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Keep Looking For Your Artistic Dreams
by Alex Rowe
When I was an art student, and even a year or so after I graduated, I had a very rigid idea of what my work and my life as an artist would look like: I would illustrate books, and only books. End of story. Spoiler alert to all of you young artists out there: this is not the best course of action. Pursuing a specific dream, like book illustration? Totally fine! Limiting yourself professionally and creatively? Not so much. I fell into the trap a lot of young artist fall into: limiting my work by keeping my dreams too narrow. Whether by not taking some classes because they didn’t fit with my goal, or even not drawing some pieces I thought of because they didn’t work with the portfolio I wanted, I was limiting myself as an artist.
The problem with staying focused on a goal is that we sometimes ignore the directions that our work is trying to take us, and when we stray too far away from our true work we lose focus on why we make art in the first place. A career in art is not a simple trajectory. There are many turns and surprises that it can take us that we don’t even expect!
In my case, some of my jobs out of school were t-shirts and logos for local bands. I had to learn a lot of things about design that I neglected to learn earlier, but this work brought me more and more joy as I completed projects. The key is to be open to these surprises. Let go of your dreams in order to find them again. Ask yourself, why do you make art? I think you’ll find the answer is much more broad than any specific goal that you’ve set.
How do you avoid being trapped in a goal that’s too specific? Simply be mindful of your artwork, of what brings you joy, and what your artwork is trying to tell you. Don’t try to make your work fit a specific goal, but try to find a goal that fits the kind of art you enjoy. In my experience, as I let go of the assumption that I knew what I wanted to do, I’ve been having so much more fun making my work again! And you know, that reinvigorated love has made me still work on a portfolio for book illustration – as well as other things.
Fear not: as grim as the career of an artist may look at times, there are more ways than ever to get your work out there and make it work! I found little success when I was just looking at book publishers – but now that I’ve started meeting local bands, interacting with small businesses, and even joining a gallery (trust me, the last place I thought my work would fit!) I’m slowly finding people who I can work with as an artist. Be honest with your artwork, and the right venue for it will come.
Related Articles
My Poisonous Checklist, by Clara Lieu
One Simple Purpose, by Clara Lieu
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Violin Star is a three-book series offering beginner violinists a refreshing and inspirational choice of pieces to help build confidence and musical skills. The repertoire is imaginatively tailored to develop specific techniques through an exciting range of musical styles.
This Student’s book contains the solo violin parts, along with colourful illustrations, activities and playalong tracks. The Accompaniment book, available separately, includes piano and violin accompaniments for every piece.
Key features of the series include: an approachable progression from beginner level to Grade 2; playalong tracks with each Student’s book, which contain specially created instrumental arrangements to convey style and mood; and original compositions and arrangements by Edward Huws Jones.
Stay updated on the latest composer news and publications
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Valley Below | Melbourne Studio of Art
V a l l e y – B e l o w refers to the autobiographical experiences of the artist, exploring concepts of the known and unknowable parts of self that lie below the surface. His work takes inspiration from archetypal spirituality, using contorted bodies, fused with animals in motion in an exploration of emotions and memories. This particular body of work expands on themes that Piper has been developing over the past four years. He reflects on his experiences growing up in country NSW and explores totemic imagery within his work as a tool to convey narrative and emotional experience.
“As an artist, I am compelled to explore personal experiences and translate them into paintings, drawings and poems to express that which cannot be understood without the abstraction of creation. It’s about one’s own past being observed outside of context, and how we self-assess by explore the past through our present understandings.” – Piper says.
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Current Issue
April 2015
Issue: April 1, 2011
Luma creates VFX for 'Thor'
VENICE, CA — Visual effects studio, Luma Pictures (www.lumapictures.com) was humming leading up to the release of Marvel Entertainment’s epic film, Thor. The studio was tasked with bringing an essential antagonist in the film to life: the mighty “Destroyer,” an enchanted suit of armor created by and imbued with the powers of the gods.
Luma worked with Marvel’s creative team, infusing the aesthetic of The Destroyer from the original comic books, paired it with Legacy Effects’ character sculpture and crafted a believable and loyal rendition for the new film. Luma used Maya and Z-Brush for the character modeling, and the studio’s own in-house toolset for the rigging. This model, combined with a barrage of custom shaders, gave The Destroyer its photoreal sheen.
One challenge Luma faced with The Destroyer was maintaining the rigid look and feel that a heavy metal suit of armor should convey while still allowing for a sufficient range of motion needed to execute the shot. The Destroyer is made of hundreds or metal slats, each one perfectly aligned to its neighbor. This design works well as a static pose, however becomes very complicated when animation is applied.
Marvel wanted the slats to remain entirely rigid, without any apparent bending of the metal. In order to allow the character to move, a sophisticated rig was created that dynamically amortizes the slat translation across multiple regions in order to circumvent large gaps or stretching during joint rotation.
The Destroyer’s energy beam was designed in-house. Luma used reference movies of rocket engines from JPL. The energy pools inside The Destroyer as though he is charging up, before firing. The blast and internal energy was created using a mixture of high velocity fluid simulations and dense particle renders driven by geometry.
Luma developed The Destroyer battle on Midgard (Earth), which includes an elaborate fight between Thor and The Destroyer. During the battle, Thor spins his hammer at incredible speeds, spawning a super tornado that lifts CG cars, debris and ultimately The Destroyer into the air.
The studio’s in-house software programming staff designed tools for the VFX team to help visualize the large amount of data needed for the super cell generation. This allowed them to design the lighting and shot composition before rendering dense data sets.
Luma Pictures also created some of the film’s environments and mystical special effects, including the opening nighttime scene in Midgard when Thor is delivered from the heavens via the “Rainbow Bridge.” The Bridge is a transportation vortex that manifests as rays of light extending from a complex supernatural storm comprised of an aurora, thunderheads and spiraling tornadoes, dubbed the “Bifrost” in the film.
The effect called for several layers of environmental effects on top of and interacting with one another at once. Using voxel rendering techniques and complex lighting rigs inside the funnels, Luma created a dynamic effect that delivers the film’s hero to Earth.
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Michael Coghlan is one of those people I have known so long online that I forgot how/where we met. We have spent time together in his home of Adelaide, Australia. When? What were we doing?
The memory is fuzzy, but I can get the info because I have photos of that time. It was October 20, 2006, on a walk in the hill country outside of town.
I know too that Michael has traveled a lot in the US — because we have a semi-regular exchange of comments through flickr photos. He drops a comment on my photos every other week or so; and I do the same mainly trying to figure out Where in the World is Michael. He takes a lot of street photos, photos of people of different cultures. I see his world through his photos.
Michael sent a link to a post where he describes what he likes about taking photis and why he considers himself more of an “Anthrogeographer”
“So you’re a photographer Michael?”
“No. I’m an Anthrogeographer.”
“What’s that?
“Someone who photographs people and places and how they interact.”
“Ah…interesting…”
A Regular Thing
Tonight after dinner I will open up this laptop and do what is easily the most rewarding and satisfying thing I do, what I have done almost every night back to 2008.
I will connect my camera and then my phone to the computer, transfer the pictures, and start reviewing/processing them. I have been doing a daily photo project and post my pick for the day to a flickr group– since following the lead in 2007 of D’Arcy Norman (more on the story).
Tomorrow, I will reset for my 10th year of doing this:
Collection of flickr albums of each year since 2008
This year and 2015 I will notch the exact daily total, but in years past I have “failed” — in quotes because my goal is not to have a perfect record, but to have a regular practice that I try. No one cares if you take 365 in a year or 238 (me in 2012).
I will reset the name of the 366 Photos Group, and comb through the group pool to find new images for the icon and header image:
There are 1467 members who have shared 211,291 photos here – that is not insignificant. It might be odd to call this a “group” or a “community”. There are generally like 5 messages posted to the discussion area; and my responses are often months late. No one really goes to this space, but they do keep joining and adding photos.
Peter Behind the Lens
Peter Behind the Lens flickr photo by cogdogblog shared under a Public Domain Dedication Creative Commons ( CC0 ) license
It reminds me of my experiences in participating in the photo shoot workshops we had offered years ago when I was at NMC. You spend a whole day with a group of people in a location, sometimes spread out, sometimes shoulder to shoulder, but often with little conversation. But it’s that proximity to others doing the same thing you enjoy that feels comforting in a counter intuitive way. If you analyzed it, you might think it’s anti-social or not communal, but when you get to see each others photos, and the imaginative way others saw the same things you were looking at differently– it can be very communal.
Photo Processing
In my daily photo review (I will stay up til 3am doing this to avoid letting the flow back up) my first pass is to discard ones I don’t want and then edit the others. I touch almost every photo, a gentle crop, a nudge of the levels, sharpen, sometimes enhance (I use Silver Efex Pro for black and white, part of the free Google Nik collection and Intensify CK for sometimes HDR or color play).
I prefer to say I am “making photographs” rather than “taking photographs” — the latter to me suggests “snap and upload.”
Again and again my average is to discard two thirds of the ones I take.
Then I go back again, and write titles, captions, and add tags (I still use old Aperture)– when I upload to flickr, all that info goes with it, but I keep the data in my grips. I then pick the one I want to tag and add to the flickr group.
The real joy is seeing often something in the photo I did not notice when I took the picture. Sometimes the joy is coming up with witty title, or writing a short story as a caption. Often the pick of the day is not what I would have guessed before.
It’s my titles, captions, and tags which assist my memory when I am trying to remember when I was in a certain place, or with certain people, and that connected with flickr’s time stamping, makes my photo stream an important personal tool in writing and communicating. You cannot use your photos as a marker for your own history if the only data you have for them is a title like IMG_9809.JPG
You do not have a usable history if all your photos flow just to Instagram. I challenge anyone to find a photo in their own stream from say, 2 years ago, or that time you were in ______, or shared a meal with _______. You have no ability to search your own photos, all you can do is scroll, and scroll, and scroll.
That said, I have taken to posting to Instagram this year. My process is to do this before sleep, I open my flickr app so find a photo that I repost to Instagram (nothing is in Instagram I cannot find in flickr), trying to make it different from my photo of the day. And I do have some enjoyment scanning what other people are posting. It’s a window to their world.
Yes, I was a sheep and did BestNine. But there it is, my year- dogs, trees, mountains, snow, and lights
I also post my own favorites to my “photography portfolio” site I call Barking Dog Studios
My process is to regularly mark my picks for this in Aperture with a 5 star rating, and every other month or so, I export these image, and add them to my site. I have this wordpress site rigged where all I need to do is drag a photo to the composition window (it uploads), then write the title, add categories and tags, and publish. My custom scripts generate the description from the meta data info in the image.
Every now and then I do add some writing to some of the photos, where I describe what I was thinking about or what went into the creation of the image- I call it Inside the Photo
This year I had 6 photos selected for flickr’s Explore — 2 were taken with my iPhone.
Much More than the Photos
It’s the act of taking/making photos that is most meaningful, not the photos themselves.
2014/465/123 I am Ready For My Closeup
2014/465/123 I am Ready For My Closeup flickr photo by cogdogblog shared under a Public Domain Dedication Creative Commons ( CC0 ) license
When I have taught digital storytelling some of my favorite remarks from students was that from small exercises like looking for interesting shadows, or textures, or taking pictures into the sun, or cropping a sign — these little daily exercises has the result of them noticing their world in a way they did not before.
They end up looking for sharp light in the mornings and evenings, or using the diffuse lighting of a cloudy day. But mostly what they are doing is looking more intently at the world around them, and seeing it, rather than walking around absorbed in their phones, or just not being aware.
I know this in my own practice. I count 3106 daily photos (and many more taken along the way) and 80% are from my home or my 1/3 of an acre. Yet I never fail to find something new. Many days I am out walking, like this morning it was overcast, rainy, muddy, and I thought, “What will I find today?” And then I am amazed on a walk I have done hundreds of times how I can see something new.
It’s very much in the vein of what D’Arcy Norman wrote long ago as Mindful Seeing. I can say, when in the act of looking for my photos, or out on walk, my mind is not intently focused, but very relaxed, and all those “stuff I gotta do” thoughts are gone.
It even rang true in a Vox piece I read today about one writers experiment with microdoses of LSD to counter internet addiction:
But with a microdose, there isn’t enough of an effect to kick off a religious awakening: The drug merely heightens one’s experience of the ordinary. It made me appreciate the mundane aspects of my life, the things I ordinarily ignored or took for granted. Richards suggests the same effects may be achieved by meditation, and that’s a good way to think about what microdosing felt like: It might make you more mindful, especially over time, and its cumulative effects might be revolutionary, even if the more immediate effects are rather subtle.
I find my photography habit does this, and is both cheaper and safer than LSD.
People can go on for years debating if photography is an art form or not. I could care less, but I do consider myself in the former camp.
Many times I might have a visualized image of what I will got (I am seldom correct). But often I have this tingling sense that “there is a photograph worth taking here” — it can be the light, it can be just noticing an interesting texture, or something out of place. I find it pays off to take the photo when that tingling happens. It’s almost like hearing a certain audio frequency that no one else can.
To me, it’s an act of artful cropping when I look through the camera and press the button. There is a vast amount of detail and information anyone can see with their eyes, but with the camera, I can emphasize, draw attention, create a highlight of all that in a smaller space. It’s focussing attention? And even if others are nearby with cameras, our photos are never exactly the same.
Because it’s not just the photo- it’s my presence, it’s my connection to the moment, it’s me there at a time, a place. And the photo I take, re-edit, add captions & titles, upload to flickr, all become like more neural connections to that moment.
A photographer named Will Nedders wrote something I bookmarked a while ago, intending someday to write this, In Sharpening Your Photographic Mind: The 2 Types of Photographers he outlines these extreme end cases of photographers:
The technological obsessions have spawned a huge mass of what I call “Type 1” photographers. Type 1 photographers are, more than anything else, technologists at heart. They are insanely interested in, and motivated by, the gadgets, gizmos, and objects behind photography. Their photographic eye is motivated by a sense of novelty—of capturing things in ever increasing technical perfection, and getting those “amazing single images” that seem to animate sites like Flickr and 500px.
Type 2 photographers are not pixel peepers by nature. They tire of the gear blogs, even if they dive in from time to time before they make purchases. They spend the majority of their time optimizing for very different types of personal development. And they tend to have a fundamental issue with Type 1 culture—put simply, that it is founded upon systemic discontent. If you convince yourself that great images are distinguished from lesser images by a measurement of megapixels, you have entered a special circle of Dante’s hell where you are doomed to a type of artistic identity crisis whenever better and better “gear” comes available that you do not possess. There is a tyrannical cycle at play in a world where you must measure by microns to determine your level of artistic competence—especially if the market for microns is spitting out new standards of “quality” every few weeks (and at prices that take months to years to responsibly afford).
Type 2 photographers are driven not by a search for technical perfection and visual novelty, but by a passion for discovery, insight, and exploration. They struggle to understand moods, the interconnectedness of human society, and obsess over what it means to tell a story or to illustrate a human idea.
It’s a bit of a setup (the writer acknowledges these are edge cases, and many people are hybrids)- but he writes this scenario (bear with the long quote in a long post, I am tired myself):
Consider two friends, a Type 1 and a Type 2 photographer, who travel to a working farm for a photographic assignment.
The Type 1 photographer brings his latest gear, refreshed only 8 months since his last major purchase, and has a bag loaded with lenses behind his seat. He’s got every fast zoom that covers all the major focal lengths, as well as some stunning primes. He has a top of the line tripod, several heads, and a case full of light modifiers and flash systems. Everything looks new, and is extremely well preserved and organized in a series of late model bags and cases. His gear, gathered around him like a brood of chicks around a mother duck, are a constant source of both inspiration and anxiety to him. Thinking about which piece of gear to deploy in one situation or another gives him a mental rush, while worrying about which zoom or prime would be ideal causes a firm anxiety and discontent.
He won’t know if he has an image to satisfy him until he gets home, downloads the cards, and has a chance to consider at 100% crop clarity, edge sharpness, and color rendering (even though he will live tether his camera to his tablet during the shoot).
The Type 2 photographer has only one small bag behind her seat. She’s got a good camera, though it’s a few years old by now, with a few high quality lenses. Her equipment, however, is beat to hell and looks much older, and less capable, than it actually is. Her notebooks aren’t filled with algorithms or light recipes, but instead, contains bullet points from her previous weeks of research into the farms, the people, and the culture of the region. She has let her curiosity guide her down a hundred rabbit trails in the last few weeks that ranged from agricultural economics, to the differences in family counseling between urban and rural relationships. She dug into local values, and even visited the region a few times to eat breakfast at the local meeting spots. Her cell phone has pictures of the magazine stand in the drug store on main street, in order to get an idea of what artistic and cultural influences the community embraces. She even has her notes from a few casual interviews she had set up with the farmer and some of the members of his family before she showed up with a camera.
