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Past Meetups (3)
What we're about
This is a creative community for those who long to connect and learn from other creatives. All types of creatives welcome, from first-time and aspiring creatives to emerging and professional creatives. We are here to inspire and champion each other in our creative development, share our stories and support one another in our creative journeys.
This is a meeting place where we don't need to have it all figured out. No speedy elevator pitches, no networking small talk and business cards are optional. Here, we are allowed to relax, just be ourselves and be real. It is a safe environment where we are free to ask questions, talk about our creative processes, challenges and achievements so that we can grow together as a creative community.
Creative discipline/industry: ANY. Our discussion focus will be about unlocking, developing and maintaining creativity. If you are a person, you have the ability to create.
We are here to support 4 types of creatives:
• First-time creatives - 'I want to give myself a go at doing something creative.'
• Aspiring creatives - 'I want to create more and find my voice.'
• Emerging creatives - 'I want to be a creative professional.'
• Professional creatives - 'I am a creative professional.'
We meet once a month for 2 hours or so, where we will have time to make friends over a hot or cold beverage and nibblies, listen to a short inspirational message by someone we can learn from, and we may even get to see to some live performances (if we can arrange it).
Members (674)
Photos (16)
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Setting the stage w/ Texas bombshell, Molly Morrison!
2 months ago
I’m happy to be back, Steemit. I missed the last couple days, which you’ll all know is unusual if you’ve been following me for a while. @vermillionfox made a sad post Wednesday afternoon titled “Is this the end?”. Her cat and best friend of 14 years, Simba, was very sick. We made an emergency trip to the vet who referred us to a continuous care animal hospital, but ultimately, we had to make a difficult decision. It’s been really hard on her, and our family. @guthrie has been in care-taker mode, doing what he can to cheer us both up. We needed a couple days as she sorts her feelings, I try to support her field @guthrie’s questions about death. Writing, posting and contributing is a positive outlet for me. It’s therapeutic for me to start something, finishing something and reflect on it, and tonight I’m ready to do that again. @vermillionfox may need a few more days before she’s back, but she’d appreciate some love and condolences if you have a chance.
I did my best to get through this day. I’ve been feeling that life has been throwing me challenges, that I can happily say I’ve been able to overcome. The aforementioned unfortunate family crisis, just one of many. My car was hit […again, this time a hit and run]. I left my MN license paperwork […mind you, just the paperwork that proves I passed the knowledge test and that my valid ID is coming] in the rental car. I left my Wacom tablet on a chair at @caffetto. @guthrie’s new PC has already gotten a virus and corrupted the entire OS. Just one thing after another, but all of them, I’ve managed to either find or fix. It’s a great feeling of accomplishment but it’s just consumed SO much of my time lately. I feel like I haven’t gotten in an hour of work this entire week. I’m going to finish this post then work until I fall asleep in the chair. I’m entering @timcliff’s @peerplays contest, so I’ll be exerting maxim creative brain power!
Tonight’s photography comes from 2015 with Texas bombshell, and international cover girl, Molly Morrison. These are flashback photos, sure, but they’re relavant because I just shot Molly again in NYC during the first week of July. Those photos are coming, but I wanted to set the stage with these beautiful shots from our previous sessions together in Los Angeles.
*Copyright MAXIM magazine, South Africa
*Copyright Esquire magazine, Serbia
Molly had contacted me originally to book a session during my big annual Old Hollywood black and white boudoir session event, NOIR. She was flying in from Texas, which was flattering enough, but when I began looking at her extensive portfolio of work and past shoots, I was intimidated! She’s gorgeous, smart, accomplished with covers and features in MAXIM, Esquire and had shoot several times with Tatiana Gerusova, one of my favorite photographers. It was one of those career “…you better up your game, Lars!” moments, and I live for those moments. They are what push me up that next rung of the ladder.
Molly booked a second session during the same trip, which gave us the opportunity to shoot vintage looks during NOIR, and a completely different concept just days later. Our first location was a dark studio in Hollywood. That was my chance to capture the dark pinup look I’ve become known for over the years. Molly was outstanding, and even as the last shoot of a two day schedule of 14 clients for NOIR, she had given me the creative rush and adrenaline to make some great images.
Days later, Molly met me at the home of a friend that had helped coordinate NOIR I LA. Her company is Art & Soul Events and if you find yourself in LA looking for a wedding coordinator, you do better than Jessica. I’d pulled some latex dresses from Jane Doe Latex which serendipitously complemented the flowers in Jessica’s backyard. In the back of my mind, I was still anxious that I was out of my pay grade with Molly, knowing the work she’s done in the past. I wracked my brain to come up with interesting and unique shots that only I could make, and in the end, I think I got them. She was incredible. Literally, a dream client and I will always cherish any time we can collaborate.
I’ll be posting some of the updated photos of Molly from New York City in a few weeks. I hope you enjoyed these in the meantime. Thanks for the leniency on the last few days. I do post often […barring crises], so for more photography, art, illustration and the stories behind them, follow me here @kommienezuspadt!
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Amazing photography I can not wait for Steam-pocalypse and I really want to participate in a photo contest by you, Love post photography whenever I can. Thank you for making this @kommienezuspadt!
I'm sorry to hear about your family's loss of your furbaby🌹
And about your car and computer "crashes".
On a lighter note glad you're back and sharing all your art with us :)
Sending you positive vibes for nothing but good ahead for the rest of the year for you and yours!
I'm so sorry to here about your furbaby. They always leave a hole in our hearts as pet lovers. All of it... I can certainly relate to! I'm glad you're pulling out of the funk that's so easily slipped into. :)
That being said, Molly is a classic beauty. I'm looking forward to seeing your work with her. Thank you so much for sharing! Resteemed. :)
Follow me
oh no! poor kitty! happy to be following you now though :) follow me if you want a laugh :)
https://steemit.com/life/@jacquelyne/steemit-vlog-entry-5-confessions-of-the-obsessed-stalker
hi my dear friend i like your post please visit my page and follow me
Dont waste ur talent, you will make a good model
Awesome shoots ! Really like it.
I was wondering where you guys were. I am so sorry to hear about poor kitty and sadness in your family. Sometimes you have to make difficult decisions.
Hey Lars, sorry to hear about vermillionfox's loss. I know it's difficult to field those life/death issues with your son. Mine has been asking those kinds of questions too now, I think they are at that age when the world around them starts to have more meaning and with that more questions.
These are really nice photos of Molly. One of the things I really like about your work is your range of models. They are not all of one single "stereotype" model. They are real women with real body shapes. That really lends itself to your style of photography. Great work as always. I'm sending positive thoughts your way.
Very nice work... Sorry to hear about your rough times and loss of vermillionfox's pet, losing a pet is always rough. I certainly have had my share and almost had to stop shooting a few times. Just keep going.
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40 Years of Air Force One
Nike taps into its collection of curators to help celebrate and bring the spirit of the AIR FORCE ONE alive for its 40th anniversary this year. Through a launch, Nike – along with its protagonists – will create a space that emboldens, ignites, and carries the collective power of the community forward.
Tapping into mover and shakers like popular DJ DBN Gogo, Fashion Designer, and Curator Wanda Lephoto, and well-known artist Anthony Bila, they bring an experience to surely die for.
The main launch will be accompanied by a weekend of jam-packed visits to the exhibition that ties this awesome campaign together, once again highlighting community and culture.
An exciting drop awaits all attendees as they get the unique opportunity to dive deeper into the stories that introduce 5 upcoming Heroes of community identified by Nike’s collaborators as they are showcased at Gallery on 4th in Melville.
Keep an eye on our IG stories for more info and scenes from the launch.
Stay IntouchSubscribe to our newsletter
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Janet Horne Cozens Fine Art - 2024 Calendar
Sale price$39.99
Beautiful 12-month calendar for 2024, featuring Janet Horne Cozens Fine Art prints on paper - 8.5 x 11
Janet Horne Cozens Fine Art explores the relationship between the natural world and us, the viewers, or occupiers of this world, using colour, texture and shape. With influences from the Group of Seven, First Nations artists and her own background as a printmaker, Janet developed a style that reflects not only what the viewer expects to see in these landscapes, but also the hidden influences of people on these views.
Janet's process involves a combination of acrylic painting, Japanese papers and drawing utensils. Each painting might have five or six layers, alternating between painting, collage and drawing techniques. The introduction of papers and manmade pigments, introduces human elements to the traditional landscape painting, in the same way that we have introduced human elements to natural landscapes.
Janet Horne Cozens is a multi media artist working out of Burlington, Ontario. She has been a painter, a printmaker, a mixed media artist and is now a painter again.
Having grown up as a child in Northern Ontario, Janet took her surroundings for granted and it was not until she started going back there as an adult, that she realized the beauty of the landscape there.
In her paintings, she tries to capture that feeling of immense skies, vibrant colours and the calming effect of the nature that surrounds us through the use of colours, texture and composition. Most of her works are not representational of exact places though they might be inspired by some of her favourite spots.
Learn more at janethornecozens.com
Orders placed after 4pm(EST) during a weekday will be processed on the following weekday.
Orders placed on Friday after 1pm(EST) will be processed on the following Monday.
Read more about our Shipping & Refund Guidelines
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Friday, January 29, 2016
Paint Party Friday & Colour Me Positive
Colour Me Positive Challenge
I worked on my week 4 Colour Me Positive challenge, including the not very good self portrait. I play a game sometimes, going through the alphabet and thinking of a positive and good feeling word for each letter. That is what all the writing is in the background, I went through the alphabet two or three times. I can tell tho that I am not in as good feeling a place as I was a few years ago, by the words that come to mind. (I don't always use the very first word that comes up). Acrylic background, everything else is color pencil. I'm linking up to Paint Party Friday, hop on over and see some great art from all around the world.
Rustic wood signs
I also made a few rustic wood signs. The laundry signs were by request and I will make some others to sell. The chicken signs were for me, but again, I am going to make more for sale.
The are made of old oak pallet wood and acrylic paints, then clear sealed.
Saturday, January 23, 2016
More Practice
man waiting pencil on paper
I was very brave last week to sit and surreptitiously draw this man from life while we both waited for an oil change. Again my proportions and perspective are a bit off, but not too bad.
Random animals from a magazine pencil on paper
chickens in colored pencil
I finally found my bag of Prismacolor pencils. I really like the waxy sort of feel they have.
colored pencil
Some more chickens, a little better, but the cat is ugly.
random faces in color pencil
More random faces from my facebook feed. They don't really look like the pictures much tho.
fruit in color pencil
Last night I worked on this picture of fruit. It's not finished. Color pencil takes a long time, it's not as easy to smudge and blend like paint, pastels or regular pencils. I'll probably try and finish it tonight.
Sorry I'm late but posting this to Paint Party Friday, even tho it's Saturday. Go on over and join the part, I always love to see all the cool art from around the world.
Friday, January 15, 2016
Practice Practice Practice!
animals in pencil
A lot of people seem to believe that in order to create art you must be born with some sort of special talent. I have always disagreed with this idea. Really think about this. If you were just born with a talent for drawing and painting then there would be no improvement with practice. You would just be able to create masterpieces from the get go.
This is soooo not the way it works. I have been drawing and painting for as long as I remember. But there have been long stretches of my life where I did not make any art or I made other sorts of art like quilting or embroidery. When I take up my drawing pencils again after such a dry spell I must practice practice practice to re-train my eye and my hand.
One thing I am not so good at is drawing people, yet that is something I want to be really good at, so I am practicing! I work at it every day, doing at least one page in my sketchbook each evening.
fine point sharpie marker
And it does pay off. I have no attachment to my sketches, It's ok if the people look funny or even monstrous. It's ok if their eyes are too close together, or their foreheads are too short. It's ok if the perspective if off. Because each one teaches me what not to do next time. And since I"m not attached to the outcome I don't get frustrated with them like I sometimes do when I'm working on a canvas.
faces in pencil
Many of these faces are from random magazine photos and some from my facebook feed. They really don't look much like the photographs I worked from. But the point is to keep going and keep working and keep trying. Like they say, don't give up before the miracle happens.
wings, sharpie marker
random facebook pics in pencil
flowers in pencil
I did the flowers while I waited from mom at an appointment. Some I sketched outright, others I laid down some graphite and smudged it, then "drew" with my eraser. I like working like that, very similar to drawing with white chalk on a black paper.
mom in pencil
random pics from my facebook
I drew mom while she watched TV, out of the corner of my eye so she wouldn't know what I was doing. She doesn't sit still much, seems like her mind is racing and she thinks of a 100 things to do all at once so she gets up and down a lot. It's really hard to draw a moving target!
Now for the fun part. Some of these actually have at least a slight resemblance to the pictures I used. Proportions are still a bit off but at least there is beginning to be a spark of reality within them. So never believe you must be born with some talent for drawing, you are perhaps born with a propensity towards it, something that draws you to the doing of it, but you must practice, practice practice!
I'm joining this to the great blog hop, Paint Party Friday. I've also joined the Colour Me Positive challenge and if you missed my week 2 page for that, you can see it here.here
Tuesday, January 12, 2016
Malala Yousafzai = BRAVE
OK, I have no idea why Blogger persists in importing my photos the wrong way but it is very annoying. that said, this is my journal page for the Colour Me Positive 2nd week.
This weeks prompt was to Be Brave. The original quote given was "She took the leap and built her wings on the way down"
I pondered the challenge for 2 or 3 days finally outlining the words Be Brave in pencil while I thought about what to do with the rest of the page.
Then a meme came across my Facebook page showing Gabriel Giffords and Malala Yousafzai together. Both of these women are amazing for having both survived gunshot wounds to their heads.
So I googled them and downloaded and printed some pictures. But in the end I only used Malala's because of the space constraints of my page. I think this young woman is totally amazing. In many ways she and others like her are changing the world for the better.
I shortened the quote given to just "She took the leap and grew wings" as I liked that better. I drew wings around her images and wrote "Be Brave * Grow Wings" in many areas. I think that may become my mantra for a bit. Be Brave. Grow Wings. Stretch your wings and fly.
Malala has certainly been brave. Despite multiple death threats against her and her father, she continues to speak up and speak out for education, for girls and women. And some places are listening to her and making changes for the better. I hope someday everywhere in the world has equality, amongst rich and poor, white and colored, men and women.
I'm sure there have been times when Malala was scared, but her brave heart beat on and gave her the courage to raise up her voice for those who had none.
Sunday, January 10, 2016
So now I have two sketchbooks going at once. The plain one I bought last week that I have just been doodling in in the evenings.
This is last nights doodle, just random pictures from magazines, done with a fine point black sharpie marker. Besides faces there is a horse and a bird in there.
This week I have discovered a new challenge, Colour Me Positive. This is a weekly challenge with a word, idea or quote to work with. It seems a lot of the participants are into collage and mixed media. Those aren't my strong suites, but I might try out some ideas. I decided to use the rooster sketch book my daughter brought me for this one.
Colour Me Positive week 1
The theme for the first week was Gratitude and what are you grateful for from 2015. There was a quote which I used. "When you look at life through eyes of gratitude the whole world becomes a magical and amazing place" Jennifer Gayle.
I used my new fine point sharpie marker and a little acrylic paint. The pages aren't thick enough to take a great deal of water without buckling so I didn't want to get it too wet.
The second weeks prompt is out and it is Brave. Perhaps I will be brave and use more paint and color. I am still thinking about that one.
Friday, January 8, 2016
Happy Paint Party Friday
So I'm a little late joining the party, Paint Part Friday, but better late than never, right? I love this blog hop and since it's snowing and yuck outside, I'll probably have time to visit everybody this time around.
I've been trying to at least draw a little every day, sometimes sitting watching TV and doodling in the evening. Here's one from a few days ago.
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then a couple more, Just the weirdness that runs through my head sometimes.
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Mostly I'm just practicing body parts ;-)
My oldest daughter came down to visit from Boise and brought me a present, a new sketch book with a chicken. So cool. (You have to know I'm a crazy chicken lady) ;=)
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IJsfontein demonstrates the power of ‘play’ at Northside Festival
12 June 2015 — 12 June 2015
IJsfontein will demonstrate the power of ‘play’ in complex situations, during Northside Festival on June 12.
In three examples Naomi van Stelten from IJsfontein will show how the power of ‘play’ can be used to learn complex material. How do you let caregivers experience what it is like to have dementia, so that they can provide better care? How do you make a work of art in a museum come to life and tell the visitors about the history of art? How do you teach people water lines with use of the technique of an Oculus Rift? In a short presentation Naomi shows how technology blends with the environment and with the content.
Designing play for a serious matter
For IJsfontein curiosity is a driving force behind science and innovation. A force that is increasingly important in a world that is changing rapidly and digitalizes. Knowing how to define a problem and solving it, is more important than the answer. Behavior is more important than knowledge. In our view learning should be less about what you learn and more about how you learn. Technological developments make it possible to learn more and can easily be integrated into daily life. The world around us is smarter and technology is an increasing part of our daily lives. Each stimulus we get, is designed. We therefore believe that we as interaction and game designers have a responsibility. Responsibility for the user it is not only to make it as easy as possible, but also playful and curious.
IJsfontein makes media interactive. IJsfontijn is convinced that people are naturally curious and intrinsically motivated to develop themselves. In their view, play is one of the most effective ways to encourage this natural behaviour.
IJsfontein’s projects have objectives ranging from creating awareness to education and from training to educational entertainment. Think, for instance, of a serious game as a training tool for (medical) staff, interactive exhibits and apps for museums or a cross platform digital method for primary education.
About Naomi van Stelten
Naomi van Stelten is director New Business at IJsfontein. IJsfontein makes interactive media since 1997 and is specialized in designing ‘playful learning’. With clients such as Malmberg, NTR, Albert Heijn, Stichting SOA AIDS Netherlands, Trimbos Institute and the Museumvereniging, IJsfontein is able to create accessible applications from complex content. Naomi is particularry interested in the the combination between what clients want, the content of the project, the target group and the use of technology. With a background in media and previous employers such as Endemol Interactive, Dutch broadcaster NCRV and advertising agency Media Republic, Naomi adds value to the initial stage of development. Ever since her state-of-the-art research on ‘Next Generation Television’ she has a positive look on the possibilities of the future.
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A "Dog-Gone" Good Time!
I had the opportunity to photograph Rosie with her two precious doggies, just in time for her to send off to family and friends over this past Christmas season. Here are some of the photos that captured her love for her fur-friends.
Rosie and Dogs 1 - Christie Roshau Photography
Rosie and Dogs 2 - Christie Roshau Photography
Rosie and Dogs 3 - Christie Roshau Photography
"Christie was Awesome and had so much patience with me and my two dogs!! Everyone loved their Christmas pictures and ask who took the pictures!" -Rosie
Photographer/Editor: Christie Roshau
Location: Peoria, AZ
Camera/Lens: Panasonic GH4 with 12-35mm Lumix Lens
My wonderful assistant/stand-in model for the evening, my fiancé Bryan Lukes :-) --->
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The Nixie Machine II: A glowing wonder gets connected
MB&F’s M.A.D. Gallery, dedicated to wild machines gets even wilder with the Nixie Machine II. All for the 5th anniversary of the gallery! The Nixie Machine was created by German artist Frank Buchwald for M.A.D.Gallery and based on an idea…
Florian Schlumpf: The man who merges art and time
The astounding Time Machines of Swiss artisan and expert engineer Florian Schlumpf captivate visitors at the MB&F M.A.D. Gallery in Geneva. It takes true passion for time, art and mechanics to create what Florian Schlumpf creates…beautiful mechanical timepieces that fill…
To the Moon and back – MB&F Destination Moon
MB&F + L’Epée 1839 have always made a stellar combination…with Destination Moon they show that space isn’t empty, it’s filled by imagination! Science fiction has been a reality for MB&F…and the Destination Moon takes this relationship further, leaving a lot…
The MB&F M.A.D.Gallery introduces Robotic Sculptures by Hervé Stadelmann
The MB&F M.A.D.Gallery’s exceptional exhibit of robotic sculptures represents the very epitome of cool: virtuoso Hervé Stadelmann merges Stadelmann’s keen eye for graphic design with his professional tinsmith training. The Eureka moment Speaking about how the idea for the robot…
The one-of-its-kind publication, ‘Hands on Time’ (HOT) is positioned as a quarterly lifestyle magazine dedicated to the pre-occupations of the rich and the famous; the bold and the beautiful; the high and the mighty. It will indulge its readers and expose them to true celebrity style!
HOT Vol XII Issue 1
Volume XII Issue 1
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April 19, 2015 / 30 Nisan, 5775
At a Glance
Posts Tagged ‘Finding Home’
Siona Benjamin’s Blue Angels
Wednesday, December 23rd, 2009
Blue Like Me: The Art of Siona Benjamin
October 15, 2009 – January 29, 2010
Washington DC Jewish Community Center
1529 16th Street, NW, Washington
A blue-skinned woman with at least one wing carries a caged dove in her right hand and has just released a golden bird from her other hand. Her hair is covered by a shawl that rests over a curved dagger (like the Yemenite jambiya) with a sheath decorated with the stars and stripes of the American flag. A corner of the shawl becomes a pair of tzitzit whose strings are wrapped around a lion’s arms and midsection, perhaps restraining it. The woman, who represents a self-portrait of the artist Siona Benjamin, stands on a white ball, which unravels to reveal not string but floral patterns that border the painting. Beneath her yellow skirt, the woman wears striped pants that evoke either the uniform of a prisoner or a concentration camp inmate.
Benjamin’s Jewish-Arab-American take on the cat playing with a ball of string is packed with symbols that could either bear fruitful metaphorical subtexts or dead-end red herrings. The lion could refer to Judah (called a “lion cub” in Genesis 49:9) or to Samson, who killed a lion and, upon seeing honeycomb in its mane, learned the lesson: “from the powerful ensued sweetness” (Judges 14:14). Or it could just be a lion. The strings of the tzitzit could protect the figure from the ferocious cat, or they could be the woman’s undoing, if the lion is pulling the woman down by her garment. Doves sometimes suggest peace, but a caged peace symbol could be ominous. The floral borders could suggest a beautiful garden, or a barrier that keeps the golden bird enclosed in an arena with the lion.
The work, Finding Home #9 (Fereshtini), is part of Benjamin’s larger series called Fereshteh, Urdu for “angels.” The angels of the series are the women of the bible, whom Benjamin positions as contemporary protectors who tackle modern problems: wars and violence. Benjamin, who grew up as a Bene Israel Jew in India, was educated at Catholic and Zoroastrian schools and lived in a predominantly Hindu and Muslim society. Now based in Montclair, New Jersey, Benjamin brings this hybrid identity into her works.
Finding Home #9. 2007. 9″ x 11″. Gouache and 22K gold leaf on board
Another work from the Fereshteh series is Finding Home #86 “Chavah,” which represents the world’s first woman as the symbol of her sin which led to her banishment from Eden: a tree.
The tree is blue (of course), and it has seven female, human heads – six attached to the branches, and one in the roots. In Benjamin’s painting, Eve has become one (or seven) with the tree. In a statement, Benjamin notes that misogynistic accounts of the biblical text often focus on Eve as “empty headed” and a “temptress.” But Eve is thus named for being “the mother of all life” (“Chava” from the root “chai,” Genesis 3:20), so she cannot be viewed as a destroyer. “The eating of the forbidden fruit can be looked upon as not negative or impulsive,” Benjamin writes, “but as a woman full of curiosity, who reaches out for the gifts of life: pleasure, beauty and wisdom.”
Miriam, depicted in Finding Home #73, is a very different sort of woman. She lies (asleep? dead?) in a large wine glass. She is blue-skinned and wears a golden sari. Behind the glass is a grey mushroom cloud of demonic faces, and a wire is plugged into the base of the cloud. The wire winds around the stem of the glass and emerges as part of the intravenous therapy being administered to Miriam. Two needles seem to be drawing blood from Moses’ sister, who holds a switch in her left hand. “Will she turn off the switch in time to stop the violence, the demons?” Benjamin wonders in a statement. “Is she asleep? Sick? Oblivious? Controlled?”
Finding Home #73, “Miriam.” 2006. 10″ x 7″. Gouache and gold leaf on wood panel
Although Benjamin suggests there is hope that Miriam might turn off the mushroom cloud – surely a reference to nuclear weapons – one wonders if the nuclear power is not also fueling the biblical character, who had the boldness to address Pharaoh’s daughter, to lead the women in song at the Red Sea, and to criticize her brother Moses (for which she was struck with leprosy). Miriam was also responsible, the midrash tells us, for well filled with water that traveled with the Jews in the desert. Instead of supplying her people with the water necessary for survival, Benjamin’s Miriam does not have control of her own bodily fluids.
The Miriam of Finding Home #72 is only in slightly better shape. In the triptych, Miriam lies tangled on a spider’s web. Even her wings are stuck in the web. In fact, Miriam’s wings, arms, and legs seem so carefully and intentionally tied that she could not have simply flown into the web. In the bottom right corner, a demonic figure with a tail, fangs, and sharp claws sleeps. She is flanked on either side by Jonah, who holds an American flag as he is strung upside down in front of a fish, and by Joseph, who stands on a podium dressed in bright colors. The two figures are in poses reminiscent of the soldiers tortured at the Abu Ghraib prison in Iraq.
Finding Home #72, “Miriam.” 2006. 18″ x 15.3″. Gouache and 22K gold leaf on wood
It is not clear what Miriam has in her character that makes her the patron saint of tortured prisoners, but even if she could help Joseph and Jonah, she is trapped in the demonic web. That’s what I find most impressive and exciting about Benjamin’s angels. They have been summoned to respond to modern problems – which are of course timeless problems at the same time – but it is hardly clear that they will succeed. Just because angels have been dispatched to respond to a problem does not immediately resolve the problem.
Menachem Wecker welcomes comments at mwecker@gmail.com. He is a painter and writer, residing in Washington, DC.
Siona Benjamin: Finding Home
Wednesday, October 8th, 2008
Siona Benjamin: Finding Home (www.artsiona.com)
Siona Benjamin’s works can be seen at:
‘Lilith in the New World’
Solo Exhibition at Flomenhaft Gallery, New York.
(Oct 23- Dec 4, 2008)
212 268 4952
‘Gathering Sparks: The Midrashic Art of Siona Benjamin’ solo exhibition
The Philadelphia Museum of Jewish Art (Dec 11, 2008 – Feb 11, 2009)
Siona Benjamin is a most unusual artist determined to recast Jewish art as a dynamic, cross-cultural phenomenon. At first glance, she seems more at home in the art of the East and yet manages to forge her visions into our consciousness regardless of our cultural orientation. Her works are deeply influenced by her personal experience as an Indian Jew, raised and educated in the predominately Muslim and Hindu culture of Bombay, India and yet fully savoring the contemporary American culture that she has made her home.
Siona’s work is driven by Torah narratives, especially of women, that are inextricable from her personal experiences. Her Bene Israel Jewish family inculcated a deep sense of Jewishness, even while she was educated in the rich cultural diversity of Catholic and Zoroastrian primary schools within the predominant Hindu and Islamic culture of Bombay.
This background was in many ways typical of the Bene Israel because of their accepted place within the Indian Hindu caste system. They did not experience anti-Semitism and were simultaneously fully absorbed into Indian society and yet, because of the caste system’s intermarriage prohibitions, were kept culturally distinct. According to Dr. Shalva Weil of the Museum of the Jewish Diaspora in Tel Aviv, this experience is unique among all contemporary Jewish communities.
One can well imagine the cultural dislocation Siona experienced as a Jew not quite fitting in the polyglot Indian society, a visual artist in Jewish society and as a South Asian woman in Midwestern America where she received her graduate college education. Israel wasn’t much more comforting again, as an outsider and witness to Jewish/Muslim hatred that was largely unknown back in Bombay.
Vashti (2006) 10″ x 7″, gouache & gold leaf on paper by Siona Benjamin
All of this was simultaneously liberating and daunting as she set down cultural and artistic roots. Her journey to uncover her artistic self has been fascinating, as she finds inspiration in the disparate styles of Indian/Persian miniatures, Byzantine icons and Jewish and Christian illuminated manuscripts.
A particularly extensive series of works (2006 – 2008) is collectively titled “Finding Home” and is dominated by symbolic portraits of Biblical women that address, on one level, many aspects of Siona’s complex background and subsequent experience. One image is Tikkun ha-Olam and is based on a conflation of Hebrew manuscript illuminations and the image of an Indian multi-limbed divinity in the shape of a menorah. Under Benjamin’s guidance cultures morph and blend into hybrid amalgamations.
Within the same series there are marginalized Jewish and non-Jewish women: Dinah is seen floating above a languid landscape entwined in a red fiery cloth that evokes her terrible fate; Tziporah is violently clutched in the air by a euphonious bird echoing her encounter with the “bridegroom of blood” and finally an amazing image of Vashti, forever the outsider looking into the palace that she had every right to possess.
The revealing title of last year’s exhibition at the Handwerker Gallery at Ithaca College; “Blue Like Me” summarizes Siona Benjamin’s approach to her subjects. She states that, as an Indian Jew, she is ” a colored Jew,” which has subjected her to negativity and racism from other Jews.” (Catalogue essay by Cheryl Kramer, “Blue like Me.”) Beyond this, her radically different cultural background automatically gives her outsider status within the Jewish community. These elements are always present in her choice of subjects, the mini-narratives she weaves and the fact that, almost all her figures are blue- skinned much like some Hindu divinities.
The scope of Siona’s explorations is impressive as she depicts the myriad women of the Bible, each of whom she subtitles Fereshteh (“angel” in Urdu). Miriam is seen in at least three versions; one as a traditionally-clad Indian woman trudging along with a suitcase, perhaps leaving Egypt, another Miriam is terribly sickly and surrounded by nightmarish demons suggesting the punishment of tzara’as and finally, a vision of her as an Islamic Persian angel tragically caught in a spider’s web.
Tamar, Asnat and a double portrait of Rachel and Leah are rendered in fascinatingly complex details while, not surprisingly, there are at least three Pop Art inspired versions of the grand feminist rebel Lilith. In another Lilith she is seen as an Islamic woman dressed in striped concentration camp clothes watering the ground filled with budding embryos. Siona exploits her status as an “outsider” to view midrashic figures from as extreme a perspective as possible.
Esther (2006) each 6 ½” x 5″, gouache on paper by Siona Benjamin
A triptych of Esther re-envisions the ordeal that Esther had to endure as a secret Jew in the Ahashverosh’s court by presenting her as Hear No Evil (Pilot’s Helmet), See No Evil (Blindfold) and Speak No Evil (Gas Mask), each attribute resonating with one aspect of a Jew’s experience in modern Israel. Until now, we have never imagined Queen Esther through this kind of contemporary political lens.
While the vast majority of Siona Benjamin’s images are of women, the few depictions of men are equally arresting, especially since all these images are of female figures in the guise of male characters. A triptych of Ishmael, Abraham and Isaac brings these Biblical figures boldly into the modern world. Ishmael is seen as a flying Persian warrior, blindfolded and threatened by arrows and spears from all directions. Abraham is leading a white ram against a background that seems to be raining blood. Finally Isaac is stretched out in concentration camp clothes, flames rising from behind him as tortured Abu Ghraib prison figures prepare to lift him into their realm. Grim, shocking and contemporary, Siona’s interpretations rivet the imagination and challenge traditional understandings.
Joseph (2006), 22″ x 17″, gouache & gold leaf on museum board by Siona Benjamin
Siona Benjamin’s Joseph seems to be an equally iconoclastic image depicting him turning back toward us to reveal his elaborately ornate coat. It is curiously drained of color allowing us to see many scenes of animals and men in violent struggle. Joseph’s blue face stares at us, passive and a bit defiant while he opens the front of his coat to reveal that it is lined with knives ostensibly for sale. The figure is surrounded by four Persian angels and five giant daggers. In the background, wheat fields summon both his prophecy and his success at managing the Egyptian economy in time of famine. A spilled glass of blood red wine completes the symbolic narrative.
Perhaps more than most of the images reviewed here Joseph actually echoes many traditional interpretations of the Biblical figure. Joseph’s feminized face reflects the midrashic understanding that he was exceptionally good looking in a captivating way especially for Potiphar’s wife – as the midrash tells us, “painting his eyes, curling his hair, and walking with a mincing step;” Genesis Rabbah 84:7; 87:3. The daggers surrounding him may indicate the deadly malice his brothers felt for him while the Persian angels easily connote the Divine protection he surely benefited from.
Finally, the overwhelming atmosphere of violence reflects Joseph’s role in the future time of the Moshiach. As evidenced by the Talmud, Succah 52a, and later midrashic literature the Moshiach ben Joseph will, if necessary because of the sorry condition of the Jewish people, precede the Moshiach ben David. In the ensuing terrible war of Gog and Magog the Moshiach ben Joseph, brave and skillful at war, will be tragically slain.
Siona Benjamin’s work establishes a singular place in contemporary Jewish art, forcefully demanding a multi-cultural perspective of Torah, Jews, Judaism and women. Her work forces us to radically broaden our horizons beyond the Middle East, Europe and America and very likely engineering a confrontation with the Islamic East within our very familiar Torah narratives. Given the crisis between Islam and the West, it might seem that her art is a first tentative step towards a common ground.
Richard McBee is a painter and writer on Jewish Art. Please feel free to contact him with comments at rmcbee@nyc.rr.com
How to Paint Jewish Culture In Five Easy Steps: The New Jersey Transcultural Initiative and Siona Benjamin
Wednesday, August 25th, 2004Printed from: http://www.jewishpress.com/sections/how-to-paint-jewish-culture-in-five-easy-steps-the-new-jersey-transcultural-initiative-and-siona-benjamin/2004/08/25/
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design thinkers blog
bringing the outdoors in
[hero image]
University of Colorado Health
Medical Center of the Rockies
the backstory
Medical Center of the Rockies (MCR) is the flagship hospital for the North Region of the University of Colorado Health System. This 90-acre greenfield campus accommodates 172 inpatient beds in its initial phase with plans for expansion to 400 beds in the future. Our design team developed a Master Plan for the campus that allows this exponential growth without disruption or renovation of existing services in a truly “plug-and-play” fashion. The main hospital is flanked by two 100,000 SF Medical Office Buildings that form a continuous circulation loop. MCR is home to the Heart Center of the Rockies and a level 4 Trauma Center of the Rockies, serving Northern Colorado, Southern Wyoming, and Western Nebraska.
at-a-glance
New Building
Programming & Planning
Loveland, CO
Completed in 2007
595,000 SF
Meeting the healthcare needs of a growing population in Northern Colorado and the west, UCHealth would conceive two world-class, sustainable facilities, serving as a landmark and multiple centers of excellence.
SLAM’s design solution created a hospital within a hospital, celebrating both centers of excellence and their branding, in a single building.
By sharing ancillary services and facilities, the design team was able to achieve and exceed all of the goals of the original concept, while meeting the schedule and budget.
This efficient design helped to reduce construction cost, adding an additional shell space to the project. This will enable more immediate expansion of surgery in the future. SLAM completed the fit-out of that area, in 2019.
The project also became the first LEED Gold certified hospital in Colorado and operates with 30 percent less energy than industry standards.
Today we have the best facility on the planet for treating patients, it is unbelievable what we have been able to accomplish. I am proud of this team and this health system.
Rulon Stacey, FACHE
Former President and CEO
MCR has become a model for creating a hospitality themed medical campus. The sustainability of the building and its systems, along with the use of natural light, outdoor amenities, and world-class views of the Rocky Mountains, has made this hospital a highly desired and profitable place for elective procedures.
Achieved LEED Gold Status
Lantern Award for Emergency Department, Emergency Nurses Association
International Sustainable Design Award from Design & Health International
Buildings Magazine Grand Prize Award for Greener Facilities
American Society of Interior Designers (ASID) Commercial Sustainability Award
Patient-Centered Hospital Award from Healthcare Facilities
Project Contacts
related projects
[case study]
University of Iowa
Iowa City, IA
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Annexe in Hampton
Square One Architects
Annexe in Hampton
Hampton, Greater London
An existing side annexe, previously used as a shed, has been demolished, redesigned and extended to provide an additional self-contained flat to the existing 1970’s bungalow in Hampton.
The annexe consists of two main volumes which have been developed by a new roof profile. This profile was the resultant of the previous roof and the planned extension, combined with consultation from local planning authorities. The open dialogue between all parties led to a much more generous spatial arrangement than previously envisioned. This evolution highlights the important factor communication plays in the field of design.
One spatial volume is comprised of a double height section that completely integrates with the roof of the existing bungalow. It is where the main entrance is located and includes a kitchenette and bathroom on the ground floor, and a staircase leading to a generous bed platform above. This sleeping area neatly tucks itself between the new roof and the ceiling of the existing house below. It is lit from above by two generous flat roof skylights that help to bring in ample amounts of natural daylight which filters through to the entry area below.
The other volume is a rear extension which provides space for the living area. This volume is just past the kitchen in the ground floor, extending itself into the garden with views on two sides. A tall space with a pitched roof provides a comfortable zone in which the occupant can relax. Two skylights, symmetrically placed, dramatically increase the level of natural daylight and ventilation in this area of the new annexe.
A minimal approach streamlines the design of the compact quarters and maximises its utilisation. A limited material palette of white and timber allows daylight to flow from one space to another and increases the occupant’s perception of the space with which they have been provided.
From the exterior, both new volumes are visually integrated with the existing house. The rear extension blends with the existing house in a subtle manner.
The annexe is accessible both from the interior of the existing house and externally from the front driveway.
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by Claudia Viggiani
translated by Steve Barley
In order to understand a work of art it is almost always necessary to know its historical context and how it came about in the hands of the artist who conceived it and gave it life.
But when we think of an artist it often isn’t possible to place him in the period in which he lived and the social context in which he developed, above all as a human being.
If then we discover a biography of the artist, one that is well-written with clear historical and geographical references and without romanticized frills, we realize how necessary an “in-depth” understanding is for our individual cultural awareness and for the pleasure and satisfaction which depend on it.
The word culture has a deep and absolute significance since it derives from an action: that of “cultivating” (colĕre in Latin) study and experience in order that we may thereby attain knowledge.
Having a wide and enhanced perception of something, retaining a notion in the mind, having an exact and precise knowledge of a work of art, possessing and knowing how to distinguish the experiences which are necessary in order to understand someone or something, in brief – acting in such a way as to allow us to discover, experiment, study and understand – is at the root of culture.
We cultivate our studies to gather the fruits of knowledge.
But cultural awareness can also be inherited, absorbed, by means of words and images acquired as we progress through the entire arc of our lives.
The most fortunate among us are exposed to a passive colĕre thanks to the cultural heritage of our country and the cultural awareness which our families bestow on us.
I am referring to oral testimony and to intellectual and monumental works: to ancient, ancestral knowledge, comprehended, narrated, written, built and passed on through the centuries to us in the present.
Our civilization is especially fortunate in this respect because it has benefitted from an exceptional wealth of cultural assets, material and immaterial, for which we are all at the same time both guardians and messengers.
Before we look at a painting, a sculpture, a piece of architecture or any work of art, we should remind ourselves that we must become familiar with the man or the woman who made it and try to understand the context from which it stems.
Only in this way can we sow within ourselves the seed of that information which will transform itself in erudition, in awareness and, only lastly, in culture.
naasson-after-restoration
Michelangelo Buonarroti, Ancestors of Christ: Nahshon and his Mother, c. 1511-12, fresco, Sistine Chapel, Vatican Museums
Talking about culture is unimportant; culture is action. Action which, through a series of well-defined processes, often brings us to an understanding not only of a work of art, but of the whole of humanity in its infinite expression.
In the first lunette, high up on the left wall as you enter the Sistine Chapel through the small door under The Last Judgment, you see, on the right, Nahshon (Naasson), son of Amminadab, chief of the tribe of Judah in the desert and commander of an army of 74,600 men. Nahshon’s son, Salmon married Rahab and his grandson Boaz married Ruth (1Chron. 2:11-15; Ruth 4:20; Matt. 1:4-6, 16; Luke 3:32).
The young man is depicted reclining with one leg outstretched and resting on a wooden bench, his brow is furrowed and his arms folded, lazily hidden under his cloak. His surly attitude makes reference to the sloth and insolence which brought him to a refusal to read The Book of the Law which lies open before him.
On the left of the lunette is his mother, or perhaps his wife, looking at her reflection in a mirror, absorbed in a vanity which precludes her seeing anything else.
In the woman’s hand mirror we see a figure which differs from apparent reality: the face is faded and gloomy and nothing of the woman’s beauty, including her blond hair tied up in a ponytail and her wealth, denoted by her gold earrings, is evident in the reflected image.
Michelangelo wanted to depict these two ancestors of Christ, who did not want to recognize the laws dictated by God to Moses on Mount Sinai, blinded as they were by ignorance, self-satisfaction and presumption.
© 2016 – 2019, Claudia Viggiani. All rights reserved.
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Sunday, March 17, 2013
New Acquisitions: Julon Pinkston and Thomas "Tad" Dorgan
Robert Boyd
It's been a while since I did one of these. But bonus time hit and I decided to celebrate by buying some art. It took me a while to find some art I was willing to commit to that I could afford--always the tricky balance, for me. But I saw the new pieces by Julon Pinkston at Zoya Tommy Contemporary and I loved them. In fact, there were many there I loved so I'm already feeling buyers remorse over the other Pinkston works I wish I had. No matter what I had bought, I would have still felt regret for what I didn't get.
Here's the thing. There are artists and whole art movements that strive to somehow remove their art from the capitalist system, who try to create art that is cannot be made into a "commodity." I get it. But the pleasure of buying and owning art is exquisite, so all you trendy commies can go to hell.
Julon Pinkston, Untitled (Tape Over White Over Red), 2013, acrylic paint on canvas stapled to wood panel, 10 ¾ x 14 ¾ x 2”
Julon Pinkston, Winter Coat, 2012, acrylic paint and plastic BBs on wood panel, 6 ½ x 5 ½ 2”
I had seen Julon Pinkston's work at the Big Show at Lawndale in 2011, and I liked it, but it wasn't anything I felt I wanted to have. Not so with these. On opening night, I literally spent 30 minutes trying to decide which of the many pieces I wanted--there were so many good ones.
Now some readers are possibly thinking, man, listen to this rich asshole talking about his art buying. But while I make a decent living, I am far from being in the 1% (much less the .01% who break the records at Sotheby's and Christie's). The thing is, Julon Pinkston, like many local artists, sells his work at prices that a non-wealthy collector can manage. There is a lot of fantastic art out there that ordinary folks can afford. The Vogel's proved that.
Jen Graves wrote a manifesto for collecting in The Stranger (a Seattle weekly newspaper) a few months ago. There have been lots of artistic manifestos, but Graves' manifesto, "Buy Art!" (subtitled "If You Have Never Bought a Piece of Original Art, You Are Doing Life Wrong"), may be the only manifesto for collectors I have ever seen. She wrote:
The last time you avoided an art gallery out of intimidation or slunk out of one feeling out of your depth? That was the final time. Right here, right now—this is the end of your lifelong career of never once having bought a piece of original art.
[A]rt has a double economy. One economy is nearly free. The other—where you actually buy—is perceived to be basically impossible to enter unless you're a Rockefeller. Yes, the art that's sold for millions and makes headlines for its auction records, etc., etc., no, you cannot afford that art. But who cares? The world is jammed with 99 percent art. [Jen Graves, "Buy Art!", December 5, 2012, The Stranger]
Her piece spoke very specifically about buying art in Seattle. Devon Britt-Darby picked up the ball and wrote a piece for Houston in Art + Culture. He wrote, in essence, that what is true in Seattle is just as true in Houston: there's plenty of affordable art if you look around for it and are willing to ask for it. Don't assume that everything for sale in a gallery is out of your range.
