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Sculptor Zulu Heru: Burning (Man) to create
As a featured artist at Burning Man, Zulu Heru will showcase his massive, fire-breathing African tribal mask in the Nevada desert later this month.|
Inside the enormous, sculpture-filled warehouse of celebrated artist Marco Cochrane, Los Angeles sculptor Zulu Heru has been hard at work for months.
His project, an imposingly large, fire-spurting mask made of scrap metal – created specifically for this year’s Burning Man festival in the Nevada desert – is nearing completion, though the numerous pieces, each weighing hundreds or thousands of pounds, have yet to be fully assembled. Once done, the striking sculpture, which Heru has named “Farmer the Rigger,” will demonstrate to the world exactly what its up-and-coming maker is capable of.
“This is my coming out to the world,” said Heru. “I spent nine years in the Army, basically putting the world first, serving my country. Now is my turn to put my art first. This is how I want to express myself.”
The artist and welder is originally from Richmond, Virginia. While in the military, he served as a tank commander and worked with the Army Corps of Engineers. After leaving the service, he went on to earn a degree in sculpture from Howard University in Washington D.C.
“This sculpture, ‘Farmer the Rigger,’ is basically a portrait of my career,” said Heru. “Initially, my first job was a farmer. I worked at an urban farm in Richmond, Virginia, and we brought fresh produce into food deserts in the inner city. In that, I found the love of labor. I learned a work ethic that sparked my interest in learning other vocational skills.”
While still enlisted, he studied architecture and became a heavy equipment operator and a certified crane operator, through which he learned the art of rigging. A rigger – a word derived from early nautical terminology referring to the rigging of sales on a ship – is a skilled tradesperson specializing in the use of certain large mechanical devices, including an array of fixed and mobile cranes to lift and move heavy objects.
It’s a skill he puts to good use in assembling massive sculptures. Like many of his works, “Farmer the Rigger” is a large-scale African tribal mask, made of metal, reclaimed objects, re-purposed mechanical parts and stained glass. It will eventually be fitted with propane tanks designed to shoot jets of fire into the desert sky. Intentionally interactive, the massive jaw – with tractor-like teeth borrowed from a decommissioned escalator – will move up and down, to be opened and closed by festival attendees.
Once assembled, the mask will be supported on arched “legs” made of old ships’ anchor chains, 1,000 pounds per 13-foot section, 80 pounds per link. Each link will be anchored into large metal fists covered in sheet metal skin. Two stained glass rectangles, in a bulletproof shell, make up the eyes on the mask’s face. The sculpture, once installed on the Playa, will be oriented so that the eyes are illuminated by the setting sun.
“This piece is a compilation of the 10,000 hours I’ve spent learning this vocation, all of those hours birthed into a single physical object,” Heru said.
That number is a pointed reference to the general notion that it takes at least 10,000 hours of work to achieve an expert level of knowledge and skill in a particular art form or practice.
Said Heru, “This piece here is all of my skills meshed into one sculpture.”
The upcoming festival will mark Heru’s third contribution at Burning Man, and his first time as the lead artist of a major project. Last year, he was part of the massive build team assembling “Black Asé: Black Burner Project,” working as an engineer with lead artist Erin Douglas. This year, the stakes are exponentially higher.
“This time I’m in the driver’s seat,” he said. Most artists have to entirely fund their efforts at Burning Man, but as a featured artist in 2023, Heru recieved a grant from the festival, although it didn’t cover the total project cost. “This time it’s more difficult because I’m in the front, I’m the CEO, I’m the artist. It’s my vision. I’m wearing a lot of hats, and not just building a sculpture.”
Currently in pieces, some of which are still under construction, “Farmer the Rigger” will be loaded onto a flatbed truck on Aug. 15 and transported to Burning Man in advance of its opening on Aug. 27. The world-famous event runs through Sept. 4.
When put together, Heru’s 17-foot-wide, 9,000-pound sculpture will rise to approximately 23 feet, and will be surrounded by smaller art pieces, including sculpted human figures and painted metal drums, some of which will also shoot fire from attached propane tanks.
Asked to estimate the number of hours he’s spent on this specific project, Heru stands still to do the math in his head.
“Since about April 15, I’ve worked on this sculpture every single day, full time, for at least 15 to 18 hours a day,” he said. “I actually live in LA, but I’ve been here full time, working on this from the first sketch to now.”
That’s about 115 days, for a total range of 1,725 to 2,070 hours. “I’ve spent a lot of time here, becoming good friends with Marco,” he added, pointing to a towering sculpture of a naked man, wrapped in plastic. “I’m the model for that project. When you spend a lot of time with another artist, you end up doing a lot of projects with them.”
The two became friends working on another Burning Man installation, which is how Heru ended up in the Petaluma warehouse. Though he’s had help, and will need a small team to erect the sculpture once it arrives in Nevada, Heru said that large projects don’t always require large groups of workers.
“It doesn’t take a lot of people, it takes the right people,” he said. “It’s all about having the right cooks in the kitchen, rather than just having a lot of cooks.”
One thing he could use, as the project nears completion, is additional sponsors.
“The fundraising has gone well, I reached my crowdfunding goal, but I still need more money to see it through and ship it to the desert,” Heru said. “This has turned out to be more expensive than I thought, so I need private donors, I need private collectors, I need someone to potentially buy this sculpture and place it after Burning Man. It doesn’t have a home yet, and I really need help with that.”
Most artists look for buyers after the festival to offset the immense cost and labor associated with the works displayed at Burning Man.
He’s also at work on a short film about the project, to be titled “I Am a Pioneer,” and hopes to raise $5,000 for that through a Kickstarter campaign that has so far raised $2,000.
“Now, I want to make more sculptures,” he said, asked what happens after Burning Man. “I want to make bigger sculptures. I want to make more diverse sculptures. I want to pioneer this lane for others who want to do this kind of work. For me – and for those who will be inspired by this sculpture – this is just the beginning.”
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| Art History
Philippe de Montebello
Fiske Kimball Professor in the History and Culture of Museums
This statement will read rather differently from those of my colleagues as unlike them, my teaching is more experiential and heuristic than research and text based. That is because I do not teach art history as such, but rather examine works of art with an emphasis on their physicality and consideration of their existence within an autonomous category called “art.” As a result, I study their function as it varies depending on context, whether in museums, collections or in their original setting. My concern is on the one hand historical and on the other, focused on the contingency of response. In order to understand what follows, it is essential that I say something about my forty plus years of experience at the Metropolitan Museum of Art.
When I enrolled at the IFA in 1961, I concentrated on early Netherlandish and French painting, privileged to study with the world’s authority on the subject, Professor Charles Sterling. This led to a curatorial appointment in the Met’s Paintings Department. I wonder if that makes me the only faculty member at the IFA without a PhD. I was to become the Met’s director in 1977, a position I held until the end of 2008. The following year I was appointed Fiske Kimball Professor in the History and Culture of Museums at the IFA.
What I learned from the Met’s curators, perhaps the largest and most diverse art history faculty anywhere, shaped my way of looking at art and today informs my teaching at the IFA. From more than 100 curators with expertise in all of the world’s cultures in every medium over five thousand years of recorded time, I attended, in effect, literally hundreds of mini seminars on an untold number of subjects in the form of acquisition and exhibition presentations. What I learned from that uniquely diverse curatorial staff about every form of art has, I believe, no equivalent anywhere. Unlike those of the scholar, who in pursuit of an advanced degree, acquires knowledge in depth concentrated in one area, my lessons encompassed an exponentially broader scope.
My direct experience of works of art was further enriched through extensive travels around the world while working on acquisitions and exhibitions. I have probably entered more museums than many well-travelled academics, visiting them and other sites where art is displayed, not just to enjoy the art, but also to examine them as institutions and as spaces of art installations. This has contributed greatly to, and significantly inflects, my present teaching.
Although nominally retired, I remain involved with the Met, serving on various curatorial committees, involved as well in museums internationally. I continued my education as a Board member of the Musée d’Orsay in Paris, and have served for several years on the Board of the Prado where I was the first visiting scholar in 2009, delivering lectures and seminars; last year I was appointed to the editorial board of its Boletín . I have lectured and continue to do so extensively abroad, recently in (among other places) Paris, Berlin, Florence, Vienna, Barcelona, Shanghai, as well as across the United States. My studies in the art of Spain and Latin America continue through my new involvement as Chairman of the Hispanic Society of America, the premier museum and library dedicated to Hispanic culture, not just in the US, but also in the world. In addition, I reach an arts-aware audience through my weekly television program on channel 13 NYC Arts, where I interview curators and directors of major museums in the New York City area.
As indicated at the start, this autobiographical prelude is critical for understanding my approach to teaching at the IFA, both in substance and method. I do not teach conventional “museum studies,” a field that largely concentrates on the administrative and operational aspects of museums. Instead, I have chosen to concentrate my courses on the “contents” and not the “container,” with the one exception of The History and Meaning of Museums, a lecture course that traces the origins of the art museum from the first collections in the ancient world to the age of Enlightenment and the opening of the first “modern” museum, the Louvre in 1793. It traces the development of the museum as a building type in the eighteenth and nineteenth centuries, along with its close links to the new scientific disciplines of archaeology and art history, and concludes with the early modern period and its pivotal year of 1929, when the Museum of Modern Art opened its doors.
Other courses, both lectures and colloquia, deal primarily with works of art and their changing contexts, as in the case of two parallel colloquia entitled Art on Display and Art in Conversation. These courses explore how context materially affects our response to works of art and the interpretation of their meaning.
The physicality and ephemerality of the work of art is the basis of two lecture courses entitled The Multiple Lives of the Work of Art and Ars Brevis: The Vulnerability of Art and the Instability of Meaning. The chief premise of these lectures is that no work appears to us as it was originally conceived; it may undergo many transformations in the course of its life, from natural degradation to deliberate alterations. Because of that a viewer’s response is contingent and necessarily variable. I gave a condensed version of these classes in 2012 as the Humanitas lecturer at Clare College, Cambridge. Since then I have had offers from British publishers to write a book on the subject. In my future versions of these classes I will use a series of case studies to demonstrate the many variables affecting the materiality of art objects over time. I anticipate publishing the results for more scholarly readers than those who enjoyed my collaboration with the British art historian and critic Martin Gayford in our book, Rendez-vous with Art, which could not have come into being before I began teaching. Being director of the Metropolitan Museum required day to day action based on available knowledge and a heavy dose of intuition. Now, at the IFA, I find myself with time to reflect on my previous decisions and the beliefs that drove them.
Those self-reflections come to fruition in the more existentially conceived colloquium, The Art Museum: An Imperfect Construct, in which the group considers whether the model of the encyclopedic museum born of the Enlightenment is still valid in our post-colonial, multicultural, global age and discusses themes that include how much permeability there should be between different disciplines, genres or cultures currently presented in museums. Because I still have so many close ties with the museum world, I am able to call on curators from many institutions to act as discussants in my classes. This adds critically different voices to what should not, especially in this field, sound like universal truths delivered from on high. I owe this relatively new approach to my experience teaching at the IFA, where I continue to learn and expand my horizons through self-study and perhaps most productively, interaction with fellow faculty and students.
I believe the experiential quality of these classes provides the students at the IFA with an important alternative to standard academic teaching and I am pleased that they also have the benefit of providing students and professor alike, a chance to enter into a dialog with the present through the lens of the past.
Philippe de Montebello retired at the end of 2008 from the Metropolitan Museum of Art after serving for 32 years as its longest tenured director. He is its first Director Emeritus.
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The Dramatic Beginning of the Washington Quarter
The Washington quarter had its beginnings steeped in drama and debate. Originally requested in a proposal by the Treasury Department as a commemorative half dollar design to celebrate the bicentennial of George Washington’s birth, the decision by then, Secretary of the Treasury, Andrew W. Mellon, to use the Washington quarter design we know today, was hotly contested by the selection committee which was co-sponsored by The Department of the Treasury, the national Commission of Fine Arts and the Washington Bicentennial Commission.
A competition was held in which artists would submit their designs on plaster molds to the above committee. The committee would then select the design they felt best represented their requirements and this design would be used for the coin and a medal.
laura-gardinThe design which actually won the unanimous approval of the committee was submitted by Laura Gardin Fraser (pictured left). Incidentally, her last name should ring a bell with U.S. coin collectors as her husband James Earle Fraser is famously know for his design of the Buffalo nickel.
Laura Fraser was already well known in coinage for her design of the Oregon Trail commemorate half dollar, which was minted from 1926 – 1939.
Oregon-Trail-Half-Dollar
Unfortunately for the acclaimed Laura Fraser, Mr. Mellon didn’t get to take an active role in selecting the winner of the first competition. Known for his stubborn disposition, Mellon (pictured right) refused to accept the committee’s design selection and requested that a second design contest be held so he could take a more active role in the selection of the winning design.AWMellon
As the account goes, on October 27th, 1931 the committee selected six designs from over a hundred submissions, both new and re-submitted, and, again, unanimously chose Fraser’s design as their first choice. The committee labelled Fraser’s models as #56 (pictured below).
From Nov. 2nd 1931 to April 16, 1932, committee chairman Charles Moore, Sec. of the Treasury Andrew Mellon, and Ogden L Mills, who succeeded Mellon as Sec. of the Treasury in in 1932, debated through several correspondence, over the use of Fraser design for the new quarter. Charles Moore, arguing on the behalf of the selection committee that Fraser’s design was superior, and Mellon, from his rather
JohnFlanagan2stubborndisposition, preferred, and ultimately knew1 that he was going to select a design which was submitted by John Flanagan. (pictured right)
On April, 16, 1932, Secretary Mills made it formally known that John Flanagan’s design had been selected for use on the new U.S. quarter dollar. A new coin was born and the Washington quarter began ejecting from the mint presses in The summer months of 1932 and was released in to circulation August 1st of 1932.
1932-D_washington_pcgs-66
Foot Notes:
1. The Complete Guide to Washington Quarters by John Feigenbaum. pg. 5, “Walter Breen, in his ‘Complete Encyclopaedia of U.S. and Colonial Coins‘ notes that ‘it has been learned that Mellon knew all along who submitted the winning models, and his mail chauvinism partly or whole motivated his unwillingness to let a woman win.'” Since the publication of the Feigenbaum book, The Official Red Book: A Guide Book of Washington and State Quarters suggests that this information is unfounded and purely conjecture as there were plenty of actions on Mellon’s part that would suggest otherwise. Namely the fact that many coins and medals that he approved were designed by women, including the above pictured Oregon Trail commemorative half dollar.
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XXL Books “The Monster Photo Directory”
I suppose it does not matter what you do if you are self employed for a living we all get approached to advertise in something or other.
If you are a commercial Photographer it seems to be calls or emails about placing adverts on photographic web portals or in some promotional book that is being distributed to every creative and his dog.
Don’t get me wrong I’ve done my fair share of promoting in a few of these publications over the years and some are well respected and are actually used by the Designers and Ad Agency creatives who receive them.
I’m pretty picky about where I spend my advertising budget and generally stick to direct marketing these days and give little time to looking at paid space in books. However a few weeks ago I received a call from a very nice Dutch fellow called Eric Kievit who chatted to me about a monster sized 50x70cm photography book his company XXL Books produced.
I have several Dutch friends whom I have met while visiting Turkey where we have a holiday home and so had an enjoyable chat about many things Dutch including Football and how some of my favorite photographers all seem to be either Dutch or German.
Despite my doubts over advertising in this impressive sounding publication this year Eric kindly said he’d send me a copy (all 10kg of it !) in the post of their Dutch Photography edition so that I could experience & enjoy the stunning photography.
True to his word the book turned up a few days ago and it really is an impressive publication not only in size and weight but also in the quality of the reproductions.
I look forward to seeing the U.K version and maybe submitting my own work at some point in the future.
20120806-095403-pm
20120806-095431-pm
Completing The Book
Today after 6 months hard work I finally completed and assembled my new Book (or Portfolio if you prefer).
I say completed but your book never is completed as most photographers like myself are always creating new work and over time your style does shift somewhat too.
The work consists of Life,location & Automotive which should be no surprise as that is what I specialise in.
The last few years have been mostly spent shooting Automotive and Landscape images so last May while away in Turkey I decided I wanted to shoot more People/Life images.
So after many months shooting,editing,printing,re editing and re printing the Book is finally finished today…well for now at least !
Here are a few snaps of the Book being assembled today.
The Glicee prints needed scoring so they will turn in the Book and holes need punching so that they will slip into the brass retaining posts.
The final result looks fantastic and much better than having plastic sleeves although you have to watch creatives with grubby fingers !
South Drain
This is a location I have photographed many times over the years South Drain Nr Burtle on the Somerset Levels.
The view up the river is halted by the iconic Glastonbury Tor (too small to view in this image) rising above the Somerset Levels.On this occasion I was simply enjoying a weekly drive across the levels with my dear old mum.I often take her here as it’s not only a favorite spot for her too but a great place to show my youngest daughter the many Swans and Dragonfly’s that occupy that stretch of river.
On this occasion I saw something I’ve never seen before and that was The National Rivers Authority (or someone) cutting the reeds on the riverbank.I’m not sure what this machine was but it seemed to be collecting any cuttings that where floating on the water.It was very graceful and had Tank like tracks which meant it simply drove up the side of the riverbank when it had finished.
Here is an image from my trusty iPhone to record the scene.
South-drain-harvester
Photography Location “Preparation” for successful Landscape Photography
Photography Location “Preparation” for successful Landscape Photography
I don’t normally post any kind of tutorials here they are normally posted on my Digital Photography site but I’ve been asked a couple of times how I approach some of the work in my Travel Photography Portfolio so thought I’d add a short post here.
A Photography Location is not always the easiest of subjects to capture unless you do a little bit of pre-planning.
That’s not to say I don’t sometimes just stumble across a well-lit scene or just head out and explore an area without any planning because sometimes I do.
However, a professional vacation photographer will almost always do some scouting before shooting.
Weather can be unpredictable especially in the U.K where it changes very quickly and of course, we can’t be prepared for that!
Rush-hour-rotterdam-bridge
Rotterdam Traffic On A Misty Morning
I’ll often research the area via good old Google and Google Earth to get ideas of the locations terrain and possible shooting angles.
I’ll also phone local tourist offices who can often be invaluable in recommending good vantage points or even specific times of the year they believe are best to visit although they are rarely photographers themselves and their idea for a chocolate box image/vantage point will rarely be yours!
Looking at books or local postcards can also help show the more popular spots and this can be a good starting point but I’ll always search out a new angle where I can and try to make the image my own.
If you are out scouting locations consider using a compass or better still a smartphone app like Focalware.
I use Focalware on my iPhone and it tells you the sun/moon angle during various times of the year which can be extremely handy especially in hilly areas where parts of your scene could fall into shade.
Another way to find out what time the sun rises and sets for the chance to create some creative travel photography is a site like Time & Date and of course, check the weather forecast while you are online too!
Even after viewing forecasts the weather can be unpredictable so be prepared to have to wait around for the light so perhaps pack a good book or a laptop to entertain yourself.
Travel and landscape photography can mean early starts or a late finish so a flask and a snack are other items I never leave home without especially when I’m out shooting at dawn.
Venice-rowing-boat-creative-travel-photography
Rowing To Market, Couple Rowing Small Boat In Canal Venice
Stay close to your chosen viewpoint and be prepared (especially if the wind is up and clouds are moving quickly) to grab the unexpected change in the light.
Early morning and dusk can also mean unexpected wildlife too so again be prepared for a few grab shots.
Landscape photography is not the hardest subject technically to capture but sometimes does take a bit of planning to get the best images that the location has to offer.
Be patient and be willing to cut your losses and return another time (if that’s possible) if the light or weather is too poor for the image you want.
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the original groupies: photographing the boas and bohemia of 60s' electric ladies
In 1969, 'Rolling Stone' published a special issue of photographer Baron Wolman's playful studio portraits of groupies, the pioneering women who found a new kind of liberation alongside some of history’s most monumental musicians. Now, he's exhibiting...
by Emily Manning
30 May 2016, 11:45pm
Iconic Images / Baron Wolman
On February 15, 1969, then-upstart magazine Rolling Stone published a "Special Super-Duper Neat Issue" titled "The Groupies and Other Girls." It was the first documentation of these oft-mythologized musical muses (prior to it, the term "groupie" wasn't even really a thing) and immediately crystallized a cultural sensation. Baron Wolman, Rolling Stone's first chief photographer, was granted unprecedented access to some of the era's most iconoclastic musicians like Pink Floyd and The Grateful Dead, but he was also the first person to turn his lens on the women alongside them. While these men were creating the art that shaped one of history's most transformative decades, groupies were rewriting codes of style, sexual expression, and self-liberation.
Karen Seltenrich
After having been collected and published as a photo book last year, Wolman's Forever Young:Groupies and Other Electric Ladies is presently on view at Toronto's Charlotte Hale and Associates through the end of May as a part of the Contact Photography Festival. "I had great affection for every one of the women I photographed: I learned about their lives, their aspirations. I didn't hit on any of them," Wolman writes in its catalogue. "I wanted to share what they were doing with the world."
The GTOs
Wolman's images capture some of history's most style savvy musicians like Jimi Hendrix and Jim Morrison, but his studio portraits of women like Karen Seltenrich and I'm With the Band author Pamela Des Barres demonstrate how groupies used clothing as a form of self-expression — literally fashioning a new kind of liberated woman. "The thing I noticed immediately about these women was that they had spent a lot of time putting themselves together in ways that were so creative, you couldn't believe it," Wolman told The New York Times. "They mixed together outfits of the day with things from antique clothing stores to create a real vision. They weren't appearing half-naked to get the men's attention. They were dressing up to put on a show."
"Forever Young: Groupies and Other Electric Ladies" is on view at Charlotte Hale & Associates through May 31, 2016.
READ: Cat Marnell reflects on the eternal allure of Sunset Strip groupies
Emmeretta Marks
Miss Sparky
Karen Seltenrich
Text Emily Manning
Images courtesy Iconic Images / Baron Wolman
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Chotto Xenos
by Akram Kahn Company (UK)
For children over 8 year and families!
Varighet: Ca. 60 minutes
How does war begin? And how does it end? It depends on who is telling the story.
Inspired by Akram Khan’s award winning final full-length solo XENOS, Chotto Xenos is a captivating dance production that takes young audiences back in time, exploring the often forgotten and untold stories of World War 1 colonial soldiers, in order to shine light on our present and future
Before the performance, from kl. 16:00, we invite you to a conversation across generations at Rosendal Kafé. Coffee and cake will be served.
The performance is part of Multiplié Dance Festival 2022 and is presented by Rosendal Teater and DansiT, in collaboration with Dansenett Norge.
XENOS Artistic Direction and Original Choreography: Akram Khan
Chotto Xenos Direction and Adaptation: Sue Buckmaster (Theatre-Rites)
Photo: Ingrid Hu
Lighting Design: Guy Hoare
Original Music: Domenico Angarano, inspired by Vincenzo Lamagna’s score for XENOS
Sound Design: Domenico Angarano & Phil Wood
Costume Design: Kimie Nakano
Film & Projection Design: Lucy Cash
Assistant Choreographer: Nicola Monaco
Rehearsal Director: Nico Monaco
Dancer: Jasper Narvaez or Nico Ricchini
Co-produced by DanceEast Ipswich, The Point Eastleigh, Stratford Circus Arts Centre, Théâtre de la Ville – Paris
Created with the support of Capital Group
Chotto Xenos was commissioned by: 14-18 NOW: WW1 Centenary Art Commissions, supported by the National Lottery Heritage Fund, Arts Council England, and the Department for Digital,Culture, Media and Sport
Supported by Arts Council England
Foto: Kennedy Jean Lous Fernandez
Level 1 250kr
Level 2 200kr
Level 3 150kr
Level 4 100kr
Level 5 80kr
Rosendal Teater
Besøk oss
Rosendal Teater is placed in the eastern part of Trondheim, at the other side of the crossing near Lademoen Church. The closest bus stop is Rønningsbakken. Bicycle parking at our wall towards the gas station.
Følg oss
Sign up for our newsletter!
And get the latest news on our program, invitations and community offerings once a month.
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What And How Is Material Design For Android Developers?
Mockplus Team 12456 Views
This post introduces the characteristics of material design for android, with material design android icons for free included.
First of all, what is the material design? It is a design language that Google focusd on the I/O Developer Conference in 2014, rather than a system interface design style. It includes the system interface style, interaction and UI, etc. Then, let’s take a look at what are characteristics ofmaterial design Andriod?
In terms of basic elements, it draws on the experience of traditional print design, font layout, grid system, space, proportion, color and image. On that basis, it can build a visual level and focus. The material design for andriod includes the hand-picked colors, images, the properly-proportional fonts, which all contribute to a clear and vivid user interface.
The principle to choose colors is bold, graphical and meaningful. It applies 500 hues in color in the larger part of the area, while using dark color in the smaller part of the area like the status bar. Such a delicate color combination makes the application full of color and bold.
Material Design pays much attention to the interface layout. As we all know, a good layout will make the interface look very fresh and there will be no messy feeling.
It adotps responsive interaction in the interactive design. The advantage of responsive interaction design is that it can deliver a more stronger and specific interaction to users when they request simple information by using the APP.
As the saying goes: One eyewitness is better than ten hearsays. Then, let's look at the unique interactive design of material design for andriod by the following simple dynamic pictures.
surface-response
surface-response
The above two figures show the surface response in the responsive interaction. The system will immediately draw a visualized picture on the interactive contact to get the user known when they click on the screen. For example, in the above figure, there will be a visual effect similar to the spread of ink appearing when the user clicks on the screen.
click-floating-interaction
It reveals the click floating interaction in the response interaction as shown above. It’s shown that the card and detachable elements will be floating when they are activated.
Do you want to start designing by yourself after enjoying these delicate material designs? In a Chinese ancient saying: if you want to do things well, first make everything ready for you. Now, I will share you some free android material design icons to improve the design efficiency before you get started.
Free Material Design Andriod Icons
1.Google
The first on our list is the material design system icons by Google on GitHub. There are around 900 UI icons that are commonly used in app interfaces including icons for communication, media, and connection. You can download it for a majority of devices.
google-free -icons
2.Mockplus
Mockplus comes with more than 3,000 icons and nearly 200 components. It can be used formaking and previewing designs on desktop, mobile phone as well as tablet.
mockplus-free-icons
3.Android L Icon Pack
Android L Icon Pack has over 1100 free icons. These cover material design icons for sports, business, e-commerce and so on.
android-L-Icon-pack
4.Free Material Design Icon Set (Behance)
This free icon set by WEBHOSTFACE includes a wealth of material icons for weather conditions, location, and media.
free-material-design-icon-set-behance
The material design has epoch-making significance for Andriod. I believe that the future of android will be the world of material design.
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Lighting design ideas for Seton Hill's production of the Tempest.
lighting areas
The Tempest Lighting Areas
Still a work in progress as we might need more areas depending on specials.
color palette
Looking at the palette breakup from an image of the aurora borealis I was able to pull some colors for the lighting palette. I want to pull some of the light blues and ambers that you see in the image. I also had looked at other images and pulled some light purples and light greens (the green comes from the flair off of the aurora).
fiberoptic lighting
inspirational images
These are some images I came across that inspired me not only for imagery but for the colors and textures within the artwork as well.
William Turner- the Slave Ship
William Turner- A storm
William Turner- the Shipwreck
William Turner
Willaim Turner
William Turner- The fishermen at Sea
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Holm perg 7 4° folio <47r>
ǪrvOdd Ævdr 21VIII (Ǫrv 91) (34-35)
‘Réðk at ganga’
prose text:
Ǫrvar-Odds saga
scan of black and white photograph - 300 dpi
© — this image is copyright
Holm perg 7 4°, 47
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Book Review: How to Survive in a Science Fiction Universe
How to Live Safely in a Science Fictional UniverseHow to Live Safely in a Science Fictional Universe by Charles Yu
My rating: 5 of 5 stars
i loved this. It was incredibly high concept. What is there not to like about someone who fixes time travel machines? and accidently witnesses ..well spoiler alert. Let me just say, this is a read over some day.
But here’s another thing. This book is also about melancholia and masculinity. Our un-hero is a straight man in his 30’s who is hiding from the universe in in his time travel fix it ship. His only companions are a smelly virtual dog and his AI girlfriend. And that’s how he’d like it to be. But ironically in being in the time travel business, he inevitably reflects on his life. So ok, the subtext here is aging and masculinity and melancholia, but also a resonant beauty. Ultimately I came out feeling like the universe was beautiful but paradoxical. But that’s just my bias.
One criticism: the links aren’t that great. an attempt at hypertext fiction that just doesn’t work.
View all my reviews
Yours in the Metaverse
I thought a lot about why so many humans are hurting here emotionally in the United States despite everything that is available to us in terms of material comforts (my sister Em is very philosophical so we have some great discussions).
One thing I thought is this…
that there really are not good connections across several generations in the U.S.. It seems like each generation is first of all concerned with itself and then with the one preceding or after it. So the very young are basically feted and applauded as they enter the world, lots of party showers and baby toys, and the elders are basically kind of ignored even though both are equally important to maintain some kind of intergenerational balance.
I know …
that there are lots of exceptions to this because the U.S. is made up of a lot of cultures many of which are connected across generations. But in the dominant media culture of the U.S. and media the “family” is seen as a unit not really connected across or between other units or between other units. I guess that’s my perspective as queer in the United States. I would like to self identify in this essay (no surprise right? \(*_*)/ )because a lot of the queering of perspectives and theories gets lost as it is extracted into other things out of context. Like fashion. But I digress.
after I thought about intergenerational stuff, I thought about the idea of mentorship. I’ve been thinking about that a lot because basically, at 48 I’m the oldest surviving member of this immediate branch of our family. When I realized that this summer, I totally freaked out, because I realized that through my actions I have a lot of responsibility. That is to say, there comes a time when it doesn’t really matter what you say, it’s what you are doing that people are looking at.
..y…..mi familia..
Because of everything my sisters and I have gone through in our lives, all of us deal with this stuff with a sense of humor and also non judgement for the most part. That’s good because judgement takes up a lot of mental space to maintain. But we are no strangers to a realistic view I’ll call pragmatism. And an infuriating optimism. My mom survived and even thrived on a peculiar kinda optimism. Optimism of the moment.
A word about “family of choice” which in queer world is so important and so devalued, but I guess has its own reasons to be invisible and permeable in this culture. In the above discussions about family, it can be so easy to be achingly alone in even multigenerational traditional families maybe because the importance of blood or sangre or ideas about genetics and connection. Because despite the powerful pull of genetics on this idea of identity, there are so many other bonds that are equally important. Like bonds of history and shared stories, and fluid connections, no comments please. With just genetics as a means of connection, you get essentially tribes of humans who are connected and almost imprisoned by an idea of collective identity based on genetics and who’s gonna have the next baby. Which doesn’t really always behoove women, that arrangement. .
And also for those who are queer or outliers in any way, an identity based exclusively on genetic attachment can be devastating and alienating. Conversely an identity based solely on the interconnections made through life, leaves something lacking. I can kind of speak to this a little bit anyway, certainly I’ve had some good reasons to cut loose from my family at certain points, but in the end, I’ve managed to make the connections with those who can understand and not judge, as well as in the younger generations, at least to date. And actually the importance of making connections to the adoptive side of my family, painful as it can be for the history it holds, it’s really important.
So back to mentorship…
I have thought a lot on who in my life has been a good mentor. And who I have learned from. Basically, a good mentor is someone who is a good listener, a person who understands when its the right time to say something,a person who does their best not to impose their values sets or imprint on someone, a person who tries to align their own values with their actions, and has a no-strings attached policy toward providing mentorship once they have taken that on. After I thought that through with the humans who have mentored me, I basically realized one of my current mentors is my dog. Yep. My dog. So basically Frida my dog, who is aging quite well I think, Frida is my Yoda. I’m not sure if she would appreciate the analogy, but I’m keeping it to myself.
In summary, I have decided to put my dog Frida as a write-in on the ballot when i go to vote for President or Senator. Joke. Kinda. The way things are going.
yours in the metaverse
-sam smiley :-)
Think Tank Operator
AstroDime Transit Authority.
but one source of inspiration…
https://nihilsentimentalgia09.files.wordpress.com/2013/03/haraway_companion_species_m
Relational Beings S_M, K_G, Frida, Tig, Luvy. y mis hermanas. y sobrin@s tambien, amig@s y mas.
Ridiculous Human Version of the World We Live in
anyway I just wanted to say something about this really ridiculous human version of the world world we have constructed and how I deal with it.
one of my favorite video artists, Nam Jun Paik said
“I want to make technology look ridiculous”
oh, he by the way loved technology.
here’s some info about him.
https://en.wikipedia.org/wiki/Nam_June_Paik
His name is actually Paik Nam Jun, but in true Western form it got scrambled on the way to the United States.
so to be literal about things (in true dissertation fashion), I conclude-ish that irreverence is key in toppling dictators and fear. BEcause I think personally that dictators are really good about organizing other people’s fear, and the use of television in addition has also been key to organizing fear in this human and electronic section of the world we live in.
oh BTW Charlie Chaplin the Great Dictator…I totally have to re-see this film! and double feature with Sasha Baron Cohen’s Dictator.
-sam smiley
Looking for Japanese Not-Weed
AstroDime member sam smiley is working on her dissertation and this documents a visit to the Hortus Botanicus in Leiden, the Netherlands.
New Project: Artists Helping Artists
119 Gallery and AstroDime Transit Authority are now initiating a new campaign. We call it AHA! (Artists Helping Artists). We are modeling it on a wonderful campaign for musicians called Sweet Relief.
We believe that artists in the United States contribute a lot to their communities. Of course they contribute to culture, but in addition, many are teachers, mentors, and community activists. They often volunteer their time in order to make their community better through their work, teaching, and activism. To that end, we are initiating occasional pop-up fundraisers to help artists who have been affected by age, sickness, and financial crisis, so that they can get back on their feet and continue their work and contribution to their communities..
Here’s our first campaign:
https://www.tilt.com/campaigns/artists-helping-artists-bridge-the-gap-72fdd72a/description
and our working logo. We hope you will consider our causes. They will make a lot of difference.
A Higher Road to Higher Ed
On Saturday, November 15, 2014 at the JFK Library & Museum in Dorchester, Massachusetts, AstroDime Data collectors took part in an action as part of Adjunct Action/SEIU’s conference for adjunct faculty from around the United States. The conference was called “A Higher Road for Higher Ed: Expanding the Movement in America’s College Town” and the agenda and web site can be found here:
http://action.seiu.org/page/s/boston-symposium-11-15
It was a very moving symposium. Faculty member after faculty member talked about their experiences in teaching for many years, and their work not being appreciated or honored by their institutions. What was most interesting was that this symposium was doing the work of honoring these faculty..the work that Universities and Colleges should be doing.
AstroDime Transit Authority made an appearance with our data collecting team. We asked faculty to “doodle” during the conference, and we collected the doodles during the length of the conference. There are many more wonderful doodles but here is some documentation of our action, which we called DoodleDadaData. The Dada is in reference to the Dada movement..and AstroDime was honoring the feminist principle of “invisible work”. So we were in fact doing a sort of Feminist Dada art project.
Here are some images below. More to come!
This one is outstanding!
This one is outstanding!
A really cool idea about doodles
What are thoughts? Doodles are thoughts. Things are thoughts. This is by….
Help support our adjuncts!
Help support our adjuncts!
Data being processed.
DadaData being processed.
One of our data gathering specialists.
Poetic Inquiry (Discard and Replace)
AstroDime is occasionally asked to do arts based qualitative analysis. The work below was for a questionnaire an outside investigator sent to adjunct faculty to one private North American college in 2014, initially to assess the adjunct faculty needs at that institution. AstroDime noticed the survey was mostly quantitative in nature, and advised the outside investigator who was doing this survey to add an “essay response” in one of their sections. They don’t usually do that because it’s hard for them to analyze. But they took a chance with this.
We used a qualitative coding method called “in-vivo” coding to analyze the response. From that we made a poem. AstroDime recommends poetic inquiry as one means of analyzing these texts. The result of the analysis carries the evocative (Leavy 2008) qualities of QABR (or qualitative arts based research) into the public and outside the ivory tower.
The prompt question we used to code from was this:
What is your primary motivation for supporting a union at [name of university not posted here for confidentiality]
here’s the process and poem below.
After 10 years I remain a non-entity.
I do a lot of unpaid work in this position.
Nobody has ever set foot in my class to observe my teaching.
I think that adjunct like all faculty deserve a living wage and respect for what we deliver.
I want to be treated like something other than a person to discard and replace at the whim of deans and administration.
I think the exploitation is unconscionable and must be stopped.
I am tired of being treated as an interchangable part.
We are treated like servants.
We are not just cheap labor.
We are training teachers, not babysitters!
We are permanent, not just additional positions.
I would simply like an ounce of security implied in the position despite the fact that I am only an adjunct.
I want pay for teaching.
I want to sense more inclusion and respect from the full time faculty.
I want to be treated as a knowledgeable and respected colleague.
I want inclusion in the community.
I want a greater voice in my department.
I want to see that generations of professors after me are treated with respect and justice.
I do not want to be invisible.
Compiled and coded by AstroDime Transit Authority
DATA POEM TITLE: Discard and Replace
Source: Private College in North America. Third Party questionnaire surveys to adjunct faculty. 115 questionnaires received by the date of the coding process.
Coding Category: “Respect for Adjuncts”
Coding Strategy: We highlighted phrases which to me resonated with the ideas of respect for the teaching profession.
Technical Stuff: Another party uploaded all the data from the survey into SaturateApp (http://saturateapp.com). AstroDime created the codes. There are many more codes, more nuts and bolts, but from a poetic perspective, this turned out to be the most compelling to draw out for us. We are not including raw data out of respect and privacy of the participants.
support/technical
support/on campus
support/professional development
support/advancement
support/time
support/communication
support/other
Course models
models/online
models/face to face
models/blended
respect for adjuncts
Intellectual property
job security
compensation/coursework
compensation/photocopy
compensation/parking
compensation/homeoffice
compensation/cloud
compensation/supplies for class
compensation/other
compensation/trainings
compensation/health insurance
Hungry Hungry HIPPOs
If you are in my generation (this is sam writing)..ahem..you might remember this game:
Hungry Hungry Hippos
http://en.wikipedia.org/wiki/Hungry_Hungry_Hippos
Well, although the above is technically off topic, ASTRODIME’s current research is on invasive species, weeds, and climate change. In the spirit of that, we will share a picture of a hippopotums eating water hyacinth.
http://blog.wildlife-pictures-online.com/large-mammals/hippo-draped-in-water-hyacinth/
The above link is from Scott Macaskill, a photographer and blogger who posts images of wildlife in Africa. Check his facebook page out for more info: https://www.facebook.com/pages/Wildlife-Pictures-Online/
One thing about water hyacinth:
It is considered one of the world’s most invasive plants, according to the Global Invasive Species Database. (Provenance of that web site still unclear, but it does have handy info)
http://www.issg.org/database/species/ecology.asp?si=70&fr=1&sts=sss&lang=EN
It is the topic of my dissertation, water hyacinth. (Me being sam smiley) In the next few years, one of the long research arms of AstroDime may extend into this inquiry..
In general, AstroDime is currently concerned with our usual topics of communication and transportation, but we are also researching climate change in the Anthropocene era. Yes the era in which human activities CHANGE global climate conditions. Yikes.
http://en.wikipedia.org/wiki/Anthropocene
In closing, I would highly like to recommend this book which made me both laugh and cry at the same time at human attempts to regulate water ecologies in the early 1900’s. LIFE, I say, is ALWAYS stranger than fiction.
https://read.atavist.com/americanhippopotamus
-sam smiley
Art, critical thinking, ethnography, and STS
Here’s an AstroDime Special Report on the 4S conference (http://4sonline.org) held in San Diego October 9-12, given by AstroDimer sam smiley
My concentration here will be on art and ethnography. I’m not necessarily looking at the big “art and science” question because there are value sets in both the visual arts and in science and technology that are too large for me to break down, and to start by deconstructing those would mean that I would never get down to my personal arts, ethnography and STS detective work.