Upon reaching the farm, the Type 1 photographer jumps from the truck and gets to work—there is much to do. Tripods are set up, locations scouted, and lighting equipment is pre-staged around the most picturesque (and cliche) locations—the barn, by the tractor, around the livestock, etc. Not having spent much time on a farm, almost everything is visually novel to the Type 1. He immediately spots a rusty old truck beside the barn and almost squeals with glee, knowing it will get a lot of play on Instagram later.
The Type 2, however, does something quite different. Instead of unfolding into the lawn like a circus train, she leaves her bag in the car and walks to the door. The family spots her and they wave warmly to each other through the window. A dog runs from the house to greet her, and she welcomes him by name. There is no piece of gear that installs skills like conversation, curiosity, and human connection—so her gear remains in the car. A few cups of coffee are shared, the schedule and intent for the shoot is discussed and checked against the family’s feedback, and then they set out together as the photographer grabs her bag from the truck.
In the hour the family spent with the Type 2, they almost forgot the camera was there. She didn’t hide it and used it often, but she also talked from behind it. She showed interest in the farm’s history, and the shoot felt a lot more like a mutual conversation than like a target propped up in a shooting gallery. They family felt connected to her, and as they unfolded, even offered some more inside information about what it felt like to make a living from agriculture in their little town. The photographer noticed the tiredness in their eyes, but also their happiness. She shot her set, but with her eyes and mind trained back to what it must feel like to life the life the family has chosen, and the symbols of their choices that collect around them as they live their lives. She had a long list of things to look for that were not in any way cliche, and in fact, anchored the family in their current time and space. She asked if she could return, later, in case she wanted a more dramatic landscape or even for a more formally lit portrait if needed. The family warmly consented.
In the hour the family spent with the Type 1, things were a little different. The photographer was friendly, but hurried. He didn’t seem to know their names, and he directed them almost as if pursued by an approaching catastrophe (“We’ve got to work fast before the angle of the light changes”, he’d say, as well as “Do you think you can move that tractor a few yards to the left and tie that horse up behind it? How long would that take? And do you have a tarp to cover that old chair so it’s not in the frame?”). The family tried as hard as they could to respond to the poses he suggested, but felt awkward and mostly wanted the the session to end. The photographer downloaded all the images taken to a tablet as the shoot drug on, looking occasionally elated, but more often he’d wrinkle his brows in concern at something he saw, and would ask for a reshoot of a pose or situation. The family didn’t really feel the photographer was tied into the spirit of the farm, but neither were they comfortable enough to consider trying to correct or redirect him. So they tried to follow his advice, barked from behind the dark, cyclops eye of the camera lens, to keep their front legs forward as they leaned back against the rusty truck (that was only being stored there for an uncle they didn’t really like, but family always takes care of family in their world…)
Now raise your hand if you would like to identify with Photographer 1 over 2. Anyone? Bueller? That’s the “setup”. I do like that the writer has made the more obvious photographer to identify with a “her”. I had some thoughts of rewriting this with the genders flipped; it might make an interesting research study, if I was interested in research studies.
But photographer 2 is definitely more humanly present, and the image is not her prime goal. It’s an experience, and also she is not neutral or removed from it… she takes part in it.
The So What
I doubt I have fully captured why a daily photography habit is so meaningful to me, but it’s still the favorite part of my day. It is so part of my ritual I cannot see not doing it.
So I won’t stop. In a few hours I will do my last photo of the day.
And reset my stuff to do it again in 2017.
Forgotten in the post!
Get yourself in place to join the 2017/365 flickr group?
“Me and My Canon” flickr photo by me https://flickr.com/photos/cogdog/4715730271 shared under a Creative Commons (BY) license
The post "Through the Lens I See, Be" was originally pulled like taffy through a needle's eye at CogDogBlog (http://cogdogblog.com/2016/12/through-the-lens-i-see-be/) on December 31, 2016.
• Patricia Lyons
You do a wonderful job at taking pictures. I wish I was so talented. Pictures are memories of things if the present, past and possibly the future. I look forward to reading your blog and seeing your pictures in 2017. Happy New Year to you Alan!
• Sandy Brown Jensen
You inspire me to do better by my photos than I have this year, although I think it was one of my best years visually.
This post reminds me of how much I enjoy your photos as I encounter them on Instagram and Flickr.
I am definitely a Type 2 photographer, using my iPhone7+ almost exclusively over my DSLR since I got it. People don’t “see” it or guess what amazing images it is capturing.
Maybe my anti-resolution this year should be to get back to curating as well as I used to. I haven’t blogged much this year, either, although I do have a very deep daily writing practice.
This first year of retirement has slowed me down. I hiked more, photographed more, wrote more, saw some profound country, visited and was visited by far flung friends (like you, like my best friend from Adelaide–I jumped straight from an email from her into this blog opening with your friend from that same city, more proof that “life likes to rhyme.”)
I had also gone through Pete Souza’s photos and captions last night, loving that iconic shot of Obama and George Clooney, that long shot of Obama giving the blessing at the Thanksgiving table; Souza’s comments about the autumn light coming in through Obama’s office window, the light on Michelle’s face, Obama’s delight in the Lego men on the White House lawn and with a shot of him and Malia.
That portfolio and this detailed discussion of your thinking truly combine to help me rethink my life in photography in 2017.
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Origins of Creativity in Writing
There are numerous Blogfests running on any given day. Some are ongoing and others are one shots. With all that run, I do tend to pick around the lot, finding the ones that really interest me…and, hopefully, you.
Origins: When did your writing dream begin? is the brain child of DL Hammons at Cruising Altitude, and he has three co-hosts: Katie Mills aka Creepy Query Girl ; Matthew MacNish at The QQQE ; and Alex Cavanaugh at Alex J. Cavanaugh.
To find the other blogs participating in this blogfest, click HERE or the Origins logo. There are close to 200 writers participating. Check them out.
I’ve also written a Flash Fiction piece Origins: Entitled on my creative fiction blog, Tale Spinning. I hope you enjoy the story.
I can’t really pinpoint an exact time when writing became one of my dreams. It feels like it’s always been there, at the back of everything I’ve done in my life. I don’t feel I’ve ever been tied down to wanting to “be” just one thing, ever. When I have done that, I find that I tend to get bored: especially the times when I’ve played the money game (read: non-creative pursuits).
As a kid, I read comics, watched TV and went to the movies. Outside of school projects, I would create little things for myself. Mini-comics were a way to pass time when I was bored in class. I’d take paper and fold it down, and then again, creating a sequential booklet for myself to draw in (lots of stick figures) and write short pieces. These would get passed around to friends later. I don’t remember ever getting caught.
There were stories I wrote for sleep-away camp newspapers, mainly mash-ups (yes, plagiarisms) of others work, combining different elements into one piece. While never criticized for that, I was often praised for “imaginative writing” and writing skills. I knew the truth, and just shrugged my shoulders.
High school changed that. I worked on the DeWitt Clinton newspaper for a year, writing articles, learning the craft of setting up the newspaper from scratch. I was really involved, and was going to be promoted to an editor’s slot when my parents told me we were moving to Westchester County. While my dreams of the paper were shot at that point (the new HS paper was not very open to someone new coming in), I did continue to write.
Off and on, I would write poetry, short stories, begin ideas for novels…and more times than not they would languish, first just as a pile of legal pad paper and then committed electronically and saved. All through this, I was always hoping I’d have my name on a book (or comic book) as a writer. It was a passing dream that wove itself throughout most of my life, a goal I always hoped I’d achieve.
2011 saw a new stage of writing for me. I created my second blog, Tale Spinning, for experiments in creative writing. Starting only in February of that year, I wound up writing close to 200 short pieces of fiction. I’ve now had two short stories published in anthologies, have my own eStory published, received a number of blogging/writing awards, been asked to write a number of guest blogs, and have won a few online writing contests.
Still to come: holding that physical book with my name on the cover in my hands.
Creativity and Web Design (The Creativity Series: Guest Blog)
Eleanor Kleiner is a one of those people you are just glad comes into your life. We worked together for a short while and became friends. I got to know her as a very creative spirit in both her music and her art. She left for London, met her (now) husband, formed a new band…and is just someone YOU should know.
So…Musician, Web Designer, Artist…Creative Spirit…
The Creativity Series Guest Post:
Creativity and Web Design: Eleanor Kleiner
About a year ago I mentioned to Stu that I was learning web design. What that really meant was haphazardly playing around on Photoshop at a VERY leisurely pace. So, when Stu asked me to design him a website I hesitantly agreed to try, actually having no idea if this was something I could pull off.
Luckily, I did pull it off and it turned out to be a far more creative process than I had previously imagined (of course, building a site for a creative person who used phrases like “flight of fancy” and adjectives like “swirly” to describe want he wants, definitely helps). I also found that having a real world project to complete made learning a lot faster.
Being a musician and creative person, before I began this undertaking I had found the idea of web design to be, at most, a palatable way to make money, but still pretty dull…and Photoshop was a completely daunting obstacle. But as soon as I started speaking with Stu about what he envisioned for his website, ideas started flowing to me. It was a really exciting experience, to be inspired about something which had previously been a complete unknown.
I started seeing people’s websites as extensions of themselves in the virtual landscape of the internet. It’s like a whole new(ish) dimension in which people can present themselves in any way they wish, and my job is to listen and really get a feel for what they want, and then translate that into a site which reflects their vision and is also easy to navigate.
Finding ways to meld the client’s desires and the constraints of the medium into an aesthetically pleasing and user-friendly site is a creative challenge, and it allows me to be creative in a completely different way than songwriting does. With songwriting, I’ve always taken a relatively passive approach, waiting for inspiration to hit and then following it until it runs out.
With web design, I’m finding that having specific projects with various deadlines is allowing me to take a more proactive approach, and I find that the inspiration comes eventually – it just takes some coaxing. When writing a song, I tend to become emotionally invested in the result, which hugely hinders my creativity. The idea that I’m helping someone else create a website, rather than creating something from scratch, takes my ego out of the equation and seems to make being creative a whole lot easier.
So far, the experience has made me aware that trying new creative endeavors is vital for me as an artist. I think that the more creative avenues we explore, the more we grow.
It’s also served as proof for me that no matter how daunting something may seem, if you just jump in and put one foot in front of the other, you’ll get where you’ve wanted to go!
Over the past six years, classically trained vocalist Eleanor Kleiner and French bassist Elie Brangbour have traveled the world on an adventure that began when the two met at music school in London. With a shared passion for music and travel, they took their unique brand of folk/rock across continents, logging enough frequent flier miles to make any avid traveler jealous.
Full of imagery and stories of the human condition, The Whispering Tree‘s songwriting is the backbone of their sound and has been heavily influenced by their travels abroad, which have taken them from South America to China.
Following a seven month gig in Macau and the release of their self-titled EP, The Whispering Tree returned to New York City, where they released their full-length album, Go Call The Captain, in 2010. The Big Takeover calls their latest release “one of the year’s most luminous albums” and Deli Magazine named them “one of the most talented duos to take stage in NYC.”
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Cart 0
“Authentic Expression Creates Genuine Connection”
2018-04-07_JDR_TheDons-0402.jpg
We believe authentic expression creates genuine connection and that we grow from hearing and being heard.
Our goal is to build an active and supportive community for all who share a desire for engagement centered around openness, togetherness, respect and positivity.
ECHT is an artist collective that aims to create an environment where artists and audience are equal parts of the shared experience. In the distracted age of social media, in a country deeply divided, in an increasingly solitary world, we provide resources and opportunities to artists in an effort to cultivate an open and supportive space for all those willing to breathe, open, listen and enjoy.
“We Grow from Hearing and Being Heard”
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Why “ECHT”?
ECHT began like any creative project. There was a need, and from that need came an idea and the willingness to act upon it. If this experience has taught us anything it is the immense power of goals and deadlines. “We have so many talented friends who don’t get to do what they love often enough. Let’s just make it happen ourselves.”
During the summer of 2015 ECHT was born in the backyard of Ben and Paul’s Bed Stuy apartment known affectionately as Happy Carcosa. We’d spent so long focusing on the show, the setup, the publicity… “but what should we be called?”
Preliminary scribbles on our chalkboard wall elicited Happy Carcosa Tribe - or HCT. Our friend saw this and likened these letters to another word he knew: echt, a German word meaning “authentic, real”.
Every discussion we’d had about our reason for doing this was to bring good people together and share in an experience – to live in the present moment, the only thing that’s real.
This was it. This is who we are.
Over time we realized our serendipitous name lent itself effortlessly to defining the tenets we hold most valuable: Expression, Connection, Humanity, Truth.
ECHT started as an idea. It became a mission. Now all of us can say, we are ECHT.
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Stylografik | Graphic Design Belfast | Branding Belfast | Web Design | Motion Design | Graphic Design Belfast
Belfast graphic design studio, Stylografik, create branding, design for print, motion graphics and web design.
The Factory Records Poster Collection
Commercial art has always plundered from ‘real’, ‘legitimate’ art, and in particluar, the diversity that Modernism represented
— Rob O'Connor – Designer for Blur and more
I thought i'd begin my blog page by showcasing a collection of posters designed for Factory Records and the Hacienda nightclub. In essence, these posters, and the designers who created them, are the reason I decided to study graphic design. Even after all these years I still use their work as a huge source of inspiration for what I do. Guys like Peter Saville, Hamish Muir and Malcolm Garrett are leaders in the field of graphic design, especially graphic design for the music industry. The popularity of the bands these guys designed for, mixed with hand-crafted style and the cleverness of what they created, has elevated their work to iconic status. As iconic, to many, as Milton Glaser's I Love NY logo or Wyman's Mexico '86 artwork. The work pays homage to the aesthetic of modernist design; including the work Jan Tschichold, Muller-Brockmann and Fortunato Depero. These are timeless pieces of British graphic design history, inspired by the past, but relevant to a new, exciting era and movement.
To a generation, the artwork for Factory Records is a reminder of a cultural shift in British society. A time when Acid House and Rave culture exploded – just as Punk did in the 70's – giving a disillusioned youth something to look forward to under the bleak Thatcher government. We don't see much of that these days, everything now is formulated and too easily obtained – Spotify etc. The period when these designs were created was a time when a record label could literally change society. Perhaps these posters are so good because (to a person of a certain age) they are a reminder of how things used to be? Rose tinted glasses, anyone?
The most important thing though... they are beautiful.
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Armory History
The Armory was added to the National Register of Historic Places in October, 1998. The complete application is available via the link below, and contains detailed historic information on the structure and use over time.
National Register of Historic Places application
According to the National Register of Historic Places and the Idaho State Historical Society, the structure is architecturally significant. It was designed by the prominent Idaho architectural firm Tourtellotte & Hummel and represents an excellent example of the firm’s Depression-era design work and the Art Deco modern movement. This WPA project reflects the period’s focus on utility and economical construction techniques, and is counted as the most important of Tourtellotte & Hummel’s major commissions during the New Deal era.
The Armory is also historically significant; it represents the culmination of state and local efforts (spanning nearly three decades) to professionalize and expand Idaho’s National Guard during the early 20th century. When dedicated in the summer of 1937, the building became the state’s largest and best-equipped armory; it remained in active use by the Idaho National Guard through the 1970s. A second floor was added to the front of the structure in 1956 to complete the original Tourtellotte & Hummel design.
As mentioned elsewhere, historic designation in itself does not offer protection, although the City and many local residents have so far indicated a desire to preserve the building’s original exterior.
Read the entire National Register application for yourself to see what conditions had to be met for the structure to acheive historic status.
You can also view scans of the original Tourtelotte and Hummel elevation drawings of the Armory via the following links (we’re looking for the original files and will relink to them soon):
East Elevation
Front Elevation
1993 Warranty Deed showing transfer to City of Boise.
Armory Deed
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Michael Snow in Conversation with Christian Marclay: The Clock and the Role of Improvisation
(The article is based on a conversation between Michael Snow and Christian Marclay held Monday evening, November 7 at the Enwave Theatre at the Power Plant in Toronto.)
Michael Snow and Christian Marclay strolled onto the Power Plant stage Monday night and spent the next couple of hours casually discussing and reminiscing on the role of improvisation in film and sound to a sold out crowd. Snow began the conversation by attempting to place The Clock in context to 100 years of recorded sound and music. Recorded sound and images are now at everyone’s fingertips with computers redefining our relationship to this media he said.
Marclay’s work is always a reaction to that history and the creative challenge for him is creating something “else” out of it. “It is archived—all of it is there. Memories of stuff...” Marclay said.