So if you are looking at these Julon Pinkstons and thinking, I kind of dig those, go over to Zoya Tommy and look at all the ones she has in stock (or check them out on Pinkston's website). You may find that this is art you can afford. And there's a lot more by a lot of different artists available all over Houston.
Thomas "Tad" Dorgan, Indoor Sports, c. 1921
This comic panel by Thomas "Tad" Dorgan is supposedly from 1921. (I guess there will be a trip to the library's newspaper microfilm collections in my future to precisely date it.) Tad was one of the very early newspaper comic strip artists--his first comic strip was in 1902. But his strips didn't appear on the comics page--they were aimed at sports fans and ran on the sports pages. A surprising number of comics strips started out there--the most famous being Mutt & Jeff. Tad never left the sports page. A big boxing fan (indeed, he is in the International Boxing Hall of Fame), he was reportedly a good friend of the great Jack Johnson.
Tad was an excellent cartoonist, but he had a greater affect on the world for being (like Shakespeare) a prolific coiner of idioms, including "dumbbell" (for a stupid person), "for crying out loud," "hard-boiled" (for tough), "drugstore cowboy," and many more.
2. I just became aware of Julom's work. Great writing Mr Boyd! ..... Too bad to take me 9 years to see this.
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The Dorset Street Flats Repair
The Dorset Street Flats have been badly damaged in the earthquakes that have struck Christchurch in the years following and including the initial 04 September 2010 earthquake.
http://www.heritage.org.nz/the-list/details/7804
We've been commissioned by the majority insurer (Southern Response) and approved by the other insurers involved (IAG, Medical Assurance, and Tower Insurance) to work with their project managers Arrow International, and complete the documentation for the repair of the Dorset Street Flats.
This is a huge honour, as these buildings are among the most important in New Zealand's architectural history.
Greg Young, the managing director of Young Architects, is probably the most qualified person in New Zealand to be undertaking the lead of this repair, after working for both the original structural engineers (Holmes Consulting Group) and architects (Warren and Mahoney Architects). Greg has met with Heritage NZ, Christchurch City Council heritage, and also Sir Miles Warren, to discuss how the repair is approached.
These buildings were recently featured on TVNZ's The New Zealand Home (https://www.tvnz.co.nz/ondemand/the-new-zealand-home).
We're currently working through the construction detailing with the engineers and contractors, and will then be updating this regularly as we progress on site.
Please also refer to www.dorsetstreetflats.com and https://www.facebook.com/dorsetstreetflats/ for further information.
Sorry about the silence...
JULY 2019
We were commissioned to produce the repair documentation for The Dorset Street Flats in 2015. We produced the building consent documentation for the insurance based repairs in mid 2017, and finally in July 2019 satisfactory settlements have been reached by the owners with their respective insurance companies ... FINALLY ...
We're currently tidying up the documentation for the actual repairs (rather than the theoretical repairs to meet insurance policy requirements), and will soon be ready to start work on site.
Thunderbirds Are Go
All ducks are in a line, ready for a start.
Resource consent approved.
Building consent approved.
Construction contract signed with SummitBuild.
Mainmark about to commence releveling the foundations.
Corona Virus ...
Mainmarks equipment is delayed in customs with border security tightening up around the world ... we'll be starting the re-leveling "soon"...
JOG Computer-Controlled Grouting
MARCH 2020
The re-leveling is underway. Mainmark are using the same technology that was used to relevel the Christchurch Art Gallery, and heritage projects in New Zealand and around the world.
https://mainmark.com/products/jog-computer-controlled-grouting/#
Not a lot to comment on as of yet, apart from the confidence I feel with the international experts on site.
Building Leveling Complete
MAY 2020
The re-leveling is complete.
This was a complicated assessment to make. One of the most important ways the construction detail was originally articulated, was in how different elements of the building aligned with each other - the joinery was aligned with blockwork grout lines for example.
During the releveling process we assessed the alignment of the blockwork between the two buildings, the horizontality of the coursing, how level the first floor slab was (the ground floors are too broken to use accurately), how parallel the seismic joint was between the buildings ... as well as how the ground was performing, whether cracking in the cladding opened/closed, whether the cladding was being displaced out of plane ...
On Monday the building started giving some resistance to the releveling process. We've brought the buildings up approximately 50mm, aligning the coursing between the two buildings, and re-establishing the seimic gap to being parallel ... and there the buildings wanted to stop. The resins used in the process started to be refused, and blockwork started to be displaced. If we continued to bring the floors to be more level, then the blaockwork would move out of alignment, and the seismic gap would be out of parallel.
This is where we think the building was originally positioned. To double check, we've checked how level the sliding doors are, and they're now where we want them to be for the doors to be able to be used easily.
We're now moving forward into the repair of the buildings themselves, comforable with the repairs to the ground and existing foundations.
Geotech Work Complete
JULY 2020
After digging out within the walls to a depth that Willy Marshall at Engeo was comfortable with (by hand with shovels and wheelbarrows), we've now set up with a layer of gravel and crusher dust to the level required for the DPM / insulation / structural slab.
There was some momentary acceleration of pulse with some crockery and bones being found during the excavation, but after Heritage NZ were consulted, we were given permission to continue (our joke about KFC fell on deaf ears) - this was determined to be 1930's / 1940's so of no interest in an archaeological sense, but the artifacts have been kept for the owners own interests.
Ground Floor Slabs Underway
So far we have Flats 14 & 16 with new floor slabs. These floors are a completely different approach to the originals. The original concrete slabs were 4" (100mm) thick, unreinforced, poured directly onto dirt, floating between the walls.
The new slabs are 300mm thick, heavily reinforced with two layers of ductile steel bars, insulated underneath and around the perimeter, and tied into the foundations. There is so much steel in the new floors that we've had difficulty getting plumbing set up.
The existing copper plumbing has recently been stolen by some low life pond scum. The Police are investigating nearby security cameras, and we're setting up some security cameras and flood lights on site. Broken bottles and razer wire has been discussed, but decided against due to not being a politically correct approach.
The new floor slabs also heated with water pipes - no more woolly jumpers required!
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Smoke on the Water - Glacier National Park, Montana
One of the sunrises that we shot in Glacier NP was at Fish Creek, which runs into Lake McDonald. From this location looking east, there were plenty of shots of a terrific sunrise to be had. After getting some pretty good shots, I did what I like to do and explored other vantage points. As I turned around, I spotted this scene that really intrigued me. Across the lake, there was fog rising from the water. The sky had turned a great shade of soft red and orange. I think that what intrigued me the most was the stand of trees that are silhouetted and the top of the hill. It was a great reminder to myself to always look behind you or explore other areas of a location. You might find a hidden gem.
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David Jeremiah Explores Police Brutality, Masculinity In New Exhibition
by Elizabeth Myong 11 Feb 2020 2:22 PM
David Jeremiah explores challenging topics like police brutality and masculinity in his new exhibition “Things Done Changed.”
Lamborghini-red paint popping off the canvas, children’s play cubes with a Rice Krispie-like coating of concrete and shiny gold bullet casings that form a play on words, draw the attention of visitors at David Jeremiah’s new exhibition “Things Done Changed.”
David Jeremiah discusses his artwork with visitors to the gallery. / Photo: Elizabeth Myong
Hosted at the Public Trust gallery, the exhibition opened this month to a crowd of more than 300. While Jeremiah is quickly building a reputation in Dallas’ contemporary art scene, some still consider him an outsider — and he is. According to a new study, 85% of artists in museums are white.
Jeremiah first gained notoriety in Dallas with his exhibition “The Lookout.” He locked himself in a cell for three weeks and had visitors paint a white Ku Klux Klan hood onto his body. While some consider his art to be extreme, Jeremiah said he wants people to focus on having a candid conversation about race in Dallas.
“A lot of people were like, ‘bro, this is too close to home,’” he said. “Well you can look at it like that if you want to, or you can see it as it is so close to home that we almost have to have the realest version of this conversation so that we’re not wasting anybody’s life on that day.”
Jeremiah tried to have an honest conversation in “Things Done Changed” with pieces that explore issues from police brutality to black masculinity.
The Story Behind The Art
Much of Jeremiah’s work is influenced by his childhood in Dallas — his perception of race relations and the police growing up in predominantly black neighborhoods, his boyhood appreciation for Lamborghinis and his favorite shows like the Japanese anime series Dragon Ball Z
The Lamborghini has been a big source of inspiration for Jeremiah who uses the signature red and blue colors in his artwork.
He said the Lamborghini’s “beauty and essence” is rooted in ritualistic violence, explaining that the Italian manufacturer started naming their models after Miura fighting bulls in 1966.
“If there’s another beautiful, perfect body that’s rooted in ritualistic violence as well it’s the human body,” he said.
Dragon Ball Z, once just an anime show Jeremiah liked to watch, became a way for him to understand black masculinity during his time in prison. He said he was drawn towards the recurring plot of Vegeta, a prince who constantly seemed to be in battle with his nemesis Goku.
The character reminded him of the ways men in prison, including himself for a time, would act like Vegeta, calling themselves gods and kings as a way to “uplift theirselves in this mess of a country that’s against them.” He called it a “re-brainwashing” done by black men to survive in the world.
Characters from the show also change form when they are enraged. Jeremiah started to see this transformation as a metaphor for “black masculinity pushed too far.” He said he sees the man who killed the five Dallas police officers on July 7, 2016, as an example of this.
Jeremiah also juxtaposes challenging subjects like police brutality and racial violence with the innocence of toy-like pieces for his 5-month-old son. In Khild’s Play – Building Blocks, the wooden blocks represent Jeremiah’s son while the concrete encasing represents the prison he says his son was born into as a black boy in America. Jeremiah said the piece is also a reflection of his own life decisions that eventually led to his time in prison.
Khild’s Play-Building Blocks on the Public Trust gallery floor. / Photo: Elizabeth Myong
“He’s already imprisoned and if he plays around too much, he can put himself in an even more defined one than the one he’s already born into,” Jeremiah said.
Reflecting on the series, Jeremiah said while his son is too young to understand the concepts in Khild’s Play, it’s an effort to prepare for his future.
“I catch myself trying to give him energy that he’s not ready for, that comes from a worried place,” he said. “You got to be a man.”
What It Means To Be “Primitive”
Jeremiah was once called a “primitive” artist by an acquaintance in the Dallas art scene who commented on his lack of formal art school training. While offended at first, Jeremiah channeled his frustration into his work, embracing a “primitive” way to make art through the sledgehammering, ripping, punching and kicking of wood. What emerged was The Blacks, The Gods and the Devils, a collection of pieces that satirize the very idea of what it means to be “primitive.”
The Story. The Blacks, The Gods and The Devils. / Photo: Elizabeth Myong.
Scattered across the back wall of the gallery, the rugged surfaces and jagged edges look like game pieces in Jeremiah’s mythological world. He calls this universe “The Story.” It is inhabited by creatures he created, like The Blacks, who are the first men and The Gods, who are golden symbols of religion.
Why not make fun of the primitive art of anything — what did the first person do?” he said. “You start from somewhere and the start is always primitive to a degree.”
Jeremiah’s work often involves going against the grain. Visitors can find a “F**k You” scrawled on the edge of his canvases. It is his own little inside joke, poking fun at the traditional idea that artists should completely paint the sides of the canvas.
A “Redemptive Afterlife”
For the series Hamborghini Rally: Soul Hunt City, Jeremiah has an eclectic set of inspirations from Lamborghinis to the movie Hellraiser, to video games like Gran Torismo and Mario Kart.
Each of the pieces represent one of the police officers who was killed during the Dallas police shooting three years ago. They depict redemptive afterlives, according to Jeremiah.
“All of them are in hell but their hell is depicting my favorite video games growing up,” he said. “So basically, they are trapped in this video game where like you perpetually have to chase down this white ghost to get their souls back.”
The Story. Hamborghini Rally: Soul Hunt City is a vivid red color. / Photo: Elizabeth Myong
Imagery of pigs and Lamborghinis combine on the vibrant red coated canvas, which has a life-like rubber snout protruding from the center. Jeremiah said in the world of his series, the longer you stay in this version of hell, the more distant you become from who you were while living.
“So just imagine that they looked like they did when they were still in their flesh and blood body, but over the duration of these past three and a half years going on four years, they’ve turned into this bastardization, hybridization of pigs and Lamborghinis,” he said.
Jeremiah also created a gold grill, decorative covers for teeth, made out of a spool of prison razor wire for two of the “Hamborghini” figures.
“I wanted to give each of them a different rendition of a gold grill to anchor them in a physical element of the stigma that I feel like cops attribute to their prey,” he said. “You know that ni**a has a gold grill, he a thug.”
A visitor looks at one of the Hamborghini Rally pieces. / Photo: Elizabeth Myong.
Jeremiah said he does not intend to promote violence against police with his work. Instead, he wants to find new ways to promote peaceful conversations — something black people continue to do through marches, protests and other nonviolent forms of resistance.
Jeremiah calls the black, sticky looking substance on the canvases “the material.” He won’t share what material or technique he uses to make it.
“That’s all the black sh*t inside of me I’m getting out conceptually, but I don’t talk about what it is,” he said. “There’s some things you got to keep private.”
Jeremiah said art is like therapy for him, but he also hopes that it provokes honest conversation in his hometown where 5 police officers were killed on July 7, 2016.
“Dallas is not going to get away from me,” he said. “I feel like what better place to have a realer version of a real conversation.”
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Welcome, thank you for stepping by and appreciate my work. I am a Boutique Portrait & Destination Wedding Photographer based in San José-Costa Rica but also serving Destination Beach Weddings and Elopements at Guanacaste, Tamarindo, La Cruz, Conchal, Nosara, Flamingo, Papagayo Peninsula, Manuel Antonio, Jaco, Esterillos, Dominical, Santa Teresa, Uvita areas and/or wherever your love story deserves to be captured locally or abroad.
My main purpose as a Costa Rica Portrait & Destination Wedding Photographer is to respect and honor your dreams. I'll do this by capturing your emotions, feelings, essence, and love in a very organic and discreet way, maintaining the authenticity of each moment and, of course, by adding my personal touch. Nothing moves me more, and nothing is most rewarding than the emotions, and happy messages I get from my clients. Serving you, knowing that my artwork will have a special place in your hearts throughout your life, earning your trust and appreciation means the world to me!
If you are planning to visit our beautiful country either for your Wedding, Elopement or simply a vacation trip and want a Couple Portrait session or a Family Portrait session at any place of our country, do not hesitate to contact me. I'll be glad to be your host and capture wonderful moments for you and your relatives.
Where are you located? Do you charge a travel fee for weddings not in your location?
I am based in San José, Costa Rica but able to do destination weddings around the country or wherever you dream your wedding to take place. Set a call to talk about travel fees.
How long have you been in business? How many weddings have you photographed as the main photographer?
I have been photographing Weddings for 10 years, we use to shoot around 40 weddings per year.
Describe your "style" of wedding photography.
My photography style has been crafted and developed through the years. I like to take photojournalistic and candid images that capture moments, but also there are times in which you need to apply a more classic and posed style. As you may noticed in my portfolio I love natural and vivid colors, perfectly light subjects and with accurate skin tones, as well as classic black and white images.
What's the typical wedding coverage package that you offer? What is the price?
Our core Wedding coverage service include:
* Lead Camera (M.A.U.G.)
* 2nd Shooter
* Lighting & Production Assistants
* Online Gallery & personalized App for your smart device
* Signature Editing process
* Full resolution & web-optimized images
* Wedding Timeline consultation
* Pre Wedding Day scouting and talk through session
* Wall Art & Album design consultation
Destination Weddings starts at : $1.900
You can add to your coverage: Wedding Albums, Cinematography, day before/after shoot, rehearsal dinner coverage and/or early delivery. Contact us for more details about our services.
Do you have a studio where we can meet? Do you use Skype?
You can reach me in Skype as user PhotoByMAUG.
Is there anything else you'd like to share about yourself?
We love to know new people, know their story and make new friends. You can expect from us a very kind and friendly staff serving you to get the most wonderful memories of your Wedding.
7 Recommendations
Highly recommend Mauricio Ureña, incredible experience! We found Mauricio from seeing his photography of other weddings at our venue, and we knew instantly that he had to be our wedding photographer. His style is completely unique - it was vibrant, artistic, dramatic, happy and emotional. His style is able to capture moments perfectly, and his photos are able to not only capture our feelings in that moment, but also our movement. He gave prompts that made us laugh and cry in the most genuine way, and we couldn't feel more comfortable working with him. Mauricio also took the time to have two Read More long calls with us before the wedding to get to know us as individuals and as a couple. This really helped him show our personalities and our relationship on camera.
We hired Photos by Mauricio and his team for nine hours on our wedding day and were absolutely blown away by the experience. They arrived early, moved carefully and efficiently through the different shoots, and got tons of photos while working within the wedding timeline. The team did a great job of directing everyone for the portraits and showed an incredible ability to bring out the emotions in everyone they were photographing. Once the reception started Mauricio and his team were capturing everything. They got incredible action photos of not only everyone dancing but also the emotions in the room. The photos turned out beautifully and perfectly memorialized the joy of the night.
Mauricio is a true artist. He was a key component in making our wedding as special as it was. He was able to get us a preview of his work after just 2 short days, and the pictures were breathtaking. We can't wait to see the rest. We can't imagine working with any other photographer and couldn't be happier with our decision to go with Mauricio.
Seriously. Stop looking for anyone else. He and his team are the absolute best you will find. Thoughtful, extremely creative, and attentive to your specific style and comfortability. It was like having your biggest day photographed by a close family member. Mauricio was prompt to answer any questions we had, provided fantastic scouting and insight, and was truly a pleasure to be around on what can be a very stressful day. We couldn't recommend him any higher. And the photos! Out of the gate, one of our photos was nominated for an editors choice and best of the week award, then added to the Read More best of the year collection for a global photography directory. You will not be disappointed with Mauricio. A delight both personally and professionally from start to finish.
World Class Photographer - My now husband and I hired Mauricio for our wedding at Zephyr Palace on July 30, 2022.
Mauricio was one of the best investments and decisions that we made for our big day. From start to finish he was consistent and attentive with accommodating and creative ways to submit deposits internationally to hearing our vision and incorporating his own into our pictures.
His technical side with his ability to relate to the photography subjects shows his undeniable skill level. When we met prior to the wedding, he coached us on how to pose and move together to get the Read More perfect shots. This is important when you do not know how to be in front of a camera on such a critical day of memories.
Every team member of his was clearly talented and both my husband and our guests were impressed with the photography gear they traveled with. I’ve been to plenty of weddings but I’ve never seen, nor did I expect, the special touches with lighting and communication that surrounded us.
To speak to his character, Mauricio is so fair, honest, and caring. You can feel that you are not just another client to him and it is clear that he loves his job. He stayed in touch with me after the ceremony to make sure our experience in Costa Rica was amazing. When your photographer checks to see if you arrived safe home in the states, you know you are working with an amazing soul.
Mauricio’s gorgeous bold images are not on accident. He is educated and continues to push his limits to be the best. If you select him I promise you are making one of the best decisions for whatever event you have planned.
My husband and I could not be happier. We adore him and cannot wait to see more of what he captured on our wedding day.
1 Featured Couple
More Photographers in Costa Rica
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May 1, 2020
Massimo Adario Takes an “Atemporale” Approach to Renovating a Storied Florence Apartment
Remember the movie version of E.M. Forster’s “A Room with a View” with its honeyed images of Florence, Italy? That’s the swoonily romantic lens through which one can’t help viewing the gloriously eclectic Florentine apartment that architect Massimo Adario recently renovated for his partner—an art, design, and fashion lover, who also happens to be an architect. From its position in the ancient Oltrarno quarter, mere steps from the Arno, the 2,400-square-foot, fifth-floor flat looks across the river to some of the city’s most beloved landmarks, the Galleria degli Uffizi and the basilicas of San Miniato al Monte and Santa Croce, among them. Forster’s Lucy Honeychurch couldn’t have asked for a finer view.
Before discussing the interior makeover, Adario, principal of his namesake firm, recounts the building’s colorful history. Dating to medieval times, it was destroyed by the Germans during World War II and rebuilt in 1951. Though retaining some of the qualities of the original, the reconstructed version was not slavishly faithful to it. “The facade is an irregular fusion between contemporary elements and the character of the location,” the architect explains. Similarly, Adario’s design fuses various influences across the decades from the 1920s to the ’60s, and even the ’80s. With a curatorial eye, he juxtaposes “things that you think would not go together, but they do.” The approach, the Rome-born-and-based architect notes, is not at all Florentine; rather, it’s atemporale—outside of time.
Inside, Adario made only limited structural changes and did not alter the apartment’s L-shape layout. His biggest intervention was to transform it from “a double-corridor borghese situation separating living and service zones” to one with a single hallway linking the rooms. These comprise a small entry foyer; three bedrooms with baths; and, spanning the crook of the L, an imposing enfilade incorporating living, dining, study, and kitchen areas connected by a series of wide marble portals.
Though the spaces flow easily into one another, each has a distinctive look, bold with color and brimming with detail. As for original materials, only the marble terrazzo floor tiles in the hallway already existed. Everything else is new. In terms of palette, two materials prevail: walnut and linoleum. Linoleum, one might wonder, in such an elegant environment? “From the 1920s through the ’50s it was used in buildings as a modern material,” Adario explains, citing its application in such 20th-century masterpieces as Ludwig Mies van der Rohe’s Villa Tugendhat in Brno, the Czech Republic, and Piero Portaluppi’s Villa Necchi Campiglio in Milan, the silent co-star of “I Am Love,” another swoony movie. Later, the architect notes, the material became more utilitarian, losing its figurative sheen: “I wanted to bring it back, but make it look modern.”
Ergo linoleum’s pervasive use in the apartment: as two-tone wall-to-wall “rugs” in some rooms; as a brilliant expanse of orange lining a window bay in the otherwise serious hallway; and as rich-toned wall and ceiling coverings in the study and bedrooms. “I’m not afraid of using color,” Adario admits, though he limited his choices to stock hues. When used on walls, ceilings, or built-in bedroom closets, the material is applied as panels framed by thin strips of walnut, “making it more precious.” In fact, the architect refers to such treatment as boiserie.
Actual woodwork is entirely walnut. It appears as regular millwork, lining portals and doorways, forming built-in furniture, and paneling ceilings and walls, occasionally in the guise of tambourlike vertical dowels. The characterful wood is also used to frame the apartment’s windows, most notably those on the living quarter’s two extended walls, one facing the Arno, the other overlooking Piazza Santa Maria Soprarno.
Adario had fun with another favorite material: ceramic clay. Collaborating with artist Francesco Ardini, he crafted rosettes and fantastical beetles as door pulls for bedroom closets. More unusual still are the large glossy-tile panels Ardini made for the kitchen. Using a finger-paintlike technique that Adario compares to “kids drawing on dirty cars,” they depict an abstract landscape resembling the nearby Ponte Vecchio. As pragmatic as they are charming, the tiled panels open to reveal an oven, cooktop, fridge, dishwasher, and all the other paraphernalia of a well-equipped kitchen. When they’re closed, only the sleek stainless-steel and marble island with its twin sinks and sculptural faucets remains in view. Could there be a cooler place to prepare a late-night bowl of pici all’aglione while sipping Chianti Classico?
Enviable eye-candy furnishings abound. Many pieces are incontrovertible classics. To wit, Jan Bocan’s woven straw seating for Thonet, an Ingmar Relling leather armchair, and Marcel Breuer’s Cesca chairs, which surround Pietro Chiesa’s glass dining table, circa 1934, for FontanaArte. Not far from the hallway’s vintage turquoise resin stool stands an Otto Schulz cabinet dating to the 1920s; another one graces the master bedroom where it keeps company with a quirky Philip Arctander chair, bound to be comfy thanks to its creamy sheepskin upholstery. Meanwhile, a quartet of antique rugs that Adario purchased on a Christmas trip to Morocco brings additional subtle colors to living, dining, and study areas.
Added to the mix are elements of the architect’s own design: the floating, double-sided sofa at the juncture of the living and study spaces, the hallway’s window banquette, and the beds with side tables. All by way of saying that everything is either vintage or custom created—you would be hard-pressed to find a production-line piece in view. The apartment is more than ready for its close-up.
Project Team: Carla Arrabito: Massimo Adario Architetto.
Product Sources: Through Raimondo Garau Gallery: stool (study). Riccardo Previdi through Francesca Minini Gallery: mirror. Ceramica Gatti: tile panels (kitchen). Nic Design: sink (master bathroom). Cerasarda: tiles. Through Demosmobilia: mirror (master bedroom). Throughout: Ceramica Gatti through Federica Schiavo Gallery: ceramic cabinet handles. Through Jacksons: vintage furniture. Forbo: linoleum.
> See more from the Winter 2019 issue of Interior Design Homes
Recent Projects
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otto versand möbel
Main Taking photos Suggestions To Enhance Your Skills Desire to change your slight interest into an imaginative art form? On this page, there are a few suggestions that can change your manage-of-the-mill pictures into something great. With the eyesight to increasing the fundamentals, the advice in this article can help you grow to be a better wedding photographer. Pick what is going to show up in your picture. Wonderful photos are like very small house windows featuring certain reasons for having your subject. Don’t try to placed almost everything in to a one structure. When you are looking to seize an impact, get a few pictures rather than just 1 singe picture containing no depth or concentration. When trying to consider an excellent picture, keep the technique straightforward. Generally, it is possible to seize fantastic photos with out messing with assorted options. Prevent taking photos under an overcast, cloudy skies if possible. When you have excessive grey skies in your picture it is going to allow it to be appearance muted. A grayscale picture may well work most effectively if you must take an overcast skies. If, however, the skies is blue and clear, include even more of it but consider how the further light influences the rest of your photo. Digital cameras typically have a built-in display, that quickly switches on if the sun light is way too reduced. This is fantastic for taking a simple picture, even though if you would like your photos to look more specialist, consider purchasing a sort of external display device that will provide you with an extensive variety of light. Verify to make sure your camera carries a “warm footwear” on the top that can accommodate an outside display, then check out a specialist digicam shop to ensure that you are getting one that quickly syncs along with your digicam. Learning to correctly use your digicam and take the most impressive pictures is vital with regards to taking the finest pictures it is possible to. Use the suggestions over and especially concentrate on concentration and lighting effects to create the imaginative pictures your family and friends will envy.
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Home Photography 13 Tips for Shooting Better Urban Portraits
13 Tips for Shooting Better Urban Portraits
by Peterson Newman
Are you interested in doing an urban portrait shoot, but you’re not sure where to start? An outdoor shoot in your local town or city is a great way to be more creative, think on your feet, and come away with some unique images that you can’t get from a shoot in a studio or your local park. However, If you’ve never done one before, you may be a little daunted. In this guide, I run you through my top tips for shooting better urban portraits.
1. Have a vision for the images you want to shoot
Begin with the end in mind. Create a mood board of urban portraits using a free tool such as Pinterest. These could either be your images or inspirational images from other photographers. Keep these in mind as you plan your shoot, as this is the standard you’ll be aiming for.
2. Location scouting
Before you plan your shoot, get an idea of the type of urban landscapes in your area. What kind of images could you take here? How could the buildings and street scenes feature in your photographs as a point of interest or as a background texture?
Every town and city has its unique charms – from heritage buildings to seaside piers to abandoned shopping centers. Find what’s interesting about your area and use it.
You can find out more about what I look for when scouting locations in my previous dPS article, How to Choose Urban Landscapes for Portrait Photography.
3. Find talent for your shoot
The easiest way to find someone for a shoot is by asking family or friends. This way, the pressure is off, as you have someone familiar to work with that you can test your ideas on. Make sure you ask someone that is not too shy or self-conscious, though; after all, it will involve posing for photographs in a public location.
If you’re ready to test your urban portrait skills with a model, organize a TFP (time for print) shoot. These have been around since the pre-digital days, when photographers, models, and make-up artists would collaborate and give their time for free in exchange for physical prints of images taken during the shoot. These days, images from TFP shoots are usually digital files shared over the internet.
Finding people to work with should be relatively easy. Most cities have photographer and model groups on Facebook. Type the name of your area with the words model or photographer and see what comes up. If you have no luck, you can also ask in general photography groups if anyone knows of a TFP-style group you could join.
4. Ask for expressions of interest
Once you’ve joined a local Facebook group, have a scan of the posts and see if it’s the kind of community you wish to work with. If you feel comfortable, it’s time to post your expression of interest.
Create a post introducing yourself and calling for expressions of interest in a TFP urban portrait shoot. Link to examples of your work and your Instagram.
Let people know specific details about the shoot. This includes the approximate location, proposed days and times, and the types of shots you’re looking to get. You can also link to or share images from your mood board on the post to set an expectation of the kind of shots you’ll take. If you use images on the mood board that are not yours, make sure you credit the photographer and explicitly state whose work it is.
Finally, ask people to comment on the post or send you a private message, expressing their interest. Also, ask them to link to their Instagram or portfolio.
5. Arrange details for the shoot
After you’ve chosen whom you’d like to work with, organize the shoot. Agree on the day, time, and location. Prepare to negotiate regarding which day you can shoot, but not on the time. Always choose the time of day that you know will work best for photography. For me, that’s about an hour before dusk as this provides opportunities for natural light and after-dark images.
If the model is under 18, check that their parent or guardian is coming along and that they will be able to sign a model release form.
Ask your model what they’re planning to wear for the shoot. Quite often, they will ask for your advice or provide you with options. Explain that it would be ideal to have two or three different looks. Some people will prefer to have completely different outfits for the first and second half of the shoot (if there is somewhere to change). For others, it means bringing along some fun accessories like glasses, sunglasses, a hat or jacket.
If you’re arranging a shoot a week or two in advance, don’t forget to stay in touch with your model. Remind them a day or two before the shoot.
6. Have a plan
Think back to your location scouting. Have a list of 8-10 places where you’d like to shoot that are within walking distance of each other. Draw a map in your notebook and plan your route and the types of shots at each place. Typically, I only shoot in 6-8 locations, but I like having a couple of options up my sleeve in case some don’t work out.
Finally, don’t be afraid to throw your plan out the window if a better opportunity presents itself.
7. Plan your kit
It’s tempting to take as much kit as you can carry on an urban portrait shoot. However, strike a happy medium between taking enough kit to give you options without having to hire a Sherpa to carry your gear.
I typically take two camera bodies (Fujifilm X-T3 and X-T2) with prime lenses, with a third lens in my bag. My lenses of choice are usually the Fujinon 16mm f1.4 for wide-angle and environmental portraits, and either the 35mm f1.4 or the 56mm f1.2 lenses for portrait work. With the APS-C crop factor, these work out to 24mm, 52.5mm, and 84mm equivalent lenses in full-frame terms.
Although I love zoom lenses for family portrait shoots, I only take fast prime lenses on urban portrait shoots.
Double-check all your camera settings when you pack your gear. Things I check are:
I’ve selected the same JPG film simulation on both cameras,
I have the same auto ISO settings,
JPG + RAW is selected in the image quality settings.
There are spare formatted SD cards and spare batteries in my bag
I have model release forms and a pen.
8. Get to know whom you’re photographing
Make sure you turn up early – you won’t make a good impression if your talent is waiting for you and wondering if you are going to turn up or not. Get to know your model and their chaperone. Everyone can be a bit nervous at the start of a shoot, so have a good chat with them before you even think about pulling out a camera.
9. On the shoot
Remember, on these kinds of shoots, you don’t need quantity, you need quality. I aim to get a dozen images I’m really happy with. This means potentially shooting in a different way than you usually would. Take your time with directing the model and getting the composition right before taking the shot.
Make sure you get a variety of shots – close-ups, full length, looking to the camera, looking away. Also, remember to get some different looks by using any accessories the model has brought with them.
10. Be prepared to direct the model
Directing talent is a skill you will need to learn – especially with younger up-and-coming models with limited experience. There’s no need to be worried if you have no experience doing this yourself. Get yourself the 67 PORTRAIT POSES (PRINTABLE) Guide from DPS to have on your phone (or print them), or have a stash of urban portrait images, ready to flick through to give your talent some ideas on how to pose.
11. Check your ISO and shutter speed
As the day moves into night, keep a check on your ISO and make sure you have usable shutter speeds above 1/80th of a second. The most annoying mistake I’ve made on these shoots is looking at the back of the LCD screen, thinking that I’ve captured a sharp image, only to see that the image wasn’t as sharp as I thought on my computer screen later on.
12. Limit any negative self-talk
Negative self-talk can affect us all. If you had an idea for an image, but it doesn’t work out on the shoot, move on and forget about it. Many images are still there for the taking.
13. Carry your own lighting options
For the first half of an urban portrait shoot, I rely on natural or ambient light. As darkness envelopes the urban landscape, I look to my own lighting options.
The first option I usually take is a speedlight flash that I can use on-camera, or trigger remotely. Typically, the light from these types of flashes can be harsh, so you may like to use a light modifier such as a mini softbox.
The second type of lighting that I use on my urban portrait shoots are small LED video lights. These are fantastic, and I love using them. Again, you can use one through a light modifier for a softer effect.
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11x14" ORIGINAL abstract painting, ready to hang - art, decor, green, white, navy
11x14" ORIGINAL abstract painting, ready to hang - art, decor, green, white, navy
Only 1 available
Hooray! This item ships free to the US.
Rare find — there's only 1 of these in stock.
Item details
acrylic, acrylic paint, paint, acrylic medium, medium, art board, artboard, board
Height: 14 Inches; Width: 11 Inches; Depth: .375 Inches
This is an original abstract painting (titled "Wallflower #10") done on a 11x14" art board with acrylic paint and mediums. It is 3/8" thick and there are 2 notches on the back for easy hanging, so there is no rule that says you have to hang it the way that I have displayed! Here is a breakdown of the colors used in case you are trying to match something:
- lightest color: white (titanium white)
- darkest color: blue-ish black (payne's grey)
- accent color: green (emerald)
- finish: matte w/ gloss accent color
Please don't hesitate to contact me if you have any questions!
P.S. If these colors aren't your thing, I take COMMISSIONS! I can create a custom painting for you using whatever colors you want and can paint them on bare pieces of canvas for easier framing, heavy art boards, or stretched canvas. Contact me for details. :)
Shipping & returns
Get it fast! Ready to ship in 1–3 business days.
From United States
Free shipping to United States
Returns and exchanges accepted
Exceptions may apply.
Meet JenSantarelli
Jen Santarelli
Jen Santarelli
Springfield, Illinois
This seller usually responds within a few hours.
What I have listed in my shop is what I have currently in production, but I am always adding more! If you have a request for something you don't see listed, please contact me and I'll gladly move it to the top of the list for the next batch of new products. The best way to find out when I've added new listings is to join my mailing list here: http://jenftw.com/ml
Please note, I don't do rush orders, so I can't create new items for specific events.
If you need your item to arrive by a specific date, you may want to consider purchasing expedited shipping. USPS Priority Mail typically arrives 2-3 days after it has been shipped and Priority Mail Express arrives the day after it has been shipped out. (These shipping times are within the US - international can vary.)
The time it takes for an item to be ready to ship varies by item and I don't do rush orders, so plan ahead. Paintings typically ship within 1-3 business days, but buttons are made-to-order and can take 3-5 business days. The larger the order, the longer it will take to make!
Yes! If you need 100 or more buttons, I offer a 10% discount for quantities of that size. (Please contact me so we can work out the details.) If you need 50 or more buttons, you qualify for free standard shipping! Please Note: Free shipping does not apply to Priority Mail or Priority Mail Express.
For items that I normally carry in my store that have been returned to me as undeliverable, I will refund the price of the item MINUS the cost of shipping. However, no refunds will be offered on custom orders.
It is up to the buyer to make sure their address is correct on the package, that they get expedited shipping if they need an item urgently, and that insurance is purchased in case the post office loses their package. Once a package has left my possession, delivery issues are between the buyer and the post office.
In my experience, a small handful of orders placed with me have gone on a slight detour with the post office on the way to their destination. I have never had them lose one entirely, but cannot stress enough how important it is to chose Priority Mail or Priority Mail Express if you need an order by a specific date. (Expedited orders have also never gone on the above-mentioned detour.)
The post office will refund the cost of shipping if an item hasn't shown up after 45 days, but they will not refund the cost of the contents unless the buyer has purchased insurance for the order. I'm happy to pass on the refund by the post office if an order is lost, but can't reimburse buyers out of my own pocket for orders that are lost by the USPS.
5 out of 5 stars (282)
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Mary - Louise Parker + Your Passion Recall
AT HOME ART DATE | Watch Recall Write
“To convey in any existing language how I miss you isn’t possible. It would be like blue trying to describe the ocean.”
Mary-Louise Parker, Dear Mr. You
With an equal gift for wit and pathos, in 1990, Mary-Louise Parker made her Broadway debut in Craig Lucas' Prelude to a Kiss. In 2001, she won a Tony Award for her performance as Catherine Llewellyn in David Auburn's Proof. Her subsequent film roles include The Spiderwick Chronicles (2008), Red (2010), R.I.P.D. (2013), and Red 2 (2014). (2013) In 2018,
she featured as a political strategist on Showtime's Billions and had a lot of success as the sexy and eccentric lead in Weeds.
You can experience more free content,
& all of the AT HOME ART DATES here.
This AT HOME ART DATE is a chance for your writing to get hot and heavy when the sun goes down.
(element one) WATCH this interview with Mary-Louise Parker about her autobiographical novel written in letter form here.
(element two) RECALL people, places, or things you have splendid or complicated passionate memories of and choose three.
(element three) WRITE a letter to each of those three. Make it a tribute, make it a dismissal, make it bawdy but be sure to incriminate both yourself and your addressee.
How does it feel to write letters that give you a little tingle and maybe some closure?
Even if you resist doing this exercise, do it anyway.
If you seek perfection, you will never reach completion.
Finished? Congratulations. Well done, artist!
Please share your letters with trusted friends. Even share it on social media! Try always to share your art.
I hope you find Mary - Louise Parker + Your Passion Recall to be a compelling AT HOME ART DATE.
I curate provocative AT HOME ART DATES for you to enjoy solo or with others in your own home. Many of these art dates have online elements combined with supplemental reading, listening, and a variety of activities you can do at home to enhance how you express and experience art. Feel free to forward these art dates to others. Remember to check out the bonus material below.
These AT HOME ART DATES are free of charge. However, they do take time, energy, and a lifetime of artistic experience to put together. If you’d like to buy me a cup of tea as a bit of thanks, I’d appreciate your generosity. Buy Pattie a Cup of Tea.
Bonus Material:
Mary- Louise Parker On Life Without Men
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Seat IV by Tatiana Kuzyk
Regular price Sale
Seat IV by Tatiana Kuzyk
Printed on Giclée Canson Baryta Gloss
Seat IV. 2015.
This image is part of ’Seat’ collection of photographs that attempt to discover a deeper essence within an ordinary object by contemplating the shapes and semi-obscured intricacies of unoccupied outdoor chairs.
The images were published in 2016 in my book ‘B&W shorts: SEAT’ (Available on Amazon.com). An excerpt from the introduction follows: ‘This book is a collection of photographs depicting a mundane subject of patio and garden chairs captured during a late fall. No longer occupied, their unobscured shapes, texture, and grey tones captivate attention and allure the observer to discover unexpected intricacies of both, their own essence and the immediate surroundings’.
Black & White photograph printed on premium quality photographic paper.
Photographer: Tatiana Kuzyk.
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The Trump Files: When Donald Destroyed Historic Art to Build Trump Tower
“They fell to the floor and shattered in a million pieces.”
Mother Jones illustration; Shutterstock
Let our journalists help you make sense of the noise: Subscribe to the Mother Jones Daily newsletter and get a recap of news that matters.
The construction of Trump Tower may have been Donald Trump’s greatest achievement, but it was a disaster for the city’s artistic legacy.
To build his skyscraper, Trump first had to knock down the Bonwit Teller building, a luxurious limestone building erected in 1929. The face of the building featured two huge Art Deco friezes that the Metropolitan Museum of Art wanted to preserve. The museum asked Trump to save the sculptures and donate them, and the mogul agreed—as long as the cost of doing so wasn’t too high.
But then, according to journalist Harry Hurt III in his book Lost Tycoon, Trump discovered that taking out the sculptures would delay demolition by two weeks. He wasn’t willing to wait. “On his orders, the demolition workers cut up the grillwork with acetylene torches,” Hurt wrote. “Then they jackhammered the friezes, dislodged them with crowbars, and pushed the remains inside the building, where they fell to the floor and shattered in a million pieces.”
The art world was shocked. “Architectural sculpture of this quality is rare and would have made definite sense in our collections,” Ashton Hawkins, the vice president and secretary of the Met’s board of trustees, told the New York Times. Robert Miller, a gallery owner who had agreed to assess the friezes, told the paper that “the reliefs are as important as the sculptures on the Rockefeller building. They’ll never be made again.”
The Times reported that Trump also lost a large bronze grillwork, measuring 25 feet in length, from the building that the museum had hoped to save.
Trump—posing as spokesman John Baron, one of the fake alter egos he used to speak to the press throughout his career—told the Times that he had the friezes appraised and found they were “without artistic merit” and weren’t worth the $32,000 he supposedly would have had to pay to remove them intact. “Can you imagine the museum accepting them if they were not of artistic merit?” Hawkins said in response.
“It’s odd that a person like Trump, who is spending $80 million or $100 million on this building, should squirm that it might cost as much as $32,000 to take down those panels,” Otto Teegen, who designed the bronze grillwork, told the Times. Yet he wasn’t willing to protect the art in this construction deal.
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SOHO 3Q Coworking Offices – Beijing & Shanghai
SOHO 3Q has pioneered the industry of coworking in China as they open multiple locations in Beijing and Shanghai, all designed to invigorate and support a variety of working styles.
• Client SOHO 3Q,
• Location Beijing, Shanghai, China,
• Industry Coworking,
• anySCALE Architecture Design have developed the design concept for multiple locations of the SOHO 3Q coworking offices located in Beijing and Shanghai.
For over 4 years architecture and design company anySCALE has designed and developed 25 co-working spaces for SOHO 3Q with 115,791 sq.m. GFA, creating 18,000 workplaces. Behind the successful collaboration, one finds the two companies daring to make the first step forward into the future and innovations, not putting the basic values aside.
The idea of 3Q started in autumn 2014. Zhang Xin (CEO of SOHO China) and Pan Shi Yi (Chairman of SOHO China) visited some coworking spaces around the US, curious to see if the western model could be adapted to the Chinese market. Shortly after their US visit, they decided to test the market in China by initially creating two coworking spaces within their own properties, which were actually the first coworking spaces in China. anySCALE was selected to create the design.
More than 80% of all 3Q projects are housed in the existing SOHO properties. The trick was that initially all those spaces were designed to fulfill completely different functions, and now they had to be redesigned and adapted for the appropriate use from the original layout and to become attractive co-working spaces. This challenge makes for more creative solutions and fascinating design outcomes for realized projects.
anySCALE faced the main three redefinition challenges: while redesigning office floors of the upper-level office spaces, when turning shopping mall floors and retail podiums into coworking spaces, and bringing life to the underground ‘leftovers’, originally used for foodcourts or storage.
