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Skip to main content
Elysian Fields Interview
Elysian Fields - How it was Made
We’re fortunate to be able to host Elysian Fields here on 3DVisionlive for all of you. Winner of a number of accolades, including multiple “Best Animated 3D Short Film” awards, it’s hard to watch Elysian Fields and not be drawn into its world.
The short was brought to us through Susan Johnston, Founder/Director of the New Media Film Festival, who was also kind enough to provide us with the following interview of Elysian Field’s creator, Ina Chavez.
What is the Inspiration behind the film?
My father, Egon Conradi, a World War II veteran, passed away three years ago. Having never said a proper goodbye, from the beginning of its production, Elysian Fields was designed to be in memory of my father. Although he was a tough and hardened war veteran, my dad was very supportive of my decision to become a fine artist; however often he would critique my abstract art paintings saying that he had a hard time understanding my art. The idea of making a war film came to me with his passing like a sudden revelation. I wanted to animate a painting that would have seemingly representational clarity but at the same time would have the freedom and bewilderment of a totally abstract story, one which we can gaze endlessly at, one we would not be able to explain neither to ourselves nor to others, one we could enjoy and love without necessarily knowing why.
What were your main challenges with the production of the film?
The film was originally intended to be an installation piece in a gallery. The Institute for Media Innovation at the Nanyang Technological University enthusiastically supported this idea and invited us to create film to play in their 320 immersive theater. It is a large gallery like room where one is surrounded with a curved panoramic screen. So we worked parallel on two outputs: one was for panoramic 320 immersive stereo theater and another one was for cinema. What worked well in one space and screen would not work with traditional cinema format, unfortunately. Not only that, it required different formatting and stereo tweaking but the story flow as well as audio needed to be adjusted. This was hard.
An additional challenge was to make the film play well in a standard stereoscopic commercial cinema format DCP. With the support of an NTU research grant I was able to rent a commercial theater for private screening in January of 2013. Filmgarde Cineplex–BUGIS+, Singapore allowed us to bring files back and forth to test until we got it right. They usually do not handle small films and we had to figure all on our own. Once we did, we were so overwhelmed with the impact that we moved from a 150-seat to 300-seat capacity theater.
What about the film are you most proud of?
After the entry to New Media Festival and notification of early acceptance we got confident and started sending the film around to festivals. Seeing film play outside of Singapore for the first time at the Hollywood New Media Festival, at the such a grand venue as Landmark Theatres and with so much clarity in projection and audio and on top receiving award for 3D innovation, was a thrilling experience. Soon after the film got in the 67th Edinburgh International Film Festival as well as won another award for stereo at the 9th Hollyshorts International Film Festival. The screening in the famous Chinese Theaters in Hollywood was amazing as well.
The film was selected for the famous Ars Electronica Deep Space Live Projection in Linz on the occasion of the festival “Total Recall: Evolution of memory” commemorating the events of WWII.
What is the Goal of the film?
The goal of the film is to reconnect with people we miss and at the same time to deeply connect with other people around us. My biggest satisfaction was the question a 16-year-old boy named Airan from Germany asked after the projection; “where did the ocean go?” after seeing the dried and barren landscape at the place where the sea used to be…. Everyone should leave the film inspired and moved to ask questions.
The Film Elysian Fields is about the paradox of war. Wallace Stevens, an American Modernist poet, once wrote, “Everything is as unreal as real can be," summarizing that the reality and the world we see is the result of our imagination. Wars are real but very often confusing and consequences of the madness, greed and fear. Contradictory to any logic, war carries divine paradox. There is no right or wrong - in the chaos of war everyone is in conflict, in harm and suffering. It sets free mad courage and with it irrational reasons and sacrifices for belief to reconnect and put pieces of life together over and over again. War brings about sad existential dejected statement summarized by Charles Simic, (Serbian-American poet), "We are here today, gone tomorrow". What makes us go on? Most importantly what makes people remain passionately engaged in finding meaning in life? What is the material that our consciousness, imagination and memories are made of? Inspired by the serious theme of war "Elysian Fields" is a meditative film and very much an imaginary projection about the war. The Elysium is in Greek mythology a paradise, land for the souls of heroes resting in piece on the edge of the Earth by the stream of "Oceanos" or World Oceans.
"If you find yourself alone, riding in the green fields with the sun on your face, do not be troubled. For you are in Elysium, and you're already dead!" Maximus "Gladiator" by Ridley Scott
How was Elysian Fields made?
The project is supported by the Institute for Media Innovation, the Ministry of Education (MOE), and is the outcome of artistic research conducted under the auspices of the academic research community at Nanyang Technological University, School of Art, Design and Media. We had a time of two years to finish the film.
The production was done out of my studio/ office at NTU. The research funding allowed me to hire full time project officers to work full time on the film. The equipment purchase was minimal-and we were fortunate that NTU just set up a stereo Lab with large stereoscopy projection as well as a small 40-seat stereo theater where we were able to do first tests. The render farm and motion-capture studio were also available for us to use. Without these facilities- it would have been much more difficult and almost impossible.
The production started in august of 2011. Almost three months were spent in heavy research on visuals and mood of the film. I am a painter and before the narrative I work with the style, art periods and movements. It is the style of the visuals and color flow on the story board that leads to narrative. Once we had that down it was easy to structure story of the film. We watched a lot of experimental movie genres.
We started in summer of 2011 and were, in rough, done by summer 2012 – and starting rendering. But it took half a year to polish and improve in post production and stereo tweaking.
How many people worked on the film?
Only four people worked on the film, including me. They are young animators from Singapore: Joshua Tan, Davier Yoon; and for sound and music, Jeremy Goh. Joshua Tan and Davier Yoon did the entire pipeline production from VFX visual side to animation and stereo. We had NTU technical support helping us for glitches in rendering services and mocap, and facilitating access to equipment to test stereo in late post-production phase. Davier joined my research in stereo in December of 2010 and early 2011 on the experimental abstract Film Le Phénomène Atmosphérique .We had developed a great working relationship since then. I have known Joshua since 2007 and we have been working on and off on short undergraduate research projects while he was still in school. After graduating from NTU he wanted to take a break and do something challenging and interesting. We also have few seconds of the film - when the water gushes into cockpit - done by artist Ivan Yew who specializes in Next Limit Real Flow and has been working with me in the past as well on abstract painting projects. Music and Sound Art played the major and crucial part of the film. We always wanted to have music done first but got carried away with production. Musician and Davier’s long-time friend, Jeremy Goh joined us in summer of 2012 and started working on the sound design and music. He brought amazing depth and vision to the project with a unique experimental and contemporary approach to theme and style. He was also involved in editing of the film as we tried to tie music and visual the best we could. After completing the film, Joshua and Davier founded their own company CraveFX Pte Ltd, a post-production house that provides 3D animation, motion graphics and visual effects services.
What were some of the software tools you used to create the film’s effects?
• Maya ( Maya Fluids and Maya Paint Effects), Next Limit Real Flow, After Effects
• We were looking into Fume FX but were worried as there was plug-in for Maya.
• So all the smoke and fire effects were done using Maya Fluids
• We do have a motion-capture room and were able to use to speed up on animation.
NVIDIA would like to extend its thanks to both Ina Conradi and NEW Media Film Festival for bringing Elysian Fields, and this interview to 3DVisionLive.com.
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31 Aug 2019 – 15 Sep 2019
Event times
saturday and sunday from 12.00 till 18.00 and on pre-booked appointment ([email protected])
Cost of entry
free of charge
Save Event: CrossingBorders
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Over 30 artists connected to the international collaborative mixed media platform Global Art Project (GAP) are participating within the CrossingBorders exhibition.
Over 30 artists connected to the international collaborative mixed media platform Global Art Project (GAP) are participating within the CrossingBorders exhibition that will take place from August 31 till September 15 2019 at the Sint-Amanduskapel (Campo-Santo), Visitatiestraat 2, Sint-Amandsberg in Ghent, Belgium.
CrossingBorders is a conceptual collaborative group exhibition project for art professionals affiliated with Global Art Project GAP worldwide aiming on transferring the projects concept to the public and extending the participants professional international networks and art market. The CrossingBorders exhibition aims to bring together Global Art Project affiliated artists from all over the world, who are highly motivated to collaborate with each other across national borders with the ambition to enter each other's markets artistically. The CrossingBorders exhibition has been curated by the American artist and founder of Global Art Project, Carl Heyward and the Dutch artist and curator Ron Weijers. The curators of the CrossingBorders exhibition, stimulate and expect a conceptual reflection on distances or barriers, included in the perceptual context of a border, a blocking in thinking, acceptance and/or understanding by means of political issues, globalisation, (im)migration, climate change, gender, race, culture, religious racism, terrorism, genocide, war, misogynist behavior, feelings of fear or superiority etc etc... In other words, the GAP artists reflect upon their own conceptions about what constitutes a border or boundary and what it means to cross it.
Furthermore, the CrossingBorders concept also strongly intends to reflect on the role of migration as embodied in works of art. Centring on the physical and conceptual manifestations of the effects of migration and migrants on art. This issue also invites a focus on diasporas of practitioners and their reception by new audiences or consumers. The current ‘refugee crisis’ represents, above all, an international political crisis as lack of coordinated action that for instance has stretched the European Union relations almost to breaking point. In many countries populist right wing parties have been given a new lease of life with increasing numbers of people turning their backs on an open and liberal society. CrossingBorders stimulates reflection on the role of migration as embodied in works of art, material culture and their conservation.
The CrossingBorders exhibition will be on display at the Sint-Amanduskapel (Campo-Santo), Visitatiestraat 2, Sint-Amandsberg in Ghent, Belgium, from August 31 till September 15 2019. The CrossingBorders exhibition will be officially opened on August 31 - 16.00 by Tineke Schuurmans representing museum Verbeke Foundation in Kemzeke in Belgium. As part of the official opening a performance will take place by dance group Puls'Art from Macha Mélanie (choreographer) supported with a video projection by the Dutch photographer Frans van Viegen.
The following group of GAP affiliated artists will participate within this international exhibition (in alphabetical order): Nadi Adatepe - Norway, Lynn Arnold - USA, Brian Auerbach - USA, Francis Beaty - USA, Pat Calabro - USA, Linda Coppens - Belgium, Mar Daines - France, Mikel Frank - USA, Ana Gabiño - Mexico, Carl Heyward - USA, Jennifer Homer-Hynes - USA, Christopher Padgett Hunnicutt - USA, William Jaggers - USA, David Jenowe - USA, Macha Melanie - France, Naomi Middelmann - Switserland, Emmanuel Montoya - USA, Susumu Ohira - Japan, Judith Pauly-Bender - Germany, Compagnie Puls'Art - France, Glen Rogers - Mexico, Isabel Ruiz Perdiguero - Spain, Akiko Suzuki-Heyward - Japan/USA, Patrick Tagoe-Turkson - Ghana, Christine Verhaert - Belgium, Frans van Viegen - the Netherlands, Ron Weijers - the Netherlands, Syporca Whandal - Hungary, Madeleine Wories - USA and Dimitri Xato - France/Spain
Location: Sint-Amanduskapel - Campo-Santo
Visitatiestraat 2 - 9040 Sint-Amandsberg - Ghent - Belgium
Timeframe: August 31 till September 15 2019
CrossingBorders is organized for Global Art Project GAP by 10dence
further information, please contact: 10dence - [email protected] - 06-12184120
Additional information about Global Art Project
Global Art Project (GAP), founded by Carl Heyward, Akiko Suzuki, Lorna Crane, Chaewon Oh and Vered Gersztenkorn is an international group of artists with diverse interests and backgrounds; their common belief in art making as a natural part of the human condition, and collaboration as a key component, enables them to produce work that embodies a special kind of truth. Like the Fluxus artists, the principles that underlie the GAP philosophy include the belief that trusting the process of making art is fundamental to its creation, that art as a means of communication has a universal, cross cultural reach, and that education is not essential to understanding or appreciating of a work of art. It is unrestricted and available to all, not only those who can afford to purchase art or visit museums where carefully selected precious objects are carefully guarded.
Going beyond the surrealist’s concept of “automatism,” the GAP artists yield to the release of the separate and distinct grasp for the sake of a combined learning and aesthetic experience. Much of the work produced by this group is characterized by raw energy combined with elegant, intuitive, unplanned design. Implicit mutual faith, relinquishing of territorial boundaries, and conviction that the result will reflect the authenticity of the experience are essential to the practice. It is different from “group think”, or individual artists working on a project together. The concurrent action of the workers, without a predetermined program or plan, instigates a communal vision, giving rise to aspects of the unknown which would have otherwise been unreachable. Each mark, stroke, gesture, shape, color, and texture retains its intrinsic qualities while transforming into a collective composition. The process takes time, so there is an element of sequential movement to the work. The time that it takes for the eye to travel around a composition, following the impulses of the various artists involved in its creation, is an interesting variable in this process. While often nonobjective, the content of the collaborative work sometimes contains explicit images of public figures, or recognizable icons juxtaposed with self-contained formal elements. The results present us with an interesting dichotomy because, like all two dimensional art, it is seen instantaneously, but can often be best appreciated over time. The nature of this work is provocative on many levels, and has endless possible routes to the yet to be discovered.
GAP is linked by activity in mixed-media art practice, which may be reduced to working with the materials at hand and has antecedents in collage, assemblage, found-object and related practice. Their affinity with Fluxus, Cobra, and the Dada Art Movement is a recognition of the importance of being attuned to the collaborative future.
Ron Weijers
Carl Heyward
Exhibiting artistsToggle
Compagnie Puls'Art
Linda Coppens
Ana Gabiño
Nadi Adatepe
Madeleine Wories
Carl Heyward
Dimitri Xato
Naomi Middelmann
Patrick Tagoe-Turkson
Pat Calabro
Akiko Suzuki
Mikel Frank
Isabel Ruiz Perdiguero
Brian Auerbach
Frans van Viegen
Mar Daines
Francis Beaty
Macha Melanie
Judith Pauly-Bender
Christine Verhaert
Jennifer Homer-Hynes
Christopher Padgett Hunnicutt
Syporca Whandal
William Jaggers
Lynn Arnold
David Jenowe
Glen Rogers
Susumu Ohira
Ron Weijers
Emmanuel Montoya
Have you been to this event? Share your insights and give it a review below.
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1. Sonder
by Soba Productions
Watch the film
The studio
Storytelling across time zones
Neth Nom and Sara K. Sampson work long hours at their major-studio day jobs, where Neth is a supervising animator at Google Spotlight Stories & Chromosphere Studios, and has worked at studios such as Pixar, Disney, and Sony, while Sara works as an animation producer and was a production engineer on Pixar feature films.
Sara K. Sampson, Producer, and Neth Nom, Writer-Director
Several years ago, when Neth conceived the idea for a story about a young man struggling with the end of a relationship,?these two busy industry professionals committed much of their free evening and weekend time to bring his story to life.
The Soba wrap party in Berkeley, CA. Many of the crew members met each other for the first time at the event.
And a huge part of their creative journey was assembling a highly talented team to assist them. Starting in 2015, they engaged an equal number of male and female artists from far-flung locations. Yee Sum Hoi managed creative departments from Malaysia, Ruby Han helped with layout and set dressing from Japan, Sunny Tien?supervised art from Taiwan, and Jean Moreno, their lighting & shading tools lead, did his magic from France.
The group calls itself Soba Productions, and many of the crew members didn’t actually meet in person until Sonder’s wrap party in Berkeley, California in spring 2018.
The project
A dark story about love and loss
A charming yet dark fantasy about falling in love, heartbreak and loss, Sonder is like a two-genre marriage of Eternal Sunshine of the Spotless Mind, a sci-fi drama, and Princess Mononoke, an animated epic. The team’s goal was to create a compelling 10-plus minute film that would be screened at festivals around the globe.
Watch Sonder's producer and director share their production insights
“We wanted a distinct look for the film, combining the familiarity of 2D animation with the richness of fully realized 3D environments. We also wanted to innovate with our production process,” says Neth.
Concept art of the two main characters, Natalie and Finn, by artist Julia Blattman
Their biggest challenge? Achieve the quality that Sara and Neth were accustomed to at their major-studio jobs, yet produce it?with an indie budget and pipeline.
Concept art of Finn by artist Yu Chin Tien
Their solution? Create the pipeline in Unity, leveraging its real-time rendering capabilities to achieve the desired graphical quality in half the time, and at half the cost, without needing a render farm.
But could this new pipeline give them the feature-film look they were striving for, yet with a crew new to Unity?
The reveal
Mastering the tools, crafting the story
Soba quickly got to work identifying the tools they’d need to build their story.
Led by CG supervisor Farhez Rayani, the team set out to achieve that high-end animation look. Particular focus was placed on the characters' eyes, which can so often make or break the look of the art style.?“Eyes are an?important feature when it comes to filmmaking – this is how we connect with our character,” says Sara.
Separate controls for each part of the eye helped achieve the high-end look
They employed the Toony Colors Pro 2 shader from the Unity Asset Store. One benefit of this shader was the separate controls for each part of the eye. “This gave us the flexibility to tweak the pupils, gleam, highlights, and iris per shot, ultimately enhancing character performance.”
3D assets and 2D goals
They went for a 2D toon-shaded look, even though all their assets were 3D, which meant they had to develop some sophisticated shader designs.
“We wanted the shader to be unique to give the film a special look. Our goal was to create a distinct visual style, one that you don’t typically see in projects made with a game engine,” explains Neth. “To achieve it, we created a custom shader tool, designed by Jean Moreno, our shading & lighting tools lead.”
The result is a simplified, almost 2D style, accomplished with 3D animation techniques. “The combination plays really beautifully, and we couldn’t be happier with how it turned out,” says Neth.
The Alembic Importer proves its worth
Since all their assets were created and animated in Maya – with easy round-tripping in and out of Unity – the Soba team also depended on Unity’s Alembic Importer tool for handling the animated assets, which Neth says, “saved our lives.”
Soba's Alembic workflow from Maya to Unity
“Our Pipeline and Tools departments worked most directly with Unity, as did our Lighting department,” says Neth. “We also created an Assembly department to package assets from Maya into Unity.”
… and they bring it all together with Timeline
Andrea Goh, TD?supervisor, oversaw Sonder’s assembly.?Once all alembics were imported, they used Timeline to choreograph the animation. For Neth, this was one of the project highlights and a significant benefit of working with Unity: The ability to query the frame ranges and preview the alembics in Timeline.
Timeline was crucial for choreographing the imported alembics
Selecting Unity for Sonder turned out to be the perfect recipe for this moonlighting team.
“We no longer have to spend hours rendering frames only to find we need to adjust a character’s eye highlight. With Unity, what we see in the scene is what we get. This lets us address notes and fixes on the fly while granting artists more time to achieve the desired look. As a result, we save a great deal of time in our production,” says Neth.
Sonder made its exclusive premiere at Unite Berlin, June 2018 and has been selected for over 17 festivals around the world since. The film will be released publicly online late 2018.
Create your own rich, cinematic content using Unity tools like Timeline, FBX Roundtripping, and the Post-Processing Stack
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Siberian artist Anna Kokareva, alias Annie Bimur, complempletely blown us away with her wonderful inchies that she created to exchange at the polymer clay event that was held at the start of October in Russia.
“This micro-festival unites no more than 20 polymer artists from Russia and Belorussia. For three days we studied amazing new techniques and enjoyed a friendly atmosphere,” says Annie about the event she attended.
Exchanging inchies, small squares from polymer clay created with different techniques and mediums, became a tradition for many countries. In Europe and USA many polymer clay events do the same. Trading and collecting little artworks from different artists presenting their skills and ideas in this clever form and can look back to those wonderful memories they created with other enthusiasts.
Look closely at Annie’s inches that present little volcanos, a nice three dimensional effect. While her main occupation is editing scientific texts, her spare time she dedicates to creating from polymer clay as she has been constantly searching for new ideas, shapes, techniques, and original materials to play with. Check her Instagram to see more of her original art.
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ORIEL y Parc in St Davids is thrilled to present John Constable's painting Salisbury Cathedral from the Meadows of 1831.
One of the greatest masterpieces of British landscape art, it was the painting by which Constable wished to be remembered and represents what he considered to be the culmination of his artistic achievement.
In 2013 Salisbury Cathedral from the Meadows was saved for the nation through the Heritage Lottery Fund, the Art Fund (with a contribution from the Wolfson Foundation), the Manton Foundation and Tate Members, and is presented at Oriel y Parc as part of the Aspire partnership programme.
This six month display, starting on Saturday, March 19, will explore some of the themes in Constable's great painting, with connections to the Pembrokeshire landscape.
Other works on show include images of the Pembrokeshire Coast National Park by Constable's great rival, Joseph Mallord William Turner, from his trip to west Wales in 1795.
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Radio Chipstone: The Rebirth of Madison's Central Library
Jan 20, 2018
Built in 1965, Madison's Central Library couldn't imagine the challenges of the digital world. So, in 2012 it shut down for two years and re-emerged as something that looks like a cross between a museum, student lounge, and a coffee house - designed to anticipate change and the needs of the community.
"When we came back it kind of did feel like a trail by fire in some ways," says Digital Services & Marketing Manager for Central Library, Tana Elias. "We really had to re-imagine everything - from how we move the books through the building to what kinds of programs and services we provide."
"I feel like the new space just has a lot more energy," she continues. "It's okay to be loud, to be artistic, to bring your coffee, talk to other people in this space. And it's ok to ask any question and you'll still get an answer. So as some things change, some things are still the same as well."
Elias notes the new library is a living space that the community was instrumental in creating. In this edition of Radio Chipstone, Elias tells contributor Gianofer Fields that while the space is new, they also wanted to make sure they maintained old relationships:
Material culture contributor Gianofer Fields curates the Radio Chipstone series. The project is funded by the Chipstone Foundation, a decorative arts foundation whose mission is preserving and interpreting their collection, as well as stimulating research and education in the decorative arts.
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Tom Critchlow
experiments in hypertext thinking
home / wiki / strategy consulting / diagrams
Diagrams and Doodles
Diagrams and Doodles
How do diagrams and doodling fit into strategy consulting? They’re related and adjacent. I believe doodling and diagrams are good practice for creating frameworks. See my post here for more on that:
Below are some interesting diagrams, doodlers and examples I’ve collected. Hopefully I’ll keep this updated:
Venkatesh Rao of Ribbonfarm fame
Venkatesh has tons. Drawings, doodles, diagrams, flows and more. Some faves:
1/ Lemme do a 1-slide presentation since I'm feeling job sick. Title: How to Actually Manage Attention Without Smashing Your Phone and Retreating to a Log Cabin pic.twitter.com/kEPZUh7g50
— Venkatesh “Tetris” Rao (@vgr) October 4, 2018
https://www.ribbonfarm.com/2014/09/03/how-to-fall-off-the-wagon/
https://www.ribbonfarm.com/2018/07/19/quiver-doodles/
https://www.ribbonfarm.com/2017/06/06/thingness-and-thereness/
Many beginning consultants have a weird kind of insecurity that leads them to invent and rely on over-complicated, bespoke constructs that they can name after themselves. While these can sometimes be useful, especially ones that are developed and refined over many years, across hundreds of applications, such as Wardley maps, in general, they are fragile visual bullshit. You’re much better off learning to use the basic commodity diagrams well than trying to make up and sell your own in most cases.
source: Basic Consultant Diagrams - The Art of Gig
Ben Thompson of Aggregation theory fame
https://stratechery.com/aggregation-theory/
Toby Shorin of Subpixel Space fame
https://subpixel.space/entries/diminishing-marginal-aesthetic-value/
https://subpixel.space/entries/each-binary-contains-a-universe/
Mark Pollard
All the good stuff is on Instagram: @markpollard
Nahee cyberdiagrams (nsfw)
The best instagram account I follow. Hands down.
Imagine a venn diagram of cyberfeminism, erotica, developer manuals, code and art. Mildly NSFW:
https://www.instagram.com/nahee.app/
Think Clrly
http://www.thnkclrly.com/
Hugh MacLeod
Ex-ad-agency starts doodling on business cards. Gets good. Becomes famous. Turns doodling into a strategy consulting firm. Magic.
https://twitter.com/hughcards?lang=en
https://www.gapingvoid.com/
Wardly Maps
Related to the frameworks and diagrams idea is the notion of “wayfinding” in strategy. Most famously Wardly Maps. More on that here: https://medium.com/wardleymaps
And there’s a fun tool to build your own here:
https://mapscript.org/ide/
Maps of the mind looks delicious.
Good deck of visual slides from Julian Cole here
But beyond their two-dimensional depictions of a physical world, maps also afford us the freedom to express the cosmos; to make all kinds of ideas about the spatial relationships of multiple components unexpectedly clear. To draw one is an effective way to establish order on an otherwise chaotic environment. To make it navigable. To make it rational.
source: The Importance of Visualisation
Emissaries guide to worlding - a lovingly designed book that has tons of interesting diagrams in it.
In one of the classes I teach at CCA, students were confused by mental models, conceptual models, concept maps, etc. I ended up drawing a taxonomy for models on the whiteboard, and it may help others.
source: Five Models for Making Sense of Complex Systems – Christina Wodtke – Medium
https://medium.com/@cwodtke/a-visual-vocabulary-for-concept-models-f771b2b2e9
diagrams ↳ design process
diagrams of thought - massive arena channel!
https://twitter.com/geoffwilsonUX/status/912918557679288320
https://twitter.com/BorisAnthony/status/1144539930699423744
Synthesis maps and gigamaps (browse the archives!)
WHOAH: one page designs - hour video explaining how to make one page system designs. Incredible. (and slides here)
How Domain Experts Create Conceptual Diagrams and Implications for Tool Design
Speculative Drawing: 2011–2014
source: Speculative Drawing: 2011–2014
I only recently learned about Lawrence Halprin’s RSVP cycles, which proposed scores “as a way of communicating [artistic + environmental] proceesses over time and space… + as a vehicle to allow many people to enter into the act of creation together.”
source: Shannon Mattern on Twitter
diagram online with excalidraw
Sketching Science in the Seventeenth Century
What constitutes a sketch? We think at first of drawings and diagrams, but there are other forms of sketching. The OED offers several pertinent uses of the term, none of them earlier than the late 17th century. The first refers to the visual arts: “A rough drawing or delineation of something, giving the outlines or prominent features without the detail, esp. one intended to serve as the basis of a more finished picture, or to be used in its composition; a rough draught or design. Also, in later use, a drawing or painting of a slight or unpretentious nature.” The second extends it to literary creations: “A brief account, description, or narrative giving the main or important facts, incidents, etc., and not going into the details; a short or superficial essay or study, freq[uently] in pl[ural] as a title.” A third, rare usage, makes a sketch simply “[t]he general plan or outline, the main features, of anything”. One can find all three sorts of sketches at work in the formation of the new science of the seventeenth century.
Source: Sketching Science in the 17th Century
http://www.xplaner.com/visual-thinking-school/
https://twitter.com/nicolasnova/status/1376581318637670400
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• Pallas Citroen
Emmet Kierans 'Second Nature' Opens in Archway 16/07
In this solo exhibition of paintings, Kierans has depicted surreal scenarios that are conjured
from his imagination. Although often dealing with everyday experiences, these sometimes unsettling images hover between horror and science fiction.
The artist is interested in how imagination shapes and transforms our experience and how
internal narratives are conceived and influence our thoughts, imagination, dreams, and
desires. Specific motifs taken from popular culture appear and reappear: Tippie Hedren, one
of Alfred Hitchcock’s classic heroines, is seen in one work as a topless gardener in rubber
gloves tending a young sapling, and in another as a faceless shop dummy in a complex
painting, where strange and seemingly unrelated characters are jostled together in a faux
jungle scene.
It is the artist’s commitment to bringing together the unrelated that offers his paintings a
dream-like unease and powerful unreliability.
Unit 2, Boothby Road, Archway, London, N19 4AJ | [email protected] | www.bombfactory.org.uk
Private View: Thursday 14th July, 6-9pm
Dates: 15th - 24th July 2022
Opening Times: Thursday - Sunday, 11:00 - 17:00
Location: The Bomb Factory Art Foundation, Archway
Transport: Overground - Upper Holloway, Northern Line - Archway
Contact: [email protected]
107 views0 comments
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Under the Awnings
Stephen Tromans | Mixed Media | 16 x 20 inches
“Hong Kong is a city of bright sunlight contrasted with shadow.
Part of my series, “Elegy for Hong Kong”, based on memories of visits to that extraordinary city in the early 1990s.”
Please note that all proceeds from the sale of my work will go the British Red Cross Ukraine Crisis Appeal.
“I have had a career in environmental and energy law, a new field when I began to take an interest in it, forty years ago.
I have three types of work in this exhibition. Whatever the subject, my aim is to produce a work which succeeds in transporting the viewer, however transiently, into a different place or time. The focus is as much on what is experienced as on what is observed.
The first is a series entitled “Old Boozers”, which could refer either to the establishment or its patrons. I grew up in the Black Country in the 1960s and early 70s. There were many pubs, very far from the smart establishments of the 2020s. This is my homage to the pubs and people of that era. I have tried mainly to capture character and in the process tell a story.
Secondly, there is a series “Elegy for Hong Kong”. As a young professional lawyer I began visiting Hong Kong in the early 1990s in connection with some major waste management projects. I was immediately captivated by the character of the city, with its vibrant street life and imposing harbour. Exploring places like Pedder Street, Western Market, the Star Ferry and Kowloon made an enduring impression, which I have tried to celebrate here, using collage and mixed media to try and convey the bewildering and vital street scenes, with their incessant movement.
Thirdly, I have always loved and been challenged to paint remote, wild and mysterious places – what Turner would have known as “the Sublime”. The challenge is to show them as the extraordinary places they are.” Stephen
We do offer the Own Art Scheme to purchase artwork. At 0% APR, this is payable in equal instalments over 10 months. Please contact the Gallery for more information.
Availability: In stock
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Guido Geelen
Rodekool, boerenkool en savooiekool
Heavy question
If you had to guess. Which one of these cabbages do you think is the heaviest?
The cabbage on the left is a red cabbage made of gilded aluminum. It weighs 9,1 kilos. The one in the middle is kale. It is made from aluminum as well and it weighs 20,2 kilos. That is more than double the weight of the red cabbage. The cabbage on the left is savoy cabbage. This one is by far the heaviest, it weighs 49,1 kilos. That is because it is made out of bronze.
The artist
Guido is a Dutch sculptor and ceramist. He lives and works in Tilburg.
Ask me anything
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BG 1 2 3
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Rf. 2 – The Catenary
Before I started studying architecture I discovered an architect youtuber called Ter that explained concepts and things she liked of architecture in an enjoyable way. It wasn’t because of this youtuber that I chose to study architecture but I still like watching her videos. The other day I was rewatching some of her videos and I bumped in one of my favourite ones one talking about the Catenary.
To talk about the catenary we first need to talk about Robert Hooke and the arches. Robert Hooke was a very important scientific that tried to discover how arches really worked and what was exactly the way loads were transferred to the ground.
He discovered that in all the arches the loads followed the same curve defined by an equation, this curve is called the catenary.
This may not seem important but knowing the exact trajectory of the loads allows to build arches with only the exact amount of material needed and not with lots of useless material.
The catenary is also the shape that a chain with uniform weight has when it is subjected from the extremes but upside down.
After all these assumptions and investigations he stablished that the optimum geometry for an arch that only supports his own weight is an inverted catenary.
This was the first time I was really shocked about something in architecture that wasn’t the beauty or the shape of a building, I was amazed by the logic behind it, the math and the coherence.
It obviously isn’t because of this video that I decided to study architecture, that would have been very irresponsible, but I have to admit that this feeling of surprise and astonishment felt kind of good and I couldn’t avoid trying to feel the same way again. Thanks to that I kept watching videos about architecture, searched some blogs and pages on the internet and even started to look in a more analytical and curious way to what surrounded me.
Here is the video that inspired me to write this reflection:
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It's a creekmore world
Brazil Day 9 – Street art tour Rio De Janeiro
Street Art-29In 2013 I had the pleasure (and sometimes pain) of spending every third week or so in Shoreditch, London for six months. It was a grueling travel schedule, especially so shortly after Trish’s death. But it was professionally rewarding and it started a love of Street Art. Shoreditch is the birthplace of the commercial street art scene.
Emma and I took a tour when they visited me over the summer, and we loved it. We’ve been addicted ever since.
Street Art-4‘Tour’ in this case means a long walk with people that follow the scene and can identify some of the major artists. ‘Commercial’ means that the artists are usually aiming to make a living, and often sell art at galleries on the side. The art is usually illegal, at least technically , because it’s defacing property and you need to do it somewhat quickly so as not to be caught.
Street Art-27Street Art has it’s roots in graffiti or tagging, which is a youthful competitive game of ‘who can quickly tag the most difficult, public, dangerous places’. At the other end of the spectrum are the ‘muralists’ who only do work on commission and practice legally with all the time in the world, sometimes with scaffolds and
Nina and the Insomniac
Nina and the Insomniac
‘Defacing’ is a relative term in Street Art. Some of it is shit. But ff Banksy stencils your building, it’s instantly worth a half million pounds more, some of which you’ll need in cash to protect the building because people will come and try to chip your wall off and take it from you. There is lots of bad street art, but if you get a good one, you’re lucky.
Street Art-1Rio’s Street Art scene got a boost a few years back when they made it legal (with some limits) to create it. The sanitation workers that are responsible for paint rolling over graffiti had to take a class on the differences between Street Art and Grafiti, which is kind of hilarious.
Street Art-16In addition to the legality, there is a more supportive and collaborative community in Rio. They almost never aggressively paint on top of each other as is common everywhere else – and they even get permission to connect images or often outright collaborate together.
Street Art-11We almost always have to do this on travel because D.C. has a very stunted street art community. The ego federal bureaucracy is in an epic battle with the id scenesters for control of the city’s identity. Unsurprisingly, the bureaucracy is winning.
Street Art-13Rio Street Art Tours is a two-girl team that picks us up in a large van along with several Wharton MBA students on their winter break. We take 5-6 stops around the city and explore the street art scene. Their knowledge is good, they have obviously immersed themselves in the artist community. Their English is amazing.
Street Art-2We start the tour with a statement work by Eduardo Denne, who does drip stencils, usually of women and children. Poverty and inequality in Brazil has been improved a lot in the last few decades, but it’s still a massive issue. Women and children suffer a lot still and the walls serve as a collective memory for suffering. He also does some very lighthearted stuff, including the detailed stencil work above.
Street Art-50Zezao may be the most famous artist from Brazil. Also from Sao Paulo, he is famous for having tagged in the sewers – places sanitation and sewer engineers wouldn’t even go because they were so toxic. Here is one of his signature blue abstract designs on a busy highway below Christ the Redeemer.
Street Art-10The fleshbeck crew are the largest and most well known group of Street Artists in Rio. Toz is one of the most prolific of them. He does the one up top entitled Nina and Insomniac, as well as the ‘jungle baby here’.
Another member of Fleshbeck crew is Pia’, who does these wonderful abstract designs like the devil belowt.
Street Art-24The Rio Art scene is quite open and collaborative, unlike Shoreditch, London, where the scene is socially and economically competitive. In London part of your street art cred is you willingness to ‘defend’ your territory from rival taggers and white-walling sanitation workers. In Rio, ovberwriting someone’s street art is culturally unacceptable.
Street Art-14It’s much easier to get into the community. Some, like Muta group are college educated and trained and have design firms on the side. here they ave built a tiled mural for an otherwise ugly underpass.
Bruno Life
Bruno Life
Others like Bruno Life and Wark Mocina are two of the upcoming artists, both very very young and with little conventional training. But they have been embraced solely from their youthful display of talent.
The growth of street art is a fantastic addition to gritty urban streets, enlivening the surroundings for residents and tourists alike. The Creekmores love these tours, and we suggest them highly on your next adventure travel trip.
Wark Mocina
Wark Mocina
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Future Publishing Ltd
category_outlined / Photography
Photoshop CreativePhotoshop Creative
Photoshop Creative No. 135Read Morekeyboard_arrow_down
access_time1 min.
[email protected] New Year! We hope your creative batteries have been recharged and you’re ready to get stuck in to even more Photoshop tutorials during the year ahead. This issue we have an exciting feature on how to create fantasy and sci-fi art using masks. Turn to p16 to get started, and check out the tutorial that follows it to have a go at re-creating the image on the cover. On p66 we explore the thought processes behind creating concept art and look at real-life case studies. We go behind the scenes at INK studio and look at how it recently used Photoshop to create artwork for Jaguar. Plus discover just what Elements is capable of and learn how to create sketches, surreal scenes and more. Remember there are also $280…
access_time3 min.
trending images
There’s nothing more inspiring than surfing the internet and seeing what other artists are creating, and we encourage you to do so. Here are some of our favourite pictures that caught our attention recently, from some of the world’s most exciting artists and designers. Amar Kakadwww.behance.net/amarkakad“These cars were both stationary when they were shot, before they were retouched and then incorporated into a dramatic composition. This picture was originally created for an article on supercars.” This digital painting is a superb example of how you can use apps to create art. Adobe has selected it to showcase the Sketch app. We love the range of brushstrokes: it certainly inspires us to pick up a tabletSpencer Watsonwww.spencerwatson.ca“This image is titled Audrey, and is one of a series of digital paintings created…
access_time1 min.
readers’ images
Jeferson Silvawww.photoshopcreative.co.uk/user/jefferzImage of the issue “I tried to show my creativity and the love I have for nature in this picture. I wanted to portray India with this composition, but as I was creating, a kind of paradise came into my head.” Rabin Dhakalwww.photoshopcreative.co.uk/user/rabind1“I call this The Lime Surfer. It consists of six different images, which I combined in Photoshop CC 2015 to create this effect. The Warp and Transform tools were used, along with adjustments and a lens flare.” Edit Ballaiwww.photoshopcreative.co.uk/user/editballai“This picture is about how we should respect nature. The photo of the hands was originally shot with a friend who modelled, then I added nature elements, including grass, trees and ivies.” Achraf Baznaniwww.photoshopcreative.co.uk/user/abphotographe“This picture consists of the small man, the background and the paper hearts. I took all…
access_time2 min.
readers’ challenge
Challenge entriesThe best entries and overall challenge winner 1 Hendrix HawkinsStill Happy At Any Time“I tried to create something as real as possible, but something that can put a smile on your face. I placed the shark beneath the waves and the two gamers in a boat each with juice drinks.” 2 Jeferson SilvaWatching The Game“In this entry, the shark and a few fish are all watching the game. Adjustment layers were used to recolour the original pictures.” 3 Anita ElderExtreme Aquarium“Imagine you could climb into a glass room, inside an aquarium to become part of the exhibit.” 4 Sly MorozovChange Your World“I used all four pictures for this image. The idea is that when you immerse yourself in a passion, the world around you can change.” We challenged youIn…
access_time5 min.
RADO Watches: Rado: Short animations for three watches from Rado’s new collection, with backgrounds tailored to showcase each modelProving that one small idea can lead to big things, INK studio was initially formed to produce a single-motion graphics film by David Macey and Kamen Sirashki when they were made redundant in the recession of 2009. Working with just the last of their savings and a computer built by Sirashki himself, the duo created a successful animation. Fast forward to the present day and there are 10 permanent studio team members as well as a wide range of freelancers, producing live-action film, animation digital imagery, photography, print and interactive media.As well as working for a whole host of well-known clients, INK pursues notable, self-directed projects in order to keep it at…
access_time1 min.
a day in the life of ruxi sandu
An internal briefing09:30 I take a few minutes to catch up with one of our 3D artists on how one view for an architectural project is progressing. He briefs me on the photography.Time for a photo shoot10:00 I’m out of the studio this morning to do a photo shoot on location for one of our architectural projects. I have to make the most of the time while it’s not raining!A spot of retouching13:00 I spend the afternoon working in Adobe Photoshop doing some retouching for an architectural image. I specifically work on the population, grade and lighting.Printing for colour check16:00 It’s now time to step away from the computer screen and double-check the colour and detail on a printed copy of the image I have been working on, before meeting…
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WESTERN — It’s a project that dates back to 1974, and has languished under withheld state-funding, deadlines, and drafting tables for the two decades: the Center for Performing Arts..
As of early February, it seems Western Illinois University’s Center for Performing Arts is a dream becoming a reality, now that Illinois Governor J.B. Pritzker and the Capital Development Board have released $8.9 million dollars to begin updating the designs. Construction is expected to begin Fall 2020, with 2-2.5 years of work estimated before the building’s completion.
The $8.9 million is to renew the plans that are now five years old: designs for the 130,000 square foot facility that will replace parking lots and tennis courts just south of Brown Hall. It’s a nominal starting fee, but the Center for Performing Arts will total a projected $89 million by its completion, and Academic Vice-President Billy Clow said that it’s all capital funding.
Clow, also the Interim-Provost, said the building will be financed entirely by re-appropriated capital funding with no cost to the university. It would be the first-state funded building on campus since the Malpass Library opened September 5, 1978. Ted Renner, Deputy Director of Facilities Planning and Construction, said that since then, development has slowed down alongside state funding.
“The baby boomers were what precipitated a lot of the growth that occurred here,” Renner said. There was a lot of that here from the mid-50s to the mid-70s. As the baby boomers slowed down a little bit, so did some of that funding and construction.”
