122 Povpre\u010dna ponudba
23 ponudb
Trophy icon Design Banner 4 dni left
I need 3 ads: An image to use as a Facebook ad, and that image then needs to be made into banners with size 728x90 and 300x250. The ad is for a football (soccer) team formation creator based on the club Bristol Rovers. The formation creator is known as: My Gas Starting Eleven The ad should include the name and 'Create and share your Rovers lineup'
€22 (Avg Bid)
€22 Povpre\u010dna ponudba
9 vnosov
php and email design 4 dni left
...email designed and a functional email with table designed I need HTML version and text version for email clients that don't support html I need php so that I can pull data from my database and populate the email automatically. You can use dummy data and I will integrate to my database. Both emails will be mobile friendly and suitable for all email clients
€129 (Avg Bid)
€129 Povpre\u010dna ponudba
32 ponudb
Hello, We are looking for a video editor to join our team on an ongoing basis. We currently sell our own brand of consumer electronics which we create instructional and promotional videos for. We are looking for someone who has creative video editing skills, experience with similar videos, compositions, adobe after effects and video editing software
€103 (Avg Bid)
€103 Povpre\u010dna ponudba
36 ponudb
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5c0da283-5744-405f-8d1d-143913a26e06
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“Atlantis” digital piece for River Styx Brewing
I hope that a sense of wonder and fantasy comes up when you view my art.
Digital art created in Procreate
Every label tells a story…. Here’s the artist’s story
What is your art background like?
I’ve been doodling since I was a kid, and then took to professional doodling in college for my degree. I got my B.S in Communications and Graphic Design from Fitchburg State University.
What inspires you as an artist?
I’m typically inspired by the natural world around me, and finding appreciating the romance in subtle beauty.
What do you hope viewers will feel/experience when they view your art?
I hope that a sense of wonder and fantasy comes up when you view my art. I try to be detailed and leave subtleties for fun new experiences every time you look.
Does this particular piece have a backstory you could share?
This was actually the first label I created after I was in a car accident last year. I was anxious and completely degenerated by the event and felt completely uninspired. After taking some forced days off (yes, I’m stubborn) I came back and just put my pen to paper. I took an afternoon drafting the sketch, and very rarely do I change things while I do so, and wanted to feel as if I could walk through the world in the bubble on this label. I hoped it was something people could see and draw their own conclusions on what their experience in this place would be like. I also wanted locals to see the can and feel a sense of wonder and familiarity in the place they’re from and take pride in it with us.
What else would you like people to know about you, your art in general, or this piece?
Besides being the graphic designer, I am also River Styx Brewing’s Assistant Brewer and Brewhouse manager! So If you’re around, ask for me, and let’s raise a pint together. I will sadly be leaving RSB in August to go get my masters from UC Davis, but am incredibly proud of the foundations that I have helped build here from a branding and production standpoint.
The completed label incorporating the artwork
The art, can, label, and caption as part of the CANVAS exhibit
Artist Ryan Normille
@ryanormile on instagram
The labeled can
For our 45th anniversary, we created an exhibit entitled “CANVAS” celebrating the art of the can…. Or more specifically, the label art ON the cans of our beer-brewing customers. More about CANVAS
Amherst Label founded 1978 More
The complete CANVAS exhibit
Every label tells a story….
CLICK to learn more about Amherst Label’s commitment to helping breweries tell their stories.
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My name is Miles Wilder.
I’m a musician and artist.
This is my Bio.
I think it’s awkward that bios are written in the third person. We all know who’s writing bios, right?
I’m writing this one.
I grew up in the American West on the Great Plains of Colorado on unceded Southern Ute and Arapahoe land in an old farmhouse that was built by white settlers 100 years prior.
I was isolated, but also grew up with a lot of access to recorded music from around the world. My parents were music teachers and I was taught music alongside learning to walk and speak.
The vastness of the plains lives in all of my work. I am currently based in Boston and the vastness of the sea feels like a cousin I’m only just meeting.
I am a sculptor of sounds. Sometimes those sounds are played live via a multi-instrumental live-looping rig I designed and constructed myself. Other times it’s commissioned work for modern dance, circus, or film. My system of creating music and the tools I use are built out of the need to be flexible and portable. I’ve built something that allows me to feel like each instrument is a natural extension of myself and that can go on tour or function as a home studio for recording or live-streaming.
My musical sense is multi-layered, meditative, polyrhythmic, and I like to incorporate found-sounds or sounds from the environment when it’s appropriate I’m classically trained, so my early lessons were about exacting precision. When I first started as a songwriter and composer after college, I brought that same practice into my work. Over the years, however, I have been drawn more towards the organic process of improvisation. My current work exists as a lush landscape in between exacting precision and raucous abandon. In that middle place I am cultivating a sonorous garden where all are welcome.
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Hello there. I am Terry and I am a full-time undergraduate based in Singapore. I take photos, write a blog and design websites.
And no, I'm not a teddy bear.
Tag: Office
The dreamy spaces of Facebook HQ
The dreamy spaces of Facebook HQ
After stumbling upon this website showcasing the works of design firm Studio O+A, I am so going to make myself get hired by Facebook to work in their headquarters in the future *drools* I wouldn’t say that it looks as awesome as Google HQ, but it aint’ half bad! Of course, there are more photos available at the site which I’ve linked. You should really check it out!
[caption id="attachment_4290" align="aligncenter" width="600" caption="Facebook Headquarters by Studio O+A"]Facebook Headquarters by Studio O+A[/caption]
Amazing office spacesHello Easter Egg hunter! You've discovered the magic of the Konami Code!
Yea. You probably know what the Konami code is before getting to this page. So now what? Here is a randomised YouTube video on my favourites list... which includes Rickroll, if you're luck enough to get it.