The most restrictive is the upper-level refurbishment. It’s a standard office floor with the low ceiling and common corporate lobbies, 6 to 8 elevators inside of its core and usually narrow spaces between the core and outside facade. Still, this space boasts ultimately great views. So, the first you need to do when you get to ‘restyle’ such a space is to knock down all the walls and take out the ceiling. To make it as spacious as possible and then remake it open and flexible, without losing efficiency. Here it’s of great importance not to make it look again the same as the standard office, with a bunch of tables in the open space. It’s important to employ a design that makes the use and functions of spaces intuitive for visitors, comfortable with all the places that are shared, both working spaces and lounge zones. The anySCALE team used these means for projects in Wangjing tower, which was actually the first of the two projects of 3Q, Hangzhou 3Q in a sparkling-new office building in the CBD, SOHO 3Q Shenzhen in a trendy seaside district Shekou, as well as Shanghai Tianshan and Donghulu.
The key pillars for creating the inspiring coworking spaces are splashes of color, open spacious areas, automation of the design processes and comfortable lighting for work.
The color range used by anySCALE for the spaces follows the main color of SOHO China, which is white. In each 3Q space, a lot of white is used, with wooden, and concrete materials added to the ‘canvas’ palette. White has been supplemented by warm fresh colors, in the beginning, more by orange, yellow, red, and later designers added the fresh green, pink, blue tones. Further, for some of the projects, the style tended more to vintage.
Compared to the US coworking style practice, which is more of a masculine type – heavy, dark and in rich woody manner, SOHO 3Q designers together with the Company itself, wanted to have a feminine design for the coworking, and also to fit with the Chinese market. In order to bring the airy and light temper, designers apply very light wood for each project – on the floor, on the walls, as well as for the custom build furniture. Moreover, anySCALE always starts with open ceilings, providing as much natural light as possible. It all starts with very simple industrial lighting.
SOHO China is the pioneer to develop 3Q coworking spaces in China. Together with anySCALE’s reformative approach, the collaboration further influenced co-working development around China. Following the Corporate Identity developed by anySCALE, SOHO 3Q brings more ‘hip warm and easy’ concept to the entrepreneur world and start-up community on a nationwide scale.
DesigneranySCALE Architecture Design
Photography: Jerry Yin, Xia Zhi, CreatAR, Soho China
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Alexander Gerasimov
For me, the decisive point to become an artist was the fact that the painter does not have to get up early in the morning to go to work; he has whole lot of money just twiddling his thumbs; he relaxes throughout the whole year in residences... And then, easily accessible naked women are always beside him. Over the years, I realised that it is not so. But it was too late to change something.
biography of the artist
other artists
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Note: To protect the privacy of our members, e-mail addresses have been removed from the archived messages. As a result, some links may be broken.
Find Lesson Plans on getty.edu! GettyGames
[teacherartexchange] Safe to use Slip Clay for Handbuilding
From: Judy Decker (jdecker4art_at_TeacherArtExchange)
Date: Wed Feb 10 2010 - 09:53:54 PST
Greetings Getty Folks,
I know I am late weighing in on this topic, but I was certain that you
could use slip clay for hand building. I asked the Clay Guru, Dr.
Marvin Bartel.
This is his answer (permission granted to share with you):
>> The key thing here is "hand building." Casting slip includes a bit of soda. This allows it to turn to liquid with a lot less water. When casting, less water means less shrinkage as it releases from the mold. It you make slip from clay without the soda, it takes a lot more water to make it liquid. If you pour it in a mold, it shrinks so much that it generally cracks.
I would expect casting slip to be fine for hand building, but I would
avoid contaminating throwing clay with any slip casting clay.
Some artists intentionally cast the clay in traditional vessel form
molds. Then they cut the standard forms into pieces and reassemble
them as cubistic sculpture, figures, animals, etc.
My follow-up question to him was about Soda Ash (a known skin
irritant). This is his response to that question.
>> Yes, soda ash is an irritant in higher concentrations. However, casting slip clay has only one part soda ash for every 1000 or 2000 parts of clay by weight. Most recipes also include a small amount of sodium silicate. The amounts vary, depending on how acidic the clay is. At this concentration, it simply adjusts the PH of clay to make it a bit less acidic, thereby requiring less water to make it liquid. The alkalinity of casting slip is well within the range of many ordinary materials that we safely work with every day. Particularly in winter, any clay work dries out the skin. I use Burt's Bees hand salve.
I really like his suggestion of casting the clay into molds - then
cutting the leather hard clay up and reassembling Cubist style. Let us
know if you try that one.
Any time there is a question about clay, I always go to Marvin's site
and see what he has posted. I didn't see this question covered so, I
emailed him. He has been a long time member of Getty list, but is very
busy now. We are so fortunate he continues to share his knowledge
through his web site(s).
http://www.bartelart.com/
(follow the links to his Art Education resources)
Judy Decker
Reminder: If you post a reply - remove my email address before you
click "Send". It is a good practice to do this for every member. It
only takes a second. Your efforts will save everyone from getting so
much Spam.
To unsubscribe go to
http://www.getty.edu/education/teacherartexchange/unsubscribe.html
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Swimming Logos
Font styles
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What text should I choose for my swimming logo?
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Of course. Your swimming logo from BrandCrowd is provided in several formats including vector files (PDF and SVG). No matter how large you want your swimming logo, it'll look great. Vector files are used to create print layouts and illustrations as they ensure the same quality appearance across all formats and sizes.
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Home » Sections » Arts »
Schatz’s Gambit
Tunisian Boy (late 1930s), silver cast plaque with filigree silver frame by Moshe Murro Collection of Ira and Brigitte Rezak
Tunisian Boy (late 1930s), silver cast plaque with filigree silver frame by Moshe Murro Collection of Ira and Brigitte Rezak
Bezalel: Art, Craft & Jewish National Identity
Herbert & Eileen Bernard Museum of Judaica
One East 65th Street
Sunday – Thursday 10am – 4:30pm or by appointment
212 744 1400 x 313; museum@emanuelnyc.org
emanuelnyc.org/exhibits/bezalel
Until August 31, 2012
Boris Schatz (1866 – 1932) had a revolutionary vision. He believed that the creation of a new modern Jewish visual culture would become a major force to both articulate a Jewish national identity and sustain the Zionist enterprise. In 1904 he approached Zionist leader Theodor Herzl with the proposal to establish a national arts and crafts school in Palestine and got his blessing. Tragically Herzl died later that year, but the Zionist leadership in Vienna assumed responsibility for the project and its funding. In 1906 Schatz arrived in Palestine with two teachers and two students and set about to create not only a national school that would inspire the new Jewish identity, but also help sustain the fledgling pioneers by promoting tourism and creating an export commodity – Jewish craft. His heroic vision is expertly explicated for us by curator David Wachtel at the current exhibition at the Bernard Museum of Judaica at Temple Emanu-El.
And what to call the new Zionist art school? “Bezalel,” of course, after the first Jewish craftsman who had the “spirit of God, in wisdom and in understanding and in knowledge and in all kinds of workmanship” (Shemos 31:2) to fashion God’s dwelling place in the wilderness. Schatz established the cultural model wherein the biblical past authorized the future vision for a Jewish homeland and modern culture. Interestingly enough, as radical as his Zionist Art project seemed, it was at its core deeply conservative as a cultural movement, openly spurning the modernist revolution that was sweeping Europe in the early 20th century. The attempt to create a Jewish nationalist art needed other tools.
Schatz was born in Lithuania, went to yeshiva and then art school. While he was drawn to the early Zionist movement he studied art in Vilnius, Warsaw and Paris and developed into an accomplished sculptor. 1n 1895 he was invited by the King of Bulgaria to become the official court sculptor and establish the Royal Academy of Art, working to forge a Bulgarian national identity through art workshops and home craft industries. In the tumult following the horrifying 1903 Kishinev massacre, Schatz turned his attention again to Zionism, but this time with a vision of an art and craft movement that would lead the Jews to their homeland. Boris Schatz exclaimed “Art is the soul of the nation,” and this could have easily been the anthem of the new movement.
The school he established in Jerusalem promoted a late 19th century academic style in combination with aspects of Art Nouveau. It espoused a romantic view of Jewish life in Palestine, promoting an oriental exoticism of Jews in “biblical” garb, espousing the traditional religion even though the artists were mostly estranged from traditional practice or sensibility.
Tunisian Boy (late 1930s) by Moshe Murro (1888 – 1957) is typical of the style and craft produced by the Bezalel School. These plaques concentrated on Jewish themes and Jewish “types,” emphasizing the young man’s peyosand exotic turban as framed by arabesques of braided filigree silver. The school featured many different departments including workshops for metalwork, carving in wood, stone, ivory, and shell, ceramics, carpet weaving, basketry, lithography and photography. The initial goal was to provide employment for the “impoverished Jews of Ottoman-ruled Jerusalem by producing goods for local tourists as well as export to the Jews of the Diaspora.”
Damascene Vase & Plate (1913), Brass, silver & copper. Bezalel School Moldovan Family Collection
Highly skilled craft was a hallmark of the Bezalel style and this Damascene Vase & Plate (1913) is no exception. Inlayed silver and copper on a brass base and the intricate floral patterns evoke an eastern opulence within a sensuous Turkish form making it a very handsome export item. Good for business but questionable as the expression of a new Jewish sensibility.
Ephraim Moshe Lilien (1874-1925), one of the best known Jewish artists of the time, was an accomplished illustrator when he joined Bezalel as its first instructor. Although he only stayed in Palestine for a short while, he was extremely influential in forming the school’s dominant graphic style. The drawing, Sabbath (1906), seems to be emblematic of some aspects of the Bezalel approach. It depicts “the seventh day of Creation: ensconced in the celestial realm, the enthroned figure of God is flanked by two angels whose mighty wings obscure the Divine Countenance.” Adam and Eve below, here nude are sheltered “by the Tree of Knowledge.” The work is filled with contradictions, nudity aside. Adam and Eve were first expelled from Eden, had to clothe themselves and then came the first Sabbath, outside the Garden and away from the Tree of Knowledge. Either Lilian is representing a vision of an ultimate return to Eden or simply a confused chronology. Regardless, his idiosyncratic use of biblical imagery is radically outside the realm of traditional Judaism. And yet this is proposed as the basis of a new Jewish art for Palestine.
Almsgiving (ca. 1925) lithograph postcard by Meir Gur-Arie Collection of Ira and Brigitte Rezak
Lithograph postcards for tourists were a potent and public expression of the Bezalel School’s ideas about the nature of Jewish settlement of Palestine. As public displays of Zionist sensibility they could simultaneously promote their ideas abroad and confirm their worldview at home. Meir Gur-Arie produced a beautiful set of silhouettes of Palestine around 1925 and continued to specialize in them in the years to come. “Ya–Halili” (“Oh, My Flute” in Hebrew or “Oh, Make my World Sweet” as an Arabic love song), pictures the shepherd flutist in a vision of almost pagan but romantic rural life. At the Well is likewise an image of the simplicity of age-old peasantry with the faithful shepherd providing water by hand for his flock. It is important to note that the Zionist programs of agricultural communities, aka kibbutzim, increasingly using mechanical and automated means, were effectively designed to end this primitive way of life forever. Also typical of this work is his romantic view of Palestinian Judaism. In Almsgiving the classic virtue of giving charity is encapsulated in a silhouette image of a Yemenite Jew receiving tzedakah from a young Ashkenazi. In its simplistic way the image both confirms the European hegemony over oriental Jews and the everlasting needy role of pious Jewry in Palestine. Both issues have continued to haunt the Zionist enterprise.
In December 1918, Boris Schatz was forced into exile in the Galilee by the Turks just as the British liberated Jerusalem. For 2 years he could not return to the Bezalel School he had founded. During that time he wrote a utopian novella, Jerusalem Rebuilt. His bizarre vision of Jerusalem and the Land of Israel in the year 2018 combined socialism, “science fiction, traditional Jewish belief, euthanasia, free love, communal ownership of property, moving sidewalks, solar energy and a rebuilt Third Temple.” Equally fantastic was his vision that fully 30% of the population would be engaged in artistic production and that this would be the nation’s principle industry! Most telling is Ze’ve Raban’s drawing for the cover of Schatz’s book that shows the confrontation between Schatz and the original Bezalel ben Uri, casually leaning against the famous Raban menorah (copied from the biblical model) on the roof of the Bezalel building. Again the biblical confronts the contemporary, but the reality as it unfolded is of course much more complex than either.
Jerusalem Rebuilt (1924) cover illustration by Ze’ev Raban Collection of the Israel Museum
Israel has not become an industrial artistic complex. The agrarian shepherd model has only persisted in the most backward portions of Israeli society. While aspects of pious Judaism in fact hewed to the ancient model, nonetheless many Jews adopted a much more modern, progressive and productive piety. And perhaps most tellingly, the original Bezalel School went bankrupt in 1929, and three years later its founder tragically died while fundraising in America.
Boris Schatz’s concept of Jewish nationalist art, though visionary and an expression of an aspect of early Zionism ultimately did not reflect the historical reality as it unfolded in his time. According to Israeli art historian Dr. Gideon Ofrat, Schatz’s Bezalel was “divorced from the dynamic development of the Jewish community in Palestine, and equally remote from the languages of modern European art…was doomed to an early end.” Perhaps more to the point was that aspects of the Bezalel project had a greater belief in simple Zionism than in the content of Judaism or the uniquely Jewish struggle to reclaim our ancient homeland in exclusively Jewish terms.
(I am indebted to curator David Wachtel for his learned exhibition notes and wall texts)schatzs-gambit/2012/06/22/
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3 Tips from Someone With Experience
Eagle Statues
Eagle sculptures as well as other genuine, traditional American eagle images are a popular subject matter in House Design. The eagles have been a part of our history given that the start of the nation. From the moment they were initially made use of in war to the time they were made right into a national symbol; there has actually been a great deal of advancement in the styles of eagle sculptures. Today, many people recreate the eagle in their very own home, but numerous others like to use them in their designing. There are many people that such as to utilize eagle statues and also eagles in their home enhancing. Why? To begin with, eagles have a really intriguing history in our nation. Some individuals say that they stand for flexibility and also strength, while other individuals watch them as traitors to the US flag. Either way, an eagle sculpture in your home can make an extremely powerful statement concerning your individuality and your country. There are additionally lots of people who make use of eagle sculptures as well as eagles in their art as a result of their link to the armed force. Eagles are several of the most highly regarded military birds in all of America. Therefore, if you have an eagle sculpture in your home, it can act as an ideal enhancement to your wall. You may additionally wish to add an eagle figurine to a screen rack, if you have one. It’s an excellent method to bring a little background and also connection to your residence. An additional reason that people like eagle sculptures so much is as a result of the stories that surround them. There have actually been several legends and misconceptions surrounding the eagle. Among these tales worries how the eagles originated. This tale states that an eagle flew over a team of Indigenous Americans and also began to damage their plants. When individuals tried to quit the eagle, it changed into an eagle as well as assaulted them. Currently one might assume that this was a real attack by an eagle, yet it probably had not been. What is more likely is that the eagle was safeguarding its offspring that were still in the trees. Currently if you have ever before seen images of real eagles in flight, you recognize that they don’t look extremely pleasant. That becomes part of the reason why people like including eagle sculptures to their homes. These eagle statuaries have ended up being very popular not only due to their significance yet additionally as a result of their usefulness. They are excellent to make use of as a prime focus in a space. Many people like putting among these statuaries in a corridor, resting area, or any type of place that has a beautiful sight. If you have actually ever remained in a hotel area without any home window glass, you have actually probably seen among these. It provides the area a spooky sensation and makes it appear much more like the timbers than a hotel area. They are a wonderful enhancement to numerous locations.
A Simple Plan:
If You Read One Article About , Read This One
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Pinterest • The world’s catalogue of ideas
Resting. But not the gopas and Yashoda, only Krishna and Balarama.
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"Love" #Creative #Art in #painting @Touchtalent
Love - Painting | Dwaipayan Mukhopadhyay | Touchtalent
In playing the flute, Krsna was very expert, and the gopis were captivated by the sound vibration, which was not only attractive to them but to all the living creatures who heard it. KRSNA BOOK, p.147.
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Saville painting sets auction record for a living female artist
“Propped” by Jenny Saville.
New York: Jenny Saville became the top living female artist at auction on Friday when her self-portrait, “Propped,” fetched 9.5 million pounds (US$12.4 million) at Sotheby’s in London.
The 7-foot-tall painting depicts a fleshy nude, perched on a stool and gazing in the mirror, scribbled with text. Completed in 1992, the work brought the UK artist international acclaim after it appeared on the front cover of the Times Saturday Review later that year. It was purchased by advertising mogul Charles Saatchi.
The work, estimated by Sotheby’s at 3 million pounds to 4 million pounds, was offered as part of the estate of David Teiger, a Museum of Modern Art trustee who died in 2014. The collection’s proceeds will benefit the Teiger Foundation for the Support of Contemporary Art.
The auction record for a living male artist is US$58.4 million for a Jeff Koons sculpture.
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Bill Whiskey Tjapaltjarri (1920-2008). Rockholes and Country Near the Olgas. 2008. Courtesy of Steve Martin and Anne Stringfield.
Exhibition features six large scale works of contemporary Indigenous Australian painting from the remote regions of Central and Western Australia
Free and open to the public
The National Arts Club (NAC) is honored to present Selections from Australia’s Western Desert: From the Collection of Steve Martin & Anne Stringfield. This dynamic exhibition of contemporary Indigenous Australian painting from the remote regions of Central and Western Australia, on view September 12 through October 27, 2022.
“We are grateful to Mr. Martin and Ms. Stringfield for the opportunity to share these remarkable works from their private collection,” said Ben Hartley, Executive Director of the NAC. “Our gallery presents the perfect environment for these artists to receive their proper due from a wider audience.”
Selections from Australia’s Western Desert features six large scale works which spring from thousands of years of tradition disconnected and uninfluenced from the outside world. Distinct from outsider art and not defined by chance affinities with western contemporary abstract art, these paintings stand as stories and narratives infused with an intense connection to the local landscape.
On view are significant works by Bill Whiskey Tjapaltjarri, Timo Hogan, Carlene West, Warlimpirrnga Tjapaltjarri and Doreen Reid Nakamarra.
“This stimulating exhibition begins yet another season at the National Arts Club where we’ll bring world-renowned art, which isn’t seen elsewhere in New York, to the public for free, continuing to fulfill our mission,” said David Doty, President of the NAC.
The exhibition is free and open to the public daily from 10:00 AM to 5:00 PM. The NAC is located in the former Samuel Tilden Mansion at 15 Gramercy Park South, New York, NY. Additional exhibition details can be found at nationalartsclub.org/exhibitions.
The NAC is grateful to Mr. Martin for being so generous with his time, expertise, and enthusiasm during the planning of this exhibition.
Bill Whiskey Tjapaltjarri was a Pitjantjatjara elder healer and artist born in Pirupa Alka. His work often reflects the rock formations of the Kata Juta (Olgas). Tjapaltjarri began painting at age 84. He was a renowned keeper of sacred lore and indienous Australian knowledge.
Carlene West was born in 1944 in the sand hills on the western edge of Tjitjiti, a vast salt lake in Spinifex country. In 1959, West and her family left the desert to escape the British government’s nuclear testing at Maralinga, moving to a mission at Cundeelee. She and her husband, Fred Grant were influential in helping the Spinifex people return through the bush to Tjitjiti. West began painting in 1997 and her acclaimed works have been acquired by the National Gallery of Australia, the British Museum and collectors worldwide.
Timo Hogan is from the remote community of Tjuntjuntjara in the Great Victoria Desert or Western Australia. He is one of the youngest painters from and affiliated with the Spinifex Lands.Timo’s majestic representations of Lake Baker and its ancient legend of Wanampi (powerful water serpent) resonate with his love of heritage and birthplace. “This is Lake Baker. This is a big place, a big lake. He lives here. Watersnake man. All this place is white and that watersnake man is white….. Always the same place, Lake Baker. That’s because it’s my place. My father’s place.” Timo Hogan was the recipient of the prestigious Telstra Art Award in 2021.
Warlimpirrnga Tjapaltjarri was born in the late 1950s into a family of Pintupi hunter-gatherers who had never come into contact with Euro-Australian society. In 1984 they finally interacted with the outside world and were settled in Kiwirrkurra. Tjapaltjarri paints abstract images from his family’s sacred stories and songs. The stories focus around the Tingari, the ancestors of the Pintupi spirit beings who are believed to have created all living things. In October 2016, Tjapaltjarri had his first solo exhibition in the United States at Salon 94 Gallery in New York City.
Doreen Reid Nakamarra was an important artist and spokesperson for the Papunya Tula artist cooperative owned and operated by the Aboriginal people from the Western Desert of Australia. Her personal style re-figures the Australian landscape depicting designs associated with the Marrapinti rockhole site in Western Australia. In 2008 she was awarded the Telstra Award. Nakamarra is included in the collection of the Metropolitan Museum of Art.
Founded in 1898, The National Arts Club is a 501(c)(3) nonprofit with a mission to stimulate, foster, and promote public interest in the arts and to educate the American people in the fine arts. Annually, the Club offers more than 150 free programs—both in-person and virtually—to the public, including exhibitions, theatrical and musical performances, lectures and readings, attracting an audience of over 30,000 in-person visitors and thousands more online. Feature programs focus on all disciplines of the arts.
Since 2019, the Club has been undergoing a renaissance. New initiatives—such as an artist fellowship, an outdoor concert series, and online programming—have attracted new audiences. At the NAC’s landmark clubhouse, the former Samuel Tilden Mansion, efforts have been made to reimagine, renovate, and preserve the building’s galleries and historic spaces.
The NAC is also a proud community partner, providing therapeutic art instruction to children in the care of the Administration of Children’s Services, regularly convening New York City art leaders to share ideas and collaborate, presenting a popular series of concerts in collaboration with the National Jazz Museum in Harlem, and more.
For a full list of events or to learn more, please visit nationalartsclub.org.
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Step Class
Opener%28infeature%29 By Lisa Stasiulewicz
Designer Tiffany Tuttle has been obsessed with feet her entire life. As a professional ballet dancer, she studied the lines of the leg and the arches of the foot with a scholar's intensity, and now puts her knowledge to good use with LD Tuttle, her line of shoes and accessories.
"I used to watch my friends wrenching their feet to get the arches higher, pushing themselves to get the legs straighter," the former Nevada Ballet Theatre dancer recalls. Ballet's fixation on flawlessness has lead Tuttle to reject the goal of perfection in her work. "There is more of a sense of life, a vitality in something that's imperfect," she says.
Tuttle is especially inspired by the intersection of natural rawness and man-made refinement in her environment. "L.A. is a perfect example—there are beautiful surroundings and then there's concrete everywhere," says Tuttle. "It's strange and interesting."
The theme of dichotomies extends to the designing process between Tiffany and her business partner and husband, Richard Lidinsky. Tiffany is a minimalist and former clothing designer—she cut her teeth at Givenchy and Tracy Reese—while Richard, an artist and graphic designer, has more of a rococo aesthetic. The two opposing, yet complementing forces work together to translate the overarching themes—raw vs. refined, perfection vs. flaws—into silhouettes, creating a look that they call "organic punk."
A signature element of LD Tuttle shoes is the experimental shapes. For spring the challenge was incorporating sculptural, puffy straps into the collection. The solution was the Muffintree shoe, a high stacked heel with thick, twisted straps around the top of the foot creating a strong, sexy silhouette.
"I think of the shape I want and then have to figure out how to make it look pretty on the foot," says Tuttle. "If it doesn't make the foot and leg look good, then it just won't work."
LD Tuttle is available in New York at Canary 145 Ainslie Street, Brooklyn; 718-782-0521.
A former career as a dancer propelled Tiffany Tuttle into smart shoe design. Now her signature line of strong, sexy footwear, LD Tuttle, makes graceful strides beyond the studio.
More from Fashion
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BRUTALISTA 02 by Dear Objects – Marc Meeuwissen
€9.000,00 EUR
In the series of functional objects entitled 'BRUTALISTA', the designer takes over the tool from the craftsman, more specifically, the handsaw. One sheet of timber-based material and the availability of only one handsaw is 'the brutal idea' behind this project – One Sheet, One Saw, One Object.
Limitations make it easier to make choices in the design process, but also challenge you to explore the possibilities to the fullest. This approach has led to monumental functional objects, in which a preference for 'brutalist architecture' is clearly visible.
The limited possibilities of the handsaw edtermine not only the shape of the object, but also the texture of the surfaec. The saw shows its commitment as we rarely or never see it in the craft; rough and unpolished in its fairest form – ode to the saw!
This item ships worldwide
Valchromat 19mm White Grey
Length: 69cm, Width: 78cm, Height: 69cm.
Weight: 30kg
Shipping from
Estimated weight of product with packaging:
Shipping gets calculated at checkout.
Handling time: 2 week
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Bonnaroo 2016 Sustainability Recap
Bonnaroo 2016 was successful yet again with their sustainability efforts. Each year the carbon foot print of the festival decreases by new means such as refillable cups and VAC toilets. Thousands of plastic bottles were spared from being deposited into landfills last year due to donated reusable cups. VAC toilets dramatically decreased the amount of water used this year by “flushing” waste with a vacuum system as opposed to using tons of water.
According to Bonnaroo’s 2016 sustainability report, 65% of waste (by weight) was diverted from a landfill. In total, 155 tons of recycling/reuse and 536 tons of wastefood recovery were diverted from a landfill because of CleanVibes volunteers. During the festival, volunteers with CleanVibes maintain waste stations consisting of recycling, compost and landfill containers. Their goal is to keep as much waste out of the landfill as possible while teaching attendees about recycling/composting. Only 189 tons of festival waste made it to the landfill in 2016.
One of the beneficiaries of the food recovery efforts was the Grundy County (TN) food bank. The 9 ton food donation was able to provide meals for over 200 families.
If we all took just one extra measure a day to help our planet and mankind, there would be a significant positive difference in our surroundings a behavior towards each other.
It was great seeing the positive sustainability outcomes from last year that will lay the ground for a fruitful and earth friendly Bonnaroo 2017. Can’t wait to see you there!
Two New Public Artworks Coming To Downtown Knoxville
If you’re an advocate for more public art in downtown Knoxville, you’ll be eagerly awaiting installation to begin in coming months on two new projects – a dramatic metal wall hanging in the 500 block of South Gay Street and an elaborately painted staircase on the western edge of downtown.
Artists for the two projects were selected by the City of Knoxville’s Public Arts Committee – the panel that’s adding public art throughout the downtown area, supported by City funding. The two newest projects, to be installed within six months of the contracts being signed, are:
11th Street Stairs
A contract for up to $15,000 is being finalized with Jessie Unterhalter and Katey Truhn, a Baltimore-based team that will be transforming the 43 steps, 10 feet across, south of Cumberland Avenue at 11th Street. During peak hours, the stairs are used by thousands of pedestrians as they traverse the Second Creek Greenway to access World’s Fair Park, the University of Tennessee or downtown Knoxville.
Since 2011, Unterhalter and Truhn have been creating large-scale public murals. Their plan for the 11th Street Stairs pays tribute to the craft revival movement that took hold throughout Knoxville and most of Appalachia from the 1890s through 1945.
“The intricate and experimental loom weaving coming out of Knoxville really caught our attention and inspired our design process,” the artists wrote in their proposal. “The varying but consistent patterning within our piece makes the work come alive, but it’s still methodical and organized because we worked within the grid format, just like the weavers did.”
The design will strike pedestrians differently, depending on what direction they’re walking.
“We thought a lot on how the viewer would experience this piece,” Unterhalter and Truhn wrote. “We considered all vantage points. We created two different compositions for each end of the staircase. Both designs come together to create one beautiful painted tapestry.”
The artist team was selected as the most qualified of 21 respondents to the committee’s Request For Qualifications. From those 21 responses, three artists were asked for specific designs, and Unterhalter and Truhn ultimately were selected.
The 11th Street Stairs are likely going to be painted this summer.
Gay Street
Mecosta, Mich., artist Robert Barnum’s “Rhythm of Knoxville” design was selected by the committee, subject to finalization of a contract for up to $10,000.
Barnum has installed large public art pieces in seven states. His weather-resistant metal hanging would adorn a 12-by-7-foot overhead rectangular slab of white concrete, framed by red brick, above the pedestrian walkway that connects South Gay Street with the State Street Garage.
“My design agenda is to work beyond the static nature of the rectangular support wall shape with an organic driven visual statement that suggests a lively and energetic implied movement, rhythm and flow,” Barnum writes in his proposal. “As presented, the ‘Rhythm of Knoxville’ presents a couple strolling to a picnic with a young boy playing ball and a woman swimming. This left side content flows into a tree form that marries the music/theater and entertainment character of the city area.”
The Public Arts Committee evaluated 15 submissions from artists and selected Barnum as the most qualified artist for the Gay Street public art project.
Source: Knoxville City Press Release
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2528 May 2023
My program
2528 May 2023
My program
OPEN CALL: Pop up-shop on Main location
Form/Design Center opens a pop-up shop at Lokstallarna during Southern Sweden Design Days 25-28 May! Until 12 April, it is possible for designers participating in Southern Sweden Design Days to apply to sell their products in the pop-up shop.
The products will be presented in a mobile exhibition concept on wheels designed by Stoft studio and Kajsa Willner and can be purchased by visitors directly on site. Take the opportunity to display and sell your products to a wide audience during the four days of the design festival!
Terms for participation
Application is open for:
• Designers participating in Southern Sweden Design Days 2023.
• Objects with a retail price of up to SEK 3,000 incl. VAT.*
* Optimal price situation for this type of sales channel and visitors, we estimate to be around SEK 100 -1 000 incl. VAT, but we welcome items up to SEK 3 000 incl. VAT
Sales in the pop-up shop are based on commission. Form/Design Center takes 35% in commission on sales. Designers receive a 65% payout on pieces sold in the pop-up shop.
Application and selection
Designers apply to participate in Form/Design Center’s popup store at Lokstallarna by submitting an application (standing A4 format) to butik@formdesigncenter.com no later than 23:59 on 12 April 2023, including the following information:
• Designer/studio name
• SSDD 2022 program activity
• E-mail
• Phone no.
• Title of object
• Type of object
• Dimensions (LxWxH)
• Brief description of object
• Retail price in SEK (incl. VAT)
• Image/s
It is possible to apply with several objects. Please note that you should apply with products that are ready for sale, not prototypes. The final selection is made by Form/Design Center. Feedback on the applications will be given no later than 21 April, and applicants will be notified if their objects have been selected to be included in Form/Design Center's pop-up shop during Southern Sweden Design Days 2023.
Selected products must be delivered to the store at Form/Design Center, Lilla torg 9, during the period 1–12 May.
NOTE: It is not necessary to apply to participate in the pop-up store with items that are already in the Form/Design Center's regular store assortment.
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Opera challenges audiences, encourages conversation with final showing of ‘Hydrogen Jukebox’
Chautauqua Opera Company Apprentice Artist bass Evan Ross performs in the Allen Ginsberg-Philip Glass collaboration "Hydrogen Jukebox." DAVE MUNCH/PHOTO EDITOR
There was a quizzical look on Susan Harvey’s face as she spoke.
“I think I got some parts,” she said. “Others, I don’t really know yet.”
She started to speak again but halted and turned toward her husband, Paul, before falling silent. Her eyes danced in their sockets, searching the vastness of Norton Hall as she challenged herself to find an answer.
Hydrogen Jukebox isn’t very good at providing answers. But questions? It offers those in spades.
At 4 p.m. Tuesday in Norton Hall, Chautauqua Opera Company will present the season’s final staging of the Philip Glass-Allen Ginsberg collaborative chamber opera.
Following Thursday’s premiere, community members engaged in dialogue as they descended the front steps of Norton Hall. They discussed the production’s libretto (a collection of texts from 20 of Ginsberg’s poems), its score (a minimalistic, rhythmic and plodding series of movements by Glass) and its imagery (video projections offered by stage director Cara Consilvio that intensified the impact of Ginsberg’s words).
One thing they didn’t seem to get to, much like Harvey, was any sort of definite answer as to what they had just seen. According to Chautauqua Opera Apprentice Artist baritone Mario Diaz-Moresco, this was a trend within late-20th-century art, which moved away from narrative representation in favor of influencing a viewer’s personal experience with a piece.
“This piece is very much like that. There isn’t anything that tells you what to think about it, but it poses all these things,” Diaz-Moresco said. “Everyone’s going to have personal reactions to that.”
A sizable portion of these reactions can be directly attributed to the opera’s text. Glass’ insistent, almost subliminal, score creates a landscape across which Ginsberg’s poetry travels. At times, the poet’s words blaze across that landscape like a runaway freight train, plunging forward with fervor bordering on madness. At other times, the rhythm of Ginsberg’s words atop Glass’ score creates a hypnotic, meditative pool in which the audience is submerged.
These dramatic shifts actively fight against the notion of a traditional narrative. While common themes are apparent — war, consumerism, sex, drugs, government, death — the narrative arc could most aptly be described as individual snapshots of the human condition, which itself is anything but linear and sensical.
Whether those snapshots are delivered at break-neck speed or with reflective deliberateness, Ginsberg’s words fight ambivalence every step of the way.
“He didn’t want anyone to be indifferent to his poetry,” Daily guest critic Tom Di Nardo wrote in his Hydrogen Jukebox review. “You can vibe with it, be bewildered or even riled, but it surely leaves a powerful impression.”
Diaz-Moresco joins sopranos Chelsea Friedlander and Helen Hassinger, mezzo-soprano Natalie Rose Havens, tenor Eric Wassenaar, and bass Evan Ross — Chautauqua Opera Apprentice Artists themselves — in filling the six roles required by the opera.
In preparing for the opera, all six quickly realized that what they were dealing with was not something they were used to.
Consilvio’s staging placed the seven-piece instrumental ensemble — plus two synthesizers — onstage with the singers. She also made the decision to keep each of the singers onstage nearly the entire time, an occurrence that Wassenaar says hardly ever happens. Then there’s the text itself.
In many operas, Wassenaar said, there can be a lot of repetition where singers deliver the same phrase over and over. This means the amount of text to be learned isn’t all that large. But in Hydrogen Jukebox, that isn’t the case.
“There is exponentially more text in this piece than in any other opera (I’ve ever done),” Wassenaar said.
These elements caused the six to ask some questions themselves, but more importantly, they brought the singers together.
“We are truly an ensemble of players supporting one another throughout the entire show and the entire process,” Hassinger said.
That spirit of support could be felt on the steps of Norton Hall on Thursday as well, as audience members sought from one another the answers to the questions Hydrogen Jukebox asked.
Answers might not be found, and that can cause shake-ups and reactions. But isn’t that the point of theater in the first place?
“Whether you enjoy it or it leaves you questioning things,” Diaz-Moresco said. “You at least went to have yourself challenged.”
Tags : Allen GinsbergChautauqua Opera CompanyHydrogen Jukeboxnorton hallPhilip GlassWeek six
The author Nathan Healy
Nathan Healy is a second-year graduate student at Carnegie Mellon University in Pittsburgh. He is pursuing his M.A. in professional writing. Following his undergraduate studies, he spent eight-plus years teaching at an all-boys private school for court-adjudicated youth. In addition to writing and reading, Nathan enjoys traveling, eating at new restaurants, spending time with his niece and nephews, and being physically active.
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Dragon Tarot
A popular collectible, featuring some of the more striking fantasy artwork in the Tarot world.
Ukiyoe Tarot
The familiar imagery of Rider-Waite rendered in floral motifs and woodblock print, and the other conventions of traditional Japan. A stunning marriage of East and West.
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05.08.–24.09.1989
The artistic work of Katharina Fritsch (born in 1956 in Essen and living in Düsseldorf) has increasingly attracted attention over the past years, prompting us to present her continuous development in an exhibition and an accompanying catalogue. Within the framework of several important group exhibitions showing contributions by Katharina Fritsch, she has reformulated the currently relevant question pertaining to the contemporary function of sculpture. Among these are works in public space such as "Gelbe Madonna" ("Yellow Madonna") for "Skulptur Projekte in Münster 1987" and proposed projects that couldn't be realised. All works by Katharina Fritsch to date use sculptural means to give unusual answers to the various given situations for which the works were conceived. The theme of Katharina Fritsch's artistic work is questioning the reality of objects, commodities, and motifs which we can perceive every day and which are simultaneously subjected to a collective code of identification. The objects Katharina Fritsch uses are taken from everyday commodity offers, and the artistic concept, in its precise but differing reproduction or serial production, speculates with the phenomena of reality and appearance, standardisation and individuality, originality and the characteristics of commodities. The quality of the work lies in the precision with which Katharina Fritsch supervises the production of her works. Technicalness as expression of perfection is heightened to artistic perfection, in order to express in it the will of an artistic concept of reach the ideal.
Photo: Katrin Schilling
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Logos are one of the most important elements of a compelling corporate image. Your logo will appear on nearly all your marketing items, from your web page to your employee uniforms. When you’re designing a logo, there are five basic options for you to choose from. Each one has its own strengths and weaknesses that will appeal to different industries. Some companies and organizations may even benefit from a package with multiple logos, so there’s a clean image on hand for every need.
Logos can be categorized into 5 basic types…
Brand Mark: For Iconic Images
Fundamentally, a brand mark is a logo that doesn’t use words. There’s no need to spell out the name of your company with a good brand mark. You should strive for simplicity when you’re working with this type of logo, because the image itself serves as the singular icon for your company. Avoid anything with intricate artwork, a plethora of colors, or small fine lines.
There are several approaches that you can take when approaching a brand mark. One is to use an image that visually represents what your company does. The World Wildlife Federation uses a panda, which is representative of its mission to protect endangered species. The Ghostbusters brand mark is a ghost trapped behind a prohibition symbol (a red circle with a slash through it), clearly indicating what this franchise is all about.
Another way to approach your brand mark is to look for an image that will bring the name of your company to mind. The Apple logo is simple, monotone, and globally recognizable. You see an apple, and you think of Apple – mission accomplished. Target’s logo works the same way with its red and white target. The Shell logo is a stylized shell in bold red and yellow, giving a simple image big impact with a bright color palette.
Since a brand mark doesn’t include the company name, it’s important that the logo evokes the right reaction from customers and makes it clear what your company does. If your business isn’t well-established yet, you may want to stick with a logo that still contains the business name (possibly a word mark). Exceptions include companies with lengthy names, or those that do the majority of their business overseas, where breaking a language barrier with visual elements is important.
As you’ll see later, a brand mark can also play a valuable role in a more complex logo. You may want to have a brand mark that accompanies a more complex logo for the majority of your marketing campaigns, yet retain the singular mark for certain uses, like your website’s favicon, or a sleeve mark on a company tee-shirt.
Word Mark: For Name Recognition
A word mark, as the name implies, is a logo that uses one or more words. In this type of logo, the name of your company or organization is completely spelled out. A word mark is very efficient when it comes to spreading the name of your company, because the word you want your customers to remember is spelled out in front of them.
In nearly all word marks, it’s important to choose a font that’s easily readable. Only one notable company has successfully flouted this rule. The Disney logo is notoriously difficult to read with a “D” that looks like a backward “G,” and a “y” that could easily pass for “p.” Disney got away with their iconic image that mimics the signature of the late great Walt, but few other companies could achieve this kind of success with an unreadable font.
Typography is king with your word mark, so take the time to check out all your options to make sure the letters successfully convey your brand message. Coca-Cola uses a timeless script that works well for a product that uses nostalgia as a major selling point. The Facebook logo is sleek and simple, with a sans serif font, making it an ideal choice for an online leader. Sharpie’s logo features a script typography that makes it look as though the word were written in – what else? – a Sharpie marker.
Keep in mind that word mark focuses on the word itself, but can easily include other subtle images. The FedEx logo features an arrow between the “E” and “x” that gives it a subtle sense of forward motion. Subway uses arrows as well, with one off the “S” and one at the top of the “Y.” Don’t be afraid of little extras like this, particularly when they add to your brand message. Typographic logos that include subtle meanings in their design elements are a powerful choice.
Finally, color is supremely important in a word mark. Changing the color can have an even bigger impact than changing the typography. Just try to imagine the Dell logo in red, or Virgin in blue. Over time, your customers will come to associate a certain palette with your brand. Different colors incite different psychological responses from viewers, ranging from excitement with red to efficiency with blue. Research your color choices thoroughly to make sure you pick the right shades for your company.
Letter Mark: For Catchy Abbreviations
A letter mark will give the viewer a little nudge toward the company’s name, but may not spell it out completely. Letter marks are particularly efficient for companies that are referred to by this abbreviation anyway. Many viewers probably don’t even know that CNN stand for Cable News Network, or that The CW is a combination of CBS and Warner Brothers.
If your customers refer to your company by an abbreviation, you’re doing yourself a disservice if you don’t use this to your advantage in your logo. A letter mark is the perfect solution. It’s compact, concise, highly visual, and easy for people to process. Letter marks are particularly popular with television stations, but you’ll also see them used by companies like 3M, EA, and HP.
The fashion industry also uses letter marks with great success. Consider the logo for Louis Vuitton, which is a prominent part of the product line, with this iconic mark repeated all over its bags and accessories. Chanel’s letter mark is elegant and easily recognizable as well. Letter marks can convey a sense of sophistication and luxury when carefully designed. In the fashion world, these logos typically show up in black for marketing materials, but may appear in many other colors on products and packaging depending on the trend of the day.
While most companies who use letter marks are often referred to by these letters, the fashion industry prominently displays the exception to this rule. After all, Louis Vuitton isn’t referred to as “LV” and no one calls Chanel “CC.” The lesson here is to know your industry. Understand how people will refer to your business or organization in everyday conversation, and how they will interact with your logo. Design a mark that works for all its uses.
Although the letter mark is very versatile, there are some cases when it will not work. If your company’s initials spell out an undesirable word, you probably should avoid this type of logo. Always read your letter mark as though it’s a word, and say the letters aloud singly as well. Analyze it from all angles so you’ll understand how it looks to a new customer.
Certain abbreviations just beg for the brain to fill in the blanks and turn it into a word. If you see LSH, you probably try to sound it out, and soon hear it as “lush.” ODD actually spells the word “odd,” and may subconsciously give your business undesirable associations. A three-letter limit usually makes for a good rule of thumb when it comes to letter marks. A few big players can get away with four, like ESPN or NASA. You don’t want to confuse your audience with too many nonsensical letters, though.
You also should avoid a letter mark if your business initials are the same as a more recognizable company. Electronic Arts has the monopoly on “EA,” so don’t go for a letter mark if your company is named Exceptional Athletics. It’s important that your letter mark distinguishes you, so opt for this path only if you have original letters that represent your company well.
Combo Mark: For a Bit of Everything
A combo mark contains both letters and imagery. There are many different ways to create a combo mark. It may feature a brand mark with the full name of your company, or it may use a brand mark and letter mark. Depending on your business, you may want a combo mark in your arsenal along with other types of logos. The Reebok logo is recognizable on a shoe without the company’s name, but the combo mark (including both the logo and the word) is a better choice for marketing campaigns.
Most big companies use combo marks for their logos. It’s the most popular choice for good reason. It offers the opportunity for creative expression through imagery while still incorporating the business or organization name so newcomers to the brand don’t miss out on any part of the message.
Hawaiian Airlines uses a beautiful combo mark that features a woman’s face silhouetted against a palm leaf. A hibiscus flower in her hair immediately puts the viewer in mind of a tropical holiday. The sleek, simple “Hawaiian Airlines” brand beneath the image is a subtle complement to a logo that’s sure to grab your attention and leave you craving an island escape.
Jearbear yields a lot of results when typed into a search engine, and the first one is not a web page for the company, but rather a page from Urban Dictionary. Including the guitar-holding bear logo instantly transforms the message for this company and makes it easier to find the music store.
Many companies have fused their combo mark so tightly that the name and image go hand in hand in the minds of consumers. The Pringles logo instantly brings the company’s mascot to mind. Pizza Hut’s logo looks incomplete without the red roof, and it’s hard to see John Deere and not think of the recognizable yellow and green square with the leaping deer.