Renner described the campus as an example of over-building, and said it was an issue not just locally, but across the country. With certain spaces going unused at Western, Clow said some people might assume that a Center for Performing Arts could occupy a building like Stipes or Horrabin Hall, but that’s not the case. This facility must be purpose-built, they said, with the right infrastructure to support an approximately 1,400-seat proscenium theatre auditorium, a 250-seat thrust stage and a 150-seat studio theatre.
A press-release from Western said the facility will accommodate dance, jazz, percussion and theatre rehearsal studios and classrooms to facilitate the academic mission of the building, which complements numerous academic programs; dressing rooms adjacent to the theatres; a scenery/design workshop and a costume shop; a box office; administration offices and a loading dock that will accommodate semis and buses for professional touring companies and orchestras.
The facility stands to unite a fine arts program that is scattered across the many spare-spaces of campus. Both Clow and Renner expect the center for performing arts to bolster enrollment, and help Western stand out as the premier fine arts school in the region. Not only will it develop the school’s reputation state-wide, but Clow said he hopes it will send a strong message to the local community about the future of Western.
“It says very clearly that we believe in the future of Western Illinois, and we’re here to stay,” Clow said. “We've got great programs, we have great students, and now we will have great facilities to equal the faculty, staff, and students that we have here.”
Clow said that the new building wasn’t just a necessity for Western’s future; it was needed in 1974. Renner said he believed the original proposal in the mid-70s was halted by the student government, who said that the student body did not want it.
Email [email protected] with comments or questions on this story.
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Norval Morrisseau explained his understanding of the spiritual world and its many planes of existence this way: “There is a museum of the astral world that each individual goes to by his own free choice…to pick up some energy.… All the things that men will create are already up there.” Morrisseau also described this place as a “House of Inventions” and believed that he visited astral planes where spirits guided him to intuitively conceive of his paintings.
Art Canada Institute, Norval Morrisseau, Observations of the Astral World, c. 1994
Norval Morrisseau, Observations of the Astral World, c. 1994
Acrylic on canvas, 236 x 514 cm, National Gallery of Canada, Ottawa
In this painting, the many ideas of personal and spiritual transformation that Morrisseau explored during his career culminate in a mature visual style. In the spheres or bubbles that encapsulate the different astral planes of this composition are the iconic images of animals, plants, humans, shamans, and spirit-beings that Morrisseau always painted. However, the clear lines and light-coloured palette are hallmarks of his later style, which, as art dealer Don Robinson notes, gives “viewers an overall impression of peace, harmony and the existence of a unified life force.” A calm has descended on this painting that reflects the sense of quiet that the artist achieved in his sixties and seventies. Morrisseau has found balance in his personal life, and this symmetrical painting attests to that fact.
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Not just high-tech robots, exclusive, refined tailor-made details, pieces from the past reinvented (the widespread phenomenon of reissues), were in the spotlight at showrooms, galleries and apartments lent to possible dimensions (and dreams) of living in the Expo city.
The spaces of the majors often became crossroads between forms of excellence (mostly culinary) of a specific territory, and there were also ‘institutional’ updates: furnishings and systems with an experimental (but engineered) spirit, conceived as works of architecture (to live in a fluid, malleable way, between formal and informal comfort), personalized (an expression of a sensory approach based on even strong contrasts of materials and colors).
Not to mention the offerings of many unexpected start-ups. Near the Madonnina, the afternoons of design always have blue skies. Even though they don’t take overt risks. Because today, more than ever, companies and designers know that synergic investment – governed by prudence – in research and innovation, connected to the tradition and the culture, specific linguistic backgrounds and forms of know-how, remains the only way to approach the global challenges of the future, which above all await the new generations.
Finally, just to feel better, between emotion and reason, there were two curious creative junctions: for the first time, under the spires of the Veneranda Fabbrica del Duomo, we saw works by the English contemporary artist Tony Cragg, and at the atelier of Marsotto Edizioni the works in marble by fashion designer Lawrence Steele.
by Antonella Boisi
photos by Simone Barberis
The installation by the internationally renowned artist Tony Cragg (in the portrait) on the terraces of the Duomo in Milan for Expo 2015: the seven sculptures (in bronze, carbon fiber, marble, fiberglass, stainless steel) marked by ascending movements towards the heavens face off with the pinnacles and centuries of history of the cathedral.
In the Artemide showroom on Via Manzoni, the installation Free Pixel by Carlo Ratti.
In the Artemide showroom on Via Manzoni, the installation Free Pixel by Carlo Ratti: a robot controls 1000 LED pixels on a panel to create always new luminous configurations.
Istituto Marangoni presented, with Cappellini, in the showroom on Via Santa Cecilia, miniature prototypes of lounge seating created by the students of the Masters program in Italian Product Design, including The Hive – A chair for an airport, designed by Maria Aramburu Mulas.
Cosentino Group chose Bianchi Café & Cycles on Via Felice Cavallotti as the location to present Twilight by Monica Förster, a family of table accessories and candle holders for outdoor use, in Dekton®.
The “Cabinet of Curiosities” installation by Piero Lissoni, with styling by Elisa Ossino, transformed the Porro showroom at Via Durini 15 into the ‘refined boutique of a tailor’ to celebrate the brand’s 90th anniversary. Ten boxes by international designers explored the theme of storage and research on materials, two key concepts for the brand. In the foreground, Veiled Box by Front, in wood; background, Inside the Box by Soda Designers, in solid aluminium.
The Ulla seat with armrests (structure in an X of Canaletto walnut, padded seat and back), new product from the collection designed by William Sawaya.
With an added leg and a four-point support, the Sniper Steel table was shown in high and low versions. The dark graphite painted top underlined the monolithic image.
The Sniper Bronze dining table by David Adjaye for the new collection of Sawaya & Moroni, displayed in the showroom on Via Manzoni. Round, with three inclined legs projecting from the center outward, and connected in a sculptural way to the top, the table is made with polished cast bronze.
The Cartoon armchair (with an enveloping chassis in blanched oak or Brazilian chestnut that combines seat, armrests and part of the back), new product from the collection designed by William Sawaya.
In the B&B Italia showroom on Via Durini, Butterfly by Patricia Urquiola, the first textile seating system created specifically for the Outdoor collection, shown together with a family of complements.
The space in Palazzo Gallarati Scotti, home of the new flagship store of Poltrona Frau on Via Manzoni, full of enveloping darkness for ‘Making Masterpieces’: noises, sounds and films evoked tools and hands at work, at Tolentino, the factory and ‘fulcrum of craftsmanship’ of the brand that is over 100 years old.
Molteni&C, a brand celebrating its 80th anniversary this year, in the flagship store on Corso Europa, hosted the Kristal vitrine-wardrobe designed by Dante Bonuccelli, set up for the occasion with the collection by the Greek jewelry designer Bela Louloudaki.
Molteni&C, a brand celebrating its 80th anniversary this year, in the flagship store on Corso Europa, hosted the new Eames Plastic Chairs by Vitra, updated for the height of the seat and the range of colors and materials.
Among the new offerings in the Driade collection, at the new showroom on Via Borgogna, under the artistic direction of David Chipperfield, the Elisa armchair by Enzo Mari and the Zigzag bookcase by Konstantin Grcic (a project from 1996, updated, also in the matericchromatic range).
For Venini, Ando Time, the vase-hourglass designed by the architect Tadao Ando: the composition of two glass volumes, a prism with a triangular base (outside) and a cylinder, with two elements of different colors (inside), connected by a titanium part that lets the sand flow through. The excellence of Venetian glass, blown and crafted by hand by the master glassmakers of Murano, meets with advanced engineering (in the manufacture and refinement of the mold).
Ron Arad seen with some innovative pieces from the Signature Collection (decanter, white-red wine glasses, party gear) designed for the Turkish brand Nude and made by hand in glass.
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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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Acute Care 360 ImageCo, Gardner, Massachusetts, MA,
ImageCo, Gardner, Massachusetts, MA,
Evolv Design logo designed by ImageCo, Gardner, Massachusetts, MA,
Red Panda Publishers logo designed by ImageCo, Gardner, Massachusetts, MA,
Gardner, Massachusetts, MA,
ImageCo, Gardner, Massachusetts, MA,
ImageCo, Gardner, Massachusetts, MA,
Mid Valley Pathology logo designed by ImageCo, Gardner, Massachusetts, MA,
FSA OK logo designed by ImageCo, Gardner, Massachusetts, MA,
Emerald Heights logo designed by ImageCo, Gardner, Massachusetts, MA,
Club Sapphire logo designed by ImageCo, Gardner, Massachusetts, MA,
Downtown Dogs logo designed by ImageCo, Gardner, Massachusetts, MA,
WSBA logo designed by ImageCo, Gardner, Massachusetts, MA,
Ferry Street Coffee Company logo designed by ImageCo, Gardner, Massachusetts, MA,
Stoney Forensic logo designed by ImageCo, Gardner, Massachusetts, MA,
Smart kernels logo designed by ImageCo, Gardner, Massachusetts, MA,
Memorable Logos That Tell Stories and Connect Emotionally
Crafting a brand identity or a logo that is both memorable and tells the story of who you are or what you actually do is a monumental task. The challenge is to generate a design concept that is simplistic enough to be understood at a glimpse and conveys enough information that it can express who you are. However no logo design can absolutely tell your story or explain your business, and going down that road frequently makes for a brand identity design that performs neither. However, in experienced hands, it is possible to strike a balance between both and create a logo that both informs and emotes and reaching that sweet spot is what every business should hope for from their logo designer.
ImageCo is one person, Tim Garner, I am a freelance branding specialist. For over 20 years I ‘ve been creating memorable logos and brand identity designs that tell stories and resonate with customers. However don’t take my word for it, just check out my brand portfolio and discover for yourself. I do not claim that I’m the best designer in the world, however, I do know what Iam doing and my customers tend to agree.
The expression “your logo is not your brand” is a statement that is often stated with such emphasis by people operating in the branding sector, that a person might question why so many people in branding agencies hate logo designs as much as they appear to. It is definitely true that your logo is not your brand, however what does that make a brand that has no logo? One thing is certain, it all but guarantees that a brand with no logo will be faceless and quickly forgotten.
Without a logo, a company’s brand is nothing more than a fading memory because people would have nothing to anchor their brand experiences too.
Some people compare a business’s logo to a smile or a handshake which is somewhat accurate, however it’s also a lot more than that. A logo is a brand’s anchor and it also serves as the cornerstone of a business’s brand image. A logo serves as an anchor due to the fact that the entire brand experience is secured to it. It is also a brand’s cornerstone, since a cornerstone is the first stone placed when building the foundation of the structure above it, and once laid it will serve as the guiding reference point for every building block that comes after it. A logo works in the same way, it is a foundational element that supports the business it represents, and it also serves as a reference that guides a brand as it develops.
ImageCo is a brand identity business and our goal is to help our clients lay that cornerstone as well as set that anchor. We help companies look established, more polished, and more knowledgeable. This ensures that our clients will always stand out, and are not only worthy of a seat at the table, but look like they ought to be seated at the head of that table.
Gardner LOGO DESIGN
For over twenty years ImageCo has been helping entrepreneurs grow memorable brands. We have undertaken brand identity design work for mechanics, educational institutions, heart surgeons, party planners, coffee shops, retail stores, and practically every other kind of business you can think of. What makes us different compared to typical graphic designers is that our background is rooted in the electrical sign industry so we undertake every logo design project as though it will be utilized as an electric sign. As a result of our sign first technique our identity designs can, and have been used in everything from fashion labels to electrical signs. Our sign first technique ensures that our logo designs are equally reliable whether they are used in television commercials or web headers, they are consistently recognizable, understood, and always remembered irrespective of scale or function.
American Made ★ Design
The thing that really sets ImageCo apart from many of the design companies that you might have come across in Google’s search results, companies like Thumbtack, Design Hill, Upwork, or Crowdspring is that each and every design project we are brought on board to perform, we perform ourselves. Irrespective of the type of design project we take on, brand identity design, web site, trade show exhibition, or retail sign, we do not, and never will farm out our client’s work to 3rd parties located outside the US. Whenever you contact us at 1-855-IMAGECO the individual that picks up the telephone is ImageCo’s owner and designer, not a broker that increases the cost of your design project and imposes the conditions of how my customers and I conduct business.
Every new Gardner company knows they probably need a logo, however few start ups entirely comprehend the pivotal role their company logo can play in their becoming successful, or precisely why one business logo performs more effectively than another. A logo has an immediate and long-term influence on the viability of a company, pick the correct one and it can make the door swing and cash register ring, choose the incorrect one and it will be a barrier and an impediment for the life of an organization.
The logos presented in the ImageCo portfolio help Gardner companies succeed, they are effective in any given circumstance and the main reason they are so effective is that they all have these 5 features in common.
1. Simplicity: simple logos do not require contemplation, they can be grasped in just a look.
2. Scalability: from business cards to retail signs a scalable business logo will be legible and just as emotive at virtually any size.
3. Versatility: logos which function on any sort of device, in print, on product packaging, on a mobile phone, or on a ball-cap.
4. Suitability: they are appropriate, they feel right, and they are suitable for the item or company they represent.
5. Relevance: a business logo needs to be timeless and will feel equally relevant today, tomorrow, and thirty years from today.
understand your brand
Brand – It’s a verb as well as a noun, it is an identifying mark and also the act of noting something so that it can be identified, its origin comes from the brand burned onto livestock. Today a brand indicates pretty much anything with an objective, whether it be revenue or political parties, a brand is an innate aspect of specifying the worth of a specific thing in the public’s mind.
Branding – Is sort of like advertising and marketing’s sexy cousin, they are all from the exact same family, the distinction being that marketing and advertising have to do with making a promise and branding’s objective is to deliver on that promise. Branding is also a strategic popularity contest aimed at a target audience, it’s goal is to produce an image that the target market will connect to.
Brand Image – An image planted and cultivated through advertising and marketing and identity design. When someone says the brand names Ferrari or Mustang what we consider is their brand image, it’s an image that exists in our minds. That image isn’t an image of a vehicle with 4 wheels that can carry us from point A to point B, the the mental image we have (or at least I have) is of speed, beauty, of something dangerous and exotic . That is brand image and brand image is what makes people want those products. Brand image is why individuals identify with specific brands, from Pepsi to Coke Chevy or Ford, Democrats or Republicans … all driven by brand images that people can relate to.
Branding Agencies – If you look back at the origin of a lot of branding companies you’ll discover that they are frequently rebranded marketing and advertising agencies. When somebody says they are in marketing the majority of people will likely have an idea about the type of work they do anything that can be seen, felt or listened to are part of a brand identity.
Brand Identity Designers
– A brand identity designer is a designer that focuses on a type of visual design that helps form the image of a firm, a product or a company. Brand identity designers produce logo designs, signage designs, product packaging, as well as collateral material such as cards, stationery, and also sales brochures. Some visual designers also build sites as well as software interfaces. The vital function of a brand identity designer is to develop the visual cues as well as an emotional tone with the objective of influencing actions, results and also understandings.
Featured SIGNS & LOGOS
Retro logo layout of a bicycle developed for a Gardner coffee cafe and a coffee roaster.
Ferry Street Coffee Company | Logo Design | Retail Branding
This startup coffee roaster and bistro were actually launching in an older section of the area and wished to project an old-fashioned feel without coming across as boring or low energy. I fulfilled the two tasks via designing a company logo concept that incorporates a man on a high wheel bicycle (aka The Penny Farthing), it is antiquated, higher energy, and is a timeless business image.
medical logo design with a microscopic lense slide as well as bacteria developed for Gardner medical clinic.
Mid-Valley Pathology | Logo Design
Pathology is the scientific discipline which researches the causes and consequences of diseases, mainly the branch of healthcare which deals with the clinical evaluation of specimens of human body cellular material for diagnostic or forensic intents.
The Mid-Valley Pathology custom logo design I came up with is really the only instance I call to mind in which I was in a position to incorporate a bacteria-laden microscope slide within a business logo design.
Generally I try not to be excessively literal with a concept and to a point, this specific design approaches the company it represents fairly literally, but it does it in a way that integrates the slide as part of the name so it doesn’t serve so much as a description of what Mid-Valley Pathology does so much as acts as an enhancement to the brand that makes it more appealing, more focus grabbing and much more unforgettable.
logo design with a leaping environment-friendly frog designed for a household enjoyable center in Gardner.
Cool Springz | Logo Design | Retail Branding
The Cool Springz Trampoline Park was a really fun project to work on, most likely because a trampoline park is all about fun. It’s also a project that is way out of the norm of the kinds of projects that come my way, I’ve produced dozens of logo designs for health care providers, dentists, and lawyers but Cool Springz is without question the one and only trampoline park which I have actually ever gotten the privilege to work on.
Given that the title of the business has the word springz in its name the obvious choice would have been to include a few springs into the concept but Cool Springz is a fun location to go and spring doesn’t really reflect an environment of fun does it. My thought process on this logo project went from springs (boring) to what jumps around, kangaroos … but kangaroos are cute and this place is cool, in the end I landed on a green tree frog and a dimensional treatment of the name itself to give the logo a much more dynamic high energy mood.
In the end, Cool Springz ended up loving my brainchild and named the frog Jax and included him in to everything they utilized for marketing and advertising. I also think this is the only time that a logo I designed was turned into a mascot when they had a staff member costume fabricated to look just like my frog design.
photography logo design including a group of birds, a mountain, a path, a stream, and a tree - made for Gardner traveling professional photographer.
Travel Don’t Wander | Logo Design | Website Design
Travel Don’t Wander was a custom logo design job I took on for a travel photographer, which is a rather specialized field of photography and I think it is a niche field because travel photographers tend not to capture places or things but instead project emotional journeys by means of the photos they record. The thought behind this logo composition was to make use of negative space to reveal more than what was visible upon first view, which I think is representative of most professional photographers in that they often tell entire stories through their photography.
It’s said that a picture is worth a thousand words but I think that some photographs convey considerably more than that because their photos frequently have an emotional fullness which can’t be conveyed with mere words. I attempted to do something similar to this logo by using the positive space in the design to voice one thing and then at the same time using the negative space to expand upon what was conveyed through the first impression. I think, in hindsight, that my goal was to both brand this photographer with a memorable Gardner logo but also to show the depth of her work and in the way that she perceives the world through the lens of her camera.
Gardner logo style with a seagull made use of for the letter A. Designed for a cordless retail business.
Coastal Wireless | Logo Design
The bulk of business logo design projects that I take on I really take pleasure in and the Coastal Wireless design was one that I really felt good about, however the client didn’t quite share my excitement for it. I felt really good about the concept of using the seagull shape as a stroke in the character A however the client, even though he loved the concept, really did not care for my choice of birds. This guy truly disliked seagulls, which he referred to as the “rats of the sky”, luckily the rest of his friends and family didn’t share his contempt for this particular kind of sea bird.
When I turn a concept over to a client I urge all of them to talk about it with friends and colleagues and family members as well as with individuals that they don’t even know so as to get objective viewpoints on the value of a design concept. Fortunately, he shared it with his family and they really loved the design and were able to reason with him and get him to sign off on it, but not before he worked me over to insert every other seabird he could think of … ultimately I was able to talk him out of his preference of a pelican and he proceeded with the original concept.
Logo designs are a weird animal in the design world given that the people that have a tendency to hire a professional to design their business logo realize how vital a logo is for their organization so they are much more invested in the outcome. Every logo job possesses it’s share of challenges, however the largest obstacle is finding that sweet spot in a design that works really well at the job it’s required to do in branding a business and also providing the customer the image they see for themselves.
a red panda logo style with bamboo in the background, style for Gardner publication publisher
Red Panda Publishers | Logo Design
The book spine is a thin piece of real estate to work with, but it really is the most important part of a printed book due to the fact that it is often the initial thing a person sees in the bookstore. Concerning a publishing company, it’s the optimal opportunity they will ever have to promote their label and get their logo design in front of the men and women that purchase actual books.
This three color design is vibrant, picturesque and eye-catching and it gives plenty of area for the title and the author’s name.
Air LA logo designed for an airline in Los Angeles, the logo has 2 letter A's with benches changed to suggest they are wings.
Air LA | Logo Design
Airlines come and depart but it seems like that in many cases one of the aspects folks often tend to recollect the most are their logos. The Air LA logo design was done for a young start-up commuter/shuttle airline company based in LA and while I’m not certain it actually “took off” their logo design didn’t slow them. The bookend A’s in their name lent itself well to affording a spirit of flight and it was surely a winner.
Gardner logo design utilized for advertising and marketing and also a label layout for Vintage Situation includes an old-fashioned typeface layout.
Vintage Case | Logo Design
Vintage case focused in new cases for music instruments, which looked to be older cases. For this brand design I attempted to come up with a logo that had a fluid vintage feel to it and could be used for everything from a website to an insignia on brand new cases that appeared like they were from a different era.
Logo produced for an orthodontist in Gardner, layout consist of an arc with lines converging via it to suggest steel braces.
Kujak Orthodontics | Logo Design | Sign Design
Dental care logos can be one of the most challenging and difficult logo projects because it seems that almost every dentist includes a smile, a tooth, a smiling tooth, or a toothy smile in their design. Dental logo designs are one of the very most cliche ridden careers when it comes to company branding, if restaurants approached their branding in the very same way dental offices do every one of their logo designs would be a picture explaining anything they served, McDonalds would probably contain a picture of a potato and a cow.
I understand the thinking behind including a likeness of something mouth related to a dentist’s logo but it has to be performed subtly or it will just look like every other clipart dentists logo that litter the branding landscape of the dentistry industry.
I really love doing dental business logos because it challenges me to come up with a design that implies dentistry or a specific field of dentistry like orthodontics without resorting to the clichéd solution that so many dentists settle on.
Kujak Orthodontics delivered such an opportunity and inevitably I created a design that does not have a solitary smile or a tooth in it, but even though they aren’t overt, they are still suggested in the design. When I turned this particular concept over to the customer the only smile that was evident was really the smile on Dr. Kujak’s face.
William McNally logo developed for a family nonprofit, the logo features 4 personalities surprised in height to represent a family unit with in the style.
William McNally | Logo Design | Branding
The William McNally Family Foundation contacted ImageCo to help them come up with a custom logo design that would be representative of the love that William McNally had for the people in his city. Many logos with the name “family” in them tend to contain images of a happy family, a cliche heavy method to any logo design is to be very literal about what the name says or the industry it represents. I’ve found that the best designs are the ones that are downplayed and never hit the viewer on the head with what the business or institution wishes to communicate.
The McNally Foundation’s name presented a unique opportunity to do a custom logo design which conveyed that they were about families without being overtly tacky about it. The objective of a logo design is to be remembered and recognized and if the designer tries to use the logo design to describe exactly how people ought to think or feel they don’t understand the purpose of a logo. If viewers have to ponder a logo to understand what it means, it has fallen short, a logo needs to be immediately understood and a logo that illustrates itself won’t have the likelihood to be comprehended.
Logo style produced for a Gardner hair design workshop including a script font a hummingbird as well as a suggested orchid for the letter O.
Wild Orchid Studio | Logo Design Project
Wild Orchid Studios required a company logo that conveyed an atmosphere of relaxation and elegance for their new hair salon. I created a design which did not go the obvious course of making simply a stylized orchid but instead delivered a business logo which suggested a flower in the formation of a swirl blended into the letter O in the name and by putting attention on the concept along with the silhouette of a hummingbird floating over the logo itself. The obvious path in creating a logo is oftentimes the incorrect direction and in this case, the design ended up not being about the flower but instead put the focus on the feeling that they really wanted to transmit to their clients.
Arabian horse logo style produced for a steed cattle ranch that focuses on breeding Arabian program horses.
Dazzo Arabians | Logo Design
ImageCo developed a distinct business logo concept styled to illustrate the unique physical traits of the Arabian breed of equines. By having a distinctive head shape and higher tail posture, the Arabian is one of the most immediately recognizable equine lineages in the whole world.
Las Cafe, A Gardner restaurant logo layout a little restaurant, style consists of a changed script font which floats above a team of luxuriant lines and also dots.
Las Cafe | Logo Design | Restaurant Branding
Las Cafe logo style a small dining establishment, layout consists of a customized script font which hovers above a group of luxuriant lines as well as dots.
Logo layout for a software program designer the style functions and iconic Gardner aspect of a bridge to the left of the name.
Smart Kernels | Logo Design
A kernel is the key component of an operating system (OS). Generally, the kernel is responsible for memory administration, process and task control, and drive management. The kernel attaches the system hardware to the application software. In other words a kernel is {essentially|quite literally a bridge that operates as a connection in between the software and hardware.
The logo I came up with for Smart Kernels was based on an actual bridge that is located a couple of miles from the offices of Smart kernels. It’s a logo design that doesn’t attempt to describe anything to anyone about what business they are in or how it relates to their specific location. Nevertheless it intimated something to the business owner of the business and in many cases the substance supporting a logo design is equally as important as how it serves the company it stands for.
Advance logo design developed for a Gardnerinterior designer, design attribute a series of red circles that intersect and also change the letter O in the center of the logo design.
Evolv Interior Design | Logo Design | Branding
Evolv Design is a Gardner interior design company and this logo design is representational of the work that an interior designer does in. An interior designer is someone who organizes, explores, collaborates, and oversees such ventures. Interior design is a diverse occupation that consists of conceptual development, space planning, location examinations, programming, investigation, interacting with the stakeholders of a project, building and construction management, and implementation of the design.
logo style done for Advanced Leadership Solutions in Gardner, the characters for letter V and A in middle of words progressed have actually been changed to tie straight right into words below.
Advanced Leadership Solutions | Logo Design | Website Design
This Gardner logo design project was completed for a management specialist that aids business leaders to become more successful at managing people, expectations, and productivity.
A Gardner business logo design including an angler in the middle of the name casting a fly in the direction of the visitor.
On The Fly | Logo Design | Retail Branding
With companies like Cabelas and Bass Pros raking in more than 7 billion a year retailing supplies and equipment to outdoor sporting lovers the founders of On the Fly understood the market was primed for an outdoor sporting retailer that functions as a consignment firm. Whether you are into boating, sportfishing or mountain climbing, or even hunting, On the Fly provides a venue for outdoor sports enthusiasts with all kinds of passions, a place to sell off their used equipment to other sports enthusiasts.
I created their Gardner business logo design using an image that garners the attention of traffic and sends an image that arouses the passion of the outdoors. With visitor traffic that averages forty five miles per hour I knew it would take more than the average logo/sign to get travelers to take notice, hence the illustration of a fly fisherman in his natural and serene habitat.
Logo style MQ farms, this Gardner company logo design has a field integrated into the letter Q.
MQ Farms | Logo Design | Branding
The MQ farms emblem concept wasn’t actually designed for an Gardner area farm it was in reality designed for a commodities broker, and this logo design was one of multiple that fell under the MQ umbrella … MQ commodities was one, MQ trading was another. The aim was really to produce a brand mark that projected confidence, effectiveness, and luxury.
Gardner Logo design for a not-for-profit, Turning Factor Solutions - the logo style function for externally facing arrow as well as the arrowheads indicate that it is a ruby form.
Turning Point Foundation | Logo Design
The Turning Point Foundation was entirely open to what kind of logo design that they preferred, that can be a good thing or a bad thing. Good in that it grants a designer the opportunity to investigate any concept that comes to mind, bad in that it’s tricky to hit a bullseye without knowing where the target is. Luckily, in this instance, I struck a bullseye with the 1st shot.
Logo design designed for making use of an indication for the restaurant (Brewgrrs), it is an elaborate manuscript typeface that is similar to a popular Gardner sports team logo.
Brewgrrs Restaurant | Logo Design | Restaurant Branding
I’ve created loads of restaurant logos and business signs for restaurants, diners, sports bars, night clubs, dining establishments, and eateries all over the USA, from cupcake bakeshops to pizza parlors and oyster bars, out of all of them I think Brewgrrs was my absolute favorite. Brewgrrs was a great project where I worked closely with the owner to develop a business logo that worked very well and did a fantastic job to brand them, it functioned on everything on everything from coasters, and tap handles all the way to the illuminated sign that hung above their doors, and was highly visible and very easy to read from over a block away.
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814T090000 DTEND;TZID=America/New_York:20230817T120000 DTSTAMP:20230603T130437 CREATED:20230310T194625Z LAST-MODIFIED:20230328T160017Z UID:[email protected] SUMMARY:ArtCamp | Week 7 DESCRIPTION:ArtCamp | Week 7\nAug. 14– 17 | 9:00am – 12:00pm \nAges 8 – 13 | Limit of 10 campers\nNon-member $200 | CMCA Member: $175 | Bundle $1150\nInstructor: Tori Marsh \nRegistration opens 10:00am on Saturday\, April 1. \nEco Exploration\nCome create art with the goal of limiting our impact on our environment. From sun prints on leaves to seed buddies\, DIY inks from natural materials to found object weavings\, we will explore how to create art with items found in nature. \nAbout the instructor\nTori Marsh is an embroidery artist\, educator and mother based out of Rockland\, Maine. Marsh has been using embroidery as a form of drawing for the past 8 years. Her surreal “wild women” draw upon the notion of goddess-like grace and power\, but most importantly\, they’re meant to be humorous. Tori is obsessed with Icelandic/Scandinavian knitwear\, cross stitch patterns\, quilts\, and other textiles. Her embroideries have been shown across the country and she has had the privilege of attending residencies from Canada to Iceland. \nFMI: Education Programs Manager Mia Bogyo at [email protected] \n\nPhotography Policy: By registering for ArtCamp\, I understand my child may be photographed by CMCA staff for general documentation and publicity. I also understand that no royalty\, fee or other compensation shall become payable to me by reason of such use. \nCancellation Policy: Full refund (minus $50 registration fee) will be granted for cancellations made up to 14 days prior to program start date; 50% refund (minus $50) will be granted for cancellation up to 10 days before program start date. No refunds for cancellations made less than 10 days prior to start date. Please notify us immediately of any cancellation so we can fill your space. CMCA reserves the right to cancel any ArtLab program. In the event of a cancellation by CMCA\, full refunds will be granted\, Under-enrolled programs (less than 8 participants) will be canceled 1 week prior to the start date. We do not offer prorated fees to attend part of the program. Thank you for understanding. URL:https://cmcanow.org/event/artcamp-w7-23/ LOCATION:CMCA ArtLab\, 21 Winter Street\, Rockland\, ME\, 04841\, United States CATEGORIES:ArtCamp ATTACH;FMTTYPE=image/jpeg:https://cmcanow.org/wp-content/uploads/2020/04/ArtCampCampWeek7-copy.jpg END:VEVENT END:VCALENDAR
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Shop Forum More Submit Join Login
Tagged by Classic-Dave
1), Post these Rules
2), Post 8 Facts about your OC/Character
3), Tag 8 other OCs/characters
4), Post their names as well as their owners
5), (( NO TAG BACKS XD ))
Sandra Fitzgerald
- Shes an immigrant
- Has a weakness to small fluffy dogs
- She finds her strait jacket "amazingly comfortable"
- She hates kids except her own
- She has a low self esteem
- People that stare at her triggers her violent out bursts
- She feels no remorse for the people she hurts
- She was disowned from her family because she was too much of an "embarrassment"
:icondanzerker: - Nugget
:iconceluis-characters: - Achille
:iconneomi-trix: - Theodore Lovatto (He seems hella rad!)
:iconthealmightyfrosty: - Kalim
:iconmarcyb3ar: - Roux
:iconqueenofhearts67: - Rosieanna
alright I think I annoyed enough people
• Listening to: Dark Sinister Ambient Music- The Woods
• Drinking: Diet cancer
Ive neglected this too long, I think its time to come out of the void.
1. How long have you been on DeviantArt? 6 years
2. What does your username mean? I was a huge fan of Happy Tree Friends when I was like eleventeen and my favorite character was Flippy, when I was finally motivated to join Deviant Art the first username that came to mind was "Flippy" but of course that was already taken so I had to get more creative. Sooner or later Flippy became my internet alias.
3. Describe yourself in three words. Tired, Bored, Batman.
4. Are you left or right handed? Right.
5. What was your first deviation? I deleted it, but it was a picture of Demon, the very first picture ever.
6. What is your favourite type of art to create? Digital anime TRASH.
7. If you could instantly master a different art style, what would it be? Realistic pencil work.
8. What was your first favourite? Left 4 dead stuff from a user I was obsessed with.
9. What type of art do you tend to favourite the most? Tutorials and what not.
10. Who is your all-time favourite deviant artist? Cant choose thats not fair, thats some hungry games shit.
11. If you could meet anyone on DeviantArt in person, who would it be? My hommie Celuis-characters
12. How has a fellow deviant impacted your life? It gave every computer I had viruses if thats what you mean.
13. What are your preferred tools to create art? My tablet.
14. What is the most inspirational place for you to create art? My room with anime for white noise.
15. What is your favourite DeviantArt memory? Being noticed by all my senpai's.
• Drinking: Water
I broke my laptop a while ago and it's gonna a bit till I can get a new one
I broke my laptop a while ago and it's gonna a bit till I can get a new one
I need time I need time just give me time
I missed my 6th year anniversary with DA ;w; Lol not much to say about it
but I dont know how active I will be here still so :/
• Watching: Spongebob
that didnt solve anything
sorry I've been so inactive I've been spending most of my time on my art blog and such
• Listening to: meh friend
• Reading: english
• Watching: ssssttttttttuuuf
• Playing: the game (you lose)
• Eating: your surprise taco
• Drinking: friend fluids
for the Birthday wishes I appreciate that ;w;
and I'm having an art block...sorta, I'm also very ill so I'm having a real hard time right now
• Listening to: lilum- Elfen Lied
• Drinking: water
suggestions? I have ideas but is there anything any one would like to see more, less, up, down, around, on the ground, shut the door, everyone do the dinosaur
im taking advantage of the school strike to be more active on DA so im going to cram as much art as I can down everyones throat
• Drinking: diet coke
dude duuude I'll be back in action soon
4 days till school boo but what ev
• Drinking: ice tea
because I do
• Listening to: uhhhh
• Reading: uhuuhuhhu
• Watching: uuuhuhuhuuuuuuuu
• Playing: uuuuuuuuuhhhhhhuhuuuuuuuuuh
• Eating: uhhhhhhhhhhuuuuuuu
• Drinking: uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuhhhhh
my wrist hurts so freaking bad I have it wrapped up right now and it feel so much better but I have no idea what I did to it
its my left hand which is good because its not my drawing hand, I'm a righty
but it is my typing hand so poo for role playing and stuff like that, I was right in the middle of a story too but whatever
gaming is going to be shit though
• Listening to: a guy reading a shitty fan fic out loud
• Reading: a shitty fan fic
• Watching: the shitty fan fic video
• Playing: nothing I\'m reading a shitty fan fic
• Eating: nothing
• Drinking: ice tea
my tablet stopped working....my computer stopped working...my new tablet isn't adjusting well to my computer....
had fun it was great
now is being forced into responsibility
gonna be out a couple days but yall in my thoughts
anything you want done like RIGHT AWAY when I get back?
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Textile Tales: A thematic walkthrough of ‘VISIBLE/INVISIBLE’
2024-02-25 14:21:54
March 26, 2023
3:00 pm - 4:00 pm
Avanee Foundation Gallery & Manipal Gallery, Museum of Art & Photography
22 Kasturba Road, Bengaluru, Karnataka, 560001
Map Unavailable
Textiles may just be pieces of cloth; however, they are entwined with numerous stories. They tell stories of our cultures and our shared humanity, often providing a window into the past. From the intricate weaves of a brocade to the hand painted pichwais, textiles convey stories of craftsmanship, of history and the times they were made in, as well as cultural identities.
This curated walkthrough will unravel tales of select textiles from the exhibition, VISIBLE/INVISIBLE: Representations of Women in Art through the MAP Collection.
VISIBLE/INVISIBLE explores the visual representation of women through artworks in the museum collection and attempts to re-address preconceived notions of femininity and gender as a social construct by providing a more inclusive understanding towards it.
This walkthrough will be led by the MAP Education team and is a free event, however exhibition tickets are applicable.
Content Warning: Although the walkthrough will not focus on them, some of the artworks in the exhibition touches upon themes of violence and sexuality, and features nudity.
Other Events
Subscribe to Map Newsletters
A one-stop docket of all that's happening at MAP, from upcoming exhibitions to talks, workshops and events for the following month.
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Fran Simó
Intuitive Photography
fotografia intuitiva“The simply curious doesn’t have the right… Zen, like all mysticism, will only be understood by a mystic who… won’t give into the temptation to obtain by a surreptitious way that which the mystical experience denies” (Translator’s note from ‘Zen in the Art of Archery’)
From Pepe Baeza’s talk I found out that Braque had recommended Henri Cartier-Bresson to read the book ‘Zen in the Art of Archery’ by Eugen Herrigel.
With this article I aim to explain what I call intuitive photography. It’s the style of photography that I’ve practiced most, and ever since I found out that HCB based his photography on Herrigel’s book, I’ve discovered that my attitude behind the camera is based on the same principles as HCB’s but with some differences.
Here are some phrases that could sum up HCB’s ideas about what he called l’imaginaire d’après nature (the imaginary nature), something closely related to Buddhist thought and to Herrigel’s book:
• “Photographing… is to putting one’s head, one’s eye and one’s heart on the same axis.”
• “Above all, I craved to size, in the confines of one single photograph, the whole essence of some situation that was in the process of unrolling itself before my eyes.”
• “… we must be lucid about what is going on in the world and honest about what we feel.”
Those who are interested in reading HCB’s full articles can read ‘The Imaginary Nature’ and ‘The Decisive Moment’ in the blog, but I recommend you buy the book.
In Zen, a consequence does not require a cause. Contrary to our illustrated rationalism and our Judeo-Christian roots, Zen is simpler: only ‘now’, only the moment matters.
Although I think I could explain it and you could understand it, none of it will make sense; you have to experience it. And the truth is that you don’t have to lock yourself away in a monastery to live it, just the opposite… neither do you have to be a mystic! The moment transcends Zen.
Through I don’t have a ‘black belt’ in any martial art, I think I have enough experience to know a little about martial arts. The practitioners of a martial art exercise daily to make their movements automatic and synchronized with their breath and a certain attitude. Easy to say, but these three stages (movement, breath, attitude-feeling) can take a student a whole lifetime… a lifetime or an instant. An instant? Yes, but I will leave that for face-to-face debates.
The final goal of the exercises of any martial art is that the warrior, when attacked, doesn’t think and just acts. This act of defense is considered art because the combination of techniques studied for years are chosen automatically by the warrior-artist and are executed without thinking, effortlessly and without any intention; they simply happen. The chosen combination is unique and unrepeatable.
Does anybody think that a dancer calculates every move he makes in a performance? Martial arts, to put it simply, are like a dance or music, a set of abilities so interiorized that they ‘simply happen’… like a guitar solo or like dodging an obstacle while riding a bike.
What do the art of archery, photography (according to HCB), Aikido and hip-hop have in common? It’s using the brain in a non-linguistic manner. Since I’m not an expert in intelligence, maybe these three characteristics will help me explain what I mean:
• Cancelling rationalism or conscious control at the moment of action
• Using the subconscious
• Using spatial intelligence
There’s nothing magical about this matter and the East doesn’t own it; it’s just that we, the Westerners, have swallowed (willingly or not) Descartes with his famous “I think, therefore I exist.” Eastern people know that they also exist while sleeping… luckily some humans haven’t forgotten it.
To make it even more pagan, another example: when we are in a space full of people, sometimes, we especially distinguish one out of all the others, for example, somebody especially attractive; but it’s not that we were looking for him/her. It’s thought that this person does something to be more visible, but it’s not really so. In the majority of cases, our subconscious recognizes this person and he/she draws our attention. The subconscious recognizes a pattern and ‘rings a bell’ although we might’ve been talking about football, politics or photography. Martial arts work this way. Training turns technique into an instinct.
At the time of capture, there are two big problems to be solved: the machine and the art. The machine and all of its technical details require a certain level of learning depending on its complexity. Shooting with a D300 is very different from using a film rangefinder or a Lomo. Any machine, more or less costly, can be mastered with practice. Practice and a certain degree of knowledge in this respect is necessary but only up to the point of not taking up our time when we are shooting, when we are in front of our subject.
It’s infinitely easier to shoot with a camera than to invert the power of an attacker in order to make him fly three meters using just your hands, like in Aikido.
I’ve been asked many times about how I set up my camera and technology fans usually don’t believe me when I say: “In auto mode.” When I’m in the street, my camera is usually in P-mode, ISO-auto and auto focus. My D300 knows more about technique than me. If I leave white balance fixed on “day light”, it’s because of my analogic habit and romanticism more than anything else.
The important thing is to breathe, see, smell, listen, open the subconscious, allowing it to guide me and not to think about the camera.
To compose? No, to breathe. All the rules of composition come from studying how we look at things. Study how your subconscious analyzes an image. Let the subconscious see and you won’t need to know how to get reality into a frame. The first error is thinking that we need to do something. The first thing they teach us about composition is that we cut reality out and stuff it into a frame… a sad relic of pictorialism. Our eyes do not see the universe in its entirety: cutting out is in our nature; we can’t help it. We always choose what we see, to which part of our already limited visual field we pay more attention. Our eyes don’t have zoom but our brain does.