One session that proved to be important to me was the following:
The work I enjoyed from this panel was Anne Galloway’s ethnographic work with sheep farms, sheep, farmers in New Zealand..and the artwork that has come out of it. It’s truly “situated artwork” and speculative fiction. Her talk was titled “Speculating the Multispecies Internet”.
Her current links for the project are here:
http://www.countingsheep.info
and you can follow her research blog here.
http://www.designculturelab.org/projects/counting-sheep-project-overview/
Another talk from this “Critical Making” panel was on the materiality of data, and making data narratives (Yanni Loukissas and Laura Forlano). I actually found this work (a form of performing data collection in the Arnold Arboretum in Boston, massachusetts) really useful both for STS connections and Qualitative Arts Based Research. They are intersted in “codesigning technoscience” and “hands on ethnography” and do ethnographic scavenger hunts and co-designing workshops. Here is a web site from their recent work in the Arnold Arboretum completed this past June of 2013
http://stsdesignworkshop.tumblr.com/
A note about the organizers of the Critical making panels: The Critical Making movement originates out of the Critical Making Lab in University of Toronto
http://criticalmaking.com/
They put out a great ‘zine called Critical Making
http://www.conceptlab.com/criticalmaking/
The first issue had an insert and parody on MAKE magazine (a sort of commodified DIY guide published by O’Reilly)
I found the concept of critical making really really interesting because it had some of the same critiques of DIY ish “Maker” culture in the U.S that I have thought about..overwhelmingly white, male, and uncritically “making”. The Critical Making group also involves craft in the concept of their work, which I appreciated. Because when I had followed and read the original MAKE magazines, I noticed that O’Reilly split the concept of craft off from the “maker” concept..(in another magazine called “CRAFT”) effectively reinscribing the gender divide that the “democratizing” MAKEr movement was supposed to bridge. But enough of my ranting..
Back to 4S..another talk that combined the arts and STS for me was actually on another panel..but had a lot in common with the previous aforementioned presentations. It was in the “In Search of ‘lines of flights’ in/to/for/by Latin America and Elsewhere” organized by Ivan da Costa Marques.
Within the first session was a presentation by Wendy Cano (researcher) that involved a collaboration with her sister Frida Cano (artist) in looking at corn as culture, and the uses of trangenic corn.This blog site has really great documentation of the project..an artistic cross cultural exchange on the meaning of corn that took place in Schöppingen, Germany in the spring of 2012. There is a great art book with Wendy’s writing, and also documentation of recipes from that experience. You can find examples in this blog entry: http://fridacano.wordpress.com/2012/05/12/vitamina-t/
My summary from these small samples are this: that the arts in STS can have a few models.. but the most effective models seem to work well with a collaboration of STS methods of research, and artists interested in ethnographic field work.
one model is using art to “co-design” field research such as with the work of Yanni Loukissas and Laura Forlano,
one model is doing critical public art with STS themes such as the work with Wendy and Frida Cano,
one model is somewhat like Anne Galloway’s art and ethnography work.. to create “artifacts” or fictions that result from the research and from collaboration with other artists.
I will close with a totally unrelated post. I was lucky enough to see Donna Haraway present a book Insectopedia by Hugh Raffle. First, I love the book. and I’m not really into bugs. It has exactly the kind of esoteric bits and pieces I love to follow and file somewhere. Also Haraway’s description of a “tangled coexistence” with insects is totally creepy but real. Donna Haraway talked about digging ticks out of her skin. But somehow it was a lot more poetic.
SLSA 2013 roundup (Postnatural)
Astrodime member sam smiley attended the SLSA conference (Society for Literature, Arts and Sciences) in South Bend Indiana, October 3-6, 2013. The theme was Postnatural. http://litsciarts.org/slsa13/
What follows is a incomplete summary:
AstroDime is hard at work on finishing INtransit V.7: Invaders!, and we are starting research on INtransit V.8 (most likely weeds). My presentation was on weeds as boundary objects. So this conference (as well as the follow STS conference) was very valuable for the development of these ideas. I also would like to mention there was a great accompanying art exhibit too at this conference.
Since I am actually teaching a class on gaming using a program called Scratch, I paid attention especially to the gaming tracks:
Digital humanities theorist N. Katherine Hayles worked with a team of collaborators at Duke University (at the Greater Than Games Lab http://www.fhi.duke.edu/labs/greaterthangames to create an alternate reality game (ARG in the lingo) based on economics and the financial crash in the U.S. in 2008. It is called http://speculat1on.net (that’s a number 1 for the name)
There was a great talk on Queer Videogame Ecologies..Edmond Chang spoke about queer subtexts in the film Wreck it Ralph. And I got myself online with Minecraft, thanks to Amanda Phillips. I think I also got a lead on another queer game artist: Electronic Game art by Merrit Kopas
http://mkopas.net/
I went to the first panel of Object Oriented Feminism. (some of my notes)
And a not-to be missed panel with artists Praba Pilar and Adam Zaretsky
Thoughts I left with..and took into the following 4S conference:
If an artist gets trained in social science or visual anthropology..at some point (I did anyway) I became very self conscious about the ethics of representation..I was able to surmount this but..is this…
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Boho Minimalist Dark Brown Leaf Wood Wall Art
Regular price$99.95
Shipping calculated at checkout.
This hand-painted, botanical leaf wood wall art offers a stunning aesthetic to any home. Its vibrant hues and delicate patterns bring an air of calmness to any space, making it an ideal accent to any décor. This wall art adds an elegant touch to any living room, bedroom, or office, providing an attention-grabbing piece sure to liven up any area. Crafted with durability in mind, this piece is sure to last.
Crafted with precision and care, each piece is created by first using a CNC router to carve the circle pattern into the birch plywood. Then, laser-cutting, hand painting, and affixing the leaf design shape from birch plywood.
We have mastered using our own secret watercolor technique to emphasize and highlight the wood grain of each individual piece. The colors and grain of the wood vary from one piece to the next, making each artwork one-of-a-kind!
We attach each design cutout piece to a plywood backing with industrial adhesives for long-term durability, and then seal it with a topcoat to protect against minor scratches and dings.
Finally, the panel is framed by hand using pine wood strips, stained with a custom brown stain to bring the piece together.
We make mounting your wall art a breeze with an alligator tooth hangers included on each piece!
24" Tall x 20" Wide x 1" Deep
At our workshop and studio, we craft each order by hand with care and attention to detail. We take our time to ensure that we create the highest quality piece for you, which typically takes 5-7 BUSINESS DAYS from the time we receive your order.
We will make sure your order is carefully packaged and shipped to you using either UPS Ground or USPS Priority Mail, whichever is best for your address, so that it arrives in perfect condition!
If you need faster delivery, please don't hesitate to reach out to us and we'll be glad to work together to find the best solution for you.
If you have any questions or worries, please don’t hesitate to get in touch with us! We want to make sure you’re completely satisfied with your purchase before, during, and after you receive it.
We invite you to come and visit us at our retail store located at 823 Conner Street in Noblesville, Indiana. We are situated right on the historic square in Downtown Noblesville and would love to meet you!
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pivot art gallery | Sarah Boothroyd
Sound artist Sarah Boothroyd has described her process as "building" using "…a plurality of sources" and "materials". The evocation of a term used in construction as well as artistic creation is very appropriate. Experiencing the work, a listener has the distinct impression of seeing an environment - an abstract city perhaps, or a sculpture built of clouds - forming in their mind.
Boothroyd creates a variety of work - from short, one minute meditations on a word or vocal gesture to longer pieces that take a more structured approach. From historical deliberations on the nature of time to interpretations of the recent Occupy demonstrations, each piece offers the listener a chance to become enveloped in a world created jointly with the artist.
Technically, the layers of audio combine in a myriad of ways to form the structure of each piece. Each fragment is placed, or woven in a deliberate and skillful process. Sounds are cut, mixed, and layered, faded in and out, and folded upon each other. This framework provided by the artist is filled out and expanded upon by the listener. The result is the creation of a place, an actual place, in the listeners mind. It is a distinctly collaborative experience.
Plug in your headphones, close your eyes, and enjoy these sonic worlds that you and the artist build together. Listen.
click here to listen.
The audio work of Canadian Sarah Boothroyd has been featured by broadcasters, festivals and galleries in over 25 countries. She has won awards from Third Coast International Audio Festival, New York Festivals, the European Broadcasting Union, and La Muse En Circuit. She studied visual art and costume design on her way to a bachelor's degree in philosophy and a master's degree in broadcast journalism. This eclectic background informs her diverse approach to audio work, as she combines a plurality of sources, drawing on the devices and techniques of film, music, literary arts, and theatre. Her website is: sarahboothroyd.com.
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Refracted Portrait – Limited Edition Linocut by Leslie Deil
Refracted Portrait – Limited Edition Multilayered Linocut Print by Artist Leslie Deil
My dad passed away from cancer in 2012. For years I tried to figure out how to make a piece that represents him. He always wanted to be an astronaut. Part of his plan to fulfill that dream was to go to the Air Force Academy and become a pilot. He did both and became a B-52 pilot. I carved a number of different pieces to try to capture different parts of him and how different people knew him.
This piece is available for purchase in my Etsy Shop.
error: Bakers do not give out free bread, so please do not try to steal my art
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Items filtered by date: July 2018
Another epic trip completed in the red centre. With everyone coming away with some great shots and some new information about how to use their cameras to get the best out of them. If you come on a trip with me you can expect to be challenged but in a way that will help you improve your photography. I will push you to try new things if your more of a novice and am generally not far away if you need help with something. I always show people what I am doing and seeing so they can try something different and get a little more creative with their own work and style. Its all about sharing information and helping each other in an easy going environment full of great locations. The more you put in the more you will get out of my trips. Yep you will get tired as we have very early starts most mornings and late finishes but with my itinary I have done my best to break it up so your not completely wrecked which is for my benefit also as I will not drive exhausted as its outright dangerous. I know this area like the back of my hand and the best spots and when the best time to photograph is so do yourself a favour and book on next years trip if you want an easy way to see the best locations without having to do a massive amount of homework and research as I have done all that already and am good to go. You can read the testimonials from this trip in the testimonials tab and from the other trips that I run. They are all great trips and full of their own challenges. Hope to see one day :)June 2015
What an Experience!! I've been a fan of Julie Fletcher Photography for some time, To photograph the amazing timeless landscape of the Flinders Ranges with Julie Fletcher was simply awe inspiring.
- Richard La Motte -
Hi Julie We received the canvas print and are over the moon. My wife Rose forced me to hang it then and there and it looks amazing. Well done and Thank you. Richard La Motte Western Australia
You Can Also Find Me On Instagram
Check out some of my latest Instagram posts
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White balance is one of those mystery settings that doesn’t seem to do much most of the time, but is responsible for a lot of disappointing pictures. Hopefully, our white balance photography tips will help. The concept of white balance is about trying to get the white light right – white light can have different qualities – white light from an ordinary bulb is yellowish, from fluorescent lights is greenish, from a cloudy sky is blueish. Our eyes are very good at adjusting to this, but cameras aren’t. The auto white balance system (AWB) on your camera is there to automatically alter the balance of what the camera sees as white light, so that when you go into a room full of yellowish lights, the camera compensates a bit like our eyes do.
However, while our eyes are connected our brains – one of the most powerful computers on earth, our light-sensing chip is only connected to the camera’s processor, and it gets things wrong all the time, particularly on certain kinds of pictures where one particular colour is really dominating the frame. A close up of a red Ducati motorbike, a purple flower, a green VW campervan, green autumn leaves, yellow sunsets – all these shots can cause the camera to over-react to the “excess” of colour that it sees, and tone down the colour to a bland-looking tone that isn’t right – ie isn’t what made you take the picture.
Here’s an example of some (as they like to say in America) “beautiful fall colors.” The AWB shot has reacted badly to all the green. It thinks it’s looking at something lit by nasty greenish fluorescent light, and toned it down. So our white balance photography tip would be to tell the camera what the light is.
This is on auto white balance, and it’s much less green that the leaves actually were!
That’s more like it! Cloudy white balance does the trick!
Same here with some green moss – auto white balance strips out all the interesting colours:
Cloudy white balance puts them back in!
Even in the UK, you don’t have to use Cloudy white balance all the time, and often Auto White Balance or AWB will work fine. Sunsets and sunrises particularly suffer from this – many people on courses complain that their mobile phone takes better sunsets than their fancy DSLR – that’s because the DSLR is trying to cope with the weird yellow light by toning it down, while the phone can’t. The weird yellow light of a sunset, exactly what you would want the camera to correct if you were indoors lit by lightbulbs, is what made you take the picture. For many shots (a girl in a red dress, for example) there’s enough other colour in the frame and it isn’t a problem, but if you took detail on the red dress, it would be!
Similar issue here with Jo’s pictures at Charlecote. Jo was struck by the lovely yellow light, but the camera on corrected it and rendered the stone grey. Our white balance photography tips to change the white balance to ‘daylight’ white balance (on a Canon 1000D) fixed it. Newer cameras are worse at this, as they are “cleverer” and panic about this kind of colour more easily, so you may find you need to do this more on a new camera.
Ugg – what happened to the lovely light?
That’s better – what it really looked like to the eye
Of course, if you shoot raw, you can change the white balance afterwards. More on this in a a future article.
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3D, or 3-Dimensional backgrounds are considered to be a plentiful source of inspiration when it comes to dealing with everyday life. As daily routines could be rather boring, the users find inspiration in something really noticeable and unique. Sometimes, a person just needs to stare at something cheerful or fantastic to clear his mind up. More simply, a right wallpaper for you electronic device can remind how creative and effective you are.
For 3D lovers, there are tons of impressive wallpapers for their tablet devices, laptops or Androids to choose online. To download any inspirational shot, simply click on the image and apply it to the resolution needed. Various software programs like Maya or 3DMAX are being used to create such 3D graphical images; as a result, fans can give big points to amazing widescreen hi-res shots featuring unrealistic though ravishing landscapes or unbelievable textures. The wide range of choices is definitely limitless in this category, whether it could be wavy surface or relaxing water lily floating on water. By the way, feel free to share our picked 3D Wallpapers with your friends in social networking, they may appreciate it too. Remember, you should click the images and download the wallpapers you like. We are sure you would praise it!
3D Backgrounds
2015-09-19 Views 919Total views: 919 / 6Views for 7 days: 6
3d Background Wallpaper
3D Abstract Fire Flowers
2015-09-19 Views 780Total views: 780 / 2Views for 7 days: 2
3D Abstract Fire Flowers Wallpaper
2015-09-19 Views 994Total views: 994 / 8Views for 7 days: 8
1 · 2
2015-09-19 Views 1337Total views: 1337 / 7Views for 7 days: 7
575 Wallpapers (All 1080p, No watermarks)
items: 1114
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LT² Photography
Full wedding (ceremony and reception) pricing
Prices start at $6,500
Elopement pricing
Prices start at $5,500
About LT² Photography
LT² Photography
Wedding Photographer & Videographer
I'm LaDonna, a dedicated photographer who delights in celebrating couples from all walks of life. Hailing from New England, I take pleasure in highlighting the unique charm of each location I'm privileged to photograph and happily make myself available to travel wherever love takes you. My mission is simple yet profound: to create timeless artwork that reflects the love and individuality of every couple I meet. My commitment to excellence ensures you receive exceptional photos, videos & a truly memorable experience. When I'm not capturing beautiful moments, you'll find me savoring fine wine and crafting to my heart's contentment.
I'm dedicated to crafting an exceptional experience for every couple I work with. My commitment to outstanding service ensures that you'll cherish your images & videos forever. My passion lies in creating timeless photographs that not only capture the romance but transport you back to the emotions of your special day. Your memories, beautifully preserved and displayed.
• Bride-only session
• Drone photography
• Engagement session
• Extra hours
• Image editing
• Online proofing
• Printing rights
• Second photographer
Photo formats
• Digital files
• Online gallery
• Printed enlargements
• Same/next-day sneak-peek images
• Wedding album
Write a review
5.0 out of 5
4 reviews
Write a review
• If you’re shy like me, this is for you!
Verified review
Pat B.Apr 20, 2024
Let me start off by saying I am pretty shy and am usually not the most photogenic gal out there. You can probably imagine how anxious I was going into our wedding planning - I was pretty worried about my awkwardness in front of a camera and the impact that would have on our wedding photos. But then I met LaDonna, and that all changed! She was so nice and professional in her approach and she really took the time to help me find my confidence in front of a camera. She was really patient and encouraging and was really great at giving me some direction early on at the beginning in teaching me how to look natural; by the time it came to our real sessions, I found I was hardly even thinking about my insecurities and instead found I was just living in the moment with my husband-to-be! I feel so much more comfortable and confident in myself after having worked with LaDonna - and I couldn’t be happier with the photos!! Thanks to her, I have beautiful pictures from our big day to cherish and the self confidence to keep taking photos with my husband to cherish our memories for a lifetime. So if you’re shy like me, this is for you!
• Best choice we could make
Verified review
Sandra J.Dec 26, 2023
Booking LT² Photography for our wedding was the perfect choice! LaDonna and the LT² team ensured a flawless experience for our photography and video. They were so accommodating and respectful of my elderly grandparents the whole day. Their relaxed demeanor and skillful presence beautifully captured all the most special moments of our day. LaDonna's assistant made our family photos a breeze—corralling my cousins and aunts, telling jokes to keep people from wandering off. This Dream Team is the perfect picture of efficiency! They made our entire experience genuinely enjoyable. A heartfelt thank you for expertly capturing our cherished moments. A solid 5 stars!
• Can’t say enough good things about my artwork!
Verified review
IsabelleMay 31, 2023
LT² Photography did a great job at our wedding. LaDonna truly went above and beyond to make sure that we have beautiful memories of our day. I’m so grateful that she encouraged us to get prints and wall art for keepsakes and decor in our home. Since we put our picture on the wall our dining has never looked or felt better. It just feels more like us now. She communicates so well and helped us stay organized and even sent us a budget calculator to help us manage our wedding finances- we didn’t even know we needed a budget tool until we started using it. I wish we hadn’t opted out of their videography service, but she gave us a highlight video anyway! I can’t say enough good things - my husband and I are just so impressed and glad we chose to work with LT2 Photography for our wedding.
• Well worth the investment!
Verified review
ArielMay 31, 2023
Ladonna is so warm and friendly. I love how well she communicated with us prior to our event and on the day of. She was very timely and kept us on the perfect schedule, but we never felt rushed or stressed. She was super easy-going and very accommodating. And we love every picture in our gallery! Highly recommend LT² Photography! 3
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1 Artist_Maker%20%3D%20%228014%22 Painting Supper George Tooker, 1920 - 2011 Tooker, George American 1920 - 2011 Male Primary 20 x 24 in. (50.8 x 61 cm) . . . overall framed size horizontal frame Tempera Tempera 1963 1963 1963 6142 Painting Supper was one of George Tooker’s “protest paintings.” Inspired by the work of Dr. Martin Luther King, Jr., the artist chose the New Testament story of the supper at Emmaus to draw attention to the Civil Rights movement. In the biblical story, Jesus appeared as a stranger to two disciples after the Crucifixion. The disciples invited him to supper and only when Jesus blessed and broke the bread did they recognize him. In a year of great strife and bloodshed—1963 was marked by boycotts, the killing of African American civil rights activist Medgar Evers, and the bombing of a church in Birmingham, Alabama that killed four young African American girls—Tooker chose to voice his protest by depicting an African American man as the enlightened, peace-filled Jesus in the moment preceding the revelation of his identity. [Summer 2015] lower right, Signed by hand in paint in block letters in lower right corner: TOOKER 2007.19 item Memorial Art Gallery 6/12/2007 2007.19DI#1 digital image 2/18/2008 http://127.0.0.1:5000/Media/images/2007.19_A1.jpg 2007.19TR1 transparency Front 4 x 5 00/00/00 http://127.0.0.1:5000/Graphics/blank.gif 2007.19DI#2 digital image 11/5/2013 http://127.0.0.1:5000/Media/images/2007.19_A2.jpg
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Pineapple Magazine
Designers Changyong Park and Patternity discuss urban greenery in Airbnb's new quarterly travel magazine
To elevate their home-rental business to another platform, today Airbnb introduced their first print publication, playfully entitled Pineapple. With contributions from conventional writers and hosts, the glossy magazine aims to take on the traditional travel publication format with a distinct voice covering a wide range of topics—culture, art, food and style alongside neighborhood guides, insider tips and local community coverage. The first issue sets its sights on London, Seoul and San Francisco.
Nestled within the initial issue lies an insightful interview with CH favorites Anna Murray and Grace Winteringham of Patternity, the UK-based pattern consultants. Together with Korean graphic designer Changyong Park, the three discuss patterns in architecture and nature (highlighting six specific unique London locations where patterns are prevalent) while exploring the beautiful, flora-filled Garden Museum in London.
Though chiefly concerned with manmade patterns in her daily professional life, Murray understands the need for nature to act as a balancing agent in urban landscapes. “It’s important to have the green to break the pattern of the gray and mundane,” she tells Park. “We want to surround ourselves with nature, but I don’t think we’ve found that happy medium yet. Living walls for example, are a nice nod toward appreciating nature, but at the moment it’s still man’s take on nature.” As their respective cities differ greatly in their approach to aesthetic design and environmental issues—garden-friendly London contrasted against the dense, glass-clad Seoul—such soundbites seem to carry even more weight.
Throughout the intensely interesting conversation, the three creatives offer well-informed opinions and unique viewpoints that only further encourage the reader to think about their environment. With even more enticing content beyond the Patternity interview across 125 pages, Pineapple is sure to engage curious readers. The inaugural mag hits Airbnb hosts and a select number of vendors 21 November 2014.
Images courtesy of Airbnb
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Continuously be careful about Seascape photography Providers
seascape photography
At the point when a man makes the authentic plan permit photographer know in your topographical variety and times you will have the capability to satisfy. Furthermore locate what area where the photographer is starting from that factor asks for the advanced photographer where will be a respectable place to meet between. You have to listen to see when the photographer is really versatile appropriate to exit his/her technique for you. On the off opportunity that the genuine photographer could not meet together with you on the genuine days you have actually provided then your photographer ought to provide a few referrals that might aid you 2 after the genuine meeting, in situation you are glad and your instinct states of course, and then arrangement a sea. Specialist Seascape photography Services fans make their own living after offering photograph taking managements and never ever talking inside the telephone.
The photographer might have an engaging impulse to have you please them really. This is not terrible. What is dreadful is that they ask you making a scheduled plan. The computerized photographer should certainly resolve you and aid you deliver the very best photographic decision conceivable. Thus far we currently have actually spoken concerning the way towards having the most effective photographer for the seascape photography yet have not touched the basic subject of exactly what you will truly get at the surface of your day. Some photography fans call the real material of that which you get bargains, buildups, an excellent endeavor, or the compensation to offer you your Seascape pictures. Amazingly the greater part of photographers provides a tantamount material from extra images. Exactly what is basic is obtaining just what you should have for future years and not just what you think you will certainly require currently. You might want a collection because of the tale you need to appear for your family members as well as your future grandchildren. Slide programs are great because you might have songs arranged pictures that will certainly be legacies.
Some photography followers will advertise reprints directly to you. These prices will be unique worrying the period of the prints and the quantity of you demands. Various other finest Seascape photographers will develop a mix package through which you get a CD/DVD comprised of a boundless or constricted amount of photographs. You may have the capability to reproduce these types of photos independent from anyone else or you could be simply in a setting to view them on the PC as well as email them with no choice to make your own reprints. Given that the Seascape organization creates, gradually and substantially a lot more organizations are offering collections so you should see a type of the collection you are choosing. You should certainly see the genuine collection rundown given that 2 photographers might utilize comparable titles for photographs that finally are not comparable.
Copyright Bnbgaming 2018
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Reading Time: 4 minutes
Virtual Penalty Shootout celebrated its first birthday. Officially, the game was released on September 30, 2020, and instantly captured the attention of both – operators and players.
The expert community has also recognized the uniqueness and the beauty of the game by shortlisting it for the Global Gaming Award 2021 in the category Product Launch of the Year. Recently NSoft received seven nominations for the SBC Awards Latinoamerica 2021. Among others, we are shortlisted in the category Virtual Sports Supplier. The application for this award has leaned heavily on the Virtual Penalty Shootout game.
To celebrate all those milestones, we decided to tell a different story about Virtual Penalty Shootout game. We will not talk about the RNG, betting markets, how-to-play but let people who created the game say a word or two about passion, excitement and dedication.
By Amela Dedić and Biljana Haljevac, Senior 3D Artists/Animators
The team
Great teams and great ideas are all about people and the working atmosphere. We at NSoft’s former 3D Games Team, now 3D Creative Team were lucky to found each and we just can’t start this story without saying thank-you to former and current team members: Jasmin Ličina – Senior 3D artist/Team lead, Dragan Grbavac – Senior 3D artist, Dejan Boras – Senior Unity dev, Zlatko Vukšić – Senior Unity dev, Adnan Mujkić – Unity Dev, Dragan Rezo – Senior 3D Artist, Stojan Cvitković – Senior 3D Artist, Toni Matej Radoš – Senior 3D Artist. In this story, “we” are Biljana Haljevac – Senior 3D Animator and Amela Dedić – Senior 3D Animator. We are the one who will take you behind the scene of Virtual Penalty Shootout.
Our Team’s job is to develop Virtual betting games such as Virtual greyhound and horse races, Motorcycle Speedway, etc.
New Project – Virtual Penalty Shootout
The virtual penalty shootout was the most challenging project we’ve worked on. It allowed us to learn and try new things such as Motion capture. Our first job was to figure out the best way for our small team to make such a big virtual game. The biggest challenge was the animation process. We needed a large number of highly realistic animations, and the best solution for that problem was a Motion Capture system. Our choice was a company from Sweden named Rokoko and their WiFi motion capture suit – The Smartsuit Pro.
After we placed our order for the suit, the waiting time was used to go “back to school” and research making of other elements of the game such as character and venue design and creation, MoCap animation recording and cleanup, new software, and game rules. Our best friends were Pluralsight and LinkedIn Learning.
The Arrival- Smartsuit Pro is in the town
The arrival of the Smartsuit Pro was the most joyful occasion. Also, the day when our colleague Toni officially became the resident MoCap test talent.
Since our open office was not suited for a proper MoCap test, our first pick was local park. Awesome place, beautiful weather, but just one problem: electricity was really hard to find. A better-suited place was found for proper test and future motion capture sessions. The Local Futsal field had everything we needed.
MoCap Time!
Following initial tests, we felt confident enough to start official motion capture sessions. The first step was planning and creating MoCap sheets for each motion capture session.
Our motion capture crew was small but efficient: Toni Matej Radoš – Test talent & Talent Manager, Biljana Haljevac – Reference Cameras and Amela Dedić – Rokoko Studio, MoCap Sheet. And our Talents, real-life football players, who without this would not be possible: Fedja Kulenić (goalkeeper) and Ivan Arapović (player).
Since we have only one suit, Goalkeeper and Player animations were recorded separately. Because of that, we had to be very careful during the planning process so the respective animations could match. We were a bit worried about the Goalkeeper’s recording sessions, taking into consideration the nature of football goalkeeping movements. To make everything easier we relocated Goalkeeper’s MoCap sessions to the local Judo club with a soft tatami mat surface. We had 3 recording sessions and each was 3 hours long. That gave us 137 raw animations. We were aware that not every MoCap take will be successful or 100% accurate, we made sure that every take was also recorded with our reference cameras.
Animation Cleanup
The entire process of cleanup was done in Maya and Motionbuilder using the HumanIK system. Most of the work was root motion corrections, foot slides, and arms fixes. The final part of the cleanup was merging the animations of Player and Goalkeeper into one take and making sure that the timing fits perfectly for each take.
The ball movement was a mix of keyframed animation and Unity physics.
Visuals & Final Render
Cleanup done. Next: Dressing up. The entire time of animation cleanup our player and goalkeeper rigs were dressed in nothing but their birthday suit. That caused a lot of funny looks from our other coworkers. But fear not! Our 3D artist Dragan Rezo was on the task of dressing them up for their final render.
Visuals & Final Render
Cleanup done. Next: Dressing up. The entire time of animation cleanup our player and goalkeeper rigs were dressed in nothing but their birthday suit. That caused a lot of funny looks from our other coworkers. But fear not! Our 3D artist Dragan Rezo was on the task of dressing them up for their final render.
Every visual element of the game can be easily changed. Character appearance, jerseys, crowd, banners. All this can be altered according to the client’s requirements. We had a test client request just to see how much time would be needed for all the changes and rendering.
• Lions on background video banners
• Goalkeeper jersey with leopard pattern and panther head as front logo
• Penalty taker with a red jersey and white sun on blue background (Taiwanese flag) as a front logo. Number 88 on the back and name “Tigers” above it
• Additional but not requested, all resolve screens translated to mandarin
Final words
Almost nobody was injured during the making of the game. Our Goalkeeper had some bruises from the suit’s sensors, and we almost had a heart attack when our suit had a minor malfunction.
All jokes aside, our small team is very proud to have managed to complete such a large project, learn a bunch of new things in the process, and use Motion capture technology. It was an awesome experience from start to finish.
In the end, we would like you to take a look at our little video presentation of the Motion capture animation process.
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Tag Archives: life
Sir Ken Robinson on nurturing creativity
Humans are creative creatures. That’s what we believe, and so does Sir Ken Robinson…In one of our favorite TED talks, he claims that “schools kill creativity” and that we in fact are all born creative…that we don’t grow into creativity, we grow OUT of it (or rather we get educated out of it)….He encourages the creation of a system that nurtures creativity, rather than undermining it.Nurturing creativity…hmmm, that seems simple enough…”If you are not prepared to be wrong, you will never come up with anything…” Children don’t worry, they create…Give this talk a listen and be ready to be inspired (and entertained!).
Villa Vals
“Shouldn’t it be possible to conceal a house in an Alpine slope while still exploiting the wonderful views and allowing light to enter the building?” This was the questions architects at SeARCH and Christian Muller Architects asked themselves when developing the Villa Vals. Their challenge was to construct a modern home close to the world famous thermal bath of Vals, without disturbing the bath’s view. Set amidst the more traditional mountain houses, this “underground home” is so unobtrusive without loosing out on this amazing Alpine view…The interior is not too shabby either, furnished with the works of Dutch designers Hella Jngerius, Demakersvan and Claudy Jongstra…Check out more details about this project of Netherland architects at SeARCH and Christian Muller Architects at their sites.
Dan Buettner: How to live to be 100+
This TED talk is so inspiring, we just could not not share it. Dan Buettner reminds us that the small things in life matter. Take care of your body (move naturally and eat wisely) and your soul, use your brain (have the right outlook) and be part of a community…Find more inspiring talks on the TED website, here!
The Messengers
We are really digging the new mixtape, The Messengers, from J. Period and K’NAAN…It’s a concept album of a different sort featuring remixes and production by J. Period and lyrics from Somali MC K’NAAN. This whole album is a tribute to three of the biggest musical influences of modern times: Fela Kuti, Bob Marley and Bob Dylan…And the best part? You can download it for free at J. Period’s website, here.
Volkswagen Autot??rme
Have you seen the Volkswagen’s Autotürme (car towers) – part of the Autostadt? They rise 48 meters or 150 feet above the grounds, and they’re linked by a fully automated delivery system to both the Volkswagen factory and the Kunden Center (where VW customers pick up their new cars). They work like giant vending machines: As a new car arrives from the factory, it’s transported by robot to an empty storage slot in one of the towers; when a customer shows up to collect the car, the same robotic picking system fetches the vehicle, brings it down to ground level, and transfers it to the Kunden Center in the next building. Each tower holds up to 400 cars on 20 levels and can process a car every 45 seconds during peak times. So futuristic and so cool.
Exit through the Gift Shop -Banksy
Banksy is making a film? If you happen to be at Sundance, you might have a chance to check this out while you are there…for those of us not able to make it, check out the trailer for Exit through the Gift Shop below. Check out the website, here!From their website: “Sundance has shown films by unknown artists but never an anonymous one. Banksy turns the tables on the only man who has ever filmed him, creating a remarkable documentary that is part personal journey and part an exposé of the art world with its mind-altering mix of hot air and hype. In the end, Exit Through the Gift Shop is an amazing ride, a cautionary modern fairy tale . . . with bolt cutters.”
Industrial Designer Peter D’Alessandro
It is amazing how simple improvements to everyday objects can make such a big difference…in function and aesthetics! We love the designs by Peter D’Alessandro, especially the “waste and want” cutting board. Please check out the rest of his portfolio on his site, here!Hoseroll: An alternative to the standard hose reel. The Hoseroll offers a practical storage solution for the garden hose, as well as being an ever-changing garden sculpture.
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News & Events
Emotions run high during whale stranding
Artist Brian High documents the Whale Stranding in Timaru's Caroline Bay on 28 June 2020.
A Generous Gift
Pat White, Gallipoli Suite No.10 Chunuk Bair
Artist and author, Pat White, generously gifted thirteen paintings to the Aigantighe Art Gallery in December 2019. The suite contains twelve acrylic paintings on board that are framed – Gallipoli Suite I-XIV – and one large unstretched oil painting called Each Paddock its own History that is 6 meters long. These paintings were originally displayed at the Aigantighe Art Gallery between April to May 2017 as part of the artist’s exhibition Gallipoli: in search of a family story. This was an exhibition described by the artist as being “for all people who have their stories of fighting, and loss of loved ones”.
White’s Gallipoli: in search of a family story was his creative response to the history of his great uncle who served in World War I, Private John Robert Dunn. Originally from a small settlement called Whakataki in the Wairarapa, Dunn was 26 years old and working as a journalist at the Wairarapa Daily Times when he enlisted to serve; Dunn was trained as a machine-gunner and served in the 17th (Ruahine) Regiment, and was sentenced to death after, while in ill-health, he fell asleep on sentry duty. The young soldier was acquitted from this harsh sentence, but tragically lost his life a few days later in the battle of Chunuk Bair in 1915.
Pat White and his wife, Catherine Day, were living in the Wairarapa when they first heard of John Robert Dunn from a visiting historian. It was from this moment that White began his journey to discover his great uncle’s story. A journey that resulted in his touring exhibition Gallipoli: in search of a family story, and a published catalogue by the same name that documents the artist’s research (including archives such as letters, postcards and photos) and his own poetry.
White made the decision to donate these paintings to the public art gallery because he wished to keep the “the core” of the artworks together and because of historical family ties to Timaru and South Canterbury. He states: “It is with a deep sense of appreciation that I am able to pass these works on to the Aigantighe Art Gallery, knowing that this part of the exhibition remains intact. By placing it in a public collection, it will be available to the family descendants and the community in the future.”
Pat White is an artist and author based in Fairlie, South Canterbury. A prolific writer as well as a painter, he has had numerous books published including his most recent, Watching for the Wingbeat - new & selected poems which was published in 2018. His exhibition, Gallipoli: in search of a family story, has been exhibited in nine different venues throughout New Zealand – including the National Army Museum Te Mata Toa in Waiouru and Aratoi, Wairarapa Museum of Art and History in Masterton.
20 April 2020
The Face of South Canterbury
This month the Aigantighe Art Gallery is hoping to capture 1000 portraits and selfies of people living in South Canterbury for a future exhibition.
Portraiture has long been used in art history to capture the appearance and qualities of the sitter through the eye of the artist. But with the invention of photography portraits became increasing accessible and popular and today, with cell phones in the hands of over 5 billion people, selfies has become the portraiture of the modern age.
Gallery Manager Cara Fitzgerald says this public call for portraits and selfies will be used to create a unique exhibition experience with the help of local photographer Brian High in the near future.
“Through this project we hope to capture a snap shot of the people living in South Canterbury during these unprecedented times. But also to showcase the amazing creativity of our community” she says
People have until 31 May to submit their portrait or selfies on the Aigantighe Art Gallery social media platforms Facebook and Instagram #aagportraits #aigantigheartgallery # aigantighe #aigantighegallery or people can email the Gallery at gallery@timdc.govt.nz
22 April 2020
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Anyone who has paid their respects at Grenfell Tower will have spotted a green mosaic flower taking shape month by month, emblazoned on the cordon which surrounds the remains of the tower.
The last petal, bearing the word “Forever” was unveiled on the second anniversary of the tragedy on June 14 this year.
Every petal was made by community groups affected by the horrific blaze which took the lives of 72 people June 2017. It carried on from the previous year’s work making a centrepiece filled with inter-linking hearts in community art sessions open to anyone from North Kensington.
And this autumn work gets underway on 24 leaves - one for each floor of Grenfell Tower which are designed to go above the flower on top of the cordon around Grenfell Tower.
Community groups made the petals and selected the words they wanted to include - love, hope, unity, solidarity, respect, courage, together, grace, change, resilience, future - and forever. They worked with artists Emily Fuller and Tomomi Yoshida who helped come up with the design.
Ismahan Egal, art therapy co-ordinator at the Al Manaar Muslim Cultural Heritage centre near Grefell, said: “Tomomi has made the analogy that the leaves are hugging the words.”
She said since it started just after the fire the Grenfell Memorial Mosaic has been an important legacy as part of the community’s response to what happened at Grenfell.
“I felt this desire to do something out of this pain - something positive has to come - the legacy can’t just be this horrific tragedy, but that there could be some hopeful representation of the spirit of the community.”
Groups which contributed were Latimer Community Church, LCAT (Latimer Community Arts Therapy and the Henry Dickens Centre), Clement James Centre, Everyone Active and the Westway Trust, The Notting Hill Methodist Church, North Kensington Fire Service, Al Manaar, Rugby Portobello Trust, The V1llage, QPR Community Trust, the Harrow Club.
“It’s been really really beautiful and positive,” said Lisa Nash, project manager from Acava Arts which hosts the workshops.
Ismahan met Lisa in the days after the fire when she came along and made art with the materials Lisa put out for the community to use under the Westway.
“It was a really safe space and was cathartic,” recalled Ismahan.
The mosaic idea took shape and since then it has involved the community in coming together in creating art.
The next stage of the Grenfell Community Memorial Project will get underway this autumn.
It is supported by Acava, together with the Al Manaar Muslim Cultural Centre and the Kensington and Chelsea Foundation, which is providing funding.
It promises to be as stunning as the work already created and will feature 24 leaves from trees found around Grenfell Tower in North Kensington.
The leaves will feature 72 gold flecks, in honour of the 72 lives lost in the fire, or a single word - 'Justice' - in the different languages spoken by residents from the Grenfell community. The bereaved, families and survivors group Grenfell United is helping to come up with the final list of languages.
Ismahan said: “The leaves represent the foliage around Grenfell, it’s really meaningful and beautiful.
“It’s the idea of something continuously growing and evolving. It’s really the opposite of death.”
And Lisa added: “And leaves have a cycle.”
This second stage of the Grenfell Memorial Mosaic will involve residents’ and community associations this year, with schools taking over next summer, with the final leaf unveiled on the anniversary in June 2021.
The Lancaster West Residents Association will be the first group to get involved - Grenfell Tower is part of the estate.
Local people started working on designs for the leaves earlier this summer.
The workshops will get people involved in every stage from design to cutting the tiles which will help bring people who are going through such a tough time together.
Each group will work at Acava's base for three sets of two hour sessions.
Ismahan said: “We are social beings. There’s something to be said about the value of coming together to create something together, sitting round the table cutting tiles down to size.Nobody says they have to be uniform. There’s a structure but it doesn’t have to be uniform.”
Lisa added: “There’s something about its repetitive nature that allows people to talk. This is something for everybody to make together. We must not underestimate the power of that.”
She said it can help people’s welfare as well.
Ismahan said: “And also you are a small part in a big whole.”
This second stage of the project will run over the next two years.
Ismahan said: “I feel the weight of responsibility about getting it right. This is a community endeavour to share our love and support and solidarity and dignify the memory of the people who have passed.”
The next phase of the project will involve grassroots groups - including those which did not exist before the tragedy as well as more established ones.
“In terms of the scope of the scale it’s one of a kind. It’s the only community memorial that has encompassed community groups," said Ismahan.