A combo mark can work for nearly any type of business. While this is one of the most complex design options, it’s important that you still keep things simple. Stick with two or three colors, and keep the typography and font particularly simple if you’re including an image alongside the lettering. Keep the logo compact and consider where you’ll use it. The rectangular Quaker Oats combo mark is perfect for product packaging. NASA’s circular mark looks professional on a patch or plaque. Consider your business’s needs carefully, and you can come up with a combo mark that suits it perfectly.
Emblem – For Compact Imagery
An emblem is very similar to a combo mark in that it may include a brand mark, word mark, or letter mark. It may even include a combo mark in its design. The easiest way to understand the difference between an emblem and a combo mark is to check out some examples.
Recognizable emblem logos include Starbucks Coffee, UPS, TGI Fridays, and the NBA. Emblems are enclosed in a single shape, often a circle or shield. An emblem is ideal for embroidered patches or engravings. Car companies like Ford and BMW use emblems because they’re easy to emboss on vehicles. In an emblem, the text is included within the design, rather than beside, above, or beneath it, as is usually the case with a combo logo. Without the green circle, the Starbucks logo would be more of a combo logo, with the woman in the center and the words “Starbucks Coffee” surrounding it. With the green circle, however, the design becomes an emblem.
Emblems are more intricate than other logos, but when they’re done right, they’re a striking choice that’s ideal for many professional applications.
Whether you’re putting together marketing materials for a new start-up or rebranding an existing company, you can get a lot of traction from a fresh new logo. Use this guide and our infographic to help decide which one is right for your needs. Order a custom logo from The Logo Company, and you’ll be well on your way to a bold, eye-catching new image.
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The Inspiration ParadigmInspiration – Arts for Humanity is a social art movement built on the foundations of artistic excellence, social activism, and community engagement. Its vision is deep-rooted in the border-crossing language of art, which expands and deepens our capacity for growth, supports progress in conflict resolution, empowers individuals, and addresses social issues while providing new opportunities for expression dialogue. It is guided by values of excellence, artistry, social responsibility, and humanism. Inspiration is a unique institution, the epicenter of the working knowledge incorporated into a movement of individuals, groups, organizations, and businesses around the world. They are working together to promote art as the lifeblood of a more collaborative, understanding, and peaceful world.
The emerging disciplines of Arts and Social Change
Around the world, artists and social activists are encountering a wide range of demanding social agendas. Jointly they are striving to promote positive social change through collaborative efforts of art-making and social activism. Various terms are used to describe this new and diverse field, each with its own nuanced goals and practices. These include art for social change (ASC), socially engaged art, community-engaged arts, community cultural development, cultural mediation, eco-friendly arts, social innovation arts, and participatory arts.
The Inspiration Paradigm of Art and Social Change
For already over 15 years, Inspiration has been exploring, creating and developing a wide range of methodologies that blend the disciplines of art with social change practices, thus forming an interdisciplinary space for human development.
Inspiration’s ecosystem incorporates a multifactor model, synthesizing four distinct strategies of social change: Awareness (art), Action (art), Human Capacity Building (art), and Community (art) in over twenty applied practices such as Art for Peace, Art for Community Engagement, Art for Community Development, Art for Cross-Cultural Dialogue and Art for Social Innovation, Art Therapy, and Art for Human Dignity. Many of the practices are relevant to more than one social change strategy.
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Winter 2006
The World Made Visible
Rick Poynor
History / Motif magazine [EXTRACT]
Motif, edited by Ruari McLean, was a quirky mix of art and illustration, with its roots in graphic art and typography
Motif magazine’s range of editorial interests was unusually broad for its time and, in the often highly segmented world of periodical publishing, it has rarely been equalled in Britain. An editorial in the first issue, signed by its editor, the late Ruari McLean, and its publisher, James Shand, quotes the nineteenth-century French writer and poet Théophile Gautier: ‘I am a man for whom the visible world exists.’ Motif, they go on to explain, ‘is a periodical for which the visible world exists’.
Over the course of thirteen issues, published from 1958 to 1967, Motif ran meticulously researched and beautifully illustrated articles about painting, sculpture, art education, graphic design, typography and lettering, illustration, photography, architecture, wood-engraving, and the history of the graphic arts. ‘Visual culture’ had yet to become a category of academic study and Motif’s urbane editor and publisher, whose careers began before the Second World War, would not have used the term. The magazine’s presentation of a wide array of visual arts on a more or less equal footing can nevertheless be seen as a prescient early example of a new way of documenting and appreciating the ‘visible world’.
The first editorial acknowledges a bias towards the graphic arts, yet McLean and Shand imagine the broadest possible readership for their journal. ‘Strenuous efforts will be made to make Motif appeal to the mind and eye of the non-specialist, the ordinary man who just wants to do exactly as he likes – but who is prepared to use his eyes to find out and evaluate what he likes.’ They emphasise the point in the second issue: ‘Motif is for the receptive whole man (whether, by profession, artist or laundryman) who can get visual pleasure from Pollock’s abstractions, Mies van der Rohe’s skyscrapers, Paolozzi’s sculptures, or Stewart’s sun, moon and stars.’ (Graphic artist Robert Stewart designed the cover and endpapers, and his work is also featured in the issue.) Motif’s content, they write, would continue to be ‘unrepentantly and deliberately various’. . .
Tracker Pixel for Entry
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Kravet: Designer Kiosk & Digital Pegboard
Shopping is so 2019, engage in a retail experience instead.
Tasked with creating an immersive experience for the Kravet Experience Center in NYC, we mixed design aesthetics with technology to produce moments that matter for their customers.
Working with Kravet, a 5th generation family-owned company home textiles and furnishing brand, we came in to bring their network of showrooms to life, starting with their NYC location.
The challenge we were tasked with solving was “how do we create an efficient shopping experience for designers?”
As designers at heart, we knew the exact place to start… The Workspace. The workspace as it’s called is a place where a designer can come in with their project, spread out, and make their area an interactive workspace.
Enter the pegboard concept. Never stationary, always a movement in aesthetics.
Partnering with ELO and leveraging a touchscreen, the designer can see all the SKUs in the Kravet line, grab one, scan it, and find other fabrics that complement and help in the curation process.
By scanning the SKU, you get all other relevant products, receive pricing, see color options, allowing you to see the thousands of materials around the showroom at your fingertips.
The Workspace is all about product discovery and research, helping each designer to create project plans in a frictionless and efficient manner.
“OEG helped us create an incredibly efficient shopping experience for our designers. “
Jesse Lazarus:
Design Director
Westfield: Boston Logan Airport: Creative Ideation, Digital Signage, Digital Content
Find your gate and get coffee on the way.
The gateway to New England is not found on cobble stoned streets or within the duck boats on the Charles River. Instead, it’s found within terminal C inside Boston Logan International Airport.
Merlin Entertainment: SeaLife Aquarium – Doodle Reef: Experiential Design, Creative Ideation, Digital Signage, Digital Content
A doodle for all ages.
We were tasked to design and create an interactive experience that would encourage children (and adults) to learn about various sea life creatures. The experience, which is centered around the use of a custom iPad app allows the guests to create their own unique fish with an array of effects.
Santander Bank: Digital Signage, Creative Ideation, Digital Content
Creating stronger branch engagement.
Upon winning the opportunity to bring digital signage into one of the world’s largest and most revered banks back in September 2013, we had the rigorous challenge of deploying the program to 700+ locations within 2 months.
Merlin Entertainment: Madame Tussauds – Digital Signage, Digital Content
42nd Street is not what it used to be.
A large LED display in New York City will give tens of millions of annual visitors to Times Square – ‘the crossroads of the world’ – a chance to see inside Madame Tussauds.
Exponation: Digital Signage Expo: Creative Ideation, Experiential Design, Digital Content
What happens in Vegas…
Since 2016, we’ve helped shape the first impression of the one of the worlds most premier and influential digital signage shows on the planet.
Merlin Entertainment: Madame Tussauds – Project Broadway: Creative Ideation, Digital Signage, Emerging Technologies, Digital Content
You’re invited to be the star of the show!
It’s official, the magic, glitz and glamour of 42nd Street in New York City has been captured for locals and tourists alike to relive again and again!
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Roofscape Linz 02
Roofscape Linz 02
Froschberg is already quite nice; many other Europan designs are dealing with sites that would
be quite happy if one day they would be at least a bit like this neighborhood.
At the same time, Froschberg might need a few improvements to tackle the many crises we are
in – lack of housing in appropriate places, climate resilience and social cohesion.
We chose two approaches. First is a modest increase of density of the current
housing stock. In all four types we propose to add one to two floors above the original masonry
structure modernize the existing apartment layout and improve livability by adding terraces, balconies
and ground level yard access. The second strategy deals with the neighborhood’s
streetscape. We are proposing a variety of proven and readily available elements to increase mobility
choices, prioritize pedestrians, cyclists, and people with special needs and use the space optimized
from car-centric right-of-way to storm water infrastructure and neighborhood improvements.
Ing. arch. Bohuslav Šenkýř, Peter Bednár B. Arch, Ing. arch. Andrea Marečková, Ing. arch. Adéla Bartošová
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Providence Jobs
Job Information
Providence Health & Services Senior UI/UX Designer in Torrence, California
Providence St. Joseph Health is calling a Senior UI/UX Designer to our locations in Renton, WA, Seattle, WA, Portland, OR, or Los Angeles, CA.
We are seeking a Senior UI/UX Designer who will be responsible for building and implementing UI strategy across multiple products on desktop and mobile. You will bring concepts to reality through the use of various visualization practices and by collaborating with a team of UX designers and developers. You must be familiar with UCD/HCD methodologies, usability best practices, and interaction design.
In this position you will have the following responsibilities:
• Create wireframes, storyboards, user flows, and prototypes to effectively communicate interaction and design ideas designs based on market research, business requirements, customer feedback, and user study findings.
• Practice user-centered design by participating in user research and incorporating data, customer feedback, and technical constraints/opportunities.
• Present designs and key milestone deliverables to peers and stakeholders, while clearly communicating design rationale and tradeoffs.
• Work closely with a cross-functional team to create an intuitive, cohesive and seamless user experience across all products.
• Work within established design guidelines and the PSJH brand while striving to raise the quality bar.
• Work with the development team to ensure technical business needs are met while maintaining a strong focus on the user experience.
• Must be well-versed in current web standards, including best practices for usability and accessibility, and have strong familarity with the latest web and app design trends.
• Present and articulate the vision in a purposeful and thoughtful way, have an eye for detail, and an excellent sense of aesthetics and functionality.
Required qualifications for this position include:
• Bachelor's Degree in Graphic/web design, visual design, human-centered design (HCD), or similar fields or equivalent education/experience.
• 5 years hands-on UI/UX design experience.
• 5 years experience designing web and mobile software products for B2C, B2B and enterprise users.
• 3 years experience creating storyboards, detailed user journey maps, wireframes, mockups, UX flows, and prototypes.
Preferred qualifications for this position include:
• 3 years experience working in healthcare industryence, California, Washington, Oregon
Req ID: 296671
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GRANADOS: Enchanted Palace in the Sea / Elisenda's Garden
Buy + Add To Wish List + £7.99 - Few in stock
Shipping time: In stock | Expected delivery 1-2 days | Free UK Delivery
Enrique Granados (1867-1916)
Piano Music, Vol. 6
Enrique Granados was born on 27th July 1867 in Lérida, near Barcelona. Son of an army captain, he began his study of the piano in 1879 and the following year he continued with Joan Baptista Pujol (1835-1898) at the Academia Pujol. Three years later he performed Schumann’s Sonata, Op. 22, in an academy-sponsored competition, for which one of the jury members was the noted composer Felipe Pedrell (1841-1922). The sixteen-year-old Granados won the competition and obviously impressed Pedrell, who began giving him instruction in harmony and composition in 1884.
In 1887 Granados went to Paris, where he studied the piano with Charles-Wilfrid de Bériot (1833-1914). Granados was highly influenced by the latter’s insistence on tone-production and pedal technique. In addition, Bériot emphasized improvisation in his teaching, reinforcing Granados’ natural ability in the skill. After returning to Barcelona in 1889, Granados published his Danzas españolas, which brought him international recognition.
In his lifetime Granados appeared in concerts in Spain, France and the United States, collaborating with conductors such as Isaac Albéniz and Pablo Casals, the violinists Eugène Ysaÿe and Jacques Thibaud, pianists Mieczyslaw Horszowski and Camille Saint-Saëns. In addition to his numerous piano works he composed chamber music, vocal music, operas, and symphonic poems. Granados was also a fine teacher and in 1901 he founded the Academia Granados, which produced such noted musicians as Paquita Madriguera, Conchita Badia and Frank Marshall.
In 1912 Granados met the American pianist Ernest Schelling, who was the first pianist to perform the music of Granados outside Spain. Schelling arranged for Granados’ works to be published in New York and encouraged Granados in his plans to convert the piano suite Goyescas into an opera, later arranging for its première at the Metropolitan Opera in New York.
Terrified of the ocean, Granados nevertheless sailed to New York for the première of the opera on 28th January 1916. While in the United States he performed numerous concerts, made piano-roll recordings, and also performed at the White House in Washington. With his wife he set sail for Europe via England, but while crossing the English Channel on the British ship Sussex, their boat was torpedoed by a German submarine and they both perished.
In about 1912 Granados wrote: "My motto has always been to renounce an easy success in order to achieve one that is true and lasting." Today he is universally recognised as one of Spain’s most important composers. His music is multi-faceted, although it is essentially romantic with some nationalist characteristics. He has been variously described as "the Spanish Chopin", "the last Romantic", and by his compatriots as "our Schubert". No single characterisation adequately describes his personality. Granados had a distinctive voice that is instantly recognisable and entirely his own.
Granados was primarily influenced by mid-nineteenth century European Romanticism, especially the music of Schumann and Chopin. The introverted luxuriance of his luminous harmonies, his rich palette of pianistic colour, loose formal structures and his vivid imagination, always tinged with nostalgia, place him firmly within the Romantic School. It has frequently been remarked that larger forms, such as those of sonatas and concertos, did not attract him. His artistic personality was better suited to shorter, rhapsodic forms, especially those based on variations.
Piezas sobre cantos populares españolas were composed about 1895 and dedicated to Cecilia Gómez de Conde, daughter-in-law of Granados’ patron, Eduardo Conde. The collection is clearly nationalistic in inspiration, written with a breadth of conception, romantic brilliance, and technical complexity which make it comparable to his Quinteto, Op. 49 and Trio, Op. 50, first performed the same year. No manuscript of the set is known to exist, but Granados made a piano-roll recording of Preludio for the Duo-Art Reproducing Piano in New York in 1916, which was issued under the title Prelude, María del Carmen.
The original version of the suite Elisenda, first performed on 7th July, 1912, included four movements scored for chamber orchestra, piano, harp and soprano. Later Granados made an arrangement for piano of the first movement of the suite, El jardí d’Elisenda. The work was dedicated to Pablo and Guillermina Casals, the cellist and his sister. The author of the text used in the fourth movement of the suite was the Catalan poet Apeles Mestres, one of the leading representatives of the cultural movement Modernismo, parallel to Art Nouveau. Apeles Mestres was also the librettist for four of Granados’ operas as well as the symphonic poem Liliana. The first edition of the piano version of El jardí d’Elisenda included a section of the Apeles Mestres poem of the same title:
The rising sun wakes Elisenda’s garden
which dreams as it rests in the shade of the palace;
rosebushes flower, drops of water sing as they leap
out of the fountain.
To calm her sorrows and soften her longing
Elisenda has come down to the silent garden;
her heart far, far away, on the battlefields where
they are fighting and dying. . .
The flowers perfume her as they open their petals;
the fountain adds sweet music;
and the day is beginning. . .and Elisenda’s world
is turning into perfume, harmony and light. . .
And behold, as if by magic, hope rises up
in her heart.
The manuscript of Parranda-Murcia is undated. Granados and his librettist José Feliu y Codina spent several weeks, however, about 1895-1896 in the province of Murcia gathering material for their opera María del Carmen. Parranda-Murcia may have been written at that time. This is the first recording of Parranda-Murcia and Pastoral, an atmospheric work first published in the Spanish magazine Mundial Musical around 1910.
There are two known manuscripts of Danza característica which are both undated and untitled. The first edition of Danza característica, published in 1973, gave the piece the present title. Granados may have originally conceived of Danza característica as one of the Danzas españolas, although it was not included in the final version of that collection.
Sardana, published in 1914, is Granados’ only piano work directly inspired by popular Catalan culture. It is dedicated to the American pianist, conductor and composer, Ernest Schelling. The sardana is a two-part group dance, typical of Granados’ native Catalonia, in which the dancers form rings. The steps, curts (shorts) and llarchs (longs), shape the music. Granados’ Sardana belongs to the genre of concert sardanas, not intended for dancing.
Granados composed Serenata as a gift to his wife. The manuscript is written on a parchment dated 20th May, 1893, and was inscribed by the composer: ‘For the Album of my life-companion, Amparo, so beloved and good - Your husband’. It is unlikely that Granados intended Serenata for publication or performance outside the family home.
Jácara, subtitled Danza para cantar y bailar, may have bee
Item number 8555723
Barcode 747313572328
Release date 01/01/2003
Category Romantic
Label Naxos Classics
Media type CD
Number of units 1
Artists Riva, Douglas
Riva, Douglas
Composers Granados, Enrique
Granados, Enrique
Producers Taylor, John
Taylor, John
Disc: 1
Three Impromptus
1 I Preludio
2 II Anoranza (Nostalgia)
3 III Ecos de la parranda (Memories of the Fiesta)
4 IV Vascongada (Basque Dance)
5 V Marcha oriental
6 VI Zambra
7 VII Zapateado
8 El jardi d´Elisenda, DLR VI:2 (Elisenda's Garden)
9 4
10 Pastoral, DLR III:12
11 1
12 Sardana, DLR I:7
13 Serenata, DLR III:20
14 Jacara, DLR II:1
15 Paises sonados- Palacio encantado en el mar, DLR V
16 Impromptu No. 1 in A minor
17 Impromptu de la codorniz, No. 2, (The Quail's Impr
18 Impromptu in C major
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Akram Khan’s choreographic process in relation to ‘Creature’, a collaboration with the English National Ballet.
Creature is Khan’s latest choreographic work, and third collaboration with the English National Ballet (ENB). Originally set to premiere in April 2020, it has been rescheduled to November due to the coronavirus pandemic. Pre-lock down, the ENB live streamed a masterclass via their YouTube channel, inviting audiences to observe a live rehearsal with the principle dancers (Jeffrey Cirio and Erina Takahashi) led by repetiteur Mavin Khoo, and explore Khan’s choreographic process in detail during the Q&A session. The information shared in this masterclass is vital in understanding Khan’s choreographic and artistic processes, and allows audiences to connect to the intentions of the work. You can watch it here.
The key aspects of his choreographic process and style which I will elaborate on include:
• The research process;
• ‘Playtime’ and improvisation;
• The importance of storytelling and portraying honest intentions;
• The collaborative process.
Best described by the English National Ballet themselves…
Creature is an unearthly tale of exploitation and human frontiers inspired by Georg Büchner’s expressionist classic Woyzeck, with shadows of Mary Shelley’s Frankenstein. Drawing on themes of abandonment, isolation and the fragility of the mind, Creature is the tale of an outsider and the search for belonging.”
English National Ballet
Akram Khan typically spends 2 years on the process of researching and discovering what the work will be, until producing almost a draft copy of the work. In this case, the stimulus is a book, which itself is written as fragments of scenarios and is not a total script. This allowed Khan to take it to a new place – in this case, he doesn’t just focus on the classic Frankenstein stories but twists it to consider human nature and relationships. In the masterclass we see the creature himself (Jeffrey Cirio), an experiment specimen, explore the room in a child-like and animalistic manner. He plays with gravity and the physics of movement as the cleaner (Erina Takahashi) is equally curious, though also frightened of him.
Explained in the Q&A, Mavin Khoo mentions the development phase where Khan created and developed movement material on random dancers, before transferring the material onto the English National Ballet cast. The manner of creation is very different for Khan when working for a large ballet company such as ENB because everything is so structured, rightfully so, to manage the large cast. When working with his own, much smaller, company Khan can spend more time on ‘playtime’ and improvisation, whereas with the ENB pre-planning and time management is very specific. However, this does not mean that Khan abandons his usual style of working; Creature was developed in the studio with an emphasis on coaching, providing the principle dancers time to embody their characters and embody the movement language to make it honest. (More on this later.) It is also important to note that none of Khan’s works are ever ‘ready’ for the stage. Khan treats the each performance as another research stage, which is highly unique. This means that none of his performances are created to be performed exactly the same time and time again – there is a process of observing audiences reactions as well as allowing the dancers small chances to improvise on stage, to do what feels natural and honest in the moment. However, these small changes made on stage do not get set into the choreography either, as trying to recreate a moment past is dishonest. (I think you can tell that honesty is a real key factor to his rehearsal process!) Furthermore, he must be sensitive to the fact that the manner of coaching has to be diverse because everyone’s approach to dance is very different, so it can take longer for the ENB dancers to feel comfortable with his idiosyncratic style. Nicky Henshall is a repetiteur (dance coach) who played a key part in translating Khan’s movement material for the ballet body during the process of Creature. Her role was to listen to Khan’s feedback to the ensemble and help them to understand and implement the qualities that he asked for. Often, this meant that Nicky could work with the ensemble whilst Khan could work with the principle dancers, allowing their rehearsals to be more productive and time-efficient.
Honesty. Realism. Intention. The 3 key things Khan looks for when rehearsing his work, which he passes down to his repetiteur, Mavin Khoo. Observing the live masterclass is truly beautiful, and offers a real insight into a professional company rehearsal. What stood out the most is when Khoo told the dancers to “mark” the pas de deux at the start of the class, and they skipped lifts and some travelling phrases, but each moment was still performed with intention and passion. During rehearsal, his feedback really focused on small details which can portray so much, e.g. the way her walk needed to have more weight to emit life, the way the creature needed to fully let his body fall into gravity as he explored the physics of the table, the way her arms needed to be linear rather than curved when reaching upwards because curved can portray romanticism and she needed to portray that she was reaching to the stars. Khoo explained that Khan likes to work with an inner script which instigates what happens – so each movement was saying something without words and it had to be clear in every gesture, every facial expression. Timing was important too, as the dancers had to work off each others emotions in an honest and realistic amount of time. This clear focus in storytelling is characteristic of Khan’s works, which stems from his roots in Kathak, an Indian classical style of dance. His style certainly is more about being rather than showing – the opposite to classical dance, and so it is really important to him that all of his dancers think of dance as a calling, rather than a job. His dancers must all surrender to the deeper, complex elements of his works and embody the full complexity of the story and characters. Therefore the choreography must come from an organic place, from the dancers themselves. He achieves this by allowing time for improvisation and discovery in rehearsals. The discovery phase is where the dancers can work on making their own versions of their characters, for example Cirio worked with Khan for three weeks just discovering the creature’s identity and staggered emotions. The relationships between characters are still being discovered even in the performance stage as the dancers observe how they feel in the moment. His dancers must be fully immersed in the process of learning and developing, and so they do have a large collaborative input on the choreography.
Collaboration is a key stylistic feature of Khan, and this work is no exception. Alongside working with the dancers themselves, Khan works with Tim Yip (set designer), Ruth Little (dramaturg), Micheal Hulls (lighting designer) and Vincenzo Lamagna (composer).
Collaboration is very important for Akram, and what happens is Micheal will have notes for me for the dancers, and Ruth will have notes for lighting, and so really, there’s such a sense of respect, I think, as a team, with the clarity that all of this is being led by Akram’s voice… That’s a very special quality that Akram has I think, in terms of being able to lead.
Mavin Khoo
Khan is like a film director, in the sense that he has a vision about how the performance will look as a whole including all the elements, and therefore each element and each collaborator is just as important as the other. During the process of Creature, Nicky Henshall explains that there were times when the dancers did not have the finished piece of music, and times when the music had completely been changed because Vince would watch the rehearsal and realise that it needed to be developed to fit the works intention, and Khan’s overall picture. This is not the first time Khan has taken on such a big role. During the creation of Desh, a solo work, Khan taught the choreography to his rehearsal director, Jose Agudo, so that Khan could step away and watch his solo together with the lights and set design to make director decisions.
Overall his creative process is less than linear, but highly effective in ensuring his works are honest and of high quality. The collaborative process is likely the most important aspect, which does set him aside from many other choreographers in the independent contemporary dance scene in Britain. Creature is currently expected to be premiered at Sadler’s Wells theatre from the 11th-15th November 2020.
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Getting a New Tattoo: End of Session…
We’ve posted regular video updates of our homie John’s new tattoo, the next step in putting together his arm sleeve together, done by the world famous tattooist, Adam Siehr aka Tattoo Adam. All of the footage is shot in 434 Tattoo, our friendly neighborhood Waikiki Tattoo Shop.
As you can see, Tattoo Adam not only has years of expertise and skill but he still has a blast doing it! And you will have fun too so come on down, our Honolulu Tattoo Parlor is open 7 days a week from 10a-10p. In addition to Adam, our talented team includes Andy Burley, the only person to complete an apprenticeship with Adam, and the Phenom, Marko Livingston
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Holly Wojahn
Street scenes Figurative florals and still life
Holly Wojahn
Holly has been making a living with her art for twenty-five years but moving to France impacted her work permanently. The charmed life in Paris inspired and informed Holly’s art, urging her toward a brighter palette.
The distinctive styles of Picasso, Modigliani and Botero, have left indelible marks on Holly although her own artistic style is very specific, and identifiable. Holly’s passion for, and buoyant outlook on life; her characteristic "Joie de Vivre" infuse her paintings; whether a typical Parisian street scene, or a seaside port. Color is key, inanimate objects seem animated and delightful details fill each image.
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• Enrollment system is currently unavailable. We apologize for the inconvenience. Please try again later.
Graphic Design
• Builds Portfolio Pieces
• Fosters Creativity and Emphasizes Good Design
• Develops Conceptual and Technical Skills
Courses in graphic design prepare students to practice professionally with a foundation of study rooted in theory and history, a mastery of studio visual communication methods, and real-world project experience delivering the knowledge and skills to develop conceptually and visually. Content is focused on cultivating creativity and mastering software skills necessary to be competitive in the field.
This semester, study in-person or from anywhere in the world from the safety and comfort of your home through online or remote instruction.
Visual Communication and Graphic Design: An Overview
Gain a thorough understanding of what graphic design is, and learn by working through the design process on a series of projects.
2024 Spring
1 section
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The next few years will see a major redevelopment of the University Quarter. One of the projects involves linking the Bushuis and the Oost-Indisch Huis building together, both externally and internally. As of academic year 2022-2023, all the Faculty of Humanities labs will be located in the Bushuis: a physical pooling of experimental research to encourage cross-pollination and pooling of expertise. The Bushuis will provide space for fundamental experiments and for research-intensive education, as well as knowledge transfer.
The project is now in full swing and the building will be ready in the summer as planned. The most visible transformation is taking place on the ground floor. The former study spaces are being replaced with a workshop space, plus a lounge. The workshop space can also be used for exhibitions and (podium) presentations.
Less visible but no less significant are the changes that are being implemented elsewhere in the building. The various Labs have specific wishes and requirements. The Speech Lab on the ground floor, for example, will have two huge soundproof speech cabins. The relocation of these speech cabins from the P.C. Hoofthuis building to the Bushuis will take almost a month (dismantling, transportation in parts through the city centre and reassembly in the Bushuis). The rooms for Conservation & Restoration on the second floor will have fume cupboards, cupboards for chemicals, extractor fans and power outlets coming out of the ceiling, and these must also be movable. This is no easy task in a historic building of this kind. The contractors are expected to be highly inventive and to work closely together.
Things are going well. With the exception of a few mechanical components, everything is on time and the relocations have been scheduled and are in preparation.
Roos Bendien from BRIQUE architects is responsible for the colourful design of this space and the associated lounge. She was also responsible for the interior design of the building at Binnengasthuisstraat 9 (BG3), which has accommodated the Faculty Office and Board and VOX-POP since the spring.
Interior design: Roos Bendien from BRIQUE architects
Inside wall of workshop space
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Hackney Museum is actively engaged with our local community. We run our own projects, working in partnership with local groups and individuals, but also contribute to the project work of other local organisations, museums and heritage organisations across London.
Past projects
Mapping the Change
As one of five boroughs to host the London Olympic and Paralympics Games in 2012, Hackney is at the forefront of momentous change. Mapping the Change recorded the changes to local people's lives.
London Museums Hub refugee heritage project
We worked with members of three Kurdish community organisations, Day-Mer, Halkevi and KCC, over three years to record aspects of Kurdish culture and heritage, created a loan box of objects that schools can borrow, and educational resources for teachers. For more information see the Museum of London.
Abolition '07: Commemorating the abolition of the transatlantic slave trade
Museum staff worked extensively with members of the African-Caribbean community in Hackney along with members of the project steering group, to devise and develop an exhibition, a documentary film, theatre performance and poetry based interactive exhibition tours for visiting school groups. They also commissioned new art work and art projects for local groups in response to the parliamentary abolition of the slave trade.
Allen Road project
In 1972 Richard Scott photographed the whole length of the north side of Allen Road, N16. These slides have been digitally re-constructed to make a complete panorama. Hackney Museum worked with Richard, and local residents, to create a new panorama of the road in 2008.
Hello Cazenove
What does community mean to you? Hello Cazenove was a range of events and activities around Cazenove road and North East Hackney which contributed to an exhibition at the museum in January 2014.
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Cut Short, 2020
Cut Short, 2020 was taken in Bald Rock National Park
in NSW just underneath the QLD border.
There was evidence all through NSW of the bushfires
that raged during the Christmas of 2019. This national park
was no different. There were trees with black bark,
holes in the middle where they were burnt to the core.
But there were trees dotted amongst them
that were chopped down, like this, that had beautiful
colour on the inside, even though
they were black on the outside. Were their lives
taken too soon?
This print is available in the below sizes:
All photographs are taken by Tanya Lee and will be signed
in the bottom right corner of the image.
They are printed using large format fine art Giclee printing
on Hahnemühle fine art cotton paper 310gsm,
with a fine, smooth finish.
Framed examples are shown for display purposes only.
We do not offer framing.
Scroll Up
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|
您找過以下的關鍵字
尚無搜尋紀錄
皮卡爾: 蓋亞交響曲, 伊甸園
皮卡爾: 蓋亞交響曲, 伊甸園
作者 : 挪威埃康厄爾-比約什維克銅管樂團/ 韓森
作者 : Eikanger-Bjorsvik Musikklag/ Andreas Hanson
出版社 : BIS Records
※ ※ 無庫存
無庫存
定價 : NT 720
售價9折, NT648
內容簡介
"Composed over a period of fourteen years, John Pickard's Gaia Symphony and Eden are scored for the standard ‘British’ brass band, with expanded percussion in the case of 'Gaia'. Both works in different ways mirror concerns regarding the world and nature, and their relationship with the human species. Gaia was the Greek goddess of the earth, but is also the name of a theory which proposes that the earth itself is a living organism and that its colonisation by humankind merely marks a certain point in its history. Like once the dinosaurs, we humans will ultimately be wiped out and the damage we are inflicting on the earth will eventually be healed. Pickard’s 65 minute long work started out with the second movement, Wildfire, and the suite Men of Stone which forms the final movement. Several years later two more pieces of the puzzle fell into place, with Tsunami (the opening movement) and Aurora. During the process, it became apparent to the composer that these four deeply related elements formed a single entity. As transitions between them, he wrote three short movements for percussion ensemble, calling them ‘Windows’ – openings in the continuous wall of brass sonority which also give the brass players a few minutes of much-needed recuperation. Only after completing the project did Pickard find that the result was in fact to be regarded as a symphony, to follow on his previous three works in that genre. On the present disc, Gaia is preceded by Eden, which the composer has described as being ‘a summing-up and an extension of some of the principal concerns of the much longer work’. Gaia ends with the emergence of Neolithic man (‘men of stone’), and Eden takes its departure from John Milton’s epic poem Paradise Lost, interpreting the story of Eden as a metaphor for the havoc mankind has inflicted upon the world, exploiting and abusing its resources. The two demanding scores are here performed by Eikanger-Bjørsvik Musikklag from Norway, one of today’s leading brass bands and the first non-British band to claim the European brass band title."
看更多 隱藏
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Create an E-FLYER for the company
Dianugerahkan kepada:
PROFESSIONAL GRAPHIC ARTIST USA - I can design an E-FLYER for your company, I live in the East Coast, 1 hour from NYC. I have been designing graphics for over 15 years, with a Bachelor's degree in graphic arts, from th Lagi
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(148 Ulasan)
34 pekerja bebas membida secara purata $111 untuk pekerjaan ini
We have an agile and talented graphic design team, capable of designing exclusive premium logos and all printing materials. We can design awesome E-FLYER for your business, Please message me. http://logodesigncompany. Lagi
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|
ec47b560-73c3-41aa-8246-4074a4884205
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Saturday, December 27, 2014
Some fanarts i did recently:) The first 5 are for a league of legends contest and the last one is a personal fanart of juri from street fighter:) Hope you like!
Here are some progress shots too
Monday, September 22, 2014
Trojan Horse was a Unicorn
Hi everyone! Long time no see!!:) Many things have happened since the last time i posted but we will talk about that after I tell you about the THU experience.
THU '14 ended 2 days ago and for the second time I was blown away so i want to congratulate Andre and his team of unicorns for a really well done job.
Last year I made a lot of friends at this event and because of that, some of us decided to get a room together this time and go to the event a few days earlier since the location is a pretty amazing place to be. We arrived on the 13th and surprise, surprise guess into who we have run into: Andre and his team working hard on the final touches for the festival before the gates would officially open. He invited us for dinner and we chatted about many things while enjoying the epic view from their balcony.
The next 4 days were all fun. We did some sightseeing around Lisbon, went to the beach, to the pool, did some fun fun photos. If any of you decide to go to THU next year (yeah they are already working on it!) I recommend going there early to enjoy the beauty of the place. Once the workshop starts your schedule will be super busy and you will barely have time to eat. For next year i am considering going there early like this year and also stay a bit more, after the workshop. I cant stress enough how cool is this place. Even though the weather forecast was crappy for this year, i think it was pretty good in the end. If it was raining it was only for 20 min or so and after that the sky would be clear again.
The night before the workshop officially started the place was already full with leading industry professionals and students. We had the amazing opportunity to join them at the dinner party on a nice place near the beach. We were sitting next to legend Scott Ross and his wife and we talked about a bunch of interesting things. Soon Christian Alzmann, the Senior VFX Art Director of ILM, joined us in the talks and we ended up having a great time. I got to say hello to a bunch of other instructors that i was seeing for the first time and they were all really nice. Some of us started playing rock, scissors, paper with wine and it was really fun:D
On the 17th in the morning we have officially registered and got our warrior tags. This is another nice thing about this workshop. Everyone receives a name tag so its easier to remember names. I dont know about you guys but for me this thing is really helpful:D I wish all the workshops would have this feature, it really brings the people closer together.
The next four days were pretty hardcore. Tons of inspirational talks, mind blowing demo's, great people to be around and beer:D Even though i was constantly eating i ended up losing 3.5 kg. Once you are there you are in a crazy engaging mood and that consumes a lot of energy:)
The workshops were all day long and they would end up with talks between two legends of the industry. We got to hear about many of the things that happened and happen in this industry from people like Scott Ross, Andrew Jones, Syd Mead, Michael Kutsche, Loic Zimmerman, Afonso Salcedo. Probably the highlight of these talks was by Syd and it sounded like this: "If you are not getting paid for it, then its a hobby!"
There would always be an after party that would last till the morning, and surprisingly some of the attendees were managing to go to them and still be up for the lectures in the next day. I headed out soon, every night after a couple of drinks to get some rest. I have never meet and talked to so many people in my life and i was pretty tired after each day:) To compare it with the last years workshop this time the event was 3 times bigger. We were over 500 people in Troia in the past couple of days and everyone was in a chatty mood. So lots of XP points were exchanged:)
One of the new additions at this workshops was the mentorship session. Basically a few random people were selected to be part of one of the many small teams with one of the workshop instructors as a leader. I was lucky enough to be picked and I ended up in Tiago Hoisel's gang:) He is one of the most amazing guys!!
Also its worth mentioning the Happy Hour. Once a day we would get free drinks and chat and get portfolio reviews. In these times I was trying to run around and say hello to as many people as I could. Even like this I am sure I didnt managed to meet everyone. So if you are reading this and we havent met there in person have a big hug from me and hope we will chat next time:)
Fun Facts: Veli is from Finland, Esben Lash can sing really well and play the guitar and thaught me the basics of beatboxing, we saw a rainbow, probably the most profitable business in troia judging by the Queue was Ali Baba's Kebab place, we had to celebrate Tania's birthday, we sculpted sand boobs on Lap, we made a godzilla movie, some people saving a baby falcon, me posing as a suicide boy, Lap being dragged into a granny party, saying goodbye to everyone in the last night takes around 2 hours and so many more that i cant remember right now
And some news about me now:
Since i got this question a lot at the workshop i want to mention that i am not working with Applibot anymore. I have quit a few months ago because i wanted to do a change in my art and take a different path. They were a great client and i wish them the best:)
I am involved in a book project with some of my friends. But i cant tell more now except it will be all about sketching:D
These days i am doing concept art, promotional illustrations and book covers for various clients. Unfortunately i cant post most of the stuff i do yet. I am also trying to wrap up two tutorials that i plan to release soon.
I have added some new painting videos on my youtube. Go check them out
I was a demo artist at the Industry Workshops and it was really fun!!
Isra visited Romania and we hanged around for a couple of days showing him the beauties of our place. He cooks really well!!:D
So here are some old/new images that i havent posted so far on this blog:
Thanks for reading!!
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Design of the Year 2014
T House
View the video about the Project
Show info
Linghao Architects
Ling Hao
Structural Engineer
KH Consultants
Wong Ka How
Quantity Surveyor
Construction Cost Quantity Surveyors
Koh Hung Phing
Main Contractor
Kian Huat Decoration Construction Pte Ltd
A S Pang
Nemesu Garden Design
Tan Yung Ming
T House resides on a compact plot of land, six metres by 22 metres, in a residential area near Peirce Reservoir. The interior and exterior of this rebuilt two-storey home come together to make each individual space feel like it is both the inside and the outside.
Sticking to the original levels, architect Ling Hao has allowed the first level to drop about 1.5 metres from the entrance road. A few small rooms here share a garden-like covered court where birds fly through while the homeowners sit and chat or watch television programmes. The dining area extends into a side garden bounded by money plants that soar skywards on a high wall. At night, one hears crickets chirping in the side gardens. Around and through the space are various paths. One of them threads through an open kitchen with a palm garden and a staircase leading to a bedroom. Rooms in this home have big openings that allow family members to feel one another’s presence in the natural light, among the plants.
Throughout the day, the airy interior courtyard “records” weather conditions: the movements of the sun, the sudden appearance of clouds, gusts of winds.
On the roof of the residence is a garden, six metres by 12.5 metres, covering the entire buildable footprint. The relaxing realm offers the homeowner and his family the space for planting, weeding and cultivating, as well as enjoying morning tea, evening chats and occasional parties. It also encourages gardening to continue, from one end of the house to the other.
It is a house that has made a difference to the lives of its inhabitants. “The environment that was made is also a way for the inhabitants to imagine a different kind of everyday experience, one where the family could go about doing things intimately around gardens that change ‘silently’”, says Ling Hao.
While Ling Hao has completed the project of building a small house for the owner and his family to do some gardening, the client is taking the project further on his own by cultivating the plants. “He has since started a garden company to do work outside the house as a hobby”, the architect adds.
This is an abode where the everyday is intimately related with the external environment, offering an open and simple way for the homeowners to relate to the tropical world.
An architecture graduate from the University of New South Wales in Sydney, Australia, Ling Hao is receiving a Design of the Year award from the President’s Design Award for the second consecutive year. He also earned the honour in 2013 for the Satay By The Bay project for which he worked with fellow architects Tan Kok Meng and Satoko Saeki of KUU.
Born in Kuching, Sarawak, Ling Hao first joined Tangguanbee Architects in Singapore after completing his studies. It was Tang Guan Bee who taught him to question what architecture means, and to build what he wants to build. Ling Hao next established Ham Architects with Kok Meng in 1998 before founding his own company, Linghao Architects, in 2000.
Linghao Architects makes projects by imagining fresh settings in relation to everyday life. In implementing projects ranging from interiors to installations and architectural works, the firm’s architects consider scales of intimacies and how to allow for liveliness. Most of Ling Hao’s projects pertain to movement and letting the user experience the space created. The T House typifies this.
Besides running his own firm, 46-year-old Ling Hao also lectures at the Royal Melbourne Institute of Technology (RMIT)/ LASALLE-SIA College of the Arts and is a studio master at the National University of Singapore.
He has also exhibited extensively in Singapore and abroad, for example, at the Housefull of Dreams (with KM Tan & J Chia) video installation for Asian Comments Festival in Copenhagen (2002); the Singapore Pavilion at the Venice Architecture Biennale (2009); the URA 20 under 45 exhibition in Singapore and Aedes Gallery, Berlin (2011); the [email protected] exhibition at Datum KL (2011); the Ghostwalking table (with Spell 7) at Prague Quadrennial (2011); and the President’s Design Award exhibition at National Design Centre and Urban Redevelopment Authority (2014).
In addition to the President’s Design Award, Ling Hao’s work has won numerous national accolades such as the SIA Architectural Design Award Honourable Mention (2008, 2012); the URA Architectural Heritage Award (2007, 2013); and the National Parks Board Skyrise Greenery Excellence Award (2013).
Building T House successfully entailed his working with the client, engineer, quantity surveyor and the builders. “Everybody must share a similar objective in working hard on the project – which we all did”, says Ling Hao.
Commenting on how the President’s Design Award has influenced the local Singapore design scene, Ling Hao says: “It provides a public recognition of design work. Bringing together experienced architects and design industry figures from different kinds of backgrounds and worlds is a great thing as they bring openness, yet abilities to relate the work to their experiences”.
Advice to emerging designers:
“Work on!”
T House is a statement of resistance with a clear and honest position that offers a different experience of living in the tropics. It challenges the norms of today’s design and construction of homes in Singapore.
The house is an open, airy structure that incorporates multiple courtyards and gardens in a small space. It is organised around a central, double-volume internal courtyard that allows air and light to penetrate through the space. The open structure and humble material palette evoke memories of old Singapore houses, while accommodating the modern lifestyles of its owners. Indoor planting strips with creeper plants keep the naturally ventilated environment green and cool.
The Jury commended the radical simplicity in the interpretation of this tropical house that offers a different way of living. It is a model of how we can live life simply.
Tan Kok Meng
When we were there visiting the house, the owner’s elderly father was sitting on a soft chair, close to a large television, watching English football in a high, cool, brightly-lit space. Leftover plates of breakfast and the morning newspaper filled the small dining table. The creepers with large leaves were scaling up the white rough walls, towards the light. The green ground cover spilled wildly onto the cement floor. The lofty space now filled with light and green felt simultaneously like an interior and exterior. As we chatted, walking around the house, the sounds hummed with the rhythmic football chants from the television.
I felt I was in a strangely familiar place: a place from my childhood, embedded in the depths of my memories; a blur montage of a porous tropical world in which I was playing in gardens under shady trees, running along five-foot ways, with adults sitting on cement terraces, eating outdoors in the narrow back lanes, and voices and TVs behind thin partitions.