Returning to the pagan example, when a very attractive person comes into the room and our eyesight goes towards him/her, our angle of vision is still the same, we don’t switch eyes, but our attention gets centered and, for an instant, there’s nothing else in the room. Maybe we are captivated by his/her red shirt, the color of his/her eyes, his/her curves or any other detail, but, for an instant, our ‘eyes’ see nothing else.
To achieve this with a camera is the first task of intuitive photography; until this point I coincide with HCB. But then I take things further. I use the same intuition in editing.
How do I choose one out of three almost identical shots? Without thinking, the first thought is the correct one. Once again, I base my decision on the capacity of the subconscious to see more than I can understand.
I’m not trying to say that there’s no need to think; you can think all you want but up to the point of shooting. The mind has to be disconnected during the decisive moment.
Jodi Cobb acknowledges that one of her cover photos for ‘National Geographic’ was a reflex: she didn’t see what he was photographing; he just saw some shadows at a certain moment. Some shadows at a certain moment made the cover of ‘National Geographic’ ̶ that is intuitive photography or imaginary nature.
The photo that’s in the header of this article is one of my intuitive photos. I’m particularly fond of it because I really had no idea what I was doing when I took or selected it. It was my first time at Mac Campus; I was there to give a photography class. After, I wanted to walk around a bit and take some shots as a souvenir. The cables and the connections really drew my attention. Campus Mac is a place where Apple fans can meet other fans, learn, have fun and, ultimately, connect with each other.
Once I got home, I wanted to upload the PDF of the presentation and needed a photo. I was tired and didn’t feel like wrecking my brain, so, without paying much attention, I selected the photo where, by coincidence, everything connects. I’m sure that if I had wanted to choose a photo deliberately, I couldn’t have done it. Have you seen how fast those lines in the screen saver move? What are the chances of almost all of them connecting with a cable? Is this photo a coincidence? To me it isn’t. It’s no coincidence, it’s intuition to let the subconscious take over and find the decisive moment because it’s infinitely faster and capable to see than our reason… and you don’t have to be a Zen monk to experience it. Just let yourself go with the flow.
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Aerial Photographs by German artist Katrin Korfmann.
German-born artist Katrin Korfmann loves taking aerial photographs of human life.
Her photos are realistic but also contemporary in order to reinterpret the modern lifestyle in mass communities. Unlike many aerial photographers who fly on small planes, Korfmann shoots from cranes, and when cranes are not possible, she sends her camera up in a remote-controlled helicopter. Katrin Korfmann takes multiple images and then blends them together to produce the final image, a task that can take two to three months working with 500 to 2,000 shots. Since the pictures are were often shot at different timeframes, Korfmann has to manipulate the shadows and exposure to create one image that appears as if it was shot at one point in time.
“In the bird’s-eye view people look alike,” Korfmann said in an interview to Slate. “The idea is to create two dimensions: one when you see it from far away and another when you zoom in and see it from very close. Then you see all the differences: in the clothes they wear, the things they carry.”
The photos that have been shot at sites around the globe, are always captured from various perspectives overhead against natural monochrome grounds. These monochrome surfaces place the events at first sight in a strikingly abstract context, against which people from disparate cultures seen from above do not necessarily appear so different.
In her photographs, color and forms have a special meaning. They are now a reference to mass culture, to a distinguished, intimate or “foreign” place and tradition. The progression of time becomes visible by layering several recordings of a given place together to construct a singular image. Various instants in time are linked together as if they took place at the same moment, offering a spatial experience of the progression of time.
Katrin Korfmann grew up in Berlin, and she now lives and works in Amsterdam. She studied at Kunsthochschule Berlin and Rietveld Academie in Amsterdam, where she specialized in photography. She won several prizes for her work, including Radostar Prize (CH) in 2012, Prix de Rome (NL) in 2003 (category of Art in Public Space 2nd), Mama Cash Award (NL) in 2000 and Esther Kroon Award (NL) in 1999. Since the late nineties she exhibited her work in The Netherlands and abroad in galleries, museums, alternative art institutions and public spaces.
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Taking on a creative challenge
Three artists depict Shyama Madhavam, the verse poem of Prabha Varma, as murals
Published: 17th October 2017 10:52 PM | Last Updated: 18th October 2017 10:34 AM | A+A-
Poet Prabha Varma with the murals based on his verse poem Shyama Madhavam at the Vyloppilli Samskrithi Bhavan B P Deepu
By Express News Service
THIRUVANANTHAPURAM: At first, it sounded like an odd choice to depict Shyama Madhavam, the verse poem of Prabha Varma, as murals. It was considered odd due to the inherent limitations of mural art when it comes to capturing the expressions and complex situations that the poet used to portray Lord Krishna as humane and remorseful. However, the three artists — Baburaj Elankur, P V Narayanan Kutty Malappuram and Vinod Pookkolathur- were looking for a literary work to showcase their talent.
Murals are like the two-dimensional depiction of ‘daru shilpams’, or wooden sculpture found in temples. It has an inherent limitation in expressing emotions. In Shyama Madhavam, Krishna encounters various characters in Mahabharatham and goes through an introspection via the intensly emotional conversations with them. He meets Karna, Dhritarashtra, Gandhari, Panchali, Radha and finally the hunter who mistakenly kills him. Apart from the emotional scenes, the colour combinations allowed in mural art presented a challenge for the artists. Only five basic colours - red ochre, yellow, green, blue and black are allowed in murals. “The paintings are the result of the effect Prabha Varma’s work had on us. We chose select scenes that suit our requirement from the poet’s work,” said Baburaj.
A large painting that depicts Radha’s devotion for Krishna shows the mastery of Baburaj in using the technique without compromising the core framework of the art. It shows Radha walking a ‘temporary bridge’ to reach Krishna while others slip from it. The scene has Lord playing his flute in the night. Unlike other murals, no moon has been painted to show the time. Artists have used light shades for the moonlight and painted the characters without jewellery.
“It is the most important scene of Shyama Madhavam. That is why we decided to use a larger canvas though it is difficult to transport and maintain,” said Baburaj.
The three artists exhibited 32 paintings from 13 chapters of the poet’s magnum opus at the art gallery in Vyloppilli Samskrithi Bhavan. These include Krishnayanam, Dwarakavartham, Karnathapam, Dharma Sangaranam, Mathruvakyam, Dharmadukham, Radhika Dandakam, Radha Madhavam, Aranya Krishnan, Jnana Krishnan, Chaya Krishnan, Ananda Krishnan and Shayama Madhav
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An Umbrella Shop Masks a New Hong Kong Speakeasy
The secret rooms of a hong kong bar evoke a bygone era of travel.
(Photo: Courtesy Foxglove)
It’s difficult to think of another city with a hotter bar scene right now than Hong Kong, where new cocktail lounges continue to appear at a rapid clip. The recently opened Foxglove, named for a beautiful deadly flower, might be its most cinematic speakeasy yet. The opulent restaurant and jazz club is tucked behind an umbrella store facade in the city’s Central Business District, and is the collaboration from the owners of local favorite Mrs. Pound and architect Nelson Chow of NC Design and Architecture. Chow transformed a challenging piece of prime real estate—a vast, hermetic, low-ceilinged former furniture showroom near the governor’s mansion—into an immersive Mad Men-esque fantasia. “The design is very classic and recalls a certain period,” Chow says. “Kind of like a Wes Anderson movie, with quirky twists that draw people in.”
(Photo: Courtesy Foxglove)
In the jewel-box boutique out front, British Fox umbrellas—handmade in Surrey since 1868—are displayed like precious baubles along with little jars of Foxglove perfume, a unisex fragrance by DS and Durga. Pushing on a particular animal-head handled umbrella, propped inside a stand, reveals a secret lair of drinks and music. A carefully constructed narrative drove the overall design brief in that the space is inspired by the fictional misadventures of an enigmatic English gentleman in colonial Hong Kong who may or may not have been a spy. Chow channels the golden age of silver-screen espionage featured most recently in The Kingsmen, a film he happened to see just as the project began. “Everything about the bar is kind of secret-agent style,” he says.
Chow covered the main dining room in a lacquered white waffled ceiling to capture the intimate feel of an aircraft compartment— and turn the most problematic feature into the most striking. “Until you build it,” he says, “you don’t know if it’s going to work.” Ink-blue banquettes, brass-topped tables, and a custom-molded anodized steel propeller behind the jazz stage continue the nostalgic theme, as do the riffs on classic cocktails and dishes like lobster tagliatelle and foie gras-filled macaroons.
The red VIP room, accessed by ringing an antique hotel bell, brings you back down to earth and into a wood-paneled train car with old-fashioned brass lamps and umbrella stem-lined walls. You’ll need a special invitation, though, to reach the extraexclusive third chamber, a surreal library with books on the ceiling that is reserved for close friends of the house. “At Foxglove, the customer becomes a character in a movie,” says Chow, “stepping out of the real world for the few hours they’re inside.”
(Photo: Dani Vernon)
Cocktail by Leo Robitschek
Inspired by Foxglove
The inspiration behind the “Bowler & Brolly,” named after a classic bowler hat and an umbrella, came from the globetrotting adventures of an Englishman. The layout of the bar represents the vintage style of classic planes and trains, and I wanted the cocktail to show this in not only the presentation, but also where it comes from. A hint of blue is inspired by business -class travel; mint captures the feel of the floral paintings as guests enter the VIP room. Glassware is also very important. The drink’s look and feel needs to match the glamorous interior of Foxglove, so the glass shows curved lines in much the same way as the design of the bar.
3 dashes Emile Pernot ‘Vieux Pontarlier’ Absinthe
1⁄4 oz Bols Blue Curaçao
1⁄2 oz Creole Shrub
1⁄2 oz Rhum JM Blanc
3⁄4 oz Orgeat syrup
3⁄4 oz Appleton XV Rum
3⁄4 oz El Dorado 15 year Rum
1 oz lime juice
Add all ingredients into a shaker tin, shake vigorously, and fine strain into a Belgium glass over cubed ice. Garnish with yellow umbrella and mint sprig.
Leo Robitschek is the beverage director at Make it Nice, a New York–based restaurant group that includes The Nomad, The Nomad Bar, Made Nice, and Eleven Madison Park.
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A Baby Smiling at Two Young Women (1873) by Mary Cassatt
Artwork Information
TitleA Baby Smiling at Two Young Women
ArtistMary Cassatt
Mediumoil,canvas
Dimensions60 x 69.85 cm
Art MovementImpressionism
Current LocationPrivate Collection
About A Baby Smiling at Two Young Women
The artwork titled “A Baby Smiling at Two Young Women” is a creation by Mary Cassatt, an artist renowned for her contributions to the Impressionist movement. This oil on canvas genre painting was completed in the year 1873 and measures 60 by 69.85 centimeters. As typical for Cassatt’s work, which often explores themes of social and private life, notably the intimate bonds between mothers and children, this artwork encapsulates a scene of tenderness and familial warmth. Currently, the artwork resides within a private collection, limiting its public visibility.
In the artwork, the observer’s attention is gently guided to a central scene featuring a smiling baby, cradled in the arms of a young woman, who is likely to be the mother or a caretaker. The baby’s engaging expression suggests a moment of joy and interaction between the child and the figures surrounding it. Another young woman, possibly a family member or friend, looks on at the baby with an affectionate gaze. The rendering of the figures is executed with the loose, flowing brushstrokes characteristic of Impressionist technique, suggesting the immediacy and fleeting quality of the moment being depicted. The use of soft, diffused lighting enhances the sense of intimacy and the domestic setting in which this everyday scene unfolds.
Other Artwork from Mary Cassatt
More Impressionism Artwork
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our story
I'm Joe Corcoran, Founder & CEO of VIVOLEARN. For my entire life, I've been passionate about figuring out the best ways to learn.
I invented the concept for VIVOLEARN last year while I was practicing playing the guitar. In one of those eureka moments I thought, rather than keep reading my music and looking back at my hand to make the right adjustments (which as any guitar player knows how frustrating can be), what if the notes were right there where I needed them?
I realized that by putting my smartwatch on the inside of my wrist, and then rotating the display to line right up with the neck of the guitar I was playing, I was able to learn much more effectively and it honestly made practicing a lot more fun and engaging.
Smartwatches weren't being utilized in this particular way, so I did some research and filed my first patent on the technology. I then spent the next year developing Wristruments for Guitar, and all of the other market specific applications that VIVOLEARN offers.
VIVOLEARN's mission is to optimize the way we learn by transforming how we use and interact with smartwatches in our every day lives.
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Celina Taganas-Duffy: ‘Wonder’ mentor and mother to Bridget, a 9-year-old ballet dancer
Celina Taganas-Duffy: ‘Wonder’ mentor and mother to Bridget, a 9-year-old ballet dancer
“It isn’t just what you see and what you hear, it’s more importantly what you feel, and the feeling is what translates to the doing. Without the feeling, there’s no doing. So you don’t transmit it to other people unless something is ignited in your heart. Whether it’s good or sad or bad, it’s got to start there first. The feelings transcend everything. If you can’t communicate a feeling, sit down. It’s your spirit, it’s your soul. It’s unlike anybody else. Nobody can tell you, nobody can put it in for you. It’s what you’re born with. This bubbling up in your heart is your personal expression, your original way of saying things. No two alike. It comes from a place of love and kindness; no matter what kind of vibes you’re getting from people, it always surmounts anything sad or bad. There’ll be no obstacle if you keep your love. That’s the answer.” – Nona Beamer, “Voices of Wisdom: Hawaiian Elders Speak,” 1999.
The heart of conscious parenting
Can you be so loving to your child that you can follow her lead in what she wants to be, “free to create, to dream, to explore?”
That is the quality of unconditional love that Celina Taganas-Duffy got, describing in her own words, from the parenting of her mother, Marcelina Caguimbal Taganas, and her father, Wilfred Coloma Taganas (who passed away in 2009). Even then, she felt uninhibited and was given the freedom to explore what she wanted to do, including athletics, playing four years of volleyball, softball and basketball in high school.
That kind of unconditional love is what Celina is passing onto Bridget (B for this piece), who just turned 9 years old.
I first met B when she sold me girl scouts cookies. Her mom had emailed that she was helping B sell boxes. I wanted to help so I bought a few, which B and her parents delivered to my home.
Celina gave me her business card, and B did the same and shared her birth announcement photo and told me this is her business card. I recall she was just 5 years old. Owen, her dad, stood by and smiled at B’s creative moment of outreach.
“This is my picture, so you can remember me,” and with both hands, she handed it to me.
“Here, let me put your picture in a special place, my altar.” I used both hands too, in the same manner that I got it.
Her parents were surprised with her outreach, but also I believe that she feels equal to anyone.
After all, her parents have been taking her to all their business and community events, even to a book launch, where she was the only child amongst a big room of adults.
“What is your definition of conscious parenting,” to which Celina responded, “It is about being the best mother I am capable of being, while empowering B to become the best person she is capable of being in all facets of life: as a student, as a dancer, as a friend, and as a citizen. I try to expose her to all things creative, to engage in learning by making it fun, and to encourage her to formulate her own opinions. I also value downtime, playtime and creative experimentation.”
Every New Year’s, this family drives to the beach to write in their journals their goals.
“Do you share your goals?” I asked.
“Sometimes,” she said, “it’s mainly a day to think about our personal and family goals for the year and a day that we choose to be together and count our blessings.”
Notice that she describes herself as the “best mother I can be,” that she wants to parent from a place of wholeness, not from her wounds if any.
Conscious parenting steeped in the arts
I asked Celina how she balances being a mom to B and her career as founder and principal creative director of Tagline Communications, Inc, a 20-year-old graphic design, marketing, and branding business.
A simple answer, she said, “Although my business is extremely important to me, being a mom is my most important job. I feel so blessed that my career affords me the flexibility to juggle work and mom duties.”
B goes to an elementary school near where she lives. Her mom shared a birthday card book with written notes from her classmates.
“Splendid dancer.”
“Sweet, brave, neat, helpful, friendly, smart and really good at dancing.”
“There are over a thousand girls that are all not as nice and graceful as you.”
“So compassionate and generous and best dancer.”
“Shares erasers with other people, you help C with her times table, you like to do things your own way.”
I read the Bridget Duffy Newspaper that was shared by Celina. In it, B wrote about the most important event in her life: “On Nov. 5, 2016, I attended the KAR competition in Long Beach, CA to perform a solo from The Nutcracker. I was given this solo from my teacher at Pointe Ballet. At the competition, I performed in front of a large audience, along with three judges. At the end of the competition, I received a trophy awarding me First Place overall in the ballet category.”
In this news story, B has a photo of doing arabesque at KAR competition in Long Beach, and below it, a photo of Stella Abrera, the first Filipina-American principal ballerina in the history of American Ballet Theatre (ABT).
B writes about her hero, “she inspires me to work hard to achieve my goal of being an ABT principal dancer like her. I want to dance professionally my whole life as well.”
B is now training at the Pasadena Dance Theatre under Artistic Director Cynthia Young and at Point Ballet under Du Hongling.
Cynthia Young also trained Stella Abrera, who gave B her first pointe shoes, autographed by Ms. Abrera. “Meeting Stella Abrera and seeing her perform at the Dorothy Chandler Pavillion was such a pivotal and inspiring moment in B’s life, “ her mom added.
B just “auditioned for the Colburn School and was accepted to attend their summer workshop led by Colburn Dance Academy Director Jenifer Ringer and Associate Director James Fayette, both former principal dancers of the New York City Ballet. The workshop prepares young dancers to learn choreography and audition for the Music Center’s co-commissioned production of the all-new George Balanchine’s The Nutcracker by Miami City Ballet (December 2017). B’s extremely excited about this opportunity,” wrote her mom in an email.
Celina also shared B’s school projects: write-ups on Vincent van Gogh, Georgia O’Keefe, Henri Matisse and Faith Ringgold. The project consists of choosing artists, reading about them, drawing one of their chosen paintings and typing in their little computers, a write-up of these artists’ life story, using their own words.
Her mom showed me her clay projects, impressively detailed, and realistically depicting animals, people, and even hamburgers.
B is steeped in the arts and started painting at 2 years old. She is now taking art lessons every two weeks and dabbles in different art media: watercolors, pastels, paper art and sponge painting, and she wrote in her art project, “her most favorite artists are her mom and dad because they create beautiful paintings.”
She also excels in her favorites: math and science. She loves to sing and has been with the Los Angeles Children’s Chorus for three years.
In the upper right-hand column of B’s new story is her photo participating in a White House Easter egg hunt and below, B’s photo holding a bouquet of flowers, with her mom and dad, after performing her first ballet solo.
Celina, together with her husband, Owen, both teach B to be kind and even if folks are unkind, for B to still be kind. But, not a third time, she has to put a stop to it by telling them how it makes her feel.
She is tutored to feel with her heart and to listen to her instincts, not skin color.
“How is their heart?” she is asked by her parents, and they teach her, “You can tell if a person is good, bad, happy, or sad by looking at their heart. Trust your feelings.”
When asked what her parents has taught her, B shares, through her notes: “Always be kind, Never give up, Follow your dreams and my parents are here to help me, Always do my best, If people say mean things to me, don’t let it get to me…to believe in me.”
Owen takes B on daddies and daughters ski and camping trips. Being outdoors is encouraged with bicycling and trail walking; the latest, with Celina to enjoy the blooms of the poppies at Chino Hills State Park.
Would you not gain enthusiasm that all seems right about this child’s life?
Do you see a consistency of focusing the children to see how their lives can be extraordinary works of art, just unfolding, and to allow them a glimpse of past artists’ lives?
Celina Taganas-Duffy’s art-centered business
Celina’s portfolio of finished work-products reads like the who’s who of brand names, institutions, buildings, and brand icons: The White House Young America Series through Millennium Momentum Foundation, Smithsonian, Taylor Swift invitation from Encore, Deluxe Entertainment, USC Pacific Asia Museum, City of Los Angeles, Epson, Hilton, Starwood Resorts, Viceroy, W Hotels, Kobe Bryant book by NBA photographer Andrew Bernstein, American Library Association, Pro Bull Rider & Bud Light Cup, Westpac Materials, USC Trojan Flashback Football, Boy Scouts of America and the Smithsonian Filipino American Centennial Commemoration four-panel brochure as part of the Singgalot exhibit in DC that traveled to Los Angeles and Honolulu.
She has now branched into environmental design, incorporating her original artworks and graphics of plants, water, medicinal plants, healing stones into the different floors of medical buildings, using triptych, multiple panels of windows looking outside. One, in particular, registered with me, backlighted lavender fields in this building’s women’s restroom and backlighted palm fronds in the men’s.
CAISO HQ, a non-profit public benefit corporation that moves power to homes and communities, has also commissioned her works.
Much like her art business portfolio and her exhibits which shows how her artworks have evolved through two decades, her lineage shows an evolution of struggles transcended to accomplished Filipino Americans in America’s history, characterized by waves of migration, working in the sugar cane fields, the Navy to professional careers, to lives of community engagement, enterprise and creative expressions in the arts, martial arts and cooking.
Felix Taganas (Celina’s great grandpa) was a sugarcane worker who arrived to work in the sugar cane fields in 1924. He later joined the U.S. Navy. He owned a Filipino diner in the 1930s, which became a haven for Filipinos then, to eat their favorite dishes without being harassed or refused service. His diner is memorialized in Carina Monica Montoya’s “Los Angeles’s Historic Filipinotown” book.
Alfredo Taganas (her grandpa) worked for an admiral in Port Hueneme while her cousin, Conrad Caguimbal, worked as a sous chef for Bellagio’s Picasso and later, as a chef for Google’s 12,000 employees and now, executive chef at Compass Group, where he recently opened a restaurant at UFC’s new headquarters in Las Vegas.
Her uncle, Faustino Caigoy, is the first muralist in the Filipino American community, whose signature paintings and artworks were exhibited in community events, primarily FPAC, Festival of Pilipino Arts and Culture and SIPA. He has popularized the baybayin, parols, eskrima sticks, and whistling kites.
Celina credits her uncle, Faustino with teaching her to trust her artistic instincts, of thinking outside the box, of not being boxed in by existing genres, but to do her own styles of painting. In her home, her original paintings are exhibited on her walls.
She also credits her mentor and teacher, Margaret Collins from Santa Cruz who took her for a walk and asked her, “What is it that you want with your life?”
She trained with Filipino martial arts’ masters: Master Christopher Ricketts of Kali Illustrisimo, Faustino Caigoy of the Jack Santos Method, Magtitudlo Ramon Rubia of San Miguel Eskrima and Guros Bud Balani, Arnold Noche, Dino Flores and Felix Valencia of Lameco Escrima. She is also trained in Wing Chun, Qigong, Baguazhang and Daitu Ryu Aikijujutsu Roppokai. She then imparts what she has learned to empower middle school children and also, young girls.
She credits most of her abilities to balance to Owen, “who is helpful and doesn’t hesitate to take over mom duties when I have a meeting or I’m in the middle of a deadline. He’s the best husband, and the best father to B. He’s such a great team player.”
Notice the words, “best persons” are used a lot in this family. Seeing her art business portfolio is like an art exhibit, a curation of cards, logos, invitations, business labels, and now, buildings with colorful, visually stunning and “calming” murals.
Celina wears her imperfections comfortably as much as her personal brand of excellence. She accessorizes her clothing by being with grace, inner calm, humility and communicating as a whole and a wholesome person, who is an entrepreneur in the arts. All while raising B, with unconditional love, as much with her husband, Owen and is occasionally involved in the community’s pursuit of arts and martial arts.
Prosy Abarquez-Delacruz, J.D. writes a weekly column for Asian Journal, called “Rhizomes.” She has been writing for AJ Press for 9 years now. SheMexico and 22 national parks in the US, in pursuit of her love for arts.
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What is AI? A Conversation with Ar. Neil Leach
About the event
Artificial intelligence is everywhere – from the apps on our phones to the algorithms of search engines. Without us noticing, the AI revolution has arrived. But what does this mean for the world of architecture? Explaining what AI is, how it evolved, and how it works, this lecture offers an introduction to the extraordinary world of AI and the way in which it will revolutionize architecture.
Join us for an insightful discussion on this subject with the eminent British architect Neil Leach.
For all budding architects out there!
Date: 27th March
Time: 6:30pm
Venue: Ice Factory, Ballard Estate
Link to register: bit.ly/3LLk8o3
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Product Photography Pricing: How Much Does It Cost?
Your new product is fresh off the production line and you're ready to start selling. To start marketing your product, you need to get professional photographs.
These images are vital to increasing online sales. If your product is featured, you'll also have images ready to send in.
But how much will all this cost?
Keep reading to learn about the elements that make up product photography pricing.
The Product
The product itself can change the price of photographs. Weight, size, material, colour and post processing all play a factor. Check out the following sections to get a better idea of what might influence the price.
Product Size & Material
The larger the product, the harder it is for the photographer to work with. Not only is a large product more difficult to move, but it also requires a larger shooting space. The backdrop or shooting space will need to be larger and more lights might be needed. For example we have photographed safes that needed to be moved by a forklift. This is a delicate process in a studio environment.
On the other hand a small diamond ring poses other challenges requiring special lighting, camera lenses and delicate placements.
Product Translucency or Reflectiveness
Have you ever tried to take a picture of a mirror without getting yourself in it? It's tricky!
If your product is translucent or reflective, it requires more precise shooting to showcase the product. It also needs more of an advanced lighting setup and set organisation.
Product Color Options
If your product comes in more than one colour, each item will be individually photographed.
The product can sometimes be adjusted in post-processing but colour accuracy is not always exact.
Product Posing and Assembly
Can the product stand alone, or does it need a model? Take a pair of earrings for example. While a stand-alone photograph is necessary, it's also helpful to shoot them on a model so that potential buyers can see their size.
Or does it need to be stylised? For example a product can be photographed in-situ or with other products.
Sometimes a product requires assembly. For example, we often shoot industrial door handles that need to be removed from their packaging, assembled and cleaned before photographing.
Editing Process
There are many ways to edit a product depending on the way it will be used. For example and image can be shot on a white background (which translates to grey) or can be deep etched to achieve pure white, which is quite popular. Here's an example of a white background (grey) and deep etched to pure white...
It's always a good idea to inform the photographer the number of final images (not products) and type of image file that will be required.
Number of Images and File Format
This one is straightforward. The more images you'd like, the lower the overall unit cost.
There are two (most popular) different file formats that can be purchased: PNG and JPG.
Here are some advantages and disadvantages to these file formats.
Pros of PNG
Lossless compression
Contains a wider variety of colours
Transparent background option
Cons of PNG
Not ideal for printing
Larger file size might not allow uploading to certain websites
Photos with lots of detail will carry an extra-large file size
Pros of JPG
Most common image format
Ideal for photographs with details
Smaller file size
Cons of JPG
Transparency not supported
Have an idea of what platform you'll be using your images on. For example, Shopify has different image size restrictions than Wix.
If you're going to use the images on Instagram, keep in mind that vertical photographs do better than horizontal ones although horizontal can often be cropped to square. These are all things that you want to communicate to your photographer.
Deep Etching
Deep etching is the process of using photo editing software to pull a specific part of the image (such as the product) from the background. While many photo editing programs can do this automatically, products with a wide range of colours or details mean that the photographer must do it by hand.
A benefit of this process is that once deep etched, you can place the product on any background. You can also turn it into a PNG file with a transparent background.
The process of deep etching can take a large amount of time and thus, will cause a price increase.
Drop Shadow
A drop shadow is an effect done in software that makes it look as if the product is creating a shadow. This is a technique that requires skill and precision in editing software.
Ask the Photographer About Product Photography Pricing
The best way to get an estimate on the price of product photography is to provide the photographer with all the above information. Send the photographer smartphone images of your product. This will help them better visualise the shoot and provide a lot of the above information in a single image.
When you send images to the photographer, be sure to put an item in the photo to determine size. Place rulers next to small items and for larger objects, a person in the photo will give a good reference size.
Another way to convey your desired type of image is to send images of your competitors' photos. Let your photographer know what you like and dislike about these photos. You may also use references from the wide range of images here.
Now that you know how product photography pricing works, get in touch for a personalised quote.
Here's some of our previous product photography shoots
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May 2017
As many regular readers will know, I’m a great believer in If a door opens, we should walk through it. It’s so ingrained in the way I live life and run my businesses that when it’s challenged by ‘head’ stuff as much as it is at the moment, my faith in ‘the process’ can’t help but become clouded.
For a few reasons, we’re moving house. What’s wonderful about that is just how smoothly the sale and purchase process has been (clearly, therefore, meant to be). So why is my head screaming at me?
During a time when my mother’s health has been challenging, my father’s Alzheimer’s worsening, my faithful dog’s quality of life is deteriorating rapidly, not to mention being on the verge of the busiest periods of the year, is this really a time to be ‘upgrading’ house?
When I first started realising that if the Gods want you to do something, all the doors will open and it will be smooth, I was amazed at how clear everything became. It made my life-choices easy and the more I immersed myself in that ‘process’ the more it became true.
Maybe it’s time for that resolve to be challenged… to see how strong it is? We’ve all known times in life we just need to close our eyes and jump in the belief the net will appear, but whether we do or not, or let doubt reign, is the question.
Religious people may call it having faith in their deity, atheists: fate or synchronicity. Whatever your beliefs, I believe disengaging with the fear of ‘what ifs’ is the key to any happiness in life. There are a thousand scenarios that could happen and almost certainly the ones that do are the ones we haven’t even thought of.
Life throws enough curve balls at us without us creating our own, so despite my brain’s fears and distractions, I will continue to heed to ‘the process’. Not because I want to test provenance, but simply because open doors lead to new experiences and for me, that’s what living life to the full is all about. And, truthfully, it is only in doing that we define who we are.
Before we kick off with all the new work and a stunning new recruit to the THG stable, I want to remind everyone that the Ben Taffinder exhibition is now on here in the gallery. The open evening and weekend has seen some great sales, but you can check out all the work here. Well worth it as always with that fella!
Now, I’d like to introduce you to the superb Hester Berry. She agreed to join us earlier in the year and is working on some local scenes for us, but for now, we have three incredible works in. Her pedigree is astonishing and we’ve also added her Landscape Artist of the Year Time-Lapse video to our podcast page to give you an insight into her awesomeness! Enjoy!
Right, so who’s been dropping in new work? Well, to be honest pretty much everyone. Robin Mason’s Fisherman’s Shelter exhibition was a great start to the season in mid April and there are just a few newbie from him here.
Stephen Higton painted two beauties for us just recently and I imagine they’ll fly out the door once his fans get a butchers at those lovelies. Joe Armstrong, too, bought in a couple of stunning new pieces last week, so do drop in and check those whoppers out: the fella’s shining with his usual excellence. Oh and Joe’s our next Fisherman’s Shelter exhibition on May bank holiday: 26th – 28th!
That crazy-talented Ilric Shetland popped over with a stunning new Seascape mid-month so it’d be a crime not to check that powerful work out… and his incredible 3.5 meter wide mountain scape is live on his page, too. What an astonishing piece of work that is!
Claire Henley got everyone on Facebook guessing who the two people were in her new work last week. Might be worth finding out as it could be you? Be a shame to miss buying that if it is, or?
And just last week the amazing newcomer, Imogen Bone, bought in the final huge piece of hers, which is now in-house to see. There’s another I suspect won’t last the month. It’s a beautiful piece! Oh and the lovely Jenny Aitken has delivered two new Portscatho stunners, too. Sublime!
Is that it? Hell, no! There’re some magical new pieces from both Andrew Allanson and the most bodacious Philip Tyler this month. Philip has spoiled us with a new collection between bites of writing for The Artist magazine. What a sterling and hard-working fella that is, eh?
On that note, I shall leave you to browse the magnificence that is THG’s website. Always bursting with stunning new work, it’s a crime not to make a weekly date to drop in and see what’s new. One never likes to miss out on a stunner, now, does one? ;0-)
Adios Amigos and hope to see or hear from you soonest!
April 2017
One of the benefits of being around children (especially another’s) is how much one learns about one’s self. This month I took a group of our youth club kids to Centre Parcs for the weekend and the learning curve became much more intense.
How kind, thankful and giving some are and how much some others reflected back to me some of my worst traits, allowing me to remember how I was as a youngster, how far I’ve come, and yet how much I still have to learn… read more
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Transparent flash video overlay jobs
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11,231login to view URL]" }, { "position": "midroll", "startTime": "00:00:20", "tag": "[login to view URL]" } ] ● linear и overlay. Для оверлей должна быть возможность указать длительность показа. Сам оверлей может быть html, iframe, image, vpaid swf ● н...
$2560 (Avg Bid)
$2560 Ср. ставка
3 ставки
I need some graphic design. Similar to the one attached *Content* ARKAD PROJECTS Painting and Waterproofing
$10 (Avg Bid)
I'm needing an intro for some Facebook/Youtube videos as well as a logo to go along with a streaming overlay.
$29 (Avg Bid)
$29 Ср. ставка
23 ставки
...build with a roll over effect that uses a colour rollover on a box with a profile picture or team member. (photo of person rollover gives an animated effect of colour box overlay slides from bottom of box to top) The link to the profile of the team member is <a href is on the person profile name. I would like the <a href link to be on the box and
$91 (Avg Bid)
$91 Ср. ставка
19 ставки
AutoCad Work 5 days left
Overlay a survey topo onto an existing DWG file and create a excel table for the survey data points.
$127 (Avg Bid)
$127 Ср. ставка
57 ставки
...with boarders for pictures to go under. The template should have the wording be changeable with a free downloadable font and the picture boarder should be separate so it can overlay in a program....
$26 (Avg Bid)
$26 Ср. ставка
19 ставки
I have 6 Graphic Designs for t-shirts and i need the canvas background to be transparent so when its printed onto the shirt it will look good.
$22 (Avg Bid)
$22 Ср. ставка
30 ставки
...collage is saved on USB stick and configuration is loaded 5. collage designer opens up a. Customer can design collage b. The collage is created when saving. i. Background ii. Overlay iii. Collage iv. XML Configuration v. Registry Update c. Program ends Workflow in the warehouse The photobox is no longer processed in a great way in the warehouse. The warehouse
$19 / hr (Avg Bid)
$19 / hr Ср. ставка
12 ставки
...deleting a folder requires all files in the folder to be deleted. 5. Select one or more photos the same way as OneDrive (drag rectangle or select radio button style input in an overlay of the photo). 6. Select all photos with CTRL+A 7. For the selected photos, delete (call the API to delete each photo) 8. For the selected photos, drag them to another folder
$182 (Avg Bid)
$182 Ср. ставка
26 ставки
I need some quick fixes to my Wordpress site. 1. google map overlay problem - this has been fixed numerous times before 2. custom URL function stopped working properly 3. some buttons need a redirect URL, after successful purchase of subscription product
$26 (Avg Bid)
$26 Ср. ставка
28 ставки
... Has transparent buttons to select on screen. Then sends response to us when a single button is pushed. This response would have the basic contact information about the end user. I want to do this in Corona because I am learning it now. IE think of this as a Bingo game. Each slide has numbers. The slides are different. There is an overlay that
$500 (Avg Bid)
$500 Ср. ставка
21 ставки
...resizing the browser window. The video sits too far to the right. There's also a grey bar to the left of the video and the overlay (title) at the bottom loses its' position. See the screen grab attached. When you resized the videos for me, which is great, this seems to have had a bit of a side affect. Try this video [login to view URL]
$64 (Avg Bid)
$64 Ср. ставка
1 ставки
...floor and can overlay floor coverings on them. These coverings would come from our stocks, but should also be able to be custom made. There should be a backend application (could be a desktop or web application) where we could upload scans/images of the tiles/vinyl_cover/wood_cover etc which your mobile app can then tile to show the overlay at run time
$2826 (Avg Bid)
$2826 Ср. ставка
71 ставки
I need a Freelancer to help create a very short instructional video with text overlay for Users on my website. Video is not expected to be longer than 3 min. I will provide guide and text to help complete the task.
$96 (Avg Bid)
$96 Ср. ставка
26 ставки
I am wanting a company logo designed with a transparent background with the text in both black and white.
$15 (Avg Bid)
$15 Ср. ставка
58 ставки
...plugin Different button styles. Button size can be configured. Category of items for which the button to be displayed can be configured. Exclusive button style and size for overlay button. Option to hide the button on small devices Works with non human friendly urls also URL shortening option – to make long urls short for sharing. Supports in desktop
$205 (Avg Bid)
$205 Ср. ставка
5 ставки
Need a good designer that is professional dealing with gold tones , texture and have a portfolio to show his/hers previous gold designs . The project is quite simple but you will have to do sharp and clean work in designing golden patterns like confetti, hearts and stars while making sure the tone changes. The idea is to get the same hearts as in this photo Contact me if you done something like ...
$312 (Avg Bid)
$312 Ср. ставка
27 ставки
Need a good designer that is professional dealing with gold tones , texture and have a portfolio to show his/hers previous gold designs . The project is quite simple but you will have to do sharp and clean work in designing golden patterns like confetti, hearts and stars while making sure the tone changes. The idea is to get the same hearts as in this photo Contact me if you done something like ...
$276 (Avg Bid)
$276 Ср. ставка
41 ставки
... Home page features should include: An image slider at the top Please use the one personal image of her running as the start. Then use the gym equipment images. Please overlay these quotes on the images. Please take the time to review this. I want to add this is for a WordPress site. RESPONSIVE DESIGN IS MUST (Should work on all mobile devices)
$1380 (Avg Bid)
Срочный Гарантированный Скрытый
I NEED an overlay on my website that makes the person state that they are over 18. It should pop up and be clicked if over 18 or clicked if under 18 and it send them to another website
$23 (Avg Bid)
$23 Ср. ставка
13 ставки
We are looking for a talented graphic designer who can create multiple overlays and animations for OBS studio (online streaming platform) to be used in conjunction with Twitch. We will also need the successful applicant to be well versed in creating .gif files. This will be an opportunity for ongoing work for the right artist.
$38660 (Avg Bid)
$38660 Ср. ставка
24 ставки
I am looking for someone to take our basic logo - overlay it on a map of Texas, add a circle banner around it with the words "Fort Worth Stage Employees" The attached California logo is what I am looking for but with our logo, state and words
$77 (Avg Bid)
$77 Ср. ставка
33 ставки
I need someone to develop an app to display icon overlay over shell objects to provide extra information. once I do right click on a folder/file and select “icon overlay” from right click drop menu, I should see icon overlay on that folder/file. Once I receive this little app and verify functionality, the developer will provide the source code. I need
$163 (Avg Bid)
$163 Ср. ставка
9 ставки
...background image for the upper part of the site Representing Slim & healthy couple Eating healthy food or being in the nature with stunning view Eventually with a color overlay Any suggestion welcome BODY Headline title Original disposition of Round images illustrating the different diet types (I have all visuals) Center is the happy couple
$173 (Avg Bid)
$173 Ср. ставка
69 ставки
...from the previous years at [login to view URL] Our previous Facebook video advert can be viewed here: [login to view URL] This was created with a modified template from VideoHive.net. This year, I would like a video with a shorter run time (15 - 20 seconds) with either a 1:1 or 9:16 ratio but
$497 (Avg Bid)
$497 Ср. ставка
28 ставки
I have 9 PowerPoints with an average of 68.4 slides. I need all of the images on all ...of 68.4 slides. I need all of the images on all of the slides to be changed so that any image with a white background be set to a PNG and have their backgrounds set to transparent. In addition, I need the border around the edge of all the pictures to be removed.
$41 (Avg Bid)
$41 Ср. ставка
46 ставки
I've made a basic Tableau system. Goin...com/profile/the.data.site#!/vizhome/Book2H/Castlesmap We need the following done. 1. the overlay improved. 2. the structure of the right side improved. 3. art direction - one better font. 4. a background structure that looks nice and ties it all together. 5. an advertisement of my video game - Castle Breakout
$18 / hr (Avg Bid)
$18 / hr Ср. ставка
21 ставки
I have a geoTIF file that I am unable to overlay into Mapbox properly. It is weather data - one large image that covers the US. I am not skilled with GIS much and even though I am overlaying in Mapbox using the proper coordinates, the storms are not appearing where they should. This might be an issue with projection, but I am not sure. This should be
$470 (Avg Bid)
$470 Ср. ставка
13 ставки
...the red arrow you have to touch the quarter whrere the arrow POINTS TO. Additional views are for day-ranking, total-ranking, user profile, home screen, game-over-overlay, game-start-overlay and a simple game-explanation as text. You find all the views as PDF attached. We have additional, more detailed designs, that you get if you will do the job. Finally
$1324 (Avg Bid)
$1324 Ср. ставка
46 ставки
...with Telephone and Email - Slider with images and text - Grid section (three cols, two rows) with images, text overlay and shortcuts to pages - Title and text section - Grid section (three cols, one row) populated with content (image, text overlay and shortcuts to the posts) from the Recent Projects category - Testimonials slider showing image, contact
$282 (Avg Bid)
$282 Ср. ставка
24 ставки
I need someone who is really able to cut the 2 images perfectly (especially the hairs) here you can download the images: [login to view URL]
$22 (Avg Bid)
$22 Ср. ставка
86 ставки
...and would like to be able to overlay this signature logo easily onto any photo background. So, i don't need any kind of background to the signature. I need a black semi-thick signature logo that i can overlay onto a changing background. I don't want it to be transparent print...but i would like to be able to just overlay the signature ontop of any photo
$65 (Avg Bid)
$65 Ср. ставка
80 ставки
...animator to do a 15 second introduction piece for a car rally event video I am currently editing. I am aiming for the clip to be 2d animation of different elements, environments we travelled and entrants all mixed into an overview piece of the event. I also will require an animated map to overlay each day on the screen to show where the event travels to.