Both Snow and Marclay have collaborated over the years with improvisational music and both enjoy live sound. It might appear disruptive, said Marclay, but it is in fact a creative act much like taking fragmented images and sound and unifying them together.
While the conversation for the night was on Marclay’s award winning video project as he prefers to call it, the conversation touched on the idea of improvisation in sound and the temporal concept of film and how it fits into both artists’ body of work.
Marclay described The Clock as a form of improvisation in relationship to other structural concepts. Many installations use film and project them as items of nostalgia—The Clock however plays with the concept of time, past and present. “Once something is filmed it is automatically defined in the past,” said Marclay. Yet the experience of viewing the Clock makes the film genre work in the present and creates a unique interactive experience in the present moment for the audience and the individual viewer.
Time as a construct is played with throughout the video.
Marclay and Snow have collaborated in the past on sound projects. While their sound projects appear disruptive, Marclay said, “They are in fact quite creative enterprises.” Marclay was ahead of the hip hop era -- in the 70s he would use turntables as instruments of sound, re-inventing them and giving them a different purpose. The Clock can be placed in the continuum of Marclay’s work as a natural progression of themes already well developed in his body of work.
Marclay is known for his distinctive fusion of image and sound. The Whitney in the summer of 2010 devoted an entire floor to his work --visitors such as myself were invited to mark up a wall-sized chalkboard, with musical notes, people of all ages democratically and communally creating a collective musical score that different musicians interpreted and performed throughout the run of the show.
Marclay's "Festival" at the Whitney Museum
The show included the premiere of a new vocal work forty feet in length with three scores conceived as projections—it was continually on view and performed on a regular basis. World renowned musicians and vocalists, some of whom have been regular collaborators with the artist for three decade such as Michael Snow, interpreted a dozen scores, enabling museum audiences to experience a less well known aspect of Marclay’s varied art practice. Both artists touched on the Whitney show in their conversation. The Whitney show proved to be one of the more memorable visits to New York that year for me as well.
Images from "Telephones"
For another example of his interest in fragmented images and sound, one only has to watch his 1995 "Telephones”, a 7 1/2-minute compilation of brief Hollywood film clips that creates a narrative of its own on the idea of the telephone and linking disparate scenes into a narrative that create a cohesive conversation. Time moves back and forth and discontinuity disappears in the process –the clever conceit of the phone unites the whole in a playful and technically flawless manner. To view this 7 minute video just click on Telephones.
Marclay spoke to Snow’s work as well, commenting on his approach to film which he views as structured but often playful and seemingly improvisational which Snow said was not the case. “My film projects are planned but unintended things happen in spite of themselves.” Snow responded. Music is a source of improvisation for both Snow and Marclay and they have collaborated numerous times over the years—a mutual admiration society of sorts has evolved and Marclay clearly has much respect for Snow’s pioneering work. They view sound as full of creative potential and they both embrace the surprises of the process.
Film without sound is a very different experience that with sound Marclay commented —as witnessed when you watch the films on planes without the sound or view it elsewhere in a storefront window. Any film is an image from the past. Snow mentioned that he tried to make film capture the present but found it challenging—“sound or music is needed so that you can experience it in real time. The syncing of image and sound is expected or else it proves unsettling…People constantly seek the narrative and try to draw out meaning.” he said.
Sound editing glues the fragmented images together—it provides the illusion of coherence and follows the traditional use of sound in cinema, Marclay said.
A question from the audience focused on the predominance of North American movies in The Clock. The Western obsession with time definitely predominated said Marclay, since most of the clips found were from Hollywood—a western bias came through simply because it was harder to find time references from other countries such as India or Japan in the same way.
Another question from the crowd came from the obvious issue of appropriation that arises from The Clock. Marclay dryly responded by saying “If you make a good piece of art everyone wants to be in it.” He did not ask for permission but just went ahead and did the deed. The response has been overwhelmingly positive, he said.
Marclay is currently at work on a project involving improvisational music and is enjoying the change of pace. After the three years of working on The Clock he is quite ready to move on. Editing, while somewhat improvisational is a more technical process and while challenging, soon became tedious and “not fun” after the hours of editing that was required for The Clock. “You never knew what the researchers would bring —the clips were continually being revised and the challenge was making art with it and turning it into a cohesive whole. The project began easily enough in the beginning with a few clips but as the project grew with more clips it became more challenging thematically and creatively. The toughest times of day to find clips for were 4:30 a.m. – 5 a.m. Nothing seems to happen as well between 3 a.m. and 3 p.m. oddly enough,” Marclay commented.
Christian Marclay with Golden Lion
award at Venice Bienniale 2011
“The novelty of The Clock is that you are living in the same times as the Clock time or rather the Clock is reflecting the daily cycle of life.” Marclay says. “It is not intended to be a 24 hour marathon but rather it is a statement and reflection on of life becoming entangled in the film and you becoming a participant in the event. People will think to themselves—how much longer should I stay, I have a doctor’s appointment to go to, a dinner date, or a child needs to be picked up. The sense of time permeates every aspect of the experience and that is as it should be.” Marclay said. Specifically dictating the setting and viewing space of the video is integral to this experience he added. People come and people go as part of the viewing and that is as it should be—no one is obligated to stay.
It was quite a relief to know that burden of obligation was now lifted --being a keener, I naturally wanted to see it all but knew it would be impossible –I only managed about 4 hours. Snow said he managed to watch about 5 hours in total. So Snow gets the B+ and I manage a solid C.
The evening felt like two seasoned colleagues getting together to chat-- it is clear that it is mutual admiration society, with Marclay often deferring to Snow for his commentary and insights in to the process of film and sound. It worked for the audience who were already won over by The Clock and two highly articulate and iconic artists.
The Clock is at the Power Plant until November 25. It then goes onto New York and the MOMA where it will run from Dec. 21 through Jan. 21. For a detailed review on the making of The Clock check out my previous blog post "Time is the Clever Conceit: The Clock Considered
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© Sharon Erlichman on all images
Website Creation Sylvia Erlichman-Gross
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FAQ : First Time Photography Advice
Often times I get asked by photographers what’s a piece of advice I’d offer before a shoot. To be honest, I have no idea. There are so many things to take into consideration, so many unknown factors, that I simply can’t offer solid feedback besides things like Have Fun! or the ever-profound Don’t forget to relax! While true, they’re not exactly worth their weight in gold. But things changed a couple days ago when JD asked for advice for his first solo shoot.
Sidenote: JD won’t be shooting on his own anytime soon. Our dear friend, Jeremiah, asked for a favor and while I was at first nervous, I remembered Jeremiah was a chef. As in, he regularly makes us amazing meals. If my logic served me right, if JD photographed Jeremiah as a favor, we’d be pretty much guaranteed Le Cordon Bleu meals until Christmas. THEN I SIGNED HIM RIGHT UP.
End Sidenote.
When JD asked for advice for his shoot, my mind raced with everything I wanted to tell him. I felt like an over-bearing parent, teacher, and sensei all at once. And just as annoying. As I rattled off a thousand things, JD calmly held up his hand and said I needed to be logical. Logical?! LOGICAL?! He’s shooting on his own for the first time and I’m supposed to be LOGICAL?!
At the end of the day, I shared my advice with him and I thought I’d share it here…
1. Find Natural Reflectors in Advance
When you get to the location, arrive early and scope out the shooting location. I’m a huge, huuuge proponent of shooting using natural reflectors (brick walls, white buildings, terracotta surfaces, anything that reflects sunlight indirectly), so it helps if you find them in advance so you know where to take your subject when he/she arrives.
2. Don’t Go to the Good Spots First
People need time to warm up to the camera, and photographers need some time to warm up to shooting. Take your subject to a spot that’s fine…just not where you, ultimately, want to shoot. At the beginning of every shoot, use the time to figure things out, then move along to where you want to finish.
3. Focus in Between Every Shot
Now, I know this sounds silly, but it’s true. Not only focus each shot, but focus on the shot, what’s going on in the frame itself. JD gets caught up in shooting, and I often remind him to see what’s going on in between and anticipating moments.
4. Always Keep Your Camera Up
When engaging with your client, always keep the camera in the shooting position. In order to get candid, natural reactions to a joke or conversation, you must be ready to shoot the reaction, not the moment after. When I first started shooting, I’d laugh with my clients, instead of photographing their laugh. It’s okay to maintain a bit of conversation behind the lens in order to get the type of reaction you want.
5. Change Your Lens
During a shoot, it’s easy to feel stuck, or at a loss creatively. When this happens, don’t stress out. Take a deep breath, then change your lens. A small, easy swap can bring new light to a situation and help you see things differently. You’d be surprised how helpful this is in a pinch!
I hope these small tips were a little helpful and when you’re getting ready for a shoot, simply remind yourself to Have Fun! Breathe! Relax! Clients respond better to their photographers when they can associate emotion to the experience. If my couple walks away after an engagement session and: 1. are more in love; and 2. had a great time, then I did everything I set out to do in addition to taking photos.
Wow. I think my punctuation in that last sentence was awful.
Happy Thursday!
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Nicholas StrachanDirector
07919 365 095 +44 (0)20 7255 1150
He began his Architecture career studying in Edinburgh, London and New York, working for various firms in the UK and the US. Throughout his qualification and early career he has gained broad sector experience on Residential (particularly central London high end), commercial (leading design teams on masterplans and single site offices), Transport (multiple projects for BAA and GAL across a number of major UK airports) and Industrial.
Nick’s recent portfolio focuses on retail and mixed use projects, most notably leading the design and delivery of the new Basing View scheme in Basingstoke for Muse Developments. The multi-million pound urban regeneration masterplan comprises of residential, hotel and commercial office space to be delivered over the coming decade as a joint venture with the Local Authority. The masterplan is centred around a landmark 110,000 sq ft Waitrose and John Lewis at home store for the John Lewis Partnership, which opened in November 2015 to much acclaim.
Having established relationships with some of the UK’s largest and most successful development & retail businesses, Nick complements Leslie Jones’ existing expertise by further diversifying the range of experience the senior team can draw upon. Nick will support the practice’s continued growth in UK retail, especially in providing a unique perspective on retail-led mixed use developments using his renowned creative flair and passion for aspirational design.
Nick’s skill base is robust, with experience at all project stages from feasibility to planning and throughout construction. Nick is an expert in digital design and 3D modelling and delivered the Basingstoke JLP projects entirely in Revit. As well as membership of the RIBA, Nick currently sits on the board for the Revo Next Gen & Study Tour programme.
Out of the studio Nick is a keen sportsman, both on and off the field, particularly enjoying rugby, rock climbing & skiing and has entered the boxing ring on a few occasions for charity.
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Notes on Artist talk at the Box Factory for the Arts
(closeup) Winter Field J Mason / www.fieldworkstudios.com
Winter Field
J Mason / http://www.fieldworkstudios.com
The working process behind the exhibition is to explore the intersection between mark-making and landscape. The question unfolds as to how these two things can converge.
The materiality of earth informs all the works. Alongside paint, plaster and pigment, there is soil. Painting is earth. I want to see what a painting can do when materials are what matters. Painting is the body. Painting is the fleshiness of being.
What is Not So Solid? – processes of becoming. The materials work like sedimentation and erosion. There is a net of infinity there in the building up and tearing down of forms.
The exhibition is inspired by beach erosion on the shores of Lake Michigan. Geologists have gathered data on the fluctuations of lake-level and the general trend suggests that each peak is higher than the last. The water is coming. As Chilida remarked observing the sea, ‘the waves keep coming and coming.’ On the shoreline about a 1/2 mile from my house the repeated formation and breakup of ice ridges results in a significant removal of beach. Massive concrete pieces and remnants of steel walls are broken and tossed up onto the shore. Where water meets the edge of land there is a constant, dynamic change.
Whose mentality is recorded in objects? The mentality aims at resonances of processes of materials whose acting is how the earth acts. When painting and earth collide there is a cohabitation of affect each sliding into the other like tectonic plates. The mineralization of the imago.
Landscape ‘lands’ itself: land becomes what it does. What emerges is abstract geology as condensed fossilization of the landing.
The painter is only after a single pursuit: the discovery of the object.
(closeup) Sedimentation I J Mason / http://www.fieldworkstudios.com
To see the earth from ten-thousand feet is an epic sensation. When the materials and processes of presentation result in all kinds of emerging affects the outcome is similar to those larger impressions on the surface of the earth. What is above is so below. To loose oneself in the self-annihilating geology of the image…
Excerpt from artists talk at the Box Factory for the Arts, 10/15/15. Accompanying the current exhibition Not So Solid Earth (Sept 11-Oct28)
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Hana Karim in her studioHana Karim in her studio in Ljubljana, Slovenia
Portrait © Hana Karim Studio
Hana Karim grew up in an artistic family, which bred her passion for ceramics and influences her creations. Her father, who was strongly influenced by Joan Miró in his young period, is a painter and a colorist who is skilled in using vibrant colors, especially blue, green, turquoise, and splashes of yellow. Hana’s mother is a ceramist who grew up surrounded by nature. She loves the simplicity of prehistoric art and ancient culture, but at the same time she has exquisite manual skills.
Hana focuses on handmade pieces. Her works are styled with a rustic sense of “imperfections” and displayed as softly misshapen forms. She uses washes of color glaze, inviting drips and uneven brush strokes to grace each object’s surface. Each of her pieces has its own unique color scheme—some are bright pastels and metallic, others are blue and green. For another set, she chooses a galaxy theme. During creating, she switches between sudden impulses and rational approaches. She rarely sketches and so she often receives ideas and inspiration randomly, and living close to her studio provides her an opportunity to turn her ideas into objects in a matter of moments. Most of the time she works with slab-building, sometimes with the wheel. She also has a fairly small kiln she turns on once a week. Her daily working process has been consistent from her early days.
For Hana, Earth is the basic connection to space and time. She notes: “Working with something so primal feels like following some ancient tendencies within ourselves; it is a sort of connection to our ancestors, that still haven’t got lost in this age of rapid development and technology. Earth has been here before human beings existed, and will still stay here after we’re gone. It’s remarkable how humankind has found so many ways to manage it and transform it.”
Especially made for the IVORY pop-up exhibition, Hana has chosen a color palette of various shades of beige. Some of her stoneware plates and bowls will soon be available online.
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The Centene Center for the Arts Welcomes Sharon Hunter
The Centene Center for the Arts Welcomes Sharon Hunter
This fall, the Centene Center for the Arts welcomed Sharon Hunter, a St. Louis native and life-long performing artist.
Hunter has worn many hats over the course of her career, but some St. Louisans may recognize her from her time as a radio personality with local stations KEZK, where she was the original host of Pillow Talk, and Y98FM.
She continued to work in radio for some time, but she found herself pulled toward different forms of live performance. Her acting portfolio includes credits like “The Picture of Dorian Gray”, “Falsettos” and the popular CBS political drama “The Good Wife”. She has also found herself playing the roles of director, producer, costume and set designer for various stage productions. Her years of experience in the arts are what inspired her to create her own professional performing arts organization: Moonstone Theatre Company. She will serve as the company’s artistic director and producer.
While her work has taken her across the country…
Moonstone Theatre Company announces first show!
St. Louis’ vibrant theater community just got a little brighter with the addition of new performing arts organization Moonstone Theatre Company.
Moonstone was founded by St. Louis native Sharon Hunter, who serves as the company’s artistic director and producer. Hunter has made a name for herself nationally as a professional actor, singer, director and producer. Most recently Hunter was performing and producing in New York City, but decided to move back home to start Moonstone. St. Louisans may recognize her as the original host and producer of KEZK’s “Pillow Talk” or her time hosting at Y98.
“Moonstone Theatre Company was founded in response to my vision for creating a cultural theatrical environment in St. Louis to inspire actors and artists to do their best work,” Hunter says. “St. Louis is a great theatre city and I think it’s wonderful to be a part of that cultural conversation. It is essential for the arts to contribute to this conversation particularly during challenging times.”
Hunter says the name Moonstone combines two things close to her heart.
“I have always loved the moon. I gain energy, clarity and inspiration from the moonlight. I knew I wanted the word moon somewhere in the company title,” she says. “I was also committed to finding a way to incorporate my former NYC acting coach, the late Peter Flint, and his name in there as well. He was like a true father figure to me, and I thought that since “flint” is a stone then I could put that together and create Moonstone.”
Hunter says Moonstone will focus on producing works that challenge and enlighten audiences on important and socially relevant topics including equality, diversity, mental illness, addiction and sexual harassment and assault.
“Theatre truly is a reflection of life,” says Hunter. “I’m happy to be back in my hometown where I began and collaborate with so many talented artists and actors. There is something very special about returning to St. Louis and having the opportunity to bring new ideas and experiences to an art form I dearly love.”