“We will be incorporating groups in the North Kensington area and their voices have to be heard and they have to be represented.
“We are all inclusive, we are all the individuals that belong coming together as part of a greater whole.”
And aspiring photographers aged 18 to 25 are also being offered a chance to join in - with part-time traineeships on offer over the next two years.
Four people will each join professional photographer Zute Lightfoot who is documenting the project on a five to six month traineeship.
They will have the use of a camera, will join Zute photographing the community and will also benefit from 16 hours of mentoring on any photography based issue such as building a portfolio, pitching to editors or copyright.
The traineeship is aimed at local young people, who might not get the chance to break into photography.
“We want it to be accessible and challenging. We are really excited about this element of the project,” said Lisa.
Would-be trainees should send a CV to her at lnash@acava.org explaining why they are interested in the project and with some images or links to their Instagram page or website.
“It is fantastic that they are getting local people involved with these photography placements,” said Kensington and Chelsea councillor Catherine Faulks.
The council's lead member for skills and enterprise added: “The fact that they are paying is even better.
“This is all about gaining extra skills for young people and working with the photographer will teach them about working with the community. It’s a great opportunity for them.”
And the trainees will experience the workshops where the groups create the mosaic leaves to hug the words of hope created by the North Kensington community for their own.
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A Motion-Tracking Robotic Halftone Mural Painter
Shane Wighton of Stuff Made Here built a motion-tracking robotic painter named “Janksy” that created a halftone mural of Wighton’s wife glaring at him. The robot was built using weighted gantries that ran along the wall of his new garage and the image was programmed through his computer. The project took a bit of time as Wighton ran into a few issues during test runs, but eventually, it worked. Wighton was very pleased with his work.
So I haven’t shown my wife what I’m painting. I’ve kept her completely in the dark and it’s time to see what she thinks about all this. Hopefully, she thinks it’s amazing, but I can see why having your face 20 feet tall on a wall might be a little weird.
His wife was less pleased but found the humor in it.
It looks like i’m ready to be on a dollar bill….it looks like i’m so enraged…it’s a conversation starter that’s what art really is.
Here’s the finished product.
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Polhemus Savery DaSilva Architects Builders has been named one of Ocean Home Magazine’s top 50 coastal architects for 2019, making it the third year in a row the company has been recognized by the magazine for its work. The list recognizes innovative, influential and prolific architects worldwide.
Ocean Home is a luxury coastal lifestyle magazine published six times a year. Polhemus Savery DaSilva’s work has been featured in the magazine multiple times.
Email business news and high-resolution photos to biz@capecodonline.com. Please include a contact phone number.
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Thu, 23 Jun
Big Leaf Foundation: Exploring Healing
Big Leaf Foundation celebrates Refugee Week 2022 with an art installation at Zero.
No need to register, just come along
Time & Location
23 Jun 2022, 10:00 – 16:00
ZERO, 14 Friary St, Guildford GU1 3EG, UK
About the Event
Big Leaf Foundation is a charity supporting displaced young people, primarily unaccompanied asylum-seeking children, across East and West Surrey. They provide a nurturing programme of activities, projects and events that combat social isolation and improve wellbeing.
This year, to celebrate Refugee Week 2022, they are hosting a three-day art installation at Zero Carbon Guildford, exploring this year's theme of "Healing." The installation, which runs from the 21st-23rd of June, will feature paintings, photography, poems, and recordings of dance and musical performances, all made by the young people they support.
Refugee Week is a UK-wide festival celebrating the contributions, creativity and resilience of refugees and people seeking sanctuary. It is a platform for people who have sought safety in the UK to share their experiences, perspectives, and creative work on their terms.
The exhibition will be open from 10 am-5 pm from the 21st- 23rd, and we really hope to see you there.
Please email Evie comms@bigleaffoundation.org.uk for any more information.
Share This Event
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pat'-ern (tabhnith, "model," mar'eh, "a vision" or "view"):
The Old Testament words translated "pattern" do not necessarily indicate a drawing such as a modern constructor begins with, or the patterns made from these drawings for the guidance of workmen. In Exodus 25:9,40 the word "idea" or "suggestion" would possibly indicate more distinctly than "pattern" what Moses received in regard to the building of the tabernacle, etc. It is doubtful if any architect's drawing was ever made of the temple. It is not the custom in Palestine and Syria today to work from any pattern more concrete than an idea. A man who wants a house calls the builder and says he wants to build so many rooms of such and such dimensions with, for example, a court 10 drahs (arm's lengths) wide and 15 drahs long, made of sandstone and plastered inside and out. With these meager instructions the builder starts. The details are worked out as the building proceeds. When a piece of iron or brass work is to be made, the customer by gestures with his hands outlines the form the piece should take. "I want it haik wa haik" ("thus and thus"), he says, and leaves the metal worker to conceive the exact form. It is probable that directions similar to these were given by David to Solomon. "Then David gave Solomon his son the pattern (his conception) of the porch of the temple," etc. (1 Chronicles 28:11). The above does not apply to Greek and Roman work in Syria. Their workmen, probably mostly native, were trained to work from models. Williams in the Architect, January, 1913, says of the works at Baalbek and Palmyra, "There is a machine-like resemblance betokening slavish copying." At the present time native workmen coming under the influence of foreigners are beginning to work from models and plans, but they show little tendency to create models of their own.
Three Greek words have been translated in the New Testament:
tupos, "type," occurs in Titus 2:7 and Hebrews 8:5. In the first instance the Revised Version (British and American) reads "ensample." hupotuposis, "outline," has been similarly translated in 1 Timothy 1:16, but "pattern" in 2 Timothy 1:13. In Hebrews 9:24 the American Standard Revised Version. antitupos, is rendered "like in pattern." hupodeigma, the King James Version "pattern," is translated in the American Standard Revised Version "copy" (Hebrews 8:5), "copies" (Hebrews 9:23). At the time of the translation of the King James Version the word "pattern" meant either the thing to be copied or the copy.
James A. Patch
Copyright Statement
These files are public domain.
Bibliography Information
Orr, James, M.A., D.D. General Editor. "Entry for 'PATTERN'". "International Standard Bible Encyclopedia". 1915.
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Facing Forward: Christmasworld and Paperworld Trends 2022+ open up new design possibilities
12 Oct 2021
"Facing Forward" - this is the motto of the Christmasworld and Paperworld Trends 2022+. The three joint trend statements "hearted+minimal", "mystic+originate" and "local+vital" show the relevant themes, colours, materials, inspirations and styles for 2022+. They provide the international decoration and stationery trade with orientation for individual assortment compilation. A new feature is a broader colour spectrum per trend - for even easier colour combinations in the presentation of goods.
After the experiences in the pandemic, the consistent look ahead opens up new perspectives. This also applies to the Christmasworld and Paperworld Trends 2022+, which are oriented towards the changing needs of consumers. Thus, the Trends 22+ use exemplary projects and products to describe how poetry, goodwill and a sense of responsibility produce modern and powerful designs that remain valid beyond one season. "They stand for a good, lively and intergenerational togetherness as well as for mindful products that bring us real joy in our virtual everyday lives", says designer Annetta Palmisano from Stilbüro bora.herke.palmisano, which develops and designs the Christmasworld and Paperworld Trends on behalf of Messe Frankfurt.
The product and style worlds around seasonal and festive decorations, commercial office supplies as well as stationery and school supplies reflect worldwide consumer trends. Modern living and working concepts are dissolving their classic boundaries. Sustainability, longevity and a return to tradition are increasingly coming to the fore. These themes are also shaping the design of living space and home office - they are reflected in the design of the favourite café, in hotel furnishings and in contemporary office landscapes. "Products with permanence and meaning are increasingly in demand. And traditions, cherished rituals and familiar togetherness have also taken on a new, more weighty significance," emphasises designer Claudia Herke. These aspects are reflected in the product selection and the general trend statements for 2022+, which apply across the board of Christmasworld and Paperworld.
Christmasworld and Paperworld Trends 2022+ extend design possibilities with a wider range of colours
New in the orientation of the three joint trends, "hearted+minimal", "mystic+originate" and "local+vital", are the broader colour palettes, which give retailers more variety and scope for design: In each trend world, three neutral, three cool and three warm colour nuances are shown, which can thus be combined even more individually. "With this, we want to create an even better basis for an individual, trend-oriented assortment composition in the shop and in the window dressing. When retailers use this as a guide to define their own style, they hit the nerve of the times and also underline their personal sense of style and their advisory skills," adds Palmisano.
"hearted+minimal" stands for the conscious use of resources
This style combines the cosy with the minimalist. Clear lines, restrained colours and natural materials create a calm and pleasant living atmosphere. The feeling of intimacy and the expression of one's own personality come to the fore through the products - whether in the decorated living room or in the office, the sentimental value of the objects gains in importance. Cross-seasonal ornaments and motifs, timeless décors and durable materials convey permanence, both in the world of festive decorations and in the world of stationery.
"mystic+originate" blurs reality and imagination
This enigmatic and nature-loving style combines reality and imagination. Surprisingly artistic, nature-related and unreal results with a mystical aura emerge from this. Patterns close to nature characterise this style world, but they are surprising because they do not occur in nature at all - everything seems familiar and yet strange.
New, alternative materials imitate familiar materials and surprise with new solutions. Lasting values and carefully crafted products, such as precious paper goods, calligraphy and high-quality printing techniques, are as important as rituals. "mystic+originate" makes beautiful values of togetherness and celebrations come alive, depending on the occasion.
"local+vital" creates closeness and cheerfulness through local products and characteristic design
This style focuses on location-based projects, local products and characteristic design. The aim behind this is to promote cheerfulness and creativity as well as to create a sense of commitment and closeness to the places we love. The immediate surroundings and the neighbourhood are more important than ever. Private and public outdoor spaces are desirable open spaces that can become the centre of life. Work and many activities are increasingly decoupled from firmly defined spaces. DIY and joy play a decisive role in this, which flows in as life optimism at celebrations and in the office with environmentally conscious aspects.
The trends at Christmasworld and Paperworld
All three trends will be presented at the fairs from 28/29 January to 1 February 2022 in two areas, each with a focus on Christmasworld and Paperworld products respectively.
Christmasworld and Paperworld Trends are an important source of inspiration for the trade and the first port of call for new products. They offer concrete ordering assistance and helpful guidelines for a modern and, at the same time, sales-driving assortment design and product presentation. Trade visitors receive concrete trend statements with exhibitor and product information on the spot.
For years, trend scouts Claudia Herke, Cem Bora and Annetta Palmisano from Stilbüro bora.herke.palmisano have been partners of Messe Frankfurt and each season derive their forecasts from the current global trends in fashion, society and interior design.
For more information, please visit:
Press information and photographic material:
Links to websites:
Christmasworld: Seasonal Decoration at its best
Christmasworld focuses on the strongest-selling and most emotional time of the year and exploits the success factor of experience at the point of sale like no other consumer-goods trade fair. This makes it the world's most important ordering event for the international decorations and festive decorations sector. Every year in Frankfurt, it presents the latest products and trends for Christmas and all other festive occasions. In addition, it provides innovative concept ideas for the decoration of large and outdoor areas for wholesalers and retailers, shopping centres and city centres. Christmasworld offers the entire range of decorative and festive articles. In 2020, it welcomed 1,063 exhibitors from 47 countries and 42,834 visitors from 128 countries (FKM-verified figures).
Paperworld – The visionary office. The stationery trends.
Next event: 29 January to 1 February 2022 in Frankfurt am Main.
The international trade fair presents the latest products and trends for paper, office supplies and stationery in Frankfurt am Main. Paperworld offers the world's largest range of products for commercial office supplies (visionary office) and private paper and stationery supplies (stationery trends). This makes it a source of innovative business ideas for wholesalers and retailers, booksellers, internet and mail-order businesses and commercial consumers. In addition, the multifaceted complementary programme offers inspiration around the themes of lifestyle trends and Future of Work / New Work for retailers, architects, planners and facility managers. In 2020, Paperworld welcomed 1,591 exhibitors from 69 countries and 30,723 trade visitors from 141 countries.
Further information at paperworld.messefrankfurt.com.
The Nextrade digital marketplace
The Nextrade digital order and data management system for suppliers and retailers in the consumer goods sector extends the trade fair and enables orders to be placed at any time of day or night, 365 days a year: www.nextrade.market
Conzoom Solutions - the platform for the trade
The knowledge platform Conzoom Solutions offers the consumer goods trade a wide range of services such as studies, trend presentations, workshops or instructions for the point of sale. It provides a complete overview of Messe Frankfurt's international portfolio in the consumer goods sector and compiles information for the trade in a bundled form. www.conzoom.solutions
Background information on Messe Frankfurt
The Messe Frankfurt Group is the world’s largest trade fair, congress and event organiser with its own exhibition grounds. The Group employs approximately 2,450 people at its headquarters in Frankfurt am Main and in 29 subsidiaries around the world. The company generated annual sales of approximately €257 million in 2020 after having recorded sales of €736 million the previous year. Even in difficult times caused by the coronavirus pandemic, we are globally networked with our industry sectors. We have close ties with our industry sectors and serve our customers’ business interests efficiently within the framework of our Fairs & Events, Locations and Services business fields. One of the Group’s key USPs is its closely knit global sales network, which extends throughout the world. Our comprehensive range of services – both onsite and online – ensures that customers worldwide enjoy consistently high quality and flexibility when planning, organising and running their events. We are expanding our digital expertise with new business models. The wide range of services includes renting exhibition grounds, trade fair construction and marketing, personnel and food services. Headquartered in Frankfurt am Main, the company is owned by the City of Frankfurt (60 percent) and the State of Hesse (40 percent).
For more information, please visit our website at: www.messefrankfurt.com
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Stolen French painting returned to Hugh Lane Gallery
‘In the Omnibus’ was unscrewed from wall during children’s art class in 1992
A valuable drawing stolen from the Hugh Lane Gallery in Dublin 22 years ago is back on public display after being recovered by the Criminal Assets Bureau.
The watercolour and gouache drawing by French artist Honoré Daumier, titled In the Omnibus, was unscrewed from the wall during a children’s art class in June 1992.
Although the gallery has declined to put an estimate on its current worth, it was valued at the time at about £250,000.
"It was stolen very quickly. It looked like it was done by somebody who knew how to do this sort of thing," explained gallery director Barbara Dawson.
“It was just ripped from the wall. It was such a shock at the time.”
The painting was recovered during a Criminal Assets Bureau (CAB) inquiry into another crime last autumn, it is understood, but neither the gallery or CAB have released details of the investigation.
Detective chief superintendent Eugene Corcoran of CAB today paid tribute to detective Garda Philip Galvin, “whose investigative work led directly to the recovery of this piece of artwork”.
Dating from 1860, In the Omnibus shows three men, two women and a child travelling in a form of horse-drawn public transport common in Paris at the time.
It measures just 12cm by 22.2cm inside its gold embossed frame, and formed part of the original collection presented by Sir Hugh Lane to Dublin for the Gallery of Modern Art, which opened to the public in 1908.
" [In the Omnibus] is a marvellous piece of social commentary of a particular time. His powerful realism and social consciousness continues to be relevant today," Ms Dawson explained, comparing Daumier to Jack B Yeats in his observations of everyday life.
“While they are wearing top hats, you can tell by their dress that they are travelling to or from work. They are all in quiet contemplation... He has a marvellous way with pencil and line, which is very open and free. He is very effective and original in his use of light and shade.”
Daumier was considered one of France’s leading 19th century caricaturists, producing around 8,000 caricatures and lithographs in his career. He was imprisoned in 1832 for offending King Louis Philippe.
Dublin Corporation received an insurance payout for the stolen painting in 1992, and the companies involved have been informed of its recovery, Ms Dawson said.
In the Omnibus is now back on exhibition at the Hugh Lane Gallery.
“We are delighted it has been found, and we want to thank CAB for making that happen,” Ms Dawson said.
Ciara Kenny
Ciara Kenny
Ciara Kenny, founding editor of Irish Times Abroad, a section for Irish-connected people around the world, is Editor of the Irish Times Magazine
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Design inspiration: the best projects from May
From pub-scented candles, to Polaroid chemistry and a weekly cartoon strip inspired by the bubonic plague, this is what designers got up to last month.
Free The Birds, The KidzCafe
That children are going hungry at home is one of the most pressing consequences to come out of the coronavirus lockdown. But unfortunately, without free school meals, many poor families are having to make food stretch further than ever before. To tackle this issue in the London Borough of Tower Hamlets, the KidzCafe has been launched – an initiative that seeks to feed children in the area daily, nutritious meals while school doors remain shut for many pupils.
Working on a pro bono basis, London-based brand communication and design studio Free The Birds developed the identity for the KidzCafe programme. Using what they refers to as the “children’s universal symbol of hope” – the rainbow – the team has created a range of assets, including packaging and social media communications. The logo for the KidzCafe was also devised by Free The Birds and follows the rainbow motif by using the multicoloured arches upside down, to create a bowl.
Pentagram’s Giorgia Lupi, Happy Data
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It was supposedly while daydreaming out the window and imagining a future post-coronavirus that Pentagram partner Giorgia Lupi came across the idea for her next lockdown project. Wanting to move away from death tolls and the other heavy statistics that have formed a constant flow throughout the pandemic, Lupi and team have created Happy Data, a design project that highlights some of the more uplifting numbers to come out of the crisis worldwide.
Data included in the project reveals more positive consequences like the decreasing levels of air pollution in Italy, the uptick in volunteering in New York City and the amount of money donated by professional athletes and sports teams in support of coronavirus response efforts. The data has been converted into hand-drawn-style infographics, and each placed against a backdrop relevant to the subject matter.
Ai Weiwei, MASK
In a bid to raise funds for COVID-19 relief efforts being led by Human Rights Watch, Refugees International and Médecins Sans Frontières, artist and activist Ai Weiwei has launched his MASK initiative in collaboration with online marketplace eBay. The art project, which began in May and runs until 27 June, sees personal protective equipment (PPE) masks adorned with Ai’s artwork sold off on eBay to raise money.
The face coverings have been hand-printed, and the art depicted on the non-surgical masks takes inspiration from Ai’s “lifelong campaign for free speech and individual rights”. The imagery has been donated by the creative, and was curated by Alexandra Munroe, senior curator of Asian art and senior advisor for global arts at the Guggenheim Museum. 100% of the proceeds will be sent to the three benefitting charities and prices for the pieces start at USD$50 for one mask.
Hope&Glory, We Live in Interesting Times
As the name of Hope&Glory’s new online book suggests, the world in the age of the coronavirus is a strange one for brands to navigate. Audiences and their lives have changed, and to keep up, brands have had to change too. Some have pivoted with innovation and style; others have weathered the COVID-19 storm with humour and esoteric tactics. Wanting to shine a light on both sides of the coin, the team have compiled a list of 150 brands in their new book.
We Live in Interesting Times is free to read online and features examples from around the world. In its 250 pages, the team has highlighted the funny, like German football club Borussia Monchengladbach’s invitation for fans to send in pictures of themselves to be printed as life-size cut-outs to fill stadium seats; the innovative, like IKEA’s children’s guide to building pillow forts at home; and the unheard of, like NFL team the Detroit Lion’s use of Nintendo game Animal Crossing: New Horizons to announce their match schedule for next season.
HOME x Nick Burton, Our Plague Year
Quarantine may have been a new concept to most of us at the start of the coronavirus pandemic, but that’s not to say it isn’t without precedent in history. In the latter half of the 1600s, the small Derbyshire town of Eyam was an early pioneer of the quarantine tactics we have become so used to today, shutting itself off from the rest of the country to prevent the spread of the bubonic plague to its neighbouring towns and villages.
Wanting to tell an “alternative” story for Eyam, illustrator Nick Burton has teamed up with Manchester-based arts centre HOME to do just this. Our Plague year is significantly different to the true story of Eyam’s plague but uses the events and setting to explore human behaviour and self-isolation, while drawing connections between aggravated misinformation, fear and discrepancy of wealth back then and now.
Within experience design studio HUSH’s operations is a weekly in-house speaker series called Creative Jam. Aiming to bring this insight to a wider audience, the team has launched HUSH+1, a bi-weekly podcast series “for makers, by makers”.
The podcast seeks to explore stories and methodologies from across the creative spectrum, featuring insight into design, tech, fashion, engineering and more, with the intention of showcasing to listeners the hugely different ways that one can be a creative, and how these different disciplines can interact with one another. It is hosted by HUSH systems designer Adam Kruckenberg.
Uncommon x Earl of East, Scents of Normality
Among the sectors most affected by the UK’s lockdown, hospitality businesses have perhaps been one of the worst affected. Widespread closures, job losses and pay cuts have plagued pubs, cafes and restaurants across the country, and the question of how many will be able to reopen again when measures are lifted looms. To help support workers in hospitality, Uncommon Creative studio has teamed up with fragrance brand Earl of East to raise money with a uniquely scented set of candles.
Scents of Normality candles come in “three evocative scents, reflecting some of the nation’s favourite hangouts, The Local, The Cinema and The Festival,” claims the studio, who have designed the packaging for the products. These have been paired with Uncommon’s witty tone of voice. A good example: The Local candle describes its scent as having “top notes of spilt beer… the ersatz-lemon of a urinal block…freckled with cigarette ash”.
Ridley Scott Creative Group x Polaroid, Forever Now
Following on from its rebrand earlier this year, Polaroid has partnered with Ridley Scott Creative Group to create a series of videos that explore the science behind the Polaroid printing process. Seemingly a simple point-and-shoot process, the videos explore the complex chemistry that needs to take place in Polaroid factories in order for users to hold these moments in their hand.
The finished project, according to Polaroid, is a film that reveals “the magic that happens at the intersection of art and science”.
Latest articles
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#0373a6 Color Information
In a RGB color space, hex #0373a6 is composed of 1.2% red, 45.1% green and 65.1% blue. Whereas in a CMYK color space, it is composed of 98.2% cyan, 30.7% magenta, 0% yellow and 34.9% black. It has a hue angle of 198.8 degrees, a saturation of 96.4% and a lightness of 33.1%. #0373a6 color hex could be obtained by blending #06e6ff with #00004d. Closest websafe color is: #006699.
• R 1
• G 45
• B 65
RGB color chart
• C 98
• M 31
• Y 0
• K 35
CMYK color chart
#0373a6 color description : Dark blue.
#0373a6 Color Conversion
The hexadecimal color #0373a6 has RGB values of R:3, G:115, B:166 and CMYK values of C:0.98, M:0.31, Y:0, K:0.35. Its decimal value is 226214.
Hex triplet 0373a6 #0373a6
RGB Decimal 3, 115, 166 rgb(3,115,166)
RGB Percent 1.2, 45.1, 65.1 rgb(1.2%,45.1%,65.1%)
CMYK 98, 31, 0, 35
HSL 198.8°, 96.4, 33.1 hsl(198.8,96.4%,33.1%)
HSV (or HSB) 198.8°, 98.2, 65.1
Web Safe 006699 #006699
CIE-LAB 45.679, -7.916, -34.823
XYZ 13.049, 15.033, 38.288
xyY 0.197, 0.226, 15.033
CIE-LCH 45.679, 35.712, 257.193
CIE-LUV 45.679, -29.774, -50.775
Hunter-Lab 38.772, -7.774, -31.409
Binary 00000011, 01110011, 10100110
Color Schemes with #0373a6
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Alternatives to #0373a6
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Shades and Tints of #0373a6
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Tones of #0373a6
A tone is produced by adding gray to any pure hue. In this case, #515658 is the less saturated color, while #0373a6 is the most saturated one.
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Color Blindness Simulator
Below, you can see how #0373a6 is perceived by people affected by a color vision deficiency. This can be useful if you need to ensure your color combinations are accessible to color-blind users.
• #575757 Achromatopsia 0.005% of the population
• #465d67 Atypical Achromatopsia 0.001% of the population
• #6172a4 Protanopia 1% of men
• #5273ad Deuteranopia 1% of men
• #007f87 Tritanopia 0.001% of the population
• #3f72a5 Protanomaly 1% of men, 0.01% of women
• #3573aa Deuteranomaly 6% of men, 0.4% of women
• #017a92 Tritanomaly 0.01% of the population
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Jobs 1 to 2 of 2
Digital Designers X 5 - UX/UI - Manchester £20-40K
Adria Solutions Ltd
Essentially, we're looking for a creative person that is used to demonstrating their designs in finished HTML prototypes. The candidate is likely to design a visual for a site (mobile or desktop) and then build this in HTML/CSS - possibly using bootstrap - in order to demonstrate their design further...
Salary: £20000 - £40000 per annum + Benefits
Posted: 11 days ago
Graphic / Digital Designer - Manchester
Greywood Associates Limited
Adobe Creative Suite / Photoshop / Illustrator / InDesign / HTML / CSS / WordPress / Magento. My client are currently recruiting for a creative Graphic Designer / Digital Designer to work out of their Manchester City Centre based offices. They are looking for someone who has a strong background in producing high quality client work to include...
Salary: £25000 - £30000 per annum + bens
Posted: 23 days ago
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The Combine
Redesigning the idea & experience of an office
The Combine is a whole new take on what an office is and can be. It transformed a space for working into a community for living, learning, shopping, connecting, and yes, also working. It’s a living/breathing thing operated by all arms of Tadiem, that you can check out rn over here, but this is the case study behind the design of it all, so if you want to dig behind the design of The Combine, do check below.
To completely redesign the experience and concept of an office, we applied Program Design, Interior Design, and Brand Design to create a place that intersects culture and creativity.
A place that has a store, and fully functioning open-to-the-public café. And a bar. A place with its own podcast, and monthly Ted-talk-like speaker series, and magazine. A place that had members instead of employees. A place that could host an art gallery one week and a music video release party the next (literal examples).
The reimagined programming and physical space was all housed in a new brand that was inspired by the perfectly imperfect intersections that this new idea of an office delivers.
Explore by category
#All#brand#experience#experiments
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Inking Myanmar's identity
Taboo no more, tattoos are making a comeback in the fast-changing southeast Asian country.
Last updated: 28 Jan 2014 17:36
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Yangon, Myanmar - The ink on Myo Koko's back is still wet as he cranes his neck to admire the reflection.
"My parents don't like it. Their view of tattoos is that they're for gangsters and drug users," he says, chuckling and shaking his mop of dyed rust-blonde hair.
At the Golden Dragon tattoo studio in Yangon, Myanmar's former capital, Koko is one of many young countrymen inking the renaissance of an art form suppressed by the colonial British government and considered taboo under the cloistered juntas that followed.
In 2011, a group mainly comprised of retired generals took power here following a much-criticised 2010 election. However, they soon surprised observers, dismantling draconian Internet and media censorship laws, and exposing Myanmar's youth to foreign cultures on a dramatic new scale.
Now, tattoo counter-culture is going mainstream, a symbol of the social and cultural changes capsizing convention in this long-isolated country of 60 million people, which officially changed its name from Burma in 1989.
"Five years ago there was no Internet, no communication," says tattoo artist Nga Lunn. Social media websites such as Facebook and YouTube have opened people's eyes to music videos, international footballers and celebrities, he says. "Our country's culture is changing... our people got their eyes widened."
The shelves of the Golden Dragon studio are festooned with kitsch keepsakes, tattoo paraphernalia and grimacing wooden masks. A row of traditional puppets hang above the window, through which stray a discord of car horns and jangling music.
"I am a canvas of my experiences, my story etched in lines and shading," reads a sign on the day-glo orange walls.
Indeed, Myanmar's youth are inking their newfound cosmopolitan identity across their bodies, ditching traditional motifs for exotic foreign designs.
Ten years ago there were no tattoo parlours in Yangon, but artists say youngsters have been rushing to get under the needle in the past 18 months. New studios are popping up across town. New equipment and ink have been easier to acquire since the West lifted most trade restrictions last year.
"I don't like those traditional tattoos because they're old-school," says Myat Thu, who is getting a Chinese warrior, Guan Yu, inked across his back.
His friends are becoming competitive about getting bigger and better tattoos but, like many others, Thu says his parents aren't happy with his medium of self-expression. "My parents have a different mind. We're not the same. I have a modern vision."
Warrior monk
Tattooing had been in vogue for more than 1,000 years before the British annexed the country as part of Greater India in the 19th century.
The practice was popularised during the 12th century. Various ethnic groups used tattoos to denote a boy's ascension to manhood, beautify women's faces or make the bearer "invincible" to the blow of a sword or spear. Ethnic Shan women would shun men without the traditional shorts tattoo covering the waist to knee. Such designs involved dozens of symbolic animals and elaborate patterns.
The people here were isolated for so long, but now tattooing is a way of showing we are modernised. Young Burmese feel proud to wear tattoos.
- Toe Toe, tattoo artist
In some instances, criminals were branded with tattoos reading "thief" or "murderer" across their foreheads.
According to the book Myanmar Tattoos, written by
Sin Pyu Jun Aung Thei in 1981, tattooing was banned during a British counterinsurgency campaign against the warrior monk Saya San in the 1930s. Many of his followers bore tattoos for spiritual protection, so the colonial government rounded up anyone with tattoos, believing them to be insurgents. Burmese could be arrested simply for owning a tattoo needle and tools.
Later, in the 1960s, the socialist government banned the ethnic Chin practice of tattooing women's faces with intricate indigo contours, while media censors reportedly banned images of tattoos in publications. "In Myanmar law, tattoos were not allowed to be advertised," says 24-year-old tattoo artist Ko Shine.
Local rapper G-tone was arrested in 2007 for revealing a tattoo on the back of his hands pressed together in prayer while on stage. Police believed he was showing solidarity for a monk-led uprising earlier in the year and banned him from performing for six months.
Sharing culture
The revival of tattooing can be traced back to 2003 when Toe Toe opened Yangon's first tattoo studio, Golden Land. Toe had barely a handful of customers in his first year and it was difficult to get equipment and ink. His schedule is now full.
"The people here were isolated for so long, but now tattooing is a way of showing we are modernised. Young Burmese feel proud to wear tattoos," Toe says, swaying his arms, imitating a swagger. A portrait of communist revolutionary Che Guevara peeks out from beneath his shirtsleeve.
He says most of his customers want Japanese and Western tattoos like Yakuza dragons and "bio-mechanical", a style imitating cyborg innards. Meanwhile, tourists ask for traditional tattoos such as Hinthar Pyada, a tiger that is believed to secure protection. "The people from Asia like what they see from America and vice versa. It's a sharing of culture," Toe says.
Although the lustre of local tattoos is broadly fading, Ye Kyaw at the Golden Dragon studio has made a name for himself attempting to keep the tradition alive. He produces a yellowing accordion-style book of sacred tattoos and an antique tattoo stylus topped with a Buddhist deity, the kind that would have landed him in a colonial jail 80 years ago.
Circling his right wrist are five dancing figures copied from bronze statues dating back more than 1,000 years to the Pyu period when Buddhism first spread to the country.
Change in Myanmar has been rapid since 2011, but observers remain cautious. Reforms are fragile. Many new freedoms, like that of the right to assembly, are the result of the government turning a blind eye to junta-era regulations, and are not yet enshrined in law.
Similarly, although the government is more open-minded, none of the tattoo studios in Yangon have official licenses and could be closed any day, Kyaw says.
"They have one eye open and one eye close
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Broken clouds
Broken clouds
62.6 °F
July 29, 2014
River Reporter Facebook pageTRR TwitterRSS Search Login
No strings attached
Emma Switko, left, and Lucinda Cantor assisted puppeteer Ramona Jan during the performance of “Some Strings Attached” at the Delaware Youth Center in Callicoon.
In the adjacent gallery, internationally acclaimed painter Kalika Stern was also on hand to discuss her new installation at CAS, which includes her largest work to date, an enormous mural described in her own words as a “carefree, occasionally self-mocking humor in her drawings, watercolors and sculptures.” Stern, who is the founder of the Society for Folk Arts Preservation (www.societyforfolkarts.com), has taught, painted and traveled all over the world, and her unique vision is expressed in a variety of styles at CAS, featured alongside the triptychs through April 7.
Accepting my limitations and acknowledging that the best dates are kept on a short leash, I asked the wonder dog if she had enough “pawtographs” on hand to greet the kids before puppeteer Ramona Jan’s presentation of “Some Strings Attached” in Callicoon (www.delawareyouthcenter.org) last Sunday. She nodded her adorable head and I held mine high while she did her thing, reminding me why dating a “good girl” is so rewarding. Jan, a founding member of Manhattan’s Reality Galaxy Puppet Theater and former member of the Puppetry Guild of Greater New York, had an arsenal of marionettes on hand, and the kids were so enchanted that a second show was spontaneously demanded, before the first even drew to a close.
Jan’s cast of marionette characters entertained both kids and adults alike. Lucinda Sparkle, Astro-Boy (the piano playing horse), ballet dancer Chantel and a pair of “wild and crazy guys” were introduced by her young assistants, Emma Switko and Lucinda Cantor, as the children sat rapt with attention and I found myself transported along with the crowd. Ramona’s initial fear that Dharma would “attack the puppets” went unfounded even during the appearance of Bubbles, “a somewhat bad baby,” which truth be told, I found somewhat unnerving.
Sticking with the dog, I’m once again putting dating on hold and steeling myself for commitment to an abundance of art shows, concerts and high school plays about to explode in the region. “I suppose there’s something to be said for the single life,” I groan (and grin) in her general direction, while making out my schedule for the weeks to come.
Lyricist Dickie Jones joins the voices in my head as his clever words reverberate, “Hi-ho the me-ri-o. I’m as happy as can be, I want the world to know... I’ve got no strings on me!”
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Studio tours on Sunday
PARKSVILLE — Those seeking a personal look at artists in their element may want to check out Sunday’s sixth annual open studio tour by the Columbia Beach Artisans.
Three local galleries display the work of eight artisans alongside lights, music and hot friendship tea.
Folk art, silk paintings and pottery are just some examples of the wares.
Bring your children or let them play at the beach while you enjoy the ambiance and hospitality of artists in their studios.
Columbia Beach is off of Highway 19A between Parksville and Qualicum Beach. Follow the yellow balloons from the highway. Galleries included in the tour are West Loon Gallery, Sand Dollar Gallery and Aislinn Studio/Gallery. The event runs Sunday Dec. 9 from 10 a.m. to 4 p.m. Fred Davies
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Gustave Moreau
From Wikipedia, the free encyclopedia
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Gustave Moreau
GustaveMoreau02.jpg
Self-portrait of Gustave Moreau, 1850
Born(1826-04-06)6 April 1826
Died18 April 1898(1898-04-18) (aged 72)
EducationFrançois-Édouard Picot
Known forPainting
Gustave Moreau (French: [mɔʁo]; 6 April 1826 – 18 April 1898) was a major figure in French Symbolist painting whose main emphasis was the illustration of biblical and mythological figures. As a painter, Moreau appealed to the imaginations of some Symbolist writers and artists. He is recognized for his works that are influenced by the Italian Renaissance and exoticism. His art work was preserved in Paris at the Musée Gustave Moreau.
Biography[edit]
He was born in Paris, France, at 6 Rue des Saints-Peres. He came from a middle-class family. His father, Louis Jean Marie Moreau, was an architect for the city of Paris and his mother, née Adele Pauline Desmoutier, was an accomplished musician. Gustave Moreau lived a sheltered life growing up. Having visited Italy at age 15 he began his love for art. At age 18 he entered École des Beaux-Arts to study under the guidance of François-Édouard Picot and left in 1850.[1] He then began to study art under his new mentor Théodore Chassériau, whose work strongly influenced his own. Moreau participated in the Salon for the first time in 1852.
Moreau had a 25-year personal, possibly romantic relationship, with Adelaide-Alexandrine Dureux (b.Guise, 8 November 1835), a woman whom he drew several times.[2] His first painting was a Pietà which is now located in the cathedral at Angoulême. He showed A Scene from the Song of Songs and The Death of Darius in the Salon of 1853. In 1853, he contributed Athenians with the Minotaur and Moses Putting Off his Sandals within Sight of the Promised Land to the Great Exhibition.[3]
Oedipus and the Sphinx, one of his first Symbolist paintings, was exhibited at the Salon of 1864. Moreau quickly gained a reputation for eccentricity. One commentator said Moreau's work was "like a pastiche of Mantegna created by a German student who relaxes from his painting by reading Schopenhauer."[4] The painting currently resides in the permanent collection at the New York Metropolitan Museum of Art.[5]
On 28 March 1890, Alexandrine Dureux died. Her death affected Moreau greatly, and his work after this point contained a more melancholic edge. She was buried at the same cemetery that Moreau himself would be laid to rest (see below).
Moreau became a professor at Paris' École des Beaux-Arts in October 1891. Among his many students were fauvist painters Henri Matisse and Georges Rouault. Jules Flandrin, Theodor Pallady and Léon Printemps also studied with Moreau.
Moreau died of stomach cancer and was buried at the Cimetière de Montmartre in Paris in his parent's tomb.
He was made a Chevalier de la Legion d'honneur in 1875 and was promoted to an Officier de la Legion d'honneur in 1883.
Style of art[edit]
Influence of the Italian Renaissance[edit]
The death of Chasseriau in 1856 caused Moreau in his grief to stop painting and withdraw from public life. Concerned about his condition, Moreau's parents suggested he travel to Italy again. Living in Italy from 1857 to 1859 he found a new love for art.[1] He gained inspiration from the artists of the Italian Renaissance, such as Leonardo da Vinci and Michelangelo.[6] In 1864 Moreau won a medal at the Salon with his painting Oedipus and the Sphinx, the style of which revealed his close study of the work of Mantegna and Giovanni Bellini.[7] Its firm outlines and detailed modeling are typical of the works that brought him success with critics and the public for the remainder of the decade.[7] In the 1870s, disturbed by criticism that his work had become formulaic, he stopped exhibiting for a few years while he concentrated on renewing his art. In 1876 he completed Salome Dancing Before Herod, which announced a more painterly style that would characterize his later works.[7]
Exoticism[edit]
Gustave Moreau's education in classical drawing did not stop him from experimenting with different styles of art. By traveling to other countries such as Italy or Holland and reading publications Moreau was able to develop his unique form of art. The most important publications Moreau owned were The Grammar of Ornament by Owen Jones, Le costume historique by August Racinet, and Le Costume by Frederick Hottenroth.[8] All these influences led Moreau to draw not only humans, but animals and architectural monuments. Moreau started his career drawing classical art, but by incorporating exotic images he developed a mysterious and unique form of art.
Legacy[edit]
During his lifetime, Moreau produced more than 8,000 paintings, watercolors and drawings. His work influenced the next generation of Symbolists, particularly Odilon Redon and Jean Delville, a leading figure in Belgian Symbolism in the early part of the twentieth century. Many of Moreau'e works are on display in Paris' Musée national Gustave Moreau at 14 rue de la Rochefoucauld (9th arrondissement). The museum is in his former workshop, and began operation in 1903. André Breton famously used to "haunt" the museum and regarded Moreau as a precursor of Surrealism.
The Japanese artist Yoshitaka Amano, known for works such as Final Fantasy, Angel's Egg, and Vampire Hunter D, was inspired by Moreau's style. Amano said in an interview that when he was first experimenting with styles to try to find his own, he would try to mimic the works of Moreau.[9]
Gallery[edit]
See also[edit]
References[edit]
1. ^ a b Paladilhe, Jean (1972). Gustave Moreau: His Life and Work. Praeger Publishers. LCCN 71-151833.
2. ^ Kaplan, Julius (1974). Gustave Moreau. Little Brown & Company. pp. 7, 55. ISBN 0-8212-0628-1.
3. ^ "Artchive Gustave Moreau". www.artchive.com. Retrieved October 2014. Check date values in: |access-date= (help)
4. ^ Lucie-Smith, Edward. (1972) Symbolist Art. London: Thames & Hudson, p. 63. ISBN 0500201250
5. ^ Winkfield, Trevor (April 2012). "A Letter to Bryan Osburn from Trevor Winkfield". The Brooklyn Rail.
6. ^ Moreau's interest in Leonardo was conditioned by the fact that French historians claimed Leonardo died in France in the hands of King Francois I, according to Valentin, Robert Francois (1841). Les Peintres celebres. Tours. p. 50.