$286 (Avg Bid)
$286 Ср. ставка
14 ставки
We are looking to convert a Flash Tile Designer Click here [login to view URL] and then click “Different Sized Tiles” A pop up should appear and it uses Flash. We need to recreate this functionality. It’s basically a way for customers to design their own tile arrangement for fireplaces, walls and porches
$2402 (Avg Bid)
$2402 Ср. ставка
29 ставки
Looking to add GPS navigational map to a streaming video app that has already been built and published for both IOS and Android. This map feature will show the detailed map overview of where the broadcaster is while moving. This should be built as a map overlay that can be resized by the person viewing the stream. The streaming app also has a SDK
$568 (Avg Bid)
$568 Ср. ставка
23 ставки
...app, using ARKit. The target device is iPhone 6s and above. We will need a code / app that will be able to overlay picture of clothes on a person. We will need a function to detect a person in an environment then use that information to overlay the clothes. - Optional but those who can implement this will be shortlisted: The app scans a person via camera
$509 (Avg Bid)
$509 Ср. ставка
11 ставки
remove the pixels from the background of 2 headshots, making the background transparent and change it into PNG format. both pictures have a one-color background.
$18 (Avg Bid)
$18 Ср. ставка
37 ставки
I am a photographer wanting to create an easy to use photo editing app that will automatically place my PSD overlays/filters over user's images. I have the entire app laid out, but need somebody to make it all work. I would love to chat, so let me know if this is something that interests you! Thanks!
$2533 (Avg Bid)
$2533 Ср. ставка
114 ставки
Create and extension for Google Chrome that (1) cleans history with one click. (2) shows information from API call as an overlay and (3) Alerts user if IP address changes. IP lookup API is a single line: [login to view URL] Overlay should be on bottom of page. Full details and mock-up in attached description.
$77 (Avg Bid)
$77 Ср. ставка
4 ставки
There are 3 ...attachment. I want to see real positions of crop marks, not sloped like in newspapers. The picture should be a CONTOUR/PICTURE SKETCH with a transparent background which I can stick on Google Earth Map as Image Overlay. Contours should be accurate as much as possible. Coordinates: Eynsham, Witney, UK 51°46'25.1"N 1°23'06.5"W
$35 (Avg Bid)
...a simple PWA/SPA for a closed group of people, who are spread in different countries. When a user opens the website, if they are not connecting via mobile web browser, an overlay message should be displayed saying that the current version only supports mobile browsers. We would prefer to use Angularjs for front end and nodejs for backend. The main
$240 (Avg Bid)
$240 Ср. ставка
6 ставки
...not. However, please take a look at the attached files and see the element that I think would make an interesting background, then the black 'Rube Hebert' machine image to overlay. I would then like you to strip that right down until it's very faint and put all of the normal business card details over the top. Brad Houston Chief Engageneer M: 0413
$42 (Avg Bid)
Срочный Гарантированный
We have a business graphic of a classroom with multiple computers on desks. I need each ...like you can get the images to match exactly. It is important that the screens are the same side and that the images match if possible. I have other images that have to overlay but this is the base image. This is an immediate need, as in the next day or two.
$67 (Avg Bid)
$67 Ср. ставка
57 ставки
I need someone to quickly create a fly-through of Aerial LiDAR imagery using a .LAZ file that we send. Video would be very short (30 secs) and doesn't require any overlay imagery or music.
$122 (Avg Bid)
$122 Ср. ставка
11 ставки
I run [login to view URL] where we make physical products to store your bitcoin private keys. We would like to commission 5 original pieces of art using our product as the canvas (the art will need to conform to the shape of our product). These are for limited edition custom units we will sell at a conference.
$233 (Avg Bid)
$233 Ср. ставка
10 ставки
...but for starts here's what I need done ASAP. Only bid if can start and complete tasks now. Thanks. 1. Menu items in header, need to be in red color #f76b6a 2. Add to cart overlay needs to 50% alpha grey with white font 3. Logo needs to be centered on mobile view like it is on desktop. 4. For mobile is it possible to scale products to almost full width
$31 (Avg Bid)
$31 Ср. ставка
27 ставки
...mockup for you to work from. Winner will need to deliver the following formats Illustrator file with vector images in it so I can print. (300dpi) Photoshop file with transparent background. Two logo colours. White on Black and Black (text) on white. You can pick whichever FONT you think looks best. Does Not have to be the same as above. I'm
$37 (Avg Bid)
...someone that can take my twitch overlay and modify it to reflect the following: high def animation (like a demon scene), live blood dripping from a cave or lair walls with a background of a dark haunted place. I know this sounds kind of demonic, it's just to go with a theme of a twitch character. I 've attached the overlay and an outline to follow.
$501 (Avg Bid)
$501 Ср. ставка
15 ставки
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GOING THE DISTANCE by Nola Ahola is a solo exhibition of watercolors, collage, and ink drawings from her illustrious career. Her unique and luminous-figure-in watercolor style with a feminist context will enthrall you. This exhibit is representative of the artist’s lifetime of exceptional artistic achievement.
Seattle artist Ahola gained recognition for her figurative art, working with live models and capturing movement and postures with swift brush strokes in ink. In her watercolors, she combines areas of color and pattern with expressive line. Her signature body of collage work includes both figurative and abstract compositions on a larger scale. The artist delights in the surprises that come with remaining “open to spontaneity” throughout the creative process.
For more than six decades, Ahola has been prolific in producing drawings, watercolors, and collages that have gained an enthusiastic following. Her first art classes were at Willamette University in the 1950s, during an era when being a wife and mother was regarded as the most fulfilling role for a woman. Although "caught in the fog of the pervasive sexism of that time," Ahola gradually gained confidence in her self-sufficiency and talent. She continued her art education at the University of Washington and began to focus her artwork on the human figure. After earning her MFA, she started to teach art, and in the 1970's she developed a series of figure drawing and watercolor workshops with a feminist context. Her reputation as an inspiring teacher grew with her many classes sponsored by the U of W Continuing Education Program. She also participated in art programs offered by the city, county, and state, such as the Seattle Art Commission's Artist in Residency program at Stevens Elementary School.
During this period she completed over a hundred large-scale brush drawings of dancers, a collection of which was showcased by Nordstrom Inc. The artist's first solo exhibition was held at the Otto Seligman Gallery in 1967, followed by shows at Francine Seders Gallery and the University Unitarian Gallery. She exhibited at the Linda Farris Gallery for a decade and has shown her work independently since 1980. Most of the exhibits have been in King County, but during the years she resided on Lopez Island (1992-1999), solo exhibits of her work took place on San Juan, Orcas, and Lopez Islands. Ahola's art is in many private collections, as well as in those of organizations such as Safeco Corporation, Virginia Mason Hospital, the Seattle Mariners, American Contemporary Dance Company, Fred Hutchinson Cancer Research Center, and the City of Seattle.
In addition to the expert and flowing lines of her brush drawings and watercolors, the appeal of Ahola's work lies in the richness of patterns to be found in her other main area of concentration: the figurative and abstract collages. Intrigued by patterned textiles for much of her life, she has developed a unique way of making collages with handmade papers on which she has painted undulating lines often suggestive of landscapes and rippling water. Applying these papers to canvas on a larger scale than her other works, Ahola creates compositions that are carefully constructed, yet incorporate the spontaneity of brushwork that is the hallmark of her style–which she sums up as "playing fast and loose."
Sponsored by The Honeywell Charitable Trust, Lamar Efaw Interiors, Elan Video and Framesmith.
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Froukje Sleeswijk Visser
Froukje Sleeswijk Visser is a senior design researcher based in STBY’s Amsterdam office. Her work focuses on effectively communicating insights within development processes, and this is a common theme of her work with STBY. Taking the lead on projects with clients such as Cisco, Froukje designs and implements projects that insert the experiences of real people into innovation trajectories.
Like all of our senior researchers Froukje has an extensive academic background, holding both a Masters and a PhD in Industrial Design Engineering. In 2009 she published her doctoral thesis ‘Bringing the everyday lives of people into design’, basing her findings on in-practice case studies with companies such as Philips, Vodafone, and Sara Lee. She is currently an assistant professor at the TU Delft for two days a week, where she was previously involved in the development of ‘context mapping’ (Sleeswijk Visser et al , 2005).
Froukje also has several years of experience working as an independent design researcher. Examples of her work are available through her website, www.contextqueen.nl, and you can also contact her by emailing [email protected].
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A visit with a Germantown toymaker during the holiday season
The loud hum of a bandsaw fills the cool cellar air of an old Victorian twin on Morris Street in Germantown. Master craftswoman Dona Dalton glides a wooden snake through the blade, and the creature begins to take shape. For one-of-a-kind pieces like this will become, she lets the sawing process drive the final piece and lets go of what she thought she wanted.
“So much happens on the saw,” she says, that “whatever you draw, it’s different anyway.”
In her basement workshop and airy third-floor painting studio, Dalton has been creating wooden toys and crafts for 40 years. With Christmas season upon her, she’s been flooded with orders. But, you won’t find nativity scenes, Santa Claus, or even snowflakes in her collections.
What you will find are Egyptian sphinxes, sun gods, goddesses and a plethora of carved birds ranging from small Carolina wrens delicately carved, sanded and painted in detail to sleek magpies teetering on pedestals lining her bookshelves. Birds are her best seller, and an obvious favorite as a quintessential bird clock chimes in her living room.
She used to carve children’s toys earlier in her career but prefers sculptures to playthings. Her real passion involves exploring the Egyptian myths with wood.
She says she tries to lighten the subject by putting statues and important figures on wheels like a pull-toy. For example, her piece “Sky goddess rolling sculpture” is based on the Egyptian myth of creation, but is perched on wheels and can move like changing scenes of a play.
“We’re so serious about religion and spirituality. I view religion as an accumulation of stories that we can get a lot from,” she said.
The artistic process
Dalton is a one-woman show. She runs the business and creates the art down to the last brushstroke. She even carries in her own lumber and says working with wood is a dirty and exhausting job.
“I’m dusty, cranky, and I cut my finger,” she said referring to her now bandaged thumb from a saw accident. “It just slows me down.”
Dalton’s time-consuming process starts a rough cut of the poplar wood with a bandsaw. Then, it heads to the machine sander. The works are smoothed further by hand, glued and painted.
Jelly jars of hand-mixed paints overflow on a table in her studio, though most of her work uses common latex house paint. Many times, instead of painting the wood, she rubs the colors into the woodgrain and then layers specialty acrylics to give the colors depth. The end result is a metallic glisten.
And this time of year she’s on a deadline with one website that guarantees a ship date in time for Christmas – no exceptions.
More than a Christmas gig
The displays in Dalton’s home only represent a fraction of her collection. She says that most of her work though is being shown in galleries across the country from Texas to Massachusetts. However, you can catch some of her sculptures locally at the inside the Woodmere Museum gift shop in Chestnut Hill. Prices for her work vary depending on the size; small birds can fetch more than $100 but larger pieces like a mirror with wooden birds costs at least $500.
A full-time artist, Dalton says her secret is diversity. Her work sells online, at galleries that specialize in American-made crafts, national craft shows, museums and libraries. Don’t look for her at local shows, though. She labeled a recent one “dismal,” what with many kind words but very few cash-register fillers. (“I don’t think people have a clue how hard it is to do a show, especially how we age. We’re all starting to grumble about our aches and everything,” she laughs.)
Dalton feels the recession, too.
“People are broke right now,” she said. In an effort to cope with changing realities, Dalton offered her art on consignment to a long-time gallery where the owner wouldn’t have to pay for pieces upfront. Sales picked up, but not to the point that it’s a reliable income stream.
For now, Dalton is busy with orders for the holidays and plans to open a store on Etsy, a website dedicated to handmade crafts soon.
Still, Dalton says that Germantown plays a role in her work. She says its natural assets have been inspiring her since the 1970s when she moved to the neighborhood.
“It’s beautiful up here,” she said. “Every few doors, there is someone interesting. There’s a lot of unknown things to find out.”
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Current Projects
Creative and Critical Works in Progress
Image by Bruno Martins
The Bite and The Kiss: Gender and Letterpress Printing 1900-2020
This short monograph, currently under contract with Cambridge University Press, examines the art and culture of letterpress printing done by women and gender minorities in the 20th and 21st centuries. Drawing on theories of slow technology, critiques of gendered labour, and theories of craft and the handmade, I argue that this old technology gains new political and aesthetic potency for women as more efficient methods of printing come to dominate the commercial realm. I trace the history of women hand-setting type from the independent literary publishers of the early part of the 20th century through to second-wave feminists printing polemics and posters, and finally to the popularity of letterpress in contemporary culture as a contrast to digital materiality. Focusing on a diverse range of English-language examples, this book tells the story of an anachronistic technology with tactile qualities that have endured in art, literature, and politics even as more efficient print and digital technologies have supplanted it for most practical uses.
Image by Laura Chouette
I am in the process of creating a series of artists books and poems meditating materially and metaphorically on different types of fastenings, bindings, and attachments
Image by Patrick Tomasso
Publishing Modernist Biography
I continue to work using quantitative book history methodologies on the publishing of biographies in the early twentieth century in order to document and account for the immense popularity of this genre in England during the period between 1918 and 1939.
©2021 by Claire Battershill
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Interior Design and the use of Photographs
Inside configuration is about style, quality and particular inclination; however discovering a roused ‘look and feel’ to suit a customer’s short, and conveying correctly what a customer needs actually when they can’t portray it themselves is never simple. We some of the time require a couple of pieces of information:
Most individuals need their homes to reflect their identity. They search for characteristics which resound their preferences, affections and longings. Pictures, and particularly photos, can have tremendous impact in ‘scene setting’. Occasion snaps, family pictures, commonplace painted scenes all meet up to make a feeling that reflects the mortgage holder.
Customarily photography, as encircled matt or sparkle pictures has dependably had a spot in our homes yet numerous inner part creators are presently quick to see what advanced engineering can do to upgrade the adaptability of showed photographic pictures.
The evident course is to take a proper photo, digitally improve it and afterward broaden it to publication size. Confirmation of victory might be found in any young person’s room. Wouldn’t it be great if we could confront it; size is doubtlessly significant regarding the matter of inner part plan.
Numerous inner part planners have officially explored different avenues regarding monster photographic prints generated in strips with a huge arrangement printer. This method, pioneered by accumulating sign printers and created further by show and presentation organizations has additionally provided for us full drop floor to roof pennants – simply visit any real display to see samples.
Floor to roof pennants as an inside outline frill have really been around for quite a while. Full drop metal rubbings mounted on hessian, made by hand and exceptionally prominent in the 1970s, are a great early sample of individuals customizing their homes utilizing huge, striking pictures. Various outline houses were fast to bring a reach of full roof tallness, photographic proliferation “rubbings” to market.
Photographic artists essentially can’t oppose the chance to expand their work. One ambitious London picture taker has really manufactured an amazing monster ink-plane printer, housed in an old warehouse by the Thames, which can repeat his cutting edge advanced pictures on honest to goodness solicits greater than a house. Incredible for gigantic corporate chambers however it could be a tad unnecessary in suburbia!
The issue is basically one of scale as the ‘photographic picture on canvas’ issue is certainly worth investigation. Picture painters and scene specialists have generally utilized canvas as an establishment for their work. A grand painting on canvas is rightly recognized as an exorbitant, extravagance thing and far evacuated from the same picture painted onto board or paper; yet can the same be said for photography on canvas?
Obviously it can on the grounds that, in spite of commentator’s protestations, symbolization is constantly ‘entirely subjective’. The included size offered by canvas media and extra recognized worth of a canvas photographic print lifts it out of the domain of basic photography and into the craftsmanship print enclosure.
So what are you sitting tight for? Next time you have a customer who has no idea what they need, essentially digitize a choice of their own photos and have them changed over to canvas. Use proper pictures to lift dull territories and bring light to dim corners. Family assembly and most loved pet pictures could be an astonishing asset.
At long last, don’t be reluctant to requisition an uncommon picture for a specific area. Photographic expenses are moderately low and the same picture might be utilized as an establishment for various related characteristics.
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Sample beautiful websiteemplois
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I created a WebApp with Reactjs a few months ago. The Webapp is on t...'locks' the locker and removes the temporary DB. -After X seconds of inactivity, the Webapp automatically returns to the home page and delete the state - The pages must have beautiful effects of transitions with a small delay, to prevent going too fast from one page to another.
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Nous souhaiterions avoir la même animation que sur ce site : [se connecter pour voir l'URL] , il faudrait nous faire un sample qu'il sera possible de remodifier un peu par la suite. Quelque chose qui serait intégrable directement sous wordpress. (S'il faut installer des librairies ou autre, nous préciser lesquelles.) Il faut
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Trophy icon Culot Design S'est terminé left
...effrontery, courage, insurance The logo must be prestigious and a lot of nerve Thank you to everyone who participated or will participate in our contest. We received many beautiful proposals. But we still have not had our crush. Please, go ahead we wish our brand is exceptional, maybe with straight lines a very contemporary typo or a typo like the
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...également à cuisiner, préparer ce produit marocain et le goûter. -My project, as you can see on the title, Supply and sell Recipes of traditional Moroccan cuisine authentic, beautiful, excellent taste known among Moroccans And foreigners in general, such as authentic couscous and Moroccan tajine and some traditional dishes with all the ingredients and traditio...
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Trophy icon J'ai besoin d'une conception graphique S'est terminé left
...image for my website. The name of the site is YayoFit. I have attached my logo in PNG format to facilitate the task. I want it to be embedded in the image to highlight it. I sell in my site all the fitness equipment, clothes, running shoes, fitness accessories and many others concerning this market, so I expect a good design with beautiful colors and
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Trophy icon Logo site de vente de montres "WaqtWatch" S'est terminé left
...montres. Merci Je souhaite quelque chose en rapport avec le thème "les montres" ---------------------------------------------------- Hello I need to make a simple and beautiful logo with the word "WaqtWatch" in the theme of watches. thanks I wish something related to the theme "watches"...
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...their geographic data. This way , users can interact with others near them to learn how to brew, give an introductory course in brewing, perfect techniques , or just make beautiful meetings and stir among fans . Brewtoo se veut une plate-forme d'échange d'informations et de coopération entre ceux qui partagent la même passion: La bière. Le but es...
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...goto=27&opciondownload=21&id=aHR0cDovL3d3dy5mcmVldmVjdG9yLmNvbS9kaXdhbGktbGFtcHMv&fileid=678860 [se connecter pour voir l'URL] [se connecter pour voir l'URL] [se connecter pour voir l'URL]
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As discussed
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€4 - €4 / hr
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...The site will contain both a French and English version, several independant categories, et shall be easily linked with social media. Nothing truly original, but I want it beautiful and functionnal. Thank you! Bonjour, Je voudrais créer un site (donc identité visuelle à trouver) où je publierais des éditoriaux jour après jour, sur diff&eacu...
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sur le logo il faut que "Dark angel" soit marquer et que "the beautiful sister life" soit aussi marquer
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...de cet exemple: Document version initiale: "There is a painting in the living room showing a beautiful beach. Il y a une peinture dans le salon avec une belle plage." Vidéo: "There is a painting in the living room showing a beautiful beach." Document version finale: ???...
€27 - €221
€27 - €221
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Hello I'm looking for a level designer expert to: - A beautifully crafted - A beautiful quote - A beautiful contract (I already have the content it's just a great layout) Everything will of course be edited. Thank you in two hours Very very urgent project.
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Sample Website S'est terminé left
As discussed.
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I've got 2 domains, I need quickly make 2 wordpress websites. Things you need to do: install WordPress on both of them. Install a beautiful FREE theme, make it Adsense ready (install Adsense plugins) Load it with relevant topics, lots of articles load it with few relevant pages with content create a simple logo, tag line, etc... put a few ClickBank
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[se connecter pour voir l'URL] We need to make lot of changes on mobile website the two link are the same but one is in French the other one in English. Currently when you go on the website on mobile there's no picture ect.. that's why we need something more like the second screenshot I uploaded but with a more beautiful button etc.. When you click on the butto...
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Trophy icon ANOTHER SAMPLE CONTEST 2 jours left
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Love in life that is beautiful
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I need enthusiastic and internet marketing expert who can help to improve my website style . [se connecter pour voir l'URL] this is the website which need continuous updation as per the keywords mentioned in the website. I need regular blog posts which is well researched or interesting. Portfolio section should be updated as well . An expert design and
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I need a new website. I need you to design and build a website for my small business.
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I need a new website. I need you to design a website for my small business.
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Matchmaking Website (Simple) 6 jours left
Matchmaking Website (Simple) in both Arabic and English with beautiful UX/UI
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Trophy icon Bath Product Labels 6 jours left
...some black 3x3 inches for front label (able to size down to 2x2 inches) Company : Bright Side Bath Co. STAY joyful, STAY wild, STAY free, STAY happy, STAY alert, STAY beautiful, STAY soft ( one per label) Herbal Bath Tea, Bath Soaks , Bath Salts (Need to be able to change) Ingredients : (need to be able to edit final label to change ingredients
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Models desired for cleavage-focused photography project. NO nudity. However, your clothing will be s...(see photo). Amateur photographer. Typically one-hour shoot. Pictures will not be shared. No experience necessary. I will work with you. You will have fun and feel beautiful! Looking for attractive women, 18-40. Cleveland/Akron, Ohio area.
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I want to improve the look and feel of my website: www.hashle.org. I want someone to improve my css file. This requires CSS knowledge.
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Business Logo 6 jours left
Please I would like a logo design for my clothing line business . I want it to be a letter ‘B’ but I want a dramatic looking beautiful ‘B’ There is a photo attached so as to give an idea but not exactly what I sent as that was taken from a site . Colors would be gold and black, black being the background. Thanks
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Design Logo 6 jours left
This logo will be used by our website developer and will be sent to create cards, flyers, email signature for our company, sell sheets, etc. The logo should beautiful or has a style that can easily be here: [se connecter pour voir l'URL]
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Hello, We're looking for a sleek, clean and beautiful homepage design for our agency: [se connecter pour voir l'URL] Please see attached for content (please don't use the images, rather just use the content to build a design for the page using that content) You would design using the "customizr" wordpress theme ([se connecter pour voir l'URL])
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...hours? Hopefully I'll outrun 'em. So, I'm getting up there, this is Thursday, January the 11th, and look at the nice temperatures we get out here in Twin Falls, Idaho. That's beautiful being in the high desert. All right, so let's go! This is the last video of this piece right here and, let me scoop in on that, ain't that a pretty little thing? It's ama...
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I am looking for ...to work with me on tasks such as email handling, internet research, data entry etc. My website will be launched in couple of week and work will increase. During the time I would love to chat with the VA and keep me stress free. Only open minded females, beautiful and ready for cam shows and fun and chat should apply. Happy bidding!
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Trophy icon 3D design for a floating coral reef 6 jours left
...Coral Inspired Designs: The designs can also include a mix of design that are inspired by coral artwork but are not natural. 4. Blend in with Nature: The design should be beautiful & stunning but also look like something that you might expect to see in the ocean. 5. Fish hotel: The design can include many or even endless small & big holes and gaps in
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Brutal wars, military stategy, lirtatious romance, empire management, political intrigue and more ! - Experience an empire at your command ! - Romance beautiful and influential queens ! - Rally a fiersome council of historical generals ! - Marshal your armies against other players worldwide ! - Make friends and enemies, join the good fight ! -
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I have attached 2 images. (youngercells skincare) I need you to make these images look beautiful for our e-commerce store. 1. Remove background. 2. Add any shadows. 3. Softening edges, make the image look appealing. I've also attached 2 example images, of products that look good, that if you can emulate it would be great!
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I need an Android app. I would like it create and design beautiful app with different components in design. And use custom components for design so use same components in other apps as well. And I am working in android app with Kotlin.
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...picture plus a name) and strings/lines linking them together. The lines will represent who originally knew who and/or who brought them into the group. This will create a beautiful web of how all the various friends have linked into our group, with the happy couple in the middle. I've uploaded a photo of everyone in the group on postit notes. Imagine
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Convert a bulleted "House Manual" word document for a vacation rental into a beautiful, concise color infographic. Must fit on one page, with similar size text such that it is easy to read. Must share the fully-functional template following payment, which must work in the iWork/Mac suite of word/graphics editors (Pages or Keynote). Must preserve a left
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...seller, a department for the buyer, a section for the conductors and a section for the developer, the owner of the application The application should be attractive "modern and beautiful design" , easy, safe from penetration The application must have the basic features of a complete shopping application Programming is done in a native way Read Less Note: you
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I need a cricket overlay graphics which I am going t...folder graphics.zip. And See the actual video demonstration of these graphics in below video. [se connecter pour voir l'URL] Now, I need some new innovative & beautiful graphics along with animations so that I can integrate into my theme. Output has be in image format (jpg,jpeg,gif).
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Hi, I am looking for a talented and creative UX/UI designer to design a mobile app, a landing page, and a CMS for my startup. It is going to be a long term opp...prefer the design to be done with Figma! However open to your suggestions My budget is $400 for these 3 products and the deadline is one month. Looking forward to your beautiful proposals.
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Hello, I'm looking to hire a website designer/developer who can create a beautiful modern Shopify e-commerce website for my custom gifting business. We like these 3 sites as inspiration. We can discuss more. [se connecter pour voir l'URL] [se connecter pour voir l'URL] [se connecter pour voir l'URL] Overall, this will be about 9-12 relatively simple page...
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You’ve Got Champagne
The gift of champagne and wine is both classy and sophisticated, not to mention easy and simple. But to make gift-giving a little more special, dress up your bottle this season.
In what perhaps may be some of the most creative packaging ever, Veuve Clicquot has created a mailbox to hold its delicious Brut champagne.
In 2014, Veuve Clicquot held the Re-Creation Awards—an open competition inviting emerging designers from around the world to create their own interpretation of the Clicquot Mailbox. The original mailbox, created in Veuve Clicquot’s iconic yellow hue, was inspired by Veuve Clicquot’s rich history of correspondence and entertaining. To celebrate this history and pay homage to creative design, Veuve Clicquot invited artists and novices from around the world to interpret their own version. The winning design, created by Canadian designer Eileen Ugarkovic, represents freedom of thought, conveyed through graphic images of paper planes in Clicquot yellow, blue and white adorning the exterior of the mailbox.
“In creating my concept, I was inspired by Clicquot’s anchor, the symbol of hope,” said Ugarkovic. “When one thinks of hope, birds immediately come to mind. Birds also represent freedom and ideas. And since freedom and ideas are conceived on paper, I envisioned paper birds, or paper planes, flying into Madame Clicquot’s mailbox.”
Ugarkovic added that blue was chosen in addition to the brand color to symbolize Clicquot’s historical contribution to the city of Reims.
“Combined, these colors are regal and royal just like the Clicquot brand itself,” said Ugarkovic.
Feeling royal this season? The limited edition Re-Creation Awards Mailbox includes a bottle of Veuve Clicquot Yellow Label and retails for $49 at fine wine and liquor stores nationwide.
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You are looking at 1-11 of 11 results for:
• Film and Video x
• Art of the Middle East/North Africa x
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Michael Jay McClure
(b Istanbul, 1961).
Turkish video and installation artist, active also in England and Pakistan. He was educated at Mimar Sinan University, the Sorbonne, Paris, Los Angeles Santa Monica College, and the University of California, Los Angeles (MFA, 1988). Ataman holds a prominent place among artists exploring identity, sexuality, documentation, and the cultural politics of the Middle East and its diasporas; his work echoes that of Shirin Neshat, Omer Fast, Mona Hatoum, and the more commercial filmmaker Fatih Akin, among others.
Producing multi-channel ‘video sculptures’, Ataman explores states of psychological, cultural, and social displacement, often employing massive amounts of footage in a quasi-documentary style. An early piece, Women Who Wear Wigs (1999; see images tab for additional illustration), is a representative example. On a four-channel display, four Turkish women reveal their reasons for donning wigs: a reporter who recently lost her hair due to chemotherapy, a transsexual prostitute forced to shave her head by the police, a targeted terrorist who disguises herself, and a student banned from wearing a traditional headscarf in school. The wig, which conceals and connects these women, parallels how Ataman uses video: as a medium that both reveals and obfuscates its subjects. A spectator must negotiate not only the truth of the stories but also their syncopated broadcasts distributed over the space of the exhibition. Indeed, Ataman often uses the situation of the screens to disorienting sculptural effect. In ...
Susan T. Goodman
(b Beirut, 1936).
Israeli painter, sculptor, printmaker and film maker of Lebanese birth. He studied from 1959 to 1961 under Yehezkel Streichman at the Avni Art Institute in Tel Aviv. From 1966 to 1976 he lived in London, where he studied at St Martin’s School of Art and created sculptures concerned with movement, time and energy, for example Corners (1967; Jerusalem, Israel Mus.). He became involved with conceptual art after settling in New York in 1976, producing drawings, prints and photographs that explore energy, space and process of duration, and expanding on problems of perception in sculptural installations. In works such as August from Undercover Blues Series (1980; New York, Jew. Mus.) he used light to define the relationships between an object and its shadows, while in conceptual films such as Putney Bridge (1976) he used the environment to analyse the relationship between reality and illusion. On returning to Europe in ...
Robert J. Belton
(b Jassy [now Iaşi], Romania, Aug 29, 1933).
Canadian sculptor, film maker, costume designer, playwright and poet of Romanian birth. His formal art training began in 1945 but in 1950 he emigrated to Israel. From 1953 he studied at the Institute of Painting and Sculpture in Tel Aviv. Etrog’s first one-man exhibition took place in 1958 and consisted of Painted Constructions, wood and canvas objects blurring the distinctions between painting and low relief (see Heinrich). In these works he tried to embody uncertainties that stemmed from his experience of Nazi aggression as a boy. The results were loosely expressionistic versions of geometric abstraction, derived in part from the work of Paul Klee.
Assisted by the painter Marcel Janco, Etrog went on a scholarship to New York, where he was inspired by Oceanic and African artefacts he saw in the collections there. This led to a preoccupation with organic abstractions, flowing totemic forms, and metaphors of growth and movement, seenMitra Monir Abbaspour
(b Chbanieh, June 15, 1967).
Lebanese conceptual artist, photographer, video and performance artist active also in America. Raad received his BFA in photography from the Rochester Institute of Technology in 1989, and completed his MA and PhD in Cultural and Visual Studies at the University of Rochester in 1993 and 1996, respectively, and in 2002 became an associate professor at the Cooper Union School in New York. History and its representation, narration, and memory are the central themes of Raad’s work. His experience of the Lebanese wars between 1975 and 1991 and their ongoing effects inform his inquiries into the methods of historical documents.
Raad began contending with narratives of the Lebanese wars in a series of short video documentaries that included Up to the South (1993)–a collaboration with Lebanese artist Jayce Salloum (b 1958)—and Missing Lebanese Wars (1996). Characteristic of his later practice, these videos critically employ a genre (documentary film) associated with factual reportage, foregrounding the relationship between subject and method of the work....
Susan T. Goodman
(b Jerusalem, 1932; d Tel Aviv, Sept 1, 2009).
Israeli sculptor and video artist. He studied from 1956 to 1958 at the Avni Art Institute in Tel Aviv, worked with sculptor Itzhak Danziger in 1958, and from 1959 to 1962 studied at St Martin’s School of Art in London. After his return to Israel in 1963 he created severely geometrical painted steel sculptures such as Red Sculpture (h. 2 m, 1968; Tel Aviv Mus. A.) and site-specific sculptural installations such as White from 0 Degrees to 180 Degrees (1969; Jerusalem, Israel Mus.) and gates (1969) at Yad Vashem in Jerusalem.
In 1971 Schwartz moved to New York, where he produced installations in gallery spaces; some of these challenged the viewer’s visual expectations by means of an unorthodox use of mirror images, as in Changing Square (1976; Jerusalem, Israel Mus.), or through photographs and architectonic line drawings. In 1971 he began also to work with video installations in which live images were relayed from various points of view, using closed circuit video systems and monitors, to explore the relationship between real and represented space, as
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Poetter Hall
342 Bull Street
Savannah, Georgia
The SCAD flagship building was originally named Preston Hall. Poetter Hall dates back to 1892 and when it was the Savannah Volunteer Guard Armory. This 36,248 square-foot building contained a drill hall, ballroom, large company rooms and a guard club. Poetter Hall was the first building that SCAD acquired in 1979. The ballroom on the second floor served as the school's first library and had a unique floor mural that depicted scenes of books and book cases. Today the space serves as May Poetter Gallery but the library's mural can still be seen underfoot. Poetter Hall is also home to the SCAD welcome center, the department of admission, and shopSCAD.
All facilities
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In Their Own Words: Ruthie Tredwell
Everyone has a story to tell. Give them a chance and a little time and you’ll often get more than one.
Photographer David Mendelsohn always takes his time with subjects and therefore usually learns a thing or two in the process.
Ruthie Tredwell’s life has always revolved around the arts: dealer, consultant, curator and the original founder of the Portsmouth Museum of Art. As an undergrad at Parsons School of Design she landed a plum internship at Andy Warhol’s Factory, the one on Union Square, from ’81 through ’86.
Her transformation here to a Warhol-esque icon was engineered by the photographer with styling by Loretta Tower.
The parade of celebrity was eternal. I would keep company with the likes of Jagger, Bowie, Grace Jones, Madonna and Blondie. The list is too long.
The excesses of the ’80s fueled The Factory. I was often sent out to gather bags of grilled cheese sandwiches, only returning to a locked door and loud music beyond. I‘d sit on the curb, eat one or two with a bottle of cheap wine and wander home. Then again, I was allowed in to the Studio 54 parties, where I cultivated the art of stealing drinks while people were on the dance floor.
There are so many vivid stories. Daily, Andy was either normal or eccentric. He was in love with Jamie Wyeth. Andy enjoyed collecting taxidermy. Once beyond the metal door, you were greeted by a stuffed Great Dane called Cecil.
A barefoot Diana Ross once told me that I had ugly shoes.
Andy rarely produced his own silk screens and often didn’t sign them. Many of his collected pieces could likely have been crafted by me.
I learned a lot during my time there — it’s like a silk-screened bookmark in the pages of my life. It also made me quite popular at school. I am grateful for the memories.
Tredwell now runs a Hampton company that uses an innovative technology for the treatment of cancer. She says that she thinks art and science are closely related disciplines. Along with her memories, she has some memorabilia from her Factory days — like this October 1981 copy of Warhol’s Interview magazine that he signed for her (right).
(Wendy Mendelsohn, Karrah Kwasnik and Justin Cross assisted in capturing these shots.)
Categories: Q&A
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Species of Spaces in Eastern European and Latin American Experimental Art
Art historian Klara Kemp-Welch draws parallels between artists of disparate avant-gardes whose claims over spaces in the 1960s and 1970s were political gestures.
Klara Kemp-Welch
Lecturer in 20th-Century Modernism The Courtauld Institute of Art Klara Kemp-Welch was educated at University College London and the School of Slavonic and East European Studies (BA French and Art History, 1999; MA Russian and East... Read more »
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Species of Spaces in Eastern European and Latin American Experimental Art
Art historian Klara Kemp-Welch draws parallels between artists of disparate avant-gardes whose claims over spaces in the 1960s and 1970s were political gestures.
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Art historian Klara Kemp-Welch draws parallels between artists of disparate avant-gardes whose claims over spaces in the 1960s and 1970s were political gestures.
How are we to navigate the historical fields of experimental art in state socialist Eastern Europe and under Latin American military dictatorships? What happens when pedagogy, poetry, sculpture, and sociability bleed into one another, and categories such as Conceptual art, Happenings, or performance art are undone? How are comparisons to be grounded? I want to propose that the problem of space itself may provide a productive lens for comparative analysis. An examination of artists’ fascination with space and with ways to occupy it recasts the question of formal and geopolitical frameworks from the ground up.
Artists in Eastern Europe and Latin America in the 1960s and 1970s operated in an extraordinary range of what we might call, after George Perec, “species of spaces”—different spaces that, although they are often “closer to hand” than, say, intergalactic space, are nevertheless not necessarily “obvious,” in spite of the fact that “to live is to pass from one space to another.”1 Perec’s observation that “space is a doubt: I have constantly to mark it, to designate it. It’s never mine, never given to me, I have to conquer it” was one shared by artists of his generation around the world.2 As such, it allows us to think about creative agency across different political fields from a shared vantage point. Many of the proposals gathered in the exhibition Transmissions: Art in Eastern Europe and Latin America, 1960–1980 conquered new species of spaces for personal or collective investigation. So much so that artists’ propositions often fostered new forms of agency by repurposing and occupying new spaces.
Surveying the parallel developments in Eastern Europe and Latin America, it is clear that while there were some artists who explicitly interrogated the geopolitical problematics of these regions more broadly, or included in their work references to the specificities of a particular nation-state, for a majority of artists, these sorts of top-down registers of space were not of primary concern. The regional associations that have accrued though time were secondary to more immediate artistic interests. Experimental artists demonstrated far more consistent interest in micro- rather than macro-spaces—bottom-up registers of space, such as fields, squares, streets, windows, or networks.
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Tomislav Gotovac. Showing “Elle” Magazine. 1962. Six gelatin silver prints. The Museum of Modern Art, New York. Committee on Photography Fund. © 2015 Tomislav Gotovac
In order to explore the art historical dialogues between what I want to refer to as “top-down” and “bottom-up” conceptions of space mobilized within the framework of a show such as Transmissions, I want to look more closely at the spatial claims of a selection of key artistic propositions. With a few notable exceptions, there was an absence of museum and gallery space adequate to artists’ needs in Eastern Europe and Latin America in this period, and only limited access to an art market. Although artists were largely au courant with North American and Western European critical engagement with the “white cube” and its institutional and political frameworks, in the contexts of state socialism and military dictatorship, the embrace of an expanded field went far beyond a critique of art-world systems.3 The photographic series representing Tomislav Gotovac’s first public action, Showing “Elle” Magazine (1962), presents a collision between two registers of space: the space of the glossy magazine page and the snowy slopes of the Mèdvednica mountain, at Sljeme, its highest peak. A majority of readings of this action, though, ignore these immediate spaces and take physical space as shorthand for geopolitical space: Elle comes to stand for French, Western, and capitalist, while the snowy landscape signals Yugoslav, Eastern, and socialist. Such interpretations are obviously a hangover from a Cold War approach to space, and the action remains a minefield for political projections and cultural stereotypes. Yugoslavia was non-aligned, and thus not part of the Eastern Bloc, after 1948. For citizens of the USSR in the 1960s, Yugoslavia seemed, to all intents and purposes, Western. Citizens for the most part had travel opportunities and access to consumer goods far exceeding those of their Polish counterparts, although Poland reportedly seemed like America for Hungarians.
Gotovac’s chosen location reflected recreational escape from the cares of city life. The artist’s apparent delight at the contents of the magazine, with its manicured version of femininity, contrasts with the wild beauty of the spot he has chosen for indulging in the consumerist fantasies proffered by Elle. Leafing through the magazine, a private leisure activity primarily envisaged for women, is transformed by a man into a public activity for a group of initiated spectators. The artist has stripped to the waist for the occasion, proposing an edgy connection between the magazine and pornography, posing as a man who has gone to be alone with his desires, but inviting friends to share the joke with him, off camera. Something usually done indoors has been taken out of doors. Gotovac’s fusion of the two spaces signals a critical approach to binaries more broadly; male and female, private and public would be themes that he continued to undo in the decades that followed, notably transgressing the taboo of nudity in public space with his streaking actions on the streets of Zagreb.
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Milan Knížák. Demonstration of Oneself. 1964. Envelope, photocopy, and nine gelatin silver prints. The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift. © 2015 Milan Knížák/Artists Rights Society (ARS), New York/VG Bild Kunst, Germany
The streets of Prague were the site for Milan Knížák’s earliest public experiments. Photographic documentation of his Demonstration of Oneself (1964) shows the action unfolding on a large sheet of paper rather than directly on the cobblestones. Knížák—who was appointed leader of Fluxus East the following year, when news of his activities spread beyond Czechoslovakia—is dressed in a jacket strewn with patches, wearing a chain, a light bulb, and various pieces of cloth attached by safety pins to his clothing. His demonstration consisted of lying down on the paper, reading a book, tearing out its pages, crumpling them, burning them, sweeping away the ashes, and departing. Echoing Harold Rosenberg’s observation that Jackson Pollock had transformed the canvas into an arena in which to act, Knížák repurposed the space of the blank page as a space for individualistic action, foreshadowing Allan Kaprow’s tracking of the trajectory leading “From Assemblage, to Environments, to Happenings” (1966).