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Between Brisbane and Japan, some whimsy and Dan (All contents © Dan Ryan, unless noted)
Noriya Takeyama is a very cool guy
Noriya Takeyama is a Japanese toy and graphics designer. I was lucky enough to meet him in October, 2013 at the Fewmany pop-up shop at the Marui Annex in Shinjuku. He and his buddy in the porkpie hat came by to say hello to the Devilrobots, with whom Takeyama-san is friends. I didn’t get to hang out with Takeyama-san for very long, but he gave off this very cool vibe and I’m really glad I got a picture with me, him, and his pal in it.
And all these months later it just occurred to me that I’m an idiot for not asking the man to autograph a sheet of stickers I had with me that he designed….
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(Photographs taken at Marui Annex, Shinjuku, Tokyo in October, 2013)
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The Devilrobots are superior gentlemen
During each of my trips to Tokyo in 2012 and 2013 to take photographs for my “Tokyo Panic Stories” project, I met up with some really wonderful people, people with whom I hope to remain friends for years to come. But during the 2013 trip, a particular treat for me was the opportunity to hang out with Shinichiro Kitai and Kotohiro Nishiyama of the Tokyo-based toy and graphic design firm Devilrobots. I have been a huge fan of the Devilrobots ever since I stumbled across their To-fu Oyako character toys on eBay in 2002. Their whimsical, anthropomorphic designs for toy figures and other colorful objects really appeal to something deep within in my senses of aesthetics and fun.
In short, and without being too gushy about it, the Devilrobots are personal heroes of mine, and their work adds a LOT of joy to my life. In fact, it’s fair to say the Devilrobots inspire me in a way that has helped me cope with my chronic depression.
I met these fine gentlemen one afternoon while they were setting up the Devilrobots “Devil Museum” retrospective and retail sale displays at the Fewmany pop-up shop in the Shinjuku Marui Annex. And the rest of the afternoon just flowed from there…
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Mr. Kotohiro Nishiyama, Koto-san, the Devilrobots’ business manager who also acts as the English translator for public events. I got to hang out with Koto-san in 2012 at the Devilrobots’ offices in Shinjuku. Here at the 2013 Fewmany shop, he showed me the “Devil Museum” and the various artifacts from Devilrobots’ 17-year history.
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The man himself, Mr. Shinichiro Kitai (Shin-san), the Devilrobots founder and lead designer and artist. He designed pretty much every toy and graphic element you see in these photographs. And he is as colorful, whimsical, and fun as the things he creates.
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A display showcasing prototypes and mock-ups of some of the very first To-fu Oyako kubrick figures designed by Shin-san and manufactured by Medicom Toy. Other items in the display utilize To-fu Oyako design elements.
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A closer look at some Devilrobots kubrick prototypes. Note the To-fu Oyako figure in the background shaped like a “Toy Story” alien.
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Koto-san pointing at a display case full of Evirob kubrick figures and small sculptures. Evirob is Shin-san’s other major character design, but the character itself is a bit odd and hard to explain, mostly because I don’t fully understand it (even though I like it).
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One of the neatest things on display, a mashup statue of toy designer Kenny Wong’s Molly character and Shin-san’s To-fu Oyako. I wish I could have purchased this, but I had to be scrupulous with my Kickstarter funds.
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Koto-san and Shin-san taking a moment to evaluate their display work. Shin-san is, as you can see, not camera-shy.
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A multitude of Devilrobots stickers and badges, manufactured by Facto, a Japanese design company which produces various goods for toy and graphic designers like Devilrobots.
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After the work was done setting up the Devilrobots “Devil Museum” shop, Koto-san and Shin-san offered to take me out for some beers. Shin-san and I waited out in the rain in front of Marui Annex while Koto-san was busy retrieving the umbrella he had forgotten inside the building.
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We made our way to joint called 82 Ale House in Shinjuku 3-chome. After Shin-san bought the first round of pints, he was kind enough to autograph some Devilrobots items I had with me. Here he’s inscribing a booklet he designed for a CD by an excellent J-pop band called Tokimeki Express.
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Beers, smokes, peanuts, and a signed hand-decorated To-fu Oyako kubrick on a greasy bar table. To me this is one version of heaven.
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As I noted earlier, Shin-san is not camera-shy.
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Despite having to translate between me and Shin-san, Koto-san was able to relax.
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I felt so honored that these busy guys…
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…took the time to hang out with me.
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The list of things for which I am a gushing fanboy is very, very short, but the Devilrobots’ design work and these two superior gentlemen are certainly on it. One of the greatest open secrets about the Japanese is that they are very warm, big-hearted people if you make the effort to get socially close them. Shin-san and Koto-san are two perfect examples of this. I really treasured their company that rainy afternoon in Shinjuku, and I hope they enjoyed mine.
And I can’t thank these two gents enough for their warmth, hospitality, and generosity. Take care, boys, and I hope to see you the next time I’m in Tokyo.
–Dan Ryan, Brisbane, California, July 22nd 2014.
Post script: On my birthday this past January, Shin-san created this digital birthday card and posted it on my Facebook wall, convincing me that he is even more of a big-hearted mensch than I already thought he was…
dan-121a
(Photographs taken at Marui Annex and 82 Ale House, Shinjuku, Tokyo in October, 2013)
The Eco To-fu San Francisco Adventure—A small green whimsy
My friends took me to lunch today. We went to my favorite noodle and donburi shop…
The green tea was beautiful. I wanted to get in it like it was a hot onsen bath…
My favorite lunch is oyakodon. I had a giant bowl all to myself. I was very hungry…
After lunch, my friends went shopping. I went to see an old friend…
In Japantown, there is a beautiful concrete pagoda. We went to see it. The sky was very blue…
To help save forests, I read news online. This newspaper machine was a strange sight to me…
I am very green, so I picked up trash on the way home. San Francisco can be very dirty…
But I am relaxed now and home with my friends. We do yoga. It was a good day.
(Photos taken with a Samsung Juke in San Francisco’s Japantown and Brisbane, California on November 3rd, 2012. “Eco To-fu” designed by Devilrobots and manufactured by Bandai.)
Kotohiro Nishiyama Of Devilrobots Is Just The Nicest Man—A small to-fu adventure
I am midway between 48 and 49 and still enchanted with and charmed by toys. I suppose in a perfect world I would be over my love of toys by now. But I don’t want to live in that world.
Happiness is where you find it, even it it’s in a bit of plastic or vinyl molded to look like a non-existent creature. And when it comes to such toys, my greatest admiration is for the weird, whimsical and very Japanese toys designed by my personal heroes, the Devilrobots.
I just love their stuff. I have quite a bit of it here at the house, though modesty forbids posting pictures lest it be considered a vulgar display. I’ve been a fan for about 10 years, but Devilrobots have been around since 1997. I can’t quite remember exactly how I stumbled upon the toys and trinkets they design. But I do remember making a conscious effort to meet up with my heroes when I was in Tokyo in April and part of May this year. And, lucky me, on May 3rd, 2012 I got to travel to Tokyo’s Shinjuku Ward and have a look inside the creative world of a small group of geniuses.
And I’d like to share that world with you. So have a look, and enjoy.
My host, Kotohiro Nishiyama, is really just the nicest man. That’s him in the picture below. Due to scheduling conflicts, Koto-san was the only team member who was able to meet me and let me look around Devilrobots’ headquarters. And he didn’t just meet me at the office like anyone else might have. He met me in the rain at Kagurazaka Station on the Tōzai Line and guided me to the Devilrobots’ building near Edogawabashi. He was such a gentleman, letting me wander around as I wished while he did some work in his office. And at one point we sat for a good spell at the Devilrobots’ coffee table (pictured later) and had some cigarettes and talked of toys and the time we both spent in Minnesota and some silly things I don’t exactly recall. His company was delightful and his hospitality was wonderfully generous. And he’d never even met me before.
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After meeting Koto-san, well I went a little nuts and took pictures of almost everything I saw. And it started with this To-fu Oyako display right outside the Devilrobots’ front entrance.
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Detail from the previous photo.
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A beautiful assortment of wonderful characters greets you when you enter Devilrobots.
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The reception area and lounge. No receptionist nor sign-in book here.
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Marshmallow princess Maffy, my wife’s favorite character. This is to the right as you enter the Devilrobots’ front door.
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The fully-loaded shelves of toys in the Devilrobots’ lounge will blow your mind.
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And on the floor, there are Japanese-style To-fu Oyako slot machines.
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Devilrobots have designed a whole menagerie of vinyl creatures and characters. The pink figure in the center is a To-fu Oyako x Gloomy Bear mashup.
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A crazy-wonderful Devilrobots version of Mickey Mouse.
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The entrance foyer, because I forgot to show this previously. Sorry. I got distracted.
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The Devilrobots’ Jedi coffee and meeting table.
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Just a trinket on the table which Koto-san showed me.
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A prototype for the new To-fu Oyako color vinyl figure series.
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To-fu vinyl and ice water await patiently for attention and consumption.
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The two great Devilrobots characters, To-fu Oyako and Evirob, in vinyl on the table.
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Koto-san and I, we had a few cigarettes together when I took a couple of breaks from taking pictures.
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Koto-san looks a little like a Japanese Abraham Lincoln.
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And except for the unhappy expression, this hirsute to-fu sculpture kind of looks like Koto-san.
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To-fu Oyako happy figure madness.
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To-fu Oyako “Toy Story” UFO catcher alien.
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Devilrobot’s Medicom Toy 100% Be@rbricks. These are kind of rare. I’m lucky to have all three (the first one is the same as the third, but showing the back of the head.)
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There is whimsy at every turn where the Devilrobots live.
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In a snow globe of his own, lonely Kiiro-chan.
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400% be@rbricks and other figures. Does the one on the left look familiar?
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A prestigious award that lead designer Shinichiro Kitai won with his To-fu Oyako character in a design competition before founding Devilrobots in 1997. I would have met Shin-san but for the scheduling conflicts, both his and mine but mostly mine, mentioned earlier. I regret this missed opportunity, but I hope to compensate by meeting Shin-san the next time I’m in Tokyo.
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Well, that’s it.
I shot a hell of a lot more photos than the ones you’ve just seen. But even the internet can only hold so much data. So I hope you’ve enjoyed this brief tour and commentary about my wonderful time visiting the Devilrobots.
(And Koto-san, from me to you I say thanks. Meeting up with you that afternoon in Shinjuku was one of the happiest experiences I’ve had in Japan.)
The To-Fu California Adventure—A small tribute to Devilrobots*
Picture 1108
It seems nice today.
Picture 1109
My friends. We have been cold.
Picture 1110
We tire of the winter.
Picture 1111
Where does the warm come from? We are not sure.
Picture 1112
Then we look.
Picture 1113
And we decide.
Picture 1114
*Author’s note—Devilrobots is a Tokyo graphic- and toy-design team that created the figures pictured, which are part of their very large “To-Fu Oyako” set of products. I discovered Devilrobots’ work back in 2002 while looking for some Star Trek thing on eBay that was totally unrelated. The whimsical anthropomorphism of their to-fu designs hooked me immediately, and caused me to seek out not only more of their work and merchandise, but also to delve deeper into the wonderful world of modern Japanese toys and graphic design. Yup, it was one of those life-changing discoveries, for which I am very grateful. To Shin, Yoshizo and all of the Devilrobots I say: Thanks, guys.
Toy Division—A small warning
Quite often the thing you need to do….
….is the last thing you usually consider.
And that is: Always watch out for the toys.
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Orchestras and choirs
Toruń Symphony Orchestra
seat: Artus Court, Rynek Staromiejski 6
The Orchestra was established in the artistic season 1978/1979 as the Toruń Chamber Orchestra. The status of symphonic orchestra was granted to the orchestra in February 2006. The musicians performed in many European countries and even in China. In July 2010 the orchestra accompanied Jose Carreras during his performance on Toruń MotoArena. Currently the artistic group includes 56 persons. The Orchestra includes four smaller artistic groups: Toruń String Quarter, Toruń Brass Quarter, String Quartet of Toruń Symphonic Orchestra and Parlour Orchestra.
Since 1997 the orchestra organises a festival, whose actual name is the International Summer Festival "Europe - Toruń, Music and Architecture". The festival's idea is to perform classical music in historical interiors. The concerts are organised in July and August.
www.probaltica.art.pl/multicamerata
The Chamber Group was established by Henryk Giza in 1991. The chamber players gave a few hundred concerts in Poland and abroad. The group's programme includes the pieces of the world classical music by Bach, F. Haendl, A. Vivaldi, W.A. Mozart., but mostly Polish music of 19th and 20th century composers.
MultiCamerata is the finder and organiser of "Probaltica" Festival of Music and Art of Baltic Countries. The main idea of the festival is to initiate cooperation, particularly in the field of music and fine arts, and present the cultural heritage of all countries of Baltic Sea basin who take part in the festival.
The "Astrolabium" Choir of Toruń School of Banking
The choir was established in 1999 by Kinga Litowska. The name, associated with the tool used by Nicholas Copernicus in his research underlines the group's connection to Toruń. The group includes over 40 people. They are mostly young people, working professionally, but there are also some scholars and students. The artists added splendour to many occasional events. They were awarded during many international festivals.
The Academy Choir of Nicholas Coprnicus University
The choir was established in 1979, initiated by Bożena Jankowska. It gathers students, graduates and employers of UMK as well as people form beyond the University. Until today, the group has performed a few hundred times in front of Polish and foreign public in a a cappella repertoire. The artistic voyages of the group led through such countries, as: France, Netherlands, Germany, Italy, Spain, Portugal, Greece, Switzerland, Austria, Lithuania, Slovakia, Estonia, Finland and Belarus.
The Choir of Theology Department of UMK "Tibi Domine"
In 1993 a youth choir was established at Maksymilian Maria Kolbe parish in Toruń. In 1996 the existing group was transformed into Toruń Church Choir "Tibi Domine", performing in many towns of Poland and abroad (Austria, Germany, Italy), mostly during liturgy. It was founded by father Wojciech Rychert. The choir's repertoire includes the classical pieces of W.A. Mozart, J.S. Bach, F. Chopin, A. Lotti, F. Liszt, G.P. de Palestrina, G.G. Gorczycki, Van Berchem, P. Łukaszewski and others.
Chamber Group "Portamus Gaudium"
www.portamus-gaudium.isgreat.org
The Latin name means "we bring joy". The choir has been active at Jesuits church since 2007. It was founded by Agnieszka Brzezińska. It gathers several girls, who develop their vocal and instrumental talents. Their singing adds splendour to Sunday liturgy, as well as church and city celebrations. The group's repertoire includes many traditional and contemporary liturgical songs as well as pieces by many composers, in choir arrangement not only in Polish. "Portamus Gaudium" is the active part of Toruń's life, as it participates, e.g. in the Three Kings Holiday's parade and helps to organise the Toruń Evening of Christmas Carols.
"Lutnia" Choir
This group has the longest tradition in Toruń, as "Lutnia" Singing Society was established in 1989. It has both spectacular successes and hard moments in its history. However it also managed to survive and thanks to that we can still listen to its music. Today the choir's repertoire is very diversified. "Lutnia" interprets music of old masters, classical composers and contemporary pieces, both secular and religious, as well as patriotic. Thanks broad repertoire of the group helps them to present their skills during many celebrations, competitions and cultural events.
Toruń Teachers' Choir "Con Anima"
"Con Anima", which means "lively" - this is how sings the teachers' choir established in 1985. It was founded by: Elżbieta Kobytecka, educationalist in the Centre of Teachers' Improvemnet and Józef Sawionek, the then president of ZNP division in Toruń. The first conductor and originator of the name was Roman Grucza. The group adds splendour to sectoral events. Throughout years, the group was given many awards and prizes, performed in many Polish and foreign cities. In its repertoire you will find both sacral and secular songs.
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Bible of Caravaggio
Images from the old and new testament
di Dal Bello Mario
96 pagine ISBN: 978379542370
Anno di pubblicazione: 2015
Is there a Bible according to Caravaggio ? Indeed, when the entire oeuvre of the artist is taken into consideration, one discovers a worldly, profoundly human meaning of the Holy Scripture in general and of the Gospel in particular. Christ, often viewed as the Man of Sorrows, becomes the symbol of the dramatic chronology of existence, portrayed via the contrast of dark and light that accompanies every human life. The artist conveys his creative view with a strongly autobiographical note, with colors and chiaroscuro heightening the tension and symbolic power of the message. Caravaggio wishes to like a modern-day cineaste invent the truth. Thus, he stages the Passion of man, which at the same time, becomes the Passion of God upon the daily path of life, and investigates it with enormous emotional power. In this way, he succeeds in transposing the Biblical message into the present day.
carte nautiche
Istituto idrografico della marina carte nautiche
Shom carte nautiche
Imray carte nautiche
Carte nautiche ammiragliato britannico
il marinaio e il monaco
marineria dell'elba vanagolli
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Production Sites
TREND: Putting technology into action.
Turning technology into art.
Sebring, Florida - Now the worldwide source of TREND’s engineered stone, this state-of-the-art facility currently produces over 8 million square feet annually. New equipment already installed and tested will more than double this capacity.
Venezia, Italy - The charming Orsoni Venezia 1888 glass foundry in Venice still manufactures mosaic in a centuries-old manner. TREND utilizes this facility for the specialty products that artisan customers request, including the traditional gold leaf Aureo and our hand-cut enamel, with flagship projects such as the Sagrada Familia, Basilica San Marco, Westminster Abbey, and the Washington National Cathedral.
Kadi, India - The operations of Pino Bisazza Glass are the source of TREND’s extensive and diverse collections of glass mosaic and decorative glass assembly sites. Turning the tons of individual glass mosaic tiles produced in our Indian facilities into carefully calibrated uniform sheets and exquisitely detailed designs is both art and science. The TREND locations that specialize in this function are located in Sydney (Australia) and Sebring (Florida).
Commercial offices:
TREND has established full-service commercial offices strategically positioned to meet the needs of significant customer bases. In addition to the headquarters in Italy, The United States and Australia, these offices include Dubai (United Arab Emirates) and Hong Kong.
Born with style.
The leadership of TREND Group has worked to assure that the company’s commercial soul is shaped by a deep commitment to environmental concerns and cultural vibrancy. On the one hand, TREND actively supports the contemporary art world, is a leading member of the Intrapresae Collezione Guggenheim Association, and funds the biannual Orsoni Prize for International Mosaic Art. On the other, the company moved early and aggressively to reduce the ecological impact of its processes and products. Production is designed to consume fewer raw materials and energy resources, to recycle otherwise wasted materials, and to increase the natural durability of its inventive applications.
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Sunday, October 26, 2014
Advertise with us
Beloved Victoria artist and teacher, Ellie Poirrier, dies
May 10, 2010 at 12:10 a.m.
Updated May 11, 2010 at 12:11 a.m.
At the end of a 2-day art camp, instructor Ellie Poirrier gets a warm hug from Miranda Brown. Poirrier died of a stroke Monday.
For most of the last two decades of her life, Ellie Poirrier spent her days combining her two passions - children and art - through teaching.
"She was the most generous and wonderful woman in the world. She loved children and she loved art," her husband, Marcel Poirrier, said. "It was her life."
Poirrier, of Victoria, died Monday from a stroke. She would have turned 67 today.
A prominent figure in the local art community, she gave private art lessons and taught at the Victoria Art League. She also operated a free art camp in the summer for children who couldn't afford art lessons.
Debbie Rodriguez, whose home-schooled daughter took art lessons from Poirrier for 11 years, described the teacher as nurturing and personable.
"You could just meet her and she would just be your best friend. She was a friend to everybody," Rodriguez said. "She was an amazing woman, a Godly woman, and the art community is really going to miss her."
In high school during the 1960s, Poirrier studied under a well-known art teacher and artist and then moved to Corpus Christi to study art at Del Mar College. She did not anticipate the high cost of tuition, though, and realized she couldn't afford it. However, her husband used the signing bonus from his new job to pay for a year of lessons under Corpus Christi artist Ann West.
Eventually, Poirrier's art career came full circle and she herself became the teacher.
"A mediocre teacher can teach someone to copy," Poirrier once said of her job. "A really good teacher can teach them techniques and let them go on and fly."
Called Mrs. Ellie by her numerous students, Poirrier also made it a point to make art lessons available to everyone.
In 2009, she led a free art camp at the Victoria Art League for children from downtown Victoria neighborhoods.
"It's for the kids in this neighborhood and in Silver City that see others getting to do stuff that they wish they could do," Poirrier said in a 2009 Advocate article about the camp. "All year, they see their peers, their playmates and other kids in their class get to go to dance, piano lessons and art lessons - and they don't. I have done this in this neighborhood because this is a neighborhood that is struggling. I am giving them an opportunity to find out if they are artists."
While Poirrier's art skills were impressive, it was her skill with children that was even more incredible, Rodriguez said.
"Her kids meant a lot to her," she added. "She was planting those seeds. She always encouraged them and loved what they did."
But it wasn't just children who Poirrier nurtured as artists. Tina Kidder, who has known Poirrier for 10 years, took watercolor lessons from her for two years.
"A lot of people in the community studied under her," Kidder said. "The art community, as well as the community at large, has lost a very good friend and talented artist."
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Making is Thinking
Witte de With
Edgar Leciejewski, Installation view Witte de With, 2011. (From left to right) Wand 25.03.2008, (Wall 25.03.2008), 2008. C-print on aludibond, wood, framed, 150x200cm. Wand 30.07.2008 (Studie II), (Wall 30.07.2008 (2 Studies)), 2008. C-print on aludibond, wood, framed, 60x60cm each.
Edgar Leciejewski, Installation view Witte de With, 2011. (From left to right) Wand 25.03.2008, (Wall 25.03.2008), 2008. C-print on aludibond, wood, framed, 150x200cm. Wand 30.07.2008 (Studie II), (Wall 30.07.2008 (2 Studies)), 2008. C-print on aludibond, wood, framed, 60x60cm each.
When Marcel Duchamp walked into J.L. Mott Iron Works in the Spring of 1917, accompanied by Joseph Stella and Walter Arensberg, it is unlikely that any of them would have described the Bedfordshire-model porcelain urinal that caught their attention as an ‘off-the-shelf’ product. This doesn’t mean that it wasn’t; it was – the expression just hadn’t been coined yet. The first recorded use of the adjective ‘off-the-shelf’ was in 1950, 36 years after workers at Henry Ford’s manufacturing plant reduced the assembly time of a Model T from half a day to 93 minutes using standardized parts and procedures. Not to belabour the point, but it would seem that language, rather than always offering the consolation of off-the-shelf words to make sense of our actions and thoughts, arrives after the fact.
I had this distinct sense looking at French artist Wilfrid Almendra’s Handcrafted Pick-axe (2003) and two Handcrafted Trowels (2003), pristine reproductions of off-the-shelf implements made in collaboration with the artistic duo Daniel Dewar and Grégory Gicquel. Displayed in a Perspex vitrine, the buffed and engraved tools were more than reactionary memorials to the notion of physical labour; Almendra’s artisanal creations are mute visualizations of the trio’s enquiry into mass-production and standardization. They elegantly animated (rather than merely illustrated) curator Zoë Gray’s theme for ‘Making is Thinking’, based on her interest in recent sociological enquiries into the alienation implicit in global capitalism’s increasingly atomized and deskilled production processes.
Two books framed Gray’s thinking for this show: Matthew Crawford’s The Case of Working with Your Hands or Why Office Work is Bad for Us and Fixing Things Feels Good (2009), a popular broadside against ‘ignorance of the world of artefacts’, and Richard Sennett’s The Craftsman (2008), a lapidary argument for the physical act of making as congruent and proximate to thinking. Famously, neither Crawford nor Sennett explicitly engages the visual arts, where the decoupling of labours of hand and head are pronounced. This omission allowed Gray some licence to fashion an idiosyncratic interpretation of Sennett’s declaration that ‘making is thinking’. Eschewing masonry, she presented a more applied and unstable reading, drawing on the practices of contemporary artists working with photography, video, sculpture and performance. The protagonists included Edgar Leciejewski, who makes austere photographic studies of the ‘raw state’ of his Leipzig studio, and Chicago native William J. O’Brien, whose pencil and ink drawings possess a rich materiality despite the hard-edged abstraction of their composition. Sculpture was well represented with Alexandre da Cunha’s quixotic four-by-seven-metre ceiling-hung work made of mop-heads (Palazzo, 2009), and Rita McBride’s freestanding red room divider, Stratacolour (2008), based on the shapes of plastic templates formerly used in technical drawing.
Unavoidably, there were cleavages between the conceptual terrain being mapped and the works themselves. What group exhibition framed around a speculative position doesn’t get similarly tripped up? Peculiarly, many of the sculptural and photographic works tended toward a minimal formalism, and in some pieces, as in Teppei Kaneuji’s Tower (2009), a hand-drawn animation of a smoking tower, the evidence of making didn’t always prompt a thinking reflex in the viewer. Diversions and dead-ends notwithstanding, Gray managed to piece together a ‘strangely coherent sprawl’ (an expression I borrow from Scott McLemee’s engaging review of The Craftsman in Bookforum).
The museum-quality pickaxe and trowels aside, standout contributions included Dutch artist Hedwig Houben’s video discussions of her sculptural practice (About The Good and The Bad Sculpture, 2009, and Colour and Shapes, A Short Explanation of My Artistic Practice, 2010), from its rootedness in geometric forms to why it sometimes fails. The deadpan narration, which is resolutely earnest but subtly mocking, lends the commentary a comic tension. It also suggests that making is a series of complications, difficulties and solutions that challenge the mind as much as frustrate the hand. Los Angeles-based Koki Tanaka, an admirer of Bruce Nauman, also employs video, albeit as a tool for recording his fascination with cheap domestic objects, most of them plastic, and the peculiar sounds they make when swivelled, twirled, thrown or kicked. Everything is Everything (2006) replays an infinite loop of Tanaka’s field recordings of, variously, an aluminium ladder being kicked over, an inflatable bed falling down stairs, and two yellow hardhats colliding. Gee whiz, you appreciatively think.
Sean O’Toole is a journalist in Cape Town, South Africa. He edits Art South Africa.
Issue 139
First published in Issue 139
May 2011
Most Read
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Learn how to build a professional design portfolio by following 5 key principles.
As a designer, the centerpiece of your professional presence online is your portfolio website. Most often, a portfolio takes the form of a personal website with a collection of work samples and case studies. It should highlight your skills while also introducing yourself to your audience — potential clients, future employers, or just your followers — both professionally and personally. It’s a space to share what you’ve accomplished, and, if you’re looking for a new role, what you hope to accomplish next. A great portfolio doesn’t only show your work; it tells a story about how you conceptualize and execute solutions to design problems.
While online portfolios can be unique and personal, they should always have a purpose with specific goals. This could include any number of the following:
• You’re a new design graduate searching for your first role
• You’re looking to take on freelance design work and attract your first clients
• You just want to build a space to document your design projects
• You want to grow your professional online presence and build a following of your work
At the beginning of your career, don’t worry about having the perfect design portfolio. Nobody does. It’s far more important to take your first steps rather than stress about having a portfolio that doesn’t look “professional” enough. Most importantly, don’t compare yourself to others. You are on your own path. Others might be in a different stage of their career. Focus on yourself and what you want to achieve.
It’s important to note that my advice is subjective and comes from my personal experience in this industry as a graphic, communication, and, most recently, a product designer. Take all this with a grain of salt. Don’t apply any advice blindly. Hone in on what you feel is right for you. As you know as a designer: Rules are meant to be broken.
Art by Rachel Beiser
1. Strategize first, write second, design last
As a designer, it’s natural to want to jump into the “designing” part of a project. Excitement builds as you think about cool design ideas and how your site should look. You feel the itch in your fingers to fire up your design program. You may have already jumped into the design phase, polishing small details like changing the color palette or choosing another typeface.
But when you’re first building a design portfolio, these shouldn’t be your first steps. Keep those ideas for later!
Like every problem you try to solve as a designer, write down the core purpose of your portfolio first, what information you need to include to achieve your purpose, and how exactly you want to express your story — visually and in writing. Only then should you start digging into the design details.
"Like every problem you try to solve as a designer, write down the core purpose of your portfolio first."
Set some time aside “deep work”
. Disable notifications, use the app in full screen, put your phone away, and find a calm and distraction-free place where you can think and write. I like to use a minimalistic text editor like the Notes app on my phone — that way, I’m not tempted to start designing too soon. I often tune on some background music that gives me the energy to just write away. Use the predefined text styles of Dropbox Paper or the Apple Notes app to add a little bit of hierarchy for your thoughts. Handwriting and sketching on paper or your iPad works too. I recommend Procreate or Flow by Moleskine.
Quickly brainstorm the message you want to convey with your design portfolio. Then sort those thoughts by priority:
• What’s the goal of your portfolio?
• Who is your audience? Potential clients? Future employers? Yourself? List out the most relevant information these people want to know or read about you. Generally, this includes a combination of things.
• Who are you as a designer? What should people know about me? Describe yourself and the work you do (and want to do in the future)
• First impressions count. Which message do you want to convey with your portfolio? How can you transform this into your design? If someone looks at your website, how can they identify you are a product designer, for example?
• Which projects and work samples do you want to include? Sort them by type of work, time, or just put your most impressive project at the top.
• How should people reach out to me, if at all, and why?
After you have your initial thoughts down, start refining, rearranging, and adding structure to the information you want to convey. For designers, it can be tempting to jump from “executing mode” to “polishing mode” and skip planning mode altogether. It’s like the writing process; write first, edit later.
Art by Jozsef Deak
2. Make your website simple, scannable, & accessible
Once you get to the design phase, keep the viewer’s experience top-of-mind. During your research, you probably saw websites that inspired you and design trends you want to incorporate in your portfolio. Do this in moderation. Good portfolios are firstly well organized and readable, not visually overwhelming. The following are some good rules of thumb to follow:
Make it skimmable — Keep in mind some visitors will only skim your site. Make it easy to scan your work and don’t overcomplicate things. Break text in multiple short paragraphs, add headings and explainer images, include rough sketches and other visuals that show your process.
Include a clearly accessible navigation — In most cases, your menu should include:
• Your work: Including samples, your projects, client quotes, case studies
• About me: A place where visitors can read more about you as a person, what you currently do, your future ambitions, your hobbies, anything that’s interesting about you. Feel free to add a photo to make things more personal.
• Contact: A way to reach out to you. Here make it clear what you offer or why people should contact you. This highly depends on the goal of your portfolio.
• Start page: A link to the start page, could be called “Home” or just your name in the top left. An easy way for viewers to get back to the beginning.
It’s tempting to get clever with your navigation options, but the people looking at your portfolio will expect certain navigation patterns. “Getting creative” with how you organize information and name options will likely just make it harder for them to find what they’re looking for.
Keep animations, fonts, and colors simple — If you want to be on the safe side, use a basic typography setting with fonts that render well on any browser and colors that meet the minimum contrast ratio defined by W3C
, the World Wide Web Consortium.
You may also want to spice up your site with fading animations. While they might be visually interesting, they are inaccessible for people struggling with vestibular disorders of the inner ear that affect “as many as 35% of adults aged forty years or older in the US”:
“[Vestibular disorders] often manifest as motion sensitivity on the web. Animations, unconventional scrolling, and parallax backgrounds can cause headaches, dizziness, and nausea, sometimes lasting long after the animation is over.”
Design (and test) with mobile in mind: Think about how people access your site nowadays. For example on mobile where scrolling is different than on the web. Here, custom scrolling animations are often just distracting and a pain to use. Similarly, a paragraph that looks reasonable on desktop can be overwhelmingly long and hard to read on mobile. Make sure you’re testing your web designs for smaller screens, or even design for mobile-first.
You don’t need a personal logo: Of course, if you’re a graphic designer who focuses on branding, a logo is a great opportunity for you to show your skills right off the bat. If you are a product, UX, or web designer, it’s better to focus on presenting your skillset in the content of your portfolio. In most cases, it’s enough to write your name in your header or introduction text in a font of your choosing. Ideally, in a weight of the same typography family that you use for any other text on your site.
Use a no-code portfolio builder: Once you have your content planned and written, there are lots of portfolio website creator options to choose from. Check out WordPress, Webflow, Squarespace, Cargo, Tumblr, or Dribbble Pro. They let you browse templates to start, drag and drop images, bring your design to life quite quickly, and don’t require much coding knowledge. Focus on what you do best, the design. If you want to present product design prototypes, for example, you can embed Marvel or Invision prototypes.
Overall, apply design elements thoughtfully and respect everyone who might be clicking the link to your portfolio. Make it work, make it readable, then make it pretty. Keep the focus on your work and the story you want to convey to the viewer.
Art by Yannic Gräser
3. Focus on the projects you loved working on most, even if it’s just two
If you are a new designer, you most likely don’t have much work in your repertoire (yet!). Don’t worry. Everybody starts out like this. It’s more important to show your approach and how you think than to have pages and pages of work examples.
University projects are as valuable as client work or side projects. If you are proud of it, use it. Was it a small client but you enjoyed solving this particular problem for them and the results? Perfect. Put it in your portfolio. Have volunteer work or even a real-world problem you mocked up solutions for on your own? Both are equally valid when you’re starting out.
"Just because you are starting out, doesn’t mean the content you showcase is not valuable. Be confident in your work so far."
Even for folks with lots of design samples to choose from, I recommend only including the design projects in your portfolio that show exactly the type of work that you would like to continue doing. Exclude any previous projects that you didn’t enjoy or any disciplines that you don’t want to continue doing.
And if you are still figuring out your desired design discipline and are exploring different fields, documenting that UX exercise or illustration project you did for a class is an amazing exercise in self-reflection and discovery.
Just because you are starting out, doesn’t mean the content you showcase is not valuable. Be confident in your work so far.
4. Write about your work process in detail
Make sure you’re getting the most out of each portfolio piece, especially if you’re short on pieces. People who want to work with you want to know how you approached the problem. It shows extra care if you add what you loved and learned about this project and what you would do differently now. We all know we have to make tradeoffs due to deadlines — talk about any constraints or problems you had to navigate.
A good structure to follow when writing a case study is:
• Your process
• The solution
• Your conclusion
• Your learnings
Most importantly, write about your role in the project. Too often designers just objectively present the design work. You might know which pixel and icon you designed, but how are others able to judge which piece of work or design decision has been created or influenced by you? Be precise and ideally make this point clear right at the beginning of the case study.
Unsure whether you should include work that you influenced but didn’t directly design? Simply own your part of the project and describe it from your perspective. Were you solely responsible for the research, UX wireframing, interface design, or leading and organizing the team?
If you are unsure about showing work that you influenced in one way or another but didn’t directly design, emphasize your role and show your process from your perspective. Make it clear from the start that you are a problem solver, leader, researcher, etc or all of the previously mentioned. For example: Add wireframe sketches, photos of your team discussions on whiteboards, a project plan you put together, customer surveys you designed and ran — anything that showcases how you think, collaborate, or problem-solve.
5. Collect and document your work while it’s fresh
Out of sight out of mind: We are all familiar with this phenomenon. There’s always a next project that needs our attention, and you may not even be thinking about applying for a new job or attracting new clients. But the best time to organize and write about your work is when it’s still fresh in your mind.
Write case studies directly after you finished a project or shipped a feature. It helps you recap what you accomplished, document your process, and reflect on what you’ve learned.
• Always start with writing: Goal, problem, hypothesis, your process, the solution, your conclusion, your learnings.
• Visualize design details with videos/demos/short animations (keep the original design files at hand). Take screenshots of the finished work on various devices. You never know when you need it to present in mockups or future presentations.
• Use a cloud folder to store your written and visual documentation (a text doc and design files/exported images).
• Commit to posting on Dribbble regularly.
Bottom line: Treat your portfolio like the living document it is and invest the time right after you’ve completed a project you’re proud of. Your future self will thank you because forgetting details is easy when you wait for too long.
Keep building on your design portfolio
Remember that we all start small. We learn and evolve as we go. The more work you put out into the world, the more you’ll know what you want to put into your portfolio. Starting simple is just fine.
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Verena+Lasvigne-Fox"The technology involved in paint is extraordinary"
Used cleverly, colour has the power to influence how people use the spaces they inhabit, says the creative director of Dulux
The Ryan Fieldhouse and Water Athletics Center, Evanston
"Most clients are very focused on how buildings are used and experienced as the primary design driver"
The MD of Schmidt Hammer Lassen and the CEO of PerkinsWill tell us why their merger will help create smarter buildings driven by human behaviour
Francis graduated as a landscape architect in Belgium. He returned to Lebanon in 1993
"I believe gardens are where the soul rests"
With a focus on desert landscapes and collaborations with Zaha Hadid and OMA, the principal of Francis Landscapes has a deep belief in the power of nature
cladkit product newsBarr + Wray to launch space saving hammam concept
Light shines through a striking central chandelier to create a feeling of movement
Katie Barnes
Smaller footprint. Maximum theatre. Those are the two main features of a new hammam concept being developed by wet spa ...
cladkit product news
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Fruitvale Station vista
Sometimes the weather is clear enough, but just hazy enough, to reveal the details of the landscape for quite some distance. A week ago the view down the line from the Fruitvale BART station looked like this.
I know it’s a small image, so click on it for an annotated 1000-pixel version. Most of the view extends beyond Oakland city limits. The farthest peaks are in the Ohlone Wilderness east of San Jose, some 30 miles away. Once you become familiar with our skyline, it’s never boring.
2 Responses to “Fruitvale Station vista”
1. BMarion Says:
I held a similar view when biking down International Blvd on Bike to Work Day. I looked at that hill in the distance and asked, “is that hill in Oakland?” At the BART station in Hayward, I figured out it was miles more.
2. Gene Says:
@BMarion: Nothing like trying to get someplace under your own power to tell you just how far away it is :-
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Einstein-on-the-beachWEB
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0 Comments • Aug 11, 2014 705
Philip Glass Trilogy (Her Majesty’s Theatre, Adelaide)
In 1976, American composer Philip Glass redefined opera for the 20th century with Einstein on the Beach, a four-hour, dreamlike performance event with a nonsensical libretto and a minimalist, relentlessly cyclical score. Satyagraha, a somewhat more conventional opera inspired by Gandhi’s non-violent resistance to oppression in South Africa and India, followed in 1979. Akhnaten, which loosely traced ancient Egypt’s evolvement from a polytheistic to a monotheistic society, completed the composer’s so-called ‘Portrait Trilogy’ four years later.
The State Opera of South Australia has now, unusually, programmed all three operas together in three complete cycles. Nobody seems to know for sure, but it is probably only the second time the Trilogy has been performed collectively anywhere in the world. It is the end point of a project begun in 2002 when State Opera SA, Leigh Warren & Dancers and Adelaide’s Vocal Project collaborated on a workshop-style production of Akhnaten. Discrete productions of Einstein and Satyagraha followed over the next five years.
Most of the creative personnel involved in those scaled down versions have returned to recreate and reimagine their previous efforts — most notably, conductor and chorus master Timothy Sexton, director and choreographer Leigh Warren, set and costume designer Mary Moore, and lighting designer Geoff Cobham. Her Majesty’s Theatre’s proscenium layout doubtlessly necessitated many changes but it is to be regretted that the running order of the operas was not amended to reflect the order in which they were written; chronological sequencing would have given audiences a clearer sense of Glass’s trajectory from the uncompromising minimalism of Einstein to the more orthodox, if still distinctively Glassian, operatic stylings of Satyagraha and Akhnaten.
There is no question, however, that Akhnaten makes for a suitably dynamic opening to the cycle. Director Warren has shifted the action from the Eighteenth dynasty Egypt of the Robert Wilson-directed original to a contemporary, museum-like setting in which past and present overlap. There is a pyramid onstage but it is, tellingly, inverted, and ends up being split in two midway through the production by a giant solar array (Akhenaten, the pharaoh for whom the opera is named, was a heretical champion of Aten, the Sun God).
A scene from "Akhnaten'.
A scene from “Akhnaten’.
The performers playing Akhnaten and his wife Nefertiti, Tobias Cole and Cherie Boogaart, double as a well-heeled couple who appear to blast open the present’s links with the past through corporate manoeuvrings of a possibly dubious — at the very least ruthless — nature. In this conceptual arrangement, the chorus becomes the voice of the ancient world, the dancers the museum’s artefacts brought to life and the Scribe (Adam Goodburn) a combination of archivist and narrator.
None of this, while the opera is in train, matters very much. Like all of Glass’s works for the theatre, there is little in the way of plot and what action there is, always slowed down almost to the point of inertia, is profoundly impressionistic. The scenes are isolated set pieces — coronations, funerals, meetings between lovers — with no especial narrative thrust. The libretto is drawn from an eclectic range of historical sources, much of it sung in unsurtitled Egyptian, its function a suggestive rather than illustrative one. Warren’s choreography, which sees the black-clad dancers in almost constant motion, is similarly elusive, although its referencing of ancient Egyptian hieroglyphics is clear.
Cole and Boogaart, meanwhile, combine masterfully; their love duet in Act II, its text taken from a poem discovered in a royal mummy of the Amarna period and sung in Egyptian, is perhaps the highpoint of this production. The part of Akhnaten, reflecting the pharaoh’s famously androgynous appearance, was set for countertenor, and Cole’s startlingly high and honeyed rendering of the role reminds us of Glass’s canniness as a composer for the human voice. Boogaart’s mezzo-soprano range, the female equivalent of the countertenor, intertwines strikingly with Cole’s, the combined motion of their vocal lines alternatingly complimentary and countervailing. The effect, like that of Glass’s darkly melodic, intensely rhythmic score more generally, is enthralling.
Einstein on the Beach is an altogether different beast. In contrast to Akhnaten’s comparatively spry pace and modest two hour, 40 minute running time, it unfolds over a glacial four hours. It is meant to be performed without an interval, its audience free to come and go as they please, but Warren’s extensive choreography has in this production made several breaks necessary — two 20 minute intervals in addition to a one hour, 45 minute dinner break. I worried initially that these stoppages might interrupt the opera’s mesmeric flow but I think, if anything, they allowed for a fuller appreciation of the work’s sweeping abstractions.
It is never entirely clear, from moment to moment, what is happening on stage. Music critic Alex Ross, in his essential guide to 20th century classical music, The Rest is Noise, summed up Einstein’s ‘plot’ in this way: ‘Singers chant numbers and “do re mi”; a Civil War-era locomotive inches across the stage; a cryptic courtroom scene features an elderly judge speaking poor French; an Einstein figure saws on a violin; a dancer soliloquizes about the “prematurely air-conditioned supermarket”; the lineup of the New York station WABC is recited; three of the four Beatles are named (no Ringo); a beam of light described as a bed tilts upwards for twenty minutes; and some sort of spaceship arrives at the end.’
If anything, this version is even stranger than that tantalising précis would suggest because its stark choreographic saturation wipes out much of the bold, exaggerated theatricalism of Robert Wilson’s original staging. The train is just the chorus with linked arms moving across the stage; there is no courtroom, the opera’s trial sequences enacted by chorus members Michael Denholm and Kristen Hardy who do not don wigs or robes; Einstein never makes an appearance; the spaceship is, again, summoned up by the chorus who, in the opera’s penultimate scene, swing light bulbs around the darkened stage. Beyond a number of mysterious floating objects such as a black slab and a series of neon tubes, there is little in the way of stage decoration. This is Glass as filtered through Grotowskian poor theatre.
It is not completely successful. The emphasis on comedy in the spoken word sections — such as in David Cox’s Paris Text, during which a travel guide-style soliloquy on the wonders of the City of Light is conceived as bawdy farce — feels misjudged. Rebecca Jones’s endlessly repeated monologue on the ‘prematurely air-conditioned supermarket’ also strikes a wrong note, Jones trying too hard to create an identifiable character, a sort of up-state snob, which works against the fundamental absurdity of both the words she is speaking and the work as a whole.