7. ^ a b c Julius Kaplan. "Moreau, Gustave". Grove Art Online. Oxford Art Online. Oxford University Press.
8. ^ Owen Jones, Grammaire de l'ornement (London, 1865; first ed., London 1856), pl. 28, no.22 (MGM, Inv. 14806); Auguste Racinet, Le Costume hisetorique, 6 vols. (Paris, 1888) (MGM Inv. 10387); Frederick Hottenroth, Le Costume les armes, ustensiles, outils des peuples anciens et modernes (Paris, [1885-99]), p. 17, fig. 7 (MGM Inv. 10391)
9. ^ https://www.destructoid.com/this-mini-documentary-makes-me-love-yoshitaka-amano-even-more-469313.phtml
External links[edit]
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“When red and white ain’t so black and white”, Sentiment, Zürich, exhibition
5 February – 19 March 2022
Pickle bar sees in fermentation an analogy for the social transformation of the stagnate, the spoiled, or rotten political substance into a bracing regime to share the surplus fruits of souring. For the exhibition “When Red and White ain’t so Black and White” at Sentiment Slavs and Tatars’ Pickle Bar invites six former Belarusian participants of the studio’s mentorship program (2018-2020) to articulate an argument around these notions. Each of the invited artists investigates their epoch amidst the cult of personality, the tyranny of individualism and its repression on collective bodies. A white and red stork offers us a more generative take on the white and red flag, asking us to reconsider new symbols far from a reductive nationalist attitude, be they related to exhaustion, hospitality, club, or queer culture.
The work by Uladzimir Hramovich’s New Wind is built from the social imagination around the symbols of workers' struggles. Sergey Shabohin's video Mandrake Gartens looks at similarities between two synchronic movements of bodily resistance: the rave parties in Hasenheide park in Berlin during the first world lockdown and the first demonstrations in Minsk. Ala Savashevich’s Two Portret questions the ambivalence of displacement between feeling welcome and hopeless. Olia Sosnovskaya’s Incredibly relaxing meditation music investigates exhaustion as a contemporary practice referring to bodily energies, dynamics of the affect, the political dimension of stillness. Andrey Anro’s painting The Little Soldier shows the invisible faces of the male young figure of dictatorship embedded in the power machinery while Vasilisa Palianina’s Forest faces are inspired by the non-binary character of nature.
Address: Sentiment, Murwiesenstrasse 45, 8057 Zürich
Participants: Andrey Anro, Uladzimir Hramovich, Vasilisa Palianina, Ala Savashevich, Sergey Shabohin, Olia Sosnovskaya, Slavs and Tatars.
More information on Sentiment website.
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3D Modeler in Cleveland, OH
3D Modeler Job Description
The 3D modeler uses specialized software to build mathematical models for creating 3D objects and environments for a wide range of uses, from games to industrial or architectural applications. This role typically requires expertise in multiple 3D modeling techniques. Candidates must be proficient in 3D modeling software like 3ds Max, LightWave 3D, Maya, Modo, and ZBrush. Experience with rendering solutions like Cinema 4D, V-Ray and Unity may also be preferred. A portfolio is typically required.
Typical 3d modeler duties:
Interpreting specifications and concept art and sketches to create virtual characters, environments and propsRigging models and characters for animationCollaborating closely with other team members, such as animators, artists and programmers, to meet project deadlines and expectations
Looking for a 3d modeler or a 3d modeler job?
Submit your resume or request talent now and our expert recruiters will be with you shortly.Robert Half can help you with your 3d modeler staffing needs.
Salary for 3D Modeler in Cleveland, OH
54480 - 8306560 93840 110880 3D Animator 62160 73440 90480 Animator 61200 73440 87600 Digital Artist 53760 66960 83760 Presentation Designer 56400 70560 81120 Graphic Designer 48960 63360 74880 Packaging Designer 51840 62880 77040 Illustrator/Infographics Designer 48720 58800 72000 Photo Retoucher 44400 58320 74880 Photographer 42000 55440 69600 Production Artist 49680 58560 65280 Production Coordinator 44640 48000 56640
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Interview: Cover Designer Stephanie Adams
I am thrilled to introduce cover designer, Stephanie Adams, who offers a variety of services for authors, including custom covers, pre-made covers, and book banners.
Always read something that will make you look good if you die in the middle of it. –P.J. O’Rourke Click To Tweet
How did you get started in artistic cover design?
I just started when I was diagnosed with MS and wasn’t able to keep my full time job as a teacher. I wanted to do something that I love and help other indie authors. Designing book covers fulfills both of those needs.
Do you have other non-digital artistic talents?
I have always loved the arts. I sing, play the piano (not very well!), draw, paint, sculpt… If it is artistic, I have probably tried it or practice it on a regular basis!
What inspires you when you are beginning a cover design?
I read the blurb the author has put up and I begin by thinking of the cover not in terms of concrete ideas, but in more abstract ideas. How can I represent this story through art? I try to incorporate elements that are important in the novel, but also try to create a design that is aesthetically pleasing, so as to attract readers.
What kind of service should an author expect from a professional cover designer?
A professional cover designer should ALWAYS be patient. Your designer to realize that you are the artist that created this beautiful novel and that you want to express yourself within the design. You should always be satisfied with your designer’s work and love the cover you have purchased.
What sets your cover designs apart from the millions of covers out there in cyber-space?
Why don’t you take a look? I have a sample of my work at www.agapeauthors.com and order one for only $45. My covers use royalty free images that will not cause any copyright infringements. And they are beautiful!
Portfolio Stephanie Adams
Should a cover “stand out from” or “blend with” the other covers in the genre?
Well, you want it to stand out, but for the right reasons. Many covers stand out in a genre because they are awful. You do not want this distinction. Covers that are pleasing to the eye and balanced will attract readers. People DO judge your book by its cover!
A Rose in Bloom on Wood with roses
(In addition to book covers, Stephanie also offers promotion banners like this one she made for me.)
Stephanie Adams is author of two full length novels. She designs book covers and formats for Kindle and paperback. She is a Math and Biology teacher, a mother and a veteran of the Army. She loves to learn and continues her education currently as she pursues her Masters degree in math.
Waiting for Patience
By | 2017-05-25T10:02:57+00:00 March 8th, 2016|Author Resources, Professional Services|
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simonsgallery.com home
simon@simonsgallery.com
+44 (0)7970 153048
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London Cityscape painting London Underground painting Urban London Tube painting Pop Art, London Tube painting Tube Art, London Tube painting
"Waterloo" - London urban popart painting
8x8 inches 1.34 inches deep
20.3 x 25.4cm 3.4cm deep
Original Painting - Acrylic on Canvas
Varnished & Finished around the Sides
Ready to Hang in your home
Wonderful geometric abstract London Popart painting based on the underground map. Daily life in London usually involves using the tube and these iconic symbols and colours are part of the fabric of the City. These minimalist pieces of art will add some real style to your interior. A classic iconic design with a simplicity which is art in itself.
Bring the urban cityscape to your living space a little piece of iconic London for those that love this great city.
£125.00 - Free Delivery
All works are carefully packaged and dispatched within 24 hours. To purchase this painting click on the add to cart button to pay via the Paypal network or payment can also be made via bank transfer email me for more information
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Aesthetic Recognition and the Definition of Beauty
What is beauty? Elegance is generally defined as that which is pleasurable to view. Examples of appeal are landscapes, sunsets, individuals, and jobs of art. The research study of appeal is a branch of approach that has lots of branches. For example, appeal is defined as the enjoyment of seeing something or somebody that is lovely, pleasing to the eyes, intelligence, and also moral feeling. There are many definitions of beauty, but one fundamental one is the ability to make us feel excellent.
Things that are pleasing to the eye
A Bach cantata, for example, is attractive since it is straightforward, streaming, as well as harmonious. Items that evoke the very same experiences in a person are additionally called “attractive.” Nonetheless, not all things are gorgeous. As a matter of fact, there are numerous qualities of objects that make them stunning, such as the gold proportion, aesthetic elements, and also balance. These properties are considered objectively gorgeous.
The Golden Proportion: The Golden Proportion is the most convenient percentage for the human eye to procedure. When one side is longer than the various other, the left eye takes control of. When the opposite side is longer than the initial, both eyes need to work at once, making the process a lot slower. Using this percentage in artwork has many benefits, consisting of symmetry. Many artworks have the gold proportion as a focal point.
Things that are pleasing to the moral sense
Aesthetic recognition is the procedure of determining charm in both the natural globe and also in human beings. A gorgeous things right away conveys the aesthetic high qualities of the developer, such as consistency. Consequently, it is vital to recognize the innate nature of beauty as well as the partnership in between it and satisfaction. Both of these high qualities are inherent, which indicates that they can not be transformed. Visual appreciation is not simply a matter of visual taste; it is an expression of ethical judgment.
The interpretation of appeal differs among different cultures, but one of the most basic concept that differentiates excellent as well as bad is that things have residential properties that are pleasing to the mind. Things that are stunning to us will be those that make us really feel a lot more ethically desirable. Hume believed that an individual’s moral feeling is not just an unbiased trait, however a product of his or her intelligence. This process begins with cognition, in which a person can recognize certain problems, such as the visual charm of a certain object. If you have any kind of inquiries regarding where and the best ways to use similar resource site, you could contact us at the website.
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Are You Embarrassed By Your Villa Interior Design Skills HereÂ’s What To Do
Are You Embarrassed By Your Villa Interior Design Skills HereÂ’s What To Do
C: Choosing a suitable shade scheme on your villa may be difficult. Judy D. Schiebel. "ASHTON VILLA". Although many claims have been made to Ashton Villa's central function in the original 1865 pronouncement, no extant historic evidence supports such assertions. Villas are often enormous and don’t at all times have quiet spaces. The general characteristics of the Baroque style are outlined by it being a really grandiose type that emphasises a really large scale, and motion away from rectangular shapes towards more oval designs. It's an architectural rule that villas are much larger and way more spacious than a basic residence. Each are treated uniquely and developed in an upscale high quality and most fascinating consequence guaranteeing to satisfy our distinguished clients dream and design imaginative and prescient. A boutique inside design agency based within the eastern suburbs of sydney. We offer inside design in Dubai and the wider MENA region. Our workforce delivers distinctive designs across the MENA region from our office in the guts of Dubai’s inventive hub - Dubai Design District.
Are you searching for a reliable villa design in Dubai or the wider GCC region? Or someone who can provide you with a quicker return on investment and design concepts that are both timeless and all the time on time? Textiles Annika Rimala is best recognized for her work for Marimekko, who she labored for between 1960 and 1982, most notably the company’s first knitwear collection, Tasaraita, which was launched in 1968. Personality and humor are mixed with durability and xây biệt thự practicality in her design work. Paoletti's admirer and imitator Pasquale Poccianti, an architect better recognized for his later work the Cisternoni of Livorno. Each mission that we work on is designed to offer you a wonderful quality residing space that combines fashion, consolation, safety and functionality. Instagram is full of such photos: residing rooms, patios, bedrooms, and estates that don't and won't ever exist. The fireplace in the residing room. The arms of Cardinal Flavio Chigi, the villa’s authentic owner, are painted on the drawing room ceiling. They're informed that they won't be allowed to collect at navy posts and that they will not be supported in idleness both there or elsewhere.
A wealthy, heat palette shall be essentially the most interesting to guests. I assure you're going to get a great end result, i invite you to check my profile. Matt Blacke is a pseudonym of types (get it?) for designer and gallery director Cliff Fong. You will get some delicate souvenirs right here and save these beautiful content memories. What can you say about this home? By developing houses with progressively more open plans, Wright allotted the girl of the home a "workspace", as he often called the kitchen, where she may keep track of and be available for the kids and/or friends in the dining room. We offer our customers more than simply inside design. A: For a villa interior design in Dubai, the area ought to be rigorously deliberate. Edwards' annual prayer breakfast and celebration, first held in 1979, happen every Juneteenth at Ashton Villa and embrace a studying of the 1862 Emancipation Proclamation and 1865 General Order No. Three (with a neighborhood historian portraying Major General Granger addressing the crowd from the home's balcony).,. The individuals of Texas are informed that, in accordance with a proclamation from the Executive of the United States, all slaves are free.
The proclamatory pose of the statue evokes the very proclamation the vacation is supposed to honor. The 9-foot tall statue of the Democratic State Representative from Houston, initially supposed for the state capitol grounds in Austin, Texas is depicted holding up the piece of 1979 legislation making Juneteenth a paid Texas State holiday. Making little or no change to the building, the home served as their enterprise places of work and meeting corridor till 1970, at which level it was put up on the market. Together with this new movement, a whole new set of architectural rules were put in place, and the previous Medieval and Gothic types were uncared for, and Classical designs had been preferred. Furniture & Product Design Alongside creating easy designs rooted familiarity for her own studio, Halstrøm can also be part of the duo INCLUDED Middle together with textile designer Margrethe Odgaard. The design exhibits the position of the upscale properties in probably the most fascinating areas and the blue collar homes and apartments separated by parks and common spaces.
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Augustine Kofie
Born and based in Los Angeles and active in the Southern California graffiti scene since the mid-nineties, BIPOC artist Augustine Kofie (b. 1973) works in painting, collage and mural interventions. Kofie’s fine art practice draws together the languages of graffiti’s deconstructive lettering, mechanical drafting, modern architecture, and plunderphonics, creating a unique take on constructivist abstraction.
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Talking with Salvatore Salvo Bitonti[1], theatre director.
Toward an Academy of excellence.
Photo by Franca Centaro.
As far as the best performance of ‘Pilade’, ending essay for students of III year at the ‘Accademia d’Arte del Dramma Antico’[2] in Siracusa, we wonder about a capability both in studying and in professionalism caring, here linked with theater, which can so much attract young people : bringing on stage this nice work[3] - written by Pier Paolo Pasolini and maybe following ‘Orestea’ by Aeschilous as Pasolini imagines a joyful coming back of Oreste, the successor prince to king Agamemnon in Argo after the verdict of not guilty, favoured by Athena – the young actors and actresses have excellently three-year period in Academy focused on Greek Theater, and anticipating also their good debut at the Ancient Theater of Siracusa during the annual performance of classical works, side by side to professional actors and actresses.
Salvatore Salvo Bitonti is teacher at the Academy in ‘acting’, and director of ‘Pilade’[4], carried out with the students in the standard four weeks : but here, the ‘first’ has been preceded by a punctual work of rewriting by students, not only to reduce the original long text but also to get an affordable translation, other than communicative enough about a more up-to-dateness of characters.
“The art of direction is really complex, and was born in twentieth century” – says Salvo Bitonti, who already has been theatrical director for almost forty years and of more than thirtyfive works with famous Italian actors.
Only at the beginning of last century, from ‘Moscow Art Theater’ a professionality of the director could emerge, as till then it was confused with the author himself or with the leading actor : in the Greek Theater the rituality was essential and depending on fixed canons of which the author himself was responsible to the public,
Konstantin S. Stanislavskij (1863-1938), who in 1898 founded in Moscow a ‘Theater of Art’, lastly experienced acting on his own, by an assiduous study and also working with the dramatist Vladimir Nemirovic-Dancenko (1858-1943), up to gather a theatrical pedagogy available both for actors and directors.
“Direction begins when choicing a text and how interpreting it, then directing any necessary elements – firstly the actors – but also the lights, the sounds…”
And, about sound, it has here a creative role, and the Chorus – central and essential in the Greek Theater for its position on the stage – here is really a leading part for its sorrow suspension anticipating and pointing the text, which is indeed a contemporary text but written as a classical tragedy.
“Nothing can be forgotten : Eumenides lowered remember their fury, and cease, loose themselves…”, the Chorus sadly says when the gods no more can recover confidence as Athena instituted to prevent from wars.
“Pasolini did mean ‘Pilade’ as a revolutionary work and here the Chorus is a revolution” – says Salvo Bitonti – “because there are only feminine voices in this edition, while the original had both masculine and feminine voices together. Pasolini – of whom this year is the first centenary from his birth – has, by me, intended the chorus as specifically feminine.”
We know, on the other hand, how can influence in a song the pronunciation of syllables and their ‘reverberation’, a technical word to describe both the masking and the reinforcement of intensity of the source. Which part has then the voice, its musicality or its screeching, when an actor is training?
“An actor has to know how to get back his memory and up to a ‘revival’” – the word was invented by Konstantin S. Stanisvlaskij, n.d.r.) – answers the director who in the past years worked out a method, by accepting not only the lesson of Stanisvlaskij but also that one of Bertolt Brecht[5].
It is remarkable that, both the ‘revival’ of Stanislavskij and the ‘estrangement’ of Brecht have to be specifically produced in an actor : with Stanislavskij, for example, by making around the actor that triggering condition near to neonatal synaesthesia where sound and visual seem intertwined, and the perception is far from what usually felt by the person. On the other hand, a ‘representation’ as Freud[6] described it is really an actvity the unconsciousness does to evaluate, accepting or rejecting what he, or she meets : in the traditional analytical work a ‘representation’ then, cannot be in any way induced.
“I preferred that our work could be shared among actors and actresses, all young and enthusiastic, also for an essential critical awareness not only of interpretation of the text, quite difficult as ‘Pilade’ by Pasolini, but also emotional for each one of them…”
Oreste e Pilade fight one against the other from the beginning on the stage, however they love each other : Pilade, hidden by Aeschilous here is standing up and speaks in this Pasolini work. Both of them areheroes, and society does call for them : the pragmatic ones prefer Oreste, but the intellectual ones follow Pilade.
Electra is the ‘commandable’ woman, she was instigating Oreste to murder their mother Clitemnestra and now however she is venerating the dead one as a real ‘queen’. “In our enemies we find unknown lovers…”, Electra to Pilade suddenly admits. And then Athena, the god, is coming out from maskers, as motionless monuments looking around at the stage, and is approaching to Pilade.
“I’m no more than a god for humans – says Athena – rather than an idea…” and the not visible prison where the work goes on[7] , finally seems evident, as what has been just kept silent will again sadly blow on thinking and on human stories : when you bow to gods, you lack meeting any real appointment in your life.
More than excellet then, it seemed to me that unspeakable uncertainty – at last also nominated by Pilade, and the bitternessof Pasolini cold even imagine – to which the endi of this good work does stop, as finishing this III year of the ‘Accademia del Dramma Antico’, suddenly opening to those better projects which our mind can also think, then.
Marina Bilotta Membretti, Cernusco sul Naviglio October 8 2021
[1] Salvatore Salvo Bitonti, theatrical teacher director and essayist, was born in Siracusa (1961) and has been principal (2013-2019) of the ‘Accademia Albertina di Belle Arti’ in Turin, so raising enough the fame of the school in that period also abroad, and in the same time focusing the attention of our Government two unsolved items : our Italian Art Academies degree as an international title too, and the equalization to universitary title of the academic one which limits also the access to public funds. Salvo Bitonti is still chair holder of ‘Direction and Movie History’ at the ‘Accademia Albertina’ di Torino. Amog other works he directed : ‘Andromaca’ by J.Racine (1985, Mario Luzi’ translat.), ‘Hystrio’ by M.Luzi (1987) with Paola Borboni, ‘L’acqua e i sogni’ from G.Bachelard (1994) with Franca Nuti and Giancarlo Dettori, ‘L’isola della dottoressa Moreau’ by U. Ronfani with Ugo Pagliai and Paola Gassmann, ‘Fedra’ by G. Ritsos (1999-2000) with Mita Medici, ‘Alcesti’ by Marguerite Yourcenaur (2008) with Franco Nero and Mita Medici, other than the direction of a number of ending theatrical essays of students, also for example at ‘Cinecittà Campus’ in Rome. In 2008 he is appointed as art director of ‘Sicilian Film Festival’ in Miami (U.S.A). He is also author of the essay ‘Dioniso & Pirandello : lo spettacolo nel Novecento tra mito e utopia’ (1999, Roma Ed. ‘Marianna’). Now he is coordinator of ‘Art and Education’ Section for the ‘European Expo Dubai’.
[2] ‘Accademia d’Arte del Dramma Antico’ is one of the most important activities of the Fondazione I.N.D.A. Istituto Nazionale del Dramma Antico and its place in the ex Convento of San Francesco, at Ortigia in Siracusa, Via Tommaso Gargallo 67 : it was established with farsightedness by Giusto Monaco (1915-1994, teacher of Latin and Greek language, president of I.N.D.A. 1993-1994) and by Fernando Balestra (1952-2016, director and dramatist, I.N.D.A. superintendent 2005-2012).
[3] ‘Pilade’ was written by Pier Paolo Pasolini in 1966 but put on stage the first time at the Greek Theater in Taormina only in 1969 : it is a tragedy (Pilade will have to leave Argo in exile) in nine episodes, so that is very very long. Pasolini had already quickly translated from ancient Greek the ‘Orestea’ by Aeschilous, on suggestion of Vittorio Gassmann in order to put it on the stage at Siracusa Theater in 1961, but it was not accepted. In ‘Pilade’, infact Pasolini does unmask the solution of Aeschilous in ‘Eumenidi’ as they can be easily lead again to the fury of ‘Erinni’.
[4] ‘Pilade’, ending essay 2021 of the III year students of the ‘Accademia d’Arte del Dramma Antico’ was put on the stage last March 2021 at ‘closed doors’ in the courtyard of the Academy in Siracusa and respectfully toward anti Covid19 new rules : however there have been more than 3.500 visualizations on Facebook and Youtube. Twelve are the admitted interpreters : Virginia Bianco, Spyros Chamilos, Serena Chiavetta, Federica Cinque, Rosario D’Aniello, Simona De Sarno, Manfredi Gimigliano, Giorgia Greco, Alessandro Mannini, Ornella Matranga, Francesca Piccolo e Gaia Viscuso. Also teachers cooperated to the performance : Simonetta Cartia for the best chorus, Alessandra Fazzino for the phisical writing and gestures, Elena Polic Greco for the voice technic and diction. In addition, Dario Arcidiacono for music, the scene designer Tony Fanciullo for the hand-painted panel, the masks and furniture on the stage, inspired - as the wonderful stage costumes from Laboratory of I.N.D.A. - to the ‘poor art’ of the artist Jannis Kounellis who was contemporary to Pasolini. The photographic documentation on Youtube video and Facebook has been edited by Nanni Ragusa and Nanni Musiqo.
[5] Bertolt Brecht (1898-1956) was born at Augusta in Germany and was educated according to Protestant religion as his mother : dramatist, essayist, director he didn’t accept the nationalism as it was spreading in Germany and soon he was included in the ‘black list’ of Hitler (1923). He joined to deutsch expressionism, which was subjectivist and disenchanted. After Hitler went to Government, he had to leave Berlin where he was living and working (1933) to a long and laborious exile together with his wife and children : in 1941 he went to U.S.A. from which then he came out, with an imputation of anti-american activist. From 1948 he lived in Berlino, but without openly joining to Communist policy in those years, also if secretly he supported its ‘realist art’. Notwithstanding his silent and nonconformist nature he got to have longlasting relations, both professional and affective : his method for theater, which is nowadays as a school method, was based, differently from Stanisvlaskij, on the capability to ‘distance’ (verfremdungseffekt ) the actor from his character, so that stimulating an analytical criticism.
[6] Cfr ‘Scritti metapsicologici’, S.Freud (1915) in Bibliot. Bollati Boringhieri.
[7] The courtyard of the Academy in Siracusa can be a starting point for a ritual circle stage on which water air fire and earth are the essential items in Nature : beyond the arches of the cloister you can see the panel handmade by the scene designer Tony Fanciullo, as a ‘decollage’ by the artist Mimmo Rotella (1918-2006) and the famous Sixties to when this work by Pasolini refers.
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Dream in Blue, Installation View, Litvak Contemporary 2020 – Kristina Chan and Itamar Freed. Photo by Youval Hai
Here at Anise Gallery we are continuing to use our time under lockdown to reflect on what we do and explore new ways of sharing art in these times of isolation. As we continue to plan for the future, we have also been catching up with some of our artists to see how they are doing under the circumstances. As frightening as they are, they have provided us with an opportunity to think differently / work differently and this is no less true of the artists that we have been working with over the years.
Kristina Chan first exhibited with Anise Gallery in 2016 and has since shown her work in Musée du Louvre, Royal Academy of Fine Art Antwerp, Royal Scottish Academy, The Royal Academy and Idio Gallery in New York. Most recently, she has exhibited her collaborative project, ‘Lucid Dreams’ — made in collaboration with Itamar Freed — at Litvak Contemporary in Tel-Aviv (pictured).
As Kristina writes on her website, her works explore “site-specific history to depict socio-cultural entropic narratives.” With so many of us restricted to inhabiting a very limited number of locations, in a moment of great entropic change, there is perhaps no better person to check-in with.
We asked Kristina how she’s holding up and how she is adapting to the present circumstances.
Kristina Chan Studio
Where are you right now?
I’m currently in London. I’ve set up a home studio after our print shop and studios closed when the lockdown was announced.
How has the current lockdown affected your usual practice? Have you made any changes to your practice to account for the current disruption?>
Printmaking is a communal practice, insofar as a group of printers tend to share a press, workspace and, by proxy, ideas. I miss this atmosphere and have traded it for a more solitary and traditional studio setting where I work alone. Unable to access facilities, I have returned to a more analogue practice: drawing, painting, hand-dying and collage.
These changes are slower but more direct. I am enjoying the immediacy of these marks. The lines are as they appear, unaltered by the ink you choose, or time spent in acid. It is a different form of application which feels softer, more intimate and direct.
Do you have any tips for others on how to adapt and stay creative under the current circumstances?
It’s just that: an adaptation. I don’t feel hindered or unable to continue my practice under these circumstances. I feel challenged to see it in a new light, to return to mediums and techniques I’ve not explored in a long time or have always meant to try. Amongst all the uncertainty, there is solace in the time we’ve been given for this experimentation.
Etching with chine collé, 202
Pierce’s Pass
Etching with chine collé, 202
The Canyon
Etching with chine collé, 202
You can see more of Kristina’s work on her website and you can also follow her on Instagram.
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How to Photograph an Air Show
Carolyn Hutchins uses the Tamron SP 150-600mm VC G2 lens to capture the breathtaking feats witnessed at Space Coast sky spectaculars.
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By Jenn Gidman
Images By Carolyn Hutchins
Carolyn Hutchins can usually be found, camera in hand, photographing birds of prey, alligators, and crocodiles at her place of employment, central Florida's Gatorland. But the nature and wildlife photographer has also been a longtime fan of the air shows that take place up and down the Sunshine State's Space Coast, including the Warbird Airshow in Titusville, as well as the Sun 'n Fun show in Lakeland. "I'm on the photography team for Sun 'n Fun, so I get excellent access," she says.
To capture all of the in-sky and on-the-ground action, Carolyn uses the Tamron SP 150-600mm VC G2 lens for these events. "I love the focal length range of this lens," she says. "Having 400mm or 500mm is perfect for photographing single aircraft, but it's not always ideal when you have six or seven planes flying in formation together. That's when the 150mm end of things comes into play. I appreciate that versatility. Also, because I shoot handheld and do lots of panning when I'm at these shows, the Vibration Compensation (VC) feature on this lens, with a mode specifically set for panning, is especially handy for helping me avoid camera shake and keep my images sharp."
150-600mm (240mm, F/8, 1/2500th sec., ISO 100)
Click image to view larger
150-600mm (260mm, F/7.1, 1/1250th sec., ISO 100)
Click image to view larger
Although everyone tends to want to be at the show's center, Carolyn notes that some of the most eye-catching photos can emerge from more unusual vantage points. "Of course, it depends on what access you can get," she says. "And the show's center is where many things are happening. But you don't always have to be right smack in the middle, because the planes fly back and forth and pull off a bunch of banking moves, especially at the end of the runway. So if you can swing a spot at the edge of the show grounds, try for that. I've also created some terrific images from the air traffic control tower, or, at this year's Sun 'n Fun, from inside one of the planes themselves."
150-600mm (450mm, F/6.3, 1/1600th sec., ISO 100)
Click image to view larger
How Carolyn sets her camera up depends on the weather conditions and the sky that day. "Most of the time I leave everything on manual, except when I'm shooting propeller aircraft," she says. "Then I use Shutter Priority mode, because with Shutter Priority I can use a slower shutter speed. When you get a shot of the propellers, you don't want to completely freeze everything; you want at least a little bit of blur to show the prop moving;. I also shoot in Continuous Burst mode for aerobatic maneuvers when the planes are flying around. For static displays on the ground, I don't need to do that."
150-600mm (240mm, F/8, 1/1600th sec., ISO 100)
Click image to view larger
When covering air shows, Carolyn puts together a complete narrative of the day, including close-up solo shots, multiple planes flying in formation, detail images, and even spectator reaction. One of the most visually interesting aspects of an air show involves a plane's smoke trails, which are artificially created via a special system that typically uses biodegradable mineral oil and is controlled by the pilot. Such a spectacle was first used by an aerobatics team in the late 1950s.
150-600mm (150mm, F/7.1, 1/1600th sec., ISO 100)
Click image to view larger
"The smoke trails are very cool to capture," Carolyn says. "They show more movement in the photo, which is always appealing; it's also another reason I like that this lens can go to 150mm, because when the pilot starts spitting out the smoke, I can zoom out to capture both the plane and the trails. The pilots will even sometimes trigger the smoke when they're on the ground, like in the photo you see here with the plane on the runway. This pilot came down right in front of the crowd and just let the smoke fly. The only drawback is that, as the show goes on, the smoke tends to accumulate and the air gets really foggy."
150-600mm (160mm, F/8, 1/2500th sec., ISO 400)
Click image to view larger
Photographing aircraft isn't Carolyn's only focus when she's behind the camera. "It's not always all about the airplanes—it's about the people, too," she says. "There are so many different players involved in a show like Sun 'n Fun, from the mechanics and air traffic controllers to the pilots themselves. That's why I try to include shots like the one you see here of the parachutist with the American flag. That's a member of the Golden Knights, the US Army's aerial demonstration team. What happens is someone will come out and sing the national anthem and, as the song is taking place, a parachutist jumps out of one of the planes with an American flag and lands right at show center in front of everyone. It's a dramatic moment that gets the crowd excited, so it's definitely something that's on my radar to capture. Always be looking for those kinds of people-centered moments at shows like this."
150-600mm (400mm, F/7.1, 1/1000th sec., ISO 100)
Click image to view larger
Carolyn has one critical piece of advice to nail photos at an air show. "Each individual photo depends on whether the planes are flying at you, away from you, or sideways, and you have to master how to take each of those kinds of shots," she says. "And being able to master that hinges on repetition, which comes only through lots of practice. That's both in the moment, meaning if an air show is held over a few days and you can swing it so you can attend all of those days, and over the long term, meaning you're able to go to multiple shows year after year. Even then, you'll still get shots you can't use; I still do. That's OK—keep shooting, and you'll see the number of usable images keep increasing."
To see more of Carolyn Hutchins' work, go to www.carolynhutchins.com/.
More Photo Tips | Watch Videos | Learn More About Tamron Lenses | Photo Gallery
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Your browser doesn't support javascript. This website requires javascript to work properly.
#000126 Hexadecimal color code
#000126 Hex Color Information
The #000126 hex color is represented by the (0,1,38) RGB color. It is composed of 0% red, 0.4% green and 14.9% blue. In the CMYK colorspace (Process color), its composition is 100% cyan, 97.368% magenta, 0% yellow and 85.098% black (Key). In its HSL representation (Cylindrical-coordinates), it has a hue angle of 238 degrees, a saturation of 100% and a lightness of 7.5%. #000126 websafe color is #000033.
Hexadecimal #000126
RGB Decimal 0, 1, 38
RGB Percent 0%, 0.4%, 14.9%
CMYK 100, 97.368, 0, 85.098
HSL 238°, 100%, 7.451%
HSV 238°, 100%, 14.9%
WebSafe Decimal 0, 0, 51
WebSafe Hex #000033
XYZ 0.361, 0.162, 1.846
CIE-LAB 0.15051863401214
1.46, 8.482, -21.275
Yxy 0.162, 0.152, 0.068
The #000126 hex color can be described as Mostly Black Blue.
#000126 Color charts
RGB color chart for #000126
Red : 0%
Green : 0.4%
Blue : 14.9%
CMYK color chart for #000126
Cyan : 100%
Magenta : 97.368%
Yellow : 0%
Black : 85.098%
Shades of #000126
A shade is obtained by adding black to the original color, which reduces its lightness. To know more about shades, you can go to the color theory shade section.
Tints of #000126
A tint is obtained by adding white to the original color, which increases its lightness. To know more about tints, you can go to the color theory tint section.
Tones of #000126
A tone is obtained by adding gray to the original color. To know more about tones, you can go to the color theory tone section.
Color Schemes with #000126
Color Schemes are part of the color harmony domain. They are simple concepts that explains how to pick together harmonious colors. Below are some schemes for the #000126 color.
Complementary Color
Triadic Colors
Split Complementary Color
Similar colors to #000126
Below are some similar colors to #000126.
#000126 color preview on black background
A color sometimes looks different when it's surrounded by other colours. To help you see how the #000126 hex color may look on different backgrounds, we're showing it to you on a black background.
#000126 text on a black background
#000126 color preview on white background
And the #000126 colour on a white background.
#000126 text on a white background
#000126 Color CSS Codes
To use the #000126 hex color on your website, you will find some CSS code samples that will help you. The sample css codes will show you how to use font color, link color, background color and border color.
#000126 CSS Background color
This element has a background color of #000126
<p style="background-color:#000126;">Content here</p>
#000126 CSS Border Color
This element has a border color of #000126
<div style="border:1px solid #000126;">Content here</div>
#000126 CSS Text Font Color
This text has a font color of #000126
<span style="color:#000126;">Text here</span>
#000126 CSS Link Color
This link has a color of #000126
<a style="color:#000126;">Link here</a>
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Holly Slingsby
An Enclosed Garden
This video performance work combines the shared experience of lockdown gardening with figures in isolation: Homer’s Penelope; anchoress Julian of Norwich; abbess Hildegard von Bingen; and the Virgin Mary as hortus conclusus – an enclosed garden. The work asserts these women’s relevance as emblems of solitary contemplation. Shot in the Sunken Garden, Quex Park and two private horticultural spaces, the piece irreverently evokes monastic herb gardens and medieval hortus conclusus paintings. Compost heaps are included as reminders of the possibility of patiently generating something new from discarded remnants of the past. Many of the actions performed are reversed or undone, echoing Penelope unpicking her weaving each night. This doing, undoing and re-doing reflects our uncertain present moment. But by being situated in cultivated sanctuaries for healing and transformation, the actions suggest an affinity with Julian’s description of salvation as an ‘again-making’. The garden is a space in which to be regrown.
Holly Slingsby’s performances, videos and paintings explore belief in a variety of contexts, and examine representations of women.
Her visual language reflects a fascination with iconographic traditions, drawing on Biblical imagery, myth, and contemporary culture. She uses historic material as a lens to look at the present, and invites viewers to consider the transcendental.
Slingsby’s recent work draws on lived experience of infertility, siting the female body in gardens and greenhouses.
Holly Slingsby (born 1983, UK) is based in Margate, UK. She studied at the Ruskin School of Drawing and Fine Art, Oxford University; and the Slade School of Art, London.
Slingsby has had solo exhibitions and performances at CRATE, Margate (2019); Margate Festival (2018); Bòlit, Centre d’Art Contemporani, Girona (2016); Tintype, London (2015); DKUK, London (2015); and SHIFT., London (2012). Her work has been shown at The Nunnery Gallery, London; The Horse Hospital, London; CCC Barcelona; LABS Bologna; Turner Contemporary, Margate; Katzman Contemporary, Toronto; Matt’s Gallery, London; Pump House Gallery, London; Spike Island, Bristol; Modern Art Oxford; the Freud Museum, London; FEM Festival, Girona; Art Licks Weekend, London; the ICA, London; and the Barbican, London. In 2018 she published an artist’s book with Publication Studio London and The Bower.
Camera: Jordan Mary
Production assistance: Jon Arden, Harriet Parker-Beldeau
The artist further thanks Lee Cavaliere, Peacock House and The Powell-Cotton Museum at Quex Gardens.
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20% OFF
Tom Dixon Fan Dining Chair
Designed by Tom Dixon
Code: Fan Dining Chair
• Now From £440.00
Item in Stock | Usually dispatched within 24 hours
Material Natural – Oak; Black – Stained Birch
Notes Black leather seat pad included
Depth: 53cm Width: 60cm Height: 78cm
Designed by Tom Dixon Tom Dixon - Born in Tunisia, Tom Dixon moved to England in 1963. His restless and rebellious nature led him to abandon his studies at the Chelsea School of Art so that he could explore his own creativity and a personal means of expression using recycled materials. In those years, he opened the laboratory “Space”: a think tank, an independent open space where artists and designers could collaborate together and influence each other creatively and design-wise. It was during this fertile period that Tom Dixon began collaborating with Cappellini, for whom he created the iconic S-Chair. In the 1990s, “Space” was transformed into a full-fledged design studio: Dixon became recognized as a top-level designer and his name started spreading rapidly amongst internationally acclaimed brands. His commercial success led to his nomination as Head of Design at Habitat, in 1998, where he became Creative Director. In the meantime, he also worked on private and institutional collaborations, dedicating himself to a number of noteworthy projects and creating a series of pieces that are destined to remain unparalleled in terms of popularity and appreciation. In 2000, Dixon received the prestigious Order of the British Empire, awarded by HRH Queen Elizabeth II. Dixon’s works are included in the permanent collections of the most important museums, including the Victoria & Albert Museum, the MoMa in New York and Tokyo, and the Centre Pompidou.
TOM DIXON - A cosmopolitan, self-taught designer, with a spirit that is mid-way between manager, craftsman and inventor; he is passionate about the decorative potential of recycled materials, which he transforms in his workshop and which is what has made him famous. His work has joined collections in museums such as the Victoria & Albert Museum in London, the MoMa in New York and the Centre Georges Pompidou in Paris. For Foscarini, he has created Lightweight, a project that combines metal with blown glass in a suspended installation, with a strongly architectural feel.
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%A Jannah, M %A Mutiara, Elok %A Kusumadewi, Tarranita %D 2019 %T Eco-cultural approach integrating Islamic values with artha wantilan concept on the fish market design in Kedonganan Bali, Indonesia %K %X Bali is an island that has many coastal areas, one of which is Kedonganan and there is a fish market that is quite famous among the surrounding population and the tourists. This study aims to re-design the Fish Market with an eco-cultural approach. This design approach considers the continuation of nature and also local traditional Balinese Architecture. However, there are several values in Hinduism that contradict the values of the Islamic religion. The values of the Islamic integration argument are used to examine aspects adapted to the artha wantilan concept based on the characteristics of Bale Wantilan so that its application in the design of the fish market still contains elements of Balinese architecture and remains integrated with Islamic values. The used method is descriptive qualitative, by collecting the literature review, examining several aspects related to the object of research, and applying the results of the study in object design. So that the results of this study can know the shape of the roof, building body and foot of the building, and ornaments that are applied and have been adapted to the needs of the fish market building and also integrated Islamic values. %U http://conferences.uin-malang.ac.id/index.php/ICGT/article/view/1136 %J Proceedings of the International Conference on Green Technology %0 Journal Article %P 26-30%V 10 %@ 2580-7099 %8 2019-12-31
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New York
Tattoo Artist Trying for TV Spot
If you’re looking for the perfect tattoo – look no further. Al Fliction, a Crown Heights tattoo artist, has just the item for you. As the owner of the Brklyn Ink store on Bedford Ave., Fliction explains that he had always been interested in tattoo work. It was while serving time in jail, however, that he perfected the art.
Learning the Trade
Spending six years in jail on drug charges, Fliction said,
“That’s where I did my apprenticeship. I was always interested in tattooing, but there was no way to learn it. There’s no tattoo schools…I was black from the hood. You couldn’t just walk out to Long Island and walk into a white shop and say, ‘Can I be an apprentice?’”