Demonstration of Oneself played with issues of authorship and intellectual authority in the public space, and tested the boundaries between individual action and audience participation. Spreading the paper on the ground, Knížák allied himself with street vendors, as though anticipating having to pack up and move on quickly when approached by the police. His sign, which asked passersby to participate by crowing as they walked, proposed the street as a space of absurd communal performance rather than commerce, as highlighted by the stipulation that the material evidence of the demonstration be burned. Knížák’s commitment to process over product was symptomatic of the ephemeral actions pursued by alternative artists globally during this period. Of course, this raises the key issue of the status of the material documentation of such activities, a problem also highlighted by Perec, for whom the space of the page is perhaps the creative space par excellence. As he notes—and as the many paper documents exhibited in Transmissions demonstrate—“at one time or another, almost everything passes through a sheet of paper.”4
When Lucy R. Lippard and John Chandler enthusiastically announced in their essay “The Dematerialisation of Art,” in 1968, that “the shift of emphasis from art as product to art as idea has freed the artist from present limitations both economic and technical,” their definition might also have served to retrospectively categorize the activities of Gotovac and Knížák as dematerialized.5 Lippard later reminisced, “Unfettered by object status, Conceptual artists were free to let their imaginations run rampant,”6 but she concluded that “the escape was temporary. Art was recaptured and sent back to its white cell,”7 and the “democratic implications” of the “free for all” that was dematerialised art were “never realized.”8 This question of the democratic implications of a shift away from the object toward action, idea, and process produced different possibilities for artists in Eastern Europe and Latin America. For many of the artists I discuss here, abandoning the “object of art” offered creative possibilities that their undemocratic societies were powerless to prevent—though Knížák did spend the 1960s intermittently in and out of prison.
Knížák’s provision of a paper ground for his activity suggests that the artist remained reticent about physically dissolving “art into life,” perhaps acknowledging the extent to which dematerialized practice had to be thought relatively. Interestingly, though, it shows that he still clung to the notion of art as an autonomous sphere. The demonstration space, and its public conquest, is marked out as a measure of the artist’s independence from his environment. In its transitional relation to space, then, Demonstration of Oneself responds to the desire to move beyond the limits of the two-dimensional picture plane and into the space of the city, and highlights concerns about the sacrifices such a shift entails.
Oscar Bony. 60 metros cuadrados y su information (60 Square Meters and Its Information). 1967. 16mm film (black and white, silent; 3:30 min.), 16mm projector, metal support, freestanding wall, chain-link fencing, and flyer. Installation view, Transmissions: Art in Eastern Europe and Latin America, 1960–1980, The Museum of Modern Art, New York, September 5, 2015–January 3, 2016. Latin American and Caribbean Fund. © 2015 Oscar Bony. Courtesy of Carola Bony. Digital image © 2015 The Museum of Modern Art. Photo: Thomas Griesel
Marta Minujín. Simultaneidad en Simultaneidad (Simultaneity in Simultaneity). 1966. Documents, slides, and ephemera. Installation view, Transmissions: Art in Eastern Europe and Latin America, 1960–1980, The Museum of Modern Art, New York, September 5, 2015–January 3, 2016. Anonymous promised gift through the Latin American and Caribbean Fund. © 2015 Marta Minujín. Digital image © 2015 The Museum of Modern Art. Photo: Thomas Griesel
Oscar Bony’s 60 Square Meters and Its Information, shown at Buenos Aires’s Instituto Torcuato Di Tella in its 1967 exhibition Visual Experiences, also produced a space within a space, though in a manner very different from Knížák. By projecting a filmed close-up shot of chain-link fencing and laying the same fencing across the floor of the gallery, he invited visitors to interrogate the limits of the space. Though the artist neutralized it by laying it flat, depriving it of this primary function, his ambivalent gesture questions the political status of a corporate-funded institution in the aftermath of a military coup. Bony’s fencing drew attention to the degree to which boundaries provide the foundation of the gallery space and played a conceptual game contrasting experiences of projected and physical space, addressing the spectator as both eye and body simultaneously. As outlined explicitly in Daniel Quiles’s essay “Mediate Media: Buenos Aires Conceptualism,” the piece highlighted the complex complicities at the heart of the Instituto Torcuato Di Tella in the context of the dictatorship of Juan Carlos Onganía in Argentina.
The relative technical simplicity of this spatial intervention in the white cube space contrasts with the complexity of a large-format Happening like Marta Minujín’s Simulataneity in Simulataneity (1966), which took a more opportunistic approach to the space provided by the Di Tella to propose a networked, intermedial field, fostering collaboration between Berlin, Buenos Aires, and New York, with the help of “happeners” Allan Kaprow and Volf Vostell. Working across two continents and three cities, and linking these via an ambitious array of telecommunications, a key aim of this undertaking was to demonstrate the connectivity afforded by technology as a vehicle for overcoming spatial limitations. It is not possible to pay equal attention to all the nuances of this multilayered event here; in spatial terms, Minujín’s desire to play at overcoming the distance between Europe and the Americas, North and South, is a key feature of the work’s structure. With hindsight, one of the implications of the project was to demonstrate the degree to which media tools, what Marshall McLuhan had recently dubbed, in his subtitle to Understanding Media (1964), “the extensions of man,” could overcome center-periphery relations and establish a networked horizontal sphere for shared activity among likeminded artists globally. It is symptomatic of the difficulties entailed in accomplishing this that, when the New York happener did not phone the gallery at the arranged time, Kaprow’s participation had to be simulated by a friend of Minujín’s, who called in pretending to be Kaprow in order to satisfy the increasingly skeptical and impatient Buenos Aires audience.
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Anna Bella Geiger. Passagens 1 (Passages 1). 1974. Video (black and white, sound), 9:55 min. The Museum of Modern Art, New York. Purchase. © 2015 Anna Bella Geiger
Anna Bella Geiger’s performance Passages 1 (1974) also engages with the problem of the conquest of space. Black-and-white video shows the artist climbing different sets of stairs in Rio de Janeiro. First, to the accompaniment of loud street noise, the protagonist makes her way up the stone staircase of an apartment building. The viewfinder picks out her careful passage from below, as she rounds corner after corner, floor after floor, steadily ascending. The stairwell is dark, and there are flowers on the tiled floor, as though to draw attention to the feminization of this shared, semi-public space. While we see shafts of light through high windows, the space is isolated from the city outside. Three minutes in, the camera switches to another staircase, this time outside—a long flight of stairs strewn with litter, with dogs barking in the background, and the constant buzz of traffic, now slightly dimmer. The artist rises slowly, determinedly; each time we think she is reaching the top it seems as though the journey begins once more from the lowest rung. Finally, Geiger ascends a far grander staircase that leads to a public building. In an invocation of the registers of early Structuralist and feminist video, Geiger is shot ascending diagonally, first from left to right, then from right to left, before she comes to the summit. Her figure is dwarfed by a series of enormous pillars at the foot of the building.
The video serves as a forum for meditating on a simple repetitive activity carried out anonymously; the woman is shot from behind, and her head and shoulders remain mostly out of view. Two parallel narratives pertaining to the conquest of space are proposed by the simple sequence of montaged scenes: the passage from private space to public space, and the gendering of the urban fabric. If we go against the grain and read into the deadpan scenography of these restrained actions, we might also discern a literalist illustration of the rise to power of a determined female protagonist that flies in the face of the avant-garde trope of the Nude Descending a Staircase. Geiger’s minimal action opens up a wide interpretative field, potentially ripe with political subtexts.
In Czechoslovakia, the 1970s saw an extended period of repression, known as “normalization,” intended to secure political conformity and passivity after the crushing of the Prague Spring in 1968. When dissident intellectuals signed Charter ’77, they referred to the Helsinki Accord and to the United Nations’ Conventions on Human Rights, and expressed their regret that in Czechoslovakia these rights existed only on paper. While it was difficult for unofficial artists to make direct contact with an audience beyond a close circle of acquaintances in this period, the abnormal conditions of normalization provided Jiří Kovanda with a highly charged framework for exploring what “normal” relationships might be like. The artist is best known for his experiments of 1976–77 in the public space, such as ‘Contact’, Sept. 3 (1977), the title of which uses inverted commas because the action consisted in aggressively bumping into passersby on the street.
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Jiří Kovanda. White String at Home. November 19–26, 1979. Gelatin silver print. The Museum of Modern Art, New York. Committee on Photography Fund and Committee on Media and Performance Art Funds. © 2015 Jiri Kovanda
Kovanda later retreated from the public space, focusing instead on minimal indoor installations, such as White String at Home (1979). Photographic documentation of the intervention shows a fine thread very inconveniently suspended diagonally across Kovanda’s bed-sitting room at a height that must have made daily activities a constant struggle. Avoiding entanglement in this way may have served as an exercise in being conscious of his movement through and occupation of everyday space. The self-imposed restriction, or trap, echoed a number of propositions by Marcel Duchamp—notably Trebuchet and Mile of String—whose retrospective Kovanda had visited in Prague, at the Václav Špála Gallery, in 1969. Like Duchamp’s, Kovanda’s humble proposals were insistent in the conquest of space, serving as exercises in the freedom that day-to-day mindfulness could bring.
It should not necessarily be assumed that doing a thing in private is any less risky than doing it in public. As Bojana Pejić has pointed out, when we “encounter the privileging of the domestic sphere (…) claimed to be the only secure zone which was outside the reach of the state and thus could ‘resist socialism,’ we are often dealing with a Western cliché.”9 It is clear that the political abolition of the security of the private sphere was a cornerstone of life under military dictatorships and state socialism.
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Sanja Iveković. Trokut (Triangle). 1979. Four gelatin silver prints and printed paper. The Museum of Modern Art, New York. Committee on Media and Performance Art Funds. © 2015 Sanja Iveković
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CADA (Colectivo Acciones de Arte). Inversión de Escena (Scene Inversion). 1979. Video (black and white, sound), 20 min. The Museum of Modern Art, New York. Gift of the artists. © 2015 CADA (Colectivo Acciones de Arte)
Sanja Iveković set out to demonstrate this false opposition in her Triangle (1979). Three photographs depict the artist feigning masturbation on her balcony in Zagreb while reading Tom Bottomore's 1964 book Elites and Society; three men on a hotel roof; and a cavalcade with Yugoslavian President Josip Broz Tito. Iveković’s accompanying text explains that her doorbell rang and police officers ordered that all persons be removed from the balcony for the duration of the official cavalcade passing beneath, thus seeming to prove that she had been observed by men with binoculars on the roof across the street and classed a security threat. The piece explored the relationships between sex, gender, and power; the paranoid contraction of personal space under official surveillance; and the physical and psychological limitations placed on the individual by the scopic regime of Titoist Yugoslavia.
That same year—six years into the brutal 17-year rule of Augusto Pinochet in Chile—a bold collective action was carried out in Santiago by the Colectivo de Acciones de Arte (CADA). Scene Inversion (1979) entailed driving a convoy of eight milk delivery vans through the streets before parking them in front of the National Museum of Fine Arts. The journey around the city made a clear connection between the daily needs of ordinary citizens, the shortages they were suffering, and the immobile grandiosity of the art institution. Photographs documenting the action show young people hurriedly climbing the stairs leading to the museum and scaling tall ladders to suspend on two poles an enormous white sheet. The result was a colossal, if temporary, triumph: an erasure of the façade. By covering the outward-facing front of the institution, they turned the tables, “inverting the scene.” The group suspended an improvised screen blocking the entrance to the museum, turning attention away from the institution and its contents and to the city at large. An intertitle in the video documentation announced, “Art is the city and the body of undernourished citizens.” An institution in which no experimental artists had access to show their work was thus cut off, spatially isolated, from its audience, physically restructuring power relations, albeit only temporarily.
As I hope my cursory survey of artists’ interventions shows, any space—whether a flight of stairs, a balcony, or a gallery—can be politicized in many ways. And any of these spaces can become a space for cultivating new models of subjectivity. As James Baldwin insisted, “Freedom is not something that anybody can be given; freedom is something people take and are as free as they want to be.”10 Space is no more a given than freedom; it too has to be taken and occupied. The conquest of freedom can be played out in spatial terms, and conducting politics from the margins necessarily entails seizing space of some sort for the struggle. The first step is to find a space, to think, to meet, to occupy, whether we are speaking of reclaiming the streets, tierra, or a room of one’s own. Quite simply, as Raul Zibechi reminds us, “politics from below develops in different spaces than politics from above.”11
This essay was edited by Giampaolo Bianconi and Jason Persse.
Transmissions: Art in Eastern Europe and Latin America, 1960–1980 was organized by Stuart Comer, Chief Curator, Department of Media and Performance Art; Roxana Marcoci, Senior Curator, Department of Photography; and Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints; with Giampaolo Bianconi and Martha Joseph, Curatorial Assistants, Department of Media and Performance Art.
Published in conjunction with Transmissions: Art in Eastern Europe and Latin America, 1960–1980, The Museum of Modern Art, New York, September 5, 2015–January 3, 2016.
Support for the exhibition is provided by the MoMA Annual Exhibition Fund.
Special thanks to Jill and Peter Kraus.
George Perec, “Species of Spaces,” in Species of Spaces and Other Pieces (1974), trans. John Sturrock, London: Penguin Classics, 2008, p. 6
Perec, “Species of Spaces,” p. 91
Lucy Lippard referred to these experiments as “Escape Attempts” in Six Years: The Dematerialization of the Art Object from 1966 to 1972, Berkeley, CA: University of California Press, 1995
Perec, “Species of Spaces,” p. 12
Lucy R. Lippard and John Chandler, “The Dematerialisation of Art,” Art International (vol. 12 no 2., February 1968), p. 34
Lippard, “Escape Attempts,” vii
Lippard, “Escape Attempts,” xxii
Lippard, “Escape Attempts,” vii
Bojana Pejić, “Proletarians of All Countries, Who washes your socks? Equality Dominance and Difference in Eastern European Art,” in Bojana Pejić (ed.), Gender Check: Femininity and Masculinity in the Art of Eastern Europe, exh. cat., Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 2010, p. 24
James Baldwin, “Notes for a Hypothetical Novel,” in Nobody Knows My Name, London: Dial Press, 1961
Raul Zibechi, Territories in Resistance: A Cartography of Latin American Social Movements, trans. Ramor Ryan, Oakland, Edinburgh, Baltimore: AK Press, 2012, pp. 148-9
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Sarah and Jason Fizell: Arts presence a downtown anchor
Jason and Sarah Fizell are huge supporters of the arts in downtown Topeka. Their family, including Astra and Geneva, also enjoy the outside space at the Rowhouse Restaurant, an establishment that reminds them of the vibrancy in D.C. (Chris Neal/The Capital-Journal)
When Sarah and Jason Fizell moved back to Kansas from the East Coast, they were drawn to the Rowhouse Restaurant and Bosco’s.
The downtown establishments “reminded us of the vibrancy of D.C. and showed a generation of Topeka young professionals that a downtown rebirth was possible and desirable,” they said.
The couple then helped plan an “Arty Party” in unfinished lofts with a view of downtown and the Topeka skyline. That was all about converting an empty space into something cool, Jason Fizell said. The sixth “Arty Party” was held in April at the Dillon House, 404 S.W. 9th.
As executive director of ARTSConnect, Sarah Fizell’s work has emphasized downtown as a place for arts and culture to bloom.
The Fizells believe that a strong arts presence will anchor the downtown district and both are dedicated to creating public support for that endeavor.
“It is a passion for both of us as we look toward the future and have a personal stake in making sure that Topeka is successful in the future,” Sarah Fizell said.
The pair also loves live music and are excited to see what the Jayhawk Theatre and plaza bring to downtown’s nightlife.
Having a place to socialize and a common space for the whole community will enliven the city center and make a huge difference, Sarah Fizell said.
The couple’s two children have also enjoyed the progress downtown.
“Our daughters like climbing all over the new kid-friendly amenities as well as searching out all the state medallions in the sidewalks,” Jason Fizell said.
Sarah and Jason Fizell
Ages: 39 and 41
Professions: executive director of ARTSConnect and director of business development with Sunflower Foundation
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If you are like me, scanning is a bit of a pain. Never an ecstasy. However getting it right is important to some workflows. In this post I set out what works for me on black and white films, much which has been learnt through trial and mostly error …
Before I scan I ask myself two preliminary questions:
Firstly, is the picture worth it? Scanning takes time and the resulting images are large and therefore take bags of space on a drive. So before I scan I look at the negative on a light box (in my case an iPad ) and with a loupe to see whether the image passes muster: composition and tonality.
With a 35mm roll of 36 negatives, on average I would only scan about 5 images. With a roll of 12 negatives of 120 format I scan one in three images on average. My scanners also give me a preview option so this acts as a second check before I decide to scan.
Secondly, to what purpose will the scanned image be used? The answer to this question partly determines which scanner I use and how I scan.
Scanning a street photograph taken on 35mm film and destined only for social media or a web-site requires a less rigorous approach than scanning a 5 x 7 format image destined to be printed as a fine photograph in an exhibition or someone’s wall or as an alternative process image, say.
35mm film work-flow
Almost all of my 35mm work is with Ilford XP2 Super film. I like the way the film keeps grain in the sky highlights to a minimum, I like the fact that the film is very forgiving to over-exposure, I like the fact that I can process 4 films together in my rotary processor, and I really like that the film is amenable to infra-red cleaning through my scanners, removing dust and small scratches.
Occasionally I use Kodak Tri-X. For example If I want to push film to accentuate contrast in a street scene, then I would choose Tri-X. My work-flow is similar except that the infra-red cleaning is not open to me.
For 35mm scanning I use my old Nikon Super Coolscan 5000, partly because the setting up time is shorter than with my Epson 850. I find the flat-bed scanner holders a little fiddly and focusing harder. Also dust seems to be a bigger problem with flat bed scanners compared to film scanners. Some years ago Nikon stopped supporting its scanner so I now use Vuescan software, which works with most scanners. Works like a dream.
Nikon film scanner with slide accessory
Here are the Vuescan settings (professional option in the intro panel) that I use:
Input settings
Colour tab
Output settings
In the input tab I use media: colour negative as I am using XP2 film, even though the film is B&W. For resolution I always use the maximum in case my intended purpose for the image changes. This leaves me with sufficient scope. I also tick the ‘fine mode’ tab. This helps to suppress any banding.
On the filter tab I have infrared clean on ‘light’. Too much filter strength reduces detail resolution. The infrared clean is only an option if the media is set for colour. I do not have grain reduction or sharpen options on.
On the colour tab I set the film up as Ilford XP2. I’m not sure this makes a huge difference as I will be altering tonalities in post-processing.
On output settings (not shown) I save to a TIFF file (48 Bit RGB) and set TIFF compression to off . I also set the colour space to Adobe RGB when I am scanning in Portra in 35mm or slides.
Here is a picture after post-processing, having scanned the XP2 negative using Nikon/Vuescan as set out above
Berlin Wall; XP2 Super 35mm scanned with Nikon 5000 using Vuescan and edited in PS. No spotting or cleaning of the image was required.
Here is the flat looking image without the infra-red clean:
Scanned without infrared clean (no post processing) – lots of spotting to do as a result of not rinsing the ‘stab’ off in the C41 processing. Also there is a hair bottom right.
So for my street and travel work, using XP2 in combination with a spot removal programme saves me huge amounts of time.
Medium Format (120) work-flow
I use a flatbed scanner for medium format negatives. Cleanliness is therefore paramount, especially given that electrical equipment attracts dust. So: I use cotton gloves when handling negatives and the frames and glass. I clean the glass surfaces with small amounts of optic cleaning fluid using Pec Pads – these do not leave any lint/hairs behind. I also use a soft brush on the negatives. I don’t like using air-canisters – they tend to be too fierce and on occasion emit condensed liquid.
Dust and finger-mark free is essential.
For 120 film I use the Epson v850 scanner as the Nikon is only a 35mm film and slide scanner. The 850 is quite a good flatbed scanner although it has some features that niggle me a little.
Epson v850
Firstly, I found that the negative holders for 120 film that came with the scanner were not quite the right size and the film was therefore not totally flat. So I bought some holders from betterscanning. I also did not like the clear plastic covers on the holders – difficult to keep clean. The betterscanning holders came with anti-newton glass.
120 film holder from betterscanning with anti-newton glass
Secondly, I find the iterative process of focussing a pain in the ass. The Nikon 35mm film scanner focuses as part of the software.
Also I’m not sure the 850 gives you much more than the 750 or 600, other than cost. Still, that’s what I have got and it works ok.
I have the choice of three software programs for the Epson: The Epson software, Vuescan and Silverfast 8 SE Plus. Vuescan and Silverfast give more processing controls. However I prefer to do almost all my post processing in LR and PS. What I look for in scanning software is the ability to accurately render an image with the least amount of information loss. The fact that the output image file is flat is of no concern as this is easily corrected in post process.
That said, for 120 film I tend to use the Silverfast although the Vuescan is certainly very capable. The Silverfast gives me a wider range of built-in film profiles, easier to use histogram controls, a densitometer (which I rarely use), and a good multiple exposure option as well as three types of infrared cleaning and the ability to mask areas from infrared cleaning. Infrared cleaning makes for some loss of detail. I also like the Silverfast graphical interface because it gives a more intuitive experience.
Occasionally I use multi-exposure, which both SilverFast and Vuescan offer. With multi-exposure, two scans are performed using different exposures, and then combined into one image. This increases the dynamic range and can reveal more shadow detail.
My medium format photography is destined for a wider range of possible uses: social media and my web-site, darkroom print from film negative to the best quality possible, darkroom print from digital negative. Also I use more types of film in the 120 format than 35mm. As well as Ilford XP2, I use Ilford HP5, Pan F, FP4, Kodak Portra, Tri-X and Rollei Infrared. I also use negatives that have been stained in Pyro.
So my preference is for Silverfast, then Vuescan. The Epson software has poor colour profiles which rules it out for me.
Silverfast settings
My usual Silverfast settings are set out below:
Silverfast settings for XP2
Silverfast settings: with iSRD and mask control and with AAOC. Normally this is on low setting if at all.
Silverfast vs Vuescan
Below is a Vuescan scan compared to a Silverfast scan, adjusted so that they show a similar tonal scale. The Vuescan scan is sharper (USM was switched off) but more of the sky highlights are clipped.
Vuescan scan – brightness reduced in LR to compare to Silverfast image
Silverfast scan, colour cast removed in Silver Efex through LR
Since the most important things for me are focus and a full tonal range without clipping, of these two images the Silverfast one is more easily dealt with in post processing. The Vuescan image looks the better one but its sky problems are more difficult to resolve.
So I re-performed the Vuescan scan but this time in the Colours panel I moved the black and white points and the curve point sliders to near zero away from the default positions. The result below has much less clipping in the sky.
Vuescan scan: White and Black points set to 0%; Curves set to 0.001
Allowing for these adjustments, I would be happy to take either image forward to post processing. The Silverfast image is slightly flatter which makes it easier to use.
So my slight preference is for Silverfast. I like the graphical input and the way the filters work. I also like the fact that infra-red cleaning can be restricted to a specific area of the image, although for black and white films (other than XP2) this is not a relevant factor.
Silverfast also has the option of AAOC to bring out shadow detail without affecting the light tones. However care is needed as this filter can give muddy outcomes as you can see below:
Silverfast no AAOC filter
Silverfast High AAOC
So I restrict my use of AAOC to the ‘low’ option and only on some images.
Here is the final post-process image from a Silverfast scan:
Capel Curig, Snowdonia, North Wales
Wet scanning
Finally, for a select few images I wet-scan the negatives on the 850. I tend to do this to ensure my 120 negative is completely flat for focus purposes. Also I will be scanning 4×5 and 5×7 negatives this way when my large format camera arrives in a few weeks time.
I use the Epson Fluid Mount and for the fluid I use Gamsol which evaporates without leaving a reside on the film. I use clear acetate sheets to provide the overlay on the mounted negative.
Epson Fluid Mount
Gamsol and dropper bottle
Final Words
For me scanning needs to be simple and fast. However it’s important that you do not add too many artefacts into the image or drop important details. So some knowledge about the various controls is important. There are plenty of scanning experts out there who know far more than me. But I know just enough to get what I want, which isn’t much.
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About Me Photo_edited_edited.jpg
Vanessa is the Owner and Creative Director at In Good Design. A native Angeleno, Vanessa was raised in Los Angeles, California. Her passion for design is rooted in the art and style of the city she grew up in. Vanessa spent years as a teen and young adult studying at The Conservatory of Fine Arts. There she fine-tuned a mastery of color, planning, and design.
Vanessa has been styling homes for over a decade. Most recently in 2018, a home she staged sold for 21K over asking within two days of listing.
Vanessa works to create spaces that exude luxe attainable function both her and her client's homes. She creates spaces that her clients can envision themselves living in while making memories for years to come.
Additionally, Vanessa has worked to develop master procurement lists, design floor plans, and stage corporate properties. Vanessa enhances spaces by paying close attention to how people interact with each environment they are in.
Contact IGD today for collaboration, partnership or your personal in-home consultation.
Southern California
©2019 by In Good Design
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Press Released: 21 Apr 2016
OPERA America Announces Recipients of Opera Grants for Female Composers
Supported by the Virginia B. Toulmin Foundation
Seven Composers and Seven Opera Companies Awarded a Total of $200,00
OPERA America, the national service organization for opera and the nation’s leading champion for American opera, is pleased to announce the latest recipients of Discovery Grants and Commissioning Grants from the Opera Grants for Female Composers program, made possible through the generosity of The Virginia B. Toulmin Foundation.
Launched in December 2013, the Opera Grants for Female Composers program consists of two granting components: Discovery Grants of up to $15,000 that are awarded directly to female composers to advance new works, and Commissioning Grants of up to $50,000 that are awarded to opera companies in support of commissions of female composers.
The most recent round of Discovery Grants attracted 68 applicants, and an independent adjudication panel selected seven composers to receive a total of $100,000. The recipients are:
• Julia Adolphe for So Donia Speaks
• Mary Ellen Childs for On Beyond
• Emily Doolittle for Jan Tait and the Bear
• Nkeiru Okoye for We’ve Got Our Eye On You
• Rene Orth for Machine
• Elena Ruehr for Crafting the Bonds
• Laura Elise Schwendinger for Artemisia
This is the third round of Discovery Grants to be awarded since the program’s inception. See below for composer biographies and summaries of their operas.
A separate independent adjudication panel selected seven Professional Company Members of OPERA America to receive Commissioning Grants totaling $100,000. The recipients are:
• American Opera Projects (Brooklyn, NY) for Victoria Bond’s Gulliver’s Travels
• Ardea Arts/Family Opera Initiative (New York, NY) for Kitty Brazelton’s Animal Tales
• Beth Morrison Projects (Brooklyn, NY) for Sarah Kirkland Snider’s The Living Light
• The Glimmerglass Festival (Cooperstown, NY) for an opera by Jeanine Tesori (title to be announced)
• Houston Grand Opera for Laura Kaminsky’s Some Light Emerges
• Opera Colorado (Denver, CO) for Lori Laitman’s The Scarlet Letter
• Opera Columbus for Korine Fujiwara’s The Flood of 1913
This is the second round of Commissioning Grants to be awarded since the program’s inception. See below for summaries of the operas.
OPERA America has awarded almost $13 million over the past 30 years in support of new American operas. Until the launch of the Opera Grants for Female Composers program in 2013, however, fewer than five percent of the organization’s grants supporting repertoire development had been awarded to works by female composers. Opera Grants for Female Composers seek to promote the development of works by women, increase diversity across the field and raise the visibility of women writing for the operatic medium. In its three years, the Opera Grants for Female Composers grant program has garnered applications from 198 individual composers and 18 opera companies.
“Leaders in the opera field have made a bold commitment to address gender parity across all sectors of the industry, both artistic and administrative. We are proud to be a driver of this movement through Opera Grants for Female Composers and the response from the field has greatly exceeded our expectations,” stated Marc A. Scorca, president/CEO of OPERA America. “The generosity of The Virginia B. Toulmin Foundation has enabled us to award half a million dollars over the past three years to female composers and the companies producing their work. These grants have invigorated our art form with a wealth of new works that display the extraordinary skill of their composers, as well as a diverse range of artistic sensibilities.”
The independent adjudication panelists for the Discovery Grants were director Jennifer Aylmer, soprano; Mark Campbell, librettist; Robin Guarino, stage director; Miah Im, conductor/coach; Welz Kauffman, president and CEO, Ravinia; and Anne LeBaron, composer. The panelists for the Commissioning Grants were Robin Guarino, director; John Musto, composer; Emily Pulley, soprano; Gene Scheer, librettist; and Ted Taylor, conductor/coach.
Information about the next round of Discovery Grants will be available in October 2016, and Commissioning Grants will be announced in February 2017.
2016 Discovery Grant Recipients
Julia Adolphe, composer
So Donia Speaks
Libretto by Nahal Navidar
Julia Adolphe’s music has been described as “alive with invention” (The New Yorker) and “colorful, mercurial, deftly orchestrated” (The New York Times). Current commissions include a viola concerto for the New York Philharmonic and principal violist Cynthia Phelps. The commission, supported by The Virginia B. Toulmin Foundation, follows the New York Philharmonic’s 2014 premiere of Adolphe’s orchestral work Dark Sand, Sifting Light. Adolphe has received numerous awards, including a 2016 Lincoln Center Emerging Artist Award and a 2015 Charles Ives Scholarship. Her collaboration with Nahal Navidar, who wrote the concept, story and libretto of So Donia Speaks, began in 2013. Together, she and Navidar have received choral commissions from James Conlon and Suzi Digby. A playwright who employs magical elements to awaken the expanse of human emotion, Navidar writes with inherent lyricism, inspiring Adolphe to bring her complex characters to musical life. Adolphe and Navidar strive to authentically promote underrepresented voices on the American stage. For more information, visit juliaadolphe.com.
So Donia Speaks tells the story of Donia, an Iranian-American travel journalist falsely accused of espionage in Iran’s notorious Evin Prison. In solitary confinement, she encounters fellow inmates who teach her the truth about the Iranian spirit. Inspired by events in the librettist’s family history, the opera examines the human will to survive in the face of injustice.
Mary Ellen Childs, composer
On Beyond
Libretto by Claire Porter
Mary Ellen Childs has been acclaimed for creating bold interdisciplinary works that integrate music, theater and movement in fresh and unexpected ways. She has received commissions from the Farnsworth House and Chicago Architecture Biennial, ETHEL, Kronos Quartet, Walker Art Center, Chamber Music America, and The St. Paul Chamber Orchestra, among others, and her works have been performed at the Bang on a Can Summer Music Festival, Lincoln Center, New Music America in Miami, Other Minds Festival and elsewhere around the U.S., Europe, Japan, Australia, Russia and Cuba. Over the last 30 years, she has received numerous awards and fellowships, including a 2011 United States Artists Fellowship, Bush Foundation Fellowships, McKnight Foundation Fellowships, Minnesota State Arts Board Artist Awards, and support from the NEA, American Composers Forum, Live Music for Dance NY/NJ and Creative Capital. She has been invited to residencies at Yaddo, Duffy Institute, Ucross, Djerassi and the Bellagio Center in Italy. For more information, visit maryellenchilds.com.
On Beyond follows the stories of three women in aviation history: Bessie Coleman, the first African-American woman to earn a pilot license; Jackie Cochran, one of World War II’s “Fly Girls”; and Jerrie Cobb, one of the Mercury 13, a group of women who underwent NASA testing in the 1960s in hopes of becoming America’s first female astronauts.
Emily Doolittle, composer
Jan Tait and the Bear
Libretto by Emily Doolittle and Peter Guy
Emily Doolittle’s music has been described as “eloquent and effective” (The WholeNote) and “masterful” (Musical Toronto). Doolittle has been commissioned by such ensembles as Orchestre Métropolitain, Tafelmusik, Symphony Nova Scotia and Ensemble contemporain de Montréal, and she has received support from the Sorel Organization, Canada Council for the Arts and Fulbright Program, among others. Recent projects include Seal Songs, a 30-minute piece based on Gaelic selkie folklore, which was commissioned by Paragon and the Voice Factory Youth Choir (Glasgow), and a concerto for violinist Calvin Dyck and the Vancouver Island Symphony. In 2011, she spent five months as composer-in-residence at the Max Planck Institute for Ornithology in Seewiesen, Germany. Originally from Nova Scotia, Doolittle was educated at Dalhousie University, Indiana University, the Koninklijk Conservatorium and Princeton University. From 2008 to 2015, she was on the faculty of Cornish College of the Arts in Seattle. She now lives in Glasgow, Scotland. For more information, visit emilydoolittle.com.
Jan Tait and the Bear is a 45-minute chamber opera based on a medieval Shetlandic folktale. Tait offends King Harald and is sentenced to death, but he is offered his freedom if he can kill a troublesome bear. Tait recognizes the bear as a kindred spirit and instead saves them both.
Nkeiru Okoye, composer
We’ve Got Our Eye On You
Libretto by David Cote
Hailed as “sublime” by the Cleveland Plain Dealer, compositions by Nkeiru Okoye have been performed by the Philadelphia Orchestra, Detroit Symphony Orchestra, Virginia Symphony Orchestra, Indianapolis Symphony Orchestra, Grand Rapids Symphony, New Jersey Symphony Orchestra, Columbia Symphony Orchestra, Fort Collins Symphony Orchestra and countless regional orchestras. Okoye’s opera Harriet Tubman: When I Crossed That Line to Freedom received a 2013 Art Works grant from the National Endowments for the Arts. She has garnered numerous additional awards, commissions and commendations from organizations such as Meet the Composer, MetLife Creative Connections, John Duffy Composers Institute, Composers Collaborative Inc., the Walt Whitman Project, Yvar Mikhashoff Trust for New Music, Ensemble Pi and ASCAP. Okoye is a board member of Composers Now. She holds degrees from the Oberlin Conservatory of Music and Rutgers University. She is the director of music theory and composition at the State University of New York at New Paltz. For more information, visit nkeiruokoye.com.
We’ve Got Our Eye On You is loosely based on the ancient Greek myth of Perseus and the Gray Sisters, who share an external eyeball. Perseus intends to use his Olympian good looks to learn Medusa’s whereabouts from the sisters but — as a Greeks chorus asks — who’s seducing whom?
Rene Orth, composer
Libretto by Jason Kim
Originally from Dallas, Rene Orth creates music that has been described as “whimsical, spikey, sometimes show-bizy, always dramatic, reflective, rarely predictable, and often electronic” (Musical America). Recent and upcoming projects include commissions from Festival d’Aix-en- Provence, Women’s Sacred Music Project, The Louisville Orchestra and the Barnes Foundation. Her most recent chamber opera, Empty the House (libretto by Mark Campbell), received its stage premiere with the Curtis Opera Theatre in a sold-out run in January 2016. In 2014, Washington National Opera commissioned Orth for a chamber opera, An American Man (libretto by Jason Kim), which premiered at the Kennedy Center as part of WNO’s American Opera Initiative. She has also held residencies at Yaddo and the Virginia Center for Creative Arts, and she currently serves on the theory and composition faculty for Luzerne Music Center. Orth holds the Edward B. Garrigues Fellowship at the Curtis Institute of Music and studies with David Ludwig. For more information, visit reneorth.com.
A chip. A brain. A computer inside your head to fix all your bad feelings. A chamber opera told in 90 minutes, Machine follows the chilling story of an Asian-American scientist as she elects to plant a chip in her head and become the world's first perfect, emotionless human.
Elena Ruehr, composer
Crafting the Bonds
Libretto by Gretchen Henderson
Elena Ruehr is known for her bold lyricism, which is informed by her ability to combine musical structures from worlds as diverse as the Second Viennese School and minimalism. She has been a Guggenheim Fellow (2014) and a fellow at the Radcliffe Institute (2008). Ruehr was composer-in-residence with the Boston Modern Orchestra Project, who recorded her opera Toussaint Before the Spirits (BMOP Sound) and her complete orchestral works (BMOP Sound, O’Keeffe Images). In addition to her work with BMOP, her recordings include Averno (Avie Records, Trinity Choir, 2012), How She Danced: String Quartets of Elena Ruehr (Cypress String Quartet, 2010), Jane Wang considers the dragonfly (Albany, various artists, 2009) and Lift (Avie Records, Irina Muresanu, Jennifer Kloetzel, Sarah Bob and Ethan Filner). Her six string quartets have been championed by the Cypress, Biava, Borromeo, Lark and Shanghai string quartets. She has taught at MIT since 1991. For more information, visit elenaruehr.org.
Crafting the Bonds is a full-length opera spanning three centuries based on the rediscovery of The Bondwoman’s Narrative by Hannah Crafts, the first known novel by an African-American woman. The opera fuses past with present, including factual and archetypal characters, to ask larger questions about the lives and afterlives of stories.
Laura Elise Schwendinger, composer
Libretto by Ginger Strand
The first composer to win the Berlin Prize, Laura Schwendinger is a professor of composition at University of Wisconsin–Madison. Her music has been performed by Dawn Upshaw (TDK/Naxos DVD), Jennifer Koh, Janine Jansen, Miranda Cuckson, Matt Haimovitz, the Arditti Quartet, the JACK Quartet, International Contemporary Ensemble, Eighth Blackbird, New Juilliard Ensemble, Aspen Ensemble, Miller Theatre, Trinity Choir and Liszt Chamber Orchestra. Honors include those from Guggenheim, Koussevitzky, Fromm, the Radcliffe Institute, ASCAP, the Harvard Musical Association, Chamber Music America and the American Academy of Arts and Letters. She has held residencies at the Richmond Symphony, the MacDowell Colony, Yaddo, the Rockefeller Foundation Bellagio Center and the Bogliasco Foundations. Of her work The Boston Globe wrote: “Not a single moment in her works sounds contrived, formulaic … This was shrewd composing, the genuine article” The New York Times described her album High Wire Acts as a “captivating disc” showcasing Schwendinger’s “acute ear for unusual textures” and ability to craft “musical short stories of somnambulant fragility and purpose.” For more information, visit lauraschwendinger.com.
Artemisia is based on the life Italian Baroque painter Artemisia Gentileschi. An important follower of Caravaggio and the first women member of the Accademia in Florence, Gentileschi was raped at age 16 by Agostino Tassi, an artist with whom she studied. Tassi was sentenced to prison but never served time, and the case overshadowed Gentileschi’s achievements for years. However, today she is regarded as one of the greatest painters of her time.
2016 Commissioning Grant Recipients
American Opera Projects (Brooklyn, NY)
Gulliver’s Travels
Victoria Bond, composer
Stephen Greco, librettist
Gulliver’s Travels is a “mythological burlesque” based on the Jonathan Swift novel. Appropriate for family audiences in the tradition of Hansel and Gretel, the opera is a journey of the imagination, where the world isn’t limited to what you see or know. Gulliver travels to four strange and exotic countries: Lilliput, a miniature land where Gulliver is a giant; Brobdingnag, a land of giants, where Gulliver is miniature; Laputa, the floating city of intellectual pursuits; and the land of the Houyhnhnms, where horses are evolved and humans are primitive “Yahoos.” Gulliver’s adventures and observations of the follies and vices of man form the basis of the opera, which blends satire, humor and drama. Told through music and animated objects, the opera is created for the adult in every child. The four short acts are performed without intermission, totaling 70 minutes.
Ardea Arts/Family Opera Initiative (New York, NY)
Animal Tales
Kitty Brazelton, composer
George Plimpton, librettist
How do we hop off the treadmill, reclaim our “inner howl” or expand our world beyond “Polly want a cracker?” Come along with Hamster, Goldfish, Dog, Frog, Turtle, Parrot and Horse as they visit veterinarian Dr. Alfred J. McGee, each wanting to change his or her life markedly. Animal Tales, which is directed by Grethe Barrett Holby, is a Disney-length, two-act opera-musical about daring to be different, overcoming stereotypes and finding purpose and happiness in life, all told through song, dance and puppetry — a rambunctious masterpiece bursting with fun, optimism and insight into the human journey. Audiences of all ages will delight in its optimistic but provocative look at life.
Kitty Brazelton was the recipient of a 2015 Discovery Grant for The Art of Memory.
Beth Morrison Projects (Brooklyn, NY)
The Living Light
Sarah Kirkland Snider, composer
Nathaniel Bellows, librettist
The Living Light is about Hildegard of Bingen, a German Benedictine abbess born in 1098. Hildegard was a writer, composer, philosopher, Christian mystic, visionary, polymath and founder of scientific natural history in Germany. This opera focuses on a particular time in Hildegard’s life, beginning in 1141, when she first began writing down her mystic visions — an act of bravery, defiance and expression undermined (and inspired) by a series of paralyzing illnesses. The Living Light explores the notion of a crippling gift, the doubt and jealousy such gifts can engender in others, and the complexities of belief — belief in the natural and immaterial world, in the sanctity and guidance of God, and the glory and failings of the mortal self.
The Glimmerglass Festival (Cooperstown, NY)
Title to be announced
Jeanine Tesori, composer
Tazewell Thompson, librettist
This new opera tells the story of an African-American family — a father, mother and son —and a community torn apart when the boy is killed by gun violence. Neighbors tell their stories, proclaiming injustice. A media-minded minister, dedicated to turning this tragedy into a political issue, proves to be a volatile confessor to the grieving father. A chorus of black youths, representing other murdered boys, attempts to make sense of the world they departed through music and dance. The voices of the men and women, and particularly the boys, come together to recreate a sense of community and restore a sense of hope. At the center is a caring family, with an involved father who becomes overwhelmed with guilt that he was unable protect his son, and a mother who falls completely apart as she experiences the unbearable loss of the child she carried and nurtured.