“How exciting for St. Louis that another wonderful Theatre Artist with great entrepreneurial chutzpah is broadening our vibrant theatre community,” enthused Edward Coffield, the artistic director and producer at New Jewish Theatre. “There is such great legacy here in St. Louis when savvy theatre practitioners are willing to plant roots and continue the tradition of great theatre in St. Louis.”
Moonstone’s debut production, “The House of Blue Leaves” by John Guare, will open at the Wool Studio Theatre at the Jewish Community Center (2 Millstone Campus Drive, Creve Coeur, 63146) on Thursday, July 16, 2020, directed by Annamaria Pileggi. Auditions for the show will be held Saturday, October 26 from 10 a.m. to 6 p.m. at the JCC, and callbacks will be held at the theater on Monday, October 28. Those wanting more information about the audition process can register online here or email moonstonetheatrestl@gmail.com.
Moonstone Theatre Company’s Mission Statement
Moonstone Theatre Company is a new professional performing arts organization which will offer the community a wide range of quality theatrical productions while supporting local arts and education. Moonstone Theatre looks to inspire, entertain and challenge audiences with productions that range from the classics to new works. Moonstone Theatre Company celebrates the power of the theatre to illuminate our diversity and enlighten our shared humanity.
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f64aade0-bbae-41bf-977d-0234b1f61216
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Arts, Culture & Lifestyle
This is Jeff Koons’ Rabbit to be auctioned for $50+ million at Christie’s
May 24, 2019 | By LUXUO
The American artist was known to start his career by using cheap, everyday objects in contemporary art and then setting them on top of one small mirror and in front of another small mirror, and proclaiming the result art. Koons called this “Entering the Objective Realm.” and now, his artworks are worth millions of dollars auctioning at Christie’s. Jeff Koons’ impressive ‘Rabbit’ is no different.
Known as an icon of contemporary art over the past three decades, ‘Rabbit’ has been the attention-getter in a number of museum exhibitions around the world, including the Guggenheim Museum Bilbao in Spain, the Centre Pompidou in Paris, Tate Modern in London, the Château de Versailles, The Broad, and The Museum of Contemporary Art in Chicago.
The 3 and a half foot high, 33-year-old steel Rabbit figure is one of the 11 works being sold off from the collection of S.I Newhouse at Christie’s, the former owner of publishing house Conde Nast.
Koons is also well-known for Balloon Dog (Orange), another piece of work that sold for US$58.4 million at Christie’s New York’s 2013 Post-War and Contemporary Art auction — making him the most expensive living artist in the world.
“When it was released in 1986, [it] would not only shake the art world to its core, but alter the course of popular culture as we now know it,” Alex Rotter, who oversees Post-War and Contemporary Art at Christie’s, told Forbes. “For me, Rabbit is the anti-David, which signaled the death of traditional sculpture—disrupting the medium in the same way that Jackson Pollock’s Number 31 permanently redefined the notion of painting. From my first day in the auction world—this is the work that has represented the pinnacle of both contemporary art and art collecting to me, and it is an immense honor to be presenting it to the auction market in May.”
irst unveiled at the Sonnabend Galler’s “New-Geo” exhibiion in 1986, Koons’ Rabbitreflects its immediate environment and onlookers themselves due to its mirror-like surface. Embodying the same concept is Koons’ Balloon Dog. The Balloon Dog sculpture is made from very simple materials – stainless steel and covered in different colors: blue, magenta, orange, red and yellow.Each edition of the series has sold for a different price at different times but the one that sold at the highest amount of money remains the Balloon Dog (Orange) which sold for $58,405,000 in November 2013, the highest ever paid for a piece of art by a living artist at auction anywhere in the world.
This article was originally published on www.luxuo.com.
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Pushkin & Plyushkin | 2012
HTML5 website – catalogue and e-shop
pushkin-plyushkin.com/en
Full visual concept - visual identity, logotype, photo shooting, typographic grid, website concept and website elaboration.
In the late autumn of 2011 in our studio came our friend the writer Alexander Sekoulov. In his artistic manner he sketched the idea that they had with the artist Atanas Hranov to "institutionalize" their long-term partnership. Their idea was interesting and fascinating, so we started with the logo, photography, typography, then came the technology. It was the first project of I-creativ studio, developed entirely in HTML5. The result is the online catalogue of their magical objects and stories that you can buy online using the chest (instead of a shopping cart)
HTML5, CSS3, JavaScript, LAMP
Pushkin & Plyushkin Collecting House for Entirely Useful Things was founded at Valparaíso in 1911. Sole Representatives for the Orient are Atanas Hranov and Aleksandar Sekulov.
Computerspace 2012 - The first place in Web Design - Art and Culture category.
Inspired Mag | html5gallery.com | html5-showcase.com | cssdesignawards.com – nominees | csswinner.com - nominees | html-five.net | html5arena.com | dzinemart.com | pixelgangster.de | gooddesignweb.com
I-Creativ Studio - Web Design, Development
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Visual Arts
"The thangka ... are means for the Buddhists to achieve their aim of spiritual development, and are not just material works of art,” says a noted Mumbai art conservator.
Pakistani author depicts the continuity of longstanding cultural traditions in the Indus Valley.
Prominents artists and art figures examine current issues, emerging trends, and new directions in India's contemporary art scene. Watch the video.
Chinese artists Tie Ying and Xu Zhongmin discuss the growth of Asian contemporary art.
Asia Society's Melissa Chiu discusses major trends and leading figures in today's Chinese art world. Watch the video.
Zhang Huan talks with Asia Society about the phases of his constantly evolving artistic career in Beijing, New York, and Shanghai. Watch the video.
Two acclaimed Asian American artists discuss their work on themes of gender, Islam, tradition and identity.
Asia Society's Vishakha Desai places China's modern art boom into a historical context.
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Capture Hammersmith 2017 Sponsors
Willmotts are proud sponsors of www.CaptureHammersmith.com
Capture Hammersmith is a London W6, Hammersmith focussed Photography Competition. The theme is open to individual interpretation but entries must have Hammersmith at their heart; for example photographs of architecture, people and wildlife within the borders of Hammersmith. All entries should be made via Instagram using #capturehammersmith.
The Capture Hammersmith Rules are below:
Entrants can submit up to as many relevant photos as they please, either in colour, filtered or black and white via Instagram #willmottsHPC
Images may be digitally enhanced to remove spots or scratches, but not manipulated. Entrants can enhance the picture to make it brighter, clearer etc, but not manipulate the content. Willmotts reserve the right to exclude any image they believe may have been excessively treated so as to alter its authenticity or if it is inappropriate or of an offensive nature.
The competition is open to ALL. Entrants under the age of 16 years need to have parent or guardian consent to enter.
Each entry should be posted on instagram marked with #willmottsHPC ideally with a brief description of where the photo was taken.
The competition closes at midnight on 1st June 2018. This new date is due to popular demand. Allowing the competition to run through each season and to coincide with the Hammersmith Arts Fair 2018 www.hf-artsfest.com
All entries will be judged by the number of likes received on instagram. The judges will select a shortlist of twelve photographs (the 'Finalists') which, in their opinion, best illustrate the theme of the competition. They will consider a range of factors including composition, technical ability, originality, interpretation of the brief and the commercial appeal of the photographs.
Viewers will be invited to vote for the Finalist they like the best via Instagram, Willmotts1856. That winner will receive a prize of £500 worth of mobile phone vouchers. The judges will select their own favourite entry and that winner will receive a prize of £500 worth of vouchers. There is no cash alternative and it cannot be sold or transferred.
In the event of a technical problem or evidence of impropriety with regard to the Instagram user’s vote, the judges shall have the final decision. If the users' vote results in a tie, the judges shall have the casting vote. The judges' decisions will be final and no correspondence can be entered into.
All entries must be the original work of the entrant and must not infringe the rights of any other party. The entrants must be the sole owner of copyright in all photographs entered and must have obtained permission of any people featured in the entries or their parents/guardians if children under 16 are featured. Further, entrants must not have breached any laws when taking their photographs.
Prior to submission, entrants must not have offered any of their entries for sale, been paid for any publication of any of their entries or won or been a runner up in any other photographic competition with any of their entries.
Entrants will retain copyright in the photographs that they submit to Willmotts. By entering the competition all entrants grant to Willmotts the right to publish and exhibit their photographs online via Instagram, Willmotts1856 or the Willmotts website.
Entrants whose photographs are one of the finalists also agree to take part in post-competition publicity. While we make every effort to credit photographers, including any printed reproductions of their work, we cannot guarantee that every broadcast use of the photographs will include photographers' names.
By entering, entrants will be deemed to have agreed to be bound by these rules and Willmotts reserves the right to exclude any entry from the competition at any time and in its absolute discretion if Willmotts has reason to believe that an entrant has breached these rules.
Willmotts reserves the right to cancel this competition or alter any of the rules at any stage, if deemed necessary in its opinion, and if circumstances arise outside of its control.
If the winner is unable to be contacted after reasonable attempts have been made, Willmotts reserves the right to either offer the prize to a runner up or to re-offer the prize in any future competition. These rules are governed by the laws of England and Wales. This competition is administered by Willmotts.
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Another excellent conference and excellent value
Here are a few things i took away
Steve Hilton may sound modern (took his shoes off in public/wore T-Shirt etc) but his ideas are really a reworking of ideas launched by the levellers in the 16th Century, and developed by Romantics in the 19th century- he wants things on a human scale and thinks that big things (Govt /Big Business) are (mostly but not always) in opposition to this ie are dehumanising. Romantics said similar things about the factory system. Steve’s plea that we should turn offer our mobiles and get back to nature could have come out of the mouth of Wordsworth ( if mobiles had been around then). A man with interesting things to say but you would not want him running anything – much that makes modern life enjoyable and safe is the product of big business and big government. Steve may be right about back to nature- it’s just a really old idea. I notice that hipsters/visionary policy wonks rarely acknowledge the intellectual traditions that they draw on.
Baroness Susan Greenfield talked about the plasticity of our brains ( how each of us is encoded with memories from our individual experience ). Interesting bit for branding people is how different senses (sight,sound,touch,smell/taste) are processed in different parts of our brain. Sight ( ie reading and following narratives) in the front of our brains. Sound and smell in the deeper more primitive parts of our brain. A strong brand/category should try to encode memory through all the senses. That’s probably why we love coffee shops: they satisfy all of the senses from the story of the heritage, to the smell of the coffee, to the sound of the artfully chosen playlist coming out of the speakers. In Starbucks you can even feel the coffee beans
Richard Watson: the idea that AI can replace humans is largely fantasy as you can’t code a machine to learn a combination of unpredictability, individuality and imagination.The problem with self driving cars is not the tech but the unpredictability of the humans the cars might bump into. A more likely future is the increasing use of AI tools to support human efforts. In fact we already do this when we search on Google or use face recognition on Facebook. Doctors will use AI to make better diagnoses. But a machine wont be able to read the will of a patient to get better. The film ‘Her” is worth seeing as a credible dystopia of a world in which we will be served by AI “personal assistants”. Some shopping/organising of our lives will be done for us by these in the future
Russell Davies: The problem with technology is not humans- we as individuals adopt and adapt all the time- it is organisations. Big ones are very bad at it ( hence all those failed Govt IT projects) and the ones that are good at it have tech in their culture.(Tesla, Google, Amazon etc) Basically you can’t plug in new technology into an organisation led by people who just “don’t get it”. These are the types of people who (earnestly) go to a seminar about the impact of social media but have a Facebook account which they rarely bother to look at. They know they should know about it – but they don’t live it. This describes much senior management today
I have just designed a new course for APG ( see blurb below) – Book here
What makes brands grow? How to base your strategic proposals in evidence based thinking – 20th April 9am to noon.
This 3 hour workshop is a hands-on look at the critical evidence based thinking that you need to know from marketing science and behavioural psychology, and how to apply it.
Fast, furious and intellectually stimulating, during this workshop you will learn the concepts and ideas that underpin the best and most authoritative contemporary thinking, from Daniel Kahnemann, Byron Sharp and others, and how and when to apply them to create effective strategies that clients will buy.
This interactive workshop will look at the truths and untruths that underpin industry thinking and help you to harness the evidence that matters to underpin your work.
You will learn how to use data to challenge wishful thinking about brands and communication and how to take strategic decisions with confidence
The RA’s new blockbuster show Painting the modern garden is a sure fire hit. You can be guaranteed at least two hours of calm and visual joy contemplating all the paintings of flowers and gardens, and Monet’s Waterlilies in particular.
You would not think that they were created at a time of dramatic growth in inhumane factories and grimy cities or that the ghastly products of the armaments industry was shattering mens bodies on an industrial scale in the trenches of The Great War. That is (part of) the point: the British fell in love with their gardens as a places of sanctuary and retreat from the modern world. These paintings are as calming and satisfying as a session of meditation.
imgres-1.jpgimgres-2.jpgimgres.jpg
What has this to do with Kittens?
Each day we watch endlessly depressing news broadcasts and each hour we dance attendance on email, twitter and linked in. So we too need a place of sanctuary. Google researchers (when i worked there) found that a big reason why we can’t resist kitten videos is they make us feel relaxed. That is the insight behind this short film called Kitten Therapy. I am sure that you won’t be able to resist it. 8 million others have found it irresistible too
You may also like this
If you like RA show you are sure like Delacroix and the rise of modern art at the National Gallery, a 15 minute walk away .He is the missing link from classical art to the likes of Cezanne , Monet and Renoir. He invented colour theory- the way that certain colours in combination create a particular effect. Take a geeky pleasure in seeing how his love for vivid turquoise and green crop up all the time among his successors, as at the show, you can see his works displayed alongside his disciples.
£3.00 gets you into all three shows at the photographers gallery. Saul Leiter is worth the price of the ticket alone. (He is the antidote to Liebovitz’s relentless pursuit of people in the news and boosting of the celebrity machine.) Although he did commercial work , mainly he walked the streets of New York-often looking through a window made blurry through condensation to capture a passing moment. Oh and he clearly loved snow and umbrellas in the rain.
Documentary on YouTube here . Good to watch before you go. He was going to be a Rabbi before he took another direction. At a time when most shots appeared in black and white in the prints he spent his own time experimenting with colour. Images are muted and nostalgic- an effect he achieved by using expired/used film. He trained as a painter and so saw the potential in photography for abstraction and painterly images. Here Some shots i grabbed from the show
Aurora magazine recently asked me where and how i look for insights online, so i thought i would share. Here are five I find really useful (heavily influenced i guess from working at Google )
ThinkwithGoogle (www.thinkwithgoogle.com) a treasure trove of think pieces and case histories about good digital marketing .
Google trends www.google.com/trends: what is trending in search right now? What are people searching for in your market right now? What does that tell you about how culture is changing or how your market is changing? You should check it every day. It might change what you think is really relevant to your brands customers.
Slideshare www.slideshare.net. Presentations shared on more topics than you can imagine. Want to know more about Behavioural Economics and its practical applications? You will fine several presentations about it here.
Twitter www.twitter.com If you search Twitter you can find high quality articles. But you need to narrow down it down a bit to get the right stuff. “Milllenials” as a search might be too broad “Millenial employees” or Millennial insights “ or “Millennials brands” gets you a more relevant result (assuming that is what you are looking for)
YouTube Re:View www.getsubsciptions.withgoogle.com A selection of the best of YouTube every week.. An insight what’s hot in American culture. Sit back and soak it up
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"Sierra" Murano glass sconce
SRR-2100
$1,894.20 Save 35%
"Sierra" Murano sconce, hand made by authentic Masters glassblowers from Murano.
Made on demand. The dimensions and the colors can be customised to individual specifications.
Worldwide shipping and total insurance coverage.
Light bulbs: E12/E14 – 40W - 110/230V
1 20 cm
7.9 in
40 cm
15.7 in
2 30 cm
11.8 in
40 cm
15.7 in
3 35 cm
13.8 in
40 cm
15.7 in
3+2 35 cm
13.8 in
80 cm
31.5 in
5+3 78 cm
30.7 in
90 cm
35.4 in
What is the average lead time?
The average lead time is 30 days.
Is the product wired according to my country regulations?
Yes, every product is wired according to the specifications of the country of destination.
Is the product delivered assembled?
No, the product is delivered not assembled.
Do you ship worldwide?
Yes, we ship everywhere in the world.
Are the light bulbs included?
No, light bulbs are not included.
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You are here
This Month in American Craft Council History: December 2012
This handblown glass ornament by Richard Marquis, was selected as one of the 100 decorations created especially by American craftspeople for the Mondale family Christmas tree in 1977.