He continued, “I went to prison wondering ‘Why me, why me, why am I here’ – and I picked up the trade I always wanted to learn.”
Taking the Art Seriously
Fliction takes his art quite seriously. He explains that people “think they can shop around for a tattoo like they can shop around for a pair of pants. The cheapest place I see is where I’m going to get it done.” Rather, he designs tattoos with his clients to help them to tell their life story.
As he explains,
“In my shop, we don’t have any flash on the walls. There’s nothing on the walls for you to pick from. You have to explain to us what you want.”
Ink Master Competition
Now, Fliction is vying for a spot on “Ink Master,” a show like Top Chef or Project Runway, where the contestants tattoo people to see who is the best artist. As Chris Rantamaki, the vice president of the series at Spike said, “We didn’t want artists who somebody would come into the shop and pick out what’s on the wall. It’s really not what we feel tattooing is about.”
Now, as one of nine finalists for the show, Fliction hopes to get his name in lights. He explains with enthusiasm, “People are seeing my art all over the world.”
James Allenby is the editor of Gowanus Lounge, bringing to his position a vast background on New York, and especially Brooklyn history, culture and lifestyle. Born and bred in the heart of "the County of Kings" James Allenby knows what it means to be a Brooklynite, and imparts this meaning at all times to his readers. Contact James at info(at)gowanuslounge.com.
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Preston Blair's "Advanced Animation" (1st Edition)
preston.jpgCreated in 1947, "Advanced Animation" has often been called the best "how-to" book on cartoon animation ever published.
Found at ASIFA - Hollywood Animation Archive, they write:
Animation historian, Jerry Beck, whose excellent blog Cartoon Brew is in the bookmarks of just about everyone in the animation business, has been hunting for a first edition of Blair's landmark book for many years. He finally found a copy in a collection of material that belonged to legendary animator, Dave Tendlar. If you are familiar with the revised edition, you're in for a treat.
preston2.jpg
This is definitely worth checking out!
1. I got the book in Dutch (since that is my native language) It really is a source of help, if you want to draw cartoons. (which of course will become 3d models later on :) ).
Nice to see the very first edition :)
2. I have the (changed) new version with the yellow cover. There is no animation book that is so packed with information! I also have his "How to animate film cartoons" - it is just as valuable.
Preston was a genius.
3. I put a comment about that on my site. This "book" has been freely available online for several years now. The later edition was even converted to a more web friendly format and somewhat expanded content. All freely available for download.
So assume if the jpeg images of the pages are free for everyone, a simple compilation to pdf with no modification should be fine - kind of like changing the jpegs to tga's.
If anyone knows better please help me out. I am under the impression that this content is in the public domain or something.....?
Like if someone mirrored my keying tutorial, I suppose I could see a situation why I might courteously ask them not to if I was depending on the exclusive of the web traffic the content created, but I don;t know if that would constitute a copyright violation...
Actually the more I think about it, I'm gonna take that link down. If anyone wants to save themselves the hassle of converting to pdf, email me.
4. The material on the ASIFA site may still be protected by copyright. It is not public domain. The ASIFA-Hollywood Animation Archive is a 501(c)(3) non-profit educational institution. As such, we have special provisions of "fair use" under copyright law. Some of these provisions do not apply to individuals who might choose to redistribute our media files.
You can use an image or two to accompany links to our articles, and feel free to use the material for reference yourself. But please don't repackage or redistribute the images or separate the media from the accompanying articles.
For more information, please see the Terms of Use of the ASIFA-Hollywood Animation Archive.
Stephen Worth
ASIFA-Hollywood Animation Archive
5. Good to see the respect given to Stephen W's polite post.
Seems that the PDF's have been pulled from the above sites.
Make your own PDF but keep it off the web. :)
6. The entire ASIFA site is a hugely valuable resource for animation history and reference. I highly recommend digging around the site, as there are character sheets for hundreds of characters, sketch pages by tons of highly talented and creative artists spanning the history of animation and lots of information on specific animated films and shorts from the past. They are one of my more frequent online stops :D
7. On the site they compare the original version of the book with the reprint he was forced to make (After MGM changed their minds about letting him use their characters in his book). Like posters on the site, I agree that the original art was more alive. The original characters had more 'character'. The generic characters are constructed the same way (so the purpose of the book --to teach drawing animated characters-- remains fulfilled), its just that the original art is so much better, even though there is more detail in the newer characters. Its like comparing the new Saturday morning cartoons vs. the old cartoons from the '30s and '40's. Something got lost along the way.
8. Mr.Preston Blair also has a concise book of around 32 pages, the one which has basics of drawing characters.Can somebody let me know where can I get that from???
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• Eeva Kavenius
How do I integrate my 3D converted artwork into my website?
The world of virtual Art and Technologies can be an overwhelming place.
That is why we're here to guide and help you as you begin the journey of bringing your art to 3D by answering some of the most frequently asked questions at FAQ Room.
#interactive3D #interactiveart
The process is quite easy. Your 3D converted artwork can be integrated into your website by embedding a small snippet of code into your website. An embed code is simply a small piece of code that activates the content and displays it on your web page. Most platforms like Wix or WordPress allow you to insert these little bits of code easily.
Here are the steps you should follow:
If you face any problems with this we are happy to help you!
See what an embedded 3D artwork looks like on a website
from this video example.
Artwork from the collection "Facing It Together" by Jack Bordnick embedded to a webpage
Do you have a question regarding 3D, VR, AR, or NFT tools in the Art space?
Don't hesitate to send your question to hello@prefixa.com
All of your questions will get an answer, and the most frequently asked questions will be featured in the FAQ Room.
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You really have to see Coral Bay to believe the colours of the water. It has every shade of blue and often right next to each other. It's such a beautiful area to explore, swim and just be amongst. It kind of feels like cheating with my photography, because there's colours popping everywhere!
Coral Bay Dreams
PriceFrom $35.00
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Sapar Contemporary opens a group exhibition of women artists
The First Art Newspaper on the Net Established in 1996 Monday, October 14, 2024
Sapar Contemporary opens a group exhibition of women artists
Yerke Above, Will You Let Me In?, 2022. Image Courtesy of Sapar Contemporary and the Artist.
NEW YORK, NY.- Sapar Contemporary is presenting Women and Other Wild Creatures: Matrilineal Tales, a group exhibition of women artists who draw strength from the connection with the non-human nature, involving it in their healing practices and increasingly fantastical visions of human unity with nature. The show includes artists from Ukraine (Zinaida, Rita Maikova, and Iryna Maksymova) and Kazakhstan (Aya Shalkar and Yerke Abuova), representing the gallery’s DNA, as well as works by French (Nicole Peyrafitte) and American (Susan Coyne) artists working in the U.S.
The inspiration for the exhibition came from seeing intergenerational caravans of grandmothers, mothers, daughters, and family pets migrating from the war zones, as well as the images of nature’s destruction in Ukraine: suffering trees, plants, animals of all kinds, and the whole steppe and wetland ecosystems – in addition to cultivated land. These images have been deeply felt at the gallery whose founders have family, friends, artists, and roots in Ukraine. The sense of terror brought to mind sources of strength available to women, connections that they forge across time and space, rituals recovered and re-invented in times of cataclysms.
Ukrainian poet, Kateryna Babkina, contributed a poem she has written in March 2022. The translator of the poem Virlana Tkacz has written a part of the poem on the wall of the gallery. The poem opens with a line: Give me a brother who can protect me; woman is seeking protector and shelter, the sky responds with the final line of the poem: Make it yourself. You are on your own. The words of artist Iryna Maksymova echo the poem. When asked about female images in her work and their connection to the current moment, Maksymova responds: “When I think about Ukraine today, I see a tender but fearless spirit in a feminine body with a huge sword. She is standing in the green field with wildflowers and her bare feet are touching cold, dark soil. She is worried but confident.. She doesn’t need anything, she is enough.” Susan Coyne’s Field Notes from Future Matriarchies is the most futuristic high point of the exhibition, while Zinaida’s lyrical videos are based on her research of the century old traditions. Two young Kazakh artists contribute a bold Eurasian Gen-Z perspective on traditional gender roles and women’s tools.
About Artists
ZINAIDA (Ukraine) is a Ukrainian visual and performance artist and designer. She received her BA from the National Academy of Fine Arts and Architecture in Fine Art and Art History, as well as a BA in Psychology from National University of Kyiv. She is a member of the Food of War International Community. In 2015, she was a project facilitator at Marina Abramovic - In Residence (Kaldor Public Art Project, Sydney, Australia). ZINAIDA’s practice revolves around the study of mythologies, national and archaic images, and their conveyance using contemporary art. Many of her projects are preceded by direct participation in cultural and ethnographic research, including the facilitation of acquaintance and communication with the bearers of ancient knowledge and practices. In her work, the artist focuses mainly on the original art-work of women as the sacred knowledge carriers. ZINAIDA initiated many artistic expeditions in different parts of Ukraine, including the Chornobyl Exclusion Zone. She carries out active philanthropic activities in the field of culture, supports museums, children’s festivals, classical music concertos, and publishing books about Ukrainian artists. The artist has been featured in solo exhibitions at Pinchuk Art Centre (2015, Kyiv, Ukraine), Black Bride projects at the 56th Venice Biennale, and Dakini at the 58th Venice Biennale. ZINAIDA participated in the Art Lima Contemporary Art Fair (Lima, Peru), Art Kyiv Contemporary International Forum of Contemporary Art, and GOGOLFEST Interdisciplinary Festival.
Iryna Maksymova (Ukraine) is a Ukrainian figurative artist. She was born and raised in Kolomyia, a small town in the western part of Ukraine, and now lives and works in Lviv. Maksymova’s work features colorful domestic settings with exotic creatures imbued with a magical quality, whose facial features contort in displays of distress or agony, encouraging the viewer to question the relationship between humans and animals. The storyline, the color palette, text and characters in Maksymova's works blend street art vocabulary and techniques with Ukrainian Primitivism of the 20th century and the tradition of Ukrainian self-taught women artists. Maksimova’s first solo exhibition of paintings took place in 2020 in Lviv. Since then she participated in various group shows in Ukraine and around the world including London (2022), Madrid (2022), Beijing (2022), Los Angeles (2021), Golden Coast (2021), and Berlin (2021).
Rita Maikova (Ukraine) is a Ukrainian figurative artist who lives and works in Kyiv. She earned her BA from Kyiv National University of Technology and Design, as well as her MA from the National Academy of Art. Maikova has been exhibited widely in Ukraine and across Europe. Her work focuses on spiritual reality and meditative stillness. She sees her art as an endless dialogue between the soul and the universe. By investing thoroughly in mindfulness and the present Maikova’s surrealist works are full of symbols, progressing between the conscious and unconscious mind, and provoking the imagination of the viewer. Maikova has been featured in solo and group exhibitions In Ukraine, UAE and Switzerland . She has also been featured in group exhibitions at Strange Place in Kherson (2014), Coralli in Lviv (2014), Space In in Kiev (2015), Talent Energie Fest in Kiev (2015), Feldman Art Park in Kiev (2015), “Yellow Giants” in Odessa (2016), Art&Design.Communications in Kiev (2016).
Kateryna Babkina (Ukraine) is a Ukrainian poet, prose writer, columnist, screenwriter, and playwright. She's the author of four poetry collections (Lights of Saint Elm, 2002, The Mustard, 2011, Painkillers and Sleeping pills, 2014, Charmed for Love, 2017, Does not hurt, 2021), a novel (Sonia, 2013), a novel in short stories (My Grandfather Danced the Best, 2019) and two collections of stories (Lilu after you, 2008 and Happy naked people, 2016). She has also written 3 books for kids (The Pumpkin year, The Hat and the Whale, and Girls Power (co-authored with Mark Livin), which are extremely popular in Ukraine. Her writings have been translated into English, Swedish, Polish, German, Hebrew, French, Spanish, Romanian, Czech and Russian. Her plays have been staged in Kyiv, Vienna and Geneva. Kateryna Babkina has written columns for Esquire Ukraine, Le Monde, Harper's Bazaar. Her poetry was published in a number of anthologies and almanacs (The Kenyon Review (USA), Poem (UK). There are several short movies based on Kateryna Babkina's stories. In 2016 a short film by her script was screened at Cannes Film Festival in young director's selection.In 2021 Kateryna Babkina won the Angelus Central European Literature Award for the My grandfather danced better than anyone else published in the Polish language.
Aya Shalkar (Kazakhstan/US) is a Kazakh conceptual multimedia artist currently based in Los Angeles. At the age of 17, she moved to France to study Visual Arts at the University of Strasbourg. She later transferred to the University of Applied Arts Vienna, Austria, where she received Masters in Graphic Design in 2020. Shalkar is the co-founder of Studio Oneki, an experimental design studio based in Kazakhstan. Shalkar’s artistic practice is rooted in her Central Asian background and Kazakh visual and material culture, with many of her works addressing cultural identity and gender roles. She includes the techniques of embroidery, patchwork and other forms of traditional applied arts that are predominantly practiced by women. Shalkar’s vision is influenced by her graphic design training and passion for sci-fi. Her artistic universe is a place where Central Asian heritage meets science fiction and fantasy. Further, Shalkar pulls from her modeling and acting experience in order to incorporate her own body and image into her artistic projects. Her digital work has organically found its place in Web3 as successful NFTs. Shalkar has been featured in magazines such as Nowness, i-D Magazine, Elle, Sleek, and Blood.
Yerke Abuova (Kazakhstan/US) is a Kazakh-American figurative artist, who has been painting and exhibiting her work since her early teens. She is currently pursuing painting at Cornell University. Abuova works in a variety of media, but primarily focuses on oil painting, murals and sculpture. She depicts complex surreal environments that invent their own logic and create new rules for scale and color. These fantasy worlds explore the themes of memory, cultural histories, ecological anxieties and Central Asian femininity. Abuova also connected her traditional oil painting practice with digital imagery and digitally altered forms. Abuova has participated in group exhibitions at the Education Department of Metropolitan Museum of Art, the Herbert F. Johnson Museum of Art, and in the galleries at Cornell University.
Susan Coyne (US) is an illustrator and writer who divides her time between New York City and Cambridge, Massachusetts. She is a 2016 graduate of the MFA: Illustration as Visual Essay program at the School of Visual Arts (SVA). She received an Alumni Scholarship from SVA for her work in illustrated documentary nonfiction. Her new painting series, Fields of Vision, explores an imagined future in which women are the founders of a collective rural society and maintain it for centuries in harmony with nature. The series examines this society’s rituals and habits from an anthropological, bird’s-eye view: in this imagined future (and in some senses, our actual past), humans and animals cooperate, freedom of movement is encouraged, there are no carceral systems as we know them, and seasonal shifts of the earth and of the body are observed and honored. Coyne’s 2017 book, The ABCs of Subverting the Patriarchal Paradigm, a primer on feminist and anti-racist movements in the United States, was featured in the Netflix film The Incredible Jessica James. Her work was included in the anthology Bad Drawings by Bad Women (TigerBee Press). She is the recipient of an American Illustration Award, and her illustration and writing clients have included LA Review of Books, WBUR, Radiotopia, Radcliffe and Bowdoin magazines, Hyperallergic, and Artnet News.
Nicole Peyrafitte (France) is a Pyrenean-born multidisciplinary artist who is based in Brooklyn. While a longtime resident of New York, her work in painting, action painting, writing, film and video, music, and cooking draws upon her eclectic history and the experiences of shaping identity across two continents and four languages. She prioritizes her practice around exploring sustainability, body and mind, family, art, food, nature, and health as a core axis of her work. Her performances often include food cooked live and served to the audience as sustenance, from whipping cream, crepes and soups, to full dinners. Recent encounters with health issues refocused her work to a more intimate and private practice, one that focuses on finding purpose in deepening connections with other-than-human voices like birds, water, and elements of landscape. Peyrafitte’s work has been presented and/or performed in a range of venues in North America and Europe, including The Poetry Project, Bard College, The Vision Festival and Poets House, the University of California San Diego, the Walker Art Institute, Boise State University, Naropa University, the Birbeck College, the University of London, the University of Edinburgh, Université de Bordeaux, Festival les Voix de La Méditerranée (Sète), Festival de San Luis Potosi (Mexico), and Encuentro Internacional de Escritores in Durango (Mexico). Méditerranée (Sète), Festival de San Luis Potosi (Mexico), and Encuentro Internacional de Escritores in Durango (Mexico).
Today's News
June 6, 2022
Toomey & Co. Auctioneers will hold back-to-back sales on June 8-9
New report from UBS: The Role of Cities in the US Art Ecosystem
The Hamburger Kunsthalle opens a solo exhibition to Ernst Wilhelm Nay
Fondation Beyeler presents 'Mondrian Evolution'
At Dakar's Biennale, the city itself is the most colorful canvas
Friedman Benda opens fourth solo show with Misha Kahn
To house refugees, Lviv wants to make beautiful buildings that last
Martos Gallery opens first exhibition of Bob Smith's emblematic box constructions in more than thirty years
Ippodo Gallery opens an exhibition of tea bowls by seventeen respected artists
Ai-Da Robot resents world first portraitof HM Queen Elizabeth II for Platinum Jubilee
Chekhov two ways, with a robot and Baryshnikov along for the ride
Exhibition focuses on the major technological changes since WW II and their influence on our ideas of the body
Sapar Contemporary opens a group exhibition of women artists
'Belfast' by Krass Clement to be published by RRB PhotoBooks
How the 'Queen of Slag' is transforming industrial sites
VOLTA Basel spotlights Middle Eastern artists: Announces collaboration with Saudi Arabian ATHR Foundation
Rare natural pearl necklace shines at AstaGuru's auction, sold for a whopping six crores
Opera's 'Island of Misfit Toys' takes its biggest stage yet
'You are the show': A Hudson Valley outpost of the Avant-Garde
Gardens of earthly delights
With cameras on every phone, will Broadway's nude scenes survive?
Institute for Contemporary Art at VCU presents 'Jeremy Toussaint-Baptiste... and Drive (Far Away)'
Alexander Berggruen opens an exhibition of works by Marie Hazard
Schiffer Publishing announces 'Coney Island People: 50 Years'
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North Carolina Museum of Art | Untitled http://ncartmuseum.org/untitled The NCMA Blog Tue, 04 Mar 2014 16:30:18 +0000 en hourly 1 http://wordpress.org/?v=abc The Sounds of Silents http://ncartmuseum.org/untitled/2014/03/the-sounds-of-silents/ http://ncartmuseum.org/untitled/2014/03/the-sounds-of-silents/#comments Tue, 04 Mar 2014 16:29:42 +0000 Guest http://ncartmuseum.org/untitled/?p=4026 On February 15 I accompanied Champagne, directed by Alfred Hitchcock, at the Detroit Film Theater, so it might be a good time to try to set down the experience of what it’s like to accompany a silent picture while the impressions are fresh.
But first, here’s a giant oversimplification. If you start at middle C on the piano and count up the white and black keys until you reach the next C, you’ll find that there are 12 notes until the pattern of notes repeats. It’s not that it’s so hard to memorize 12 notes. It’s a matter of: is the note you want high, middle, or low; how fast is it traveling to the next note; what other notes are occurring at the same time, and how fast are the notes moving, and why? Is it a moment that’s totally improvised, or is it an actual song or piece? The experience morphs from one thing to the next.
When the experience is up and running, it’s mostly two things: strangely private and also self-conscious. Depending on where the piano is situated, once the lights go off, it’s just me and the movie. At the NCMA it’s more continuously self-conscious because the piano is on stage with the movie. At other venues the piano may be off to one side, or down in an orchestra pit, so that even though I can always be seen by the audience when they choose, the direction of my attention to the screen can exclude my perceiving the audience for a time after the start, and thus I experience the strange privacy in which I’m “locked in” to what a picture is. In some cases this can go on for practically the whole film. Yet I can “feel” and hear the audience.
It’s inevitable when playing for a picture to play “clinkers,” and I wonder if anyone recalls them or whether they just become absorbed and dismissed due to the duration. It’s most important for me to be careful near a picture’s ending, and so it becomes the area of greatest risk. Yet being reckless when playing the piano is a prime ingredient for me. It’s the “mystery note” that I’m after; the weird confluence of sound and events that I’m reaching for to hit the mark that’s so elusive. Naturally, the better the picture, the better the chance.
With a classic comedy, it’s so exhilarating to fly along on the big laughs. I love that! There’s nothing better than the big laughs, which seem never to fail in the great comedies.
I’ll always remember the “gasp” of the audience near the end of Pandora’s Box at Raleigh’s Rialto Theater, when Jack the Ripper drops his knife on the steps leading up to Louise Brooks’s attic hovel; the incredible rush of cheering near the end of The Man Who Laughs in 2009 at the NCMA; the amazing roars of laughter during the two shows of The General at the Sunrise Theater in Southern Pines—and I could go on and on. But most of all, since I love playing for the creative insanity of silent comedy, I’m looking forward to an exciting new experience coming up soon at the NCMA.
Guest blogger David Drazin is a pianist and composer who has acquired a national reputation for his piano improvisations accompanying silent films. He is a regular at the NCMA and on March 7 will accompany Two Tars and Three Ages in the Museum Auditorium.
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I Remember Fireflies http://ncartmuseum.org/untitled/2014/02/i-remember-fireflies/ http://ncartmuseum.org/untitled/2014/02/i-remember-fireflies/#comments Tue, 25 Feb 2014 15:23:44 +0000 Jen http://ncartmuseum.org/untitled/?p=4002 We’ve had a seriously cold winter here—and nothing makes me yearn for summer weather more than that! Summertime brings many joys—fresh berries, long days, beach-perfect sunshine. For me, a transplanted West Coaster, there is one element of summer that never ceases to provide intense fascination and childlike glee: seeing fireflies (or lightning bugs, if you’re so inclined). Though my adult brain understands the scientific basis for their bioluminescence, I still consider them special—perhaps magical. I look forward to seeing them every year. In the meantime, I can enjoy them now—in winter!—in the Museum Park.
Houston-based artist Allison Hunter enjoys similar positive emotions toward fireflies, though hers are based in childhood memories. She recalls beach vacations spent watching fireflies as they soared around the sand dunes. “I remember fireflies lighting our path to the seawall at night. Their glowing nature was magical by itself, but combined with our reverie, the fireflies seemed fairylike.” These memories created a sense of longing in Hunter, who, as a Houstonite, rarely sees fireflies now. The urban sprawl and light pollution of large cities foils sightings of such creatures. Is it because of a depletion of habitat? Or is it that the city is too suffused with light to properly see them? Is it a combination?
Hunter’s new video installation in the Museum Park, I Remember Fireflies, reimagines the insects in an ideal environment—a safe habitat where they are able to go through their life cycles in peace. Hunter took a hands-on approach to the creation of her work, filming her “fireflies”—which are created with clay and jeweler’s wire—in stop-motion. The video installation, set inside a birdhouse situated with a glass peephole, seems familiar, yet strange. The video is set to the tune of Mildred Bailey’s 1940s standard “At Sundown.”
The dark environment and our human size (particularly in relation to the tiny insects) further obscure the creatures, a fact that is made more interesting given that we aren’t seeing actual, living fireflies. “The human tries to see but cannot see what is going on inside,” Hunter says. “The intimate life of insects remains a mystery.” And this mysterious nature is the essence of Hunter’s work. In sheltering and re-creating them to her own specifications, Hunter allows her fireflies to come to life in a safe way—anywhere and anytime, in any season and under any weather conditions. So at the NCMA, fireflies are not just for summer—now, they’ll be available for viewing all year round.
Photo caption: Allison Hunter, I Remember Fireflies, 2012, stop-motion animation video with sound, mini-video projector, speaker, painted wood, clay and wire figures, LED lights, wire mesh, glass, dried leaves, and rear-screen projection material, Courtesy of the artist
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Three New Judaic Acquisitions http://ncartmuseum.org/untitled/2014/02/three-new-judaic-acquisitions/ http://ncartmuseum.org/untitled/2014/02/three-new-judaic-acquisitions/#comments Mon, 10 Feb 2014 22:18:02 +0000 John http://ncartmuseum.org/untitled/?p=3981 In previous posts I reported on the Museum’s success at last April’s auction of the Steinhardt Judaica Collection. I then wrote about one of the three pieces acquired in that sale. The other two pieces deserve equal attention.
The first is an unusually large, elegantly proportioned and finely wrought silver filigree Spice Container in the form of a tower. Used in the Havdalah (or Separation) ceremony that marks the end of the Sabbath, spice containers are among the most ubiquitous of Jewish ceremonial objects. Filled with sweet herbs and spices such as cloves, they are sniffed during the ritual, though like many Jewish traditions, the reason for this is debated. One commonly repeated explanation is that smelling the spices expresses the hope that the sweetness of the Sabbath might carry through the week to come. However, our curatorial consultant Gabriel Goldstein notes an alternative theory: that the fragrant spices “are akin to smelling salts used to invigorate the individual, as at the moment of Havdalah there is a loss of a special extra soul or spirit that inhabits the body during the Sabbath.” Whatever the reason for its use, the spice container traditionally has been an essential part of the Jewish home. Unconstrained by religious law, artisans have interpreted spice containers in a wide variety of fanciful forms.
This spice container conforms to a traditional type of filigreed tower thought to have originated in the German states in the early 17th century and little changed in basic design over the next 300 years. It is thus difficult to accurately date these pieces or to identify their place of origin. At present all that can be said about this particular example is that its high degree of craftsmanship argues for an 18th- or early 19th-century date, and that it was likely made in Poland. Filigree is a metalsmithing technique using wire to create shapes and forms of often dazzling complexity. A special feature of this piece is the selective use of gilding to accent the architecture of the tower. Its acquisition was made possible by Elaine Sandman of Raleigh, who gave it in memory of her parents, Louis and Ethel Elden.
The last acquisition from the Steinhardt sale is a magnificent, over-the-top, gilded silver Torah Shield from 18th-century Germany.
Among the most important types of Judaic objects is the Torah shield (tas in Hebrew), which, in the Ashkenazi (Central and Eastern European) tradition, is part of a decorative ensemble covering the Torah scroll when it is not in use. The Torah shield is hung by a chain from the protruding staves of the draped Torah scroll. Usually fashioned of silver or silver gilt, the shield is often richly worked with symbolic references to the majesty and authority of the word of God. In this example the “Crown of the Law (Torah)” surmounts the central plaque denoting the Torah reading. Originally the plaque was changeable. However, only one plaque survives, noting Pesach (Passover), and Sabbath on the reverse. Flanking the plaque are twin columns, symbolic of the pillars, Jachin and Boaz, that stood on either side of the entrance to Solomon’s Temple (1 Kings 7:13–22, 41–42). Standing rampant on the columns are “lions of Judah,” symbolic of strength and the Jewish people.
Stamped inconspicuously near the bottom of the shield are the city and maker’s marks. A pine cone (pyr) identifies the city of Augsburg, one of the great centers of European metal arts in the seventeenth and eighteenth centuries, and the letter H signifies the year: 1747. The stamped initials HM identify the maker as Hieronymus Mittnacht, a prominent Augsburg silversmith who specialized in Judaica. With its dense and swirling ornament, this shield is a masterpiece of exuberant rococo design. It was originally commissioned for a Bavarian village synagogue. The cartouche at the bottom carries the original Hebrew dedication by “the esteemed Kohen (priest) Samuel Joseph Ezekiel, of blessed memory, and his wife Feygl, may she remain among the living, in the year [5]509 [1749].” The central plaque indicates the Torah reading for Passover. This beautiful shield—one of the finest pieces in the Museum’s Judaic art collection—is the gift of the family of Michael and Lisa Sandman of Raleigh.
Photo captions:
Polish, Spice Container; 18th–19th century, silver, partly gilded, Gift of Elaine Sandman, in memory of her parents, Louis and Ethel Elden, 2013
Hieronymus Mittnacht, Torah Shield, 1747–49, silver, gilded, Gift of the family of Michael and Lisa Sandman, in loving memory of those who came before us, 2013
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A Hair-Raising Experience http://ncartmuseum.org/untitled/2014/01/a-hair-raising-experience/ http://ncartmuseum.org/untitled/2014/01/a-hair-raising-experience/#comments Thu, 30 Jan 2014 17:28:27 +0000 Perry http://ncartmuseum.org/untitled/?p=3984 Despite the frightful sound of this article’s title, the conservation treatment of the NCMA’s Portrait of Sir John Scott, which I finished in November, went quite smoothly. The painting is now refreshed and as near to its former glory as possible. But as frequently happens during a full restoration, little details of the original painting were uncovered that supply interesting insight—in this case, on the intriguing human infatuation with hair.
The conservation treatment removed centuries of accumulated dust and grime as well as layers of old varnish and previous restoration. Cleaning was followed by the application of new varnish and judicious retouching to cover up small paint losses and minor damage. Even the smallest original brushstroke and surviving nuance has become visible again: the rich fabric of the gold and black garments, the luster of the unusual wood-grain floor, the rosy flesh tones, and the sparkle in Sir John’s eyes.
Sir John’s hair was already an impressive sight before treatment, but with the removal of old restoration paint, his coif was revealed to be yet another inch taller. This high rooster-tail ‘do truly defies gravity. “You need a product for that,” observed Dr. Tania String, art history professor at UNC–Chapel Hill. Sir John must have used some kind of Elizabethan mousse made of starch, gum, or wax. Maybe he used this concoction found in the Manual of Women in which is contained many and diverse very good recipes,” an anonymous 16th-century Spanish cookbook.
Unction for combing hair: Two pounds of very fat and very well-blended bacon cut into small pieces. And put it in a stew-pot, put with it a fourth part of head lye and four maravedís of alhovas, and a fourth of linseed, and a fourth of barberry, and a (fourth) of calamus gum, and another (fourth) of bastard saffron (safflower), and another (fourth) of rough cumin. Put the stew-pot on the fire with all these things, and once the bacon comes apart, strain it with another large stew-pot and throw in three or four lizards. And put the lid on the stew-pot very well. Cook it in the oven and, when cooked, strain it and keep it in a bottle. And comb your hair with it.
Hair must be one of the oldest human fascinations. Hairstyle can be an important visual cue of professional, religious, or political affiliation, personal expression, or just a very loud fashion exclamation. What comes to mind when you see a mullet, dreadlocks, skinhead, French twist, Afro, Mohawk, flat top, bouffant, payot, butch, corn rows, duck’s ass, fade, topknot, comb-over, pigtails, beehive, pompadour, quiff, or bob?
During much of the 16th century, English men followed the French fashion of closely cropped hair. But in Elizabethan times young, ambitious English men increasingly grew their hair out in long manes or pushed it up high, sometimes with long, curling lovelocks on one shoulder. Leading the crowd was the Earl of Southampton, who traveled in the same circles as our Sir John.
Elizabethans saw hair not only as an indicator of taste and social and economic status but also as a window to the true nature within. Not that this was an exact science. The interpretations were always changing for the vast variety of styles, colors, and types of hair. But as Mark Albert Johnston points out in his book Beard Fetish in Early Modern England: Sex, Gender, and Registers of Value, some opinions seem to have been fairly common for both the wearer and the observer.
Johnston says brown hair, like Sir John’s, was regarded as the most trustworthy hue, signifying stability, honesty, and faithful devotion, all the most desirable traits of English manhood. Johnston also tells us that hair dyeing was common, which would seem to reduce the trustworthiness of any hair color, not to mention the person wearing it.
Men’s beards were particularly indicative. First off it was essential to have a beard to prove “manliness.” Of Johnston’s four basic categories of beard, Sir John’s most closely resembles the “spade beard” often worn by soldiers. Supposedly the spade shape would remind enemies of the burial that awaited them. Sir John was a professional soldier, knighted about age 24, and saw action in Flanders, France, and Ireland. Sir John’s beard also resembles Johnston’s “broad beard,” which signified high professional, intellectual, and economic status. Educated at Hart Hall, Oxford, Sir John served as a member of Parliament for many years and controlled vast Scott family estates. We can also see that Sir John’s beard is somewhat thin but well trimmed and tidy. Beards like this required time and money to maintain and were indicative of gentlemen with money and leisure time to spare.
People say, “Clothes make the man,” but surely hair, which is literally part of our bodies, must be much more informative of our true selves—except, of course, when it is dyed, cut, styled, curled, straightened, sprayed, unctioned, conditioned, Jheried . . .
Perry Hurt is associate conservator at the NCMA.
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Film Still in Focus at NCMA http://ncartmuseum.org/untitled/2014/01/film-still-in-focus-at-ncma/ http://ncartmuseum.org/untitled/2014/01/film-still-in-focus-at-ncma/#comments Tue, 28 Jan 2014 01:59:46 +0000 Guest http://ncartmuseum.org/untitled/?p=3978
On the Town, (1949) Directed by Gene Kelly and Stanley Donen. Gene Kelly, Frank Sinatra, Ann Miller, Betty Garrett. (98 min.)
This month I began my 14th year as the NCMA’s film curator. Unlike at other Triangle venues, my programming choices continue to be on film, not digital. Because the studios are strictly limiting access to titles on celluloid, every nearby non-multiplex screen—the Rialto, the Colony, the Carolina Theatre, the Chelsea—has had to convert (at a cost of $50,000 per screen or more) or die.
The Museum has been able to continue as the region’s only all-analog venue, thanks to two 1940s-era projectors that allow us access to studio and archive vintage prints that can only be screened with an honest-to-goodness projectionist (in our case, the peerless Doug Vuncannon, or one of his associates, Kevin Porter and Tina Efird) noting the change-over marks at the corner of the screen and switching seamlessly from one projector to the other. Film archives do not permit their prints to be cut and spliced together into large reels, as theaters without the luxury of a projectionist in the booth must do. So while some theaters continue to show 35 mm, for example the Colony and the Carolina, they have access only to repertory prints, which can be cut and spliced. Only the NCMA has the dual projector system that allows us to show archive prints.
Why does this matter? As with any art form, it is a matter of aesthetics. Audiophiles prefer the sound of vinyl to CDs. Lovers of the painted canvas do not think that even the most expensive printed reproduction compares to the original. For me, a film image on the screen is deeper, richer, with the slight flicker as cinema’s heartbeat. I still feel a brief moment of disappointment when the flat, bright digital image flashes on the screen of a commercial theater.
Digital restorations are becoming the norm for even classic films, and some viewers relish a crisp new print without the dust and scratches of celluloid. The sensitivity of the technicians performing this digital magic is crucial, though. The Carolina Theatre recently showed a series of digitally restored James Bond films, the tattered repertory prints having been permanently retired. Some may have marveled at the crisp new image. I, however, could have done without the glorious restoration of the glued edge of Sean Connery’s toupee.
This season we add a new archive to those institutions willing to lend us their valuable prints. The Academy of Motion Picture Arts and Sciences will be sending us a print of On the Town. To qualify for this honor, we had to fill out an extensive venue report on the condition of our projection facilities. The endorsement of the other archives from which we borrow—the Library of Congress, the UCLA Film Archive, the Museum of Modern Art Film Archive, the archive at the UNC School of the Arts, and various studio archives—was crucial. Being blacklisted by one venue for mishandling a print results in all the archives withdrawing their borrowing consent.
The time is swiftly approaching when the NCMA will need to convert to digital to be able to show current films and new restorations of classic films. But, as long as it is still an option, the Museum will screen films on film, as they were photographed and as they were meant to be experienced.
Laura Boyes is the NCMA’s film curator and the personality behind www.moviediva.com.
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Arms for Art and Other Shenanigans http://ncartmuseum.org/untitled/2014/01/arms-for-art-and-other-shenanigans/ http://ncartmuseum.org/untitled/2014/01/arms-for-art-and-other-shenanigans/#comments Mon, 06 Jan 2014 16:50:27 +0000 John http://ncartmuseum.org/untitled/?p=3952 Earlier in the fall we removed from the American Galleries an imposing marble bust of John C. Calhoun. On my instructions Chief Conservator Bill Brown carefully removed a layer of acrylic paint, powdered talc, and wax that had been applied 20 years ago to mask unsightly yellowish stains covering much of the sculpture’s surface. Stripped of their makeup, the stern features of Calhoun are undeniably blemished. Rather than restore the cosmetic, we recently returned the bust to its pedestal in order to pose the question: what happened? How did this bust of pure white marble become so damaged?
The answer—only recently discovered—leads to an astonishing tale from the Civil War.
When Senator John C. Calhoun of South Carolina sat for this portrait bust in 1835, he was at the height of his power as the fiery “apostle of States’ Rights.” Following the convention of the time, sculptor Hiram Powers presents Calhoun in the timeless robes of a Roman statesman—in contrast to the drab contemporary garb of senators Daniel Webster and Henry Clay, standing at right. The artist modeled the portrait in clay, from which he made a mold and a plaster cast. The cast would serve as the template for future marble replicas.
By the late 1850s, Powers was long established in Florence, where his studio was a required destination for every American tourist. One visitor was Wharton Jackson Green, a North Carolina planter then on an extended honeymoon. In the studio Green spotted the plaster cast of the Calhoun bust. A devoted admirer of the late senator, Green immediately ordered a marble version for his plantation home in Warren County.
At the outbreak of the Civil War, Green was hot to get into the fight and dreamed of being the colonel of his own regiment. However, to win the commission, he would need 600 rifles to equip his troops. To obtain the rifles from the state’s armory, he needed to curry favor with the governor. So Green hatched a scheme that centered on—I kid you not—the loudly publicized donation of the Calhoun bust to the State of North Carolina. As ludicrous as it sounds, Green’s plan worked. With fulsome oratory the bust of Calhoun was installed in the Senate Chamber of the State Capitol, and the next day a grateful governor authorized the release of the rifles. (Alas for Green, the governor died shortly afterward, and his successor gave the rifles to another aspiring colonel.)
Fast forward to April 1865. The Confederacy had collapsed. Union troops under Gen. Sherman had moved into Raleigh. During the first chaotic days of occupation, someone, almost certainly a rogue Union soldier, wandered through the ransacked Capitol and found opportunity to vent his anger. Not long afterward an army surgeon toured the building. As he walked into the Senate Chamber, something caught his eye:
On a shelf behind the speaker’s desk, was a marble bust, on the base of which in relief were the words “John C. Calhoun.” Poised on its crown was an inverted inkstand, whose contents had descended in copious streams over the face. The marks of a brush or cloth charged with the same fluid, had still more besmutted the features. Under the name, in pencil, was written this explanatory clause. “Yes, father of Secessionism.”
This final act of violation gives the story of this bust a peculiar symmetry. At the beginning of North Carolina’s rebellion, this marble bust of the “father of Secessionism” was received with high ceremony into the State Capitol. And at the very end of the rebellion, this same bust was just as ceremonially desecrated, the stern features of the implacable defender of slavery “besmutted”—and quite possibly deliberately blackfaced. Degrading a proud southerner to a minstrel character would have been an outrageously satisfying prank for a northern soldier exhausted by years of war.
Despite early efforts to clean away the ink, the effects of the long-ago vandalism remain. Instead of masking the damage, we have elected to reveal it in all its unsightly splendor, the better to tell a remarkable story. The full story of the Calhoun bust is told in the winter issue of Southern Cultures, available in many bookstores and news outlets and online, along with a related video.
Hiram Powers, John C. Calhoun (1782–1850), originally modeled 1835, carved 1859, marble, H. 29 ½ in., Presented to the State of North Carolina by Wharton Jackson Green, 1861; transferred to the North Carolina Museum of Art, 1956
Lieut. Col. Wharton J. Green, n.d., handcolored photograph (proof sheet from Clark, Histories of the Several Regiments and Battalions from North Carolina in the Great War 1861–’65, vol. 4, 1901, opp. 243). North Carolina Museum of History, Raleigh (H.19XX.332.212).
J.A. Mowris, A History of the One Hundred and Seventeenth Regiment, N.Y. Volunteers, (Fourth Oneida), Hartford, 1866, 210. Full text.