Houston Grand Opera
Some Light Emerges
Laura Kaminsky, composer
Mark Campbell and Kimberly Reed, librettists
In the mid-1960s, Dominique de Menil, the renowned art collector and a key player in Houston’s contemporary art scene, commissioned the noted American artist Mark Rothko to create a series of paintings, as well as the ideal gallery to house them. De Menil also envisioned that the resultant Rothko Chapel (which opened in 1971) would serve as a spiritual space for “those of all faiths, or no faith.” Some Light Emerges is a new chamber opera that is set mostly within the Rothko Chapel and chronicles the direct and tangential intersections of five people who visit the chapel across four decades, as well as the struggles and triumphs of Dominique de Menil in realizing her dream. Through the personal stories of its characters — both moving and humorous — Some Light Emerges reveals how political and spiritual conflicts can be better understood and ultimately resolved through art, while honoring the people who create and support such art. Some Light Emerges is part of Houston Grand Opera’s ongoing Song of Houston series, an initiative that aims to tell the diverse stories of Houston through words and music.
Laura Kaminsky was the recipient of a 2014 Discovery Grant for As One.
Opera Colorado (Denver, CO)
The Scarlet Letter
Lori Laitman, composer
David Mason, librettist
Published in 1850, Nathaniel Hawthorne’s The Scarlet Letter immediately caught America’s attention and has never lost its grip. The story, which details how individuals react to and survive severely repressive communities saturated with religious dogma, could easily be played out today. Alongside protagonist Hester Prynne, a young woman who has borne a child out of wedlock, we observe how a religious community treats an adulterer and her daughter, Pearl; how Hester remains vigilant and keeps the identity of her child’s father a secret; and how Arthur Dimmesdale, the town priest and Pearl’s father, deals with crippling guilt. The Scarlet Letter looks at individuals who hold fast to their personal beliefs and secrets, to protect themselves and others; how their mistaken actions result from fears of being judged and disliked; and how people either make peace with their decisions or live out lives of tortured conflict because of them.
Opera Columbus
The Flood of 1913
Korine Fujiwara, composer
Stephen Wadsworth, librettist
A collaboration between Opera Columbus and ProMusica Chamber Orchestra, The Flood of 1913 tells a story of human connection through loss and shared tragedy, centered around the devastation of Columbus’ Franklinton neighborhood in the Great Flood of 1913, the most catastrophic weather disaster in Ohio history. The Flood of 1913 will premiere in Columbus in 2018–2019. The opera will tell a dramatic story based on historical accounts of the flood, depicting the intense and lingering impact of the disaster on multiple generations of one family. In the words of Korine Fujiwara: “The Flood of 1913 is a story rooted in location, yet the struggles endured by its survivors and victims are timeless and transformative. The Flood is poignantly relevant to all who have experienced a traumatic event, giving voice to lives lost and survivors seeking meaningful answers.”
For more information on OPERA America, visit About Us.
For press inquiries, contact [email protected] or 212.796.8628.
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Save 90% on Thurs. and Sun. + unlimited digital access - through Monday only!
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Aztec Skull (Sharp Teeth)
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The Aztec Skull is a many dimensional piece, with its fine detail to the elaborate Aztec carving. Features are mainly of the extremely recognizable Aztec calendar that was carved in stone in 1479. The Aztecs, and other Pre-Columbian people of central Mexico used this calendar system. The original calendar was lost for over 300 years until it was unearthed in Mexico City in 1790, during renovations. This skull can be a great addition to your Mexican home décor. It’s made of a cast resin, and has carved details much like the ancient calendar itself. It is hand-painted with lots of detail. This skull has sharp teeth, a long tongue and lots of other fine features.
Approx. Size: 7 ¼” x 4 ¾” x 5 ¼”
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Museum of Modern Art – The Saturday Evening Post http://www.saturdayeveningpost.com Home of The Saturday Evening Post Sun, 01 May 2016 00:29:55 +0000 en-US hourly 1 https://wordpress.org/?v=4.4.2 How America Learned to Love Modern Art http://www.saturdayeveningpost.com/2012/11/10/history/post-perspective/modern-art.html http://www.saturdayeveningpost.com/2012/11/10/history/post-perspective/modern-art.html#comments Wed, 30 Nov -0001 00:00:00 +0000 http://www.saturdayeveningpost.com/?p=75846 Many Americans were introduced to modern art at The Museum of Modern Art, reports the Post, but advertising gave them a continuing education in contemporary design.
How America Learned to Love Modern Art
The Saturday Evening Post
MoMA Sculpture
Please Touch: Giant sculptures like Charles Despiau's "Assia" in MoMA's outdoor garden have visceral appeal that transcends questions about meaning.
When the early impressionists began exhibiting their works in the 1800s, the art critics of Europe couldn’t find enough words to attack their paintings. “Shocking.” “Degenerate.” “Works of idleness and impotent stupidity.”
The public could be just as critical. A visitor to an exhibit of Matisse and Picasso works gave a typical verdict: “Godalmighty rubbish.”
Had those long-ago critics controlled public opinion, modern art would have died in its infancy. Today, painters would be competing with photographers to produce pictures in life-like detail.
But modern art survived and eventually earned general acceptance. Today, we barely notice the cubist still-life hanging in a bank lobby or the enormous abstract painting in a restaurant. Furthermore, the works of Van Gogh and Monet, so loudly condemned in their day, are among the most popular paintings in the world. In 1990, Van Gogh’s Portrait of Dr. Gachet sold for $82.5 million, making it one of the world’s most expensive paintings.
But what does it mean? A perplexed museum-goer confronts a Henry Moore sculpture (Figure, 1937) in this photo from "The Museum and the Redhead," April 1947.
How did modern art survive and gain a popular following, despite the hostile reception that critics and the public gave it?
According to a classic article in the Post (“The House that Art Built,” January 1965), much of the credit goes to The Museum of Modern Art, or MoMA. The then-revolutionary museum opened on November 7, 1929, barely a week after the great stock market crash. Its first exhibit contained paintings by Cézanne, Van Gogh, and Seurat, drawn from the collections of three women. For one of them, art collector Lillie P. Bliss, the exhibit was a chance to bring her Picassos out of the attic, since her mother had forbidden her to hang them in their house.
Visitors were enticed to the museum by its innovative and unpredictable exhibits. They also appreciated its informal atmosphere, and the fact that the museum didn’t take itself too seriously. After all, the museum’s director admitted, not all the works on display could be masterpieces. The museum would be lucky, he said, if one-twelfth of its paintings kept their value for 20 years.
Real life imitating art? A pair of visitors to the MoMA in front of Picasso's "Girl Before A Mirror."
Still, the new museum proved surprisingly popular with the public. The growing crowds at exhibits forced the museum to keep moving into larger galleries. Ultimately it came to rest in a Manhattan building that a 1947 Post article (“The Museum and the Redhead,” April 1947) described as “a fancy, six-story jack-in-the-box that is continually popping out with something new and remarkable.”
The MoMA also helped create the city’s booming market in contemporary art. The Post reported that, between 1930 and 1965, the number of New York galleries dedicated to contemporary art had grown from less than a dozen to 400.
Many visitors were still baffled and challenged by the museum’s experimental works from such artists as Jackson Pollock and Andy Warhol. But even if they didn’t understand it, they seemed to accept modern art as significant. Americans’ opinions about new art were changing, said a museum lecturer told the Post. He could tell because people used to tell him that a 5-year-old could paint as well as the artists whose works hung in the museum. “Now, it’s gone up to 7- or 8-year-olds.”
But one museum, alone, couldn’t have lead to Americans’ growing acceptance of modern art. A larger influence was at work in the U.S., as Brenda Ueland observed in her 1930 article “Art, Or You Don’t Know What You Like.” (Continued on page 2.)00s Ralston Ad 1900s Tooth Brushes Ad 1900s Coca-Cola Ad
1930s—Ads Show Influence of Modern Art
1930s U.S. Tires Ad 1930s Everready Packaged Electricity Ad 1930s Reading Ad
How America Learned to Love Modern Art
The Saturday Evening Post
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Art’s Healing Powers http://www.saturdayeveningpost.com/2009/01/01/in-the-magazine/health-in-the-magazine/arts-healing-powers.html http://www.saturdayeveningpost.com/2009/01/01/in-the-magazine/health-in-the-magazine/arts-healing-powers.html#comments Thu, 01 Jan 2009 05:00:19 +0000 http://72.3.135.59/wordpress/?p=674 More than simply a statement of style, art can improve and enhance one’s physical, mental, and emotional well-being. On any given day, landscape artist Barbara Ernst Prey is apt to find e-mails from museum curators and patrons clogging her in-box. Prey’s canvases hang on the walls of world-class institutions, in private collections, and even at […]
Art’s Healing Powers
The Saturday Evening Post
More than simply a statement of style, art can improve and enhance one’s physical, mental, and emotional well-being.
On any given day, landscape artist Barbara Ernst Prey is apt to find e-mails from museum curators and patrons clogging her in-box. Prey’s canvases hang on the walls of world-class institutions, in private collections, and even at the White House. But the messages that cause her voice to crack with emotion are the ones from ordinary people who write about the transforming effects her paintings have on their lives. There’s the letter, for instance, from a man recounting how his relative, suffering from Lou Gehrig’s disease, found solace in Prey’s paintings. “When he was ill and in a wheelchair, he lined up my paintings on a long mantelpiece so he could just look at them and enjoy them,” Prey says.
Prey is a creator of beautiful things. Among her works is a painting of the Space Shuttle Columbia lift-off commissioned by NASA as a tribute to the families of the astronauts who lost their lives in the disaster. Her images soften life’s blows.
Art has that kind of healing effect. Turns out what’s on the wall is a lot more than a statement of style. Medical experts say it can change a person’s physiology, alter perceptions, and have a calming, curative influence. And they knew it even before they could prove it. In 1860, Florence Nightingale wrote about the effect of “beautiful objects” on sickness and recovery. “Little as we know about the way in which we are affected by form, by color and light, we do know this, that they have an actual physical effect.”
In the early 20th century, medical advancements progressed at such a rapid clip, the human factor became secondary to technology. Modern hospitals were sterile, sleek and stark. Then in the 1940s, the curious new field of art therapy came into its own, advancing the notion that art-making could be used to improve and enhance one’s physical, mental and emotional well-being. Conventional medicine remained skeptical until the results became too compelling to ignore, and that’s only been in the past 20 years, says Dr. Brent Bauer, director of the Complementary and Integrative Medicine Program at Mayo Clinic in Rochester, Minnesota. Adjunct treatments like art therapy that were once considered “weird” are now being welcomed. “If looking at a beautiful picture in a room or having access to art-making helps an individual get through a difficult day or a difficult procedure, it’s getting harder and harder not to be excited about it,” Bauer says, “It’s a fun time of medicine.”
These days, studies are drilling down on the mind-body connection, and the mounting evidence of art’s therapeutic benefits is indisputable. Art helps ailing children gain some control over their helplessness. It reduces pain in cancer patients. It helps Alzheimer’s patients develop a new language of communication and combat memory loss. The Museum of Modern Art in New York hosts a free monthly program for Alzheimer’s patients in which its vast collection of modern masters is used as a platform for mental stimulation.
Mayo Clinic launched a pilot program among men and women battling such serious diseases as leukemia, lymphoma and multiple myeloma, many of whom were in hospital isolation. “The idea was to bring something to the bedside that could help improve their quality of life and reduce stress,” says Bauer. That something was art. “Without even trying to be therapeutic, in many cases it was. We were looking at their pain, their mood. If it was negative, could we improve it? If it was positive, could we enhance it?” The answer was an unequivocal yes. And to Bauer’s surprise, the findings crossed over “gender and age and all things I thought might have been barriers.” Bauer says the trial revealed a “trend toward improvement in pain” and “significant improvements” in mood and anxiety reduction.
alzheimer.jpg“When we reduce stress, we improve sleep and we improve the immune system,” Bauer explains. Mayo has received benefactor support to expand the program.
Art history and art-making workshops are a regular part of the schedule offered at Hewlett House, a cancer-support resource center on Long Island. Eileen P. McCarthy has been a regular since she was diagnosed with her third bout of breast cancer in 2005. “Cancer can be in your mind 24/7,” says McCarthy. “Art pushes all that aside.” Not long ago she was painting a beach scene when her instructor, Laura Bollet, came up beside her and asked McCarthy what was the matter. “The calm sea I was painting was suddenly a storm. I didn’t even realize it but it made me grasp how upset I was. It had been all bottled up. I couldn’t get my ocean to calm.” Bollet says the canvas was capturing emotions before McCarthy had a chance to articulate them. The woman who once told a family member she couldn’t draw a straight line with a ruler now says art has “become a part of my life. It’s an amazing medium. I was surprised at how far I’ve gone and how far it’s helped me.”
The simple act of enjoying a work of art can be just what the doctor ordered. The University of Michigan Health System in Ann Arbor has an “Art Cart” program, a kind of lending library of framed poster art. Volunteers go room to room allowing patients to select artwork that connects with them personally to hang on their walls.
As an artist, Barbara Prey says, “It’s very touching to see how your work is used in ways you just don’t know. And it’s rewarding to know I’ve done something that’s made someone’s life a little better.”
Trying to figure out what art is the right prescription for health and healing is, as you might expect, in the eye of the beholder. One man’s Norman Rockwell is another man’s Jackson Pollock.
The_Simple_Life.jpgBauer says landscape scenes have shown promise in studies. “We’re wired to enjoy nature.” According to Bauer, patients in hospital rooms that face woods and trees do better than those in rooms facing, say, a brick wall, which explains why so many medical offices and hospitals are adorned with pictures of the great outdoors. “If you’re going to have a tube placed in your stomach, a fairly uncomfortable procedure, and you can stare at a beautiful scene of a mountain or an ocean, it reduces stress and makes the procedure easier,” Bauer says.
For some, familiar images can spark an emotional connection and release a memory that generates positive feelings. Others get that reassurance by staring at pictures of large color fields or religious iconography.
“Art-making or the act of creating involves every single part of the brain,” says art therapist Elizabeth Cockey of Levindale Hebrew Geriatric Center in Baltimore and author of the memoir Drawn from Memory (2007). “It stimulates our neurology, and that feels good.”
Cockey ticks off a list of restorative benefits she’s seen as a result of her work, even in her lowest functioning patients: alleviation of depression, enhanced hand-eye coordination, improved motor coordination leading to more independence, and the restoration of self-esteem. When individuals engage in art-making, they realize, “there’s more to life than their own circumstances.”
Hewlett_House.jpgHer experience is backed up by a report released by the National Endowment for the Arts on the impact of arts programs on older Americans. The study found that seniors who participate in weekly arts programs reported better health, fewer doctor visits, and less medication usage than those who don’t.
Julie Gant is an art therapist who works with patients at the other end of the spectrum at St. Louis Children’s Hospital. Art is used to help kids as young as two and three offset hopelessness. “There are so many things kids don’t have choices about — surgery, medical procedures, even blood pressure takings — that getting the chance to make choices instead of passively lying in bed counteracts feeling of helplessness,” she says. The choices may be as simple as what colors to select or what materials to use, but if youngsters can pick up a pencil or a crayon, they can take an active role in creating. “It’s a chance for them to make choices in an environment where their choices are limited.”
Art is such a natural part of kids’ lives that it helps normalize their strange and difficult surroundings and distract them from pain or side effects of medication. Gant says that for youngsters who haven’t had a chance to process what’s happened to them, art can help stave off post-traumatic stress syndrome and other related woes. “Art helps them make sense of their situation.” What’s more, it’s a vehicle to communicate emotions they may not be able to articulate. Drawing something might be easier for a first-grader than talking about it.
In the meantime, Eileen McCarthy says she is winning her battle with cancer. “I would not have gotten through this without the art course at Hewlett House. Art has helped as much as any medication.”
That’s no surprise to folks like Elizabeth Cockey. “The truth is, art makes you better. It doesn’t happen overnight. And not everybody is going to get better in the same way or in the same time frame. But it will happen.”
Art’s Healing Powers
The Saturday Evening Post
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Review: Field Notes Unexposed
The new Field Notes edition, Unexposed, has been exposed. Like Shelterwood before, this edition elicits both love AND hate from fans. The edition arrives within a black envelope so that you cannot see what covers you are getting. The editions are packaged somewhat randomly, so you have no guarantee of getting all 6 colors in your packages. To me this is a very interesting way of randomizing the packages. This has also led to frustration among collectors and subscribers. In some cases people have only received 3 of the 6 colors and are trading with other collectors and fans to get all 6 colors.I was one of the fortunate people who received all 6 colors in my subscription package. But I liked them so much I traded off my sealed Arts and Sciences edition to get another 3-pack. I received 3 more of my favorite colors and another black envelope.
Let’s get to the nitty gritty of this, the review. The colors are neon, eye searing neon with a near opposite color logo. I love these colors. They go very well with my Ticonderoga Neon pencils or Neon Wopexen. They bring me back to back-to-school shopping in 1989 or 1990 where neon ruled the world in pencils and pens. My love of these colors is pure thrown back, sort of like my total enjoyment of the new Trapper KeeperThe covers and interior feature the same soft touch printing as the Drink Local series, Which up until these was my favorite edition. The soft touch just feels really neat. When thinking I can rub the covers between my thumb and fore finger. The texture is just fantastic. I read more than one complaint about these colors being “not professional.” I use my FN as catch alls and journal, and now during my internship and a place to take quick client notes. Are they professional enough for me to take into staff meetings? I don’t know, but I’m also secure enough that if someone were to comment on the color to be able to say, “I know! Isn’t it AWESOME!?!”Inside is what FN calls “reticle graph.” Before I had received my books I had to look this up. Instead of dots for dot graph they have replaced them with little plus signs (+). One could think of these like sights or unfinished graph. They are printed in light gray. I wasn’t sure if I’d like these, but so far I really really like them. I might even prefer them to regular graph. I do like dot graph a little more but these are fun. The paper itself is regular FN paper. It’s not fountain pen friendly but great with pencils, gel ink, and roller ball pens. Another complaint I’ve read about is that people really really hate the near color opposite* printing on the inside color. It really does make the interior stuff hard to read. I find it impossible to look at and read the interior of the green covered notebook. The neon green on neon orange is impossible for my eyes to makes sense of. If I squint I can read it but it’s hard. I don’t mind since all of the FN stuff stays the same from book to book. I know where to write my name. I also found that once I wrote my info into the various sections in black ink it broke up the field of neon and I was much more able to read the neon-on-neon printing.The envelopes that houses the notebooks as they are shipped to you are a flat black. As soon as you remove the shrink wrap the envelope starts to show finger prints. The envelopes aren’t super sturdy but they are neat and a great way to store 3 FN in a bag or backpack.Overall, this is a great edition from Field Notes. Great colors, great “soft-touch” covers, awesome reticle graph grid inside, and your typical fun FN uses inside. This will be one of the few that I stock up on and keep a few extras in my stationary boxes.
*They aren’t true color opposites! The opposite of red is green, blue is orange and purple is yellow. These are one step away from the true color opposite of the color. This does fun things to our color perception as our eyes try to makes sense of these colors together.
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Interview with Doug Henderson
This is a really special interview for me as Doug is my personal favourite palaeoartist and I know a lot of the people currently working in the area admit something similar. His old website is no more, though fortunately some of it is archived here and actually Doug’s e-bay store has a good collection of quite high quality versions of his artwork (and of course sells prints!). I’ll leave it there and let his words and images tell the story. Oh yes, and do come back tomorrow – Doug has also sent me a selection of his field sketches of landscapes etc. and I’ll be putting these up in an additional post rather than overfill this one. As usual these works are Doug’s, he owns the copyrights to his artwork and these should not be reproduced or used without his permission blah blah etc. Now, go enjoy:
How long have you been producing paleo-art?
After cars and airplanes, I was drawing dinosaurs when I was just a few years old–a consequence of a dinosaur craze during the 1950’s. Not until 1977, when I was 28 and living in Montana, did I begin a self-taught effort to refine drawing and develop some sense of composition. I spent years drawing in the field–mostly simple sketches of trees, rivers, mountains, etc. and did early finished work. Dinosaurs walked into some of the images from time to time and I followed a few artistic interests that indirectly prepared me to do paleo-art. A good, long time went by before I could point to what I did as anything looking like legitimate employment and a career.
What first got you interested in dinosaurs and art?
I count books and TV as the first major influence, although there were also comic strips (Terry and the Pirates, I think), wax models and museum visits to the Smithsonian. The very first book I pulled down off a elementary school library shelf was titled So Long Ago–I remember looking up and seeing the title well over my head. It was a whimsical romp through early Earth History, specifically arranging the proper animals together in the proper time–and may have instilled a sort of prime directive I’ve followed ever after.
An interest in art seem to develop over time, especially after I found various books about landscape painters from the 19th Century. The finished work of artists like Frederick Church, William Turner and Thomas Moran was a very high star to reach toward, but their preliminary drawing and field sketches inspired me to try my own hand at working in a sequence from simple to more complex images. Going outside and taking the time to look at things in order to put them on paper was probably the most essential part of my becoming an artist and developing an approach to finished work. Field sketches gave me a better informed imagination.
What is your favorite piece of paleo-art that you have produced?
I don’t really think of favorite pieces, I’m actually pleased with a lot of my work–especially if a set of images work together to tell a paleontological tale. Some of the Two Medicine work still looks good to me. And a lot of the Triassic work I did for Petrified Forest. With time and new discoveries, some of this work preserves old, abandoned ideas, though. All the little dinosaurs in illustrations I did years ago ought probably to have feathers.
Who is your favorite paleo-artist or piece of paleo-art?
I think Charles Knight’s work played a part in my introduction to realistic dinosaur reconstruction. And Zdenek Burian, the Czech illustrator. Perhaps my favorite paleo-art, though, was the cover of some Classic Comic version of Journey to the Center of the Earth, the image of fighting marine reptiles. And also the stop-action animation from the 1933 movie King Kong, when Kong fights a T-rex (in lovely settings of a wild, primordial forest).
What is your favorite dinosaur / archosaur?
I don’t seem to have favorite animals, though I seem to especially like marine reptiles. I have favorite approaches to reconstructing about anything, though the less I know about some new animal or setting, the more work it is to get up to speed. I have to say, that I think dinosaurs have come too much to represent Earth History and paleo-art is a broader venue than just showing dinosaurs doing this and that. I see lots of things going neglected, including geologic stories dominated more by physics, climate, landscape and other forms of early life. But what gets done most often is what people want, or what publishers think people will buy. To really do original work, you have to be independently wealthy enough to put money concerns aside or find supporters prepared to give you long spans of time. This happens sometimes, but not often enough for me.
Is there any animal you would like to paint but have not?
I recently did some Pleistocene mammal drawings and can see there is a lot more to do with that subject. The early Paleozoic looks to be rarely treated in paleo-art. Burian did lots of such images and I see lots of things yet to do.
What do you think is the most important part of good paleo-art?
Every artist is going a find a different solution to the same task. For me, I want to see an illustration as representing a place, large or small. If you can play with light (and color), compose original scenes and poises and well present data new and old together, that’s an end to reach toward.
18 Responses to “Interview with Doug Henderson”
1. 1 Roger (@jazzpangolin) 04/10/2011 at 11:51 pm
It’s interesting that Doug mentions his appreciation for the 19th century landscape painters, as I think his creative use of lighting is what makes his work stand out. Maybe go even further—plesiosaur battle in the style of a stormy Turner seascape?
2. 2 carlos 05/10/2011 at 1:03 pm
This is great, thanks Dave, really liked it!
3. 3 Paul Heaston 08/10/2011 at 3:20 pm
Doug is also my favorite paleo artist from the last quarter century, really since Knight and Burian. Doug’s not an illustrator, but a true artist, and the relative lack of imitators as compared to someone like Greg Paul or Mark Hallett is indicative of how special his work is.
4. 4 Mariah Dayfor 13/10/2011 at 10:58 pm
WOO-HOO! Thank you for this interview. I love the art of Doug Henderson and I am so glad to see he has a eBay store. Doug Henderson, if you are reading this, I really love your work. It is wonderful and diverse. Thanks for making such beautiful things.
5. 5 Bryan Riolo 19/10/2011 at 4:15 am
Doug Henderson is definitely one of my favorite paleoartists. I do have one question: why are the Malta duckbill’s front limbs so skinny? This seems to be a trend in ‘modern’ paleoart; make the poor creatures’ limbs so thin, they cannot have even supported themselves, never mind walked or ran or recovered from a stumble or fought for their lives.
No matter how much weight the limb bones could support–and I do not care if it was INFINITE–virtually no muscles means no movement.
Limbs in restored animals often are thinner than the bones alone, as in DH’s Malta Duckbills. Many of Dave Hone’s blog followers seem to be sticklers for accuracy, so how can this trend pass without comment?
• 6 Paul Heaston 25/10/2011 at 9:40 pm
Take a close look at the front limbs of ungulates, especially large deer like elk or moose. They really don’t have any bulging muscles below the elbow. Because of the mechanics of their joints, the shoulder and upper arm muscles do the bulk of the work, swinging the limbs forward and pushing them back. Inertia as the tibia and fibula swing forward causes the virtually unmuscled metacarpals to swing forward as well, while the joint design locks them and keeps them from hyper-extending. So long as the bones are strong, its easy to carry quite a bit of weight this way. I suspect most of the heavy lifting in duckbills –as far as propulsion is concerned — was provided by the rear limbs, with the front legs supplementing to keep the front of the body clear of the ground. In fact, the humerus in Doug Henderson’s rendering correctly seems to have quite a bit of muscle, allowing it to swing the forelimb forward where it locks and props up the body as the hadrosaur moves.
• 7 Bryan Riolo 26/10/2011 at 2:48 am
You are perfectly correct about the lower limbs of ungulates. Never mind ungulates, how many terrestrial tetrapods have fatter (muscular) lower limbs? No erect limbed four legger has fatter lower limbs that I know of, including dogs, wolves, cats BIG cats, bears, you name them, the lower limbs are slender under all that fur. Elephants, hippos, rhinos also have fairly slender lower limbs.
Lizards and crocodilians throw the equation off, until we see that they are basically splay legged. Birds? They’re bipedal and cursorial. Slender lower legs for every bird I can think of that walks on the ground even partially, from kiwis to ostriches to secretary birds to gallinaceous birds and even passerine birds.
So far, so good. As erect limbed animals, I expect dinosaurs to have fairly slender lower limbs to very slender in the troodontids and so on. Duckbills fit the bill too (pun on purpose!) so where does that leave my contention that Doug’s Malta Duckbills front limbs are too thin? Same place. Sorry! Not even chameleons have limbs that thin in proportion to the body. Sorry! The forearms, as drawn are thinner than the bones. WAY thinner than the bones. Please look at the hadrosaurian mummies. Take note of their limb proportions. Way thicker than Doug portrays them.
If one has arm bones that are two inches in diameter (thick bones!), but one draws the fleshed out arms as being an inch in diameter…same bones, same arm…where does that leave us? Are the paleoartists who insist on such thin limbs, ignoring muscle, blood vessels, fat, and skin, contending that the fleshy appurtenances shrink the bones while the animal was alive? Do said bones then enlarge after death, due to the fossilization process?
Please explain. And I am not one who chides an artist, but I can’t draw or paint myself. I am not on the outside looking in, sir, I have drawn and painted MANY dinosaurs. And Doug Henderson has always been a favorite; very inspiring to me for many years.
6. 8 Paul Heaston 26/10/2011 at 3:49 am
I understand what you’re saying, but the proportions just don’t read so wrong to me. This rendering was done for the Leonardo mummy, and there are some good photos of its front limbs here: http://blog.hmns.org/wp-content/uploads/2008/09/leo-in-chamber-delin2.jpg and here: http://newblog.etee2k.net/wp-content/uploads/2011/03/EP2_P1023851.jpg and its tibia/fibula are particularly long and slender. I’d have to believe Doug worked from numerous high quality photos of the bones for this restoration.
Maybe it’s me, but it doesn’t look that peculiar. Certainly very slender, but this was a gracile, immature animal.
• 9 Bryan Riolo 26/10/2011 at 6:10 pm
Thanks for the pics, Paul! I’ve seen pics of Leo before, and I do see where you’re coming from. Instead of beating around the bush, would you like to see my version of Leo, based on the mummy you’ve shown me? It’ll be next week before I can do it.
Now that I’ve seen the actual fossil he based the painting on from that angle, I can for certain that the front limbs’ lower elements are at least half as thick as they should be, even if we just saran-wrapped the bones.
Don’t worry, Doug’s still a favorite of mine. He, like the rest of us who draw dinosaurs have made mistakes. To me, a mistake is made when the restoration will not fit the skeleton. Velociraptors painted/drawn/sculpted without feathers before that tidbit about their integument was known does not count as a mistake. Making the legs twice as long as the bones indicate would be.
Many modern restorations ignore skeletal realities. Tyrannosaurs with overlong, thin necks, ornithopods with out-of-joint, emaciated forelimbs, ceratopsians, especially Triceratops with forelimbs that would not fit on the bones and are undermuscled to boot, sauropods with almost horse slender limbs. There are more, but those will do for now.
Do I myself think my dino art is perfect? Nope. But I DO try and work from what the bones and my knowledge of actual living animals shows me.
7. 10 Douglas Henderson 27/10/2011 at 4:43 pm
Of course the arms might be too thin. But I based the reconstructions on some technical drawings (Greg Paul style, sorry, but the name of the artist escapes me) provided by the little museum in Malta when I swung by for a day visit. I saw the long, relatively thin limbs and even was shown the skin impressions of square-sided tubercles of various sizes appearing to be rather tightly draped over parts of the lower limbs–suggesting there wasn’t much meat to them. But that was just my impression–and so reflected in the finished pastel.
The forever changing data and interpretations of old animals is what is driving me to want to just go draw glaciers.
• 11 Bryan Riolo 28/10/2011 at 2:56 am
PLEASE! Don’t stop with your dinosaurs and other prehistoric stuff! You are one of my favorite artists and your stuff has inspired and informed me for years! Besides…glaciers are cold. Your art is not cold. ;)
Any time an artist wanders into the unknown, mistakes will be made. I’ve made a few (thousands, is that a ‘few’?) mistakes myself. On dinosaurs. Mistakes don’t make a piece of work bad. Cold, impersonal technical drawings without ‘mistakes’ are worse for me than a lively piece of ART that makes me feel the world I’m seeing, even if it’s a pastel painting/drawing, whatever kind of work it is.
The main reason I commented on the legs being too thin is this: I don’t think we give these creatures the credit they deserve many times. They were marvelous beasts, wonderful to behold and contemplate. Modern restorations very often, in my opinion, make them too thin; undermuscled. These creatures lived in a harsh, cruel world. Their bones often show scars from both predators and parasites. The artist you mentioned was in many ways a visionary, but he often makes his dinosaurs look positively emaciated, sometimes even making the leg-flesh too thin to fit around the bones.
I see dinosaurs, in my mind, as living creatures, with lives to lead. I love seeing them represented as having enough muscular armament to get through those lives.
I still stand by my statements, but I hope I haven’t offended you. That was the last thing on my mind.
8. 12 Bryan Riolo 05/11/2011 at 7:53 pm
And just to make something clear: Doug’s pic of the Iguanodons and the Deinosuchus et al, have been favorite dino pieces of mine for years. They’ve been very inspirational and influential on my own art. I have not copied any dinosaurs from anyone, but this man’s art, along with Knight, Bakker, Burian, Matternes, Rey, Paul and a number of others pushes my own envelope out farther than it would ever have gone without them.
Doug’s work especially is very atmospheric, very natural without being a slavish copy of some modern scene. His talent puts me IN these animals’ worlds, and for that, I salute him.
1. 1 Doug Henderson sketchbook « Dave Hone's Archosaur Musings Trackback on 05/10/2011 at 9:02 am
2. 2 Palaeoart roundup « Dave Hone's Archosaur Musings Trackback on 06/10/2011 at 9:15 am
3. 3 Interview with David Krentz « Dave Hone's Archosaur Musings Trackback on 09/07/2012 at 11:24 pm
4. 4 Petit carnet paléo: Dans le carton à dessin de Douglas Henderson Trackback on 30/08/2013 at 11:47 am
5. 5 Interview with Andrey Atuchin | Dave Hone's Archosaur Musings Trackback on 16/12/2013 at 7:55 pm
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Maarten de Boer (TV Guide)
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Scottish Dance Theatre – Pavlova’s Dogs quad bill – London
Scottish Dance Theatre
A Touch of Red | My Sweet Little Fur | Love Games | Pavlova’s Dogs
London, The Place
9 March 2012
After 14 years at the helm of Scottish Dance Theatre, this is Janet Smith’s swansong tour as artistic director (Fleur Darkin was announced as her successor just two days before this performance). Smith already has her feet under the table of a new office as Principal of the Northern School of Contemporary Dance, from where she travelled to be with her company for this annual stopover at The Place.
Smith leaves the company in a very good place. Few dancers are as comfortable with dance theatre – and in particular the fusion of spoken text and movement – as this ensemble. I imagine that the constant exposure of the SDT team to the acting profession through their residency at the lively Dundee Rep Theatre is both a source of inspiration and breeds the skills to speak with confidence and projection. This evening’s programme moved from two small snippets of dance into a pair of much longer works in which the performers gave impact and dynamism to both words and steps.
Two of the three works before the interval were choreographed by company dancers. Nicole Guarino’s ‘A Touch of Red’ was a physical “does he love me, does he not” duet for Solène Weinachter and Joan Clevillé, performed with a mix of needy physicality (Weinachter) and uneasy indifference (Clevillé). The neat inter-action of their closely-timed sequential movement suggested that either the pair had put a lot of rehearsal into this work, or they have a well-attuned intuitive understanding of each other….or probably both! The theme of love carried over into Clevillé’s own piece, ‘Love Games’, which began with a monologue from the seductive Weinachter curled up in a distorted recumbent pose on a rug placed front-of-stage-right. The rug turns out also to be home for a box of corn flakes, a newspaper and a highly-polished knight’s helmet (which at some point, Weinachter wears). It’s a refuge from love’s games, a home for lonely hearts; and it’s a clever device. When not contained on the rug, the five performers are playing schoolground games of tag or barging each other out of the contest. Clevillé demonstrated wit and invention in this new take on a well-worn theme.
The middle work of the first half was a solo for Jori Kerremans, choreographed by Idan Cohen, entitled ‘My Sweet Little Fur’. At one level, it seemed the kind of choreography that might arise from a workshop aimed at developing a canine theme from human movement, although the choreographer’s intention seems to have been to capture a dialogue “between a man and the hounds residing in him”; more suggestive of werewolf, than shih tsu. It was a piece that seemed to be made only for this dancer and Kerremans – tall and lean enough to be the Afghan hound of the canine world, but without the mane – was exceptionally good, commanding the stage for the full 12 minutes.
The post-interval performance was occupied by Rachel Lopez de la Nieta’s ‘Pavlova’s Dogs’, a 40-minute piece that called upon eight of the company’s dancers (virtually the entire ensemble). Smith invited Rachel to make the piece on SDT after judging the Place Prize preliminaries in 2010. Her hilarious account of a dictatorial choreographer in ‘The Devil and the Details’ was witty dance theatre, in which text was the essential requirement, and although it didn’t make the cut for the Final, it got a commission from one of the judges! Not a bad result.
Words are also essential to ‘Pavlova’s Dogs’ in the running core dialogue between a formal narrator and his increasingly anarchic colleague as a female quartet re-enacts their repetitive story about four sisters: the dancers’ reactions in movement perhaps a reflection of the conditioned reflexes that Pavlov’s experiments with dogs were designed to stimulate. But, adding the ‘a’ to becoming Pavlova (who owned several dogs, by the way), ‘The Dying Swan’ music by Saint-Saëns had to make an appearance. Greatly over-used but certainly never performed in this way and never alongside Flanagan & Allen’s wartime ditty, ‘Run Rabbit Run’ played while two guys dressed in hairy, purple bunny suits cavorted around. Enough to make any dog salivate, I would have thought. This was anarchic mayhem writ large but funny and always absorbing, delivered with style and great humour from excellent performers. The match between Rachel de la Nieta and Scottish Dance Theatre is clearly a well-judged partnership.
There is a refreshing honesty and endeavour to Scottish Dance Theatre, which this programme – surely crying out to be sub-titled ‘Love & Dogs’ – showcased splendidly
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Design: Makers & Allies
Project Type: Produced, Commercial Work
Client: Matt Trevisan – Slacker Wines
Printer: WS Packaging
Photography: Philip Andelman
Location: San Luis Obispo, USA
Packaging Contents: Wine
Packaging Substrate / Materials: Frozen Orion [Pearlescent Paper]
Printing Process: CMYK + White
Slacker wine is not intended to be the center of attention. It should stir no debates, spark no controversies, nor inspire any jealousies. If it does, you’re doing it wrong. But whatever. It’s just wine. Enjoy it.
“Eagles may soar, but weasels don’t get sucked into jet engines.”
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florida edition | Sep 4, 2018 |
Art Basel Miami Beach will have a refreshed home this winter
The newly renovated Miami Beach Convention Center will open this December in time to host Art Basel Miami Beach. Several steps were taken by Fentress, the architecture firm leading the center’s redesign, to ensure the MBCC has been raised to comply with FEMA code—meaning that all of its building systems are on the second floor, and that its facade has hurricane-resistant connections and projectile-resistant glazing. Miami Beach chose Fentress as lead architect of the 1.4-million-square-foot redesign in 2016 to make the center more technologically advanced, as well as to follow FEMA code.
The new Miami Beach Convention Center; courtesy Fentress Architects and Craig Denis
For Art Basel Miami Beach, which first made its foray into the Americas in 2002 and has since more than doubled its thousands of attendees, the new MBCC has an exhibit hall that is composed of 500,000 square feet, four additional ballrooms, and an added 127,000 square feet of meeting rooms. There is also more funding dedicated to public art: $7 million, the largest in Miami-Dade County’s history.
MBCC’s natural-disaster-resistant design may come from what several news outlets are dubbing “climate gentrification,” related to a recent Harvard study that suggests nearby Miami’s higher elevated land will be worth more in the next few decades. The study followed over 100,000 single-family Miami homes over the past 45 years, and claims that the high-elevation areas will soon become more densely populated. Miami has spent almost $200 million on hurricane and flooding protection; CNBC reports that Miami Beach will spend twice that amount. The MBCC redesign cost $620 million.
The lobby of the new MBCC; courtesy Fentress Architects and Craig Denis
In collaboration with Arquitectonica, Fentress incorporated ocean, beach and aquatic life into the design concept, including 500 aluminum fins attached to the exterior that have a custom parametric software, which helps the fins better respond to their environment. With technology being a core principle of the design concept, the center has low-voltage electronic systems, a distributed antenna system for cell phones, expanded Wi-Fi, digital read boards in every gathering room, and a digital exterior sign. Other notable features are 12 new acres of greenspace and 1,287 additional trees being planted along the shoreline of the Collins Canal. Six acres’ worth of parking lot will be turned into a public park.
Fentress, along with collaborators West 8 and Arquitectonica, recently released the first photographs of the center. In its three years of construction, the MBCC has remained open, with over 40 shows and hundreds of thousands of visitors.
Want to stay informed? Sign up for our newsletter, which recaps the week’s stories, and get in-depth industry news and analysis each quarter by subscribing to our print magazine. Join BOH Insider for discounts, workshops and access to special events such as the Future of Home conference.
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George Balanchine
Opéra Bastille
Place de la Bastille, 75012 Paris
Capacity : 2700 seats
2 hours
2 intermissions
Recommended for all ages
No dialogue
A tripartite tribute to one of the 21st Century's most influential choreographers, George Balanchine combines three spectacular pieces of pure dance. Composers spanning three centuries of musical history are juxtaposed in this delightfully diverse ballet compilation.
Indulge in the Theatre in Paris Deluxe Opéra Package, an exclusive ticket package available even after standard sales for the opera are closed. Deluxe tickets come with a show programme, a glass of champagne upon your arrival at the venue, and exclusive access to the Opéra Bastille's beautiful Salon Berlioz, reserved for primary ticket holders. A result of our official partnership with the Friends of Paris Opera Association, the package can only be purchased via the Theatre in Paris box office.
This trio of works by George Balanchine forms a tribute to the revered father of American ballet. Set to the music of Johann Sebastian Bach, Concerto Barocco recreates in dance the spirit and style of the baroque period. The Four Temperaments animates music by a younger German composer: Paul Hindemith, who produced this ballet on Balanchine’s personal commission. An abstract reimagining of early Roman conceptions of personality, The Four Temperaments tells a story of human mood swings and temper changes. Last but not least is Serenade, in which the Russian-born Balancine paid tribute to his mother country’s master: Tchaikovsky. The first ballet Balanchine choreographed in America, this third piece in the triptych is a spectacular blending of Russian history and American influence.