Artists working on a project at the School for American Craftsmen, Rochester, New York, c. 1953
Recipe for Kiln-Baked Potatoes by enamelist Ellamarie Woolley from The Craftsman's Cookbook, published by the ACC in December 1972.
This handblown glass ornament by Richard Marquis, was selected as one of the 100 decorations created especially by American craftspeople for the Mondale family Christmas tree in 1977.
Photo gallery (7 images)
This is the last in our 2012 monthly series looking back through the American Craft Council archives to uncover interesting, little-known (yet culturally significant) events that took place over the course of the organization’s 70-year history. December was a particularly active month, with the launch of a pioneering craft school, a major woodworker’s retrospective, a crafty cookbook, and holiday craft traditions at the vice presidential mansion.
December 1944
The first student, a New Hampshire marine discharged after combat injuries, arrives at Dartmouth to attend the School for American Craftsmen (SAC), the new name given to the Rehabilitation Training Program sponsored by the American Craftsmen’s Educational Council (today known as the American Craft Council) and the Dartmouth College Student Workshop. In a speech ACC founder Aileen Osborn Webb gave on the occasion of the 25th anniversary of the SAC, she said the following about its founding:
At the time…I helped with America House, and I remember one day I was called into the front of the shop. Someone had insisted on seeing me. It turned out to be a very valuable and somewhat crazy GI. He urged me to buy a big house in his hometown and open a craft school. Frankly, I had never thought of developing a school, and I focused on it all night. Early the next morning I telephoned David Campbell, who was a wonderful guy. … I told him about the idea. He was a very enthusiastic person, and he worked quickly. He took fire in the idea and said, “I will talk to Virgil Poling,” who had a big woodworking shop at his disposal. He was the head of the extracurricular activities at Dartmouth. This gave us a big start. There were empty buildings and the students were away. … It [the SAC] opened in quarters assigned to us by Dartmouth with the help and sponsorship of president Mark Hopkins. Our first student was a Seabee who during the war had hurt his back. He had been a carpenter in the Navy and would have liked to be a ceramist in real life.
The SAC is still flourishing today as part of the Rochester Institute of Technology in New York, where the school made its permanent home in 1949.
December 12, 1958
The landmark retrospective exhibition, “The Furniture and Sculpture of Wharton Esherick” opened at the Museum of Contemporary Crafts in New York City. Esherick is best known for creating unique sculptural forms with wood, including furniture and functional objects. The exhibition featured commissioned work created from the 1930s to 1950s.
An article in the New York Times published on December 30, 1958, highlighted not only the importance of a retrospective on one of the 20th century’s most notable woodworkers, but also the functionality of Esherick’s objects. The article notes humorously that many families would be doing without while the bowls, chairs, and dining tables they use in daily life were on loan to the museum. Esherick is quoted in the paper saying, “Why, we reached for something the other day and remembered it was in New York!” The exhibition was on view at the museum through February 15, 1959. Works from the Esherick retrospective and the catalog can be found in the ACC Library Digital Collections.
December 1972
The ACC publishes The Craftsman’s Cookbook, which has 192 pages and 160 recipes gathered from craftsmen, in conjunction with the MCC exhibition “Objects for Preparing Food” (September 22, 1972 - January 1, 1973). Lois Moran, who compiled the recipes into the book, acknowledges in the introduction that “This book was done in salute to American craftsmen, not alone because they are so often inventive cooks, but because they are very special people.”
Recipes in The Craftsman’s Cookbook include an “Omelet with Yoghurt and Alfalfa Sprouts” from ceramist Paul Soldner, “Two Craftsmen’s Sauerbraten” from textile artists Cynthia Schira and Marilyn Pappas, “Sourdough Pancakes” from metalsmith Ronald Pearson, and “Kiln-baked potatoes” from enamelist Ellamarie Woolley, along with intriguing selections from many other prominent craftspeople of the 20th century.
December 1977
For the first time the vice presidential mansion Christmas trees were decorated with the finest in American handcrafted ornaments, thus becoming known as the "creativity trees." The objects were specially designed by craft makers across the county in a variety of media. Joan explained in 1978, "This holiday tree celebrates the vitality and creativity of the American imagination. This tree is also a reminder of the tradition of exchanging and displaying one's handmade creations with family and friends at holiday time."
The variety of ornaments reflected the endless creativity in the craft movement: a stitched, hand-dyed angel; a ceramic Santa riding a polka-dot kayak in highly glazed clay; a striped, woven and crocheted icicle; cornhusk dolls; trumpeting angels of bread dough, and other equally stunning items in wool, silk, linen, wood, metal, and paper. For more information on Joan Mondale and the “creativity trees”, visit this history lesson from former archivist intern Kat Oosterhuis.
This Month in ACC History" takes a look at events from the American Craft Council's 70-year history that shaped not only the organization but also the contemporary craft movement in America. Stay tuned for more craft history tidbits coming your way in 2013 and, in the meantime, check out our new weekly feature Throwback Thursday to view additional images from the ACC Archives and Digital Collections!
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Hours of Operation: 8 A.M. - 10:30 A.M. Monday - Saturday
(Subject to change without notice. Feel free to call us to
make sure we are open when you are coming. 515-465-3511)
Come aboard The Pattee Café for a dining experience that will be a memorable occasion. Enjoy our menu with a variety of American Cuisine that will be sure to fancy your taste buds.
Within the Pattee Café are 3 distinct dining areas that'll take you back to the time when trains were king. The Arrow Room, named for a Milwaukee passenger train, is a recreation of an early 20th Century railroad dining car, complete with coffered ceiling, wood paneling, and murals showing the countryside near Perry by Bouton artist Dennis Adams. The Challenger and Hiawatha Rooms, also named for Milwaukee trains are designed in the Arts and Crafts style frequently found in depot restaurants and railroad hotel dining rooms. The Challenger Room is topped with murals of Perry's Railroad past by Iowa artist John Preston remind you of the panorama passengers viewed from the train that was Queen of the Rails.
Inter-Urban Lounge
Named for the electric train that shuttled travelers back and forth between Perry and Des Moines, throughout the early part of the 20th Century, this lounge is decorated in the style of the Midwest's best-known Arts and Crafts designer, Frank Lloyd Wright. Known as Prairie Style, Wright's designs dot the Midwest. Photos of the Inter-Urban, Perry's railroad history, and the people who made the town line the walls. Relax and enjoy a great drink menu daily in the Inter-Urban Lounge.
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Explore Tiffany’s earthy side through pottery
This geometric three-handled Tiffany Studios vase in green and blue-green glaze sold for $7,500 plus the buyer’s premium in April 2014.
Image courtesy of Michaan’s Auctions and LiveAuctioneers
Bright, iridescent glass is the hallmark of Louis Comfort Tiffany and the firm he founded, Tiffany Studios. Its stained-glass masterpieces, Art Nouveau lamps and favrile glass pottery, have attracted legions of fans for more than a century. Less well known is the fact that Tiffany pursued an interest in pottery design. Tiffany Studios pottery might even be more desirable today than it was when it was introduced at the height of the Art Nouveau movement.
A circa-1905 favrile bronze pottery vase, pictured on page 63 of ‘Tiffany Favrile Pottery and the Quest of Beauty,’ sold for $22,000 plus the buyer’s premium in January 2022. Image courtesy of Rago Arts Auction and Auction Center and LiveAuctioneers
The leaders of Art Nouveau wanted to remove the stuffy, antiquated boundaries between decorative and applied art. In a nutshell, the former was to be admired, while the purpose of the latter was to be functional. Artists of the era insisted that practical everyday object could be just as fashionable as a strictly decorative piece. Louis Comfort Tiffany did with glass and pottery what his fellow Art Nouveau trendsetters did in their respective fields – Aubrey Beardsley with graphics, Gustav Klimt with painting, Victor Horta with architecture and Louis Majorelle with furniture.
A Tiffany Studios scarab pottery vase with a jeweled scarab mount attained $15,000 plus the buyer’s premium in May 2013. Image courtesy of Michaan’s Auctions and LiveAuctioneers
Tiffany Studios pottery production lasted from roughly 1900 to about 1920. Louis Comfort Tiffany might have been inspired by the American art pottery movement that emerged from the 1876 Centennial International Exhibition held in Philadelphia, or perhaps he visited the French-inspired pottery exhibits at the Exposition Universelle in Paris in 1900 and was moved by what he saw. Whatever the source of the inspiration, Tiffany exhibited his firm’s earliest works of pottery at the Louisiana Purchase International Exposition in Paris in 1904 and at the Salon of the Societe des Artistes Francais in Paris in 1905.
The contours of an artichoke also serve as the body of this Tiffany Studios vase, which earned $16,000 plus the buyer’s premium in April 2010. Image courtesy of Rago Arts Auction and Auction Center and LiveAuctioneers
Just like Tiffany Studios’ famous works in glass, the firm’s pottery designs were based on flowers, plants and the beauty of the natural world. Artichokes, water lilies, vines, celery, ferns, crocuses, seedpods, blossoms and poppies were translated into the medium of ceramics with exceptional authenticity, resembling the real-world models in vivid, lifelike detail. Tiffany and his artisans achieved this feat by casting actual flowers and plants into the molds that formed the final design. This strict, obsessive attention to detail sets Tiffany Studios ceramics apart from others and wins the devotion of collectors. Note: the ceramic pottery should not be confused with Tiffany Studios favrile glass pottery, which is a separate category of wares.
An ivory and moss green vase modeled after the flowering trillium plant, which features the incised initials of Louis Comfort Tiffany on the base, earned $8,000 plus the buyer’s premium in October 2020. Image courtesy of Hill Auction Gallery and LiveAuctioneers
Part of what makes the ceramics of Tiffany Studios valuable today are the fundamental practices that led to its downfall. Louis Comfort Tiffany always strived for perfection, and whenever he had to choose between maintaining quality and increasing profits, he chose quality every time. Tiffany and his artisans were always experimenting, always improving, always ensuring every detail was just right. While most of the firm’s pieces were cast in commercial molds, it is said that Tiffany himself always threw the first piece on the line the one that would create the mold from which to shape all that followed.
The aquatic plant known as Sagittaria latifolia, possibly the arrowhead variety, is showcased in this Tiffany Studios vase that achieved $140,000 plus the buyer’s premium in May 2013. Image courtesy of Michaan’s Auctions and LiveAuctioneers
Once Tiffany Studios pottery pieces were fired, talented artists painted them individually with colored glazes in matte, crystalline and iridescent finishes. These glazes became the preeminent design feature of the firm’s pottery line. “Glazes on pottery claimed much of his time in certain years,” says the authorized 1914 biography The Art Work of Louis Comfort Tiffany, written by Charles de Kay. Glazes defined his work, and his work was exacting, labor intensive and costly.
This experimental Tiffany Studios vase, colored with mottled blue, pink, and green glaze, sold for $8,000 plus the buyer’s premium in May 2017.
Image courtesy of Rago Arts Auction and Auction Center and LiveAuctioneers
Unfortunately, Tiffany Studios pottery did not enjoy the same commercial success as its other offerings. Pottery production ceased around 1920, with only about 2,000 pieces created in total. While that was bad news for the firm, the relative rarity of Tiffany Studios pottery is good news for collectors.
A whimsical Tiffany Studios vase depicting a frog on a green-glazed lily pad realized $5,500 plus the buyer’s premium in March 2013. Image courtesy of Treadway Toomey Auctions and LiveAuctioneers
The dwindling of Tiffany Studios pottery might have been a signal of dark times to come. In the 1920s, the Art Nouveau movement was eclipsed by the sleeker, more minimalist aesthetics of Art Deco and Bauhaus. Business declined, and too many pieces went unsold. Tiffany Studios declared bankruptcy and closed in 1932. Louis Comfort Tiffany suffered a personal bankruptcy and fell ill not long after closing the foundry, dying of pneumonia in 1933.
A high-shouldered Tiffany Studios Favrile pottery jar sold for $3,750 plus the buyer’s premium in July 2018. Image courtesy of I.M. Chait Gallery/Auctioneers and LiveAuctioneers
Tiffany was forgotten for a time by the art world, but the power and beauty of his decorative arts vision was rediscovered in the 1950s by curators and collectors. The artistic genius of Louis Comfort Tiffany and the artists he employed is proven at auction whenever original Tiffany Studios pottery captures the pre-sale high estimate, which it often does.
Budding collectors can learn more about Tiffany Studios pottery at the Charles Hosmer Morse Museum of American Art (www.morsemuseum.org) in Winter Park, Florida which “… houses the world’s most comprehensive collection of works by Louis Comfort Tiffany …” including his paintings, graphics and an ever-expanding display of decorative art.
A Tiffany Studios Favrile pottery vase, depicting a forest with the help of a matte chocolate glaze, realized $5,500 plus the buyer’s premium in January 2017. Image courtesy of Rago Arts Auction and Auction Center and LiveAuctioneers
Speaking on Tiffany and Tiffany Studios pottery, the Morse Museum’s site states it “… celebrates the design genius’s achievements with the ceramic medium that proved irresistible in his pursuit of beauty.” It is indeed a fitting epitaph for an artist whose works are beloved and immortal.
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Explore the world of the visual arts with Artfinder
ArtfinderArtfinder is a new iOS app from Art Discovery Limited, designed as a companion to the Web-based service of the same name. It’s available now as a free download from the App Store, and is currently featured on the App Store front page.
The Artfinder service as a whole has two main purposes: to educate people about art and the value thereof through magazine-style articles, interviews and other features, and to allow people to purchase works of art easily. The overall aim of the service is to enable users to discover their own tastes in visual art, and be able to satisfy those tastes by purchasing works that appeal to them.
The Artfinder app itself is split into two main components, accessible once the user signs in using either Facebook or their email address. The Home page shows what’s new on the service, including new works available for purchase, new articles and features on specific types or art or individual artists. The Magazine section, meanwhile, is split into a number of distinct sections including a daily “Art of the Day” feature, feature stories, “60-second interviews” with artists, art collections, guides to styles and trends, and educational articles.
When browsing through articles and art collections, users may add any works that catch their eye to their wishlist, which is accessible via their profile page. Individual articles or works may also be shared via email, Twitter or Facebook, or a link copied to the clipboard for sharing in other places. In cases where works of art may be purchased, the price is clearly displayed, and purchasing is a simple matter of tapping the “Buy Now” button. Full details of the work are shown to the user prior to purchase, including its country of origin, whether or not it is signed, whether or not it is framed and its dimensions. Some brief biographical information on the artist is also provided, along with information on the partner organization that has made the particular work available for purchase where applicable.
To actually purchase a work, the user must fill in a form including the country they are in, at which point shipping costs are calculated. The user’s full shipping and billing information must then be filled in manually, and payment is handled via Artfinder’s site rather than in-app purchase. Prices are shown in local currency after the user has selected the country they would like to ship to.
Artfinder is a simple but well-designed app that performs its functions well. It would have perhaps been nice to see a search facility to allow users to look for specific information on an art style or artist, but by browsing through the information rather than jumping straight to a specific section, there is the possibility of discovering interesting new things — which is, after all, what the service is supposed to be all about. Social features are relatively limited — there’s no facility to “like” or comment on individual articles within Artfinder itself, but to be honest, this feature isn’t really missed. If users want to discuss art, there’s nothing stopping them sharing the article or work on Twitter or Facebook and discussing it there, though it would be good to see a broader spectrum of supported services — Pinterest would seem like an ideal match, for example. Instead, by omitting unnecessary features, the app gives the user a much more streamlined experience that focuses entirely on professionally-curated content rather than community features. This is ultimately to the service’s benefit, as it places the attention firmly on the opinions of Artfinder’s experts rather than a community whose credentials and reliability cannot necessarily be relied on.
You can follow Artfinder’s progress with AppData, our tracking service for mobile and social apps and developers.
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« All Events
• This event has passed.
Graduating Student Recital • NOTHING VENTURED, NOTHING GAINED • Gabrielle Siena, piano
Sunday • January 15, 2023 | 8:00 pm
Free – $20.00
All Longy students present full recitals as part of their education and ongoing evolution as artists. They are charged with thinking critically about what stories they tell, whose voices to amplify, and who’s in the room for their event while also considering how to use performance spaces in innovative ways and how to truly engage audiences and create interactive music experiences.
This recital is in partial fulfillment of the Undergraduate Diploma. Gabrielle Siena is a student of Hugh Hinton.
read more
The Prelude and Fugue in G minor- Book 2 of the Well Tempered Clavier, which is a two book set of contrapuntal keyboard works- starts with a dramatic opening in the Prelude. The dissonance throughout the Prelude builds tension as the piece progresses. This dissonance lasts up to the very last chord, in which we finally get a resolution. The entire prelude is a conversation between the two hands, with constant tension and deep emotion. The Fugue contains four voices, which captures Bach’s greatest attributes- a seemingly uncluttered 4 voice conversation, recognizable theme, while staying pleasant to the ear.