The opera is at its most enjoyable when the virtuosity of the dancers and chorus is at the fore. The latter is superbly well drilled, rarely stumbling in their unremitting, highly demanding rota of numerical sequences (1234, 123456, 12345678) and solfège syllables (do, re, mi, fa, sol, la, ti). Einstein uniquely exposes Glass’s use of additive rhythms, whereby a phrase is altered by the addition (or subtraction) of one or two notes at a time. It is a challenge that is met by both the chorus and the small ensemble of musicians, especially organists Nerissa Pearce and Andrew Georg, who appear onstage throughout the opera.
The dancers are equally impressive, Warren’s physically intensive choreography always pitched between the organic and the robotic; repeated, clockwork-like gestures echo the score’s excessive uniformity and carry a hint of the fear of modernity’s authoritarian potential with which the opera is infused. Lastly, special mention must be made of Geoff Cobham’s supremely fluid and sympathetic lighting design. His use of mirrors here — as well as his employment of crisp new LED and Moving Light technology throughout the whole Trilogy — is both inventive and beautiful.
Finally, we come to Satyagraha, created by Glass for the Netherlands Opera who, intrigued by Einstein on the Beach, were keen to know if the composer could write a ‘real’ opera. They may have been left wondering. Satyagraha, while somewhat more orthodox than Einstein, is no Tosca: it is sung in Sanskrit (a beautiful, Italian-like vocal language, according to Glass); the orchestration contains no parts for brass or percussion, just woodwinds, strings and one electric organ; the chorus fulfils a much larger role than is usual for an opera; and the composer’s rhythmic principles remain the same, the music still built around those almost imperceptible, single-note variations. What is different is that Satyagraha does tell a discernible story and, unlike Einstein, places its central character at the heart of the action.
A scene from 'Satyagraha'.
A scene from ‘Satyagraha’.
The opera’s three acts, which are concerned with Gandhi’s formative years and the development of his philosophy of peaceful resistance, take their titles from thinkers and writers who were of importance to Gandhi: Leo Tolstoy, Rabindranath Tagore and Martin Luther King. Throughout the acts, we see Gandhi burning his ID card in South Africa and inciting others to do the same; the publication of the provocative Indian Opinion in 1906 (honoured in this production by a memorable scene in which reproductions of the newspaper cascade from the ceiling and are handed out to audience members by Adam Goodburn’s Gandhi); and the famous Salt March of 1930, an event not specifically referenced by Glass but deemed a necessary inclusion by Warren. The music, not as drone-like as that of Einstein, or as strident as that of Akhnaten, is underpinned by a surprisingly classical technique: the baroqian chaconne, a short, repetitive bass line.
Moore’s raked set, an allusion to Gandhi’s ascent towards enlightenment, effectively maximises the presence of the chorus who, largely replacing the dancers who have packed the stage during the previous two operas, are used extensively. They portray both Gandhi’s supporters and detractors, the latter of which including an angry mob who, in Durban in 1897, would have torn him to pieces had it not been for the intervention of a parasol-wielding Mrs Alexander (Deborah Johnson), the wife of a high-ranking police officer.
Tenor Goodburn reprises the role of Gandhi mostly successfully, his hairless skull and close-fitting spectacles gleaming redolently throughout. His voice, notwithstanding an unfortunate moment during the final scene when a sustained note saw it waver badly, is consistently strong, its timbre warm but engagingly fragile. Boogaart impresses again as Kasturbai, Gandhi’s wife, and Mark Oates and Joshua Rowe combine powerfully in the opening scene in which Prince Arjuna and Lord Krishna, key figures in the Bhagavad Gita (from which Satyagraha’s libretto is drawn), debate the merits of action and non-action in times of conflict. Action, surprisingly, wins out; it is left to Gandhi himself, over the course of the next two hours, to argue the case for the latter.
Of the three operas, Satyagraha probably least engaged me. Glass’s score, certainly, is occasionally transcendently lyrical, but Warren’s severely reduced choreography seems to have left a vacuum that the chorus, as proficient as they are, are not able to fill. Looked at as a whole, however, the Trilogy warrants high commendation. The undertaking is not only a mammoth one — something like 200 creatives and crew have been involved in its making — but also artistically risky, given that other recent revivals of Glass’s work have faced accusations of datedness. It is a risk that, I think, has amply paid off, each opera remaining a challenging but ultimately rewarding experience. The music, if anything, feels timeless rather than passé, still fresh after three decades, and still capable of making both fierce detractors and defenders of its listeners. These productions, thanks largely to the shrewdness and dedication of Warren and Sexton, should serve to enliven the debate around Glass’s importance as a composer, and to remind us of opera’s unrivalled ability to stir passions of all kinds.
The State Opera of SA’s Philip Glass Trilogy plays in two more complete cycles, 12-16 and 19-23 August. Main image: Einstein on the Beach. All images by Darren Williams Photography.
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French Organ Music Volume 1 - François Couperin and Pierre Du Mage
French organ music from the period of Louis XIV to the Revolution has always held fascination for performers and listeners alike. The kaleidoscope of colours, the rich and varied styles, and the sheer exuberance of the music never fail to captivate. Yet, performance practice of this music has never been fully understood. David Ponsford has spent much of his career studying this repertoire, resulting in his book French Organ Music in the Reign of Louis XIV (Cambridge University Press, 2011). The present series of recordings, including the music of Louis Couperin, André Raison, Jacques Boyvin, François Couperin, Nicolas de Grigny, Louis Marchand, Louis-Nicolas Clérambault, up to composers of the Revolution such as Balbastre, Beauvarlet Charpentier and Lesceux, is therefore the fruit of many years of research by a seasoned performer whose aim is to combine technical brilliance with intellectual understanding, to bring the music alive with authority and meaning.
French Organ Music Volume 1 - François Couperin and Pierre Du Mage
"The combination of instrument and the artist quicken high expectations. David Ponsford, much-respected expert on early keyboard music, has just published a definitive study on French baroque organ music, and brings to the repertoire a winning combination of flair and rigour. The instrument is well chosen: its sonorities are well moderated and authoritative, and Ponsford coaxes persuasive and unforced readings from it. Phrasing and ornamentation are supple, and he gives the music ample space to breathe without slackening a rhythmic spring." International Record Review
“This CD is an excellent introduction for someone who is unfamiliar with music and organs of this period. The organ is the true star here as the sounds are exceptional. Ponsford’s performances are very technically impressive…” Hannah Parry-Ridout, musicweb-international.com
"I can think of no finer disc for those who have uncovered the secrets which make this such an absorbing period of musical history. Ponsford is a wholly unpretentious, open player, keen to communicate his own love for the music, but he is also an intensely scholarly one, finding compelling solutions to the issues of ornamentation and registration. Ponsford lets the music flow with a graceful, dance-like feel, giving plenty of high drama in the big movements and delicious delicacy in the lighter ones. For many, the defining feature is the instrument itself, and, from a purely aural perspective, this seems as good as you could want. We hear all the right notes clearly and beautifully balanced. Billed as the first volume in David Ponsford's recorded survey of 'French Organ Music from the Golden Age', if this first disc is indicative of what is to follow, we are all in for a real treat as well as something of an aural eye-opener." Marc Rochester, International Record Review, April 2013
Organ of the Prytanée National Militaire, La Fleche, France
The Historical Levasseur/Dangeville Organ
From the opening of the chapel in 1622, there was a 19-stop organ with two 45-note manuals and a 10-note pedal-board. A new organ gallery was designed by architect Jacques Nadreau in 1637. While building was in progress in 1638 the Rector, Father Étienne Noël, signed a contract with carpenters Pierre Frileux and Pierre Cornet of Angers, and sculptor Mathurin Jousse, to build the organ case which exists to this day. In January 1640, the Jesuits commissioned organ-builder Ambroise Levasseur from Vervins, to restore and install the organ in the new organ case. The restoration work was extensive. The manual keyboards were extended from 45 to 48 notes and the edal-board from 10 to 17 notes; the wind-chests, valves and grooves, and the main wind-trunk of the Grand Orgue were re-leathered or rebuilt; several stops were re-voiced and some added, etc. The new organ included 28 stops spread over three manuals and pedals.
The instrument now boasted 30 stops over four manuals and pedal-board. During the Revolution, the church was used as the meeting place of the ‘Club des Jacobins,’ and then as a Temple for Republican festivals, which prevented the sale of the organ-case, but several pipes disappeared, some of which were found in the shop of a local glazier! In 1922, when Father Maurice Giraud became parish priest, only a few stops were still working. Five years later, Father Giraud asked organ-builder Tronchet, from Nogent-le-Rotrou, to assess the instrument. The latter offered to build a new instrument at the cost of 60,000 francs but the project was deemed too expensive. In 1932, after visiting the instrument, musicologist Norbert Dufourcq supported Father Giraud’s wish to save it. Following a report prepared by Félix Raugel, the instrument was listed as a ‘Monument historique’ in 1933. The original pipe-work was consequently saved. Victor Gonzalez submitted different projects, one of which was accepted in 1935. The organ was rebuilt in three successive steps in 1935, 1937 and 1947, but, although he had to keep what remained of the original pipe-work, Gonzalez made important alterations to the original disposition. He added a Tierce, a Quarte and a Bombarde in the Grand Orgue, a Cymbal in the Positif, substituted the Positif Montre with a Quintaton, revoiced the Hautboy, added a Trumpet and a Clarion ‘en chamade’ inside the organ-case, and a 16’ Contrabass and a 2’ Flute in the Pedal division. On 14 July 1947, André Marchal opened this rebuilt ‘neo-classical’ instrument. After reconstruction of the wind-chests in 1963, important repairs in the church between 1989 and 1991 rendered the protection of the organ necessary, and it was decided to rebuild it to its 17th-18th century specification at the instigation and under the supervision of André Chauvin, the organist at the time. These works were completed in January 1996 by organ builders Benoist and Sarelot, from Laigné-en-Belin, who studied all the surviving parts for the necessary restoration and rediscovery of the spirit of the historical instrument. The voicing was executed by Jean-Pierre Conan (who now looks after the instrument), and new wedge-bellows built by Chauvin from Dax replaced the Romantic reservoirs. From indications suggested by the original roller-frame, it was possible to rebuild four new keyboards matching the original disposition, and a ‘French’ pedal-board was installed. Today, the organ boasts 35 stops with 2,162 pipes, half of which date back to the 17th and 18th centuries.
More than a restoration, this reconstruction was – in the words of organist André Isoir – a proper ‘resurrection’. One can hear again a characteristic French ‘classical’ – or should one say ‘baroque’? – organ with a fine, silvery Plein-Jeu, a bright and powerful Grand Jeu, colourful Cornets and Jeu de Tierce, on which the music of François Couperin, Nicolas de Grigny and their contemporaries can be interpreted with authenticity. The organ of La Flèche offers the organist the rare experience of being able to perform the French repertoire of the ‘Grand Siècle’ on a beautiful musical instrument situated in an architectural surrounding perfectly suited to it.
Consultant: Pierre Dubois
Sound recording: Raymond Fenton
Organ preparation and tuning: Jean-Pierre Conan
We acknowledge with grateful thanks the permission and assistance
of the Ministère de la Défense,
and in particular the Prytanée National Militaire of la Flèche, France.
© David Ponsford 2012
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The fun never stops at Luštica Bay!
• By Luštica Bay
• 25 Sep, 2017
As the summer comes to the end, we recapped all the fun we had at our Marina Village, that will be open for public next year!
If you didn’t have a chance to catch our most recent closing event, don’t fear, we’ll be recapping the fantastic points of the evening, as well as giving you a roundup of this year’s most exciting happenings, from our golf competitions, to getting up close and personal with Milos Karadaglic! Sit back, relax and enjoy!
Our most recent event was a tremendous success. Musicians, Stevan Pavićević and Marijana Zlopaša were invited to the occasion, and guests were lead through the Sandor Slajf, sea- inspired exhibit on the way to their seats. Stevan Pavićević delivered a beautiful introduction to the evening with a saxophone performance, which was preceded by a Luštica Bay- inspired fashion show by the award- winning Boris Ćalić, which reflected the elements of our residences and the surrounding lifestyle.
The night was then brought to a close by Marijana Zlopaša, who shared her talents with us in a mini concert, after which the music was continued as our DJ took over, leading to a peaceful end to the evening. We love reminiscing about eventful nights like this, as they reiterate the dynamism and ability of both music and art to bring people together and share something truly special!
Also sharing something special, is our mutual enthusiasm of golf and feeling of community. Earlier this summer, for the third year in a row, the series of summer golf competitions, were truly anticipated events of the season! Bringing together more than 40 golf enthusiasts, veteran and novice players alike, came together and illustrated their abilities. Most recently, we had a very successful event, whereby participants competed in three categories: A, B & C. With the recent start of the works on our golf zone, we are incredibly excited about our 18-hole championship golf course, which is under way and the first 4 holes and the practise area will be ready in the season 2018. Our aim is to continue to bring all players together, in a truly beautiful and sustainable environment, which can become yours, to grow as a golfer and become the best player you can be, for years to come!
Environmental sustainability and eco- friendly movements are at the top of our list at Luštica Bay, and we were beyond honoured to have taken part in T he Green Culture Forum 2017 , this summer. The event included speakers such as the likes of Prince Nikola II Petrović-Njegoš, Orascom’s Chairman Mr Samih Sawiris, Minister of Tourism and sustainable development Mr Pavle Radulović, Mayor of Tivat Ms Snežana Matijević, president of the NGO Krug, Ms Vesna Sokolovska Jovicevic, and forum speaker and promoter of the green culture principles, Mr Marc Buckley. This collaboration has provided the opportunity to host forum activities in eight Montenegrin cities and subsequently raise awareness of climate change. Issues regarding climate change are very important and affect everyone. We work to consistently promote and raise awareness about sustainability and climate change, and actively engage our community to lead and active and healthy lifestyle and livegreener lives in the location of a true natural gem that is Luštica Bay.
As we progress through the summer, we always keep an eye out for local talent, and it is our desire to support this in anyway we can. So, when the chance arose to hold an exhibition for Djordje Zivaljevic came along, we couldn’t refuse! The exhibition was a chance for Djordje to display his photography, which illustrated concepts of 'Folklore Fashion' and linked the authentic beauty of traditional dress with Montenegrin landscapes. Additionally, much of the Montenegrin talent is also rooted in music, and is highly celebrated.
One of the most successful events to have taken place this summer was the open air Operosa Opera Festival. This was an occasion dedicated to showcasing opera, and to unite the finest ex- Yugoslavian talents, while promoting the art of opera to a modern audience.
On this musical note, we additionally, had the pleasure of once again, welcoming Milos Karadaglic, for the event: Milos Invites 2017. Through this event, we allowed people to visit Luštica Bay and appreciate the seaside scenery. It was also an opportunity for us to illustrate both an old and new Montenegro, through the display of our architecture and embrace of culture. This is most obvious in the untouched natural aspect of our surroundings, and by emphasising our desire for sustainability and longevity in addition to creating a relationship with music, as “ it is a language everyone speaks ” as said by Milos.
It is with great joy that we reflect on this eventful summer as we are working hard, at creating a community fit for individuals who support our ethical, cultural and creative values, themes that we aim to represent in each of our events, and the events that we promote!
We would like to take this opportunity to express how proud we are for the successful events these past few months and extend a big thank you to all those who made these events possible, and to all those who attended. Thank you all for making this another memorable summer at Luštica Bay!
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Salone del Mobile 2022
On the occasion of the Salone Internazionale del Mobile 2022, the Design System of Politecnico di Milano - School of Design, Department of Design and POLI.design - enhances and promotes creativity and design by organising and participating in various events.
The Polimi Design System organises three main initiatives, developed in three significant and strategic poles of the city - Campus Durando Bovisa Politecnico, Fiera Rho and Salone Satellite - with the aim of highlighting projects and creative processes of the students, the real protagonists of our Academy.
The three exhibition points are connected through the declination of the values suggested by the New European Bauhaus, i.e. sustainability, aesthetics and inclusion, values that then suggested the title, declined for each pole, of the three initiatives:
«*beautiful, sustainable, together @ POLIMI DESIGN »
27 May at 13.30 - Opening
27 May - 22 July 2022 (Sundays excluded)
from 10.00 a.m. to 7.00 p.m.
Politecnico di Milano - Ed. B2 - Campus Bovisa
via Durando 10 - Milano
Design X Designers is a large exhibition of projects from the whole Design System of Politecnico di Milano: School of Design, Department of Design and POLI.design.
The exhibition highlights multiple design sectors: from industrial product to fashion, from interior and furniture design to communication, without excluding services, brand and strategy, transportation and design engineering. The exhibition covers 1500 square metres and includes project boards, models, prototypes and full-scale installations.
From digital to digitALL
7 June - 12 June 2022
from 9.30 a.m. to 6.30 p.m.
Salone del Mobile
Fiera Milano, Rho
Again this year the Design System of Politecnico di Milano, School of Design, Department of Design and POLI.design, will be present, together with other Milanese Design Academies, at the Salone del Mobile.
The Design System will present its didactic and educational offer and its research and service opportunities through this interactive exhibition that will see the involvement and engagement of visitors.
The public will find, and be able to collaborate with, students and collaborators of the School and Department who will be grappling with the realisation and finalisation of a physical object linked to the book in its primitive, analogue form.
The book and its reading, here present with fundamental and founding titles of the history of national and international design, will involve and accompany the visitor who, together with technicians, professors and students of the Design System of the Politecnico di Milano, will be able to experiment, listen and create.
On the occasion of the 2022 edition of the Salone Satellite, the School of Design, together with the Polimi Design System, invited Prof. Ico Migliore to curate the institutional space of the School, involving the young collaborators of the Migliore+Servetto Architects studio. The Politecnico design talents, recognised with prizes and mentions over the past four years, were called upon to tell their stories through prototypes and projects. The final result is a heterogeneous but harmonious scenario, a story of design experiments that become reality also thanks to the contribution of a School that has prepared and continues to train designers who find their place in very different fields, ready to unveil, with success, these talents!
We list other initiatives, which will take place during the week of Salone del Mobile, involving researchers from the Department of Design.
9 June from 3pm to 8pm.
Centro di Ricerca Gianfranco Ferrè
via Tortona 37 , 20144 Milano
Professors Paola Bertola e Federica Vacca
On the occasion of the Fuorisalone2022, the Politecnico di Milano opens the doors of the Gianfranco Ferré Research Center located within the “Tortona 37” complex, designed by Matteo Thun in 2002.
The Gianfranco Ferré Research Center, Digital Innovation for Creative and Cultural Industries was established in December 2021 by the Politecnico di Milano following the donation of the Ferré family of the archive and the headquarters of the historic Gianfranco Ferré Foundation.
Under the coordination of the Fashion in Process Research Laboratory of the Design Department, the Research Center intends to systematize the technical-scientific know-how and the culture of the project characterizing the identity of the Politecnico di Milano with the related tangible and intangible heritage to the history, culture and techniques of fashion preserved and enhanced by the Gianfranco Ferré Foundation since 2008.
It will be possible to visit the space of the former Foundation designed by the architect Franco Raggi, and learn about the precious archive recognized as a heritage of “particular cultural interest” by the Ministero dei Beni e delle Attività Culturali – Soprintendenza Archivistica per la Lombardia, which has become part of the Historical Archives system of the Politecnico di Milano.
Researchers from the Politecnico di Milano will guide visitors into the archive among more than 150,000 documents and artifacts such as sketches, technical drawings, photos, clothes and accessories, objects, books, magazines, films, press reviews, writings, lessons and notes of the stylist.
Admission is free upon registration at the following link
5-12 June, Viale Vittorio Veneto, 2, 20124 Milano MI c/o MEET Digital Culture Center.
For the upcoming Salone del Mobile, MEET presents Tomorrow Living - a project co-created with Huawei, curated by Robert Thieman of Frame.
The exhibition will present a 4-chapter docuseries featuring interviews with thirty of the world's most influential designers, architects, artists and scientists who have expressed their visions of a future in which the most advanced digital technology will be ubiquitous and fluidly embedded in our everyday lives. A technology that will help our everyday life by allowing our habitat to be more human by responding to our practical, emotional needs of community and sustainability.
To complete the project, the immersive site-specific installation The global home by Space Popular will be presented for the duration of the Salone.
Project directed by Huawei Milan Aesthetic Research Center
Research conducted by Robert Thiemann - Frame
Educational partner: Politecnico di Milano
6-12 June
Prof. Giovanni Maria Conti
On the occasion of Milan Design Week 2022, Froy and the KnitDesign Research Group of the Design Department of the Politecnico di Milano present an innovative and inclusion project aimed at raising awareness of mental health issues.
Psycoknit aims to be an individual and choral experience that leads to awareness and reflection on post-Covid-19 interpersonal relationships.
Starting from the theories of Knit Therapy and through innovative technologies and techniques related to the world of knitwear, Froy and the KnitDesign Research Group propose a project aimed at the future, involving the visitor in the present, projecting them on an emotional and sensorial journey through the sweater.
The goal of the installation is twofold: on the one hand, to highlight mental health problems, highlighting the altered dynamics that the global pandemic situation has generated. On the other hand, suggesting solutions, such as greater attention to listening to the other and becoming aware of one's self, in order to be able to create a new way of being together to find each other as a community.
With a "surreal" approach and projecting the visitor into a playful dimension, the project aims to emphasize the importance and seriousness with which mental health problems should be addressed, especially in this historical moment.
Partners: Shima Seiki Italia S.p.A, Lanificio dell’Olivo S.p.A, Zegna Baruffa Lane Borgosesia S.p.A., Filmar S.p.A., Colombo Industrie Tessili S.r.l, Windtex Vagotex S.p.A., Eco Contract + Eco Design S.r.l., Società Manifattura Tessile S.M.T.
7 - 12 June
Fondazione Brodolini, Via Massimo D'Azeglio, 3, 20154 Milano MI
Professor Annalisa Dominoni
The event/exhibition “SPACE DESIGN FOR NEW HUMAN BEINGS” aims to present the strategic role of DESIGN FOR SPACE, that acts as a bridge between science, technology, and beauty looking beyond functionality and human factors toward the human senses and sustainable aspects to live in space to increase well-being and sustainability, in particular enhancing inclusivity through co-design and participatory experience.
Supported by European Space Agency (ESA)
Partners: Focus magazine, Tolo Green, Hackability
9 June, 6 pm- 9 pm, Copernico Milano Centrale, 38 Via Copernico, Milano
Professors Stefano Maffei, Raffaella Scognamiglio
Fuorisalone 2022 // POLI.design - Politecnico di Milano and Service Innovation Academy present the 6th edition of Rethink! Service Design Stories, the first Italian festival dedicated to service design and innovation.
Rethink! Service Design Stories is the first Italian festival dedicated to Service Design and innovation topics aimed at building a public arena where experts, companies, public institutions can meet, discuss and create new ideas and networks. The festival, born in 2017, is organized and promoted by POLI.design - Politecnico di Milano and is now in its 6th edition.
Today, the myths of continuous growth, the democratisation of comfort, the condition of extreme uncertainty, connote the so-called Risk Society. In this ever-changing scenario of uncertainty, the distinction between service design and systemic design increasingly disappears, making it necessary to include long-term effects already in the service design process. The need to anticipate potentially negative externalities makes it necessary to rethink the research, education and learning practices of service design itself. This implies enriching its methodological and design contribution, an implementation capable of including an impact assessment going beyond the classical customer satisfaction processes and rethinking business models to react positively to the unpredictability in which we act and live.
See the updated programme at www.rethinkfestival.it
Register https://www.eventbrite.it/e/biglietti-rethink-service-design-stories-338236543607
Partner: Copernicus
9 June, OFF CAMPUS Nolo - Mercato Comunale, Viale Monza 54
Professors: Davide Fassi, Ambra Borin
"Situated Vocabularies - re-framing participation with fragile communities" is the title of a hybrid event (exhibition + workshop activity) highlighting the “Vocabolario di Quartiere (Neighbourhood Vocabulary)”, a Participatory Design research project of the Politecnico di Milano developed within OFF CAMPUS Nolo located inside the Municipal Market of Viale Monza in the Nolo neighbourhood. “Vocabolario di Quartiere (Neighbourhood Vocabulary)” aims at co-creating a collection of shared meanings; by promoting conversations on the needs and potentials of Nolo; the project explores possible new situated design actions triggered and imagined by the community itself, with a specific focus on those marginalised voices of fragile communities (such as migrants, the elderly, women, children) that too often risk remaining unheard in participatory design processes. The Vocabulary comprises nine keywords: Space, Degradation, Common good, Sense of belonging, Memory, Change, Fun, Commitment, and Nolo. Starting from the experience of Nolo, the event will be an excellent opportunity to reflect on the work done so far, experience the process of community-making with the protagonists, and think about new frontiers to be opened in different contexts. On the one hand, the event will present the entire process by showing the work done on the first four vocabularies/podcasts (on the keywords Space, Degradation, Common Good, Sense of belonging) and the action scenarios they envisage; on the other hand, it will be scaled up and experimented for the first time on San Siro, involving a fragile group of women with a migration background.
BertO X Planet - Le 10 regole BertO sulla circolarità nel design contemporaneo
6-12 June, @ BertoStudio in LOM - Locanda Officina Monumentale, Via Ferraris 1, Milano (MM Cenisio)
Professors: Stefano Maffei, Patrizia Bolzan
EsposizioneArtisanal, digital and circular. Hence, the "O" of BertO becomes the starting point to produce a reflection on the circular transition as it relates to the craft production of upholstery. Thanks to the collaboration with Polifactory, makerspace and Fablab of the Politecnico di Milano, BertO has developed its Manifesto for Circularity. The result proposes 10 ingredients to design, produce and distribute innovative furniture products that fully respect nature and its cycles and with the full inclusion of people and their diversity.
Con la voce degli oggetti!
7 June from 3pm to 8pm.
Centro di Ricerca Gianfranco Ferrè, via Tortona 37 , 20144 Milano
Professor Paola Cordera
The VO Project will be launched at the Centro Ricerche Gianfranco Ferré, Via Tortona 37, Milan.
The VO Project is a tribute to an exceptional season of which the exhibition Italy at Work, Her Renaissance in Design Today was part and parcel.
The project will be presented by the project coordinator Paola Cordera and professors Giampiero Bosoni and Pietro C. Marani of the Department of Design of the Politecnico di Milano. Federica Vacca, the vice president of the Centro Ricerche Gianfranco Ferré, and professor at the Politecnico di Milano and Giovanni Battista Fadigati, president of the Este Ceramiche Porcellane Srl will also be present. Este Ceramiche Porcellane is a historic ceramics firm purchased in 1955 by Tuscan commissioner Giovanni Battista Giorgini. By 1951, Giorgini organized the first Italian fashion shows and exported Made in Italy items overseas.
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How to Start a Gallery Wall - by Interior Designer! Guest Blog by Stephanie Pavie
Have you always wanted to know how to display your special things like artworks and photos like a pro but did not know how to start? In this case, this blog is for you! I have asked Worcestershire based designer Stephanie to help you all to make a great gallery wall.
A little bit about Stephanie
Hello, I am Stephanie! I’m passionate about all things interiors and after years of dreaming, in my forties studied interior design. I want to make interior design accessible for all, so we can all create spaces that reflect our personality, and we love spending time in!
Our homes are a canvas to create reflections of who we are, what we love or where we have been. By selecting and arranging artwork or your favourite prints and photographs you can transform blank walls into visual stories that add intrigue, depth and creativity. Whether you opt for a bold gallery wall or a few cherished pieces, you can make your home a place you love spending time in, filled with memories, beauty and your own unique personality.
What is a gallery wall?
With so many trends and ‘rules’ around creating a gallery wall, it can feel daunting – but remember, you don’t have to follow the rules! Your home should reflect your style, exactly as you like it.
For some, the perfect gallery wall is neat, uniform and precisely aligned. This style brings a sense of order and harmony giving a clean and cohesive look that appeals to those who connect with structure and balance in their space.
Others are drawn to the creative freedom of a mix-and-match gallery wall, where different sizes, shapes and lines come together in a playful, dynamic arrangement. This eclectic style brings energy and personality to a space, perfect for those who love an organic, less structured look.
Picture 1 - A ‘box design’ shines when your frames or pieces share the same shape, size, colour or material. This approach creates a striking display.
Picture 2 - Midline placement brings a sense of balance with each piece aligned at its centre along a shared midline. This creates a cohesive flow, drawing the eye steadily across the arrangement.
Picture 3 - A ‘leading line’ draws your eye upward in a gentle diagonal, making it perfect for a staircase display. This creates a sense of movement and flow that mirrors the flow up or down the stairs.
Picture 4 - Embrace the freedom to go organic and break all the rules! This approach works beautifully when you have a standout piece that you love – often the largest – that becomes the heart of your display. Let your favourite piece take centre stage with other pieces nestled around it, creating an effortless arrangement that is uniquely yours!
Not sure where to begin?
Start by laying your pieces on the floor and experimenting with different arrangements or cut paper to size and tape it to the wall to visualize the layout. Most importantly – don’t wait! Even if you don’t have enough for a full wall just yet, take the first step. Begin with what you have, and watch your collection grow over time.
1) If you love it – hang it!
2) Mix your media for example an original painting could be the centrepiecesurrounded by prints and/or photography
3) Different frame colours and textures will add more intrigue and not everything has to be framed
4) Add other wall hangings such as mirrors or fabric
Admiring Margaret’s work (the sunflowers are my favourites!), I see bold yet thoughtful, weaving layers of colour and texture. Owning a piece of art you love does more than simply enhance a room; it reflects who you are, adding depth and personality to your space and bridges the gap between spaces we inhabit and the world outside, connecting us to what we love. Margaret , with the rest of the Barbourne Artists, will be taking part in the yearly Barbourne Artists’ Christmas Fair on 29-30th November at St George’s Church, St George’s Square, Worcester so you can see it for yourself!
For inspiration, tips and ideas you can follow me on Instagram @pavie_interiors and if you have any interior dilemma's you would like some help with you can call me on 07854 727119 or email stephaniepavie@icloud.com
Back to blog
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Just the kit for Portland culture
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culture kit_12
Simon Greening decided the only way to fix the problem of their being few funky shops for young people in Portland was to open his own with his brother, Jason.
By Carol Altmann
[dropcap style=”color: #dc943c;”] I [/dropcap]f you are young and living in the country, there are two ways to approach a lack of groovy shops in your town: either keep feeling depressed about it, or try and do something to change it.
Simon and Jason Greening are two Portland brothers who are taking the latter approach and have decided to pursue their long-held dream of owning a business, while also catering for a clear gap in the town by opening a very cool comic and art-based gift shop, Culture Kit.
“We grew up here and wanted to stay in Portland, but a lot of the younger people here say there is nothing to do, so we decided to create something a bit different,” Simon explains.
“At first we thought about an upmarket bookshop, but we can see how hard it has been for The Little Bookshop (which closed at the end of last month), so we went for the comics and graphic art,” he says.
Simon, 27, has a graphic art and design background, and it shows in the shop’s interior decorating, which has transformed a former florist on the corner of Julia and Percy streets into a uber-cool space with bright yellow walls, marine ply display cases, a stack of empty milk crates and two couches on either side of a communal jigsaw puzzle.
Add some chillout tunes fresh from the ipod and the space is just the sort of place people would like to linger. At least that is the plan.
“We are ready to do the slow, hard climb,” Simon says.
“We have tried to keep our overheads as low as we can, and our level of debt as low as we can, so it stays manageable while we grow.”
Part-owner Jason Greening tries the chillout lounge in Culture Kit which specialises in comics and art-inspired gifts.
[dropcap style=”color: #dc943c;”] J[/dropcap]ason, 30, has accountancy skills and worked in a variety of jobs before joining his brother with Culture Kit. Both he and Simon continue to work in low-pressure jobs elsewhere in Portland, just to keep the income ticking over while the business builds.
Jason, who was unfortunately away at the time Bluestone dropped in for a spontaneous visit, has a night-time cleaning job, while Simon works at the local IGA supermarket.
Eventually, of course, the pair hope to be living off their comic sales and what Simon describes as “short run, high-quality, hand-made” gifts, such as screenprinted cushions, art magazines and personal care products aimed at discerning men.
Culture Kit took its first risk by opening at the start of winter – on the Queen’s Birthday long weekend – but despite the often challenging weather, it is slowly building a loyal clientele.
culture kit_28
Some of the characters that can be found hanging around the building, reflecting the changing face of comic culture.
[dropcap style=”color: #dc943c;”] C[/dropcap]omics, in case you hadn’t noticed, have come a long way from the days of the being a disposable read that would keep the kids quiet on the train.
Now there is an entire industry aimed at the late-teen or adult reader, with many based on television shows or movies, some from Asian (particularly Japanese) culture, or simply a niche market – like zombies – that has its own cult following.
And then there are those comics that are purely for collecting.
“Some people buy them to read, while other people order in a particular comic and don’t even open them,” Simon says.
Serious comic buffs will also buy the same comic several times if it is released with alternate covers.
“We try and look after everyone, from the comic nerds to those who just want the more traditional stuff like Superman and so far that seems to be working,” Simon says.
[box] Culture Kit is at 40 Percy St, Portland. You can find them on the web here or follow them on Facebook here. [/box]
[button link=”http://the-terrier.com.au/subscribe-2/” type=”icon” icon=”heart” newwindow=”yes”] Did you enjoy this story? Please subscribe here to help Bluestone thrive.[/button]
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Art-ventures
Hidden Budapest Street Art – District VII
door with face 4 1 of 1
When it comes to Budapest street art, there’s no better place to see it all than the 7th District. The streets of this area are packed with a huge selection of murals, most of which we covered in our 7th District Street Art Guide. In this article, however, we’ll show you a selection of the hidden street art in Erzsébetváros that usually goes completely unnoticed. In the age of commissioned wall murals and security cameras, these are the types of works that still retain their artistic integrity and, as such, are able to provide cutting social commentary.
mezga family 1 (1 of 1)
The communist-era was one of the darkest times in recent Hungarian history. Despite the doom and gloom, there is no denying that some of the animated works produced behind the iron curtain were genius. Street artist 0036MARK was just a boy back then and he now uses his art as a way to reflect on the nostalgia of these repressed decades. He accomplishes this by infusing beloved characters from his childhood with cultural references.
cartoon street art of man wearing suit surrounded by ducks in Budapest's 7th District
After the Soviet-backed regime imploded western cartoons flooded the screens of Hungary and a whole generation of children became glued to their televisions on Sunday mornings. This street art called, “AntallTales” captures an iconic memory from 0036MARK’s childhood.
It’s December 12th 1993, the day post-communist Hungary’s first democratically elected prime minister, Jószef Antall, passed away. Like many kids in that era, 0036MARK was enjoying one of his favourite new cartoons, Ducktales. Suddenly, all the screens went black. After 3 minutes of confusion, Chopin’s famous funeral march came on and the prime minister’s death was announced. Attila, a local street art fanatic who also runs Budapest Flow, told us that this moment was a generational benchmark. Something that can only be understood and appreciated by Hungarians of a certain age.
astronought mezga fam (1 of 1)
daft punk with old man (1 of 1)
If you walk through Budapest’s 7th District, you’ll also come across another series of street art by 0036MARKThis creative paste-ups focuses on the ’70s hit Hungarian animated tv series, Mézga család‘ aka The Mézga FamilyThis beloved series was a little bit of the Simpson’s blended with a little bit of Rick and Morty. Only it was produced decades earlier than these two modern-day juggernauts. 0036MARK puts his own spin on the animations by combining them with pop-culture references from across the decades. These are incredible pieces of street art which you could easily walk past if you don’t keep your eyes peeled.
MISS KK is a mysterious, incognito, badass designer who’s feminist-themed, dystopic collages offer a pointed critique of our hyper-materialist, consumer obsessed culture. She takes a particular interest in the unrealistic demands placed on young females in today’s society.
atilla with ms kk 2 (1 of 1)-2
Unlike a lot of the street art which is graffiti based, Miss KK’s work has become renowned for her striking stickers which can be spotted across the 7th District. She creates these clunky looking ‘dolls’ by cutting out up to 50 different images from fashion and beauty magazines and combining them together in animatronic poses. Her mish-mashed figurines are always decked out in luxury brands, which most would say are overpriced and merchandized.
miss kk 2 (1 of 1)
She uses oversized facial shots of real-life models – usually slathered in makeup – to complete her surrealist aesthetic. The pieces are tied together with some sort of ironic t-shirts text. These sarcastic statements invigorate the jarring works with poignantly humorous messaging. While Miss KK’s stickers eventually fade and tatter, the messages remain powerful.
ms kk anotha one (1 of 1)
RAPA is one of the original legends of Budapest’s street art and graffiti culture. However, in recent years he has switched over to ceramic art pieces. This is mostly due to increased police surveillance in the downtown districts. His tiles can be seen all over the city and add a unique artistic splash to the roughly hewn walls of District 7.
buda lovein pest (1 of 1)
1956 (1 of 1)
Magyarmurals5.jpg
London-based Hungarian street artist QWERT.ART does not include as much social commentary as some of the other pieces. Nevertheless, his zany characters are a very welcome addition to the walls of the city. QWERT.ART jazzes up iconic heritage-inspired figures such as Russian nesting dolls by adding his iconic googly moogly bug eyes on their faces. The effect is as quirky as his name.
christ redeems (1 of 1)
googly eyes (1 of 1)
bug eyes (1 of 1)
googly eye guys (1 of 1)
trippy jerry (1 of 1)
The Best Of The Rest
hands touching (1 of 1)
yellow brick road (1 of 1)
vegan garden (1 of 1)
piano man 1 (1 of 1)
piano man 2 (1 of 1)
A Special Mention
stumbling blocks (1 of 1)
Something a bit different. These ‘stumbling blocks’ are a tribute to the ordinary citizens murdered during the Jewish Holocaust. They are placed in front of the former residences of victims and can be seen all over the Jewish district in Budapest as well as throughout Europe.
Hopefully, now, you’ll be able to look beyond the big murals and marvel at the hidden street in Budapest’s 7th District. You’ll be able to find all of the locations very soon in the 7th District Hidden Street Art footprint, only on the Like Locals app. Download now on iOS and Android devices. We’d also like to give a shoutout to Attila from Budapest Flow for sharing his insight and knowledge. Photos by Willie Gervetz
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The Leica M9-P White Limited Edition is as Advanced as It is Stylish
By: Jaime Neely - Published: • References: us.leica-camera & hypebeast
For the photographer looking to take stunning pictures and look extremely chic and stylish while doing so, the recently released limited edition Leica M9-P is the perfect option as their next camera.
Retailing at the very steep price of $31,000 in the United States, the Leica M9-P boasts a beautiful ivory finish. Those willing to commit to such a hefty investment can expect a variety of impressive features in the camera's design and technology. With a silver Noctilux-M 50mm f/0.95 lens, advanced zoom options and a complementary leather strap, the Leica M9-P offers photographers elements of both luxury and modernity.
The camera was released to celebrate the opening of Leica Daimaru Tokyo and only 50 versions of this limited edition product were produced. Stats for Elegant Ivory Cameras Trending: Older & Mild
Traction: 1,397 clicks in 174 w
Interest: 1.8 minutes
Concept: Elegant Ivory Cameras
Related: 70 examples / 54 photos
Segment: Neutral, 18-55
Comparison Set: 26 similar articles, including: carefully constructed cameras, custom tangerine cameras, and 20 luxurious leicas.
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Tim Holtz Distress Ink Stain WILD HONEY Ranger TDW29922
TDW29922 /1.6
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Diversely Designed
Simple words that we as an industry have applied to the material trends and design cues shaping the built world around us have begun to evolve greatly. Sustainability, for example, began as a way to sum up recycled content and somewhat eco-conscious manufacturing. Today, it’s...
KZF: Designing Better Futures
In the reinvigorated and booming city of Cincinnati, Ohio, resides KZF Design, a commercial design firm that prides itself on fostering an internal culture of continuous improvement and reinvention. It is this focus that translates to strong relationships, creativity and independent thinking for its clients...
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Essays Tagged: "texture"
The elements of design - line, colour, tone, shape, space etc.
ures the expressive qualities of an object, quick flowing marks.Tonal - Represents shapes, form and textures in objectsVisual - Represents textureTactile - Drawings as themselves can be textileLine Di ... zig zag andhorizontalRepetition Of Line - Harmony, balance.- Balance, common groupings of line and textures.- Harmony, lines and textures flow together in unified direction andcorresponding rhythm.Co ...
(5 pages) 318 0 4.1 Sep/1996
Subjects: Art Essays > Design Arts
Biology experiment on osmosis for gcse very good got an A* as course work so do not miss out
n plant cells) as water leaves the cell and the solution enters. There is a change of mass, volume, texture and length.Aim:The aim is to investigate the effects of varying concentrations of a salt sol ...
(15 pages) 314 2 4.2 Mar/2002
Subjects: Science Essays > Biology > Plant Biology
"Of Mice and Men" A review of the novel and information about the author, Steinbeck
uble occurred in Weed when Lennie grabbed a hold of aladies dress, because he was curious about the texture of the fabric. The womantook it the wrong way and became upset and frightened. Curdling scre ...
(7 pages) 116 1 4.1 Dec/1996
Subjects: Literature Research Papers > North American > Authors > John Steinbeck
Reverse Racism In America by Dan Heffron, a short 6 page essay describing reverse racism in America Today. Gives examples and references.
bery and arson, that any but the most spectacular crimes are shrugged off as part of the inevitable texture of American life. "Racism" is never shrugged off. For example, when a White Georgetown Law S ...
(7 pages) 512 5 3.9 Oct/2002
Subjects: Law & Government Essays > Civil Rights
How a work of art appears in person rather then as a computer reproduction.
I was able to get so close to the statue that I actually got in trouble for touching it to feel the texture of the different parts of the creation.When I returned home with all of the information that ... e marble. When I touched them there was a very distinct difference. The cast had a much more porous texture and did not feel as solid or dense as the marble. These characteristics changed my view of t ...
(4 pages) 467 8 4.2 Dec/2002
Subjects: Art Essays
"Ode to an Orange" by Larry Woiwode.
me that the author not only liked oranges, but that he was passionate about enjoying the flavor and texture of an orange. I think that the author feels in this way because the orange brings some of hi ...
(1 pages) 43 0 0.0 May/2003
Subjects: Literature Research Papers > North American
Essay on Classification.
tegies might be food groups, the length of time in storage, the source of foods, the packaging, the texture, or any other principle that might yield interesting results. Use your own judgment.Essay #1 ...
(3 pages) 171 0 5.0 Jun/2003
Subjects: Humanities Essays > Language Studies > Writing
"Electron Microscopes" - Electron Microscopes (EMs) are scientific instruments that use a ray of electrons to examine small matter on a very fine scale.
can produce the following information;*Topography; this is how the surface appears, for example the texture.*Morphology; this is the shape and size of the particles that make up the matter.*Compositio ... instead of light to create an image of the specimen and to obtain information about its structure, texture and composition. They follow this basic step pattern;*A beam of electrons are formed and are ...
(3 pages) 49 3 4.8 Oct/2003
Subjects: Science Essays > Biology
"What Will it Be, Acrylic or Watercolor?"
me a beautiful painting. Although watercolor and acrylic are both paints, they each have a distinct texture and process that helps the artist display their vision into the image.Acrylic is a paint oft ... any kind of paint, a brush is the most common way to apply acrylic onto the canvas or paper. Stiff textured brushes are meant to be used with an acrylic medium because of its thick consistency. This ...