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Opéra Bastille
Place de la Bastille, 75012 Paris
Designed by Uruguayan architect Carlos Ott, the building was commissioned by French President François Mitterrand and inaugurated in 1989. For years many had lamented the lack of a modern venue in Paris capable of welcoming modern concerts and performances with different acoustic approaches, and the flexibility that a modulable venue lends. A movement started in the 1960s called for a larger new venue in Paris that would appeal to the masses, a modern compliment to the elaborate Palais Garnier. Just over 100 years after the inauguration of the Palais Garnier, the demands finally won over the newly-elected President Mitterrand, who supported the project as the headliner among many modern works launched during his term. Selecting the popular Bastille neighbourhood for its ease of accessibility from Paris and the surrounding areas, the old Bastille Train Station was destroyed to make way for the construction of the new venue. The building was complete just in time for the bicentary of the French Revolution.
The venue has undergone many changes in direction resulting from varying political affiliations, and has undergone major renovations since its construction to repair and to soundproof the entire structure. Unlike other auditorium designs, each and every seat at the Opéra Bastille guarantees an unrestricted view of the stage. With its white glass ceiling, crisp grey compliments, and black seating adorned with rich oak, the venue is an ode to modernity and simplistic design. From the exterior, made of blue granite from Brittany and blocks of glass, light is reflected from every corner of this angular venue.
Where will I be seated?
There are a maximum of three categories available, each of which provides a comfortable view of the subtitles. The theatre is an Italian style auditorium, meaning the seats are in a horse-shoe shape. Theatre in Paris guests are centrally placed either in the orchestra, on the first level/mezzanine, or in the second, third, and fourth level lodge boxes to have an optimal view of the stage and subtitles.
How do I get to the theatre?
The theatre is accessible by the metro station Bastille (Lines 1, 5, and 8). Our hotline can be reached in case of difficulty finding the theatre weekdays from 10 am to 7pm Paris time. For details, we invite you to consult the map above.
What do I do when I get to the theatre?
We invite you to arrive 20 minutes before the beginning of the show, and present your voucher at the front desk. The theatre's English-speaking staff members will guide you to your seats. Please note that the performances at the Opéra Bastille begin precisely on time, and all late arrivals will not be permitted to enter the auditorium until intermission.
How long does the show last?
The show lasts two hours, including two intermissions.
Is it a show for travellers or French people?
Both! The Opéra Bastille has been welcoming audiences from all over the world for 30 years. This legendary opera performance is sung in its original Russian, and subtitles in both French and English are provided for audiences to appreciate in one of France’s most iconic venues or record the performance for the duration of the show. As long as the performance is not currently in session, feel free to take a snapshot of the wonderful venue to remember your night out!
What is included with my tickets?
A dedicated show programme, a complimentary glass of champagne, and exclusive access to the beautiful Salon Berlioz is included with your tickets.
Where do I collect my show programme and champagne?
At the Opéra Bastille, you can collect your included show programme in the main store, at the programme stand in the entry hall, or at the programme stand at the bottom of the Grand Staircase.
You can choose to enjoy your champagne or desired beverage before the performance or during intermission at any of the public bars or in the exclusive Salon Berlioz. The Salon is located on the first floor on the right-hand side when entering the building, accessible by elevators or stairs.
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Eduard Strauss
A drawing of Eduard Strauss on a concert poster
Eduard "Edi" Strauss (15 March 1835 – 28 December 1916) was an Austrian composer who, together with brothers Johann Strauss II and Josef Strauss made up the Strauss musical dynasty. He was the son of Johann Strauss I and Maria Anna Streim. The family dominated the Viennese light music world for decades, creating many waltzes and polkas for many Austrian nobility as well as dance-music enthusiasts around Europe. He was affectionately known in his family as 'Edi'.
Life and music
“Edi” Strauss, silhouette by Otto Böhler
Eduard Strauss' style was individual and did not attempt to emulate the works of his other brothers or his contemporaries. But he was primarily remembered and recognized as a dance music conductor rather than as a major composer in the Strauss family [ja], and his popularity was overshadowed by that of his elder brothers. Realising this, he stamped his own mark with the quick polka, known in German as the "polka-schnell". Among the more popular polkas that he penned for the Strauss Orchestra, which he continued to conduct until its disbandment on 13 February 1901, were "Bahn Frei! [ja]", Op. 45, "Ausser Rand und Band", Op. 168, and "Ohne Bremse", Op. 238. He also found time to pen a few lovely waltzes, of which only a handful survived obscurity. The most famous is probably "Doctrinen", Op.79.[citation needed]
Strauss's musical career was pervaded with rivalry, not only from his brothers, but also from the military bandmaster and dance music composer Karl Michael Ziehrer, who even formed a rival orchestra called "Formerly Eduard Strauss Orchestra", and began giving concerts in Vienna under this new title. Eduard Strauss successfully filed a court action against Ziehrer for the improper and misleading use of his name, but Ziehrer would eventually surpass the Strauss family in popularity in Vienna, particularly after the deaths of his more talented brothers, Johann Strauss II and Josef Strauss. Their rivalry was to extend until the Strauss Orchestra was disbanded.[citation needed]
Strauss married Maria Klenkhart on 8 January 1863 and had two sons, Johann Strauss III and Josef Eduard Strauss.[1] The elder son, Johann Strauss III, was to lead the Strauss revival well into the 20th century. Josef Eduard's son, Eduard Strauss II, was active as conductor.
However, personal setbacks in the 1890s, such as the death of brother Johann Strauss II in 1899, and his realization that his immediate family had squandered his personal fortune, led Eduard Strauss to decide on retirement. Eduard Strauss engaged in the final tour of his musical career to North America in 1899 and in 1901, disbanded the Strauss Orchestra, and returned to Vienna, where he died in 1916.[1] He retired from public life and never actively took part in any public musical activity, although he did document his family memoirs titled Erinnerungen in 1906. He is buried in Zentralfriedhof (Vienna) cemetery.[citation needed]
Since 1825, the Strauss Orchestra Archives collected the compositions of not only Eduard, but of Johann II and the rest of the Strauss family. In 1907, Eduard instructed that the archives be burned. Eighty years later, conductors Alfred Walker and Klaus Heymann managed to put together a semi-complete collection of Johann's works (according to Johann Strauss II: The Complete Orchestral Edition).
Works of Eduard Strauss
Eduard Strauss
Works with Strauss brothers
• Trifolien waltz, ('Trefoil') (with Johann II and Josef Strauss) (1865)[2]
• Schützen quadrille, ('Sharpshooter') (with Johann II and Josef Strauss) (1866)
See also
1. ^ a b "Johann Strauss Society: Eduard Strauss". Johann Strauss Society of Great Britain. Retrieved 2008-10-01.
2. ^ Kemp, Peter. "Liner notes to STRAUSS II, J.: Edition - Vol. 43". www.naxos.com. Retrieved 12 April 2017.
External links
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Class of 2020: Work
Two wooden puppets with limbs taken apart, surrounded by black and yellow tape
Two wooden puppets with limbs taken apart, surrounded by black and yellow tape
Sophie Huckfield, Break the Frame, MA Material Futures
Written by
Teleri Lloyd-Jones
Published date
06 November 2020
As the ways many of us work have changed beyond recognition this year, so too has the value and meaning of work itself. We speak to graduates – themselves finishing their studies in the most extraordinary of circumstances – who are dissecting the meaning of work.
While her film is boldly expansive in outlook, Sophie Huckfield’s inspiration was intensely personal. Her father was made redundant:
“It was framed like an inevitability. That’s the way it goes when people are made redundant; you’re too old and past it. That’s the narrative… My work responds to that. What happens when people are treated like things and disregarded?”
Her MA Material Futures film, Break the Frame, combines stop-frame animation and voiceover to explore the ethics in our current system of labour, industry and capitalism. She had been planning to present her work as a live experience and though lockdown altered the final outcome it only emphasised the precarity of the labour market and how perceptions of market value have bent our understanding of essential work.
The film moves chronologically from past and present towards a possible future. Titled CNC, the present is shown as callous and inhuman. The film then proposes CARE, a future with collective action at its heart. With a background in engineering, Huckfield created a mechanistic aesthetic with wooden mannequins and striped black hazard tape set in a post-industrial space.
The film deconstructs narratives of progress, connecting the gargantuan structures to the impact they have on people’s lives. Huckfield isn’t telling a new story but instead analysing the entrenched ones.
“They are the ones that we’re told to accept, one dominant narrative from top down. But we need to table all the tangent narratives, deconstruct progress and growth… We live in a designed system and a lot of the problems we have are designed problems. So as designers we need to challenge those systems that we’re a part of. We need to think about collectivity as a way of taking a stand.”
Sophie Huckfield, MA Material Futures
Three wooden puppets standing on perspex frame
Sophie Huckfield, Break the Frame, MA Material Futures
While Huckfield focused on macro systems, Gabriel Blatterspiel, BA Fashion Design, turned to the signifying details of work. Blatterspiel comes from Erlangen, a small German city that is home to technology giant Siemens. He documented over a thousand outfits worn by workers around the headquarters building. Though there was no formal uniform, there was noticeable uniformity and collective identity. He isolated recurring moments and motifs, pushing them to an almost absurd level. His final collection being both a love letter and critique:
“Even though there is something weirdly romantic about this voluntary uniformity, you can see a lot of criticism in my project. I find nothing more fascinating than individuality and independence and celebrate the latter.”
Sketchbook of photography and sketches
Gabriel Blatterspiel, Uniform by Choice, BA Fashion
Elizabete Ilstere, MA Innovation Management, focuses on methods to make work more meaningful. Having worked collaboratively throughout her course, she was curious about the small rituals and exercises that began to permeate her group work. Before meetings she and her fellow students would introduce moments for the collective, be it a collaborative drawing, a dance exercise or discussion.
She found that rituals have the potential to “focus thoughts and focus actions. There is a collective intention and you get into the same flow by creating this shared reality.” The introduction of a ritual creates a connection across the group, something that goes beyond the everyday. Rituals might be better known in religious contexts and rites of passage but Ilstere sees the workplace more and more as a place where people are looking for more meaning:
“Encountering rituals through life is as sure as dusk and dawn. Even if people don’t consider themselves ritual beings they might still give gifts, go to weddings or graduations... Put simply, a ritual gives time a higher meaning… Society is becoming less religious and places of worship used to be the heart of communities where friendships were formed. They offered friendship and meaning. Now, to some extent, the workplace offers that sense of belonging.”
Key to the success is intention and voluntary participation. As she experienced, the practice must come from the community rather than from above. “It’s not another wellness activity. There's a fine line between big corporations implementing wellness activities at workplace and actually caring about wellbeing of their employees. Is it really for the people or is it simply to benefit the corporation? It’s important that rituals are done creatively and together.”
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Oil Painting Home > Gustav Klimt >
The Tree of Life Art Painting
4.9 out of 5 based on 526 ratings.
Image: 30" x 19"
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Wide: inch × High : inch
Interpreted by other artist is hand painted reproduction, it takes about 18 working days to your hand;
New Price: $127.42
Old Price: $254.84
About The Tree of Life Oil Painting
Gustav Klimt The Tree of Life art painting
Standard Oil Paintings
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We believe we have some of the most talented artists inside our Studios. They are highly educated and experienced artists. We can paint any image at an affordable price. please do bear in mind that our The Tree of Life paintings are meticulously recreated by hand, brushstroke for brushstroke, so that they capture the spirit and the integrity of the original work of art.
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If you're not happy with gustav klimt the tree of lifree of life needs 14 -18 days for production. Please keep in mind that all of our products are waterproof on textured canvas! We ship the tree of life all over the world.
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Obrázek uživatele Centropamuseum project
glqxz9283 sfy39587stf02 mnesdcuix8
glqxz9283 sfy39587stf03 mnesdcuix8
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Artist's description:
The title Lord of the lsles was lost by the Macdonald Clan in 1493 to James lV of James Scotland .The present title is held by the Duke of Rothsay , Prince Charles . The only remaining land owned by the Macdonald family is the little known island of Cara off the coast of Gigha .oil on canvas .
Materials used:
Lord of the lsles (2016)
$245.99 Sold
• Artwork description
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• Artist Reviews (4)
This artwork is sold by Lesley blackburn from United Kingdom
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Excellent - Five stars - Trustpilot
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Jimmylou. (ihamlet) wrote in seeking_ophelia,
Resuscitating Ophelia ?
Greetings, Pre-Raphaelite disciples, and hearty thanks for all the lovely graphics drifting about this community's entries. I was (and am) first and foremost a fan of Shakespeare, whose verbal images then instilled in me a keen appreciation for the scenes captured in the works of the Pre-Raphaelite Brotherhood. Normally I wouldn't take pains to introduce myself in a comm that does not require it, but I figured a few introductory words might go so far as to resuscitate activity amidst at least a few of you, because I'm dismayed that such a passionate group of art conaisseurs have fallen into such an idle trough! x] I would contribute insight or visuals of my own, but I'm afraid I'm not educated or adept enough in either arena, respectively. And so allow me to extend a plea for new life in these dusty posts! Yours, yours.
• Post a new comment
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The art dealer who has bought The Port Talbot Banksy for a six-figure sum saw it today for real for the first time.
Banksy expert John Brandler revealed he had bought the Port Talbot Banksy from garage owner Ian Lewis for an unspecified six-figure sum.
Thousands of people have been travelling to the Taibach garage to catch a glimpse of Banksy's latest creation since the street art appeared overnight last month.
The Essex-based Banksy expert has said the piece of street of art could be moved in the next few weeks, possibly to Aberavon shopping centre, and that he hopes to turn Port Talbot into the go-to place for street art, opening an art centre and art school.
Speaking by the now world-famous garage in Richmond Terrace on Friday morning, Mr Brandler said: "I am delighted and honoured that I have been able to buy this amazing piece by Banksy.
"It is the first time I have been here in Port Talbot and what I like so much about this piece is that it is typical of Banksy. It is one of his best pieces because it is very punchy and concise.
"It makes a very strong political comment about the trouble we are all in with pollution."
The art dealer previously said The Port Talbot Banksy was not the most valuable one he owned, but that it was the one he was most proud to own.
Initially, Mr Brandler was trying to buy the piece of street art on behalf of a client, but that didn't work out and he ended up buying it himself.
The Banksy expert said he was going to keep the piece in a public place in the town for a minimum of two or three years, adding that he wanted to use it as the core for an art centre.
He would also like to start a street art art school together with a cafe run by people who were homeless or unemployed.
Mr Brandler plans to bring another half a dozen Banksy's to Port Talbot and hopes to attract other international graffiti artists into the town, such as French graffiti artist Blek Le, Welsh-born Pure Evil and Damien Hirst.
"I want to make Port Talbot into a go-to place rather than a go-from place," he continued.
"When you look around the town, an awful lot of it is derelict so let's use those derelict properties for the art and make it part of the community."
Mr Brandler said he was open to keeping the piece in the town for longer if it was appreciated and there was interest in it. However, if in three or four years time there was less interest, he would like to take it to other cities such as Sheffield or Birmingham.
He said previously: "It is important for me to keep it in the town as art is very often specific to a place, especially street art.
"The piece has a relevance with the surroundings."
A Neath Port Talbot council spokesman said: “The purchaser is keen to see the Banksy artwork remain in Port Talbot and Neath Port Talbot council welcomes this and is working with him and the Welsh Government to explore the possible options both short-term and in the longer term”
Banksy's first piece in Wales has brought some problems for local residents such as increased traffic in the mainly residential area.
However, as growing numbers fall in love with the piece, businesses in the area have started to cash in.
They are selling all sorts of merchandise featuring the now iconic image on the side of the garage - a little boy surrounded by what appears to be snow but is actually falling ash from a bin fire.
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Artist teaches children truly to see world
"I teach them (children) to see, not just look," says Sam Sutherland of the drawing class he runs at the Sequim Boys & Girls Club. A display of their work is at The Buzz, 128 N. Sequim Ave., through May.
Sutherland worked with children for many years, first volunteering in schools in Seattle, then in schools and the Boys & Girls Club in
Sequim. Last fall he suggested starting a drawing class for any interested children. He now has 22 young people who
show up regularly.
Sutherland provides the materials and art books, but the class focuses on what the students want to do. Sutherland never tells anyone what to draw or how to draw, but he does provide individual direction and suggestions. He loans out the art books after first checking with parents.
Mother painted
Sutherland's mother was an oil painter and taught him how to look at the world and see what was actually there, not just what he expected to see.
For instance, when you look at a table, you expect to see four legs and a flat top. Actually seeing the table means looking at the shadows and texture of the surfaces, seeing the varying shades of color and the mixture of colors. This is how artists must look at the world, Sutherland says, to portray it accurately.
Sutherland is a retired Boeing mechanical engineer. Drawing comes easily to him, but he is able to teach others to draw as well. For many years he sculpted in bronze and, when he volunteered in Seattle, he taught students to sculpt using plasticine, not bronze. They created a variety of large, communal sculptures.
However, plasticine is expensive, messy and takes a large space, so Sutherland thought drawing would work in Sequim.
Works with parents
He feels that many of his students have talent and he works with their parents to encourage the children to develop their gifts. He works with them to broaden their skills.
"I like all the energy around me," says Sutherland about why he holds the class three days a week, every week of the school year. He plans to continue as long as there is an interest.
He usually works with children 8 to 11 years old. He has seen some teens who enjoy drawing, but they are so busy with other activities that they don't take the time for a drawing class.
Sutherland has won a variety of awards for his work with children, including a governor's award four years ago. Still, Sutherland says working with the children and being part of their lives is his real reward.
Reach Dana Casey at dcas
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Bonnard Scented Soap - Tangerine & cedarwood
Bonnard Scented Soap - Tangerine & cedarwood
Aromatic soap 150 G Tangerine and cedarwood.
The packaging of this soap is illustrated with a detail from the work of the Nabis painter Pierre Bonnard (1867-1947).
Women in the garden: woman in a white polka dot dress in 1891 glue tempera on canvas, decorative panel H. 160.3; L. 48.0 with frame H. 166; L. 54.1 cm Musée d'Orsay, Paris, France
Musée d'Orsay
Our selection
The artist
Pierre Bonnard (1867-1947)
A major post-impressionist painter of 20th century art, he was at first one of the painters of the Nabis group with whom he remained in friendship throughout his life. However, he developed an independent and unclassifiable work, offering the appearance of simplicity although of a rare complexity, without taking into account the major movements of his time such as cubism or surrealism.
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"Windows to the Unknown" by Richard & Sydney Peterson
Carmen Wiedenhoeft Gallery, Denver, Colorado, united states
Details of organizer
Info! We would like to inform you that this event ended on Sat, 2 March 2013, 12:00 am.
For the Month of Photography we are hosting an exhibition of Richard Peterson's work including collaborations with Sydney Peterson.
"Right after the idea of the Flood had simmered down,
A rabbit stood still in the clover and swinging flower-bells, and said a prayer to the rainbow through the spider's web."
-Arthur Rimbaud
Richard Alden Peterson, who's old-school Punk photography was showcased at the Museum of Contemporary Art Denver last year, expands into other bodies of work with this new show; it includes five new collaborations with Sydney Kovac Peterson.
This will be hosted in conjunction with Sonja Rieger's photography.
Opening night is March 1st 6pm - Midnight
The exhibition will be from March 1st - April 5th
Weekly Gallery hours are Thursday-Saturday 1pm - 6pm
carmenwiedenhoeft.com/rpeterson.html
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Sedang Disiapkan
Logo Design
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- I'm a professional developer & designer that can work with: * PHP * HTML5 * CSS3 * jQuery * Javascript * Codeiginiter * Laravel * Bootstrap * Wordpress Themes/ Plugins. * Scrapping * UI/UX * Android and Lagi
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|
9b0e51f7-3420-48c9-8d19-03468ed74a3a
|
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Armstrong Atlantic State University Savannah Georgia.
Women In The Arts Symposium
When:March 13th; 9:30 a.m. - 5 p.m.
Where:Student Union Savannah Ballroom and Ogeechee Theater
Admission:free admission, no tickets necessary
About this event:
AMT’s celebration of the accomplishments and advancements of women in the visual and performing arts.
Art, Music, and Theatre students deliver paper presentations in each discipline at various times beginning at 9:30 a.m. in the Savannah Ballroom and Ogeechee Theater, second floor of the Armstrong Student Union.
9:30 a.m. - Antigone and Medea: Greek Heroines?, theatrical presentation by the Script Analysis class students
11:15 a.m. - Heroines in Song, musical presentations by Armstrong voice students
noon - reception with light snacks
12:45 p.m. - Exploring Heroism Through Women in the Visual Arts, Art History student presentations
Student Art Exhibition open throughout the day.
All presentations are free and open to the public.
Armstrong Student Union Savannah Ballroom
9:30 a.m. - 5 p.m.
Call 912.344.2801 from noon to 3 p.m., weekdays, for information.
stARTStrong at Armstrong AMT: Treasured Arts. Creative Vision.
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Joseph wright
Joseph wright Partes do conteúdo fornecidas por - © 2018 rovi corporation novidades xbox one x aplicativos do windows 10 aplicativos do office store e suporte perfil da conta.
Joseph wright: joseph wright, english painter who was a pioneer in the artistic treatment of industrial subjects he was also the best european painter of artificial. View the profiles of people named wright joseph join facebook to connect with wright joseph and others you may know facebook gives people the power to. Places are defined in terms of modern geography born: 03 september 1734 derby, united kingdom died: 29 august 1797 derby, united kingdom. Joseph wright (3 de setembro de 1734 — 29 de agosto de 1797), conhecido como como wright of derby (wright de derby) foi um pintor inglês, famoso por suas pinturas.
Joseph wright (3 de septiembre de 1734 - 29 de agosto de 1797), conocido como wright of derby (wright de derby), fue un pintor inglés famoso por sus pinturas de. Joseph wright está no facebook participe do facebook para se conectar com joseph wright e outros que você talvez conheça o facebook oferece às pessoas. Joseph wright was born in derby, the son of a local lawyer among his patrons were wedgwood and arkwright although some of his paintings have been. Looking for joseph wright obituaries browse these and more at legacycom. Derby college offers apprenticeships, a levels, technical, part-time, adult and higher education courses across derby and derbyshire. Lucy bamford, senior curator at the derby museum and art gallery, stands in front of joseph wright’s masterpiece a philosopher lecturing on the orrery.
The joseph wright of derby collection joseph wright was one of the most interesting and important painters of the late 18th century born in. I am a political scientist at pennsylvania state university i study comparative political economy with a particular interest in how international factors — such as. Photographer | book maker | storyteller mostly found in the woods, edgelands, pastures and riverbank 10x8 co-founder of @inside_the_out. Learn about joseph wright: his birthday, what he did before fame, his family life, fun trivia facts, popularity rankings, and more. The old man and death, 1774 by joseph wright romanticism symbolic painting wadsworth atheneum, hartford, ct, us.
Joseph wright
The joseph wright gallery is the place to see wright’s masterpieces, a philosopher giving that lecture on an orrery, in which a lamp is put in the place of the sun.
• Biography: joe wright is an associate professor in the department of political science at the pennsylvania state university and he previously held the jeffery l hyde.
• Joseph albert wright (april 17, 1810 – may 11, 1867) was the tenth governor of the us state of indiana from december 5, 1849 to january 12, 1857, most noted for.
• This page was last edited on 4 november 2015, at 12:08 text is available under the creative commons attribution-sharealike license additional terms may apply.
• Pages in category joseph wright of derby the following 2 pages are in this category, out of 2 total.
Joseph wright of derby at olga's gallery one of the largest collections of paintings online featuring hundreds of artists and thousands of works large, high. Joseph wright ara (3 september 1734 – 29 august 1797), styled joseph wright of derby, was an english landscape and portrait painter he has been acclaimed as the. The effects of light fascinated joseph wright of derby an attorney's son, he trained as a portrait painter in london, but he returned to derby, the first. Joseph wright of derby [english romantic painter, 1734-1797] guide to pictures of works by joseph wright of derby in art museum sites and image archives worldwide.
Joseph wright
3/5 15
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Call for Entries
Important Dates 2012
Sep 24 Deadline for Application/////////////////////Deadline EXTENDED to SEP 28////////////////
Oct 1 Notification of Acceptance / Artist Contracts
Oct 21 – 22 Artwork Delivery Dates
Oct 26 Show Opening, 5-8 pm
Jan 11, 2013 Show Closing
Jan 12-13 Artists pick up unsold artworks
To apply for the show or to be informed of our opportunties for artists, please visit the Application Page
Rules For Submission-
Each Artist is allowed to submit a total of four (4) images with completed online application, along with a $35 NONREFUNDABLE jury fee. Fees may be paid online through the application process or mailed to Salado Wine Seller, 8451 FM 2484, Salado, TX 76571. Please note that mailed payments must be postmarked by the Application Deadline, or the entry will not be eligible for entry into the show.
APPLY ONLine NOW (we encourage you to apply early as we typically pick one of the images to be featured on the invitations and those need to be printed much earlier than the submission deadline!)
Images should be of the actual work that is proposed to be shown and sold. All work must be available for sale. Images should be of work that is no more than 2 years old, and available to remain on display for the duration of the show.
Images not submitted online may be submitted by mail on CDROM in jpeg format or a printed picture. CD’s should be appropriately labeled with artist name, medium, and artwork dimensions. An information sheet should accompany images and contain the following information for each image: Name of artist, Title, Medium, Dimensions, Price. CD’s and information sheets may be mailed to: Salado Wine Seller, 8451 FM 2484, Salado, TX 76571
General Criteria for Artworks
All Artwork must be original, limited edition and signed by the artist when appropriate. All works must be archival quality.
Accepted Entries
All 2 dimensional work must be appropriately presented for gallery display and include hardware sufficient to support the work when hung. All 3 Dimensional work should be accompanied by appropriate display and protective material such as pedestals, or locking display cases (jewelery sized items.)
Mailed pieces
Work shipped to the show should be appropriately packaged with a reusable container for return shipping, and should include return postage PLUS $20 repacking / handling fee if (unsold) artwork is to be returned by mail.
Small Print:
Upon successful completion of the Application process, including payment of applicable fees, and upon notification of acceptance and subsequent applicant notification of intent to participate in the show “Uncorked”, produced by Salado Wine Seller, the Applicant (from here forward referred to as “ the Artist”) and Salado Wine Seller & Salado Winery, (from here forward referred to as “the Gallery”) agree to the following:
1. Agency; Purposes. The Artist appoints the Gallery as agent for the work of art consigned under this Agreement, for the purposes of exhibition and sale. The Gallery shall not permit the Artworks to be used for any other purposes without the written consent of the Artist.
2. Consignment. The Artist hereby consigns to the Gallery, and the Gallery accepts on consignment, the Artwork listed on an Inventory Record which is a part of this Agreement. Inventory sheets must be signed by the Artist and by the Gallery, and must be attached to a printed copy of this agreement.
3. Warranty. The Artist hereby warrants that he/she created and possesses unencumbered title to the Artworks, and that their descriptions are true and accurate.
4. Duration of Consignment. The Artist and the Gallery agree that the initial term of consignment for the Artworks is to be from Artist Delivery (during business hours between October 21and October 22) to “Uncorked” Closing date January 11; and that the Artist does not intend to request their return before the end of this term. Thereafter, consignment shall end and the Artist take back any unsold Artworks.
5. Transportation Responsibilities. Packing and shipping charges, insurance costs, other handling expenses, and risk of loss or damage incurred in the delivery of Artworks from the Artist to the Gallery shall be the responsibility of the Artist, and in their return to the Artist, shall be the responsibility of the Artist.
6. Indemnification. The Artist agrees to the indemnify and hold harmless, Salado Wine Seller, Salado Winery, any affiliated organizations and their officers, directors, members, employees, agents, volunteers and representatives from any liability, claims, damage, loss, or expense (including attorney’s fees, court costs, and consequential damages) relating in any way to the event or caused by the use of Salado Wine Seller facility for this art exhibit. A printed copy of this agreement will serve as a release of liability form for the “Uncorked” art exhibit and must be signed as a part of this contract.
7. Force Majeure Conditions : The Artist agrees that Salado Wine Seller, Salado Winery, and affiliated organizations and their officers, directors, members, employees, agents, volunteers and representatives shall not be liable for losses, damages (including attorney’s fees, court costs, and consequential damages), detention, delay of failure to perform in whole or in part resulting from causes beyond its control, including but not limited to acts of God, acts of omission, fires, weather conditions, power failures, strikes, riots, embargoes, delays in transportation, inability to obtain supplies or requirements, or regulations of the United States Government or any other civil or military authority (to include any local legislation regarding liquor license requirements). Delays or non-performance excused by this provision shall not excuse payment of any amount due hereunder owed at the time of the occurrence.
8. Fiduciary Responsibilities. Title to each of the Artworks remains in the Artist until the Artist has been paid the full amount owing him or her for the Artworks; title then passes directly to the purchaser. All proceeds from the sale of the Artworks shall be held in trust for the Artist. The Gallery shall pay all amounts due the Artist before any proceeds of sales can be made available to creditors of the Gallery.
9. Removal from Gallery. The Gallery shall not lend out, remove from the premises, or sell on approval any of the Artworks, without first obtaining written permission from the Artist.
10. Pricing; Gallery’s Commission; Terms of Payment. The Gallery shall sell the Artworks only at the Retail Price specified on the Inventory Sheet. The Gallery and the Artist agree that the Gallery’s commission is to be 20 percent of the listed Retail Price of the Artwork. Any change in the Retail Price, or in the Gallery’s commission, must be agreed to in advance by the Artist and the Gallery. Payment to the Artist shall be made by the Gallery within 30 days after the date of sale of any of the Artworks.
11. Promotion. The Gallery shall use its best efforts to promote the sale of the Artworks. The Gallery agrees to undertake other promotional activities on the Artist’s behalf, as follows:
“Uncorked” Show at Salado Wine Seller, October 26, 2012 – January 11, 2012
12. Reproduction. The Artist reserves all rights to the reproduction of the Artworks, but here allows the Gallery to use application photos or to arrange to have the Artworks photographed to publicize and promote the Artworks and/or events in which the Artist and Gallery are participating. In every instance of such use, the Artist shall be acknowledged as the creator and copyright owner of the Artwork.
13. Procedures for Modification. Amendments to this Agreement must be signed by both Artist and Gallery and attached to this Agreement. Both parties must initial any deletions made on this form and any additional provisions written onto it.
14. Miscellany. This Agreement represents the entire agreement between the Artist and the Gallery. If any part of this Agreement is held to be illegal, void, or unenforceable for any reason, such holding shall not affect the validity and enforceability of any other part. A waiver of any breach of any of the provisions of this Agreement shall not be construed as a continuing waiver of other breaches of the same provision or other provisions hereof. This Agreement shall not be assigned, nor shall it inure to the benefit of the successors of the Gallery, whether by operation of law or otherwise, without the prior written consent of the Artist.
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Super Secret Pow Wow Draws Ladies in Woodland Areas
By: Jason Soy - Published: • References: supersecretpowwow & blog.thaeger
If you aren't impressed by these Super Secret Pow Wow illustrations, at the very least you can admit that Britt Sanders has quite an epic pseudonym. Still, it's difficult not to like these images of pin-up girls in woodland areas, with their Disney-esque females and lively animals.
Super Secret Pow Wow, a recent graduate with a BFA from the Art Center College of Design, specializes in illustrations of shapely femmes surrounded by animals, which are equally expertly drawn. The quick brushstroke style of her artwork is reminiscent of ancient Japanese ink paintings.
Implications - Consumers are gravitating towards nature-inspired aesthetics in response to technology overwhelming most aspects of their lives. Corporations may benefit from creating wares with naturalistic textiles or nature-inspired themes as consumer demand for them is at an all-time high. Stats for Forest Pin-Up Illustrations Trending: Older & Mild
Traction: 8,483 clicks in 193 w
Interest: 4 minutes
Concept: Super Secret Pow Wow
Related: 86 examples / 66 photos
Segment: Neutral, 18-35
Comparison Set: 31 similar articles, including: undead pop toon creations, expressive penciled hipsters, and dorky feminine depictions.
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Brass Valley: The Fall of an American Industry
Brass Valley: The Fall of an American Industry
order now for delivery by Sept. 2015
Tuesday, January 29, 2008
Behind Inner Space
MICHAEL CROUSER: "I have spent quite a bit of time considering the concept of personal voice in photography and how it is developed. It is difficult to articulate, and many elements contribute to this end, but I believe that the ideal is to make pictures that feel like oneself. These are pictures that are a fair representation of what you're most comfortable looking at and putting out into the world as a representation of yourself - an extension of yourself and your voice. This comes from conscious and unconscious choices you make in lighting, media, equipment, perspective and choice of subject."
SUSAN SONTAG: "And while the tasks of connoisseurship in painting invariably presume the organic relation of a painting to an individual body of work with its own integrity, and to schools and iconographical traditions, in photography a large individual body of work does not necessarily have an inner stylistic coherence, and an individual photographer's relation to schools of photography is a much more superficial affair."
ALFRED HITCHCOCK: "Style is self-plagiarism."
PHOTOGRAPHER'S DIARY: The question addressed in the three quotes above continues to puzzle me as I review photos and prepare them for posting or for exhibit. It plays little part in my thinking as I shoot. However, it's clear that certain places and ways of seeing and of shooting hold an attraction for me which may be personal. You may recall seeing this facade in an earlier photo. One can often tell a Rembrandt portrait from a Hals portrait without help from the signature. The same may be true of certain portrait photographers, but after making the distinction I'm not certain we know as much about the passions of the photographers as we do about the passions of painters?
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Tag Archives: feedback
Provide feedback
Dear all,
After connecting and sharing, providing meaningful feedback is the next step, and there’s a few things about providing feedback. First of all there’s the person who provides the feedback and secondly there’s the way of providing feedback. I recently also read a great article by Scott Bourne on this with which I couldn’t agree more: Pedantry is the enemy of great photography.
So, when it comes to the person who provides the feedback, ignore the ones whose work is not out there and whom do nothing but breaking down your picture, they belong to the category of pedantics being described in the mentioned article, people with all the textbook knowledge, yet not able to think outside the box and contributing zero point zero to the photographic community. On the other hand, there are some great photographers out there who are happy providing constructive feedback, people whose work you admire and it’s their inputs you want to get.
Constructive feedback is about catching somebody doing something right, a basic rule of management that can also be applied to photography. While providing feedback, focus on actual ways to improve a shot, on helping people to better capture their vision on the sensor, instead of pointing out what is bad in your opinion and according to the great book of photography.
Let me illustrate this with the following shot:
Canon 350D, Canon 75-300 mm @ 260 mm, 1/250, f/8, ISO 200
… yes, I know, the tail of the small one is cut off, and some people would go on and on about that, yet that is not the point, good feedback here would be how to better process the picture, … Does it mean I don’t care about the tail? Certainly not! Did I learn from it? Oh yes! Did it prevent me from taking the shot and sharing it? Certainly not! Never stop shooting and sharing because of the pedantics, never ever let them win! A lot of people still like an honnest capture of a great sighting or some great behavior, even if it isn’t perfect. In a way, it takes more guts to get such a shot out than to post that ‘perfect’ shot you got. As wildlife photographers we have to do with the conditions that are given to us and if you are afraid of making mistakes out of fear for criticism, you’ll eventually miss out on the perfect shot as well.
Feedback is about giving and taking. Don’t be paternalistic, provide feedback by suggesting what could be done to improve a shot, up to the creator to take along that piece of advise or not. Make suggestions instead of blank and opinionated statements: you should do this, you should do that, … is helping nobody. ‘The best steersmen are always ashore or ‘Bachelor’s wives’ and maiden’s children are well thought’ are proverbs that don’t apply to the great.
Warm regards and looking forward to your feedback,
PS: I am about to go on home leave and will not be posting for about a month and I’m already looking forward to get back to you after that.
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Kipsala Island masterplan
The masterplan has been developed for the northern part of Kipsala, a small brownfield area on the Daugava river close to the city centre of Riga, the capital of Latvia.
Two coastline areas are connected by a central, linear public space which enhances the high quality green character of the new settlement.
The green loop collaborates with the river to create a strong urban identity. A clear structure of public spaces is the basis for a radical mix of functions, spaces, scales, uses, densities and architectural expressions.
The project has been awarded with a Honourable Mention at Europan 7.
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Let us set the scene…
You’re six months out from summer break or graduating entirely. And you need a job. Where do you look? You’ve heard great things about New York City, but what’s the cost of living? Is it really affordable? How competitive is the market right now? Then again, your studio mate worked in Minneapolis last summer and was raving about the art and music scene and all of the great restaurants and breweries that were popping up. They also mentioned apartment costs and starting salary–and did we mention the amazing beer scene?
So how do you choose?
I Want to Work In (#iwtwi) is a career feature of the American Institute of Architecture Students (AIAS) and launched in September 2017. This feature highlights recent graduates who are living and working in towns and cities around the world. Follow us, each month, as we explore a new city: where to live, where to work, where to eat(!), where to make friends and, most importantly, how to get involved in the professional community and achieve your goals in licensure, practice, and beyond.
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The Wenatchee World
The latest extended forecast from The Weather Channel
Remove this weather forecast
Washington's Birthday
Hi36° Rain/Snow
Lo28° Chance Showers then Slight Chance Snow
Hi37° Chance Rain/Snow
Tuesday Night
Lo28° Mostly Cloudy
Hi35° Slight Chance Snow Showers
Wednesday Night
Lo22° Partly Cloudy
Hi38° Mostly Sunny
Thursday Night
Lo22° Partly Cloudy
Hi36° Slight Chance Snow Showers
Friday Night
Lo20° Partly Cloudy
A couple of sunsets
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This is a one second exposure taken along the shore in East Wenatchee. Many layers of thin clouds have made the sunsets pretty spectacular. I try to go out and find a good location while the sun is still above the horizon...and then I wait. There's a brief period of time when the colors really shine and then it quickly fades to grey black mixture.
However, sometimes if you wait until the sun is well down, you can get some great results with a longer exposure and a higher ISO.
This image was taken at the Relay for Life in East Wenatchee at about 10:15. With the longer exposure I still get light from the West and some stars shining through even with the city lights and clouds.
This shot was taken from Horse Lake road. Sunsets and sunrises are quirky shots. Sometimes it looks as if you have all the ingredients for a dazzling shot and it quickly fades or doesn't appear at all. But every once in a while...it works! Always use a tripod to shoot dawn and dusk shots!
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It's all an art. It's hard to resist the pleading eyes of dogs innocently begging for a treat. This August 9, 2021 cover illustrates with tenderness our attachment to these furry "best friends." Artist Mark Ulriksen regularly depicts dogs in his work, fascinated by the biting world of their unique personalities and distinctive breeds. Here, he draws inspiration from Maggie, Ruby and Virgil, the dogs of his friends and neighbors, in remembrance of the comfort of their company during the pandemic, between opportunities to walk and cuddle on the couch without social distancing.
Zoom sur
Le format 40x50 cm
Cadre 43x33 cm Papier : Classique
Summer is well and truly on the cover of The New Yorker of June 27, 2005, by Eric Drooker and his subtle and caustic perspective on the climate context. A fire hydrant is thus the object of an almost religious cult by all the dogs of the city, in search of water to cool down. Bell towers and other skyscrapers enhance it in the distance, like a call to rise, but it is only water, more vital than anything else, that interests and attracts them.
The fragrance of holidays and the end of the game, on the cover of The New Yorker of July 9, 2019, Mark Ulriksen invites you to laze around. No need to make the slightest effort, just let yourself be carried away by the gentle rolling of the pool water, quite simply, without any complexes, for a well-deserved rest. Ah, not being there for anyone anymore, well...
[email protected]
"Christmas Dog" by the fire, according to Ana Juan, on the cover of The New Yorker, December 19, 2016. The Spanish artist has designed some 20 covers for the magazine, including the one following the attacks on Charlie Hebdo and the hypercasher in January 2015. Two months after Donald Trump's election, is this the image of a future that questions the illustrator: the heart of a cosy interior where an intense fire is burning?
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February 20, 2019
Leaderboard rotator
Pieter Bruegel the Elder: Once in a lifetime
Pieter Bruegel the Elder: Once in a lifetime
Until January 13th, Kunsthistorisches Museum, Wien, present the first-ever major monograph show dedicated to the greatest Netherlandish painter of the sixteenth century: Pieter Bruegel the Elder (c. 1525/30‒1569).
The exhibition commemorates the 450th anniversary of his death. During his lifetime, Pieter Bruegel the Elder was already among the period’s most sought-after artists, with his works achieving exceptionally high prices.
Only about forty paintings and sixty prints by him are all that has come down to us. The twelve panels in the Kunsthistorisches Museum are by far the largest collection of Bruegels in the world, a fact we owe to 16th century Habsburg connoisseurs who already appreciated the exceptional quality of his works and strove to acquire these prestigious paintings.
Pieter Bruegel the Elder revolutionised landscape and genre painting, and his compositions continue to elicit varied and controversial interpretations. The depth and breadth of his pictorial world and the perceptive powers of observation he employs in his depictions of quotidian life continue
A once-in-a-lifetime exhibition Museums and private collectors count Bruegel’s works among their most precious and fragile possessions. Most of the panels have never been loaned for an exhibition.