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Hanukkah Lamp http://ncartmuseum.org/untitled/2013/11/hanukkah-lamp/ http://ncartmuseum.org/untitled/2013/11/hanukkah-lamp/#comments Tue, 26 Nov 2013 20:42:50 +0000 John http://ncartmuseum.org/untitled/?p=3941 Just in time for Hanukkah … and Thanksgiving, we have installed in the Judaic Art Gallery a new and imposing acquisition: a 5-foot-high Standing Hanukkah Lamp for a Synagogue, made in Eastern Europe, probably western Ukraine or Poland. It replaces a similar lamp that has been loan to us from New York’s Jewish Museum.
Our lamp was acquired last April at the Sotheby’s auction of the celebrated Judaica Collection of Michael and Judy Steinhardt. As described in an earlier post, we were able to secure enough pledges of support from generous patrons to compete—and compete aggressively—for a number of the principal lots in the sale. In the end we were successful in acquiring three of the most important pieces in the Steinhardt collection, including this large Hanukkah lamp.
Before the Second World War, there were thousands of Jewish synagogues in cities, towns, and villages across Eastern Europe. A feature of many of these often-rustic houses of worship was a large Hanukkah lamp, placed near the front of the sanctuary, close to the Ark. Often made of copper alloy, such lamps typically took the distinctive form of a menorah, the branched candelabrum of the Hebrew Temple in Jerusalem. (The Temple Menorah had six branches, but Hanukkah lamps add two more to accommodate the eight lights required for observance of the holiday, plus an additional server light.) The decorative branches of the lamp with alternating blossoms and buds follow the description of the biblical menorah given in Exodus 25:31-40. An interesting, nonbiblical, feature of this lamp are the brackets of stylized flowers that encircle the central shaft.
The base of our lamp has an inscription declaring that “this [lamp] is a donation of Reb Fievel and his wife Esther Yenma, daughter of Reb Zinvel, to the Holy Society Hesed ve-Ernet [5]531 (1771).” The crowned eagle surmounting the lamp is probably a later addition. These lamps often carried royal or imperial emblems as expressions of loyalty. This eagle, perhaps indicative of Polish or Prussian suzerainty, may have replaced an older emblem—a double-headed Russian or Austrian eagle?—when the allegiance of the community changed with the ever-shifting political boundaries. The eagle adds yet another story to a much-storied object.
These synagogue lamps were treasured by the local Jewish communities. Unfortunately, as potent symbols of the Jewish faith and identity, they were ready targets for the Nazis and their anti-Semitic allies. Few examples of this once-ubiquitous ceremonial object survived the war and Holocaust.
So, in this season of Hanukkah and Thanksgiving, we have much to be thankful for.
John Coffey
Eastern European, Standing Hanukkah Lamp for a Synagogue, 18th–19th century, copper alloy: cast, machine-turned, engraved, punched, partly gilded (eagle), Gift of Thomas G. and Louise J. Coffey in memory of H. Arthur Sandman, 2013 (2013.4)
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Best College Night Ever! http://ncartmuseum.org/untitled/2013/11/best-college-night-ever/ http://ncartmuseum.org/untitled/2013/11/best-college-night-ever/#comments Wed, 06 Nov 2013 20:25:23 +0000 Michelle http://ncartmuseum.org/untitled/?p=3882 ECU performs "Go" inspired by the themes of speed and Porsche
ECU performs "Go" inspired by the themes of speed and Porsche
On Friday evening, October 25, the North Carolina Museum of Art had the immense pleasure of welcoming over 500 students to its third annual College Night. The schools participating included Appalachian State, Art Institute of Raleigh-Durham, Barton, Davidson, Duke, Elon, East Carolina, Fayetteville State, Johnston Community College, Liberty, Meredith, Mount Olive, N.C. Central, St. Augustine’s, Salem, Shaw, SCAD, UNC–Chapel Hill, UNC–Asheville, University of South Carolina, and Wake Technical Community College.
NCMA College Advisory Council
College Advisory Council
Inspired by Porsche by Design: Seducing Speed, the NCMA’s College Advisory Council worked for over six months to plan programs exploring the concept and medium of speed through art, video, and performance art. College Night 2013 celebrated the college exhibition Accelerate!, which includes work by students from colleges and university programs around the world. Buses and vans from across the state brought students to enjoy the free fry bar, blacklight photo booth, and special exhibitions while listening to a DJ set by SPCLGST and seeing performances by East Carolina University, Johnston Community College, North Carolina Central University, and N.C. State University.
NCCU Juke Squad performs at College Night
NCCU's Juke Squad performs at College Night
Because many college students are immersed in digital technology, we experimented with social media to engage visitor response in real time. Students used #fastART when tweeting or posting photographs before and during the event. These are collected through Storify, so you can see the event unfold through the eyes of the participants.
Thanks to each guest who attended this wonderful evening. We look forward to many more college events. In the meantime, enjoy these images from College Night 2013.
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The Last Sleep http://ncartmuseum.org/untitled/2013/10/the-last-sleep/ http://ncartmuseum.org/untitled/2013/10/the-last-sleep/#comments Thu, 31 Oct 2013 17:20:38 +0000 Laura http://ncartmuseum.org/untitled/?p=3868
“Hello, Boils and Ghouls!” Those of you who tuned in to Tales from the Crypt in the late 1980s or early 1990s will remember the Crypt Keeper’s gruesome puns. Each episode began with a tracking shot through a decrepit Victorian mansion and down into the Crypt Keeper’s dungeon, where the cackling corpse would bring out objects connected with his scary stories. (Some episodes of the series were filmed in Britain, and “keepers,” by coincidence, are what curators are sometimes called in the United Kingdom.) For Halloween I began thinking about what kind of macabre melodrama the “keepers” here might present from our own crypt (I mean Museum storage).
George Cochran Lambdin’s The Last Sleep (circa 1858) has not been on view for many years because of condition issues, though it was widely admired in the 19th century. In it the artist stages a morbidly theatrical tale of woe. The large painting (nearly five feet wide) shows a distraught husband at the deathbed of his wife. Given the date, the young woman likely died from consumption or from complications associated with childbirth. The darkened chamber is carefully composed with objects emblematic of or associated with death: the white flowers by her bedside, the lone bloom that presumably fell from her dying hand onto the quilted coverlet, the ornamental statuette of an angel attached to the wall but seeming to hover protectively over the dead woman.
The Last Sleep was one of Lambdin’s great exhibition pictures and traveled extensively in the late 19th century, making appearances in Philadelphia, New York, Washington, Cincinnati, Buffalo, and New Haven. It was among the American paintings featured at 1867 Universal Exposition in Paris. When The Last Sleep made its first appearance at the Pennsylvania Academy of the Fine Arts in 1858, critics raved about the artist’s skill; the reviewer for The Crayon wrote, “For power of imagination, and as an example of true artistic genius … this picture is, in our opinion, unsurpassed by any work of the day.”
Themes of death or anticipated death were popular in Victorian art and literature, particularly when in service of some moral or spiritual end. Lambdin took care to emphasize sentiment in his picture, elevating it above assemblages of “material horrors” (as The Crayon noted when the picture was shown at the National Academy of Design the following year). After one early review suggested that death was not sufficiently “sanctified” in Lambdin’s picture, he changed the title from The Dead Wife to the more poetic The Last Sleep. His ploy was successful, and the notion of final slumber offered a conceptual balm to future critics.
In exhibitions the artist sometimes included the final stanza of Tennyson’s “The Deserted House” (1830) alongside the catalogue entry for The Last Sleep:
Life and thought
Here no longer dwell
But in a city glorious
A great and distant city they have bought
A mansion incorruptible.
(You can read the full poem here.)
Notably, Lambdin omitted the poem’s final line: “Would they could have stayed with us!”
Reviewers tended to focus on the feeling of loss in the picture, imagining the grief of the distraught husband. French critic Paul Mantz imagined the events leading up to this scene, noting that the anguished husband appears “almost dead himself.” The American writer Henry Tuckerman went further in projecting his own emotions: “The blinds are drawn; the fair youthful form lies stilled in death, and the husband, utterly crushed with grief, has flung himself across the bed. His face is not seen, but we can image its pallor, even as in fancy we can hear the choking sobs with which his bosom heaves.”
Few reviewers commented on the countenance of the dead wife, though to me she seems the star of this Victorian melodrama. Illuminated by sunlight from the outer room, her face is the focal point of our attention. Her husband appears almost as a shadow. And above, the ghostly angel hovers … and waits.
From the keepers here—have a happy Halloween!
George Cochran Lambdin, The Last Sleep, circa 1858. oil on canvas, 40 x 54 ¾ in., Gift of Peter A. Vogt
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A New Frontier for Museums http://ncartmuseum.org/untitled/2013/09/a-new-frontier-for-museums/ http://ncartmuseum.org/untitled/2013/09/a-new-frontier-for-museums/#comments Fri, 27 Sep 2013 14:25:37 +0000 Emily http://ncartmuseum.org/untitled/?p=3815 This summer, Michelle Harrell (NCMA coordinator of teen and college programs) and I attended the Distance Learning Summit at the Crystal Bridges Museum of Art in Bentonville, Arkansas. We gathered with over 40 other art museum educators from across the country who are engaged specifically in distance learning programs such as videoconferencing with schools, professional development for teachers, or online courses like the ones we offer.
A colorful visual representation of our case study. Photo courtesy Emily Kotecki
The NCMA is currently the only museum in the country developing online courses in conjunction with a state virtual school. We offer semesterlong, for-credit high school courses using art in our collection as a catalyst for learning about topics such as game design, fashion, and videography. We have presented our project at state and national conferences, but until this summer never had the opportunity to meet others in this niche of art museum education.
Museums are creating distance learning programs as a way to reach more visitors and rethink the way people can interact with and learn from museum objects. At the conference we heard case studies from Google Art Project and smARThistory, as well as how the Metropolitan Museum of Art uses webinars and blended learning for teacher professional development. We listened to educators from the Amon Carter Museum of American Art and the Smithsonian American Art Museum discuss their videoconferencing programs; they use this technology to reach audiences around the globe! We also had an opportunity to share our program.
Sitting in a space with cathedral ceilings and floor-to-ceiling windows looking over the manmade waterways of the Crystal Bridges Museum, we spent three intense days paving the path to the future for art museums and distance learning. We worked in small groups, engaged in large-group discussion, and even presented ideas through song and dance.
An immediate action step we decided on as a group was to share our findings and experiences with our institution (Check!). The next is for the Crystal Bridges Museum to host a series of Google Hangouts with participating museums before launching a Web site that would include research on art museum distance learning. That second step is around the corner as Michelle and I participate in a live webinar with six other institutions on Wednesday October 16. Be part of the conversation as we discuss our project and the future of distance learning in art museums. Moderators will be taking questions, so we can talk with those listening or watching from around the world.
—Emily Kotecki is associate coordinator of teen and college programs at the NCMA.
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Art masters thesis
Some students prefer index cards. In Naplesthe painter Antonello da Messina began using oil paints for portraits and religious paintings at a date that preceded other Italian painters, possibly about German Renaissance German Renaissance art falls into the broader category of the Renaissance in Northern Europe, also known as the Northern Renaissance.
It can, nevertheless, call on external specialists. She created Art masters thesis Zeno Karl Schindler-Foundation in the name and memory of her beloved father in Geneva in August with the explicit wish to reunite in this way both their interests and promote research in both fields.
Those students will typically take more courses than those in Art masters thesis degree program, and some students find that it takes them longer to finish the program. His later work, The Last Judgement, painted on the altar wall of the Sistine Chapel between and shows a Mannerist also called Late Renaissance style with generally elongated bodies which took over from the High Renaissance style between and Graduate thesis projects have covered a wide range of topics and reflect both the interests of the student and the concerns of the program with forward-looking investigations into the professional, technological and social questions facing the discipline.
Illustrations must appear together at the end of the thesis, with figure number and caption information see 7f. One of the most significant painters of Northern Italy was Andrea Mantegnawho decorated the interior of a room, the Camera degli Sposi for his patron Ludovico Gonzagasetting portraits of the family and court into an illusionistic architectural space.
In these works realism and close observation of the human figure, emotions and lighting are combined with a Medieval formality, which includes gilt backgrounds. Optical glass[ edit ] Sara J.
Take the Next Step to Becoming a Wildcat.
In addition, students are required to give a public presentation on their thesis prior to graduation. It was truly a pleasurable interaction. Refer to Chicago Style Manual or Turabian for proper form. Keep your notes in a uniform and well organized manner. Be aware of the possibilities offered by Venture Grants and the New York trip.
The proposal mentioned above should include a description of the work to be done the first semester.
Art and Design
Stork and several co-authors have argued against the Hockney—Falco thesis from a technical standpoint. The reference librarians can help you with computer searches.
A thesis paper is a long paper that the student writes in the last few semesters of graduate school. The completed thesis should be at least fifty pages double-spaced, typednot including notes, bibliography, and appendices new MLA format. While a thesis degree program is the best option for those interested in research who plan to complete a doctorate program later, a non-thesis degree might work better for someone whose strengths lie more in applied knowledge or in artistic non-written creation.
If you use footnotes, each note must appear in its entirety on the same page as the reference to it in the text. In consultation with the graduate coordinator, the thesis director will ask two other members of the graduate faculty to serve on the committee.
Techniques[ edit ] The use of proportion — The first major treatment of the painting as a window into space appeared in the work of Giotto di Bondoneat the beginning of the 14th century.
However, your simplicity with regard to communication and professionalism with regard to the work you are doing left me amazed. Students are encouraged to take advantage of the significant resources of the University to further their interests while extending the influence of design into the larger community.
For inspiration, painters in both Italy and northern Europe frequently turned to Jacobus de Voragine 's Golden Legenda highly influential source book for the lives of saints that had already had a strong influence on Medieval artists.
Thesis must be printed on a laser printer copies printed on a dot matrix or inkjet printer are not acceptable. The medium used was oil paintwhich had long been utilised for painting leather ceremonial shields and accoutrements, because it was flexible and relatively durable.
The art of Leonardo's younger contemporary Michelangelo took a very different direction. Be wary of a topic where there is only a single authoritative discussion. Though some schools do offer a non-thesis degree option, students enrolled in that program typically take more courses.
The thesis should demonstrate original thought and substantial research. Those students will typically take more courses than those in the degree program, and some students find that it takes them longer to finish the program.
The precise form of that work would be up to the director. His depiction of human emotion in The Last Supper, completedset the benchmark for religious painting. His commission by Pope Julius II to paint the Sistine Chapel ceiling resulted in the supreme masterpiece of figurative composition, which was to have profound effect on every subsequent generation of European artists [4].
Keep a back-up disc or flash drive, as well as a hard copy of your text as you go. The 15th century work of Jan van Eyck seems to be the turning point, he argues, after which elements of realism became increasingly prominent.
This will save a lot of time later.Thesis topics CU Boulder Department of Art and Art History Recent M.A. Thesis Topics a full listing of papers/projects can be viewed at the Norlin Library.
101 Cool Things you can do on the JET Program (me)
Before beginning work on a master’s thesis, the student must receive the Supervisory Committee’s approval of a written proposal. The thesis may be an extension of a seminar paper and it must demonstrate the student’s ability to.
The 4-year Program. The Army ROTC program is offered in addition to your regular college classes ans allows you to pursue almost any major you choose. For graduation approval all students must submit to the Graduate Program Coordinator a final bound copy of the thesis and the MA Thesis Approval Cover Sheet signed by the advisor by the due date as determined by the Department of Art History and Archaeology.
Before embarking upon a graduate program, you should know whether you will have to write a thesis to get a Master’s degree. This long paper typically sums up the work and experience that a student did in the graduate program and shows that the student has completed all requirements and is ready for the culmination of [ ].
Founded by inventor, industrialist and philanthropist Peter Cooper inThe Cooper Union for the Advancement of Science and Art offers education in art, architecture and engineering, as well as courses in the humanities and social sciences.
Art masters thesis
Rated 5/5 based on 64 review
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“Tongues Untied” is a documentary about black gay men in the ’80s. Credit: Courtesy of Frameline Distribution
What once caused controversy for its depiction of black gay men and their experiences, documentary “Tongues Untied,” directed by Marlon Riggs, is now being celebrated on campus for the 30th anniversary of the film’s release.
“Tongues Untied” will be shown at the Wexner Center for the Arts on Monday, followed by a lecture presented by a guest professor.
The event is a collaboration between the Wexner Center for the Arts and the Department of Women’s, Gender and Sexuality Studies, with cosponsors Student Life Multicultural Center and the sexualities studies program, Shannon Winnubst, chair of the WGSS department and organizer of the event, said.
Winnubst said “Tongues Untied” is an iconic and groundbreaking story of black gay men in the ’80s who built community and identity in the face of homophobia and racism.
“How the film is made, the way it weaves personal narratives, poetry, dance, music with documentary themes, is just powerful stuff,” Winnubst said. “When you have an artist at that level, the level of Marlon Riggs, that work is going to last.”
Darius Bost, an assistant professor of ethnic studies at the University of Utah and author of “Evidence of Being: The Black Gay Cultural Renaissance and the Politics of Violence,” will present a guest lecture titled, “Black Gay Freedom: Aesthetic Experimentation and Abolitionist Imaginings in the Work of Marlon Riggs.”
Bost said his talk is intended to help the audience further appreciate the film by means of contextualizing its themes. He said his book focuses on the “black, gay cultural movements” and the societal attributions of black gay men who “have been overshadowed by the trauma of AIDS.”
Bost added that he will incorporate themes from his book into the lecture to help the audience grasp integral topics within the film.
Riggs’ piece faced controversy upon its first showing on PBS in 1991, Melissa Starker, media liaison for the Wexner Center, said.
“It’s a really great opportunity for us to present the film that people are aware of and has a really strong reputation; it’s just most people haven’t had the chance to see it,” Starker said.
“Tongues Untied” was first described as pornography by politicians, but has been transformed into a celebrated artistic piece, Bost said. Both Bost and Winnubst said Riggs’ work is inspiring despite the controversy surrounding the film.
“I’m hoping students will have a wake-up moment — like, ‘Oh, there’s a whole different conversation to be had here around these topics,” Winnubust said.
She added that the film is crucial to the black gay community and will help attendees start thinking about the history and cultural importance of its stories.
The documentary and lecture are Monday at the Wexner Center for the Arts at 7 p.m. The event is free; however, an RSVP on the Wexner Center’s website is requested.
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iPad & mobile users Please hold your device in landscape modeI've just come back from holiday and I would just like to thank them so much for the canvas that we finally got, and my girlfriend absolutely loved it! Also, just to let you know, some of the people who also saw it hanging up really admired the work, so all in all a very positive experience.
• I used a groupon voucher for a printed and framed canvas. i went for the added extra of better quality paper and "protect my art" finish. initially i could not open the website but managed to make it work in google chrome. The product arrived in good time, and i was very happy with it. i don't think i would have wanted to pay the full price for this product, but with the groupon voucher i thought it was a really good deal and great value for money.
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• I made a collage it was beautiful. My son who it was a present for said "perfect" love it am very satisfied. The help from the mezoo staff was excellent. Quick response I will definantly do more Thank you Mezoo Lots of funGreat customer service from start to finish. I was not sure which of my photographs would work with the art effects and asked for some help. They were great at advising on which photographs would work well. Once the artwork was agreed I received it really quickly. I am really impressed with the quality of the work and also their really helpful customer service. Thank You.
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Diamond Frame Final Video
The thing is that I felt it can be better.
Diamond Frame Final Video from ivan low on Vimeo.
However I was trying to press my computer to work harder and at the end of the calculation I realize I need 20 days to achieve my original vision of the video.
I think must be that CAD file export to be render as mesh result in that heavy load rendering in the software.
Here I put in the company logo and begin with a title from the start. All is good for now. I’m sure there are room for improvement.
I suppose the best way to go about it is remodel my ring in sub-D program and and arrive at much smooth, much faster result.
God Dice & Us Tee
Finally complete from my last post!
I rename it because I think it just not appropriate to put it “God does not play dice” though I admire Einstein since the day I know he exist, still, I believe the new title is more interesting.
Like I said about Einstein, I was thinking the big question of space and time after I finish my burger on a boat. There was the blue sky, water and those birds gathering around with each other like they are in the middle of important meeting.
I wondered where they will go and I wonder why I was there and whole lot of that 101 question about the future starts rolling down on my mind.
A lot of us was all dreadful and fearful about the future, along the way we made some drastic changes, some people end up happy and some not so happy. I suppose there is no good answer or bad answer, is what we make of it that matter.
I realize we all have purpose and it is up each individual to find their way in career or relationship. The world is what we think of it, not what it is.
I may have disappointed you that this post is not about religion. Cheers to tomorrow!
Diamond Frame First Rendering
First shot of Diamond Frame
Diamond Frame close up shot
Diamond Frame close up shot
IMG_2310.JPG IMG_2309.JPG IMG_2308.JPG
Diamond Frame Iteration 2
Diamond Frame Iteration 2
Diamond Frame sketch1
Diamond Frame sketch1
I woke up early this morning and made some changes to the ring profile and chamfer a few edges at the center element. Diamond Frame ring is finally ready for production. Here is the first shot of the perspective. An animation video is on the way to help buyer visualize.
Resonance Edge Ring Design
Second design piece in 2015.
My initial idea was to create a ring with large uneven panels on the face of it to catch the light and shadow.
So I started a square frame and created a large grid to help me find the pace with my surface element. Quickly I realize it all started to look like a maze.
However, I don’t want the sophistication of a maze, but rather tempting to use the grid for more uniform elements and, the idea of wave form comes into the picture.
Resonance Edge will be available for purchase at the end of June. Please check back and drop me your thoughts on this article.
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已关闭
Export Lightworks 14.0 file to specific specs.
8 威客就此工作平均出价 £150
Hello, We are a team of animators, designers, illustrators and Graphics designers with more than 7 years of experience in 2D/3D animation, Whiteboard, Motion graphic and typographic videos. We have done many simila 更多
£221 GBP 在3天内
(67条评论)
Hi, I'm a graphic designer and video Editor .. I'm really interested. I'm available immediately .. and I'd like to discuss some details with you over chat .. I can get what u want perfectly ASAP .. I can Pro 更多
£250 GBP 在3天内
(32条评论)
let me try once.
£200 GBP 在3天内
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£139 GBP 在3天内
(11条评论)
Hello, I have done many Jobs in 2D & 3D Animation for many clients. I am also an expert in making and animating characters also. I have experience in field of more than 5+ years. I can Create Intro and Explainer 更多
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(1条评论)
Hello, I see you need as the requirement and It looks like a perfect fit for my skill set. I would love to work on your project. I'm efficient and experienced in So, I would love to have the opportunity to discu 更多
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A proposal has not yet been provided
£77 GBP 在3天内
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Hi, to be honest I haven't submitted anything for broadcast yet, but I plan to in the near future, so I'd probably have to deal with similar specifications. We can try and get your files to the right format. I use Lig 更多
£66GBP 在1天里
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1512f5ea-7ff8-4106-91d0-50978249b096
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La cultura de Jamaica vista con otros ojos«I wanted to go outside of my comfort zone and have a change in perspective. The thought of going to a country with African history was exciting,» he said.
With his focus in mind, Steffen worked with the Caribbean Institute of Jamaica, a division of the Institute of Jamaica, the Creative Production and Training Centre, the Jamaica Cultural Development Commission, and the Edna Manley College of the Visual and Performing Arts.
However, while in Jamaica, he was captivated by the country’s rich history, and as an avid photographer, he began documenting different events, landscapes, and the people of the country he would call home for just a little while.
In 2011, Steffen graduated high school and started practising his photography skills. «I was not really into photography. I bought my first camera in 2010, and then I just tried to practise and get to know my camera,» he said.
On his first overseas trip, Steffen went to the East African country of Tanzania. While there, he took pictures of his surroundings and anything that caught his attention so that he could show his family and friends when he returned home.
«I lived there for three months. It was the first time I was independent and away from my home. Photography helped me to memorise my experiences. After I returned home, I showed the images to a friend of mine who was more into photography and he said the pictures were brilliant,» Steffen said.
He submitted one of the images titled ‘Freudentaumel’ (Delirium of Joy) in his local hometown competition and won first place. This award gave him the opportunity to visit Amsterdam and participate in the World Press Photo Awards in 2012.
«There were photographers from Reuters, National Geographic, and some of the leading photography agencies in the world. I had the opportunity to speak with some of these world-recognised photographers,» Steffen said.
«Since then, I have followed their work and I am inspired by them. This is how I found my niche. I soon realised that it can take up to one week or longer to get one picture, especially if you are trying to tell a story. You have to be really patient,» he added.
While in Jamaica, he joined the Edna Manley Photo Club, and, at this juncture, began exploring Jamaica. «I have been to every parish and have tried to capture my surroundings. When I see something that gets my attention, I capture it. Afterwards, I do research on the photograph that I have captured to know what the image represents. Photography has to do with education and learning new things about different places and things,» Steffen said.
At the Jamaica Cultural Development Commission, on the 50th anniversary of Emperor Haile Selaissie’s visit to Jamaica on April 21, Steffen also captured the images for the visit of Prince Ermias Sahle-Selassie of Ethiopia and his spouse, Princess Saba Kebede. Prince Sahle-Selassie is the grandson of Emperor Haile Selassie, former leader of Ethiopia.
Haile Selassie, also known as Ras Tafari, is revered by Jamaica’s Rastafarian community, and Steffen decided after that assignment to travel across the island interviewing members of the different Rastafarian houses to ascertain what had inspired them to become Rastafarians.
«Rasta is about trying to understand your inner self. It is a life call that we are all trying to discover. I found that many of them were very open-minded and do not see colour. They support human rights, and this is something that I support as well,» Steffen said.
The 24-year-old, who will leave Jamaica at the end of August, plans to publish a book based on his experiences here on the island.
«I will miss my friends in Jamaica who replaced my family while I was here. Being away from home is not that easy. I will also miss the Jamaican landscape and the scenery and the people,» he said.
Publicado en The Gleaner
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Design I // Suddeth Elementary School Installation
Fall 2016: For Design I’s final project, I wanted to do a collaborative vinyl installation similar to one my class did a couple years ago as blogged about HERE, but in a location with more permanency to be enjoyed by the public. Getting students outside of the classroom to put their skills to use opens them up to the realization that the things they are learning in this freshman level class has meaning and a place in the world.
I contacted Suddeth Elementary School in Starkville, MS to gauge their interest in the project. They happily accepted, and they considered windows throughout their campus that would be an inviting place for colorful vinyl stickers. This hallway with two sets of windows was chosen by their faculty committee for this project:
Next we had to determine a theme. Suddeth’s faculty committee decided to illustrate quotes based on kindness per set of windows: Plant Kindness, Grow Love and Throw Kindness Around Like Confetti.
My class was split so half were to work on one quote, and the other half focusing on the other quote. Each student brainstormed with a series of thumbnails, and I helped them narrow down to their best idea to be drawn in more detail on proportionally gridded spaces on typing paper in relation to the window dimensions. Then my students voted on the strongest sketches in the class, 3 designs for each quote for a total of 6 ideas.
I invited Principle Mosley to come to our class for a presentation of the top 6 sketches to choose the top theme for each quote. School counselor Mrs. Caradine joined her. After the presentations, they consulted their faculty committee and chose the final designs (labeled as WINNERs below).
Below are images of the top 6 sketches and presentations :
Plant Kindness, Grow Love
Throw Kindness Around Like Confetti
Meghan and Melissa were so excited to have their designs chosen!
I scanned in their designs and worked on various color combinations using Adobe Illustrator, only using yellow, blue, red, and green. I also added a fun elementary-feel typeface for the text in place of their sketched handwriting.
The vinyl was ordered and shipped, so it was time to cut out the stickers! The digital images were projected to scale onto our classroom wall. Students traced off the shapes onto the corresponding colors of vinyl with Sharpies, and handed them off to another group who cut out the shapes with an X-acto knife and peeled away the unnecessary background vinyl. Then large-surface masking tape was applied on top of the vinyl sticker and labeled to be fully prepped to operate as a sticker for installation day.
Finally it was installation day! Students carpooled over to the school that rainy morning and we got to work.
The project was featured on Mississippi State University’s “State Spotlight” blog on December 8th and MSU’s College of Architecture, Art + Design blog on December 7th.
We greatly appreciate the opportunity of Suddeth Elementary School opening up their hallway for us to use as canvases, and hope the children and faculty enjoy these art installations for many years to come!
Intro to Computing Art // Photoshop Project 2
My students’ second Photoshop project was entitled “Pen & Pixel”, in which they had to construct a self portrait. It was a requirement to scan in textures, drawings, paintings, or items they could edit to become a part of the image. Many students demonstrated impressive concepts about themselves. Below are some examples that were turned in. All have aspects to be improved upon for their portfolio, but overall I was very pleased with their results!
* I have permission from my students to promote their work on my website.
Intro to Computing Art // Photoshop Project 1
For my students’ first Photoshop project, I wanted them to think outside the box and create an “Impossible Reality”. They had to gather their original photography and make new photos as needed to compose their surreal image. The main artist of inspiration was Eric Johansson. He is an incredible Photoshop artist, but also kind enough to post photos and videos to demonstrate his entire process, which is great for beginners to see. Like Eric, they needed to produce an image that tricks the eye to appear realistic.
Below are some examples that were turned in. All have aspects to be improved upon for their portfolio, but overall I was very pleased with their results!
* I have permission from my students to promote their work on my website
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Ceramics, Fiber, and Sculpture Courses - Summer
Ceramics, Fiber, and Sculpture Courses - Summer
Click a Course's Title to read its description and meeting times.
Course # Course Title Credits Instructor Cost
CSCE 250 Personal Directions in Clay 1.5 credits Sarah Barnes $615
Section A Meets 6/9/2014 to 7/16/2014 on Monday,Wednesday from 6:00 PM to 9:45 PM.
For beginner or advanced students, this course will focus on individual goals including, but not limited to, creating a cohesive body of work, learning new techniques or expanding familiar ones, photographing your artwork, entering national exhibitions, and building a portfolio for graduate school. Beginners will be introduced to basic hand building and wheel skills, and later encouraged to create a series of works based on their aesthetic research. Note: No class on March 16.
ENV 231 Furniture Design: Seating 3 credits Malcolm Majer $1560
Section A Meets 5/21/2014 to 6/20/2014 on Monday,Wednesday,Friday from 9:00 AM to 4:00 PM.
In this course we will explore the possibilities of providing accommodation for the human body in a seated posture. The course will consist of a research and development portion, briefly covering the history of seating with an emphasis on some notable developments of the last 50 years. This will lead to an accelerated design phase consisting of 2d design and model-making, mocking up of components or entire pieces, and finally a construction phase leading to a working prototype. The studio will cover advanced woodworking techniques as well as the possibilities for outsourcing parts of the process. The goal is to go through a careful design and development process to get to a well refined working prototype.
IS 321 Introduction to Rhino CAD 3 credits Rachel Timmins $1560
Section A Meets 5/22/2014 to 6/23/2014 on Monday,Tuesday,Thursday from 9:00 AM to 4:00 PM.
Rhino CAD For 3D Printing is an introductory level course that will cover basic modeling in Rhino CAD (Computer Aided Design). Students will learn multiple ways to create an object in digital space through techniques like extrusion, Booleon functions, joining, bending, lofting, and checking for naked edges. Each student will be equipped with enough basic knowledge to continue using Rhino CAD as both a design tool and as a method of creating three-dimensional objects. Prerequisite: FF 101 (Sculptural Forms).
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Nina Šulin & Natalija R. Črnčec (SI)
Slovenian artists Nina Šulin and Natalija R. Črnčec studied creative art at the Education Faculty in Maribor. Nina Šulin also recently completed her postgraduate studies in costume design in Ljubljana. Her artistic creation is diverse; she constantly shifts between costume design, puppet theatre, illustrations, and independent projects. Natalija R. Črnčec focuses mainly on painting and installations, in which she often deals with colors and light.
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Salon D#7
Understanding change & shaping the future
Shaping the future? In a world of constant change, together we face the task of developing sustainable and creative solutions for a future in which we all want to live. The central question that guides us: How can we not only be part of this change, but actively shape and drive it forward?
Salon D#7, entitled "Design for Transformation", is dedicated to the role and possibilities of design and creativity in this ongoing transformation process.
As always, we will shed light on the topic from the different perspectives of the invited panelists and invite you to join us for inspiration, discussion and networking over Kölsch and music.
Our Panelists
May 16th 2024
Admission: 6.00 pm
dreiform GmbH
Kalscheurener Straße 19 50354
Hürth/Cologne
• Inspiration (Pecha-Kucha-Style)
• Diskussion & Networking
• DJ & Drinks
Only cool is cool! Why the path to the 1.5°C economy needs new communication
Burst the bubble! How transformation can be shaped through interdisciplinary collaboration
Born to Evolve! If you don't evolve, you die!
Future Skill No.1? About our human superpower
Design Futuring Tools: How to explore and shape the future
Europe's largest landscaping site: about the development of a new region (on our doorstep)
Salons at a glance
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Artmossphere is the only Russian biennale that introduces general public to the most prominent street artists from all over the world and boosts the development of the local street art scene. The first two biennales took place in Moscow in 2014 and 2016, showcasing world-wide famous artists and collectives, including L’Atlas, The London Police, Miss Van, as well as Russian artists and a number of foreign experts including legendary Martha Cooper, famous for documenting the New York graffiti back in the 1980s.
This year Artmossphere has changed the name of the Street art biennale to Street wave art biennale in response to the opinion that street art belongs to the street and thus can not be properly transferred and presented in a gallery space. The street wave artists have made their way into the world of contemporary art from different subcultures, including graffiti and street art. As many of them have had an experience of illegal creative activities on the street, they have kept using their specific techniques and themes while working in the studio.
Artmossphere 2018, as both previous biennales, will be held in a format of a large group show exhibiting works of the artists with a background in street art. The main exhibition will take place in the Excise Storehouse of Winzavod Centre for Contemporary Art in Moscow from 30 August 2018 to 14 October 2018. Special shows will be held in the Red and White Halls, as well as in the art cluster outdoor territory.
Cinema «Karo October»
July 31 — September 2
Gorky Park
August 25 — September 2
Winzavod. A Large Wine Storage
August 31 — October 14
Winzavod. Red Shop
August 31 — October 6
The yard of center for contemporary art Winzavod
August 31 — October 14
Mytnaya str, 12
September 10 — September 16
MMOMA Gogolevsky
September 19 — November 4
RuArts Foundation and Gallery
December 3 — December 5
Biennale theme
It reflects the current situation when people are getting tired of a gradually growing information flow and wish to limit their use of the Web due to an urgent inner need. All the hype about constantly being online, in a hurry, afraid to miss another trend, some hot news, or notification have been causing an increase in information noise and stress level, as well as making people watch others’ ideal lives depressed. That’s why for a few years already there’s been a trend of growing interest towards everything local, authentic and autonomous, a swing back from globalisation. This trend is focused on site specific art and working with local context rather than with a digital standardized one. It’s closely followed by an interest in low tech, DIY culture, crafts, and the use of recycled materials.
‘Offline’ shows weariness of information technologies that have failed to meet our expectations; social networks from being a worldwide means of emancipation and revolutionary self-organisation has become an aggregator of personal information which is being used by intelligent agencies and is being sold to corporations and marketing experts. Though now we can be in touch with the whole world all the time, these new technologies haven’t improved our relations with each other; today people sitting at the same table can ignore each other completely because they are absorbed in their gadgets.
This situation has also affected street art, which is increasingly becoming digital-oriented. Back in the day, to get famous, artists had to paint in the streets as much as possible. However, today you can just make one work, post it on Instagram, and have a lot of people see it. So many street artists create their works keeping in mind how they will look on screen, which sometimes makes the skill and hard work look less important. Curators of the biennale offer the artists to ponder on this theme, finding their own interpretations and ideas.
Special guests
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Mystery of piano abandoned under New York's Brooklyn Bridge
2 June 2014, 11:21 | Updated: 2 June 2014, 13:20
A piano is quite literally making waves in the East River in New York, after turning up unexpectedly in the water.
Music-loving New Yorkers are flocking to take photos and give silent recitals on a grand piano that was mysteriously abandoned in the East River.
The Mason & Hamlin piano - found under the Brooklyn Bridge on the Manhattan side - sits half-submerged at high tide and mostly exposed at low tide. As yet, no one knows where it came from, or why it is there.
10 worst things about being a pianist
Passers-by are putting forward their own theories about how the piano arrived, with minimal damage, under the bridge. Many believe it was planted there as an art installation; others think it might have fallen from a truck travelling into the city.
Although the instrument makes no sound, it has captured the imagination of New Yorkers, with hundreds of photos making their way onto social media as locals make the most of the new addition to the riverbank.
How do you think the piano ended up in the river? Let us know what you think in the comments below.
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A wet photo shoot is a lucky photo shoot!
We're used to it.
At EVER, we think that to have natural photos, the photo shoot must take place outside! So obviously it can't be sunny all year round, especially in Paris.
Our photographers are therefore used to shooting in the rain, whether during the session or when retouching your photos.
The umbrella!
As regard to clothing, don't hesitate to read our article "Winter Photo Shoot: what should I wear?".
As you can imagine, the secret weapon is the umbrella! Remember to bring your most beautiful umbrella. And the more coloured it is, the more original your photos will be!
Your photographer will always favour covered passageways: from the Palais Royal to the Parisian galleries or the arcades of the Louvre, you will have a large choice for quaint and picturesque settings.
OXSE1904105778-SOLOX1-EVER-001_(41)_original.jpg
Your portraits will be very bright
All our photographers' photos are retouched, so don't worry. Touch-ups make the image brighter and bring lightness.
You can't see the rain in the pictures anyway. As for the heavy skies, the clouds filter the light, which is therefore much softer than in midsummer.
The rendering is neither better nor worse than a sunny day, it is simply different :)Like our clients, stand out and do an outdoor photo shoot!
OXSE1904105778-SOLOX1-EVER-001_(30)_original.jpg
AYMERIC-004_original.jpg
Like our clients, stand out and do an outdoor photo shoot!
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Search View Archive
Looking For a Place to Hang
On my first visit to New York, a New Yorker said to me, “this is a hard city to live in. The rents are high, work is often busy and stressful but what makes it worthwhile is that you’re always coming across cool, quirky places you’d probably never find anywhere else.”
One of those idiosyncratic New York spaces was Natalie Agee’s Ruby Streak Trapeze Studio, formerly located in Bushwick, Brooklyn, off the Jefferson Street L Stop. It was a place that I’d come to rely on to practice and study fixed trapeze. Some of my experiences in the studio served as inspiration for my book, The Trapeze Diaries. Professional and amateur aerialists have trained with Agee preparing and crafting their performances, including a bi-annual aerial Winter Showcase usually held at the Bushwick Starr.
Before Agee began renting the Bushwick studio she was teaching all over the city through an acrobatic dance troupe called LAVA, which she helped found and has a studio in Prospect Heights. (They bought the building and opened the studio for classes in 2004.)Agee has a modern dance background but began training acrobatics and circus arts in 1996, after seeing Sarah East Johnson’s show “Girls and Volcanoes.” She left the Bessie and Obie Award-Winning LAVA in 2006, after performing, choreographing and teaching across the country with them for almost ten years. She also has a background in Pilates and injury prevention/re-conditioning that strongly informs her teaching methods in the circus arts. She’s received training from master teachers and performers at the Circus Center, Circus Oz, and Nimble Arts. She is a versatile performer on the hula-hoop, singing in stairwells, and Chinese pole circus tricks on lampposts.
At this time, Agee would often rent space by the hour and would strap trapezes and aerial equipment to her bike and go pedaling all around the city. After being hit by a car while biking to a class, Agee started to dream of her own studio space. Some friends were looking to share space at their artist-in-residence building on Jefferson Street and in 2002 they asked Agee to join them.
The neighborhood was very different from the up-and-coming arts friendly neighborhood it is now. It was desolate and scary and Agee was warned by an MTA attendant not to exit on Starr Street because you couldn’t see around the corner coming out of the subway.
In that studio, Agee built her own room, paying for the construction materials and doing the labor herself. She had already helped to build walls and put in windows at another studio in Williamsburg called The Trapeze Loft, and she called in “special expert” friends to help her with anything she didn’t know how to do. Students came from all over the city to take her class in Bushwick—from Midwood, Harlem, Red Hook, Crown Heights, Williamsburg, Park Slope, Bensonhurst and Carroll Gardens.