(2 pages) 32 0 4.0 Nov/2003
Subjects: Art Essays
This is a paper concerning the epic "The Odyssey" and its relevence.
many aspects of Greek culture prove its' worth. The many faces of the Odyssey contribute color and texture to the epic. One of the most recurring is the character Telemechus. An enthusiastic youth, h ...
(2 pages) 49 1 3.0 Jan/2004
Subjects: Humanities Essays > Classical Studies > Greek Language & Literature
Equine Learning
se things which are biologically relevant to them: what is dangerous and what is not, the smell and texture of good food, where to find water and shelter, who's who in the herd, sureness of foot, how ...
(13 pages) 124 0 4.3 Apr/2004
Subjects: Science Essays > Agriculture
Hypnotic Language and Its Power
the five senses alone or in combination. Consider the chef who creates a collection of flavors and textures for your palate. If prepared properly by the chef, the taster lapses into a trance filled w ... repared properly by the chef, the taster lapses into a trance filled with delight over the flavors, texture and other parts of the culinary masterpiece. The person eating will want more then and want ...
(10 pages) 121 5 4.7 May/2004
Subjects: Social Science Essays > Communication Studies
Different Aspects Of Science
pecific properties of matter. These are called the physical properties. Color, shape, hardness, and texture are all physical properties. Physical properties, basicly, are characteristics of an object ... ange and chemical change are similar but not exactly alike. Physical change is when the appearance, texture, smell, or taste changes but doesn't change chemically. Chemical change is when the substanc ...
(4 pages) 51 1 5.0 Jun/2004
Subjects: Science Essays
Lighting Units - Motion Picture Lighting
must make allowances for every movement within a continuous take. Each different colour, shape, and texture reflects or absorbs differing amounts of light. If an image is photographed in depth, an eve ... nto specula or focussed bundles. Convex reflectors spread light more evenly. Mat rather than glossy textured boards produce short throw, low distance, and soft light. Shiny glossy surfaces like silver ...
(4 pages) 38 0 4.4 Sep/2004
Subjects: Art Essays > Film & TV Studies
Osmosis Investigation
osis in each of the types of potatoes will be virtually the same. As some potatoes have a different texture, the results will not be exactly the same. I think the colour of the potato chip may have an ...
(3 pages) 42 1 2.7 Jan/2005
Subjects: Science Essays > Biology
Is there any way certainly to distinguish being awake from dreaming? How?
a dream, they may feel as if they can smell the scents, taste what is in their mouth, and feel the texture of whatever they may be holding, however, scientifically, it would be your mind almost trick ...
(2 pages) 12 0 0.0 Apr/2005
Subjects: Humanities Essays > Philosophy
Igneous rocks: Diorite.
colour index of between 40 and 90 over short distances. The rock has an equigranular or porphyritic texture and has a generally coarse grain size but can be pegmatitic. Phenocrysts of feldspar and hor ... nde can be found in the porphyritic variety. The equigranular and porphyritic varieties may vary in texture between each other within a few centimetres. A foliated appearance can develop from the roug ...
(1 pages) 5463 0 3.0 Oct/2005
Subjects: Science Essays > Earth Sciences > Geology & Geosciences
Anselm Kiefer - "Glaube, hoffnung, liebe" and "Das Wolund-Lied (Mit Flugel)". Art Analysis.
and completed in 1986. The background is impasto; the emulsion paint has been built up to create a texture and the brush strokes are clearly visible. The focal point of the piece is the propeller, wh ... again is built up with paint. However this time it is a collage with straw. The straw adds a lot of texture to the piece, on top of the already textured impasto emulsion. The background again has a gr ...
(2 pages) 16 0 5.0 Oct/2005
Subjects: Art Essays > Works of Art
A Description of the Symphonic Brilliance of the Coastal Concert Band.
emed to act very professional. The concert included a wide variety of music that varied in timbres, texture, rhythm, and melody. The quality of sound was very excellent and projected well throughout t ... This is the only piece in the concert where a piano was played. The rhythm was simple, with a thin texture. The third piece was Mangulina, by Paul Basler. This was one of my favorite pieces in the co ...
(4 pages) 21 0 3.7 Dec/2005
Subjects: Art Essays > Music History & Studies > Performers & Composers
Travel Marketing Tools, Part 3.
al approach. Traditional marketing appeals to the senses of the audience through look, feel, taste, texture, among other senses. However, an e-business must rely upon the ability to reach out beyond t ...
(4 pages) 202 0 5.0 Feb/2006
Subjects: Businesss Research Papers > Case Studies > E-commerce
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ArtSnacks: November 2018
Unboxing and Speed Paint
What is (and is in) an ArtSnacks box?
ArtSnacks is a monthly subscription box, which I have been receiving for just over two and a half years. The subscription costs $240 annually or $24 monthly. The box contains four or five art supplies, plus a few other goodies, and is delivered once per month. These supplies usually include a drawing utensil and one or more ways to add color. Besides a pencil or fineliner, ArtSnacks boxes usually include markers or colored pencils, and less frequently, watercolor, acrylic paints, and bottled ink. Sometimes ArtSnacks supplies will be branded with the ArtSnacks logo and teal color; branded items have included pencils, a bag, small sketchbooks, and a pencil sharpener. Along with art supplies, subscribers also always receive a piece of candy, a sticker that portrays the company’s logo, and a “menu,” describing the contents.
Swatching the November 2018 ArtSnacks supplies. Copyright EmK Wright
Why Subscribe?
As someone who owns too many art supplies, I continue to purchase ArtSnacks for a few reasons. The ArtSnacks box continues to surprise me with supplies that I have never seen or used before. The box may also include exclusive items, which has included sets of pencils and pens curated for ArtSnacks. The subscription box is also usually a higher value than the amount paid per month, when referencing the retail value of items included within the box. This value does not include the candy and sticker, or “bonus” items which can be included in the box, such as paper samples. Unless ArtSnacks begins to send too many repeat supplies (this has happened only a couple times) or my studio space becomes limited, I’ll happily continue my subscription! There have only been a few boxes that have included supplies I found myself dissatisfied with, and usually they are coupled with other supplies that keep me excited.
ArtSnacks November 2018 "menu" and orange plaid sticker. Copyright EmK Wright
ArtSnacks Box of November 2018
This month, the ArtSnacks subscription box included four art supplies, the candy and sticker, and no extra “bonus items.” The four art supplies were:
1) Liquitex Professional brand acrylic gouache, quoted by ArtSnacks to be a $10.99 retail value. The price of Liquitex’s acylic gouache is one that is reliant on the pigments used in each color of this paint. Buyers can can also find themselves paying $14.99 per 59 mL (2 fl oz) bottle, especially if you’re like me and have your eyes on the fluorescent set of six. Unfortunately, my favorite color made by the brand, Naples Yellow, is not available in this line of gouache, so I have hopes that the color selection will be expanded by Liquitex.
Close up of Liquitex Professional Acrylic Gouache in color Primary Red. Copyright EmK Wright
2) A Galeria series paint brush by Winsor & Newton, with a retail value of $8.49. This brush is a round size of 3. It is made for acrylic paint, short handled, and has synthetic bristles. ArtSnacks claims that it is “developed to provide…shape retention,” a necessity when working with heavier supplies like acrylic paint.
Close up of the bristles on the Winsor and Newton Galeria paintbrush in a round 3. Copyright EmK Wright
3) Sakura brand fineliner style pen, quoted by ArtSnacks to be a $2.79 retail value. This pen is from the Microperm line, and multiple different tip sizes were sent out among ArtSnacks subscribers. I received the small 01 size, which measures out to be a .25 mm. The Microperm has a waterproof ink and is advertised to be usable on non-porous surfaces, including metal, glass, and even diamonds. I loved the size of this pen nib as well as the rich black color of the ink. However, I did find the ink cartridge inside of the pen body to be loose enough to hear and feel when moving the pen from side-to-side.
Close up of Sakura brand Microperm pen in size 01. Can be used on glass and metal. Copyright EmK Wright
4) Cretacolor brand MegaGraphite pencil [no official purchasing site], quoted by ArtSnacks to be a $2.30 retail value. It is true to it’s name at a whopping 10 mm diameter…and only fits in my universal XL pencil sharpener by force. The pencil that I received had a graphite grade of 6B, but other ArtSnacks subscribers received a variety of graphite grades. For me, this pencil is competing with the Faber-Castell Jumbo 9000 series pencils, and held up pretty well. However, I prefer graphite with less sheen, such as the General’s brand Kimberly 9XXB pencil, which is a matte graphite and came in an earlier ArtSnacks box.
Close up of Cretacolor brand MegaGraphite pencil in grade 6B. Copyright EmK Wright
Each “menu” in an ArtSnacks box has a call to action, which is called the ArtSnacks Challenge. It asks subscribers to create a piece of art with the supplies that are included in the box. For this month, I created a drawing of a pomegranate. I sketched with the MegaGraphite pencil, painted with the acrylic gouache—using my Galeria paintbrush, of course—and used the Microperm pen to add texture and shading to the art. I also used an eraser and blending stump to create this artwork, two items that were not included in the November ArtSnacks box.
Pomegranate painting created with the November 2018 ArtSnacks box. #ArtSnacksChallenge Copyright EmK Wright
This month, the box was a value of just 57 cents over the $24 price point, but I have seen it much higher. If I were to purchase these items individually, I would probably forgo the pencil and pen, simply because of how many other pencils and black fineliners that I currently own. However, I would recommend the pen to someone looking for a waterproof fineliner. As for the more expensive items, I love the acrylic gauche and plan to purchase more bottles in the future! The paintbrush is a little expensive at almost $9, but if it survives what is sure to be constant use, then I will find it to be worth every penny!
Pomegranate "Idea, Sketch, and Realization" painting created with the November 2018 ArtSnacks box. #ArtSnacksChallenge Copyright EmK Wright
If you’re interested in purchasing ArtSnacks for yourself or a loved one, I recommend it for sure! As an artist with too many art supplies, I still think it’s a great monthly treat. You can click HERE to visit the ArtSnacks website for more information. Please note that I am in no way sponsored by ArtSnacks or the brands found in ArtSnacks boxes.
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Hersch Tower facts for kids
Kids Encyclopedia Facts
Quick facts for kids
Hersch Tower
General information
Type Commercial
Location 125 Broad Street
Elizabeth, New Jersey
Coordinates 40°39′59″N 74°12′52″W / 40.6664915°N 74.2143118°W / 40.6664915; -74.2143118
Completed 1931
Cost $1,750,000
Roof 42.67 m (140.0 ft)
Technical details
Floor count 14
Lifts/elevators 2
Design and construction
Architect Nathan Meyers
Mid-Town Historic District
U.S. Historic district
Contributing property
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NRHP reference No. 95001143
Significant dates
Added to NRHP October 5, 1995
Hersch Tower is a historic Art Deco building in midtown Elizabeth, New Jersey.
Constructed during the Great Depression with a façade of brick, marble and nickel in 1931 by businessman Louis Hersh, the tower is 14 stories and 42.67 m (140.0 ft) tall. The Newark architect, Nathan Myers (who had designed Temple B'Nai Abraham on Clinton Avenue in that city) and Princeton-trained Joseph Shanley designed and planned the building. It originally had self-contained vacuum system, where each unit had a wall receptacle to which one attached a vacuum hose and proceeded without additional machinery. The building also sported a fire escape system – only two of which existed in the US – in which an internal slide would pass tenants from any floor to the street swiftly in case of an emergency.
During the 1970s the building was partially renovated including replacement of the elevators and silver leaf in the lobby. It went into foreclosure and was purchased in 1990 by the Brooklyn-based Wybro brothers.
Hersch Tower is contributing property to the Mid-Town Historic District which also includes the Elizabeth Public Library and the Union County Courthouse. and other early high-rises, the Winfield Scott Tower and the Afbender Building.
In April 2018, the building received approval from the City of Elizabeth Planning Board to convert the 2nd through 11th Floors to residential dwelling units. Retail and commercial uses will occupy the ground floor and a rooftop lounge and deck is proposed on the 12th floor. The building modifications were designed by Graviano & Gillis Architects & Planners, LLC.
Hersch Tower Facts for Kids. Kiddle Encyclopedia.
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photo: ÚĽUV
THE GALLERY of the Centre of Folk Art Production (ÚĽUV) in Bratislava presents Rings in Water 2006, an exhibition of the winners of the 4th biennial competition for crafts-oriented design. This time, a record 254 artists entered almost 800 works, demonstrating an unprecedented interest in the competition, which supports and promotes traditional crafts blended with contemporary design. Almost one-half of the entries advanced to the second round, of which 35 were chosen for awards. The competition entries were divided into two sections, professionals and secondary schools students, with
photo: ÚĽUV
professionals competing in categories (1) dining and interior design, (2) clothing accessories and jewellery, and (3) ÚĽUV souvenirs. The fourth year of the competition was rich in fresh and creative works and showed that young people can put themselves in the right frame of mind for design and applied art with a touch of folk crafts. The exhibition on Obchodná 64 is open between Monday and Friday from 12:00 to 18:00 and on Saturday from 10:00 to 14:00 until January 15. Admission is free. For more information call 02/5273-1344.
Meeting with Valér Novarina - French actress Laurence Mayor reads excerpts from the plays of contemporary French playwright, director and visual artist Valér Novarina, and famous French accordion player Christian Paccoud plays parts from the musical play Imaginary Operetta.
Starts: Nov. 28 at 19:00. Admission: free. Theatre Astorka Korzo '90, SNP Square 33. Tel: 02/5443-2093.
Waking Vision - The original trio of schoolmates from the Berklee College of Music in Boston, bassist Mitch Cohn, guitarist John Shannon and Slovak drummer Martin Valihora, enriched by keyboardist Peter Stoltzman, returns to Slovakia after a one-year absence.
Starts: Nov. 29, 20:00. Admission: Sk250 in advance, Sk300 at the door. PKO (Culture and Leisure Park - PKO), Nábrežie L. Svobodu 3. www.wakingvision.com. Tel: 02/5935-6650.
Pet Jazz - The 6th year of the jazz festival features As Guests, Lucia Lužinská and All-Time Jazz Trio, and Milo Suchomel Quintet.
Starts: Nov. 30, 19:00. Admission: Sk120 in advance, Sk150 at the door. Klub za Zrkadlom music club, Rovniankova 3. Tel: 02/6381-1328.
Terchová Christmas - More than 80 natives of Terchová, the picturesque birthplace of Slovak outlaw and folk hero Juraj Jánošík, exchange the local church for a Sport Hall and arrive to perform their traditional Christmas folklore program.
Starts: Dec. 2, 18:00. Admission: Sk299. Športová hala Pasienky (Sports Hall), Trnavská 29. www.212.sk.
Swing Ball - Czech Ondřej Havelka & Melody Makers, Bratislava Hot Serenaders, Serenader Sisters, trumpeter Juraj Bartoš and crooner Miloš Stančík play for your listening or dancing pleasure.
Starts: Dec. 2, 19:00. Admission: Sk2,100. Hotel Carlton, Hviezdoslavovo námestie 3.
Tel: 02/5443-5667.
Magic Pencil - The displays bring illustrations from children's books by Angela Barrett, Patrick Benson, Stephen Biesty, and many others selected by Quentin Blake.
Open: Tue-Sun 9:00-17:00. Admission: Sk10. M.A. Bazovského Gallery, Palackého 27.
Tel: 032/7436-858.
Central Slovakia
Mikuláš in Open-Air Museum - Presentations of St. Nicholas folklore traditions, ceremonial opening of the winter season and performance of children's folklore ensemble Belanka.
Starts: Dec. 3 at 14:00. Múzeum liptovskej dediny (The Museum of the Liptov Village). Tel: 044/5222-485.
Liptovský Mikuláš
Czechmania - This display of photos by collaborative photographers Štěpánka Stein and Salim Issa living in the Czech Republic reflects the trends of the young generation, which accepts today's fashion and design and at the same time transforms it in their own creative way.
Open: Tue-Sun 10:00-17:00 until January 14. Admission: Sk15. The House of Photography at P.M. Bohúň Gallery, Tranovského 3. Tel: 0905/974-855.
Dog Eat Dog - The legendary American crossover group performs.
Starts: Nov. 29, 20:00. Admission: Sk390 in advance, Sk450 at the door. IC Culture Train culture centre, Vyšné Opátske. Tel: 055/6424-488.
Festival Meeting of European Theatres and Culture - The 8th year of the festival hosts 20 theatre ensembles from Europe and Congo.
Runs: Nov. 25 - Dec. 3. Admission: Sk40-120 for individual performances, pass for the whole festival Sk300-Sk700. Staromestské divadlo, Stará Baštová 1 in Košice and theatres in Prešov, Spiššská Nová Ves, Rožňava, Levoča, and Michalovce. Tel: 055/6221-107.
photo: Bratislava City Gallery
THE PETER Michal Bohúň Gallery in Liptovský Mikuláš presents a display of artworks by important Slovak artists connected with the Liptov region. The exhibition, "Personalities of Visual Arts", features works by Ester Martinčeková-Šimerová, Martin Martinček, Miroslav Ksandr and Michal Kern. A generous gift from the painter Ester Martinčeková-Šimerová, ("the first lady of Slovak visual arts"), who donated a unique art collection to Liptovský Mikuláš, enabled the gallery to create the exhibition. The gallery, at Tranovského 3, is open daily, except Mondays, between 10:00 and 17:00. For more information call 044/5514-032.
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954.780.6585 | Florida Web Design in Miami, Fort Lauderdale, West Palm Beach, FL
Portfolio Blog
SEO & Florida Web Design in Miami, Fort Lauderdale, & West Palm Beach, FL since 1998
A Day in the Life of a Graphic Designer | Graphic Design
Watch a lot more How to Have a Profession in Graphic Design and style videos: http://www.howcast.com/videos/509232-How-to-Set-Up-a-Company-Graphic-Style
Find out what a day in the life of a graphic designer is like from UX mobile and internet design and style consultant Chanelle Henry in this Howcast video.
So a day in the life of a designer or even an art director or even a inventive director what does that look like? Whether you happen to be a freelancer that is traveling from distinct agencies or no matter whether you’re an independent contractor that is at house and you set your personal schedule, or regardless of whether you are getting managed by a multitude of individuals and you are a production designer, each day looks different, no matter what job you do.
You could be functioning on 1 project for 3 days in a row or possibly even a month in row, or you may possibly be operating on absolutely nothing for a week if you are an independent contractor, and you happen to be wondering “Where’s my next dollar going to come from?” The feast of famine. The way that my day works is very… It goes all over the spot. Since I have a lot of customers on the West Coast, I do not get up till 11:00, so I generally get up and then I check my to-do list for the day, that I normally set the day before.
Then I will verify base camp to see if there’s any pressing to-do list things for me. I will check e mail and attempt to do an inbox zero. I only attempt to check my email twice a day. I consider that’s crucial for anybody, no matter whether you happen to be in the workplace or out, to reduce down on the amount of distractions that you can. Since those that are in the inventive field are much more prone to have problems with attention, so you have to make sure that you set these systems in location to have a day that’s a tiny structured.
Days of designers are not genuinely structured at all and it can be extremely taxing, but also extremely thrilling if you don’t like mundane, and then also, if you are an independent contractor you have to locate your personal consumers. You have to figure out what variety of campaign am I going to do these days or what networking occasion am I going to do today? Who am I going to meet? What am I going to say? What perform am I going to operate on? So it really is truly up in the air as to how every portion of your day will go, but it really is constantly an exciting one and at the end of it, you still feel like you haven’t accomplished adequate.
The part that I actually hone in on the most, is project and time management. Due to the fact our brains are wired in a couple different approaches. One, you can’t do two things at as soon as, you can’t multitask. No matter how several instances we can convince ourselves that we can, we cannot. Then the second thing is that even although you may like to do one thing distinct every single day, your brain craves structure. So it is a single of these things exactly where “Okay, I have to decide what days do I want to do this? What days am I going to look for clients? What days am I going to truly do work?”
A single of the factors that I had to figure out was how much money do I need to have to make in a month and how several hours does it take for me to do that? After I came up with that magic quantity – let’s say it really is 4 hours a day, four days a week, so that leaves a lot of time to do a whole lot of other stuff that could get me clientele. That I could use to get myself much more organized. I could become far more healthful. I could grow to be much more social.
So I use a lot of different tools to make confident that I’m spending the proper quantity of time on particular items. I use Harvest as a time tracking tool, which also enables me to bill my customers straight from the platform. I use AnyDO, which is on Android and iPhone and a Google Chrome extension, that allows you to make a to-do list for nowadays, tomorrow, this week and later. So it enables you to place it in four various areas, so as to not fill up a complete year of factors that you want to do, since you can very easily grow to be overwhelmed.
Another very good point to know about the brain, that’s taken from the GTD technique on getting items completed, is that your brain demands to empty itself out typically. So even if you are not going to do it nowadays, let’s say “Oh, no I actually want to make a T-shirt that says ‘Smart Guy’ on it, so I’m going to write that down. So that my brain is not pondering about what that T-shirt’s going to look like.” So there’s diverse tools and techniques and once more every thing operates differently on everybody.
But as soon as you uncover that sweet spot and it’s not going to be overnight and it most likely won’t even be a year you’re going to be continually altering, but you just have to be patient with your self and then also appreciate, like the project management process and time management procedure of other people that are like you in your community.
Video Rating: 4 / five
Graphic Design Lecture
JCCC Graphic Style Plan – Introduction to Graphic Design and style Speaker Series presents Jennifer Spencer of The Spencer Group
Video Rating: 4 / five
1. Roberto Blake
Roberto Blake02-06-2015
I’m thinking that I will consider doing a short documentary film that
actually captures what it is like for 4 types of Graphic Designers: A
freelance designer, a studio graphic designer, an in house designer at a
company and a designer at an ad agency.
2. PremiumSoul
PremiumSoul02-06-2015
those black frames doe.
3. Turner Lee
Turner Lee02-06-2015
Hey Guys Check out my gig I will teach you how to get unlimited likes on
your instagram pictures! https://www.fiverr.com/s/6zaa22
4. Philippines Web Outsourcing
Philippines Web Outsourcing02-06-2015
It can be a very challenging type of work, at the same time, it is very
rewarding. It all comes down to how you approach it. Structure and
organization especially in this type of work is extremely important, and i
agree that multi-tasking can only mean losing track of what you are doing,
and that means losing important time. Nice insight on your work ethic.
5. Niko Williams
Niko Williams02-06-2015
Is computer graphics a part of graphic arts or something completely
6. TechSpace - Creative Learning for Young People
TechSpace - Creative Learning for Young People02-06-2015
Ever wondered what it’s like to be a graphic designer?
Find out below
https://www.youtube.com/watch?v=KuK6EDk2T6s #TechSpace
7. Jonathan Patsios
Jonathan Patsios02-06-2015
I’ve been trying to get into the Graphic Design biz for years. I keep
hearing that its in high demand. The reality is, its a lot harder to get a
job in graphics design then it is to be a programmer.
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Sophie la girafe® multi-textured rattle
Reference: 200152
Both a rattle and a teething ring!
Bright colors to draw attention. Supple and hard textured material to be chewed for soothing painfull gums.
4 geometrical shapes to handle. Shake to hear and see the coloured marbles knock together. Easy to grap hold of and to handle thanks to its ring shape.
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arry Parsons
Garry studied Fine Art at Canterbury and the Illustration Sequential Design MA at Brighton. He has illustrated many books and has won various awards, including the Red House Children's Book Award, the Stockport Schools Book Award, the Nottingham Children's Book Award and an AOI Images award.
Korky Paul
Korky has illustrated many other successful books for Oxford, Penguin and Random House including several anthologies of poems edited by John Foster and Michael Rosen. He has sold more than 3 million books world wide in over 20 languages.
Liz Pichon
Liz Pichon studied graphic design at Middlesex Polytechnic and Camberwell School of Art in London. She is the creator of The Brilliant World of Tom Gates and has won the Waterstones Children's Prize, Blue Peter Award, Red House Book Award, and many more.Claire Powell
Claire is an illustrator, writer and designer who lives and works in London. She has spent several years as a design director in the world of channel rebranding working for clients such as Nickelodeon, BBC Three, CBBC and BBC One. Claire has a tendency towards humour and bright, bold use of colour and she loves creating strong typographical layouts to help tell a story.
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Shape, 2003
Crossley and Scott Gallery, Melbourne
All paintings involve images, and all images are shapes within paintings. Paintings hold multiple pictorial properties due to our simultaneous perception of images and shapes, and our awareness of pictorial depth coupled with the recognition that a conventional painting is equally a flat plane. These ideas are well accepted in the field of painting, and therefore it can be said that most paintings are ambiguous in one way or another, and that this ambiguity can be explored to create feeling. Therefore, given the differing characteristics of a painting, many of the works in Shape appeared to purposefully hover in spaces that formed via conceptual and expressive ambiguities. While this allowed for a variety of associations to emerge within each work, it also provided a perplexing overall exhibition experience for the viewer.
With equivocality at the centre, these paintings evoke some of the feelings of our contemporary times through representations of perplexing, indefinite and oblique imageries. In thinking about how we might grasp the character of our times, the philosopher Peter Osbourne, considers that our contemporary is to be understood through conjunctions, where we experience the coming together of different but equally present temporary and fluid states, while philosopher Boris Groys deems our times to be uncertain, uncanny. We recognize that everything forms and reforms, and then retro forms, only to disintegrate.
Shape speculated on the notion that that we live within a flowing and continuing arcane condition, and that this is simply how things are for us.
Photographs, the artist.
Osbourne, P., (2018), The Postconceptual Condition, London: Verso.
Groys, B. (2016). In the flow. London: Verso.
© Peter Westwood 2020
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Ingrid Bergman Posters
Well, Ingrid Bergman is known for her acting prowess, but is also visually outstanding due to her radiant beauty and freshness. From her looks alone, she was made for the stage, for the attention, and of course her acting did justice to her looks. Ingrid Bergman images such as "Gaslight" and "for Whom the Bell Tolls" are some of her wall arts that show how well she plays her roles and how she expresses the subtlety of romantic feelings. These Ingrid Bergman pictures are available in diverse colors and sizes. That allows you to select images that have greater potential when it comes to making your room more elegant. With Bergman’s character and looks, she can add that extra touch of warmth and artistic inspiration to your room. And for someone who watched any of her movies, these pictures of Ingrid Bergman can be a way to have an adventurous and immersive mental experience of her acting.
Home > People Art > Celebrity Art > Actress Art > Ingrid Bergman Posters
Ingrid Bergman Art
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Joan of Arc
Fine-Art Print
11" x 17"
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Besides her character and fame, we have all these photos of Ingrid Bergman in high quality and have numerous options to make your artwork more elegant. Selecting the wall art is therefore the first step towards pumping some life onto your walls. The process of enriching your Ingrid Bergman photos by framing, laminating, or canvas printing are the second and quite invaluable phase of your room decor. Framing, for example, is a nice and effortless way to have things matching in your interior design. You can choose the frame color, texture, and material. Canvas printing is also an easy way to make the artwork more adaptable to different designs and for adding some museum touch to the room. On the other hand, lamination protects the artwork from water spills, fingerprints, and dust.
© ChefDecor.com. All rights reserved.
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If you want someone to guide you without prejudice or without patronising and yet with real diligence and attention to detail then White Fox is the company for the job.
I knew very little about the mechanics behind web design but needed a platform to sell my magazines. Lloyd was incredibly supportive, suggested ideas, took mine on board and was quick to answer any concerns I had.
I got used to him being the fourth emergency service and I honestly cannot praise him highly enough. I only wish he was an electrician, accountant & car mechanic as well as I’d definitely employ him if he was. He has a great eye for design and he explains things simply & straightforwardly. Brilliant work all round.
Annie Chave,
Chief Editor of National Cricketing Magazine,
County Cricket Matters
Lloyd was able to give our website an inspiring facelift introducing new ideas and giving helpful advice. The result is spectacular and accurately projects the concepts we were trying to achieve.
Dr Malcolm Warner
Owner of the Gozo Farmhouse
When I was looking at creating a website I was overwhelmed with all the different information and jargon that I almost gave up the idea altogether.
Then I spoke to Lloyd... he asked me to think differently about the way I wanted to present my business and to help me showcase what my business had to offer.
Not only did Lloyd create a stunning site, he helped me to understand what my potential customers looked for when searching for a website as well as how long people will stay on a site if they can't find what they are looking for.
Lloyd taught me how to update my website myself and to change things I felt I could tweak or remove unnecessary information meaning I can maintain content myself which gave me confidence for the future.
Thank you Lloyd for taking the fear out of website design and advising me so well.
I would thoroughly recommend White Fox Web Design for your website creations.
Debbie Wooding
Owner & Master Baker - Baked At The Barn
We turned to Lloyd to create a new Website for Temple Methodist Church in Budleigh Salterton, Devon in 2014, based on his proven track record of very successful websites in the Devon area.
Lloyd created the site I then took over the role of Webmaster for keeping the site up to date on a weekly basis. Prior to this, I had had no experience of maintaining a website. The way that Lloyd had set the site up, meant that these updates have been easy to achieve and when I have needed any help Lloyd has always assisted
me as much as possible.
Using the experiences and training from Lloyd, I have since created my own website for which I could never have done without Lloyd's guidance and support.
Jim B - Temple Methodist Church, Budleigh Salterton
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Invader since 1997...
When we talk of Street Art, we inevitably list graffiti, collage, murals, stencils and lastly mosaic tiling. All these disciplines have several representatives, except for the last one. The only proponent of in situ mosaic tiling, Invader, is by himself a major part of the definition of Street Art. Although no one knows exactly who he is, everybody has already seen his works. He probably is, with Banksy, the world's most renowned urban artist.
However, the artist did not begin with the street. In 1997, Invader created his very first mosaics inspired by image pixelation. For example, by following the encrypted images of Canal+, the TV pay channel, in particular the X-rated films broadcast on the first Saturday of the month, or pixelating existing pictures using IT tools, Invader, accompanied by the painter Jean Marc Dallanegra, created his first works by gluing squares of ceramic tiles on wooden boards. These boards were not displayed in the street, but were sold on the flea market in Vanves where the visuals were even put on T-shirts. This has a certain charm when we realise that when they are viewed from several metres away, the pixelated images - sometimes suggestive - become perfectly legible.
1997 was therefore a pivot year for Invader. It marked the beginning of his career, but not the beginning of the invasion. This career was first thought up around pixelation, but was mothballed for a while as he worked on the global invasion project. It regained its full force when the artist created Rubikcubism in 2005.
The earthling Invader began his invasion in 1998. The Louvre, the Hollywood hill, the walls of Paris, Montpellier (with fellow artist ZEVS), and in random order, Aix-en-Provence, Frankfurt, London, Miami, Hong Kong, Rome, New York, Los Angeles and Vienna, the underwater depths of the Bay of Cancún and outer space with the International Space Station. Twenty years on, he has affixed more than 3,400 mosaics worldwide in nearly 70 cities. These mosaics, which have all been archived by the artist, are sometimes noted in maps and Invasion guides, published when Invader carries out a large-scale action in a city. Paris, London, Miami, Los Angeles, Rome and Hong Kong therefore each have their Invasion guide. And Paris can be particularly proud as it can boast of being the only city to which the artist has dedicated two books. Today, more than 1,200 mosaics are spread over the capital's twenty districts.
Galerie LE FEUVRE has worked with Invader for a long time. Between 2009 and 2015, it represented the artist in France. In 2011, the exhibition 1000 was organised to celebrated the 1000th mosaic to be affixed in Paris. The exhibition was held in La Générale building and at the gallery, and revealed installations, photographs, Space Waffles, Speed Balls, signposts, Rubik's cubes, Aliases... Invader made his entire universe accessible to the French public.
March 2016
By digging up, in addition to more recent works, these four works dates 1997, Galerie LE FEUVRE presented to art lovers, the many fans of Invader and collectors, the beginnings of a career that has already spanned twenty years and adorned walls from all over the world.
Jonathan Roze
Text published in preface of the catalogue "Invader : Masterpieces"
Gallery LE FEUVRE & ROZE (former Gallery Le Feuvre), 2017
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Public house of letters, arts & sciences
> Performance | Live Show > Music | Dance / Visual art / Meet the Artist | Moruya
Thur 16 to Sat 18 and Thur 23 to Sat 25 May, 3pm-9pm
Air Raid Tavern, 73 Vulcan Street, Moruya (Map at bottom of page)
Looking for a place to stop and unwind after a day on the Art Trail? You’ve come to the right place. Everyone is welcome at the beloved Air Raid Tavern, the official public house of the River of Art 2019.
Come and have a drink with artists, performers and fellow festival goers. Chill out in the Princess Margaret Snug, enjoy the atmosphere in the front bar, stay in town for a meal, and dive deep into the lively discussions that are bound to unfold.
Some events you’ll find at the Air Raid include:
Location Map
Air Raid Tavern, 73 Vulcan Street, Moruya
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Wall paper mural
Charlotte’s surrealist etchings and collages are printed onto high quality however now a selection of her works are being offered to you in the form of a Wall Art Mural for application directly to your chosen internal wall.
WE MAKE CUSTOM WORKS, just send us a photo of your wall and its dimensions, and we will be happy to prepare several proposals of visuals and framing. (you should allow 60 euros extra for this custom work).
Whilst ‘a picture paints a thousand words’ these decorative murals suggest a thousand words and more, creating a different aspect to a space by adding magic and enchantment.
They are being offered in various designs with different formats (depending on the model chosen, the number of strips and the width of the strip are specified).
A very good quality of very opaque, matt and smooth non-woven papers. Washable with a sponge and soapy water.
Easy to apply with good resistance to tearing, does not shrink when drying. Eco-friendly label.
160 g without glue (use non-woven paper/thick paper glue)
175 g pre-glued. On the reverse side there is a glue that can be reactivated by spraying with water and repositioned during installation.
Showing 1–9 of 28 results
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Suggest 1 or more tags for this set. Please do not tag as model or studio name.
Use a comma (,) to separate 2 or more tags. Example (closeup, beach, lingerie, heels, nice ass).
You also can make your own custom tags with favorite sets. Example (your nickname)
Met-Art – Li Moon Sineza (Jun 27, 2016)
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creative industries fund nl
Venice Architecture Biennale 2021 tips
8 June 2021
A year later than planned, the 17th International Architecture Exhibition at La Biennale di Venezia is taking place from 22 May to 21 November 2021. The Creative Industries Fund NL supported a total of ten projects that can now be seen at the Venice Architecture Biennale. We provide a list of the projects below.
Dutch Pavilion - Who is we?
Het Nieuwe Instituut and the Creative Industries Fund NL jointly launched an open call in early October 2019 for a contribution to the public parallel programme at the Dutch pavilion. This programme takes place before, during and after the Venice Architecture Biennale or at other locations. Entrants were invited to respond to the theme of the Dutch pavilion, 'multispecies urbanism'. These three selected projects can be seen:
Failed Architecture with Stories on Earth. Stories on Earth is an attempt to use storytelling and design to develop a critical model that can challenge the current narrative about the relationship between humans and nature.
Bureau LADA with Shallow Waters. Shallow Waters is a speculative research project into aquatic biodiversity as a model for a 'water-related society' in which humans play a secondary role.
Studio Wild with The Forbidden Garden of Europe. The Forbidden Garden of Europe examines the extent to which spatial and social factors influence inclusive ways of living together. The garden can be visited from 29 August 2021 at Spazio Punch, Giudecca, Venice.
During the online opening programme on 20 May, the three projects were introduced through video portraits. You can watch the videos here:
main locations Venice Architecture Biennale - How will we live together?
In addition to the joint open call, the Creative Industries Fund NL issued another open call for projects related to the 'theme How will we live together?' at the main locations of the Venice Architecture Biennale. Head curator Hashim Sarkis is giving a central position to the major social issues of this moment on the basis of five focal points: 'individuals', 'new households', 'emerging communities', 'across borders' and 'one planet'. He invited six parties with a Dutch background to exhibit in one of the main locations in the coming period. Of these, three design teams were selected within the open call:
Studio L A with City of Ceramics. City of Ceramics is an installation that consists of the map of Venice on a floor of extremely fragile terrazzo tiles. With every step, cracks appear in the map, until at the end of the bienniale it will be in smithereens, leaving the visitor to reflect on their own presence in the city.
FAST, Foundation for Achieving Seamless Territory with Watermelons, Sardines, Crabs, Sands, and other Sediments. Border Ecologies and the Gaza Strip. This project investigates the problems in the Gaza Strip from an ecological perspective. In an installation consisting of a long dinner table with various objects, the results of the research into the relationship between ecology, culture and politics in Gaza are presented.
Alessandra Covini and Giovanni Bellotti with Variations on a Birdcage. Variations on a Birdcage is an investigation into objects that provide a direct encounter between humans and animals. The result is a playful installation on which people and birds can exert influence by playing, transforming, cultivating and feeding.
8.jpg
temporary procedure for international collaboration
By means of the Temporary Procedure for International Collaboration, the Creative Industries Fund NL is supporting projects that provide a substantive contribution to the development, profiling and reinforcement of the international position of the contemporary Dutch creative industry, and is focusing on new forms of international collaboration.
Three projects have been selected to be shown at the Venice Architecture Biennale:
4DSOUND with Grove. Grove is an immersive audio-visual and sculptural installation and meeting space that offers a vision on inclusive building. A soaring, undulating canopy of luminous, shimmering, lace-like clouds embedded with liquid-filled glass vessels hovers above a central screen, where a film by Warren du Preez and Nick Thornton Jones is projected. The projection is surrounded by columns with built-in speakers that carry a 4DSOUND composition by Salvador Breed.
Thomas Libertiny with Beehive Architecture. Beehive Architecture concerns an installation of 3 pavilions 'made by bees', made directly from beeswax by honeybees in their hives. This process is recorded live and presented on a large screen, allowing visitors to live the experience directly.
Ooze architects with Future Island in Venice about the evolution of the landscape under the influence of climate change, the capacity of the planet and the potential to adapt.
digital culture
Studio Pointer with the Modular 3D Scanner Toolkit with depth cameras. This makes it possible to scan objects and bodies 360° and convert them in high resolution in near real time. The aim of the project is to develop a well-functioning setup in terms of hardware and software, so that the digital scan is produced as sharply and quickly as possible.
Photo above: 'Grove' installation by Philip Beesley and the Living Architecture Systems Group Photo: PBSI
The importance of international collaboration
8 June 2021
Internationalization has been a key objective of the Creative Industries Fund NL since its inception in 2013. By means of the Grant Programme Internationalization and its replacement in COVID-19 time, the Temporary Procedure for International Collaboration (TPIS), the Fund offers support opportunities to makers and designers to enable and continue collaboration with international partners. Commissioned by the Fund, Joanna van der Zanden, curator en advisor, has conducted a study under applicants to the Grant Programme Internationalization into the effects in recent years on the design sector. She has also investigated the need in the field and the effect of COVID-19 for international cooperation.
what is the importance of internationalization for the design field?
Joanna van der Zanden: 'First of all, I would like to mention that all the interviewees and respondents were extremely positive about the Internationalization programme. In general, you can say that it is good to be able to question the culture that has built you, and that is achieved better by operating internationally. In order to stay sharp, the entire field – makers, researchers, producers and intermediaries – needs this international context. Dealing with and learning from cultural differences and working on a different scale and within other locales provide new insights that strengthen the field artistically and feed its innovative power. Sometimes these insights lead to a transformational change of direction in one's own practice, and sometimes to a surprising collaboration or new assignments. What most interviewees and respondents agree on is that they could not have developed their design practice as successfully without the international experience. We need international exchange to continue nurturing the artistic and innovative power of the Dutch design field. In addition, international investment of time and resources also pays off in our own country. Anyone who stands out internationally enjoys greater prestige, media attention and opportunities in the Netherlands: ranging from a purchase of work by a museum to a chair at the university.'
'Recognizing the differences opens up equality in collaboration. This is where the challenge lies.'
were any differences observed per discipline?
Joanna: 'The need for internationalization is partly felt because the Netherlands for many designers is too small a country to build up a flourishing practice. For example, the assignment market is too small for designers. Starting designers and younger brands in particular benefit greatly from the support of a presentation at a fair or festival abroad. Mediating parties are often mentioned as indispensable because their knowledge of the international or local market and their network are of great importance for successful follow-up steps. Architects, researchers and landscape architects often indicate that the experimental scale in the Netherlands is too small. There is a need for research and pilot projects that explore themes such as circular energy, sustainable water supply, self-sufficiency and housing issues, and that is not always possible in the Netherlands. The field is too small for makers within digital culture. Digital culture is an international network, people seek each other out and stimulate and develop the discipline jointly. Without presentations and collaboration abroad, you can't build a career as a maker.'
where do the challenges lie?
Joanna: 'The criticisms about the objective of internationalization stem from the observation that an overly convinced and complacent attitude about one's own qualities can get in the way of exchange and undermine local sensitivity. A deep awareness of one's own background and privileges are important for a good relationship. Although Dutch design is still highly regarded internationally and opens many doors, it would be good if people were to name what they are less good at. What makes you curious? What do you want to learn? The challenges that designers can contribute to are the same worldwide, but the contexts differ, however subtly. It is from these differences that the field can learn. Recognizing the differences opens up equality in collaboration. This is where the challenge lies. Because really getting to understand each other takes time. Support is needed for projects and programmes that span longer periods of time or are allowed to go through different phases. There is also a need for more residencies abroad. These are plentiful for visual artists but scarce for the design field.'
'Support is needed for projects and programmes that span longer periods of time or are allowed to go through different phases.'
what have been the most startling effects of COVID-19 on international collaboration according to the respondents?
The study took place partly in the middle of the pandemic. When asked whether they thought international collaboration would be permanently changed by COVID-19, 96% of respondents answered in the affirmative.
Joanna: 'In addition to the direct negative economic effects of COVID-19 due to the disappearance of festivals, fairs and presentations, the lack of physical contact was often mentioned. This is precisely what is so important for a good exchange and understanding. It is also more difficult to build relationships and networks during this period. Many contacts made during fairs and festivals arise spontaneously, by chance. That is missing now. However, positive effects of this situation were also mentioned. The process is quicker and solutions can be found more quickly with the foreign partner. Explorations in collaboration also turn out to be perfectly possible online. And with the help of more local people, building presentations can also be done remotely. In economic terms, a number of respondents have seen growth in online sales and new sales markets as a result. Furthermore, the past year has proved to be a period of innovation, for instance looking for other presentation possibilities and setting up fairs. This is quite a challenge, and for a number of respondents it will mean the end of an existing business model for now, but the questions will stimulate the development of new possibilities. How do you convey the physical well virtually? What can the constructive utilization of Virtual Reality or Augmented Reality mean for international exchange? And how do you interact with the audience from a distance?'
The study asked about choices related to sustainability and internationalization – what were the responses?
Joanna: 'More than 90% of the respondents are open to making sustainable choices, or are already doing so. People want to fly less and travel by train more, including outside Europe, and when they are abroad, they want to stay there longer or combine several trips. We're moving to 'digital first', 'travel light' and 'stay longer'.'
Interview Non Native Native | NNN Fair
3 June 2021
As Asians in Europe, Belle Phromchanya, Darunee Terdtoontaveedej and Honey Kraiwee noticed that they faced many assumptions and stereotypes. That is why they founded Non Native Native in late 2018, a cultural platform that provides a space for dialogue and reflection on the Asian creative landscape in the Netherlands. At the end of June, in collaboration with like-minded platforms from Germany, they are organizing Non Native Native Fair. The project was supported by the Fund through the Temporary Procedure for International Collaboration.