Wolfgang Amadeus Mozart’s piano sonata in A minor is a mysterious work that shows a darker side to his writing. It is said that this work, along with his Violin Sonata in E minor which was written around the same time, were influenced by the death of Mozart’s mother- hence the choice of the minor key. This suggests that he might have been trying to create a more somber mood in his writing, which is present through the intense drama the first movement offers. The second movement is a classic style of Mozart, which boasts a beautiful and calm atmosphere- perhaps reminiscent of the life of his mother. The final movement returns to the minor key and is a particularly tricky and interesting series of passages that creates the finale of this haunting piece.
Despite its title of “Serenade in A”, Stravinsky’s 4 movement Serenade is neither in A major nor Minor. Rather, the “A” is a constant motif and sound that every movement radiates towards. All movements end on this note through harmonics, except for the last movement that satisfies the ear as a sounding A. Stravinsky is a composer known for straying away from the norm, and this set of pieces is a perfect example of how defying what we are used to hearing can still produce a beautiful, fresh sounding outcome.
Fanny Mendelssohn was a talented composer who produced many Lieder in her repertoire. This set of 4 Lieder for piano does exactly what the title suggests- creates the feeling of song through solo piano. Every movement has a melodic line that is easily singable and memorable, against a special accompaniment part in the middle and lower voices. Together, each movement has its own affect. No two are alike, but all are equally tremendous.
Chasse-Niege is the last etude in Liszt’s Études d’exécution transcendante– a 12 piece set of Performance etudes that harbor unique challenges per each piece. No 12 is filled with fluttering tremolos that resemble snow fall: at first, light powdery snow, until the climactic blizzard. Undeniably beautiful, this is one of many examples that defy the reputation Liszt has obtained as being an exhibitionist. This piece shows immense character, intricacy, and delicacy while still being a virtuosic undertaking.
Gabrielle Siena is a classical pianist from Connecticut who is currently on track to finish her Bachelors of Music in Piano Performance at the Longy School of Music. Beginning her piano studies at the age of 7, Gabrielle went on to become an alum of the Greater Hartford Academy of the Arts- an arts oriented high school that connects and encourages the collaboration of diverse art forms. Gabrielle found her way through supportive mentors and teachers. In these years, her primary teacher Inna Sherman, guided her to gain the confidence to participate and win local and state competitions. Gabrielle won first prize in 2019 as a participant in the Audrey Thayer Competition and has been a regular performer at the Connecticut Bach Festival. While in college, Gabrielle has had the opportunity to explore other genres of music where she discovered a newfound love of jazz and contemporary music. She was a recent participant of multiple festivals this past summer, including the Emerald Coast Chamber Festival and Adamant Music School Piano Festival. Gabrielle is currently studying under Hugh Hinton, and plans to pursue a Masters degree after graduating.
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Tickets are no longer available
Sunday • January 15, 2023
8:00 pm
Free – $20.00
Event Category:
Edward M. Pickman Concert Hall
Longy School of Music, 27 Garden Street
Cambridge, MA 02138 United States
Thanks to our partnership with the Massachusetts Cultural Council and their “Card to Culture” program, Longy School of Music of Bard College can offer free tickets to many of our diverse and innovative performance offerings. See the full list of participating “Card to Culture” organizations offering EBT, WIC, and ConnectorCare discounts.
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IMPORTANT Website terms of use and cookie statement
RIBA House of the Year 2022
RIBA House of the Year 2022
The RIBA House of the Year is awarded to the best new house designed by an architect in the UK
The Red House wins RIBA House of the Year 2022
The Red House, a contemporary new family house in rural Dorset, designed by David Kohn Architects, has been named RIBA House of the Year 2022: awarded annually to the best architect-designed house in the UK.
The Red House is situated in the rolling hills of rural Dorset. The owners fell in love with the idyllic location and stunning panoramic views when they first visited the site in 2011 and, 10 years later, moved into their dream family home.
The house takes inspiration from the Arts and Crafts movement, reinterpreting the style in an intentionally provocative way. The house’s playful eccentricity, including oversized eaves, patterned red brickwork, and contrasting bold green details, jumps out - but this is consistently underpinned by outstanding craftsmanship and attention to detail.
The open plan ground floor creates a light, airy atmosphere. Different ‘rooms’ are formed by walls moving in and out of alignment – offering only glimpses into the different areas, rather than a full view down the length of the house. This provides the practical and accessible ease of open plan living, alongside the cosiness of more enclosed spaces. The staircase is a central feature of the house – a sumptuous, sculptural design sweeping up to the first floor and dropping down through a projecting bay window.
The owners wanted a home that could adapt for future accessibility needs. The staircase has two handrails, there are rounded corners on built-in furniture, grab-rails on the fronts of cupboards, no door handles to turn – and even a lift. This thoughtful design future proofs, without comprising on the needs of the present or the style of the house.
Consideration has also been given to designing for climate change. The house has thick walls and deep eaves, serving to protect the façade from the elements and minimise overheating during summer months - crucial considerations as the climate progressively changes. The concrete has been left exposed to maximise the thermal stability of the interiors and the deep concrete foundations have been replaced by steel piles, reducing the embodied carbon in the groundworks. Biodiversity has been woven in, with the slate roof discretely providing a home for the local bat population. Further nesting sites have also been incorporated into the brickwork and eaves to encourage wildlife.
Building Stories: RIBA House of the Year 2022 winner
19 January 2023, 6pm to 10.30pm
RIBA, 66 Portland Place, London
Come and celebrate the RIBA House of the Year 2022 winner, The Red House by David Kohn Architects, and hear the story behind the winning project.
Buy tickets to Building Stories now
RIBA House of the Year 2022 Jury
(L-R) Alison Brooks, Ben Ridley, Nicola Tikari, Taro Tsuruta, Yinka Ilori
The judges for the RIBA House of the Year 2022 are
• Taro Tsuruta, Tsuruta Architects (Chair)
• Alison Brooks, Alison Brooks Architects
• Yinka Ilori, Yinka Ilori Studio
• Ben Ridley, Architecture for London
• Nicola Tikari, Tikari Works
Find out more about the RIBA House of the Year 2022 jury
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• 1. Formato
• 2. Acabado
• 3. Enmarcado
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Edición limitada desde $155,00 $97,50 para $7.860,00 ÚLTIMOS EJEMPLARES : HASTA -50%
Formatos con descuento : CLASICO, LARGE, GIANT
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Sobre la obra
A master of staging, Nicolas Bets is an eminent fashion photographer based in Paris and inspired by the world of cinema to produce his incredible compositions. The Belgian photographer strives to tell a story to viewers, as though they were looking at the freeze frame of a film during a screening. For their part, the extravagant models he directs pose before his lens with the virtuosity of actors. His images work on our funny bones, with each detail taken to its extreme. Sometimes it is an object or a place, an emotion or personality that sparks a series. Weekend in Normandy was taken in 2015 in an old Norman house in the countryside with three models. Picnicking in the garden and spending evenings around the fireplace, joie de vivre and simplicity are captured in this image in the most natural way, without revealing the photographer's rigorous staging behind the scenes.
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The art of camouflage – spot the sniper
A series of photographs featuring camouflaged snipers shows how subtle the art of disguise has become. In this new age of trickery, could the invisibility cloak become a reality?
Test yourself with Simon Menner's sniper pictures
• The Guardian,
• Jump to comments ()
Sniper 3
Simon Menner's photographs demonstrate how unreliable our eyes actually are. Find out where the sniper is at the bottom of this article. Photograph: Simon Menner
If you think you have 20/20 vision, think again. Camouflage works by exploiting the weaknesses of human perception. Most of us rely on our eyesight as our first and best guide to the world around us – Leonardo da Vinci claimed it is worse to lose your sight than any of your other senses because we orient ourselves visually.
Yet these pictures by Simon Menner demonstrate how unreliable our eyes actually are. They show snipers hiding in a variety of landscapes. Would you notice any of them without the red circles locating their whereabouts? Can you even see them with the aid of the prompts?
This is simple scientific trickery. Our brains just don't decode visual information as efficiently as we think they do. A broken pattern, or a confusion of depth and flatness caused by illusory shadows, or just a subtle blending of colours can make the visible invisible. Designers of camouflage have been researching and exploiting such optical illusions since the first world war – yet another reason to mark the centenary of its outbreak. One of the first uses of camouflage in 1914-18 was to disguise dreadnought battleships by painting them with giant Futurist markings to shatter their outlines in the water. A century on, the art of disguise has – these pictures prove – become a lot more subtle than such early efforts.
So subtle, in fact, that these invisible snipers are just the beginning of a strange age of human ethereality. Designers are working right now on a Harry Potter style "invisibility cloak" that can be 3D printed. The principles of camouflage can be translated to a nano scale by such technology, confusing the mind at a microscopic level.
It's just another step in humanity's imitation of the inborn skills of other animals through technology. Just as we learned to fly in emulation of birds, the art of camouflage is copied from reptiles and insects whose broken coloured patterns fit into the vegetation around them. Beware the sniper in the grass.
Sniper 3a There he is! Photograph: Simon Menner
Test your eyes with more of Simon Renner's sniper photographs
Today's best video
Today in pictures
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Stuart Black | 10FeetTall
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This website uses cookies or other identifiers, which are necessary for its functioning and required to achieve the purposes illustrated in the cookie policy. You accept the use of cookies by closing this notice or continuing to browse otherwise.
Stuart Black
Executive Creative Director / Partner
When my close friend and business partner, Joseph Meseha first approached me with the idea of starting an advertising agency, I was intrigued at the thought of not only navigating our own destiny, but being able to help brands and clients who were struggling to survive in the marketplace. I pride myself on designing and building the best possible creative we can for all our client partnerships. It’s this ideal that helps me to feel 10 feet tall every single day.
I grew up in the housing tenements of Glasgow, and for some parts, living under a bridge in the rough parts of Melbourne. My north star during it all was my grandmother, she equipped me with everything I needed to crawl out from under that bridge and help start this agency. She gave me a reason to stand 10 feet tall in life.
Don't be shy, let's talk
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Four Exercises To Improve Your Drawing
Four Drawing Exercise to Practice Drawing
As the seasons pass and spring flowers replace the cold winter wind, so to are old thoughts replaced with new ones. I think about planting a garden, hiking with my family and baseball. I love baseball. The games begin after spring training, where the players sharpen their old skills and learn new ones.
Art, unlike baseball, is always in season but spring training reminds me that it is okay to practice, even if you are in the major leagues. Drawing practice looks quite a bit different than baseball practice but there are some commonalities. These commonalities extend to other disciplines as well – music comes to mind.
What makes practice effective?
Effective practice has both a goal and a targeted exercise to realize that goal.
Whether performing drawing or sports exercises, practice doesn’t always look like the real thing. Take batting practice for example. A coach may throw the same curve ball over and over so that a player can learn to hit that one pitch. However in a game, the batter does not know which pitch is coming.
Basketball practice often targets a specific skill as well – three players may repeat a passing and shooting sequence at half speed to perfect their timing and position before attempting the same maneuver in a game.
Likewise, art training does not always result in a piece of art but it does hone our skills. This article showcases some of the skill building exercises that have helped me and countless others improve our drawing skills. A version of these exercises may even become a part of your standard drawing process, as they have mine.
4 Exercises To Improve Your Drawing
Exercise #1 – Blind Contour Line Drawing
Blind contour drawing is an important exercise. It is the most well-known of all the exercises we will cover and requires the least amount of skill to perform. Blind contour drawing benefits artists of all skill levels.
The Process
At first, blind contour drawing is uncomfortable. There are a few rules to follow:
1. Don’t look at your paper.
2. Only look at your subject.
3. Keep your pencil on the paper for the duration of the drawing.
The drawing is made from one continuous line. Since the pencil stays in contact with the paper, there should be only one beginning and one end to your line. You may have to retrace your line to move around in the drawing or simply leave out parts of your subject. It doesn’t matter. What your drawing looks like is not the point of this kind of practice.
The Benefits
Blind contour drawing does two things. First, Blind contour drawing develops eye-hand coordination. Not the type of coordination used to catch a ball out of the air. That type of action depends on coordination between the eye and gross-motor functions. Blind contour drawing coordinates fine-motor function with the eye. It tethers the hand and eye like a wagon is tethered to a horse. The eyes are the horse and the hand just follows along.
The second benefit of blind contour drawing is the breaking of a bad habit. Novice artists are in the habit of looking at their artwork too much and looking at their subject to little. The answer to all our drawing problems is right there in front of us. If we would only look at our subject more often, we would find more success. Blind contour drawing trains us to look at our subject more, constantly checking what we see against what we are drawing.
Blind contour line drawing
Exercise #2 – Straight Lines Only
I remember the first time I was asked to make a drawing using only straight lines. It was a figure drawing class and our model that day was a portly man in his golden years. He was all curves and wrinkles – no straight lines to speak of. This straight-line approach to drawing became my standard mode for beginning any drawing, not just when practicing.
The Process
Some subjects have truly straight edges, but even an organic shape has some segments along its contour that bend at greater and lesser degrees. The more gently bowed segments of a curve are changed to straight lines while strongly curved segments become corners. This process results in a useful simplification of the subject.
The Benefits
When we change the curves to straight lines we are forced to analyze each curve to determine where along that curve the corners should go. Each straight line is a conscious, meaningful decision about the subject.
Once a straight-line drawing is made, the artist can then change those straight lines and corners to curves. The result is a drawing that accurately captures the nuance of each curve.
Straight Line Drawing
Exercise #3 – Plane Analysis
Before describing the process of a plane-analysis, it’s worth noting that the exercises described in this article gradually increase in challenge level. Plane-analysis is suitable for intermediate through advanced level artists.
The Process
Begin by making a contour line drawing of an organic subject using only straight lines. The subject may be simple, like a piece of fruit – or complex, like a self-portrait from a mirror. After finishing my straight-line shape, I ask myself, “If this form had a corner, where would it be?”
Try to identify the shape of generally flat planes. Most of the shapes I use in this exercise have 3-5 sides. Make an edge or corner where the various planes seem to change direction.
When done correctly, the subject will appear as though it is made of facets like a cut diamond. Similar to the straight-line drawing, this exercise results in a stylization of the subject.
25 Days to Better Drawings
Learn a new drawing concept and skill every day for 25 days. Each drawing concept taught includes a short drawing exercise (less than one hour) that reinforces the concept taught.
The Benefits
This mode of drawing helps the artist to internalize a subject’s form. By purposefully drawing each plane, the artist will likely memorize the form and be able to draw it from imagination after the exercise.
A plane-analysis improves the artist’s shading as well. It helps us to see subtle plane distinctions that might otherwise go unnoticed. There is no denying that each plane should have a unique value since each plane is uniquely tilted in space. My own drawing and painting acquired a more solid, sculptural quality after completing a few plane-analysis drawings.
Plan analysis drawing
Exercise #4 – Intersection Points
The Process
Set up a still life with lots of empty space. Use long, thin items and be sure that everything overlaps and is visually connected (see video example).
Now draw the parts of the still life where edges meet – where they visually intersect. Include any hard corners that may be a part of the objects. Do not draw whole contours but instead work to arrange the “intersections” so that the missing portions of the drawing are easily imaginable as implied edges/lines.
The Benefits
Have you heard the phrase, “can’t see the forest for the trees?”. It is a colloquial expression meaning that a person is only focused on an individual thing and cannot understand how that thing is part of something greater.
Intersection drawing trains the artist to see the whole forest and not just the individual trees. When the artist is capturing an intersect he/she is capturing a relationship of two or more parts at once. The result is a more accurate, unified drawing in which the space between and around the subject is part of the subject too.
Drawing intersection lines
Make these drawing exercises a part of your warm-up routine and it won’t even seem like practice. If you don’t have a warm-up routine, then now you do.
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Four Exercises To Improve Your Drawing — 1 Comment
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Danish Desire: Sustainable Methods in Architecture & Design
Jan 22 2022
event: talk online
Environmental and social responsibility are integral to good design. In Denmark, robustly funded research & development in green technology, design and production helps to create jobs and contributes to building a strong economy. Eco-certified buildings within socially conscious, green cities offer bold new approaches to urban renewal that are inspiring new projects globally. In Danish furniture production, methods are continually updated to further reduce the carbon footprint, with elegant, functional designs that last generations.
Our panelists will explore the green wave’s impact on design for a better future and uncover:
• What can we learn from Denmark’s sustainable design initiatives?
• What are the economic advantages, if any, to investing in green design?