At the beginning of 2007, she moved to a bigger room within the studio with higher ceilings and natural light. She ordered new mats and was able to participate in community events via the Arts in Bushwick, hosting open studio performances with her students. The studio began to thrive. At Ruby Streak, Agee taught private and semi-private solo and doubles fixed trapeze lessons, as well as corde lisse, partner acrobatics, handstands, aerial conditioning, and composition.
Heather Hammond, of Helium Air Dance in Toronto, moved to New York and chose to teach at Agee’s studio. Hammond is a specialist in aerial/circus arts and modern dance and had collaborated extensively with High Strung Aerial Dance, and toured with Cirque Sublime. She is a graduate of the School of Toronto Dance Theater and trained at the Toronto School of Circus Arts. She taught private and semi-private classes in silks, straps, and lycra at the studio.
Agee kept her rates affordable saying, “If a person has the desire and commitment to do something, there are always many ways to make it happen. Studying and training at Ruby Streak are possibilities for anyone, no matter what their financial situation. I’ve also been working on creating alliances within the community with different neighborhood, feminist, and LBGTQ groups.”
In the fall of 2008 the leaseholder moved to California and the landlord did not extend an offer for Agee to stay. Agee was given a month’s notice. The search for a new studio began.
She needs high ceilings and a landlord that doesn’t mind trapeze rigging in the space. In an ideal world, she would also love to have a space that would not just be for lessons but for performance. She is not too particular about location. Her search has taken her all over Brooklyn but the terms of the lease have always been too shaky. Most affordable spaces are raw spaces that need a lot of work, but by the time the work has been done there is always the risk that the landlord might not renew the lease.
In the current economic climate, rents are dropping fast, however, Agee says her budget is dropping at the same rate. Many of her students have been affected by the crisis and are not planning to stay in New York City.
Currently Agee is getting by teaching in a temporary space in Bedford-Stuyvesant that will last for several months. She says that her community is helping keep her hopes for finding a studio alive and helping her out with everything from rigging to web design to finding a rental space. Testimonials on her website (www.natalieagee.com) rave about Agee’s patience, inspiration, dedication, and focus as a teacher and her importance to their development in sense of self and creativity.
In the March 2009 issue of the Atlantic Monthly, Richard Florida wrote that Jane Jacobs once told him, “When a place gets boring, even the rich people leave.“Commenting on the current situation, he said: “with the hegemony of the investment bankers over, New York now stands a better chance of avoiding that sterile fate.” On the other hand, it remains a concern of local artists whether idiosyncratic spots like Natalie Agee’s Ruby Streak Trapeze Studio can continue to flourish as the economic crisis deepens.
Marie Carter
Marie Carter is the editor of Word Jig: New Fiction from Scotland and author of forthcoming creative non-fiction book, The Trapeze Diaries (Hanging Loose Press, Spring 2008).
The Brooklyn Rail
MARCH 2009
All Issues
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Margaret Lord
Margaret LordMargaret Lord, Powerhouse Museum
Margaret (Peg) Lord was Alistair Knox's girlfriend from 1930 when they attended night classes at the Gallery School, Melbourne until she left to go overseas in 1934.
"Margaret Florence Lord was born at Warnambool, Victoria on 12 December 1908. She studied art for three years at the Swinbourne Technical College and then taught art in Melbourne secondary schools, continuing to study at night at the National Gallery School.
"In 1936 she travelled to London where she remained until 1940, working for Reens-Arta, interior designers of Mayfair, and later for the Arnold School of Interior Decoration as Director of Studies. (Marie Louise Arnold had been the Managing Director of Reens-Arta before she set up her school.)
"On her return to Australia in 1940, Margaret Lord moved to Sydney and was soon securing commissions for interior designs of private homes, institutional and commercial buildings. As well, she was in demand as a lecturer and a radio broadcaster. Army Education asked her to prepare a correspondence course for service personnel on interior decoration and the notes she prepared for this course developed into her first book, Interior Decoration: a guide to furnishing the Australian home (1944). She published two other books, A Decorator's World: living with art and international design (1969) and Interior Decoration in Practice (1971) and wrote numerous articles for magazines such as Australian Home Beautiful and The Home. Lord ran the women's session on ABC radio three days a week during 1944-46. From September 1945 she acted as colour consultant for the paint manufacturers Lewis Berger and Sons Pty Ltd. She was appointed lecturer in interior design to the University of Sydney Extension Board in 1948. In 1951 Lord became a foundation member of the Society of Interior Designers of Australia and participated in their first exhibition in 1953.
"Interiors designed by Margaret Lord include Sydney University Union, the Shell Company's Carrington Street building, Johnston and Johnston's factory at Botany, Australian Glass Manufacturers' factory at Waterloo, Wrigley's Ltd building at Rosebery, the Sydney Club, the Memorial Hall at Shore, Heidelberg Repatriation Hospital, Women's Hospital, Melbourne, and the ships Monowai, Manoora and Kanimbla.
"Margaret Lord was married to businessman Vincent Wardell. They divided their time between a flat in Macleay Street, Potts Point and "Boswell" at Charlestown where they pursued interests in nature conservation. Margaret Lord died in 1976."
Powerhouse Museum
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HQ for Australian Conservatives
CLF House is the headquarters of Australia’s conservative movement. We refer to it as CHQ and it’s the hub for the Foundation’s activities and national outreach.
With dedicated office facilities for our regular team members, CLF House also features formal and informal meeting areas for conservatives to gather together.
Our training room provides a versatile and vibrant facility to host around 120 students with theatre-style seating or upwards of 150 in a cocktail format. It also acts as a co-working ‘hot-desk’ environment for up to 40 volunteers whilst providing access to great coffee, fresh fruit and full kitchen facilities.
CLF House is fitted with Wi-Fi, VoIP telephony and fast Internet access providing a modern and flexible working environment.
The building also houses the CLF media studio; our state of the art audio and video production centre which is used for training students in important elements of media presentation and production. The studio is also available to third party organisations as appropriate.
The establishment of CLF House is an important step forward for the conservative movement and is a long-term investment in developing Australia’s future leaders.
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Turn your beautiful pictures
into timeless art
Moments that we spend with our family, friends and loved ones are precious. Memorialize these moments into beautiful works of art, handcrafted with finest precision, so you can cherish the special times for lifetime.
Personalized Family Portrait
Rita did such a beautiful job with my picture. She took time to understand what I was looking for and it came out even better than expected. Such talent! It was the perfect gift and will be cherished!
I highly recommend ordering from and working with the seller to bring your ideas to life on paper. She is determined to work as long as possible through photos and emails to render your vision. The shipping was fast, and just as described with the tracking. Her work is amazing, and looking at it multiple times, I'm always finding something new and wondering "How did she do that?!". Give yourself and/or family a wonderful souvenir of a special memory.
Jefe Graves
Rita did an amazing job on the quilled family portrait I ordered for my wife as an Xmas present. Got it done quickly and arrived in plenty of time for Xmas. Would absolutely recommend working with her!
Creating Timeless Art From Thin Strips of Paper
At Of Things Pretty, we sell three dimensional portraits which makes for a one of a kind gift for special occasions. We specialize in transforming thin strips of paper into timeless art that you can cherish forever.
We first started out by creating quirky, whimsical modern day greeting cards that can also be treasured as a keepsake.
One of our custom friendship greeting cards which featured two friends became our inspiration of our paper portraits,
Everyday moments - weddings, birthdays, vacation trips , that we spend with our family and loved ones are priceless. With our paper portraits, we attempt to freeze these special moments of our life so that they can be relived in future.
© 2023 by Little Ray. Proudly created with Wix.com
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top of page
Gad Tidhar
Desert Musician
Hi, my name is Gad Tidhar. I am an oud player and composer.For years I have been studying the Maqam musical traditions. From Persia to Egypt, trough the deserts of Iraq, The lush Turkish culture and more.Playing a piece, for me, is like telling the listened of a dream I had. Tacking him or her with me to a inner journey. A journey full of stories without. I play out of my internal world. Experiences from traveling the desert and emotional life situations. In my compositions I am not committed to the different musical traditions I have studied, but I cherish them and draw inspiration from them.
New Album!
The Observer
Take a deep breath and dive into a new melodic album by Gad Tidhar. Oud // Gad Tidhar
Riq // Tal Yam
The tow instruments that echoes so naturally for centuries, set together and gain a new sound and new interpentetion by Tal Yam and Gad Tidhar.
All compositions are originals, tells a story without words.
Picture by Omri Rubisa
https://www.frontphoto.co.il/For booking, workshops, lessons or just sharing thoughts, please contact.
+972 50 677 0741
Thanks for submitting!
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Susan Vogel
Susan Vogel lives in New York, grew up in Beirut, and has lived for long periods in a village in Ivory Coast, and a medieval city in Mali. She is internationally recognized as a curator and African art expert. She has published many books, and written a few, founded an art museum in New York – that survived her departure – and directed two museums. She then successfully completed two years as MFA student at NYU’s Tisch School of the Arts, and became a film maker.
Vogel has a PhD in art history and has held the positions of curator at the Metropolitan Museum of Art, Founding Director of the Museum for African Art, Director of the Yale University Art Gallery, and Professor of Art History at Columbia.
About her exhibitions, the New York Times recently said, “In the 1980s and ’90s [they] revolutionized the way art, any art, could be exhibited. No one else has fully picked up that challenge since.” Her book, BAULE: African Art/Western Eyes, received the African Studies Association’s highest honor for original research on Africa, the Herskovits Prize. Her body of work was recognized with the prestigious Leadership Award of the Arts Council of the African Studies Association.
She has five documentaries in distribution with Icarus Films through her production company, Prince Street Pictures. In African Arts, Paul Stoller reviewed her films with: “In the very best tradition of documentary filmmaking, Vogel’s sensuously contoured films tell stories. . . . Given her sure hand, sharp eye, and narrative focus, I eagerly await Susan Vogel’s next cultural production.”
Currently, her book EL ANATSUI: Art and Life, Prestel Publishing, is appearing October 1: she is curating an exhibition of tents from the Sahara and Arabian deserts designed by Zaha Hadid that will open at I.M. Pei’s beautiful Museum of Islamic Arts in Doha in the fall of 2014.
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Categorized | NEWS
Out of deadly tragedy comes a new 100-year vision
Posted on 24 July 2018 by calvin
Architectural concept of the new building at Minnehaha Academy Upper School. (Submitted by Minnehaha Academy)
Minnehaha Academy has finalized its design for re-building the portion of their school that was lost in last year’s devastating explosion. The upper school campus, located at 3200 W. River Pkwy., has been the subject of neighborhood concern since early renditions of the plan were made public in the spring.
On May 17 the Zoning and Planning Committee of the Minneapolis City Council responded to an appeal filed by neighbors over the proposed re-build plan. The appeal was ultimately denied, but updated renderings show that Minnehaha Academy has responded to several neighborhood requests.
President Dr. Donna Harris said, “We believe this design reflects a modern interpretation of our original brick buildings, connecting the past with the future while committing to our vision of next-century learning. Our team and partners have selected sustainable and enduring materials including brick shingles on the top two floors, and a charcoal brick base on the main level. Both materials have natural variation and texture, which will complement the two existing buildings. There will be detailing throughout that respect the character of the campus, as well as the surrounding neighborhood.”
Photo right: Dr. Donna Harris, Minnehaha Academy president, in front of the modular unit that is temporary housing for administrative staff. She said, “Our school is 105 years old. As we’ve come together in this transition to reimagine our school for the next 100 years, we’ve realized that tragedy provides opportunity.” (Photo by Margie O’Loughlin)
From the most recent project update, the building height will be three stories (46’). The steeple will measure 59 1/2’ at the tip. The total number of parking stalls will be 209, with additional space for 111 bikes. School bus traffic will be limited to three buses in the morning and afternoon.
The design of the new buildings incorporates bird-safe glass to prevent collisions in the Mississippi River’s migratory corridor. Estimates are that 15 mature trees will be lost; 143 trees and over 700 shrubs will be planted. A three foot high, landscaped berm will conceal the view of the parking lot from the east.
“We hope neighbors can appreciate that our new building relates well to its location on the river,” Harris said. “The plan that we first shared was conceptual, and neighborhood reaction was not positive. We heard clearly that people were concerned about Minnehaha Academy being on the river gorge, which is a migratory bird corridor; that they wanted pollinator-friendly plantings and bird-safe glass. We made several adjustments to our design after hearing neighborhood concerns. It’s important to us that our new school be viewed as a community asset.”
To say that this was an unconventional rebuild project is a gross understatement. “Usually a school would have a couple of years to conduct a visioning process with board members, staff, and families,” Harris explained. “Then a school would run a capital fund drive, and have a reasonable time frame for relocating in the interim, and finally re-building. In our case, the explosion happened Aug. 2, 2017, and within 24 hours, I had communicated with our community saying we’d be in a temporary location on the day after Labor Day.”
Photo left: Architectural concept of the view from W. River Pkwy. (Submitted by Minnehaha Academy)
“What happened next,” Harris said, “was truly extraordinary. We quickly surveyed our parents and learned there was a strong desire to keep all of the student grades 9-12 in one location. Parents were willing to commute 8-10 miles beyond our current location. We settled on the old Brown Technical College site in Mendota Heights, which offered us 55,000 square feet of floor space. Mortenson Construction (who is also doing our rebuild) brought in a team of 42 men and women to do what seemed impossible in just 15 days. They worked 12-hour shifts and were able to repurpose the space to make it work for us. Our parents, our students, and our teachers trusted us. We didn’t lose one single family in the process.”
Harris concluded, “We didn’t handle the design process the way we would have if we’d had the luxury of adequate time. I’ve apologized for this at every public event I’ve attended. We’re committed to ongoing communication within the community—we value being a good neighbor. As we approach the one year anniversary of the explosion, it’s very important for us to reflect on our loss. We are also grateful though, for the sense of community that has been strengthened through this ordeal. We look forward to defining the legacy of Minnehaha Academy for years to come.”
Construction began in June, and the project will be completed for the 2019-2020 school year. Questions about the Minnehaha Academy re-build can be sent through www.minnehaharebuilds.com.
Hiawatha Academies
Chanhassen Dinner Theater
Little Brothers Friends of the Elderly
Nilles-Filler-Combo-Online-ad-10292015
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Melting and Lifting
The white stuff that fell overnight has all melted from my place now, here’s a photo looking west down my street. Pretty! Those clouds are very slowly lifting up, yet another low-pressure system will move into the valley this week. Winters…
The Gray Foothills
The distant foothills west of my home are almost completely enveloped in gray clouds as this current low-pressure system works its way through the area. Another low-pressure center will follow on its heels, according to the National Weather Service.
Taking a very short walk this morning, the cold, damp air smelled reminiscent of my Michigan heritage.
It reminds me of standing alone in the wood both as a child and an adult listening to and watching the tall trees sway in unison high above me as though performing a beautiful ballet of nature. I will never escape who I am, nor my northern roots.
98.5 Percent Booger Free
Feeling rather bored today, I did a quick spiff on the truck and headed out for a Sunday afternoon joy ride. Why not visit the party store along the way too, aye? As the silly title says, the camera sensor still appears to be 98.5% cleaner after a good cleaning. I hope it will stay this way for a bit. I hope the weather forecasters are incorrect, and that the sun will shine tomorrow.
Say no to camera boogers!
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Tipperary Decentral Offices
Tipperary Decentralisation Offices of Department Of Justice / Civic Offices
The Detail
Minister of State at the Department of Finance with special responsibility for the Office of Public Works, Dr. Martin Mansergh, TD accompanied by the Minister for Justice, Mr Dermot Ahern, TD today attended a sod turning ceremony in Tipperary Town for the new Irish Naturalisation and Immigration Service and Tipperary Town Council Civic Offices.
The Minister commented “That decentralisation is coming to fruition in Tipperary is a fulfilment of the vision of the people of the town, but also of the public representatives of the South County who remained united behind a common strategy and I would like in particular to pay special thanks to the dogged determination of the decentralisation committee.” The Minister continued “I believe in decentralisation, and am present in the OPW’s new Headquarters in Trim any non-sitting day that I am in the office. I have visited recently fine new decentralised offices in Buncrana and Wexford.
The new offices will provide accommodation for 188 staff in a two and three storey building of 4,404m². The Civic Offices will accommodate over 40 staff in a three-storey building of 1971m², which will also include a single storey Council chamber. I might mention that the site was acquired by the Office of Public Works from the Sisters of Mercy, Sr. Martina Fox acting as their head. The town will be grateful to the Sisters for this, as indeed for their long record of service to the town for at least 140 years, both charitable and educational.”
The Solution
Jaga heating solutions supplied by Versatile Heating, Cooling & Ventilation were specified by Arup Consulting firm, specialisists in low-carbon, sustainable buildings, and installed by T.Bourke Limited, who has worked on numerous other projects with Jaga heating solutions.
Versatile supplied Mini Canal trench heating, which was installed in the perimeter areas of the building and reception areas. The Mini Canal features Jaga’s low-mass Low-H20 heat exchanger, guaranteeing fast response, outstanding thermal efficiency, and an even, comfortable distribution of warm air. The unobtrusive Mini Canal trench heating finished with rigid aluminium grilles was discreetly set underfoot, ensuring more free space. White Sentinel radiators were used in all office areas. The Sentinel features a sleek front and clean, vertical lines on its grille. Behind their casings, the Low-H2O technology inside provides high emission values, while still saving energy.
Finally, a number of Jaga’s freestanding Mini radiators were installed in some open areas that had height restrictions. The compact Minis were positioned in front of the large windows, warming any cold draughts, and continually ensuring that the Reception areas remain warm even in the cold winter months.
Project: Arups
Consultant Engineers: Arups Consultancy
Architect: Coady Partnership Architects
Builders: Stewarts Builders
Contractor: T.Bourke Limited
Heating Solution: Jaga Mini Freestanding radiators/ Jaga Mini Canal trench heating/ Jaga Sentinel Radiators
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Etchings Institutions search term: keppel
St James's Park
Hunterian Art Gallery
Number: 250
Date: 1885
Medium: etching
Size: 68 x 100 mm
Signed: butterfly at lower left
Inscribed: no
Set/Publication: no
No. of States: 1
Known impressions: 5
Catalogues: K.255; M.251; W.207
Impressions taken from this plate (5)
St James's Park was not published.
It was rarely exhibited, and first appeared in several print dealers' shows, at H. Wunderlich & Co. in New York, in 1898 (when it was called 'In the Park, London'), and 1903, and at Obach & Co. in London, also in in 1903. 12
After Whistler's death, an impression was exhibited in the comprehensive Grolier Club exhibition in New York in 1904 and one was lent by Henry Studdy Theobald (1847-1934) to the Whistler Memorial Exhibition in London in 1905. 13
12: New York 1898 (cat. no. 215); New York 1903b (cat. no. 167) London Obach 1903 (cat. no. 177).
13: New York 1904a (cat. no. 215); London Mem. 1905 (cat. no. 207).
Whistler priced it at £3.3.0. He sold one impression to the London print dealer Thomas M. McLean (b. ca 1832) in 1887, and one to H. Wunderlich & Co. of New York in 1888, which was intended for Ross Revillon Winans (1850-1912). 14 It may not have reached Winans, or it may have been sold again by him, because it could be the impression acquired by Henry Harper Benedict (1844-1935) and later by Lessing Julius Rosenwald (1891-1971), and given to the National Gallery of Art in Washington DC ().
Charles Lang Freer (1856-1919) bought an impression from F. Keppel & Co. in 1902 (), which was bequeathed to the Freer Gallery of Art; and Harry Brisbane Dick (1855-1916) bought one, which passed after his death to the Metropolitan Museum of Art ().
Although about 1890 the artist noted that he had only one in stock, two impressions came with his estate to the University of Glasgow (, ).
14: 5 October 1887, GUW #13014; G. Dieterlen to Whistler, 3 May 1888, #07158; Whistler, list, [1890/1891], #13236.
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5 Key Takeaways on the Road to Dominating
Ideas on Creating an Outstanding Logo for your Company
Among the most important things for a company is the logo which would be a symbol of company to the general public. A logo would present your company out there to the market hence taking your time creating it is imperative. It is imperative that you would have an endearing design for your logo. In this piece we would help you with some of the ideas that would ensure your logo s perfect. It is always imperative that you would note on the nitty gritties of the logo. There are small bits that you ought to take into account to be able to make a good logo for your company. It is important that you would have these texts that are big.
This is so due to the fact that many of this texts tend to appear on different places to enhance your brand. This would facilitate an easy way on which the customers can know your brand. It is also important that you don’t be over the top on the design of our logo. Ensure that you would have a central type of color for the design. Make sure it is also a conspicuous type considering that this logo would be advertised in various platforms.
It is important that you would be able to have the kind of logo that would be relevant t the type of service offered. It is always important to note that the logo you have would ensure that you would be able to drive the service message across. It is important that you would select an image that is in tandem with the company aim. For a logo to be complete it requires a central image. It is therefore important that you would ensure this is done to the entirety.
Getting a relevant image would be important considering it would ensure that prospective customers are able to relate to what you would be offering as a service. There are also expert designers who would be able to help in the event that you would be in doubt. A good design would give your logo an exception design and would be beneficial for your company in the longer run. Going pro would enhance the logo design and would give the design and exquisite outlook. You would also have a unique design.
You can also improve the design of your site. This would by a great way improve your market penetration and would facilitate better revenues.
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The Photographers Code
Photography Education From Grinke Creative
Understanding Projection Night
The first Monday of the month is projection night at The North Shore Photographic Society. Most camera clubs do the same, or similar thing. In a nutshell, members submit their images as digital files to be shown at the club meeting through a projection system. The images are then critiqued by a club member or another person who is called in from outside the club. Sometimes both at the same time.
The intention of this process is to help the members of the club become better photographers, regardless of their skill level at this point. And for the most part, it does work.
The goal of this article is to help you understand the process of Projection Night.
I am going to be using the North Shore Photographic Society (NSPS) and their process as the example because it is the club that I am a member of. It will be up to you to adapt the information to your specific club, but, the overall concept will be similar if not the same.
The NSPS uses a star system to help the members have a sense of how they are developing as a photographer. For those of you that have studied martial arts, it is not unlike the belt system that is used to measure the athletes growth. There are 5 star levels that the photographer can move up through. When you first join the club, you are put into star level 1.
It is important to understand that this is not a competition. This is sometimes really hard to remember because on projection night your image is given a score by someone that is being called a “judge”. So how is this not a competition? Well, the score is to give some indication as to how the print fits into criteria that the “judges” have learned through their own experience and training as well as the criteria of the star level you are in. The image is then given a short critique with the intent of offering suggestions that may improve the image. It is up to you as the maker of the image to see how this information stacks up against feedback you have received previously on other images and learn from that process. You may not agree with what was said or how the image is scored, which is ok. What is important is that you learn something from the process.
So here is the criteria that each star level is being looked at (not judged) with.
1 Star: Correct exposure, subject in focus, and basic composition.
2 Star: Above requirements, plus appropriate depth of field, no distracting elements, competent use of composition, and suitable light.
3 Star: Above requirements, plus critical depth of field, creative use of light.
4 Star: Above requirements, plus creative photographic technique, attention to detail.
5 Star: Above requirements, plus high artistic merit.
At all star levels, the images will be looked at for technical and compositional elements.
When your image is reviewed by the “judge’s” (I really do not like that word for this process but I don’t know of another one that will work), your image will be assigned a score based on the criteria discussed above. Here is a breakdown of the scoring at NSPS.
1 point: No award – a poor projection
2 points: Bronze – a fair projection
3 points: Silver – a good projection
4 points: Gold – an excellent projection
5 points: Certificate of Merit – an outstanding projection
Your image score is then recorded and those points go towards moving up to the next star level. (When there is more than one judge, the average of the scores will be used.)
You will move from one star level to the next when you meet the following criteria.
Move from Star 1 to Star 2: Gold Awards/Certificates of Merit Plus Total of 20 Points
Move from Star 2 to Star 3: 6 Gold Awards/Certificates of Merit Plus Total of 40 Points
Move from Star 3 to Star 4: 12 Gold Awards/Certificates of Merit Plus Total of 60 Points
Move from Star 4 to Star 5: 20 Gold Awards/Certificates of Merit Plus Total of 200 Points
Please remember that this information applies to the North Shore Photographic society but most clubs will have a similar system in place. The important thing to remember is that the purpose of projection night is to help you become a better photographer.
Happy shooting
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web icon_completecontrol icon_contenttemplate icon_domain icon_export icon_flexibility icon_media icon_shorturl icon_personEnclosed icon_questionEnclosed icon_airplane icon_airplaneEnclosed icon_arrowDown icon_arrowDownEnclosed icon_arrowLeft icon_arrowLeftEnclosed icon_arrowRight icon_arrowRightEnclosed icon_arrowUp icon_arrowUpEnclosed icon_automate icon_caretDown icon_caretDownEnclosed icon_caretDownFilled icon_caretLeft icon_caretLeftEnclosed icon_caretRight icon_caretRightEnclosed icon_caretUp icon_caretUpEnclsoed icon_caretUpFilled icon_chart icon_checkmark icon_checkmarkEnclosed icon_close icon_closeEnclosed icon_connect icon_crm icon_dollarEnclosed icon_edit icon_editEnclosed icon_ellipsis icon_ellipsisEnclosed icon_ellipsisEnclosedFilled icon_ellipsisFilled icon_engage icon_envelope icon_exclamationEnclosed icon_happyFace icon_home icon_info icon_lightBulb icon_link icon_map icon_minus icon_minusEnclosed icon_neutralFace icon_person icon_personCheckmark icon_personEnclosed icon_personPlus icon_phone icon_play icon_playFilled icon_plus icon_plusEnclosed icon_preview icon_pvLogomark icon_pvlogotype icon_qrCode icon_questionEnclosed icon_reward icon_sadFace icon_search icon_sell icon_speechBubble icon_speechBubbleEnclosed icon_wrench icon_api icon_appointments icon_campaigns icon_cms icon_contest icon_ecommerce icon_events icon_feedback icon_keywordengine icon_loyalty icon_memberships icon_newsletter icon_offerscoupons icon_ratingsandreviews icon_recurringbilling icon_sms icon_social icon_surveys icon_ticketing icon_webhooks icon_chart icon_dollarEnclosed icon_crm icon_arrowDiagonalEnclosed icon_arrowDown icon_arrowDownEnclosed icon_arrowLeft icon_arrowLeftEnclosed icon_arrowRight icon_arrowRightEnclosed icon_arrowRightEnclosedFilled icon_arrowUp icon_arrowUpEnclosed icon_at icon_automate icon_calendar icon_calendarAdd icon_calendarAddSlot icon_calendarSearch icon_card icon_caretDown icon_caretDownFilled icon_caretUp icon_caretUpFilled icon_chart icon_chartAlt icon_chartEnclosed icon_checkmark icon_checkmarkEnclosed icon_checkmarkEnclosedFilled icon_close icon_closeEnclosed icon_connect icon_crm icon_documentDownload icon_documentsEnclosed icon_dollarEnclosed icon_download icon_downloadEnclosed icon_edit icon_ellipsis icon_ellipsisEnclosed icon_ellipsisEnclosedFilled icon_ellipsisFilled icon_engage icon_engageAlt icon_envelope icon_exclamationEnclosed icon_gear icon_gearFilled icon_hi icon_home icon_infoEnclosed icon_intersect icon_intersectEnclosed icon_layout icon_lightBulb icon_lightningEnclosedFilled icon_link icon_log icon_logEnclosed icon_map icon_medal icon_medalEnclosed icon_message icon_minus icon_notebook icon_or icon_people icon_peoplePlus icon_person icon_personCheckmark icon_personEnclosed icon_personOutlined icon_personPlus icon_phone icon_playEnclosed icon_plus icon_plusEnclosed icon_pointCheckmark icon_pointsPlus icon_pointsSearch icon_preview icon_qrCode icon_questionEnclosed icon_reward icon_search icon_searchEnclosed icon_sell icon_social icon_speechBubble icon_starEnclosed icon_starExclamation icon_starsSearch icon_survey icon_time icon_transact icon_wrench icon_pvLogomark icon_pvLogotype icon_appointment icon_campaign icon_coupon icon_event icon_keywordengine icon_loyalty icon_review icon_cart
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The strange thing about the Museum of Modern Art’s new Degas show “A Strange New Beauty” is that the artist’s disdain for women gets a pass.
New York’s treasure house of the avant-garde focuses solely on Degas’ printmaking process. And unless you’re an artist hell-bent on “taking the medium to radical ends,” as Degas efforts are described in MoMA’s exhibit notes, it’s hard to imagine who will care. Whatever art is, technique can’t be the main event.
Ballet was not Degas' main interest
And whatever Degas' art is about, it's not what it's commonly thought to be about. Even though half of his body of work is about ballet, dance wasn't the subject.
Like the Impressionists of his day, he sought to capture movement. What better subject for that than dance?
Degas freely acknowledged that dance wasn't his focus in this often quoted remark to his art dealer, Ambroise Vollard: "People call me the painter of dancing girls. It has never occurred to them that my chief interest in dance lies in rendering movement..."
Degas’ work suggests he disparaged women
His professed “chief interest” didn’t always show up in his drawings of dancers. One of these called “L’Attente” describes a lineup of ballerinas sitting nude on a bench with widespread legs that expose their genitals. Obviously movement had nothing to do with such as image. Degas was also given to picturing dancers doing unbecoming things like scratching or yawning.
Despite his focus on women, then, Degas tended to make little of them, depicting them in awkward positions and either faceless or shown from the back and indistinct, one from the other.
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What we see, then, are women as compositional props.
No wonder the 19th century art critic J.K. Huysmans saw Degas’ “attentive cruelty, a patient hatred, debasing the female while seeming to honor her.” Degas practically admitted this when he said, “I have perhaps too often considered woman as an animal.”
Apart from dancers, Degas liked to describe women in their private moments like washing or drying themselves, which seems straight out voyeuristic. Degas probably wouldn’t deny that impression. In his words, he aimed to steal the look of a woman as if "looking through a keyhole."
Is great technique enough?
All that said, MoMA’s show succeeds in portraying Degas as a great technician. It’s a wonder though how anyone can look at his work and not see that he enjoyed putting women in unflattering light. Art News magazine hails the Degas show as “sumptuous feast for the eyes” – oblivious to what the eyes are feasting on.
Of course, if the point of the MoMA show is to demonstrate how modern Degas was for his innovations in printmaking, his take on women -- no longer idealized as she had been throughout art history – would also make the case. Degas certainly knocked her off the pedestal that artists in the past put her on. #Buzz
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Icons and demons
Gallery exhibition showcases Ghanaian concert party genre
At festival time, the roadsides in the West African nation of Ghana are adorned with huge, colorful sign board advertisements, depicting scenes from all-night musical and theatrical events performed outdoors in concert parties by itinerant musicians and actors.
A Mark Anthony concert party painting displayed on a street in West Africa.
The concert parties combine music, comedy and multiple-act morality plays. The narrative paintings, usually common house paint on plywood, are used as a way to entice audiences, many of them semi-literate, to the concert parties.
The acknowledged master of this genre is Mark Anthony of Agona Swedru, Ghana. Eighteen of his concert party paintings, which depict the most startling scenes from four different plays, are featured in the exhibition, "Hollywood Icons, Local Demons," which runs through December 15 at the University Gallery in the Aidekman Arts Center, 40 Talbot Ave., on the Medford/Somerville campus.
In conjunction with the exhibition, there will be a panel discussion, "Popular Arts and Performance from Ghana," at the gallery on Thursday, November 14, from 5 to 7 p.m. The panel will be moderated by Rosalind Shaw, associate professor of anthropology at Tufts. Panelists will be Emmanuel Akyeampong of Harvard University, David Donkor of Northwestern University, Jesse Weaver Shipley from the University of Chicago and Michelle Gilbert, the curator of the exhibition, who teaches anthropology and art history at Trinity College in Hartford, Conn. Since 1976, Gilbert has conducted field research on art, religion and politics in an Akan kingdom of southern Ghana.
The concert party paintings are large (usually six feet high and seven feet wide) and colorful, with startling combinations of images that both presage and recreate the performances. "What is immediately evident," says Doug Bell, interim director of the University Gallery, "is the heavy indication of wear and tear" on the paintings. "The multiple repairs, the broken frameworks, the scratches, the rust and broken hinges all point to the history of the boards' constant use as advertisements for concert parties across West Africa.
"Although the boards sometimes depict horrible acts or their bloody results, there is a wry sense of humor throughout," Bell says. "The beasts [depicted] are far-fetched, yet eerily recognizable. On the one hand, the paintings can be compared to religious and allegorical art of the pre-Renaissance, and on the other, they resemble posters for kitsch Hollywood B movies."
The exhibition and the November 14 panel discussion are free and open to the public. Gallery hours are Wednesday through Saturday from noon to 8 p.m. and Sunday from noon to 5 p.m. For information, call (617) 627-3518 or visit the web site www.tufts.edu/as/gallery
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Going for the Gold: California Stories on the Los Angeles Metro Gold Line: Communities, Public Art, and Placemaking.: 07. Michael McMillen, Geologica 42, Fillmore Station
The project was funded in 2008-2009 by the California Council for the Humanities through its California Stories: California Story Fund
Geologica 42
Michael McMillen, Fillmore Station
Description of work
The title of the installation, Geologica 42, is a Latinized description of geology and a metaphor for time. The number 42 was the jersey number of Pasadena native Jackie Robinson when he broke the color barrier in professional baseball playing for the Brooklyn Dodgers.[1]
There are two art elements at the Fillmore Station: an embellished 40’ steel spire near the station’s entrance; and a collection of five bronze replicas of steamer trunks that serve as benches on the station platform. Together, both elements allude to the geological and cultural history of Pasadena. Rich in symbolism, the decorations on the tower mix personal and communal memories into a narrative on the passage of time. Capping the tower is a finial in the shape of a life size baseball that symbolizes Jackie Robinson. Below that is a stationary compass with arms pointing to the cardinal points, and two wind powered steel mobiles—a weather vane identifying wind direction, and an anemometer attached to a spinning coil displaying the wind velocity. The area’s technology and science activities, centered at the Jet Propulsion Laboratory and the California Institute of Technology, are referenced by the weather vane’s pointer which looks like a Bell X-1 rocket plane, which in 1947 was the first plane to break the sound barrier. Though it is not explicitly displayed anywhere in the installation, that year is a subtext of the work for that was the same year Jackie Robinson broke the color barrier in baseball. The tail of the weather vane, patterned after a tail fin of a 1950s Cadillac, represents the area’s design and artistic energy, which is cultivated and nurtured at the Art Center of Design. Underneath these mobile elements, the tower is decorated with what McMillen described as “art deco/streamline moderne details that evoke a 1920-30s view of modernism.”[2] Below these details are two arms parallel to the railroad tracks, each topped by the name of the station, “Fillmore”. The bottom of the tower is encased by a 9’ tall bronze collar imprinted with a montage of images that Michael McMillen described as a “sedimentary column of artifacts and symbols both natural and manufactured, interlinked and mutually dependent.”[3] What appear to be pebbles and rocks embellish the base of the collar. This morphs upward into a depiction of two shelves of books. According to McMillen, these books represent repositories of knowledge and serve as a metaphor of historic changes built on knowledge.[4] Above the books are bas reliefs of pencils and writing implements which disappear into a profusion of old wooden typefaces. These images evolve into an aerial view of a neighborhood or small city bordered by six lanes of gridlocked traffic. This is capped by a ring of additional buildings and an open space framed by serpentine lines of railroad tracks. A variety of cultural and personal references mark another stratum on the collar. Keys, paintbrushes, pencils, locks, doors and books represent a sense of discovery while a toy car is a reference from McMillen’s childhood. Paint brushes also pay homage to McMillen’s late friend Jim Doolin, who painted three large murals inside the lobby of the MTA headquarters depicting the changes in Los Angeles since the late 19th century. The number 42, prominently portrayed in this mix, is another reference to Jackie Robinson. Wooden typeface, data entry punch cards, books and other objects are things McMillen collected. McMillen’s initials are among the letters as well as the initials of people McMillen knew, including Eve Doolin, the daughter of his friend Jim Doolin.[5]
The five benches replicating historic steamer trunks have identical measurements and a similar design, but differ in the hinges, locks, rivets, and textures. The trunk with the most locks also bears the nameplate of Harry Houdini, the famed escape artist and magician, who stayed at the nearby Green Hotel. These bronze trunks not only function as seating for transit riders, they embellish the station platform and serve as a link connecting travel on the Gold Line with rail travel in the past.[6]
History of work
In the Spring of 1993, the Los Angeles County Metropolitan Transportation Authority (MTA) held a series of public meetings in Pasadena to inform the community about the light rail project and the Art for Rail Transit (A-R-T) program.[7] At these meeting, Alan Nakagawa from Metro Art, the department at the MTA responsible for implementing the public art program, invited people to participate in the art creation process by joining one of the three Community Advisory Committees (CAC) that were being formed for the six stations planned for Pasadena.[8] One committee was for the Fillmore and Del Mar stations. During the summer of 1993, the eight member CAC for the two stations prepare a Community Profile to guide the artists who would be ultimately selected.[9] After completing the profile, the CAC elected two members to the five member artist selection panel.
The artist selection panel first met on October 7, 1993 and reviewed slides of more than 600 artists who were in the Metro Art’s slide registry. A short list of artists was created and the panel reviewed them in more depth at an October 20 meeting. At that meeting, they selected nine finalists, who were then interviewed on November 3, 1993.[10] Following the interviews, the panel voted and selected Elsa Flores for the Del Mar station and Michael McMillen for the Fillmore station.