We spoke to Belle Phromchanya and Darunee Terdtoontaveedej. Both of them exchanged Asia for Europe in connection with their studies, and are not unique in this. However, the experience was not an unqualified success. Confronted with stereotypical expectations and prejudices, they experienced little room for exchange on subjects that really concerned them. Darunee: 'In those days, most of the mentors in the department were white and cis male. It was assumed that as an Asian, you are a connoisseur and representative of Japanese design, which is highly regarded here. Or people thought you would identify with the work of Ai Wei Wei, although this is now quite outdated, to give a few of the many examples. Belle adds: 'For example, people also assume that I know a lot about Indonesia because I come from Thailand. Chances are, however, that the average Dutch person knows much more about this country.' Darunee: 'Europeans are diverse, and naturally Asians are just as diverse.'
'Leaving with no goodbye' as part of the project 'Before I was born' by Tja Ling Hu
There was hardly any room to discuss this situation, at any rate a few years ago. That is why they started Non Native Native. As a cultural platform, they have organized exhibitions, lectures and round-table discussions in recent years that focus on the Asian creative landscape in the Netherlands. The current times, in which there is significant attention for diversity and inclusion and Black Lives Matter emerged, but for instance racism against Asians also increased, has made the platform more activist than intended. Darunee: 'We think it's important to draw attention to our cause, but we certainly don't want to compete with other equally urgent issues. The message we're sending is activist, but we're not explicitly that.'
In 2019, they discovered that their platform did not stand in isolation and came in contact with Berlin-based collectives sōydivision and un.thai.tled, both with a wide reach and viable business models. They kept in touch to exchange experiences and learn from each other. The collaboration is now being consolidated in the Non Native Native Fair project, a hybrid event from 26 June to 2 July 2021 that brings together Asian creatives from different backgrounds and disciplines to present their work and products. Sōydivision and un.thai.tled are curating the Berlin contribution.
'Fair remuneration is often a challenge for creatives.'
Non Native Native Fair is a layered project that focuses on telling alternative stories. The aim is to reflect on what it means to be Asian in today's world and to make the issues faced by the Asian diaspora visible. At the same time, the project examines the value of labour. Darunee: 'Fair remuneration is often a challenge for creatives. So we want to ask our participants to set the price of their own labour, on their own terms.' In order to recruit participants, an open call was issued. Belle: 'There turned out to be significant interest, including from outside the creative industry and outside the Netherlands. That is why we scaled up. It underlines the urgency of the issue.' The fair consists of two parts: the market where various products ranging in price from one to a thousand euros are sold online, and an online programme where participants present themselves and which contains interactive 'live' components inspired by teleshopping channels, including on-the-spot discount codes, phone-in sessions and live chats.
The diversity of the almost 50 participants is considerable. The projects of Tja Ling Hu and of Jing He and Qiaochu Guo stand out, for example. In 'Before I was born', illustrator Tja Ling Hu depicts the story of her family who emigrated from China to the Netherlands and of whom she knows little because of the closed Chinese culture and the language barrier between her and her older relatives. Tja Ling Hu wants to give others insight into the story behind her family but also behind others with a similar experience. In this way, she wants to create more recognition and understanding for the Chinese community. Jing He and Qiaochu Guo are making a video project for Non Native Native Fair in which they deconstruct the Dutch civic integration exam. The exam does cover relatively trivial matters such as how to behave when invited to dinner and how to call an ambulance. But it totally ignores how to deal with the hostility and racism that many face as an immigrant.
'Real integration' byJing He and Qiaochu Guo
To what extent the experiment will be a success remains exciting, but several hurdles have already been overcome. For example, it was a challenge in COVID-19 time to set up good communication and the open call online, but both have succeeded. Another challenge is the scale of the event, which is larger than any previous Non Native Native initiative. What is exciting now is whether it will appeal to a wider audience outside the predictable range, and especially whether the message will get across. Belle: 'Does the audience also understand the knowing wink and the elements we're playing with? Perhaps not, but the fact is that we are planting a seed that might later grow into understanding.'
Open Call Building Talent 2021 for experienced design agencies
17 May 2021
The Fund is looking for experienced design agencies within the disciplines of architecture, design and digital culture that, with a contribution from the Fund, would like to enter into a collaborative programme this year for a period of approximately three months with a talented, starting maker or designer.
In this first round, which is open until 21 June 2021, design agencies can submit an initial research proposal. There is scope to support approximately 30 agencies. In August a repeat of the call is planned in which a further 70 cooperation processes are made possible. The application is relatively easy and quick to prepare.
Subsequently, in the second round in July, design talents can respond to the selected research proposals and a match will be made between agency and designer. The Fund then provides a subsidy to both the studio and the designer.
The objective of the call is to strengthen the connection of starting designers with the professional field during COVID-19 and to support the work field during this crisis by creating extra room for in-depth research and experimentation.
Open Call Building Talent 2021 for experienced design agencies
• Total budget available for round 1 and round 2 is € 375,000, which will allow for the selection of approximately 30 proposals.
• Amount available per collaborative programme: € 12,500 (€ 6,250 for the design agency and € 6,250 for the starting designer)
• Submit up to 21 June 2021
• Duration of collaborative programme 3 months (starting half September 2021)
• Available to experienced design agencies from across the creative industries
As a result of the coronavirus crisis, it is more difficult for design agencies to make time, space and resources available for self-initiated research and experimentation. In addition, it is difficult for many starting designers to find a connection with the professional field. By creating space for collaboration, the Fund wants to support starting designers and established agencies in this area. The purpose of the grant scheme is therefore twofold: firstly, the Fund aims to contribute to strengthening the knowledge, experience, network and entrepreneurship of starting designers. Secondly, the call offers an opportunity for experienced agencies to deploy extra design power for in-depth research and experimentation. There is a greater need for this, particularly now.
who is this open call for?
In this first round, the Fund is calling on design agencies from across the creative industry to submit a proposal. For instance, studios, architectural firms, collectives, game developers, fashion labels or other forms of professional design practices.
After completion of the first selection of design agencies in June, the second round will follow with a closing date of 24 August, for which starting designers and makers can apply, in response to one of the selected agencies and their specific research proposal.
Design agencies can submit a proposal until 21 June at the latest.
Read more about the open call and how to apply here.
download9.jpeg
Nine projects selected in Immerse\Interact round 1 – 2021
11 May 2021
In the context of the Immerse\Interact collaborative grant programme, the Creative Industries Fund NL and the Netherlands Film Fund are supporting nine projects within the interdisciplinary media landscape.
The Immerse\Interact Grant Programme focuses on the crossover between film, design and digital culture, where new ground has arisen in which digital pioneers, interaction designers and graphic designers work together with directors, scenarists and producers. It results in innovative media productions where digital storytelling and interactive or immersive media play a central role.
During the first round in 2021, the following nine projects are receiving a contribution:
De Rietfluit
Jules van Hulst
Synchronic Cinema
Aram Lee, Quenton Miller, Luca Napoli
Zalán Szakács
Niki Smit (Monobanda) en Sarah Ticho
Jet of Blood
Justin Zijlstra en Lisanne van Aert
Oranova Nachtmarkt by Merel Barends, Jantiene de Kroon en Mooves
The Miracle Basket
Abner Preis en Valk Productions
Eclipse (photo above)
Ali Eslami Karrabi, Mathilde Renault en Alllesss
Oranova Nachtmarkt
Merel Barends, Jantiene de Kroon en Mooves
Voor Liefde: Klik op F
Maarten Groen, Jan Eilander, Jessie Tiemeijer, DPPLR & VRBASE.Studio en Daniel Doornink
The next deadline for Immerse\Interact is Tuesday, 31 August 2021. It is advisable to contact the grant programme coordinator, Sean Gilis, well in advance of submitting a proposal. The contact person at the Filmfonds is project supervisor Nienke Doekes. The grant programme falls under the subsidy regulations of the Netherlands Film Fund.
Voor Liefde: Klik op F by Maarten Groen, Jan Eilander, Jessie Tiemeijer, DPPLR & VRBASE.Studio and Daniel Doornink
the fund
Today the Creative Industries Fund NL publishes its public annual report 2020 in digital form. The year 2020 had only just begun when the COVID-19 crisis broke out, resulting in uncertainties for many... more >
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Easily get essays for sale online at the best prices for any subject
Posted on April 21, 2020
Introduction to The Paper Sculpture Project and instructions on the proper use and reading of the introduction
This introduction was written by Mary Ceruti, Matt Freedman, and Sina Najafi, the curators of The Paper Sculpture Show in 2003. It was originally published in The Paper Sculpture Book, that accompanied the exhibition. The publication itself functioned as a compilation of detachable pages, each with a design for a paper sculpture to be made (or not) by the reader.
When the initial version of this project was presented in Cabinet magazine in 2001, it was noted that few readers were actually willing to sacrifice their magazines to build the sculptures. (A notable exception was an artist who, while stuck for several hours in a stalled subway car under New York’s East River built all the projects. This artist has been invited to participate in the current show.) The present format is specifically designed to be taken apart and asks the readers, as urgently as is politely possible, to actually build these projects. Exhibition visitors are further requested to leave behind their completed projects for subsequent visitors to admire or criticize. By making the success of our project explicitly dependent on the collaboration of our viewers, we have raised a series of questions. None of these questions has any clear answers, nor does it seem to us that clear answers are desirable. Therefore, we propose to construct the remaining portion of this curators’ essay as a kind of unresolved paper model of a paper.
We will present a series of propositions, queries, and points of debate. In the interactive, slightly unpredictable spirit of the exhibition itself, we happily leave the final organization of this introduction to the reader. Just as the ultimate conformations of the sculptures are up to the assemblers, the ultimate conclusions are to be reached by the reader. The seams of this essay (and those of most of your sculptures) will probably remain visible. Not all the tabs will be tucked in neatly, nor will all the glue drips be carefully wiped away. It is in the nature af this project that multiple resolutions of a fairly specific schematic plan are possible. What to make of this confusing freedom? This is the heart of our inquiry. We will now present a series of emphatic and absolute statements regarding the questions raised by this exhibition. If you disagree with a particular proposition, rest assured that you will find its counter-argument presented with equal fervor shortly thereafter. It is your prerogative to select and assemble the arguments you favor into the catalogue essay of your own design.
PROPOSITION I. No One Reads Introductions By Curators
It is true that hardly anyone, including ourselves, ever reads curators’ introductions. You, dear reader, are one of the exceptions and you are now free to stop. To help you decide whether you wish to abandon us at this point, we would only point out that this problem of reading or not reading that which has been written anticipates the larger challenge set by the project—to build or not to build the sculptures—and poses its own paradoxical question.
SLOT A: Does an Essay Lying Unread in a Catalogue Make Any Noise
Insert either TAB 1 or TAB 2 into SLOT A
TAB 1) Yes. Read the next paragraph and then stop.
It is completely unnecessary for you or anyone else to read this essay for it to do its job. It is a surprising and dismal truth, but catalogue essays are not written to be read. They lounge impressively at the front of the exhibition catalogue, radiating credibility and creating critical elbow room for the artists whose images are shortly to follow. The essay writer, often the hired gun of the gallery, is there simply to lend legitimacy to the entire enterprise, like the wine and cheese and the clean white walls. “Images without text are embarrassing,” writes Boris Groys, “like a naked person in a public space.” (1)
TAB 2) No. Read this essay.
The unread essay is silent and even slightly absurd. If it is not read, then its ideas are not shared between the writer and the reader and is by definition a failed and useless thing. This book is not simply a catalogue for a show; it is, redundantly, also a book. And it is also, to be twice redundant, the show itself. The show cannot clothe itself in what Groys calls a “textual bikini,” for the essay itself is far too modest to provide much cover; it is transparent and skimpy and potentially reversible. You cannot fully experience the contingent nature of the show without embracing the compelling ambivalence of the essay. Everything contained herein is part of the show and fails or succeeds along with it. In any case, this essay has no interest in establishing a market value, for there is no market value to establish. We have nothing left to sell you once you have acquired the book. Indeed, you really don’t have to buy anything at all. The artworks are free for the taking in the gallery, providing you build them first and leave them behind for the duration of the exhibition.
If you wish to continue reading the curators essay, do so only for curiosity’s sake. No polemic will be unloaded on you and only a couple of famous intellectuals will stick their noses in to lend the project greater heft. We are on your side, the side of the viewer, the side Baudelaire took over 150 years ago when he launched the field of art criticism. This alliance with the public was abandoned in recent decades when the professional art critic, in search of friends and patronage, jumped the fence and became the lapdog of the art world. We will not drape the artworks coyly in words. We are old-fashioned exhibitionists who strive only to provide you with as clear an idea as possible of the impulses that drove us to organize this exhibition, and of the thoughts that occur to us now that we contemplate the project as a whole.
PROPOSITION II. You Must Build These Projects
In a sense, most art exhibitions are dead by the time the first viewer steps into the gallery. Whatever was done to make the works on display good or bad, interesting or not, was accomplished by the artists, possibly aided and abetted by the curator, before the art moved into public view. Opinions may vary as to the success or failure of an exhibition, but essentially all opinions are autopsy reports. Here, on the other hand, the viewer is not merely an onlooker but to a significant degree also the maker of the show. Viewers construct the works according to the directions of the absent artists. Even more importantly, the show develops as the built projects accumulate in the exhibition venue. How well or how poorly viewers construct their projects and engage in the de facto collaboration with other visitors will determine the amount of pleasure and instruction subsequent visitors derive from the show. Far from being dead, the exhibition is constantly being born and reborn. This proposition, however, is more controversial than it might at first appear. It can be argued that the sculptures should not be built at all. You can assemble this argument or its counter-argument as you see it, using the following information.
SLOT B: The Unmade Paper Sculptures
Insert either TAB 3, TAB 3.1, or TAB 4 into SLOT B.
TAB 3) … An Utter Failure.
The worst-case scenario is that no one builds anything and the exhibition space remains bare. Such emptiness would announce the visitors’ indifference, if not their outright hostility. No conventional show leaves a trail of its own failure. A painting cannot tell you if the last person in the gallery looked at it for five enraptured minutes or sneered and turned away in an instant. In any case it is a cliché of museum culture that works of art attract the attention of each viewer for an average of less than ten seconds. Given this, The Paper Sculpture Show makes what could be considered unreasonable demands on its visitors. The simplest sculpture in this show might take five minutes to complete. You may say without fear of contradiction that you enjoyed the latest Impressionist blockbuster at the Met even if you only caught the most fleeting glimpse of a single water lily between fifteen jostling shoulders. You cannot, however, say you fully experienced The Paper Sculpture Show unless you built a paper sculpture.
TAB 3.1) … A Different Kind of Failure
The unbuilt sculpture, besides falling to contribute to the evolving installation, denies the visitor the exhibition’s most exquisite experience of all: the opportunity to experience the creative activity of the original artist. Not to build a sculpture is to deny yourself the evanescent and powerful palpitations of creativity; the jittery, risky, high-wire joy of making something new and shiny out of something old and familiar.
Not building the sculpture also denies you the opportunity to face one of art’s most metaphysical conundrums: can we identify an exact moment when the artist’s raw material magically transubstantiates into a plausible and compelling work of art? A long Jewish joke about irrational fear involving kreplach, the dumpling delicacy, is relevant here, though somewhat tedious. (2) The joke teaches us that the moment at which something in the process of creation becomes the thing its creator intends is deeply mysterious. Even if we think that this moment does not exist, our claim to distinguish art from non-art paradoxically relies on such a moment having existed. This is true of art as well as kreplach. Here in the Paper Sculpture project, however, the problem is admittedly more complicated. Did it become art when the original artist completed his or her design, and does it remain art despite all of your well-intentioned but unprofessional tinkerings? Or does it only become art the moment you finish building your version of the work, which after all was the originating artist’s intent?
The fact that you follow the guidelines set by another is irrelevant; you are the ultimate creator of your artwork. Borges’s Pierre Menard heroically attempted to rewrite Don Quixote word for word, hilariously finding that the same words that flew into Cervantes’s seventeenth-century Spanish mercenary’s mind were much more difficult to generate from the perspective of an early twentieth-century French intellectual. It can hardly be as challenging for twenty-first-century art lovers to re-imagine the creative experience of twenty-first-century artists. We acknowledge that if this book lasts for 300 years, future builders may find it more difficult to put themselves in the minds of the artists. But we are not sure of this. Only time will tell.
TAB 4) … A Success
Is not necessary to touch even a single piece of paper to appreciate work of the artists. The book is beautiful. The gallery installation is beautiful. Look at all the unbuilt works lying there in your lap or laid out in front of you on the table. So elegant! So intriguing! In some ways, the participating artists’ ideal viewer is one who chooses not to build any sculptures at all, but simply to look at the untouched designs and dream of what they would be if completed. As dream-designs, they are perfect, and hold limitless possibilities of beauty and profundity. It is only as they begin to take actual form that they, like all works of art passing from the artist’s head through his or her hands, begin to be compromised by the harsh limitations that talent and circumstance place upon every human endeavor. Visitors who wish to avoid the poignant sadness and icy intimation of mortality that accompany the completion of any work of art are advised not to embark on any of these projects. Perhaps you can learn this hard lesson only by trying and failing, but our only interest is to save you from yourself.
And in any event the physical appearance of these projects, weather they attract you or not, is really beside the point. What is more important, as we have argued, is that you have the opportunity to understand the intentions of the artists as clearly as possible, and you need not construct the artworks to reach this understanding. This understanding will always be incomplete, though just how incomplete is up to you and the project you are contemplating. Some of the artists will help you with precise and thorough instructions. Others will intentionally frustrate you with projects whose subject is the very impossibility of retracing another’s footsteps, of recreating any experience or moment in time.
SLOT C: The Completed Paper Sculpture Is …
Insert either TAB 5 or TAB 6 into SLOT C.
TAB 5) … A Success
If you build it, it is good. There are no bad paper sculptures. The mere act of sitting down, cutting out a project, and assembling it is all we ask of you. Do not worry about making the perfect sculpture; you cannot fail to make a positive contribution to the exhibition. Simply by building the work, you make it yours, whatever yours means. In so doing, you memorialize an encounter as sincere and demanding as you are likely to have with a work of art any time soon. And remember, every interaction between a work of art and a viewer is incomparable; no one viewer has a privileged response that is uniquely valid or “correct.” Probing the notion of “good” versus “bad” acts of construction reminds us of an underlying question which may trouble some readers. Are these artworks kits with instructions to be slavishly followed in order to recreate a mere approximation of the absent original work of art? No. Each project is a potential original, and each new “creator” brings a specific personal history to the problem of making a new work of art. By this standard, the more “original”—that is, the less “conventional”—your construction techniques are, the “deeper” and more profoundly analytical your “reading” of the instructions becomes, and the more successful and “true” your resulting artwork will be. The more you suppress your distinctiveness by submitting yourself to the fascistic superego of the directions, the more conventional and less interesting your sculpture will be. The artist who produces work according to a codex can only be mediocre. Imagine the instructions for the paper sculpture projects to be the equivalent of the nineteenth-century French academy. Your hapless inability to follow the rules prefigures the birth of modernism.
TAB 6) … A Failure.
There is no perfect work of art; therefore all works of art are to some degree failures. The closer you come to the completion of your project, the more palpable your failure will be. It follows from the contention of TAB 4 that not building any projects shields the viewer from the sadness that accompanies the completion of any work of art. Therefore, the built sculpture emphatically embraces that sadness. If you have completed a project, then you have inevitably fallen short of your goal, whatever that goal was. Even if you cannot quite articulate what your goal was, you are reminded of your limitations by the inadequacies of what you have just built. Some of you may be quite charmed by your projects, but look closer. Did you cut everything just so? Is everything tucked in properly? Aren’t some of the sculptures that others have built much nicer? We are not relativists. We do not believe in art as therapy. We have standards. Is your work up to snuff? Probably not.
And what if you think you did the best job here? So what? Who have you helped? Isn’t artmaking ultimately a selfish and antisocial act? Maybe if you had spent less time selfishly perfecting your project and more time selflessly contributing toward the Common Good, the world would be a better place. Even the most egotistical artists (well, perhaps not the most egotistical artists) have pangs of doubt as to the ultimate morality of their calling. Like sensitive football players, self-aware artists periodically torment themselves with questions of legitimacy: “Who am I helping? I struggle to construct a work of beauty that cries out against the gathering clouds of war and injustice and it ends up on a rich man’s coffee table. What am I but a small-scale manufacturer of luxury items?”
Now that you have mastered the two propositions, chosen the appropriate tabs, and fit them snugly into their slots, you have in effect written, or at least edited, the catalogue essay for this exhibition. By the time you have reached these final few words of the essay—your essay—everything should be in place. You should feel the confidence from the above diatribe radiating in your bones. You should have convinced yourself of the logic and sincerity of your position and the uniqueness and quality of the exhibition you are promoting. The “Stockholm Syndrome,” in which the captive begins to sympathize and identify with the causes of his or her captors, holds true for hostage situations and for catalogue essay writing, two situations perhaps not as dissimilar as we would like to imagine. If you cannot fully endorse the exhibition at this point, then there is something fundamentally wrong with your essay and you must go back and rework it, possibly from the ground up. If you have, on the other hand, become fully enamored with the remarkable attractiveness and importance of The Paper Sculpture Show, then you have accurately and thoroughly completed your essay. You may reward yourself by reading the kreplach joke now. (3)
(1) Boris Groys, “Critical Reflections,” Artforum, October 1997, p. 80.
(2) Wait. Do not read the kreplach joke yet. Save it until you have finished reading the essay. Then read it and let its aftertaste linger in the mouth of your brain.
(3) A mother tells her rabbi that her son has a deep dread of kreplach. The rabbi advises her to show the boy exactly how she makes the kreplach so that he can see for himself all the ingredients and labor that go into them and realize that there is nothing to fear. The mother decides to follow his advice. She leads the boy into the kitchen and shows him how she rolls the dough and cuts it into little pieces.
“This is the same dough that I use in your favorite pancakes. Ummmmmmmmm! It’s nothing to be afraid of, is it?”
“No, Mamma.”
Next she shows him how she chops the meat for the filling. “Yummy meat. It’s nothing to be afraid of, is it?”
“No, Mamma.”
Then she spoons the tasty meat onto the squares of his favorite dough. “It’s nothing to be afraid of, is it?”
“No, Mamma.”
Then she starts to cover the filling with the dough.
“See, I fold over one corner of the dough like this. And I fold over the second corner like this. Oh, so easy! Then I fold the third corner. Nothing to it! Now I take the last corner …”
And the boy screams, “Ahhhhh kreplach! Kreplach Kreplach!”
The kreplach joke appears in Paul Hoffman and Matt Freedman, Dictionary Schmictionary! (New York: Quill Press, 1983).
Posted to
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A View from the Blue Pumpkin Cafe
Moody red skies with tumultuous waves crash against a rocky cliff. Bright, luscious cherry blossoms bloom in Central Park.
Anna Schmidt, former Yukoner, takes us on a journey, one she has taken many times both physically and through her paintbrush.
“I tried to approach this show with an eye towards showing viewers places that really resonated with me,” she says.
They resonated with her for a reason. Each oil painting captures the essence of a place in which Anna left memories.
The icy blue and white skyscape of the imposing Rocky Mountains, the eerily futuristic reflection of the New Jersey skyline reflected from the water across Battery Park. These places called out to Schmidt, and in turn, call out to us.
“I like experimenting with the abstract, and I have to say I lean towards that when I am painting,” says Schmidt.
This show features primarily landscape pieces with Schmidt’s favourite, a more abstract piece, displaying a view from the Blue Pumpkin Café in Cambodia.
Her pieces are all in oils, a time-consuming medium considering Schmidt also enjoys layering her pieces to evoke sensations of light and dark.
“My one piece of the New Jersey skyline has eight layers of oils on it. Guess how long that took to dry!” she laughs.
She’s not joking as she mentions, later, waiting a month or more to continue certain pieces, even now remarking how some black paint rubbed off on her fingers while she hung them.
Schmidt is a Yukoner now living in Calgary, although she visits Whitehorse often and is pleased to display her work in her hometown. She is a renaissance woman, working on a PhD in Cardiology and stretching her creative expressions in her spare time, as an outlet.
“I don’t work as a professional artist, but I have trained professionally,” she says. “I enjoy working with techniques, variety, and I find I use art as a method of personal reflection, and create pieces primarily for friends and family.”
A particular piece reflects a certain haunting beauty, a stand of dark trees disappearing into a misty landscape. The oils used are blended to experiment with perspective, to show us the rapidly dissolving tree-lined road. The effect is ethereal and mysterious.
Not all of Schmidt’s pieces are done this way, but she uses perspective and colour effectively, to really ‘show’ viewers the emotions and strength of skill behind each painstaking piece.
Schmidt laughs about some of her earlier work, in which she light-heartedly emulated the masters, such as Chagall.
“Yes, I experimented with copying brushstrokes of famous artists. It’s a great way to learn, and now some people have a Schmidt Chagall hanging in their living rooms,” she says.
The Blue Pumpkin opened at the Chocolate Claim Thursday, October 7 and runs until the end of October.
Because Schmidt is also the director of Operation: Smile’s Calgary branch, a portion of the proceeds of her show will go towards funding cleft-palate surgeries as part of Operation: Smile’s mandate.
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193c6c1f-c2bf-47df-8cde-2791c93ab390
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Personal Branding Using Social Media | Interior Designer’s Guide.
Personal Branding Using Social Media | Interior Designer’s Guide.
well he llo guys welcome back to aseel by
sketchbook I’m Super Duper excited about this particular video just because it
made me force myself to research this topic which I’ve been curious about this topic since
forever! today’s topic is about personal branding why do you need a personal
brand how to do personal branding and I’ll show you this is really hard for me
to do by the way so it’s just easier to do this personal branding is very
important especially in this day and age because of the following reasons first
of all if you’re applying for a job so for an interview or if you’re meeting up
with a client your interior designer or not the interior designer this video is
for everyone literally or if you simply just want to grow your business you need
a personal Brown that’s right first of all half of the employers right now if
they’re interviewing you half of them that’s 50% of them check
your social existence (online) so they will go through your Instagram they go through
your facebook they look at what you have to offer this is why you should refrain
from being offensive or from cursing and from swearing you know especially if
your profiles are public you want to clean background check take a look at it
if you have a personal profile that’s great you can keep it for yourself you
can open public if you want to establish a business you can mix between like your
own you know content or your own pictures and the rest of the content but
again you need to have this balance you need to focus more on the niche that
you’re working with in the upcoming years 40% of the workforce will be
actually freelancers so the chances are you might be a freelancer you’re working
as a freelancer if you don’t have a personal brand then you don’t have a
contrast that shows who you are between all of the other candidates and I’m sure
that everyone has their individual characters let’s talk a little bit about
individual characters because first of all we need to celebrate our differences
each one of us is different than the other person the chances are you and
your spouse or you and your best friend you have a lot of things that are very
very different. use. that. difference. these little quirks
to have your personality and everyone else says that they’re weird these are
the things that make up your personal brand so for example if you are
incredibly organiz d or OCD this could be a quirk of yours
(Monica Geller): I got soap and
sponges and rags and carnuba wax and polishing compound.
this is something that people
associate you with because you’re super organized or your supre messy like I am
message to you is f-first of all find your own voice find this character
about you that no one else has you know of course if you put content like
everyone else then you’re not very original I mean unless you’re PewDiePie
then you can pull it up pull that off pretty well
original and you deliver something that’s tasteful aesthetically and
functionally pleasing to you the chances are people will like it because people
like what other people are passionate about their people will want to go to it
because you’re passionate about it and people love what other people are
passionate about if you’re passionate about something you talk about it you
know other people are response to it and they would want to be inspired by you so
by the end of the video I will share with you a couple profiles that I think
did personal branding pretty well and I’m so excited for that so stay tuned
for the end of the video if you want to know who I’m talking about first of all make yourself a cup of
coffee second of all go to this website 16
personalities calm I’m not paid to say this but I promise you you’ll figure out
all of things about yourself that you didn’t know before basically
understanding your personality type and having some self-awareness on who you
are as a person will actually lead you to figure out the key words that you
need to start off your personal branding process just please do me this favor and
write me in the comments down below what your personality type is especially if
you are a fellow ENFP you guys are like kind of my favorite because I’m an ENFP
or an INTJ that’s my husband’s personality type so let me know what
yours is the next thing we’re gonna do is we’re gonna niche down and we’re
gonna choose something that fits our aesthetics depending on the keywords
that you found out about yourself this is your starting point if you want to
write something how you you can research how you want to make people feel through
your personal brand you can provoke multiple emotions you can even provoke
anger I see a lot of youtubers do doing that with commentary channels but still
their personal brand is analyzing how others are acting and being a little
judgmental I’m not saying it’s right or wrong I’m saying that it’s a strong
personal brands but I mean it’s up to you you do you alright alright after
choosing what kind of emotions we want to evoke exactly like if you’re choosing
an outfit in the day like you want to convey a message about who you are maybe
if you wear a completely black (outfit) you want to say that you’re a rebel and you’re
against all stereotypes or if you were colorful things you’d want people to
know that you’re a fun person like it’s exactly the same concept when it comes
to personal branding it’s kind of how you wear an outfit to the world is what
you convey on social media and this is why aesthetics are very very important
you argue that aesthetics is one of the most important things especially in
social media to give you a personal brand and aesthetic
can be a challenging task but I have a few ideas for you that you can do you
can definitely go to Pinterest or any website that you find inspiration and
look at pictures that draw your attention if it matches the emotion that
you want to provoke matches your keywords so after putting together a
comprehensive mood board what you can do is you can apply filters to it and you
can check what actually matches your taste a by making a mood board as well
or what I would strongly strongly strongly advise you to do is download
fonts that go with your overall aesthetic you can choose like as many
fonts as you want but I would tell you to stick to two fonts that you are known
with for example I always use on all of my videos they’re the same fonts unless
it’s something bizarre people kind of associate me with these fonts because
this is like kind of my aesthetic so this could be something that you aim for
a certain color but we’re talking about Instagram grids you can aim for certain
colors you can aim for certain filters the more you are consistent with your
contents the better the overall page looks the stronger your personal brand
is I’ll write down in the description box
all of these useful links where you can learn how to make a mood board and as
well I’ll leave their sources for the fonts how to you know download the font
to your computer and all the useful tools on how to build the personal brand
I’ll leave it down below as well as a blog post that talked more about this
topic let’s go to the Instagram accounts that I think that are a really really
good example for personal branding a shameless plug is I’ll start with my
account opened up Peter (Mckinnon) showed up with his p.m. grid challenge which was like
an autumn transition on the grid the Instagram grid that he put in his video
also link it down below this is when I started like getting really experimental
with my grid there’s a lot of better grids than mine. my best friend that was my
kind of the opposite of my grid it’s she’s a like really colorful really bold
with the colors and she does art as well she does pouring art they’re focusing on
her niche is very shown in her grid she also posts like personal pictures of
course and it shows the personal side shows the human behind the art which i
think is really good other profiles that I really really enjoy is Ala’ Zakaria
who is also an interior design student and a blogger but she has this very
distinctive graphic style that is also handmade and I can relate to this
aesthetic a lot we also have shambenzblog blog her name is sham and also her grid
and her content is very strong and a really great personal brand other
accounts that really enjoy is contessa artwork and her name is Rawan she is the
girl that made me this little bottle that I hang on my wall which is the
moodboard wall and I think also her calligraphy Arabic calligraphy I haven’t
seen it in a while so to see her account was very refreshing okay7anan is
another (AWESOME) example they’re both interior design students and it’s just seeing
someone who is like aware of personal branding from the beginning is really
really good for the more professional accounts I really enjoy sample board
inspo I love their account I love how they lay out their mood boards and some
inspirational pictures Huthifa sketch but if a sketch
I love his sketching style actually sketching style is very distinctive and
I think it has a very strong brand of its own and he does tutorials as well so
he shares his knowledge with people more famous grads are Liza koshy Liza Co she
is very funny she’s very colorful when you go to her grand you see a lot of
muted tones and minimalistic personal branding I love that the contrast is so
good between her reality and which he displays online or in social media I
cannot finish this video without Kaylin Nicholson’s gred she’s my favorite
youtuber and I really listened to her podcast and I watch her videos she’s
such a spectacular person and I really enjoy her content as well her grad is
very structured it’s very well done Peter Makonnen is also a very big name
in the world of photography I loved his feed of course I do but also he is the
person who got me into the grid game and got a lot of people to be honest if you
know any accounts that I should follow and you want me to see their personal
branding please leave them down below because I would love to see it leave
your account down below as well I would love to see how you do your personal
branding whether it’s on Instagram or on any other social media even YouTube is
like I would love to see how you brand on YouTube alright thank you guys so
much for watching also uploading this video in Arabic tomorrow and I’m
uploading I’m loading twice a week there are the same video but one of them is in
Arabic and one of them is in English because of the high demand in Arabic if
you want me to make a whole youtube channel for the Arabic content and leave
this channel for just the English content now let me know in the comments
down below thank you guys so much for watching and have a great time of the
day wherever you are in the world good bye
5 thoughts on “Personal Branding Using Social Media | Interior Designer’s Guide.”
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Developing a social prescribing service at Art in Healthcare based on an Occupational Therapy model Part 3
Following on from the fourth and final art workshop of our social prescribing service for referred patients of Baronscourt Surgery, we held a Celebration Event last week, at the Surgery, with patient’s artworks newly framed and hung. The event was indisputably a happy one, full of chatter, cooing at artworks and laughter with patients, GPs, Art in Healthcare staff and volunteers amongst others. The surgery, which was closed to the public for the afternoon for staff training, took on the feel of a public gallery opening, an entirely different atmosphere to the hours when open as a GP surgery.
Four of five participants attended the event with the fifth reluctantly unwell. All seemed proud to see their artwork hung on the walls and were pleased to pose for photographs beside their work. One lady brought along cakes for the event, consistent with having voluntarily brought along biscuits and milk to each of the four workshops. She also brought flowers for myself as the project coordinator and a card for the artist, which felt a sign that she had got significant value from the workshops prescribed for her at the surgery, over and above any medicines that she might otherwise have been prescribed in the past.
The GPs attending the event, over and above our GP partner in the project, seemed considerably impressed with both the finished artworks now hanging the walls of their workplace as with the purpose of the project and questions were asked universally about ‘what happens next?’. On a short term basis, while the workshops have finished, we can be assured that the patients have formed friendships throughout the project that already sees them making plans to get together for coffees and art meetups. On a longer term basis, I am working on a substantial report that will draw together the key learning from this project and serve to inform future planning for similar projects, as for contributing to funding applications that may support further art projects at Baronscourt Surgery and beyond.
Meanwhile, I am partway through my Occupational Therapy 1:1 evaluations with the patients that aim to gather key feedback on both their participation in the project and regarding the goals we set together at the outset. These sessions are also a chance for us to discuss what happens now for patients with regards to art and how they might build art and creativity into their lives on a longer term basis as a contribution to their health and wellbeing.
What’s become resoundingly clear is that this project has had significant social benefits for all participants, getting them out of their homes to integrate and form friendships with previously unknown people in their local community; patients have stepped out of their comfort zones to try a new activity and realized what they can actually achieve, raising their self-esteem in the process; and participants have all expressed themselves immeasurably through the creation of artworks, many of which now hang proudly on the walls of Baronscourt Surgery for every visitor and GP to see. Now that is what I call a successful prescription for someone with enduring mental health needs.
A full report on the project is available at: bit.ly/29PsIlz
Amelia Calvert writes as the Outreach Manager of Art in Healthcare and as an Occupational Therapist.
Art in Healthcare is an Edinburgh-based charity whose mission is to enhance the health and wellbeing of everyone in Scotland through the visual arts.
24 March 2016 by
Art in Healthcare
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Lot 6010
Sold for US$ 8,962 inc. premium
Auction Details
Lot Details
A collection containing approximately 14 manuscript and 28 printed leaves, each being significant exemplars of their kind, chiefly from the former collection of John Hadmar Sticht, with his bookplate on mattes, including the following highlights: vellum leaf from a book of hours, [England: circa 1350], (170 x 120mm), with small illuminated initials heightened with gold; vellum leaf from a book of hours [Flanders: circa 1350], (130 x 85mm), with a small drollery figure in margin; a large criblé initial (145 x 135mm) cut from a French antiphonary, circa 1450; a leaf from St. Augustine, De civitate dei (Rome: Sweynheym & Pannartz) 1470, with a fine illuminated initial; leaf x3 from the first Jenson Bible (Venice: Nicholas Jenson, 1476), with an illuminated initial; five leaves from the Nuremberg Chronicle (Koberger, 1493), one with vignette of Babylon; a leaf from The Golden Legend (London: Julian Notary, 1504); five leaves from Poliphili hypnerotomachia (Venice: Aldus Manutius, 1545); three leaves from the Kelmscott Chaucer (1896), including one marked as a "trial proof" of the first page of text (verso blank); a bifolium on vellum from Arthur Szyk The Haggadah (1939), with color printed vignette.
Provenance: The Madeleine Pelner Cosman Collection.
See illustration.
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2L6x6x1/2x3/8 Dimensions
The steel beam dimensions for the 2L6x6x1/2x3/8 section can be seen in the table. The depth of the section is 6 in. The width of the section is 6 in.
Dimension Value
Depth 6 in
Bottom Width 6 in
Bottom Thickness 0.5 in
Gap 0.375 in
Materials and Design Standards 2L6x6x1/2x3/8
This section is typically designed using the design standard AISC 360-16 LRFD and is manufactured using a hot rolled process as it is a steel section.
2L6x6x1/2x3/4 Dimensions 2L6x6x1x3/4 Dimensions
Beam Sizes is powered by SkyCiv Software.
SkyCiv provides cloud-based engineering software for structural engineers. SkyCiv software includes powerful Finite Element Analysis, design capabilities, and an API that can be accessed anytime, for any location on all devices from one platform. SkyCiv aims to help you improve your design workflow and increase efficiency.
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A minuscule mascara brush. Pieces of a prom dress. Scraps of a suicide prevention number.
These tiny objects, part of an art exhibit coming to Mason County this month, represent teenagers abused by boyfriends, disabled people assaulted by caregivers, women raped by coworkers, and many more stories of sexual violence.
Mere Objects is participatory art project designed to honor and empower people who have experienced sexual violence and increase awareness of sexual violence in communities.
The exhibit, from artist Sarah Jane, debuted at the MAC Gallery in Wenatchee in November and will be on display at St. Andrew’s House in Union from Feb. 14 to March 8 before touring the country this spring.
“I have a strong sense of what it takes to heal and recover and survive and build a life,” Jane said. “Many out there have experienced sexual violence and just don’t talk about it very much. I wanted to highlight that resiliency. This is something that affects people from all walks of life.”
Jane is an artist, a sculptor and a transplant to Washington state. She’s a former graduate student and adjunct professor, and for the past six years, she’s worked as the art program manager for the nonprofit Grünewald Guild in Leavenworth.
She is all of these things, and she is also a survivor of rape.
“I’ve been open about that for quite a few years,” Jane said. “It’s important to talk about, but I really hadn’t dealt with that in my art process. I tend to focus my art on things that are more hopeful and uplifting and celebratory. I didn’t have much positive to say about sexual violence.”
That is, until the fall of 2016, when Jane conceived of the exhibit Mere Objects.
Survivors of sexual assault send in tiny objects that they feel encapsulate who they are or the trauma and/or healing that they’ve experienced, and Jane places the objects in miniature bottles that then make up the art installation, along with messages of hope and healing.
“For anyone who has experienced sexual violence, I want them to have an immediate sense of ‘you are not alone’ when they see this exhibit. I want them to know that a lot of people have had similar experiences,” Jane said. “It is heartbreaking, but validating and hopeful.”
Jane grew up in Iowa and later Indiana, and while her parents worked creatively with their hands — her father was a cabinetmaker and her mother liked to garden and sew — she didn’t consider art as a career path until she entered college.
“I don’t come from a family with a background of artists,” she said. “It didn’t click with me that you could be an artist as a vocation. I always remember making things and drawing, and I remember my parents making things with their hands, but it was always functional.”
A college class in art appreciation opened Jane’s eyes, and she went on to study sculpture in her undergraduate career, and later ceramics and drawing through her master’s program.
Jane worked as an adjunct professor and art gallery coordinator in Kentucky for more than three years before she came to Leavenworth for an artist residency at the Grünewald Guild.
When a job opened at the nonprofit, she decided to stay.
“I was looking to make a bit of a career switch because I wanted to leave the school where I’d been teaching in Kentucky,” Jane said. “I’d been here about six weeks when the job opened up, and I just never left.”
Driving one day in the fall of 2016, Jane had a flash of inspiration and felt compelled to start a project that would specifically involve survivors of sexual violence.
“I’d done other participatory artworks, like invite people to take bells and hang them in particular patterns, so the sound of the bells was a collective decision, and I’ve had people make little things and add them to an existing sculpture,” she said.
Jane gathered a group of 20 people, all survivors, some friends and most of them artists, to advise her on how this project could take shape and properly honor victims.
“I didn’t want my own experience to dictate how this project would go,” she said. “I pitched ideas and asked, ‘Would you feel included, represented, honored and respected?’ There were some ideas that I pitched that were totally rejected.”
One rejected idea, for example, involved asking participants to use childhood nicknames to identify themselves.
“I wanted to have a way for people to participate that would be personal, but anonymous,” Jane said. “Survivors of childhood abuse said, ‘That’s the worst idea ever.’
If your abuser was someone in your family who used your nickname, that would be triggering and unsafe.”
In the United States, more than 300,000 women and men, ages 12 and older, have been raped or sexually assaulted, according to RAINN, the Rape, Abuse & Incest National Network.
Jane’s project so far involves 77 survivors, including men and women, from people who were raped as children by a grandparent to altar boys assaulted by their priests.
Objects include a mascara brush that represents the smudged makeup of a college student forced to perform sexual acts on a family friend to the shredded business card of a victim advocacy organization one woman founded, with the names of her rapists handwritten on the back.
Jane has spent the past two years working on Mere Objects, but she makes sure to find time now to work on her other art projects.
“It was pretty all-consuming just getting this one project off the ground,” she said. “It’s an emotionally draining project to work on, so it’s been nice to be able to get back in the studio and have something else to work on. I’ve been enjoying finding balance.”
Jane knew Dan Oberg, executive director at St. Andrew’s House, because he used to work at the Grünewald Guild.
In April, the exhibit moves to Michigan, and while the prominence of the #MeToo movement has garnered more interest in the project (though survivors sometimes find the increased attention triggering and exhausting), Jane hopes someday the project will become obsolete.
“This is the first piece of art that I’ve made where my dream for it is for it to become irrelevant,” she said. “I don’t know if that will happen in my lifetime.”
The project is first and foremost for survivors, but Jane wants others to gain a greater perspective of the insidious issue.
Visitors are encouraged to write messages of support to the survivors.
“I want people to realize, ‘These are my neighbors or my coworkers or the people sitting next to me in my church pew,” she said. “This is something that impacts every community and it’s always present.”
St. Andrew’s House, at 7550 Highway 106 in Union, will host an opening viewing of the exhibit from 5 to 9 p.m., Wednesday, Feb. 14, and a closing reception from 7:30 to 9 p.m., Wednesday, March 7.
The gallery is open by appointment by contacting director@saintandrewshouse.org or 360-898-2362. Admission is free.
For more information, visit www.mereobjects.org.
Read or Share this story: http://www.kitsapsun.com/story/news/local/communities/mason/2018/02/05/more-than-mere-objects-exhibit-honors-victims-sexual-violence/308578002/
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