You are currently watching Family Guy - Stewie Get's a Nightclub. Loving it? You can even watch the video in its full screen glory :)
The Konami Code:
Konami Code sequence
|
23bb29d6-7576-4b01-b48b-73afe6947342
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Orchestral Music Review
Southern Pines Immersed in Music: Frazelle, Ehnes, and the NC Symphony
September 28, 2006 - Southern Pines, NC:
Cacophonous cracks of thunder and deluges of rain upon the roof of Robert E. Lee Auditorium conjured visions of Wotan's storm cloud harrying about, seeking out the disobedient Brünnhilde. This musing is a by-product of the flurry of press about this year's Ring Cycle in Toronto, Canada. Had the tempest arrived after the intermission of the North Carolina Symphony's imaginative program it would have been a fit companion to Stravinsky's Le Sacre du Printemps, THE pivotal musical work of the Twentieth Century. It was a less welcome subtext to Beethoven and an evocative world premiere. The hall's fine acoustics helped keep the large audience immersed in the music while safe from the drenching rain.
Part of the North Carolina Symphony's 75th Anniversary Celebration is a series of commissions from leading NC composers, the "Postcards from North Carolina" commissions, coordinated by composer J. Mark Scearce of NCSU. His compilation of all the "postcards" into a single work will be performed in the 2007-2008 season.
Composer Kenneth Frazelle's roots in NC run deep. Born in the coastal town of Jacksonville, he was accepted at the North Carolina School of the Arts in 1971 as a pianist. After transferring to NCSA's composition program, he studied under Robert Ward. Frazelle continued advanced study at The Julliard School in New York in 1974 where his principal teacher was Roger Sessions. Graduating with the Gretchaninoff Award for High Achievement in Composition in 1978, Frazelle flirted with his teacher’s complex modern style awhile before finding his voice by embracing the folk musical heritage of our state. Like Bartók and Kodály, folk elements are kernels for sophisticated exploitation.
This concert was the world premiere of Frazelle's portion of the Postcards commission, The Swans at Pungo Lake, which evokes the massive convergence of tens of thousands of tundra swans and snow geese at sunset in areas surrounding Lake Mattamuskeet. Expansion of a U.S. Navy landing field for fighter jets may jeopardize this part of the Pocosin Lakes Wildlife Refuge.
Frazelle, quoted in Richard Rodda's fine program notes, says "the piece begins with spacious, undulating music in the marimba, strings and muted brass, suggesting the flat, open landscape. An oboe solo presents a second theme..." Pianissimo strings have a rich sonority which combines with muted horns and trombones. Dominated by the second theme, more and more sections of the orchestra are drawn into "soaring, dance-like shapes." Two percussionists shook large rectangular sheets to suggest the flapping of myriads of wings. Music Director Grant Llewellyn secured refined playing from every section of the orchestra with close attention to both color and graduated dynamics. Frazelle's "postcard" was immediately appealing, evocative of nature without being cliché. It ought to make a fine opening work for future programmers.
Canadian virtuoso violinist James Ehnes was simply breath taking in a deeply probing account of Beethoven's magnificent Violin Concerto in D Major, Op. 61. Playing the fine "Ex Marsick" Stradivarius violin of 1715, Ehnes played with a glorious sweet tone throughout his instrument's range, including the highest notes which were free of the slightest hint of acidity. His intonation was immaculate and his cultivation of color was most refined. Dynamics were minutely adjusted and Llewellyn's orchestra followed the soloist closer than a shadow. Time seemed to stand still, almost, during the second movement which had just enough underlying momentum. The ultra-quiet playing of the strings in this movement was astonishing. Ehnes played the Kreisler cadenzas in the first and last movements and a hybrid of the Joachim-Kreisler in the beautifully realized transition into the finale. Outstanding among orchestra soloists were timpanist John Feddersen, oboist Melanie Wilsden, and bassoonist John Pederson. The two horn players were terrific throughout.
What a treat it was to watch from the balcony all the extra and rarely heard instruments demanded by Igor Stravinsky's Le Sacre du Printemps! There were about 52 strings and lots of extras in the woodwinds, trumpets, and tubas. Nine horns, led by Principal Andrew McAfee, put on quite a floorshow as they raised their bells high from time to time. Associate Principal Kimberly Van Pelt and a stand mate, alternated between their standard horns and a pair of Wagner tubas which looked like horns with smaller bells, looking like a cross between a pigmy tuba and a tenor horn. Sections played in lock-step as they shifted instantly between the complex cross-rhythms. Llewellyn was alert to the juxtaposition of rhythms and was sensitive to Stravinsky's complex palette of instrumental color. His interpretation was worthy of this defining work of "modern music." Many Southern Pines and Pinehurst patrons resist music of the Twentieth Century. Instead of the fisticuffs and rioting reminiscent of the Paris premiere of March 29, 1913, this performance received a couple of restrained curtain calls.
The history of Le Sacre du Printemps performances in North Carolina has been slow to build! The state's professional orchestra premiere took place July 25, 1981 in Dana Auditorium, Guilford College, during the Eastern Music Festival. Robert Dunand, a former timpanist-protégé of Ernest Ansermet, led the Eastern Philharmonic (augmented with advanced students). The North Carolina Symphony under Acting Music Director Patrick Flynn, did Robert Rudolph's reduction of the score in November 1981. Now Conductor-Laureate Gerhardt Zimmermann led the 1st full score performance by NCS November 22-23, 1996, the orchestra's 50th anniversary season. Elsewhere the Charlotte Symphony played it in 1987 and 1994. Peter Perret programmed it with the Winston-Salem Symphony in 2001.
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