After being selected, McMillen read the Community Profile prepared by the CAC and the Overall Aesthetic Philosophy (see introduction) prepared by Seyed Alavi. He also read books about the history of the area, and met with the other Gold Line artists at the Southwest Museum where Vera Rocha, the chieftess of the Gabrielino/Shoshone Nation, talked about the Gabrielinos and their relationship to nature.[11]
McMillen structured his design with a vertical element because of the station’s narrow site. He wanted the tower to have a strong presence that would identify the station and mark the station’s entrance and exit. He also wanted the tower placed close enough to the access ramp for the station’s platform so transit riders could see the details on the richly embellished bronze collar.[12]
By April, 1994, McMillen made a model of his basic design and showed it to the CAC. The committee members made minor suggestions but overall they were excited by his proposal. All the elements of what was installed--the baseball finial, the compass, the weather vane with an airplane pointer and the Cadillac fin tail, the anemometer, and the “Fillmore” signage, were in the model. The collar was also in the model, but it did not have any details, which McMillen planned to develop later.[13]
When the light rail was put on hold during the containment period in 1995, McMillen stopped work on his project. Six years later, after the light rail project resumed under the newly created Pasadena Blue Line Authority, McMillen was given a new $10,000 contract to finalize the design and prepare industrial drawings for Carlson & Company, the tower’s fabricator, and Sandy Decker, the collar’s fabricator. Under this contract, McMillen designed the detailing on the collar, and added a flared base to hide the structural features of the tower’s footing to the ground.[14] In mid 2002, McMillen received a $91,500 contract from the Pasadena Blue Line Authority to fabricate the tower and collar, an amount later raised to $145,500.[15]
When McMillen began working on this project in 1993, he proposed to the landscape architect that a low-water landscape, with an abundance of cacti and succulents, be planted around the base to deter access to the column.[16] However, when the tower was installed, only a small number of succulents and cacti were planted, which McMillen felt was the consequence of the departure of the original landscape architect.[17] McMillen also considered incorporating into the collar, diagrams that Richard Feynman created in his pioneering work in particle physics,[18] but these were not included.[19] There were issues involving the location of the tower. McMillen wanted the tower placed at the intersection of Fillmore Street and the rail right of way, but it had to be moved northward because the serpentine walkway to the platform interfered with the initial location. Even with the new location, the tower still serves as a focal point and landmark because people approaching the station on Fillmore Street can see it.[20] The location was also impacted by safety concerns about the proximity of the tower to the overhead electric wires.[21]
From the beginning of his involvement in the project, McMillen wanted to replace the standardized benches that were planned for the platform with cast replicas of the kind of equipment and containers that would have been found at old railroad stations. Among the objects he planned to replicate were a luggage cart, suitcases, crates, and shipping trunks. Because of cost, all the objects were dropped except for the trunks.[22] But even this was removed from the MTA budget during the containment period.[23] It was not until after the project resumed in 2000 that financing for the trunks was resolved. As the first step in the process that ultimately resulted in the City of Pasadena taking over the funding of this component of the installation, McMillen, in the summer of 2001, made presentations to the Pasadena Art Commission and the Pasadena Light Rail Design Review Committee. At these meeting, he said that he wanted to replace the planned seating with trunks to make the platform more aesthetically interesting, and give transit riders something that they would animate by interacting with them as benches.[24] After the Commission approved the design concept for the trunks, the City of Pasadena issued a contract to fabricate and install the benches as a station “betterment”.[25] In August 2002, the Pasadena Arts Commission gave final approval for the design of the trunk benches.[26]
McMillen made a pattern for one trunk, and then altered it by adding locks and other details to create a varied five-piece series. Before fabrication began, the staff from Metro Art told McMillen that it wanted the trunks made of reinforced concrete because of maintenance concerns and fears that they would be too hot to sit on during the summer months. McMillen responded by saying that he preferred cast bronze because it was more durable than concrete, it ages well, and it would be more aesthetically reflective of what he was trying to do.[27] In the end, the MTA dropped its objection. However, the bronze trunks were moved out of the sun because they had a finish that retained a lot of heat and were placed on a line in a shaded area between the pillars of the canopy.[28] As a safety precaution, Pour House fabricated the trunks so they did not have any sharp edges.[29]
Michael C. McMillen (1946- ) received his BA from San Fernando Valley State College (now California State University, Northridge) in 1969, an MA from UCLA in 1972 and an MFA from UCLA in 1973. Early in his career he made models for movie sets, including Close Encounters of the Third Kind and Blade Runner. He received a Young Talent Award in 1978 from the Los Angeles County Museum of Art, and has received a National Endowment for the Arts Fellowship. His work has been exhibited in galleries and museums in the United States, Europe, the Pacific, and Asia, and is in the collections of the Guggenheim Museum, New York, the Australian National Gallery, Canberra, Australia, the Los Angeles County Museum of Art, and other prominent museums in California. Describing his work as installation art, McMillen involves the viewer into the art experience by making constructions and paintings that integrate time, change and illusion, and incorporate cast-off materials and objects to create a visual/spiritual poetry.
[1] Michael C. McMillen, interviewed by Michael Several, October 14, 2008.
[2] Michael C. McMillen, telephone interview by Michael Several, December 18, 2008.
[3] Fax from Michael C. McMillen to Lesley Elwood, re: Geologica 42, October 31, 2002.
[4] McMillen interview, October 14, 2008.
[5] Ibid.
[6] Ibid.
[7] Letter from Monica Gonzales, Public Affairs Manager, Metro Pasadena Project, MTA, to John Jontig, Light Rail Manager, City of Pasadena, April 12, 1993; Announcement of Public Meeting, Pasadena Light Rail Transit Project, no date.
[8] Alan Nakagawa, interviewed by Michael Several, May 21, 2008.
[9] See sign-in sheet for Community Advisory Committee Fillmore/Del Mar Stations, July 8, 1993; Community Advisory Committee/Fillmore/Delmar for list of members, and attached Community Profile, no date.
[10] See letters from Alan Nakagawa to Elisa Crystal, Terry Shoonhoven, Margaret Garcia, Sabra Clark, Bob Takata re: dates of meeting; September 29, 1993; Nakagawa interview, Op. Cit.
[11] McMillen interview, October 14, 2008.
[12] Ibid.
[13] Ibid.
[14] Ibid.
[15] Service Contract Change Orders, July 1, 2002, Executed August 20, 2002.
[16] Fillmore Station, description from Los Angeles to Pasadena Construction Authority Public Art Program, September 3, 2002; Fillmore Station – Project Description Michael McMillen, Artist, Statement July 16, 2002.
[17] McMillen interview, October 14, 2008.
[18] McMillen Statement, July 16, 2002, Op. Cit.
[19] McMillen interview, October 14, 2008.
[20] Ibid.
[21] Fax from Lesley Elwood to Michael McMillen, September 12, 2001; Fax with attached drawing from Lesley Elwood to Jim Holmes, Robert Holmquist, November 27, 2001.
[22] Plan and Elevation from Michael McMillen, re: Cast Bronze Trunks for Fillmore Station, November 15, 1994, McMillen interview, Op. Cit.
[23] Fax transmittal from Lesley Elwood to Tom Stone re: Fillmore Bench Drawings, June 18, 2001, Draft Minutes of July 24, 2001 meeting of the City of Pasadena Light Rail Station Design Review Committee.
[24] Letter from Richard D. Thorpe, Chief Executive Officer, Los Angeles to Pasadena Metro Blue Line Construction Authority to Cynthia J. Kurtz, City Manager, City of Pasadena, April 11, 2002.
[25] Fillmore Street Station Project Overview, June 24, 2002; Los Angeles to Pasadena Gold Line, Project Description, July 16, 2002; Letter from Lesley Elwood to Rochelle Branch, Public Art Coordinator, City of Pasadena, September 5, 2001
[26] Transmittal from Lesley Elwood to John Rawlings, Monica Born, Robert Holmquist, John Skoury, re: Fillmore Station, August 15, 2002.
[27] McMillen interview, October 14, 2008; Lesley Elwood, interview by Michael Several, August 28, 2008.
[28] Email from Jorge Pardo to Lesley Elwood, re: Fillmore Station-Benches-Metro Art, September 23, 2003.
[29] The Trunk Seating (Betterment Funded by City of Pasadena), no date.
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Winter holidays 🎄 We will be closed from 25 December to 1 January. Happy holidays to you all ! See you soon.
Maison&Objet 2023: The bistro Table as You’ve Never Seen it Before
This new edition of the famous Maison & Objet show is a great opportunity for the Ardamez team, as this year more than ever we’ve pushed back our boundaries and redrawn the boundaries of the bistro era. And to keep you waiting, here’s a sneak preview of what’s in store at stand L67 – Hall 6 at Maison&Objet 2023.
New Materials for Your Bistro Tables
New Ardamez products mean new materials! But not just any materials. For once, we’ve turned to natural, top-of-the-range, elegant materials – the kind that have left their mark on decades of interior design, and that will be making the trays of tomorrow. To guarantee you an even more surprising journey, we’ve also worked on innovative shapes and new reliefs.
Macaroon : Nature on Fire
During the 2022 edition, you were already able to admire our enamelled lava stone trays. You were captivated by its crackled effect and the depth of its colours. Inspired by your enthusiasm, and in collaboration with Pyrolave, we have revisited this powerful natural material in an even more original form that will leave no one speechless. The enamelled lava rests elegantly on a top quality oak tray.
Travertine: Inspired by Ancient Rome
Ceramic is the flagship material of our Haussmann range. Solid, watertight and resistant to corrosion, it is perfectly suited to the culinary trades and successive dressings. With so many qualities to choose from, how could we not once again make it the muse for a completely new product? So, after being adorned with marbled scrolls, this beautiful stone is now dressed in blurred designs in warm shades, in homage to travertine. In our desire to offer you pieces with authentic charm, we’ve also opted for a slightly grainy feel, as close as possible to the minerals that inspired it. Finally, as usual, we’ve encircled it with a noble metal, presented here in a smooth, brushed finish.
Glasgow: Carved Beech with a Gallic Air
Traditional curves, crafted from beech wood and enhanced by a finely carved hornbeak edge… This new table strikes the perfect balance between delicate lines and a rustic look; French elegance and Gallic charisma. It will be ideal for bistros and restaurants looking for a touch of originality, and for interior designers wanting to embrace the charm of tradition while breaking free from its rules.
Atypical Table Bases
Our Bistrot and Bastille legs may have long since taken up residence in your hearts (and restaurants), but we know how exciting and invigorating it is to work with new silhouettes. So we’ve expanded our range of bases with 4 new designs. The Roma rises gracefully, like water gushing from a fountain. The thicker Oxford table base is inspired by Victorian England. With its grooved silhouette and solid base, it strikes the perfect balance between strength and elegance.
The Castel foot is surprising in both its material and its shape. Its round base and shiny stainless steel give it a pop, retro feel. Finally, the Métropolitain leg has a curved silhouette which, combined with the play of curves and reliefs reminiscent of arabesques, gives it a striking Art Nouveau look.
A Whole Universe Designed Around the Table
Driven by a genuine love of design and beautiful objects, this year we’ve decided to extend our expertise. Maison & Objet 2023 will be the opportunity to unveil our brand new collection of benches and mirrors!
This collection has been designed to blend perfectly with our tables, guaranteeing you a complete and refined universe, right down to the smallest detail. Fully customisable, each of our mirrors will pass through the hands of our craftsmen to be adorned in brass, copper or stainless steel, before coming to shine in your decor. And of course, fine sheet metal work is our speciality… Our beautiful (and unique) Montmartre benches can also be sublimely crimped on request!
New Catalogue, New Stand for Maison&Objet 2023
The revival that is now sweeping through our workshop will of course be reflected in the release of a new catalogue! Still hot off the press, we can’t wait to see it sitting on your shelves, to be leafed through with the fervour of creative genius.
Finally, this new impetus will be underlined by a stand that has been completely redesigned to transport you into a world as traditional as it is unique. The space has been imagined as a succession of atmospheres and decorations in which you can immerse yourself and draw inspiration…
We won’t say any more, so as to preserve the surprise! So see you very soon at the show, and see you soon on our networks for some previews!
Photos : © Marie Jonchère
Our collection
To guide and inspire you in your work, we’ve created several product lines. Each has its own soul, its own aesthetic and, of course, each contains a collection of sumptuous, refined tables designed to suit every space and every project.
Subscribe to our Newsletter
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Visions - Trame sensible - Liaison vibratoire
05/10/2017 - 27/10/2017
From the programmable weaving loom to the punch card that can draw, there is a lot of complicity between the art of weaving and the digital world. Trame sensible (or Sensitive Weaving) reinvent this complicity and brings together an analogic and a digital weaving loom, fabrics made of thread or made of light, harps of sounds and harps of images. The digital work will reveal the analogic work, the hidden song of the weaver’s silence. Cherish this installation, it will resonate in you, like an invitation to actively listen to reach a new way of seeing.
Practical information
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Sold Out
James L. Bruch Abstract Mixed Media Painting
This product is sold out
A mixed media painting by the American artist James L. Bruch (1942-2023). Acrylic, ink, and graphite merge depicting a singular abstract object conveying the impression of movement against a light green ground. Red and black bands of color peek into the upper right corner of the composition. The painting is presented behind white mat in a black frame with estate stamp verso.
Born in Kenosha, Wisconsin, James Bruch (1942-2023) pursued his artistic talents at the University of Notre Dame, graduating cum laude with a Bachelor of Fine Arts in 1964. Thereafter, he received his Master of Fine Arts from the University of Southern California in 1967. While in school, Bruch focused his attention on painting bright scenes and recreating masterworks in pencil. From the ‘70s-’90s, he built his advertising career, garnering recognition for his efforts along the way. Upon retirement, Bruch immediately returned to decades-old ideas of colorful abstraction, which he had reimagined throughout his lifetime.
Bruch started his career designing for Montgomery Ward in Chicago, where he would meet, and settle down with, his wife Amy. He would continue his career at the prestigious institution of Leo Burnett as an art director and later as vice president. Following his retirement from the industry in 1999, Bruch was reinvigorated as an artist. He began to rediscover old concepts from his time in art school, reworking them, painting and repainting layer after layer, no piece ever truly finished in his eyes. He was a very reserved man after his retirement and following the death of his wife. This resulted in his work not being exhibited or sold during his lifetime.
11.25” x 14.25” x 1.25” (frame); 4.5” x 5.25” (image).
Condition notes:
Scratches and scuffs to the frame.
Shipping Disclaimer:
Please contact us if you have questions about shipping, including questions about shipping prices.
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Showing posts with label steampunk magic. Show all posts
Showing posts with label steampunk magic. Show all posts
Sunday, June 15, 2014
Heller, Houdini and more
Photo taken during Houdini's visit to the grave in 1910
My fascination with Robert Heller began with Houdini. Specifically, the image of Houdini next to Heller's grave. Houdini referred to Heller in his Conjurer's Monthly Magazine, as "the most versatile magician who ever lived." Had it not been for Houdini, the whereabouts of Heller's grave would be likely be lost forever because it was Houdini who had rediscovered the grave.
When I began to research Heller back in 2011, I had no idea I would become so fascinated by the man. He is certainly an interesting character. I had done a ton of research on him and thought I had uncovered about all there was to uncover, but it turns out I was very wrong. I came across a wealth of new material this weekend on Heller, including playbills and posters and some images and illustrations that I'm not sure have seen the light of day for a very long time. So I will be delving back into the life of William Henry Palmer aka Robert Heller, to see what new mysteries and insight can be uncovered. In the mean time, I hope you enjoy the new photo of the Heller grave, taken in 1910, very possibly by Houdini. And enjoy the poster below, it's a beauty. All three images come from a Houdini scrapbook.
Wednesday, June 11, 2014
New Resource For Researching Victorian Magic History & More
This may be the coolest thing to happen to magic since the Top Hat!!!! Seriously, I am loving this new addition to AskAlexander.com. It's called "Victorian Popular Culture" and in their own words 'it is an essential resource for the study of popular entertainment in the 19th and early 20th centuries.'
Though it is not strictly magic oriented, it does represent conjuring quite well. I was looking at the list of participating libraries and they include the Harry Ransom Research Center at the University of Texas where a great deal of Houdini owned scrapbooks reside. Also, they list The Senate House at the University of London which contains items from the Harry Price Library of Magical Literature.
In addition, they cover Spiritualism, so anyone interested in that topic (NORMAN), might want to delve into it. There is a section on Music Halls, Theater and Popular Entertainment, a section on Circuses, Sideshows and Freaks, and a section on early Motion Pictures.
How in depth this is I don't really know yet. I just recently stumbled upon it. But AskAlexander is such a valuable resource that I would have to say this new addition must be great otherwise they would not have included it. I'm assuming you must be a member of AskAlexander.com to access the site. IF you are a member and have not looked into this new resource, please do! From what I have seen so far it will be a great tool when researching our unique art for historical purposes.
This is the link to get there, though if not a member the link may not work for you. http://askalexander.org:9000/Index.aspx
UPDATE: I just discovered this service 'Victorian Popular Culture' is a paid feature. So if you don't have an account/membership with The Conjuring Arts Research Library, you won't be able to view it, sorry. I did not realize that at first. I was able to view it because all Genii Subscribers were able to see it up until June 15th. Needless to say, June 16th, no go! lol. Genii Magazine used to run their online version of the magazine through AskAlexander.com. But now they have gone to their own portal, so it's no longer available for us to access. However, AskAlexander.com does offer very reasonably priced monthly subscriptions to their site so for as little as $10 a month you can view the 'Victorian Popular Culture' portal plus lots of other great research tools offered by AskAlexander.com and the Conjuring Arts Research Library.
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Neue Helvetica Cyrillic 107 Extra Black Condensed Oblique
Neue Helvetica Cyrillic 107 Extra Black Condensed Oblique
In 1983, D. Stempel AG redesigned the famous Helvetica® typeface for the digital age, creating Neue Helvetica for Linotype: a self-contained font family. Today, this family consists of 51 different font weights.
It's original numbering system for the weight designations came from Adrian Frutiger's numbering system for the Univers® family. The basic font weight, "Neue Helvetica Roman", is at the heart of this numbering system. The designation "55 Roman" forms the central point. The first figure of the number describes the stroke thickness -- 25 for ultra light to 95 for extra black. The second figure gives information on the width and orientation of the font -- "Neue Helvetica 53 Extended" or "Neue Helvetica 57 Condensed," for instance.
Neue Helvetica sets new standards in terms of its form and number of variants. It is the quintessential sans serif font, timeless and neutral, and can be used for all types of communication. Neue Helvetica is one of three Helvetica typeface families from Linotype. Aside from the original Helvetica® from the 1960s, there is the 21st Century Helvetica World®, with rich language support capabilities.
Neue Helvetica contains 51 different font weights. All weights are also available in Central European versions, supporting the languages of Central and Eastern Europe. Lastly, 34 weights are available in Cyrillic versions.
Many customers ask us what good non-Latin typefaces can be mixed with Neue Helvetica. Fortunately, Neue Helvetica already has Cyrillic versions, has Greek as well, and Helvetica World® includes a specially-designed Hebrew Helvetica in its OpenType character set. But Linotype also offers a number of CJK fonts that can be matched with Neue Helvetica.
Chinese fonts that pair well with Neue Helvetica:
DF Hei (Simplified Chinese)
DF Hei (Traditional Chinese)
DF Li Hei (Traditional Chinese)
DFP Hei (Simplified Chinese)
Japanese fonts that pair well with Neue Helvetica:
DF Gothic®
DF Gothic P®
DFHS Gothic®
Korean fonts that pair well with Neue Helvetica:
DFK Gothic®
Keywords: Neue Helvetica Cyrillic 107 Extra Black Condensed Oblique, Readable, Classic, Elegant, Headline, Technical, Professional, Sans Serif, anno 1960, Cyrillic, Text, Casual, Funeral, Birthday, Wedding, Cool, Book, Invitation, Magazine, Newspaper, Screen, Architectural, Advertisment, Announcements, Business Cards, Catalogs, Dictionaries, Listin
SKU: 15155549
Product ID: 25489
Neue Helvetica Cyrillic 107 Extra Black Condensed Oblique Font Information
Version:1.01
Family Name:HelveticaNeue LT CYR 107 XBlCO
Weight:750
Glyphs:238
Fixed Pitch:No
Symbol Encoded:No
Embedded Bitmaps:No
Creation Date:4/12/2005
Modified Date:4/12/2005
Unicode Ranges:Basic Latin
Latin-1 Supplement
Latin Extended-B
General Punctuation
Currency Symbols
Letterlike Symbols
Mathematical Operators
Private Use Area
Code Pages:1251 Cyrillic
1253 Greek
Hinting:0-6 Smoothed
7-12 Hinted
13+ Hinted and Smoothed
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2,045 Points
Choosing Typography For Web Design
I've done the Typography course in teamtreehouse, however, i'm still not sure how to decide what font to use for a webpage ( one that suits the content and bring out its character ). Is there a set of guideline i can folllow when choosing font for the web?
2 Answers
Francesco Belvedere
15,206 Points
Zoltan is correct. Choosing a font takes into consideration a lot of factors but mainly what the page is intended for and the style and feel you are going for.
I would also say that learning how to choose fonts also boils down to experience and practice. Choose some font foundries online and start familiarizing yourself with different typefaces. Some typefaces are specifically made for screen use and others specifically for printing. You need to know the difference.
Read some books on typography as well to learn the history and methods of production behind each typeface. Look at other print designs, magazines and websites for inspiration.
Most of all be curious and have fun with type. Its a big world and takes a lot to explore and learn its history and nuances.
Some of my favorites resources are: • Letter Fountain (book) http://www.amazon.com/Letter-Fountain-Joep-Pohlen/dp/3836525097 • The Elements of Typographic Style (book) http://www.amazon.com/Elements-Typographic-Style-Version-Anniversary/dp/0881792128/ref=sr_1_1?s=books&ie=UTF8&qid=1430872472&sr=1-1&keywords=the+elements+of+typographic+style • On How to Choose a Typeface (PDF book) http://classic.fontshop.com/education/pdf/type_selection.pdf
Some foundry resources: • Erik Spiekermann's FontShop https://www.fontshop.com • Typekit https://typekit.com/ • Google Font https://www.google.com/fonts
Good luck.
Zoltán Holik
3,401 Points
It depends on where you use the font (What kind of webpage), and it depends on the actually web font trends. But the key is readability.
• A business like webpage ( Arial, Helvetica, Garamond)
• A luxury like webpage (Vanity)
• Or a modern look webpage (Open sans, Roboto, Lato)
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Why is that on the wall?
Why is that on the wall?
The great mystery of the curatorial
By Jane A. Black
‘Night Lights’ by Ray Hassard.
‘Night Lights’ by Ray Hassard.
If you look at and think about art, I’d venture to guess you’ve wondered, at least once or twice, why the heck the object before you was chosen for display. Chances are, the reason remained inscrutable. Who chose the art is one of the details that are often left out.
There are almost as many ways to put together an exhibition as there are kinds of art. But if you are in a museum or university gallery, there is a good chance you are looking at a curated show – one in which someone other than the artist has selected the work. That person is usually deemed “curator.”
I was thinking about this because I have curated a couple of shows for galleries in the past two years. Through October 16, you can visit my most recent venture in selection. The Ohio Arts Council’s Riffe Gallery will present Natural Light, an exhibit that showcases 16 members of the Ohio Plein Air Society. I know all the work will look new to me, since I chose it in the dead of last winter, when looking at verdant hillsides and leafy trees seemed more like a fantasy than reality.
If you go to Columbus to see this show, swing by the Ohio State Fair, too. They have a fine arts exhibition that is a competition – submitted work chosen by a juror or jury process.
Some of the locals who will be in this year’s show, on view through August 8, include Bridgette Bogle, Diane Dover, Richard Jurus and Christina Pereyma.
Curating still makes me a little uncomfortable. (“I’m not a curator, but I play one on TV.”) I am really an artist at heart … non-practicing at the moment, but it’s still my primary identification and worldview. So, I feel like a bit of an imposter, as well as a little intrusive, when I am deciding for one of my fellow makers what goes on the wall. A lot of people think I do this at the Dayton Visual Arts Center (DVAC), in my day job. Not true. DVAC leaves shows to the artists, who decide what work to show themselves. Nonetheless, I enjoy the process immensely. It’s always a pleasure to look at other artists’ work and to talk to them about their concepts, processes and experiences.
When I googled “curator” there two definitions on brainyquote.com: “One who has the care and superintendence of anything, as of a museum; a custodian; a keeper” and “One appointed to act as guardian of the estate of a person not legally competent to manage it, or of an absentee; a trustee; a guardian.” Wow – one subtext lends gravitas … the charge of protecting in perpetuity … and the other is slightly insulting … artists can’t manage their own body of work?
In less-curated shows, you have a clear view into the artist’s intent. That can be a very exciting thing. On the other hand, you sometimes – not always, but too often – end up seeing poorly hung and lighted work that doesn’t hold together as a fully realized exhibition; Or not being able to find or reach an outdoor installation. That can be a disappointment. Still, it’s the artist’s choice whether to wait for someone else to recognize the quality of their work and put it on a pedestal, so to speak, or to put it out there however they can.
More and more, there is less and less vetting in what goes on the wall. Much of what you see now would once have been classified as a vanity show – artwork that is presented by the person who made it, either by opening a gallery, paying for a space in an established location or by creating a new, often temporary, space to hang it. Not a thing wrong with it – but it’s good to know what is what!
Jane A. Black is a fiber artist and the executive director of the Dayton Visual Arts Center. Visit the gallery at 118 N. Jefferson St. or visit their website at www.daytonvisualarts.org. Follow her on Twitter @lookingabout.
She can be reached at
JaneBla
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A pillar of the 181 Fremont Residences is its commitment to its vibrant neighborhood. In 2019, the 181 Fremont Philanthropy Awards were established to shine a light on the leadership and organizations striving to make San Francisco and the Bay Area a better place for all who live there. Quarterly receptions honor an array of change-making organizations that include Illuminate, One Mind, the San Francisco Rock Project, and more, with a special focus on the arts.
Jay Paul Company is one of the foremost real estate development and investment firms in California, distinguished by over 13 million square feet of trophy caliber projects in their portfolio since 1975. Jay Paul developments bear signature features including striking, award-winning architecture and state-of-the-art sustainable design in unsurpassed locations. Its modern, inspired campuses and towers provide the most advanced workplace environments for the world’s leading technology companies including Amazon, Apple, Comcast, Instagram, Facebook, Google, Microsoft and Northrop Grumman. 181 Fremont has been named one of the world’s best high-rises by the Council on Tall Buildings and Urban Habitat.
Heller Manus Architects has a philosophy based on innovative design, grounded in a respect for continuity and context, particularly in the urban setting. Their designs express not only a functional purpose, but also physical and social context, thereby ensuring quality and relevance for generations to come. The company’s portfolio includes a variety of project types ranging from master plans to in-fill buildings, high-rise office towers and transportation facilities to historic and civic renovations.
San Francisco-based Orlando Diaz-Azcuy, a master
of the home interior, is one of the world’s most respected and prolific designers. Elegantly composed interiors located in far-flung locales around the globe speak to the universality of his spare, intelligent, and disciplined touch. His interiors combine a modernist approach of architecturally clean lines and urbane sensibility, with smart flashes of bold color
or a pedigreed period statement piece to balance a curated look.
Regarded by professionals as a “dean of interior design” and a pioneer of minimalist design since the early 1980s, Diaz-Azcuy has been an epic influence to all those interested in interior architecture and design.
From project inception to building sellout, Compass Development partners with the world’s most forward- thinking developers and innovative architects through the lifespan of a project. Leveraging tenured expertise and the industry’s most powerful technological resources, Compass provides strategic advice for record-breaking results.
The company offers a comprehensive range of developer services, including research and analysis, planning and design, marketing and sales for luxury real estate. With nationwide representation in over 30 Compass offices, Compass Development empowers residential developers with an unparalleled sales footprint in the United States.
Hornberger + Worstell is a San Francisco-based architecture and planning firm recognized for its distinctive, award-winning urban hotel, destination resort, and luxury residential designs. Serving as Project Interiors Architect for 181 Fremont Residences, Hornberger + Worstell, in collaboration with ODADA, has planned, documented and is overseeing the construction of the residences.
Arup is an independent firm of designers, planners, engineers, consultants, and technical specialists offering a broad range of professional services. Founded in 1946 with an initial focus on structural engineering, Arup first came to the world’s attention with the structural design of the Sydney Opera House, followed by its work on the Centre Pompidou in Paris. Arup has since grown into a truly multidisciplinary organization.
Level 10 Construction is a full-service general contractor with offices in Sunnyvale, San Francisco, and San Diego. Level 10 is focused on providing innovative facilities to the corporate/commercial, advanced technology, biotechnology/life sciences, education, entertainment, healthcare, and multi-family housing/mixed-use markets.
Branding and Graphic Design by IF Studio
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Phillip D Breske
Photographer Male Ocala, Florida, US My MM URL: http://www.modelmayhem.com/PDBphotography
Mayhem # 587793
About Me
Read all of this! If you send me a Friend Request or leave a Tag, I'm going to look at your profile and see who else you have recently requested and tagged. If I find that you're pasting a standard Tag to everyone's profile, I will not only ignore you, but it will prove that you didn't read this and I'll refuse to work with you. Ever. Just because you've figured a way around the email limitations of this site, it doesn't mean you should act like an ass.
This is me. If someone else shows up for our shoot, run. smile
http://pdbreske.smugmug.com/photos/i-cjJTcxs/0/M/i-cjJTcxs-M.jpg
This profile is for my portrait work and candid photography. I have much more on my website at www.pdbreske.com. Check it out! Also on Facebook at www.facebook.com/pdbphoto
I'm a regular participant in the First Friday Art Walk in downtown Ocala, so make sure you come to the downtown square on the first Friday of every month (except June through August) and say, "Hello!"
Black & white vs. color
Everything in my current portfolio is black and white. Everything you’ll get from me will be black and white. The only time I might produce color images is if a paying client requires it, and there should be a pretty compelling reason.
Black and white is more flattering than color for portraits, and much more forgiving of technical flaws in the image. It has a classic beauty that will never go out of style. So many new software applications nowadays will simulate faded or nostalgic photos, even adding scratches to mimic decades of abuse, but these effects, much like the film emulsions they try to emulate, are only hip and cool today. In a few years, you may look back at them and wonder why so many people tried to make their photos look like they were taken fifty years earlier. Black and white photography suffers no such issues. Human beings will always love B&W imagery and it will never go out of style.
“Color is a reproduction of reality, while black and white is an interpretation of reality. Thus, black and white is art.” — Clyde Butcher
Why pay for photos?
Professional, high quality photos have a better Return On Investment than snapshots taken for you by a friend. Sure, the snapshots may be free, but they don't add to your portfolio and they certainly don't impress agencies or advertisers.
A quality portfolio will increase your marketability and showcase your own modeling talent. As an advertiser, would you rather spend money on a model with a bunch of pictures, or one with an amazing portfolio? Great photos will pay for themselves in more work and higher paying jobs!
Contact me to discuss my rates and possible exceptions or discounts for any ideas you may have. I am very easy to work with and I'm sure we can come up with a mutually agreeable exchange.
NO ESCORTS. None of the models in any of the pictures I've shared here brought escorts to the shoot. On the few occasions when a model did bring an escort, the photos weren't good. Maybe it was because she was a bad model, or maybe it was because she felt uncomfortable in front of her "friend." Either way, I don't have time to babysit someone who hasn't worked in the industry long enough to know how to check references. If you want to work with me, call any of the models I've worked with to see if I'm creepy or untrustworthy. Seriously, I don't know why you wouldn't do this all the time.
You're not going to get a CD with all the images from the shoot, and you won't get anything until after I've edited and processed them. Though you may be in them, these are still my photos and I won't let them out into the wild until I'm satisfied they represent the best I can do at the time. I've seen too many models with (what I hope are) unedited photos that show background edges and lightstands in the shot, the tag of her bra is showing, or there is a black heel mark on the floor next to her shoe. Why would anyone allow that to be shared with the public? In my defense, you will get a disk in a few days, not weeks or months like some photographers. I work very quickly and you won't be disappointed. Again, ask anyone if anything I have written is false.
I refuse to shoot tired ideas like train tracks, caution tape or angel wings. If everyone else has it in their portfolio, you should try to avoid it. I may not be the most original photographer, but I still have my dignity.
Don't change my photos. I really don't appreciate when anyone edits, crops, colorizes or otherwise messes around with my work. If you don't like my style, don't ask to work with me. When you change my images because you like the way it looks with a desaturated tint or a different crop or whatever, other people will see that and think that I had a hand in the creation of it. Either they will like it and want me to make their photos look the same (which I won't do), or they will hate it and not want to work with me. Since I can't physically stop you from changing my photos, I ask that you EXPRESSLY state that any changes you made are yours and not mine. I'd feel a lot better if you just left it alone, though.
Have you worked with Phillip D Breske? Add Credits for Phillip D Breske! >>
• Miami Beach, Florida, United States
Worked together 1 times; Most recent: May 2008
What is this?
Credit Notes
Ocala Outdoor Sculpture Competition 2016, catalog and brochure photography
Ocala Outdoor Sculpture Competition 2013-2014, catalog and brochure photography
PrettyWoman 101 promotional shoot, May 24th, 2008
Miami SunPost, "Motorcycle Madness," June 7th, 2007
Naomi Clark, MM#3569058
Tori1, MM#3797325 (x3)
Leigh Fox, MM#1493056
Yendri Diaz, MM#1657613 (x3)
Crazy Mooon, MM#10145 (x3)
Curvy Krista, MM#626103 (x3)
Julie SPG, MM#1166048
Sandra Arango, MM#1073993
Ms Mo Nique, MM#639043
Adele Nicole, MM#813407 (x2)
Ana Maria Leguia, MM#565611 (x2)
Cedric Willams, MM#328560
Christina Roberto, MM#727442 (x2)
Katie's Corner, MM#701834 (x2)
Vanessa Pino Smith, MM#620690
Barbie L, MM#725864
Dalouse, MM#514068
Jessica Rachael, MM#648500
Adoyle, MM#671613
Natalie Renee Cuellar, MM#672982
jlaplante, MM#703014
LexXxuSs, MM#427397
Aileen Quintana, MM#589879 (x3)
Nevaeh Lee, MM#493003
Chinainhereyes, MM#580419 (I've lost count)
Massiel P, MM#612132
Katherine Eastman, MM#530083
Renee Arana, MM#592851
EmmJaii, MM#528350
Sheena Fong, MM#585884
Sheanna, MM#243930
Rachel Ramroop, MM#509381 (x2)
Brandon DeAnda, MM#383272
chaddircks, MM#517187
Zaara, MM#526567
Ideas I want to try 17 pics
My work in other portfolios 29 pics
Block this member
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thumbnail text
Who dares wins
Stockholm is often hailed as one of the world’s most beautiful cities. But when it comes to innovative architecture, the city is not mentioned so often. It’s been while since a new public building there became internationally recognised or even admired by the locals. There is a worry that any slightly more daring addition to the city would spoil the qualities it’s best known for: an immediate connection to nature and beloved, existing landmarks.
Now things are about to change. A new generation of politicians is speaking out for contemporary architecture and an architectural programme, Arkitektur Stockholm, is being formed. The city’s populations expected to grow from 2 million to 3.5 million by 2030, which creates a need for residential development. It’s a chance for the city to rethink design.
Erik Slottner, local politician for the Christian Democrats and a member of the City Planning Committee, calls for more creativity and playfulness in the cityscape. “In Stockholm, architectural projects often start out ambitiously. Then they go through politicians, protest groups and consultations, and get watered down,” he says. “We have a lot of flat roofs and straight lines. That can be very nice, but if everything is built like that, it gets boring.” The aim of the new initiative, says developer Oscar Engelbert, is to “build big and small jewels all around the city”.
Three interesting projects
1. Hjorthagen gas holders: Two former gas holders will be converted into residences and cultural venues, including a new, 47-storey skyscraper by Herzog & de Meuron. The expected completion date is 2016.
2. The new Slussen: Foster + Partners and Berg Arkitektkontor recently won the competition for restructuring Stockholm’s crucial transportation hub. The project will be finished by 2022.
3. Scandic Victoria Tower: Swedish architect Gert Wingårdh is designing a 34-storey hotel in Kista, which will be among the highest buildings in Stockholm. It will open in September 2011.
Smiles to go
It’s the little things that count – and a happy face is definitely one of them. In Helsinki, a local youth group has initiated a campaign urging citizens to smile at bus drivers.
Too often, it is claimed, passengers buy their tickets or register their travel cards without saying a word or even looking at the driver. The campaign, which features posters with sulky and smiling faces, aims to make life sunnier for both the passengers and the drivers.
Reception has been positive – but critics point out that in order for the scheme to really work, maybe the drivers should start smiling too.
Green dreams
Germany’s second-largest city, Hamburg, has been hard at work to promote sustainable living and officials aim to cut CO2 emissions by 40 per cent by 2020.
1. Nearly all of the city’s residents are within 300m of a park and more green corridors are being made.
2. The local renewable energy industry has attracted over 100 firms such as leading wind turbine maker Vestas.
3. To tackle noise pollution, a canopy of vegetation will cover 4km of motorway that runs through the city.
Mayor change
The UK’s 12 biggest cities outside London will be able to directly elect mayors if planned legislation is passed next year. Cities such as Birmingham and Manchester had mayors in the 19th century – now they have to make do with less charismatic council leaders.
José Sá Fernandes
The Portuguese capital has the nickname “city of the seven hills” but independent councillor José Sá Fernandes is determined to open the way for cyclists. Despite criticism from drivers, residents and some cyclists, local government has completed around 40km of bike lanes. In less than a year there will be 50km.
How do you intend to increase the number of cyclists?
We want to reduce the traffic and speed limits in some areas. We’re negotiating with swimming pools and other equipped buildings to let cyclists use their showers. We’re going to start visiting schools, telling students which lanes they can use to get home. Early next year, we’ll launch a massive campaign promoting the health, traffic, environmental and safety benefits of cycling.
What about the hills?
The only problem is the historic neighbourhoods. We’ll solve that with a bicycle sharing system, electric bikes and possibly elevators. People say in times of crisis this shouldn’t be a priority. On the contrary: people will spend a lot less if they start cycling to work. And the investment on the whole project was reduced: €5m, half of it paid by firms with which we have established partnerships.
Some cyclists say the project promotes cycling as a leisure activity and not a means of transport.
The initial plan was to join the dots between green areas. But many of the paths cross the centre of the city. Getting to the old city is still difficult. We’re thinking of turning the side lanes of the main boulevards (Liberdade and República) into bike lanes.
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• The Atlantic Shift
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€43 / hr Offre moyenne
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We want a technical expert to help integrate unreal Studio and real time rendering into our VfX production pipeline — You are very familiar with Unreal Engine and subsidiaries Fun to work with — have an interest in forming relationships with independent studios in the states if you have developed with Unreal Studio / Real-Time — message us
€164 (Avg Bid)
€164 Offre moyenne
2 offres
I'm performing a small test to see if i can collaborate with you in the future. It's 10 seconds 3d animation with vfx /environement and characters simulation. Pricing between 8 to 30$ for that test. Need to have prooven experience.
€42 (Avg Bid)
€42 Offre moyenne
6 offres
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Hello, MattBatFilms Media is looking for a video editor for an upcoming Amazon Prime Video ...MattBatFilms Media is looking for a video editor for an upcoming Amazon Prime Video Series. And we will need you to work throughout the series! We are expecting very high quality. You must be able to do: - Keyframing - Editing - Color-Correction - VFX + More!
€16 / hr (Avg Bid)
€16 / hr Offre moyenne
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€91 (Avg Bid)
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€18 (Avg Bid)
€18 Offre moyenne
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€40 (Avg Bid)
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€44 (Avg Bid)
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€64 (Avg Bid)
€64 Offre moyenne
16 offres
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€952 (Avg Bid)
€952 Offre moyenne
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I'm looking for someone who can make 2 VFX changes on 2 video, the first is to change an iron baton into a baseball bat, and the second is to remove the image of the technician we see in the glass of the wardrobe. Thank you
€42 (Avg Bid)
€42 Offre moyenne
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€555 (Avg Bid)
€555 Offre moyenne
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€187 Offre moyenne
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€679 (Avg Bid)
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€954 (Avg Bid)
€954 Offre moyenne
9 offres
We're looking for an experienced, talented and detail-oriented 3D & VFX Artist-Animator to work effects & simulation on part of five scenes for an Indie Film as attached: 1. Scene 1-5 – tasks highlights: • Remove Green Screen and replace characters on the animated environments • Apply Rotoscope and replace character on other shots • Modify shots adding
€436 (Avg Bid)
€436 Offre moyenne
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697d4430-c1fc-4948-91d4-c69b336f62b6
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OTTMAR HÖRL – Sculpture – Hear Nothing (2006) – Silver
This amusing garden gnome sculpture is part of the trilogy the Bearers of Secrets: See nothing, Hear nothing, Say nothing” (2006). Accepting an invitation from the Art Fair art Karlsruhe, Professor Ottmar Hörl, President of the Academy of Fine Arts in Nuremberg, presented an installation of 1200 dwarfs titled Bearers of Secrets: See nothing, Hear nothing, Say nothing”. The gnomes were designed in the three different poses (respectively covering their eyes, ears and mouth). Professor Hörl spoke of a “gentle provocation” particularly in the City of Justice. His parade of gnomes arranged in a rectangular form on a gigantic wooden construction certainly provoked some smiles. The comparative political idea, which may be individually interpreted by any spectator, represents an art which seeks to provoke discussion and doesn’t try to hide in the protected atmosphere of a museum. Those gnomes refer to the popular pictorial maxim the Three wise monkeys”, a 17th-century carving over a door of the famous TÅshÅ-gÅ« shrine in NikkÅ, Japan. The three monkeys, Mizaru, Kikazaru and Iwazaru together embody the proverbial principle to “See no evil, Hear no evil, Speak no evil”. There are various meanings ascribed to the monkeys and the proverb including associations with being of good mind, speech and action. In the Western world the phrase is often used to refer to those who deal with impropriety by turning a blind eye. Dimensions: 14.57″ x 6.69″ x 3.94″ Materials: Molded plastic, made in Germany. Special edition signed by the artist.
2 in stock
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