• How has increased awareness of climate change inspired architects and designers?
• How do green buildings and cities benefit the health of individuals and communities?
• Are students of design today learning fresh approaches to sustainable design?
Lene Tanggaard: CEO of Kolding Design School, and Professor of Psychology, Department of Communication & Psychology at University of Aalborg, Denmark
Lene Tanggaard is CEO of the Design School Kolding in Denmark, and Professor of Psychology at the University of Aalborg, Denmark. She is the Director of The International Centre for the Cultural Psychology of Creativity (ICCPC), and co-director of the Center for Qualitative Studies, a network of more than 90 professors and researchers concerned with the methodology and development of new research tools. Tanggaard is regional editor of The International Journal of Qualitative Research in Education. She also serves as board member of Designskolen Kolding and acts as advisory board member in numerous committees and organisations.
Louis Becker: Global Design Principal of Henning Larsen Architecture. Adjunct Professor at the Aalborg University Institute of Architecture, Design and Media Technology
Louis Becker is Global Design Principal at Henning Larsen Architecture. He is the driving force behind global and North American expansion of the practice, with recent competition wins for Carl H. Lindner College of Business at the University of Cincinnati, and the Etobicoke Civic Centre in Toronto. Since joining Henning Larsen in 1989, Louis’s expertise has covered cultural and commercial architecture, overseeing the development of the practice’s design profile. His approach strives to ensure that the architecture speaks directly to users and gives back to the society in which it exists. Louis Becker is Adjunct Professor at the Aalborg University Institute of Architecture, Design and Media Technology. He regularly sits on juries for international competitions and is a sought-after speaker at universities in Denmark and abroad. In 2011, he was awarded the Eckersberg Medal from the Royal Danish Academy of Fine Arts, recognising his achievements in elevating Danish architecture’s global presence.
Kasper Holst Pedersen: Master cabinetmaker and Principal of PP Møbler, a leading furniture maker in Denmark
Kasper Holst Pedersen is the CEO and Master Craftsman of PP Møbler in Denmark. He studied mathematics and physics at the university of Copenhagen before training as a cabinetmaker with Rud. Rasmussen in Copenhagen, obtaining the Queens medal of excellent craftsmanship. He joined the family company in 2001, implementing state of the art production technology, while developing the traditions of real Danish crafts, following the footsteps of his father and grandfather. Pedersen believes furniture must be part of a natural sustainable circle concerned with the origin of the materials and the re-planting and nursing of the forests. The establishment of a renewable forest near the PP Møbler workshop is one of many steps taken by the company toward fulfilling this aspiration.
Katja Aga Thom: Principal of Agathom Architects, an award-winning Toronto based architectural practice focusing on residential and commercial projects, public art installations and exhibitions
Katja Aga Sachse Thom is a principal of AGATHOM Co, an award-winning Toronto based architectural practice focusing on residential and commercial projects, public art installations and exhibitions. The studio blends a love of modernism with a rigorous craft and a sensitivity to local. Intimate and monumental, playful and daring, idiosyncratic and familiar are characteristics the studio exhibits in the making of space. Katja studied museum studies and sculpture at the Institute of American Indian Arts in New Mexico before receiving her Bachelor of Fine Arts in sculpture at the University of New Mexico. She earned her Master of Architecture degree from the Southern California Institute of Architecture (SCI-Arc) in Los Angeles. Danish by birth, Katja studied urban planning at the Aarhus School of Architecture in Denmark.
Hosted by TORP, the Danish Consulate General in Toronto, and as a feature of the Nordic Bridges initiative at Harbourfront Centre.
We’re also excited to offer an in-person exhibition during the DesignTO Festival at our showroom in Toronto, at 245 Davenport Road, suite 200. Meet the team at TORP and take a tour of the finest examples of Danish modern furniture and design.
TORP Inc., Danish Consulate General, Nordic Bridges, Harbourfront Centre, Lene Tanggaard, Louis Becker, Kasper Holst Pedersen, Katja Aga Thom
Who should visitors contact with questions regarding accessibility?
Arne Nordtorp
Hans Wegner’s Circle Chair (pp130) from PP Møbler. PP Møbler uses wood from locally sourced forests to ensure high quality and minimise transportation. The company also reduces CO2 output by using any wood waste chips or sawdust to generate energy for heating and other uses, along with other building measures designed for energy efficiency. The company has also replaced old lacquers with water-based ones to reduce toxic output.
Poul Henningsen’s PH Artichoke lamp from Louis Poulsen. Governed by the premise that high-quality, long-lasting materials and products are inherently sustainable, Louis Poulsen has been ramping up efforts to create a better workplace, including recently converting their Vejen facility to be powered solely by renewable electricity.
Arne Jacobsen’s Egg™ chair from Fritz Hansen. Upholstered in Re-wool, a 45% recycled wool designed by Margrethe Odgaard for textile producer, Kvadrat. Fritz Hansen collaborates with partners and suppliers to ensure that sustainable practices and materials in production are maximised, including minimising the use of harmful chemicals and lacquers.
Oki Sato’s (Nendo Design) N02™ Recycle chair from Fritz Hansen. Made from 100% upcycled plastic household waste that can be 100% recycled at the end of its use. Each plastic part is marked for correct sorting on disassembly and recycling, and the upholstery is 98% post-consumer recycled polyester by Just, certified by OEKO-TEX and the EU Ecolabel.
Thomas Alken’s Sammen Garden Furniture line from FDB Møbler. The furniture from FDB Møbler is carefully crafted to be long lasting and sustainably produced. The company aims to be Denmark’s most environmentally responsible furniture company and CO2 neutral. All products are designed and made to last generations, made with wood that is FSC certified, and all upholstery textiles are labeled OEKO-TEX.
Iksos-Berlin’s Fiber chair from Muuto is made from an innovative wood fiber composite and can be disassembled to be 100% recyclable for future production. Muuto strives for sustainable production using materials that minimize harmful chemicals, providing many products that adhere to several certification labels, including the Declare Living Building Challenge, the Global Greentag Label, the FSC, VOC testing and ANSI BIFMA & European Standard Testing for performance, strength, and safety.
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ALA Architects specializes in demanding public and cultural buildings, unique renovation projects, station design and master planning. The Helsinki–based firm was founded in 2005 by four partners: Juho Grönholm, Antti Nousjoki, Janne Teräsvirta and Samuli Woolston after winning the 1st prize in the open international competition for the new theater and concert hall in Kristiansand, Norway. Kilden Performing Arts Centre opened in 2012.
Today, ALA is today run by Grönholm, Nousjoki and Woolston, and in addition to them employs 52 architects, interior designers, students and staff members, representing 14 nationalities.
ALA’s most recent completed projects are the new City Theatre in Lappeenranta, Finland, Aalto University and Keilaniemi metro stations in Espoo, Finland, and the renovation of the Dipoli student union building in Espoo and its repurposing as the main building of Aalto University. Our current projects include the Helsinki Central Library, three more subway stations along the western extension of Helsinki Metro, a terraced parking garage in Helsinki, the renovation of the Finnish Embassy in New Delhi, a new hotel in Tampere, Finland, as well as the expansion of the Helsinki Airport.
In addition to having designed major public buildings in Finland and abroad, the partners have taught architecture in Finland, and at Columbia University and Washington University in St. Louis’ Helsinki International Semester. In 2012 they received the prestigious Finnish State Prize for Architecture.
ALA seeks fresh angles, flowing forms and surprising solutions. We trust in beauty achieved by combining the intuitive and the analytical, the practical and the extravagant, the rational and the irrational.
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ALA uses contemporary design tools such as building information modeling, 3D printing, and parametric design software combined with the more traditional model building and materials research. The ALA partners are directly involved with all aspects of the office’s design work, and take a very hands-on approach at the critical stages of each project. All team members are also expected to contribute to the creative process. The office also relies on its network of highly competent international collaborators and specialists to stimulate the exchange of up-to-date knowledge.
Every project starts with an analysis aspiring to get to the heart of the given task, to understand the framework based on the environmental constraints and the point of view of the client. After this begins the design phase that aims to, in a creative and open-minded manner, produce the best solution to the question at hand.
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Actions Panel
AccessFest: Poetry Night featuring Rabbit Richards
Join Kickstart and Under The Table in celebration of AccessFest 2023 with an evening of poetry, featuring Rabbit Richards.
By Kickstart Disability Arts & Culture
When and where
Date and time
Fri, Jun 2, 2023 6:00 PM - 8:30 PM PDT
The Gathering Place 609 Helmcken Street Vancouver, BC V6B 5R1 Canada
About this event
• 2 hours 30 minutes
• Mobile eTicket
Co-presented by Under The Table Poetry, this poetry open mic night will DISRupt you in all of the most exciting ways inviting you into the queered and cripped world of poetry nights run by and for our communities. With host mitcholos and feature poet Rabbit Richards, be prepared to witness some world changing magic on stage. Sign up for the open mic and remember to bring a physical or electronic copy of your poem to provide to the ASL interpreters.
Access Information
• Masks required
• Food provided
• Wheelchair accessible
• ASL interpretation provided
If you have any questions regarding access, please send an email to hello@kickstartdisability.ca
To learn more about ACCESSFest and other free events visit: www.kickstartdisability.ca/accessfest
About Under The Table:
Under the Table is an open mic series centering disabled and/or queer poets. This series was dreamed up out of a desire to share work, experience art, and connect with community in a covid safer, more accessible, and anti-oppressive space. Partnering with Massy Voices and Kickstart Disability Arts & Culture, Under the Table Open Mic Series will be on the first Tuesday of each month with some events in person at Massy Arts Society and others virtually on zoom.
Under the Table is a space where the richness that is queer and disabled life and art, flourishes and finds a home. It’s a space to share work that’s asking to be told, but might not be welcomed in other spaces, if you are able to access those spaces at all. It’s a space where being queer and/or disabled (whether or not those specific words resonate for you) makes your work a brilliant fit, regardless of how queer or disabled you think the poetry you wish to share is, how connected you are to disabled and/or queer community, and whether you feel disabled and/or queer “enough” to participate. It’s a space to witness and engage with the work of incredible artists, anywhere on their path of sharing their work–from the person who has never shared in front of an audience, to artists who have read or performed work many times. It’s a space where there’s room to be scared, and choose to be in community, share, and engage with others’ work. It’s a space where we don’t claim to know all the answers, but are willing to be in the messy, nuanced space of learning together. Come to “Under the Table” to laugh, cry, celebrate, sit in discomfort, feel understood, and be together.
This project has been made possible by the Government of Canada, The League of Canadian Poets, and the Canada Council for the Arts. Ce projet a été rendu possible grâce au gouvernement du Canada.
About the Feature and Host:
Rabbit Richards was born on occupied Lenni Lenape territory in Brooklyn NY. Their people have never rooted for more than one generation anywhere for as long as their history can trace. Their father’s family claims Kyiv and Minsk; their mother’s family remembers St Thomas and St Croix, islands of the Carib, Arawak and Ciboney. Rabbit is learning how to exist on stolen land in a marginalized body. Relentlessly compassionate with fierce integrity. Rabbit is passionate about anti-oppression and accessibility work and is deeply invested in the conversations that are provoked by their art. Currently they serve as Systems Change Coordinator at PACE Society on k’emk’emeláy, commonly known as the downtown eastside of Vancouver BC, where they focus on harm reduction within community care.
łapḥsp̓at̓unakʔi łim̓aqsti aka mitcholos (they/ them/ theirs) is a alienative queer and disabled poet. in 2017 they completed the spoken word program at banff centre for arts and creativity. in the same year was featured as a ‘rising voice’ poet of honor at the canadian festival of spoken word. at cfsw 2018, mitcholos made it onto the vanslam team alongside other competing poets: kay kassirer, rabbit richards, and jaye simpson; and coached by the poet yes. they entered the national poetry slam competition, making it past prelims to be finalists, ultimately placing third in the country. mitcholos is a born indian (under the indian act of canada) and is a foster care child of non-native familys. mitcholos is also alienative: indigenous but still displaced to where they are not native. uninvited, they work in solidarity with indigenous peoples: the xʷməθkʷəy̓əm, the sḵwx̱wú7mesh, and the səl̓ilwətaɁɬ. mitcholos acknowledges where they live as unceded territorys, that since time immemorial and forever more this is the lands and cultural centres of three distinct peoples. mitcholos is yuułuʔiłʔatḥ, and a member of the maa-nulth treaty of 2011, and is always and forever nuučaan̓uł
About the organizer
Founded in 1998, Kickstart Disability Arts and Culture is a multidisciplinary professional Disability Arts non-profit committed to showcasing the artistic excellence of artists working within the field of Disability Arts and Culture and supporting disabled artists in BC and across Canada as they continue to push the boundaries of what Disability Arts and Culture can do in this world. Kickstart is rooted in the history of Disability Arts and Culture as being tied to a community and cultural movement, and has prioritized supporting the arts and cultural practices of artists who exist at multiple axes of intersecting oppressions. As an arts organization founded and run by disabled artists for disabled artists, having artistic and administrative leadership who identify as disabled, ensures that decision making is driven by people from within the community it serves. Such a model has provided an example within the field of arts and culture, in that Kickstart both started and continues as an organization that is run 'for us/by us'; rather than simply providing programming for marginalized communities.
In order to promote the development of Disability Arts and Culture, Kickstart is led by disabled Arts administrators; programs, presents, and works with artists who not only identify as disabled but also develop aesthetic markers linked to the canon of Disability Arts and Culture, and centers accessibility in complex and intersectional ways that make it possible for disabled people to take up the role of professional artists, curators, as well as art audiences.
For more information visit: kickstartdisability.ca
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SALT LAKE CITY — Macey's here is introducing a new logo and a new corporate mascot as it continues a store remodeling program. The new logo — the Macey's name in lower-case white type on a blue background — softens the lines of the previous lettering and puts the corporate name in a box with rounded corners, with the indentation of the C and E in the company's name forming a subtle smile, Sarah Petit, a company spokeswoman, told SN. In some cases the box
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Hans van Manen's Twilight
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I recently watched a DVD of the Hans van Manen Festival and absolutely loved it. After watching the main program, I watched the ballet "Twilight," which was in the bonus features section. I can understand why it was put here, as it was of a much different tone and mood compared to the others. However, I found it absolutely intriguing.
Unfortunately, I cannot find much information about it. Mostly I've just found notes about the female dancer taking off her high-heels part of the way through. Not very enlightening. I was hoping someone might have some additional insight, perhaps in regards to what inspired Mr. van Manen to create this ballet. I was so struck by the contrasting artistic elements; the backdrop featuring huge spherical buildings, as well as a post and beam fence, the woman's and the man's costumes, the John Cage score. I found these different elements so powerful in the piece. I have my own thoughts and opinions regarding the piece but I was hoping for some historical context, shall we say, about the choreography and the creation.
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I can perhaps give you a few clues. The piece was made in 1972 for Alexandra Radius and Han Ebbelaar who as well as being on-stage partners were also a couple off stage. She wears high heeled shoes - as Van Manen once said she has prepared feet, like the prepared piano. The decor is by Jean Paul Vroom and is some kind of chemical plant. It should fade away at one point, but I can't remember exactly (it's a long time since I saw the piece) and there has always been some technical difficulty in reproducing the original effect.
I've always thought that the piece takes its theme from the music; John Cage's The Perilous Night, which was written at a very difficult period in his life. Horst Koegler describes it as a "dramatic ballet for a man and a woman who fight out their precarious relationship with unrelenting provocation and aggression".
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I actually danced this piece when I was with Sadlers Wells Royal Ballet & funnily enough was discussing it with my pianist from City Contempory Dance Company today. It is a wonderful piece & so very exhausting if you put your heart & soul into it. With the concluding notes on the piano the dancers have to follow with a breath in & a breath out& you are so exhausted that it is hard to control your bodily function. You just want to pee your pants. When I danced this piece I was also dancing 3 other ballets on the same night & had several quick changes.
But it was a wonderful experience & I love Hans Van Manen
Lois Strike
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Is This Tomorrow? at Whitechapel Gallery
March 24, 2019
ArtsGroup Exhibition | by Candid Magazine
The rising impact of climate change, the efficacy of the farming industry, the relationship between people and bioengineering; our world is undergoing unprecedented change due to new technologies and dangerous demonstrations of power. We cannot help but wonder: what does the future hold?
Responding to the ever-changing landscapes and conditions we face today, Is This Tomorrow?at Whitechapel Gallery features experimental propositions that invite visitors to consider the possibilities, uncertainties, and outcomes of our times. Borders, migration, privacy, living spaces and queer desire are only a few of the universal topics that are dissected in the exhibition.
Rachel Armstrong and Cecile B Evans, 2019, 999 years, 13sqm (the future belongs to ghosts)Courtesy Whitechapel Gallery
Whitechapel Gallery has commissioned ten new works by interdisciplinary pairs or groups of artists and architects who worked together to reveal the wide-ranging potential of collaboration.
Is This Tomorrow? seeks to explore visions of tomorrow through interactive installations, mixed-media works, models, and pavilions conceived by over thirty world-leading artists and architects. The exhibition presents works by 6a architects, Adjaye Associates, APPARATA, Rachel Armstrong, Rana Begum, Tatiana Bilbao Estudio, Cao Fei, Mariana Castillo Deball, Cécile B. Evans, Simon Fujiwara, Andrés Jaque / Office of Political Innovation, Kapwani Kiwanga, David Kohn Architects, mono office, Farshid Moussavi Architecture, Hardeep Pandhal, Amalia Pica, Jacolby Satterwhite, Zineb Sedira and Marina Tabassum Architects.
Farshid Moussavi and Zineb Sedira, 2019, Borders / Inclusivity, Courtesy Whitechapel Gallery
Speculative visions of the future, such as the potential effect of outmoded or collapsing political systems on architecture or the ways in which consumers adapt themselves and their environments in relation to technological advancements are played out in experiential installations, Thugz Mansion by APPARATA (established 2015, UK) and Hardeep Pandhal (b. 1985, UK), and I want to be the future by mono (established 2017, China) and Cao Fei (b. 1978, China).
As you enter the exhibition, you are immediately bombarded by the maze-like configuration of gallery 1 and confronted by a life-size rendering of an animal feeding pen. Created by 6a architects (established 2001, UK) who collaborated with artist Amalia Pica (b. 1978, Argentina), the feeding pen summons us to consider architecture’s relationship with animals as well as the boundaries between human and animal as we are encouraged to weave through the herd-feeding obstacle. Upon exiting the pens, a colourful pavilion constructed from reflective and semi-transparent glass is strikingly beautiful and lures you into its confines. Created by Adjaye Associates (established 2000, London) and Kapwani Kiwanga (b. 1978, Canada) as a space for solitude, the pavilion highlights the public versus the private, and serves as a meeting point for visitors to engage in conversation as the glass structure contains fabric which absorbs sound waves.
Simon Fujiwara and David Kohn, 2019, The Salvator Mundi Experience,Courtesy Whitechapel Gallery
Upstairs in galleries 8 and 9, visitors are invited to look at David Kohn Architect’s (established 2007, UK) and Simon Fujiwara’s (b. 1982, UK) model for a museum to host Leonardo da Vinci’s famed Salvatore Mundi. Their Salvatore Mundi Experienceis a stand-out piece that explores how iconic works of art are being commercialised through popular appeal, marketability and the world’s addiction to international capital. As you step out of the museum model and into a security gate pavilion, the physical architecture of border controls are taken into consideration. Farshid Moussavi OBE (b. 1965, Iran) and Zineb Sedira (b. 1963, France) complete this boggling experience of constraint with a soundscape triggered by motion sensors as you walk around or through the pavilion.
Ambitious, provocative and at times, ominous, Is This Tomorrow? gives us glimpses of possible futures. While it may be telling, it is entirely speculative. Calling on its visitors to question rather than accept as matter-of-fact, it becomes important for the viewer to engage with and experience the works individually.
Nonetheless, this is a fun, engaging and interesting exhibition. Not only does it feature celebrated international artists and architects and takes its model from one of Whitechapel Gallery’s most influential exhibitions, This is Tomorrow (1956)but it addresses some of the global issues we are currently facing through innovative artistic interventions. It may not be as daring and seminal as it’s predecessor,but Is This Tomorrow? still requires an open mind and a playful spirit.
Words by Dominic Lauren
Is This Tomorrow runs until 12 May, 2019 at Whitechapel Gallery
Follow Candid Magazine on Instagram, here
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Partner Spotlight: Joan Mitchell Foundation
The Joan Mitchell Foundation is one of our partners this year. In case you’re wondering, Joan Mitchell was a leading American abstract expressionist painter. The eponymous foundation is based in NYC and it celebrates her legacy in various ways, including educational programs like their Artist in Residence and Emerging Artist Grant programs.
As you may know, IF considers the future of art, creativity, and innovation as important areas of concern for our society today and in the future. We work to foster thoughtful public policy discussions on that subject and have several discussion guides devoted to it, including on The Future of the Arts & Society. We also work to foster creativity through our discussion process. We see our IF discussions as a way to engage people in the creative generation and exploration of ideas.
In November 2017, two IF Fellows—Jeff Prudhomme and Ieva Notturno—trained twelve brilliant, creative young artists at the Joan Mitchell Foundation in how to use IF style discussions in their upcoming Youth Creativity Summit in 2018. We approached this intense 2-day training with our usual learning-by-doing philosophy, meaning that the 12 artists each facilitated discussions among their peers about different aspects of creativity. In our whole group and individual feedback sessions, we explored the core elements and techniques of interactive small group discussions. We look forward to learning how the discussion process proves helpful for a successful Summit.
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Gallery: Talk To Me Exhibit at MoMA Examines Communication Between Peop...
In Japanese, "Tenori-on" means "sound in your hand." This device, designed by Toshio Iwai, is an LED screen that synthesizes light and sound, emitting programmed according to the light its reflecting. Artist Toshio Iwai notes that “in days gone by, a musical instrument had to have a beauty, of shape as well as of sound. . . . Modern electronic instruments don’t have this inevitable relationship between the shape, the sound, and the player. What I have done is to try to bring back these. . . elements and build them [into] a true musical instrument for the digital age.”
Antonelli, working with curatorial assistant Kate Carmody, divided the exhibit into six categories: objects, bodies, life, city, worlds, and double entendre. The designs emphasize our increasing desire to share information and have a personal dialogue with objects is driving force behind design. Fittingly, the curators set up a blog where they shared all of the possible submissions as they planned the show. Pieces in the final show range from furniture and accessories to machines and buildings.
Some of the designs, like the BIX Communicative Display Skin, are already implement in the real world. Created by Jan and Tim Elder of realities:united, the skin transforms the facade of a biomorphic art museum in Austria into a gigantic urban screen. Light rings atop the screen can be adjusted for brightness, and the screen can be used to enhance the museum’s communication with the community. MoMA writes, “The modular system embodies a vision of architecture as a changing, moving, and performing medium and demonstrates an accessible, eco-conscious (for its era) integration of media surfaces in urban landscapes.”
Many of the objects in the show are clever ideas that give silent everyday things a voice. Botanicalls, a gadget designed by a group of students in 2006 while in NYU’s Interactive Telecommunications Program, lets house plants talk to their owners. The device uses moisture sensors in a plant’s soil to send messages that are either tweeted or read allowed on a recording to let its caretaker know when it needs a drink. While Botanicalls is a playful idea, the technology used could be implemented and adapted for a number of situations.
The double entendre category has some of the most playful and fun ideas that allow visitors to interact with the art. Becoming Animal, by Stephen and Theodore Spyropoulos, is a particularly intriguing design that lets you virtually become a dog and interact with the mythical Kerberos, the three-headed gate keeper of the underworld. In the installation, you’ll wear a dog mask made of heavy silkscreened paper and be guided by three actors. Kerberos will respond with real emotions, showing love, hate, and anger through sounds, facial expressions and gestures.
While we can show you images of the designs and explain how they work, the only way you can get the full interactive experience of Talk to Me is to see it for yourself. As the curators write, “Designers are using the whole world to communicate, transforming it into a live stage for an information parkour and enriching our lives with emotion, motion, direction, depth, and freedom.” Talk to Me is an excellent exploration, even experience, of this idea, while at the same time expanding the idea of what a museum exhibition should be.
The exhibit will be on view at MoMA through November 7.
+ Talk to Me
or your inhabitat account below
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83c2eaee-a23f-4336-9807-fabdae07ff38
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Uses This
1242 interviews since 2009
A picture of Anton Gudim
Anton Gudim
in illustrator
Who are you, and what do you do?
My name is Anton Gudim. I'm just a random person who is bored and who is interested in coming up with strange ideas. But you can call me an illustrator, for example.
What hardware do you use?
I use a desk, laptop, computer mouse and almost all my free time.
And what software?
I draw in Adobe Illustrator and make some colour corrections in Adobe Photoshop. The presence of a small amount of software and the use of basic hardware allows me to be more mobile and draw in any place where there is a regular laptop with Illustrator on it.
At first I was very upset that I draw with the mouse and do not use a graphics tablet, but then I took it as a feature of my style.
What would be your dream setup?
My dream is to have an inexhaustible source of ideas and, of course, to develop in the field of drawing. Since at the moment I have to combine creativity and work as an engineer, I would like to devote my life to creativity and be an independent (financially and mentally) illustrator.
Uses This is supported by ZSA, makers of the Moonlander, ErgoDox EZ and Planck EZ keyboards. They also publish an awesome newsletter.
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Deredia in Genoa - The sphere between two worlds
From 16.09.2020 (All day) to 10.01.2021 (All day)
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Exceptionally extended until 10 January the exhibition that trasforms Genoa into a scenario for the great sculptures of Costa Rican artist Jiménez Deredia (Heredia, 1954), that become a powerful symbol in the urban landscape of Genoa in autumn, going from Brignole Station to Porto Antico.
Eight great sculptures, 7 of which still unreleased to public, with the typical circular and oval shapes recurring in the artist's sculptural imagery, will lead the visitor in a fluid and harmonic path through the city.
The city of Genoa, with its culture and history, is the ideal scenario to present the sculptures of Jiménez Deredia, Costa Rican artist living in Liguria. The circular and oval shapes recurring in his sculptural imagery leas the visitor in a fluid and harmonic path through the city.
Jiménez Deredia uses the sphere as a symbol to awaken ancestral values, hinting at transformation, it is shadows transforming into light. Therefore, for Deredia the sphere is not a statical element; it is a path, a process, a journey: the journey of a man starting to comprehend his own being and the elements that live inside each of us. For Deredia, we all are a breath of life rotating around a burning sun inside the vastness of space.
Jiménez Deredia is one of the main contemporary artists in Latin America, but he's been living in Liguria since 1976. The exhibition project "Deredia in Genoa - The sphere between two worlds" is therefore the result of a deep bond between Deredia and the ligurian territory, that adopted him more than forty years ago.
The exhibition in Genoa will feature eight great sculptures, seven of which exhibited for the first time.
"Evolucion", exhibited in Piazza De Ferrari, is the artist's bigger sculpture, and it was previously exhibited only once, in Mexico City in 2015.
Here's the list of the exhibited works
PAREJA (Bronze) – Stazione Brignole
CREPUSCULO (Bronze) – Piazza De Ferrari
EVOLUCION (Bronze) – Piazza De Ferrari
CONTINUACION (Bronze) – Piazza Matteotti
IL VIAGGIO (Marble) – Porto Antico
ENCANTO (Marble) – Porto Antico
REFUGIO (Marble) - Porto Antico
ARRULLO (Bronze) - Porto Antico
Near every installation the visitor will find a map of the entire exhibition path, in order to move easily around the city and find the different stages of the artist's journey.
Jiménez Deredia was born in Heredia, Costa Rica, on October 4, 1954.
At 22 years old, in 1976, he moved to Italy, where he started working with marble and bronze.
He graduated at the Academy of Fine Arts in Carrara and studied architecture at the University of Florence.
The intellectual fervor of that period helped the artist understand the symbolism of the pre-Columbian sphere of the Boruca people, constant inspiration in his works.
In 1985 he composed the first Genesis, works describing distinct phases of mutations of matter through space and time, thus beginning to create his artistic ideology: Transmutative Symbolism.
For the Great Jubilee in 2000, the Fabric of Saint Peter commissioned the artist the marble statue of Saint Marcellin Champagnat to exhibit into St. Peter's Basilica, inside a niche created by Michelangelo Buonarroti in 1544-1564.
In 2006, after a great personal exhibit in Florence, Deredia was appointed Corresponding Academician in the Class of Sculpture by the Academy of Fine Arts in Florence, an honour he shares with Michelangelo Buonarroti, Tiziano, Tintoretto, Palladio and Galileo Galilei.
In 2009, Deredia held an important personal exhibit in Rome, exhibiting his works in three different museums, in the main squares and near the Coliseum. In that occasion, the Roman Forum hosted contemporary artworks for the first time, exhibiting the sculptures along the Via Sacra.
Since 2003, Deredia has been organizing an international circuit of monumental exhibits en plein air. His exhibiting path crossed many cities, from Florence to Rome, from Valencia to Trapani, from La Baule in France to Mexico City, from Lucca to San José and Miami.
Throughout his career, this peculiar artist and thinker from Latin America created monumental works of art for exhibits, museums and public spaces in Europe, Asia, the United States and Latin America, bringing a message of peace and hope with the most physical of arts: sculpture.
16 September - 10 January 2021
The exhibit is a production of the Genoa Municipality in partnership with Esselunga (Institutional Sponsor of the Genoa Municipality) and Enel (Main Sponsor), with the contribution of the S.Paolo Foundation.
Dal 23.04.2022 (All day) al 08.05.2022 (All day)
Dal 16.08.2021 (All day) al 25.08.2021 (All day)
Dal 02.07.2021 (All day) al 25.08.2021 (All day)
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• Local Barbadian Artist
Local Barbadian Artist holding a painting of marine life
Sadè Payne is a young, up and coming, talented, local Barbadian artist. Her art expresses a pureness of form that she says comes from within. She has an autonomy of expression using both light and dark to create atmospheric portrayals of fantasy and realism. This is a reflection of the natural, impulsive, carefree individual that she is. Sadè’s art is limitless, her vision is towards new and unique creations.
At Paradise Rentals we want to give you opportunity to enjoy her work – take a look at the short video.
As a young child, growing up she always showed an artistic leaning. She cites her major influence as her father. In their spare time together they would draw and his paintings were displayed in her childhood home. From then on, art became an important part of her life, a passion and a hobby.
Today Sadè’s paintings exemplify breathtaking land and seascapes, easily combining both real life and fantasy. The beach is her favourite theme, because she finds it provides a sense of freedom and an escape from the world. This has led to many creations exploring the tranquility and sheer beauty of life in the ocean. While “Speed” painted in 2016 conjures up the magnificence of a dark horse against a fiery background.
Canvas is her medium of choice. The textures allow layering and even allow mistakes to be turned into a new masterpiece! For Sadè, her art is multi-sensory experience. The sound of the brushes or palette knives bouncing against the canvas creates a noise that is both harsh yet delicate. Each stroke reminds her of the movement and sound of the ocean.
Sadè considers herself to be a self taught artist with her own style, however she does hold an Associate Degree in Fine Arts from Barbados Community College (achieved in 2015).
Local Barbadian Artist holding two pictures of the sea
Sadè’s work is available to purchase, either originals or prints. She is also available for private commissions.
To get in touch just send Sadè an email
While on holiday why not consider supporting a local Barbadian artist? Take home a real piece of Barbados!
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Decorating the Cuts
Artist: Sabrine Kaner
This piece highlights and expresses the artists' personal experiences of self-harm, a subject which is hard to articulate and full of unresolved emotions.
Through artistic expression the narrative is more manageable and allows time to make sense of this complex issue, helping to nurture a form of acceptance.
She uses repurposed clothing textiles and stitch which have a personal attachment. Re-designing them into a composition that is imaginary, symbolic, and abstract. Kaner has deliberately chosen the colour red to stand out on a black background. With self-harm there is always the danger of death. The two colours interact with each other, the red standing out in front representing life, leaving the black background behind representing death. The patterns represent the transformation of the cuts and a turning point.
About the Artist
Sabrine Kaner is a mixed media abstract artist working with print, paint and textiles combining them using a layered process. She deconstructs clothing using the different parts, which become integral to her art's composition. Narrative that influences her work is mental health, the human condition and socio-political issues.
Kaner grew up in London went to St Martins, Manchester and Central Schools of Art, studying Fine Art Print. Having a long break from exhibiting to have a family, she also became a carer for elderly parents. As a mature student, she studied social sciences, mental health and post grad art therapy.
In recent years, Kaner has re-established her practice as an artist. This year having an open studio and have since been selected for fine art textile groups, such as @prism and will be exhibiting at Whitechapel gallery, 2020.
Currently, she is the leading artist on a Caribbean community project in Nottingham, sponsored by the @NAE.
Socially Engaged Art Salon (SEAS)
BMECP 10/A Fleet St. Brighton BN1 4ZE
Website: www.seasbrighton.org
Email: Hi@seasbrighton.org
Tel:01273 600885
©2020 by Socially Engaged Art Salon - SEAS. Proudly created with Wix.com
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