By bringing together over 90 works by the master, the exhibition in Vienna has assembled for the very first time a comprehensive overview of Bruegel’s oeuvre: comprising around 30 panel paintings (i.e. threequarters of extant paintings) and almost half of his preserved drawings and prints, the show offers visitors a once-in-a-lifetime opportunity to immerse themselves in the artist’s complex pictorial world, to study his stylistic development and his creative process, and to get to know his method of work, his pictorial humour and his unique narrative powers.
The highlights in the exhibition include, for example, The Haymaking from the Lobkowicz Collections, Prague, View of the Bay of Naples from the Galleria Doria Pamphilij in Rome, Two Monkeys from the Staatliche Museen zu Berlin, The Triumph of Death from the Prado in Madrid, Dulle Griet from the Museum Mayer van de Berg in Antwerp, The Tower of Babel from the Museum Boijmans Van Beuningen in Rotterdam, The Adoration of the Magi in the Snow from the Collection Oskar Reinhard ‘Am Römerholz’ in Winterthur, The Adoration of the Magi from the National Gallery in London, the drawings The Beekeepers from the Staatliche Museen zu Berlin, and The Painter and the Connoisseur from the Albertina in Vienna.
Pieter Bruegel the Elder (c. 1525/30 Breugel or Antwerp? – 1569 Brussels) The Peasant Wedding c. 1567, oak, 114 x 164 cm Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband
Pieter Bruegel the Elder (c. 1525/30 Breugel or Antwerp? – 1569 Brussels) The Peasant Wedding c. 1567, oak, 114 x 164 cm
Kunsthistorisches Museum Vienna, Picture Gallery – © KHM-Museumsverband
Pieter Bruegel the Elder’s works will be arranged both chronologically and by theme, allowing visitors to study and appreciate his stylistic development and the impressive variety of his oeuvre.
The galleries will showcase both his masterpieces and series and groups reunited for the first time in centuries; in the smaller adjoining rooms we present the findings of recent comprehensive technological analyses, offering profound insights into the works’ evolution.
We look at both Bruegel’s artistic beginnings as a draughtsman and graphic artist, and his innovations and vital contributions to the evolution of landscape painting. One section of the show will focus on his religious works, bringing together numerous masterpieces including The Triumph of Death and Dulle Griet, both especially restored for this exhibition.
For the first time, Christ carrying the Cross, his largest panel and one that has also retained its original format, will be on show unframed and displayed so that both its back and front are visible – as though visitors were looking over the painter’s shoulder, seeing and appreciating the fragility of the wooden support and how it was constructed, and the outstanding quality of handling and paint layer, their perfection being one of the reasons Bruegel’s paintings have survived four and a half centuries.
A smaller room showcases works featuring a wealth of miniature-like details and looks at Pieter Bruegel the Elder’s training as a miniaturist; its focal point will be the first-ever confrontation of both depictions of The Tower of Babel since they were in the collection of Emperor Rudolf II.
A selection of contemporary artefacts depicted in Battle between Carnival and Lent invites visitors to appreciate the wealth of details included in these compositions, to comprehend the meaning of the individual scenes, and to appreciate Bruegel’s unrivalled skill in capturing the material quality of depicted objects. We also question the painting’s traditional moralistic interpretation and showcase Bruegel’s perceptiveness as a social critic.
Using Winter Landscape with a Bird Trap and Massacre of the Innocents as our starting point, we look at Bruegel and his workshop. The final gallery presents Bruegel’s late works, offering a nuanced look at the artist long called ‘Peasant Bruegel’. In addition to Peasant Wedding and Peasant Dance, the show includes his ‘legacy-painting’ The Magpie on the Gallows.
The show’s final highlight is the first-ever juxtaposition of The Birdnester and the monumental drawing The Beekeepers. The Bruegel Research Project In 2012 and with the support of the Getty Foundation as part of its Panel Paintings Initiative, the Kunsthistorisches Museum began a comprehensive technological analysis of its twelve panel paintings by Pieter Bruegel the Elder.
Most recent research studied the Brueghel dynasty, i.e. the works produced by the master’s sons and his workshop, but our scientific focus is firmly on the founder of the dynasty and his creative process. We look at how his panels were constructed, at his brushwork and technique, at the history of materials and the works’ provenance.
The extremely interesting findings of the technological analyses of the panel paintings document and reveal the master’s creative process. X-ray and infrared images, pigment analyses and 3Dphotographs of the paintings were produced in the Paintings Conservation Studio of the Kunsthistorisches Museum.
These analyses have, for example, revealed little-known drawings beneath the paint layer that have never been studied in depth. Our most recent findings have informed both the exhibition and the catalogue.
The technical studies funded by the Getty also help us understand how the wooden supports used by Bruegel have changed over time.
This will inform the care of the paintings for the future, including conservation treatment. Even after the exhibition ends, a free website www.insidebruegel.net will for the first time offer profound insights into the paintings of Pieter Bruegel the Elder based on the most recent technological analyses of his works.
Related posts
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JUDGE ME is the second project under the concept "performative event". It referenced an actual court trial as a framework to discuss the dilemma of artists regarding their value in neoliberal society.
Instead of keeping the discussion within the art field, this project invited people from other occupations to "JUDGE" artists’ value. What is the role and position of artist in society today? Do artists have important value to society? How artists' works are valued in today?
I am both the prosecutor and defendant, 7 people from different professions are invited as witnesses to testify and debate , the audience is the jury by casting their votes digitally. The video documentation of full performance is available to view at:
https://vimeo.com/542064951
Facebook page: https://www.facebook.com/JUDGEMEproject
Premiere: Meteor Festival October 2021.
Co-production of: BIT Teatergarasjen, Bergen Center of Electronic Art.
Supported by Art Council of Norway, The Audio and Visual Fund, Bergen Municipality.
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Aurora, a bust, after the sculpture by Michelangelo.
One of a pair of figures that was commissioned by Pope Julius II to adorn his tomb.
Unfortunately, due to the pope’s untimely death the tomb was never completed.
Circa 1513.
Artist: Michelangelo
Museum: Musee des Beaux-Arts de Lyon, Lyon, France
Time Period: Renaissance.
52 cm tall.
25 cm wide.
24 cm deep.
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Don't Forget Me Poster
Zhanglian Yan
Graphics, Illustration and Visual Communication Design Don't Forget Me Poster by Zhanglian Yan This is to commemorate the 70th anniversary of the victory of the world anti-fascist war, China and South Korea joint performance of the drama "Don't Forget Me" and the creation of posters. Dove of peace and soil is inspiration. By soil image hope showing a kind of intimacy, texture and shocking, this evolution also reflects the unexpected sense of drama. Try visual expression of new materials, it is very difficult but also very interesting. It is used in the latter part of outdoor advertising, newspapers, and internet publicity.
Do you have an award-winning design?
We would love to feature your work on Design Magazine.
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Pebble painting
Come try painting on pebbles!
The pebbles have been naturally polished for several years in the currents of rivers and seas. Decorating them is a way of paying tribute to nature and celebrating it.
You can explore the technique of dots painting, mandala or free painting, and drawing with paint markers and sticks, depending on your preferences. Painting on pebbles is a very relaxing activity and it's also addictive.. once you've started you can't stop!
Dates & place
Next workshops in 2024:
• 11th of January 18:30-20:00
The workshops take place at Lauwerecht 55, Utrecht.
You can ask for private workshops all the year, from 5 participants.
How does it work?
This workshop is not only aimed to learn to paint on pebbles but also to have fun, and connect with other people.
I will explain you step by step how to proceed. No material and no skills are needed.
⭐️ I will provide all materials : the pebbles (approx 3/ person), the paint, sticks, paint markers, etc.
☕️ 🍪 To keep you up during the workshop, I will provide some cookies and hot drinks. You can bring your own food if you wish.
If you have any question, please reach me at : [email protected] or via Instagram (@Latelier_de_Pandora) or Whatsapp (+316 14 73 42 00).
Time & Price
This workshop is 30€/ person, and is from 18:30 to 20:00. Workshop will be in English.
Register now :
Copyright ©LatelierdePandora
Website designed by Epionea Agency
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23 September 2013
3 Films by Roberto Rossellini Starring Ingrid Bergman
What happens when Hollywood glamour and post war neo-realist Italy meet? That was the question which directed the design decisions on this one. The Hollywood aesthetic of the late 1940s and early 50s is well known and easily recognized --and for anyone who appreciates Italian film publicity of that era, it's understood how much of that aesthetic was borrowed, filtered and repurposed for their domestic market. The Italians typically illustrated, painted and hand-lettered the film posters of that era. Check out David Kehr's Italian Film Posters (The Museum of Modern Art) for some stellar examples. Criterion wasn't going that route for this one. The imagery for 3 Films By Roberto Rossellini Starring Ingrid Bergman would all be photographic.
Booklet Cover, back (left) and front (right).
Even though there are fewer examples of photographic Italian film publicity from that era, if you look hard enough you can find them. They're typically black and white, two-color affairs. The effect is often raw and immediate. Pretty much what one might expect to see from a war ravaged society with limited technology at it's disposal.
For this set I tried to evoke as much of that feeling as possible. Most all of the headers used throughout the packaging are hand-drawn --Journey to Italy being the exception.
Critertion was looking to see Bergman exclusively as the face of this package. Three portraits representing the three movies. This was an approach that we'd used to great effect on 3 Silent Classics by Josef von Sternberg. Yet for that set the portraits were all different and the typographic treatment was the same. This time around the formula flipped. It was also important too to stress the three locations in which these stories took place. There are certainly worse ways to spend weeks on end than staring at Ingrid Bergman's face but a designer's gotta do what a designer's gotta do!
Establishing the look of the slipcase cover would likely dictate the look of the individual film covers. Or so I first thought. The lettering on the cover is my adaption of a typeface I spotted on an Italian poster --advertising a rice product of all things!-- it was era appropriate and had the kind of idiosyncrasies I was looking for. The trouble was there were only about 6 letters. So I needed to extrapolate an entire alphabet and also cook up a lighter weight too. It felt like applying this style to all three covers was going to get repetitive so I set out to come up with letterforms that would make each title distinct.
More sample spreads from the booklet.
I'll be updating this post over the next several days, adding more imagery and writing more about the process behind the piece. So I hope you'll come back!
12 September 2013
The Last Time I Saw Macao
My poster design for The Last Time I Saw Macao, directed by João Rodrigues and João Rui Guerra da Mata. Released by Cinema Guild. Opens today in Manhattan. Cinema Guild was great to work with, special thanks to Peter Kelly.
27 June 2013
Safety Last! DVD Menus
These are some of the menu designs I created for the Criterion Collection edition of Harold Lloyd's Safety Last! I don't think you can help but ask during the movie's building climbing, clock dangling climax, "is that for real?". The answer to the question is more surprising and nuanced than one might expect. Even the film's plot even gets pretty meta on the subject. What's not revealed in the story is amply and rewardingly so in the generous supplements for the release. For the DVD menus as well as the packaging I looked to inject some reality tweaking into the design by building the type into the shots.
02 April 2013
Blow Out
These are a couple of unused cover concepts for The Criterion Collection edition of Brian De Palma's Blow Out. The brief at the time was to bring the technology of the story somehow on to the cover design. John Travolta plays a movie soundman who's an ear-witness to a murder. His tools of the trade are a microphone and a reel-to-reel recorder. There's a terrific shot of the tire going pop and it seemed a natural to me to fuse it with an image of a tape reel. When the Travolta character retreats to his sound studio to piece together the crime he attempts to synchronize it with a moving image --thus the perforated audio tape with the X that marks the spot. This was one of those titles where the type was freighted with specific requirements. The stars names have to appear above the title in the same size and color as the film title. It's a tricky proposition when their names are as long as they are and the film title is as short as it is. Eric Skillman came up with the cover that was ultimately used. He cleverly laid type over space and objects in the frame which helped to direct the eye and let the title be readily seen.
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Click here for information on our reopening.
Wednesday July 3, 2019 | by Rachel Rader
In the Studio with Annie Shepherd
FILED UNDER: UrbanGlass|Ware
Annie Shepherd's love of landscapes and experience with cross-country moves serve as inspiration for the playful pieces she makes in the UrbanGlass studio. She sat down with us to talk about the influence of her environment on her art practice.
Could you start by describing your background in glass?
I saw glassblowing on a field trip [in high school], then later had an assignment to shadow someone in the field I was interested in pursuing. I reached out to a glass maker at a local college, spent a day there, and was like woah. That definitely cemented my desire to go to a school that offered glass; I wanted that to be an option available to me. I started at a college in Nebraska [where I grew up], Hastings College, and then I ended up transferring halfway through and finished my degree at Alfred University.
Centerpieces made by Annie Shepherd for the 2018 UrbanGlass Gala
It’s been almost five years now that I’ve lived here [in Brooklyn]. During that time I've also worked as one of the contract glassblowers for Corning, and did the cruise ship a couple times, which was a really interesting opportunity. It was like my work-cation. [Laughs.] I currently freelance full-time, whether that’s fabricating for artists, assisting, being part of a production team, or teaching... 100% of my working time is in glass, which I feel very fortunate about.
"Cartographic Investigation" by Annie Shepherd
I can see that cartography is a recurring theme in your work. Why do you think you're so drawn to it?
I’ve been trying to think about this myself recently, like what's the work's origin story, why maps? They've been present in my work since I was in school. I think a lot of it began with moving, and trying to figure out location and "belonging." Like, thinking about how just because you’re in a specific physical place, does that make it your home?
"Cartographic Investigation" by Annie Shepherd
A map in itself gives you a lot of information about a location, and absolutely nothing at the same time. I listened to a podcast about mapping, and [the host] described this map they created of all of the pumpkins in their neighborhood during Halloween, which I thought was really interesting.
Park Slope Pendant by Annie Shepherd
Speaking of which, how do you choose the locations that you spotlight in your jewelry collection?
A lot of them are places that are special to me, or are visually attractive to me because of their linework. I definitely am drawn to those “sacred green spaces” that exist in Brooklyn and New York in general. Like the piece I made for Jewelry Week last fall was a two-piece combo of Prospect Park and the Botanic Gardens. It’s this kind of urban oasis for me.
Prospect Park Necklace by Annie Shepherd
Does your more sculptural work also tie into these ideas of place/belonging?
Yeah! I might see this hilly landscape and think, how can I playfully bring that into glass without being super literal? Like the Land Lump vases [at UrbanGlass|ware]. Each one is a funky little rolling landscape. I had a lot of fun with those in particular!
Land Lumps by Annie Shepherd
Living in New York, and being in more of an urban landscape, we’re surrounded by buildings and sharp edges and windows and things like that. Those sort of influences, the things we’re surrounded by all the time, have definitely crept into my work. I'll take photos of buildings with those overlapping shapes and then bring that into the hot shop and sketch it out as a basis for some of my forms. It probably doesn’t read very literally, but it’s those eclipsing shapes that bleed into my form-making.
Grouping of forms by Annie Shepherd
Oh, I'll have to revisit some of your work with that in mind! Do you notice any other major influences that shape your glassmaking?
Well, my list of influential artists is never-ending. Nancy Callan's amazing for her work with pattern and line, I’ve had the opportunity to take a class with her before. Ethan Stern was a visiting instructor at UrbanGlass last year, and he helped make a lot of things click for me. I really admire him as an artist, as well as his process and the work that he makes.
"Mandolin Cloud" by Nancy Callan, image courtesy of the Pittsburgh Glass Center.
So in addition to taking classes with other artists, you teach as well. Do you find the switch between the role of student vs. teacher affect how you think about glass?
Absolutely. I think that it’s the biggest treat to be a student. Oh man, that’s the best, when you can be in a class and focus on and advance your own practice. And through teaching, having to explain the process to others makes you realize why you do things, and how you do things, and recognize those little bits of efficiency you’ve picked up along the way. I enjoy teaching and getting to pass on what I’ve learned from other people over the years to the next wave of glass makers.
Annie assisting in the UrbanGlass hot shop
Interview has been edited for length and clarity.
Sign up for one of the classes Annie will be teaching this summer at UrbanGlass! Her Map Jewelry and Land Lumps are available through UrbanGlass|ware, and more of her work can be seen on her website
Low Land Lump with 3 Holes by Annie Shepherd
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Baby Fox says HI!
Some of my favorite photos are those from the 50′s with children (and adults) in animal masks. There is just something a little off in the cuteness. Found some animal masks lately and started photographing people in normal situations but with the masks on. It’s bizarre how the slightest tilt of the head can yield more emotion from a plastic mask. Also has me thinking about Ralph Eugene Meatyard’s photos and the extremely creepy yet beautiful photos he made of masked friends and family. Good stuff!
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Oregon Adventure Elopement, Styled
As is often the case in my life, the most beautiful things are often in partnership with people whom God has (graciously) surrounded me with.
This Oregon styled adventure session in the Dunes of Central Oregon was no exception.
Through broken trailers, having to literally pull a motorcycle up a dune, props flying out the back of trucks, thousands of dollars worth of lighting gear falling in a crevasse and mountains of dirt and sand (in other crevasses) we persevered to produce some of my favorite content yet.
While it served as a reminder that I’m surrounded by amazing creatives, I was also reminded that having a plan is important. Having the skill to work through what happens when the plan breaks is critical.
Below the images, a list of the talented vendors who made this possible.
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Hey! It looks like you're new here. You might want to check out the introduction.
Colour Contagion · Original Minific ·
Organised by RogerDodger
Word limit 400–750
Show rules for this event
Catching On.
« Prev 5 Next »
Another “gray figure, colored background” pic. Here, we get a more specific emotional reaction. Her shocked expression and the little dab of color on her neck are effective at conveying contagion. Almost there.
I really like the idea of the penciled-in foreground, with the strikingly bright watercolor background. It really jumps out at you, even from the thumbnail.
As for nitpicks, I am getting a bit of an uncanny valley with her face, but I'm not sure why. Something to do with the eyes, maybe? Or maybe I'm just finding this piece as a whole a tad off-putting, which was your goal anyway. :P
Nice stuff!
I notice that the background ends at the boundary of the person, as opposed to looking like it keeps going behind her. That feels like a useless critique because you were obviously limited outside of your control—I mean how could you make the colours go behind her while keeping the same ghost-like contrast?
I'm saying the word contrast a lot in these reviews.
I think the uncanny valley-ness might be coming from the nose, somewhat. And perhaps more detail in the mouth could have added some more depth to the image.
>>Bachiavellian, >>Miller Minus
On Catching
This was the first idea I had at the start of the round, but I had the suspicion that others would be trying similar ideas (and indeed, Zaid did). Thus, I focused on the holiday with my family, and didn’t put any serious effort into this concept until the last day.
I had some trouble with the pencil sketch on watercolor paper and had to redraw it a few times, which goes some way towards explaining the awkward appearance. The paints were ordinary acrylic paints, watered down. I bumped the colors of the background up in Photoshop, but other than that it is unretouched. The drop on her neck was an accident which I deemed to be fitting.
Thanks for the positive comments!
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From June 18th to 20th, 2021
Each day 2 Performances at 3 pm and 5 pm
MARKK Museum • Rothenbaumchaussee 64, 20148 Hamburg
Dancers and artists from Hamburg and Kigali perform a political decolonization of the future at DECOLONYCITIES in Hamburg’s urban space. If the common history is made tangible, this common history can be better reflected in the future. Through the project, colonial history in Hamburg is reflected and questions are addressed such as: What influence did Hamburg have on German colonialism? What is the colonial past between Kigali and Hamburg? How is this history archived? And what is the relationship between this history and the people in Kigali and Hamburg today? The MARKK in Hamburg is a place of performance and the center of these questions. It is precisely here that the shared colonial history of these two cities is questioned. The visibility and experience of an archive are seen performatively and artistically through the images and the body. DECOLONYCITIES is a project that works at the intersection of dance, visual arts and media work and a process of decolonization that is made tangible. Not lecturing, not didactic. It is not about understanding knowledge or facts, it is about a change of perspective, an artistic approach to this topic in a different way: organically and experientially.
New narratives emerged and in this process and before the rehearsals started in Hamburg, the visual artist Dolph Banza started an encounter with rwandan objects storaged in the MARKK-Museum. He said about it:
Many generations ago my family was artistic, they were carving masks and that was interrupted by colonization. They had to switch from mask carving to technical work. I thank that DECOLONYCITIES is about gaining back what we lost with colonization, that’s why to me this project is interesting. I’ve been drawing objects which have not been found in Rwanda and I’m going to take the visual information that I get from the objects to create new creations that reflect more the Rwandan spirit. The objects I’m drawing were brought here many years ago and when they were taking those objects were very valuable to the Rwandan society. They had names, they had functions, they were sacred.
Out of these research a project called DECOLONYOBJECTS started and through this encounter a series of drawings were exhibited at the ZWISCHENRAUM im MARKK-Museum. At the end of the project Dolph Banza realize a Graphic Novel:
[Concept/Choreography] Yolanda Gutiérrez
[By and with] Babou Tight King, Moussa Issiaka, Eliane Umuhire, Frank Mugisha, Celine Manzi (digital aus Kigali)
[Management] Gesine Kästner
[Assistance] Lucia Lilen Heffner
[Dramaturgical collaboration] Tobias Funke
[Public relations] Andrea Möller
[Audio Artist] Igor Sheba
[Foto-Video Documentation Hamburg] Munimum Photography
[Narrators voice] Zainab X and Willem Holley
[Visual artists] Chris Schwagga und Dolph Banza
[Fotos] Chris Schwagga [Film Kigali] Serge Girishya
[Poem and voice at Film] Greta Ingabire
A production von yolanda gutierrez & projects and MARKK
Funded by Elbkulturfonds – BKuM Hamburg.
Supported by the NATIONALE PERFORMANCE NETZ – STEPPING OUT, funded by the Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR initiative. Aid program dance
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Mexican architectural firm Muñoz Arquitectos Asociados developed a modern residence in Mérida, México with an original positioning and layout. The construction site of Casa Entre Arboles is shaped like a rectangular field which accommodates no less than 52 trees of different types and sizes. The services areas (garage, utility room, laundry room) were located closest to the road. The main residence with the bedrooms, kitchen and dining room was built near the largest and most beautiful trees around.
The third volume of the project was developed closer to the golf course and consists of a large swimming pool and a covered patio. According to the architects, in order to join the buildings, a housing axis was envisioned, one that runs from north to south: “This flows through the body and gives unity to the whole. By doing this walk from side to side of the house you go through wooded areas outside and inside the rooms, each time reinforcing the idea of a house full of site sensitivity and respect for nature“. The interiors are spacious and bright, enriched by original furniture units and art decorations.
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David Bradley Chocolate
Lead Designer
Prize(s)Honorable Mention
Entry Description
David Bradley is an amazing line of chocolate that has been around for over 30 years, but has never really had a brand image. They challenged H&L Creative with the task of designing a new brand that would be memorable, would set them apart from their competition and would prominently feature the taste appeal of their delicious chocolate.
Just weeks after hitting the shelf next to the old packaging, the rebranded design has become a best seller in their stores. It has increased sales, and has given them a brand that they can now be proud of.
Lien Design is known for its perceptive, strategic graphic design solutions for clients across the country. With more than a decade of experience, we’ve adopted a friendly, flexible and efficient approach to every project.
Our work covers a full range of premium graphic design services, with the objective of creating visual solutions that solve real-world business challenges.
The company was founded by award-winning Art Director Tom Lien. After years of high-end design agency work, Tom decided to use all of the resources and connections he had cultivated, to develop an organic company that can be expanded or condensed based on your specific project and budget.
We believe that a successful brand is a consistent brand. Lien Design helps companies create graphic design across a full range of media, including package design, branding, logo development, print design and marketing. Our strength lies in our ability to create graphic design that is recognizable, strategic and, most importantly, marketable.
Awards and Prize
you emailed me
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Connecting in the Understory
Art prizes can be a bit silly, being based on subjective choices. As artists we need to be aware of the emotional toll of submitting and being rejected much more often than we are accepted. Often we experience a disconnection from our peers and a sense of ‘not meeting the grade’. So are they worth the emotional toll? What’s the real value of a prize beyond the selection of finalists and a winner?
Whether or not we are selected in a prize, we get to see an array of quality work that an arts professional has chosen as being somehow representative of the zeitgeist. As a viewer it’s great to discover new work and to see it well displayed. Often viewers will criticise the judge’s choice, which can be very painful for an artist to hear.
But at the Moreton Bay Art Prize exhibition this year, my lasting impression has been about support. The Galleries and Museum team have been very focused on building and nurturing connection between artists. Instead of an ‘opening’ they had an artist networking event, and the award ceremony is towards the end of the exhibition. Good thinking! I’ve just experienced mutual solidarity with the other artists.
Understory at Pine Rivers Art Gallery
Pine Rivers Art Gallery
Pine Rivers Art Gallery has shifted to a bright, new, airy space next to Officeworks in Strathpine. The Moreton Bay Art Prize finalist exhibition is on display there until 4 June, 2022. I’m in great company with strong pieces that have been thoughtfully installed and beautifully lit.
My piece, Understory explores connection and repair in our fraught time. It features Macaranga tanarius leaf ecoprints on up-cycled life drawings. It’s wrapped around a corner to create a more intimate viewing space, hinting at the shelter the Macarangas provide us and other, more delicate plants. Here’s a brief visual telling of it:
The winners will be announced on 28 May. The new Pine Rivers Art Gallery is next to Officeworks at Strathpine.
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Revit User's Manual/Site Work
From Wikibooks, open books for an open world
Jump to navigation Jump to search
Sitework in Revit is not dissimilar from the same in any drafting program: it is mostly drafted elements. The key advantage is that you can use your model for reference, and over and above that, you can lock your site lines to elements in the model. Therefore, if your model is revised, the site plan will update automatically. Most of the challenge in creating a good site plan lie with the issues of grading and project relocation.
Grading[edit | edit source]
Grading is done by editing a toposurface. By adding points at different elevations, the grade is shaped in three dimensions. Because the topography is drawn from these points, awkward dips can occur if there are not enough points. This is especially true when adjusting grade at a retaining wall. Often the best bet is just to add points.
Relocating The Project Vertically[edit | edit source]
Relocating your project is simple: move your grade relative to your project without regard for the accuracy of your grade points. Then, relocate your project up or down by the amount necessary to correct your points (spot elevations).
Most new users wonder why their entire project, model and site together, go flying up or down upon relocation. The answer is simply that Revit doesn't understand the simple distinction between project elements and site elements as things that might be moved relative to one another. It just moves everything! So, if you want to move your site relative to to your building, you've got to grab your site elements and move them to where you want relative to your building, and then relocate the project as necessary to get your spot elevations to read correctly.
Generally, the only site element that needs to be moved vertically is your topography (but do make sure your trees and utilities are hosted by your topography or they won't move.)
Relocating The Project Horizontally[edit | edit source]
Horizontal location can be a bit more tricky. This is something that you might do if you are drawing a series of buildings in a row, but each is in a separate Revit file. You can link these files into one master file and have them appear with the correct vertical and horizontal relationship to one another by placing them in the master file according to their shared coordinates. For example, if these buildings are similar, you may complete one building and then save it to a new file to start the next building. To make sure the next building sits relative to the first building in plan, you will need to relocate that project horizontally.
This operation is more tricky because grabbing the site elements requires care. You not only have to grab your topography, but you also have to grab your property lines, trees, utility poles, and any lines or text that are associated with the site, and then move these as far over as required. Then you relocate the project equally the opposite direction.
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Friday, 15 July 2011
Considering my next drawing/painting I reflected on how much I enjoyed drawing the Leopard with all of his unique markings and tried to think of another animal whose markings made it unique. There are several, but rummaging through some of my old photo's for inspiration I found this chappy.
Some years ago my family and I were driving slowly around the Woburn Safari Park here in the UK when a small herd of Zebra strolled aimlessly in front of us. It was a great photo opportunity. Zebra's are very social animals spending all their time in herds and they live in small family groups much as we do. Each animal's stripes are as distinctive as fingerprints, and no two zebra's are exactly alike. I'd like to think even this one's own mother would recognise him. LOL.
1. Beautiful drawing John: as good as, if not better than, the leopard! Yes, I think the mother probably would recognise it from this :)
2. Wow! I wouldn't have the patience for something like this! It's awesome!
3. Your drawing skills are incredible John! Lovely work.
4. Amazing work John, I just can't find anything wrong with it. ;-)
5. Couldn't be better John, and I for one knows the patience it takes. You must have a ton of that !!!
6. Thank you very much Michael, I appreciate that.
Sandra, it did take quite a while and those stripes were driving me crazy. LOL
Thanks Frank.
Keith, there's plenty wrong with it but I'm trying a new technique of not pointing it out. ;-)
Thank you Barbra Joan. I think your version of the same drawing is much more creative and 'arty' than mine.
7. Beautiful work!
I can imagine doing those stripes in pencil needed great concentration. You did a most excellent piece xx
8. Thank you Pat for your lovely comment. ;-)
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Bikes & Bloomers research
This research project explores Victorian engineering, the history of patenting and feminist cultures of invention. While middle and upper class Victorians were quick to embrace the bicycle, cycling proved materially and ideologically challenging for women. Conventional women’s fashions were inappropriate for cycling; materials caught in wheels and tangled in pedals. Yet, looking too much like a cyclist in some contexts challenged established gendered norms about how and in what ways women should move in and through public, to the point where cycling women suffered verbal and sometimes even physical abuse.
It turns out some women not only made radical new forms of cycle wear, they also patented their designs. The most remarkable of these are patents for ‘convertible’ cycle wear, that enabled women to switchbetween mobility identities.
Unable to source existing versions of these unique garments in museums, I embarked on some sociological sewing. Following step-by-step instructions in the 120 year old patents, I worked with Rachel Pimm (RA), Alice Angus (artist) and Nadia Constantinou (pattern cutter) to make (and wear) a series of costumes as a means of interviewing inventors through their inventions.
This research was part of the “Transmissions & Entanglements: Making, Curating and Representing Knowledge” project supported by an Economic and Social Research Council Knowledge Exchange grant with support form Intel Corporation (ES/ K008048/1).
See: Project website, book, talks, papers.
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Lily Lihting Li Kostrzewa
99-Sheep - magic series
Congratulations! LK's 99 Sheep project has been selected by Yale University's Perch Journal Vol. 5, page 22-23, see link https://en.calameo.com/read/00407006772816438f334?authid=mVy8bijhDdDC
Funding my Art, Patron is Needed!
What is a "99-Sheep" art project?
It is the Parable of the Lost Sheep is one of the parables of Jesus. It appears in the Gospels of Matthew (Matthew 18:12–14) and Luke (Luke 15:3–7). It is about a shepherd who leaves his flock of ninety-nine sheep in order to find the one which is lost. It is my story (please see below proposal of the detail story) and maybe yours too, I want to share the joy and sorrow of my life through my paintings. I wish you to experience the peace of green pastures through my artwork, please support my effort.
Do you know the value of art is in the beholder's eyes? It is not a commodity, when art's value becomes a commodity, an artist will act as the hired labor for the purpose to please his/her master. However, a true art needs to be returned to the true soul of artists' creativity, hence an artist has to be true to him-herself.
Funding my art making $
Patron support level 1
Funding my art making $$
Patron support level 2
Funding my art making $$$
Patron support level 3
Funding my art making $$$$
Patron support level 4
My wish is one day the art world could be changed to an artist-friendly environment, not only a buyer-friendly environment, it could be shared by many small players, it could be joined by many people with common interests to support their chosen artists. I wish it would no longer belong to the rich, the elite, and the unreachable. As a common knowledge, it is okay for the majority of people to pay ten dollars to download an album of music. Why can it be the same way for visual artists? Little drops of water make the mighty ocean. I am counting on you to make the difference too. Funding my art at Paypal by sending money to [email protected] or click the "Add to cart" here, thank you. LK
Do you know your organization can invite L. K. an exhibition and speech to support the above project? Please see proposal below and contact artist at Lily at LilyKostrzewa dot or 989-854-0829.
Exhibition Proposal
Title: 99-Sheep
Do you ever feel lonely or lost? Sometimes life feels like a slow motion pace, inside a silence of muted sounds. You constantly retreat to it to prevent yourself from living in real time. This is how I felt and the “99-Sheep” project was the healing process.
Before my father passed away on January 2017, I had already started the animal series, which I titled “Life along Life Path”. In these works I created mythical kinds of animals; mixed creatures of deer, horse, goat or sheep. I painted these animals in pink spring time or under a hot summer sun, in the glorious golden autumn or even let them experience the harsh winter winds. Then my father died of Alzheimer's as well as old age. In grief, I turned to paint animals in a group setting. I did a solo art show in Barcelona, Spain in July 2017 to memorialize his love of art, film, and photography. After coming back to the USA from Spain I gradually started a new series call “99-sheep”. The name is from the parable of ninety-nine sheep in the Gospels of Matthew (18:12-14) and Luke (15:3-7). The story talks about a shepherd who leaves his flock of ninety-nine sheep in order to find the one which is lost and he rejoices greatly when the lost sheep is found. In my grief, I actually felt like the one lost and I depicted it in my painting as the invisible sheep in a white outline. The sheep is trying to find the way or the meaning of life and wandered off from the rest of flock alone.
Then an even worse news came to put me in shock, as in July 2018, in a a sudden phone call I realized my beloved mother had passed away by a cold or flu in a hospital E.R. Taipei, Taiwan. I was devastated by not being able to be in her presence for her last breath. Born from her body, I actually felt the physical pain. Grief had overtaken me by knowing she was gone, never to return. For me, losing both mother and father in such a short period of time is like the lost sheep image in the story of the Gospels’ ninety-nine sheep. I felt like the sheep that has lost its way in the shadow of a death valley. I can sense the sheep crying, angry, and scared. The feeling is one of hopelessness and a wandering to find one's way out of the wildness. The sheep desperately needs the comfort from its shepherd’s hug and gentle voice. It longs to share joy with the rest of ninety-nine sheep and desires to walk again in the peace of green pastures.
I am painting and experiencing the on-going process of healing. And the healing becomes my on-going project of “99-Sheep”. Besides the one sheep, the flock of 99-sheep is depicted in a very colorful, joyful, and naive way. They are well protected, and socializing in a friendly environment. They are busy eating and enjoying their peaceful meadow. They have a good life and are often having a good time, they seldom will ever notice that one of their group is wandering off and under so much suffering and pain. I think this pretty much like our society today. We live in a bubble of the comfort zone, green pastures are surrounded by nice gardens; nice homes could be seen by subdivision after subdivision. We eat, drink and be merry. We shop for Christmas year round and eat Thanksgiving turkey year after year. Do we really care about those in pain, lonely, and hopeless? Do we still have compassion and social justice for those in need?
There is a lot of talking points in my project of “99-Sheep”. I hope you will like it.
Thank you.
Lily Kostrzewa
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"Love can't really be explained sometimes. Love is this and everything that I can't describe.
Love is everything. Everything is Love."
While we are all capable of capturing a moment, the approach taken when telling one's story varies from artist to artist. Your final gallery should reflect your relationship authentically. My hope is that you can look back on your gallery, see all of the details from your day, and remember those feelings vividly and fully. My ultimate goal is to do justice to your day through artistic imagery, featuring all of the beautiful moments, personal details, and candid interactions.
Each of my images are hand-edited with bold, true-to-life colors, soft skin tones, and lots of life.
Most couples spend an average of $2,800 for full day wedding coverage.
Travel is included for traditional wedding coverage within two hours of Easton, Pennsylvania.
Contact me for a full information guide with everything you need to know before choosing your wedding photographer.
IMG-116.jpg
engagement sessions
Engagement sessions are the perfect way for us to get to know each other, and get some of those photoshoot nerves out of your system so you can feel totally prepped for your big day.
We'll visit somewhere meaningful to you, or explore one of my endless location recommendations. This is a great opportunity to just have fun, chat about your wedding plans, and take some awesome images for your save the dates.
Engagement sessions are complimentary with all full day wedding packages.
What does your perfect adventure together look like?
If you put all other factors aside and were to plan your day on your own terms, where would you go? What would make it the most memorable day of your life? We offer full day, totally personalized elopements to make that dream a reality. My elopement packages are uniquely structured to assist with planning a totally customized wedding day experience.
No matter if we spend the day together or just a few hours, I will offer guidance regarding location, permits, lodging, vendors and timeline building wherever we go. I am available for travel anywhere within the U.S. with no additional fees, and there are special rates for locations already on the schedule.
Not sure where or when to elope yet? No worries! We can work that out together.
Visit our sister brand Overland Elopements for all the fun details.
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Stay up to date!
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All press releases
Sustainable, nostalgic, fun-loving - Creativeworld defines the trends for 2024
5 Sep 2023
As a trend platform, Creativeworld is the first port of call and guide for the hobby, craft and artists' supplies sector. On behalf of Messe Frankfurt, the trend bureau bora.herke.palmisano researches worldwide trends and techniques, materials, shapes and colours that will inspire the international creative community in the coming season. Organised in the three theme worlds Calm Essentials, Vintage Vibes and Funny Styles, the Creativeworld Trend Show from 27 to 30 January 2024 will give manufacturers and the trade live, on-the-spot orientation about what is to come.
Calm Essentials focuses on what is elemental. "Less is more" is the credo. In limitation lie undreamt-of creative possibilities. Now more than ever, the quality of materials is gaining in importance: materials are recognized as precious - in the creative process they are valued accordingly. In the coming season, the choice falls on fine materials such as merino wool, cashmere and mohair: knitted fabrics feel even more valuable and are enriched by a sensual element. The natural and genuine is in the foreground, for example in the mixture of light and dark clay for puristically beautiful ceramic works. Restrained colours from off-white, ecru and grey tones to black go well with this. Strong ochre and a charming, delicate red set warm accents. Simple sketches or structures become reduced motifs. Graphic embroidery, quilted lines and checks or accentuated edges add sophisticated colour accents and stylishly enhance textiles. In this way, cushions or linen blouses are processed by hand and given a personal touch. Minimalist is also the jewellery design with rod beads: simple techniques are used to create effective results such as simple filigree rings. Drawings with coloured pencil, chalk and fineliner enhance the appearance of greeting cards. Carved linoleum or eraser stamps can be used not only for single motifs but also for two-dimensional patterns, as the print templates can be shifted against each other or superimposed. Sculptural forms made of plaster, clay or concrete conquer the third dimension. Here it is possible to experiment wonderfully with complementary materials of their own sensual quality: Paper cast in plaster appears transparent and creates subtle effects - simple and surprising.
Vintage Vibes celebrate the charm of what has gone before: Nostalgic items are experiencing a revival. Heirlooms and flea market finds are artfully transformed into new favourite pieces. Old things are looked at anew with an unbiased eye; in the creative process, old things are appropriated anew: Textile designs, ceramics or papers are charmingly altered, painted and embroidered or simply serve as templates. Old buttons become unconventional stamps for sealing wax; floral motifs give even the plainest second-hand objects a nostalgic and sensitive feel. Everything is enchanted by imaginative, creative techniques. Thus, self-designed print motifs are reminiscent of the typical hatchings of old copper engravings; elegant flower silhouettes are transferred with a brush onto delicately striped bed linen; decorative stitches transform coloured cardboard into poetic paper flowers - the coming season sees in bloom a new passion for things with vintage appeal. Fine, old tablecloths become fashionable accessories like a fabric handbag; collectible cups and sugar bowls are transformed into original candlesticks - each piece unique. More than ever, social trends are reflected in the creative process: in fashion, feminine details such as jewellery show up across gender lines. Brooches, self-threaded pearl necklaces or embroidery details can be found on masculine shirts; a blouse with a large bow can be put together from two typical men's shirts, commenting with a wink on the fluid boundaries between the sexes.
Hurray for humour and hilarity! Funny styles draw their inspiration from this. Strong, contrasting designs look cheerful, lively and full of energy. With dynamism and a twinkle in the eye, this style mixes different materials, contrasting colours and bold motifs in the coming season. Spontaneous, intuitive patterns and energetic neon tones take centre stage. For example, a crocheted mobile phone case with a carrying chain made of strikingly colourful beads becomes a fashionable exclamation mark. Colourful accessories and decorative elements can be made from paracord, such as elaborate Japanese knots for good luck. Together with the striking gift box, they become a colourful team that gives joy. Graffiti effects, cartoon prints and the characteristic black outline of comics are strong design elements. Well-known comic motifs and funny animal figures such as the duck and Lucky Cat serve as stylised embroidery, knitting and painting patterns; pictograms and pixels, symbols of reduced aesthetics, become motifs and design elements in their own right. The Lego© letter-print technique follows precisely these aesthetics. Funny styles are lively, playful and humorous. They are created by a look that retains a childlike quality: Why shouldn't a pair of socks have two unequal sides? Even when modelling, the surfaces are allowed to be uneven: perfection is no longer a standard here: It is the imperfection from which craftsmanship now derives its charm.
The trend scouts: bora.herke.palmisano
With personal passion, the trend bureau bora.herke.palmisano analyses international trends in fashion and art, interior and lifestyle for Messe Frankfurt. From their design perspective, Claudia Herke, Cem Bora and Annetta Palmisano explore which techniques, materials, shapes and colours lend themselves to the trade. Their industry experience is the basis for ensuring that the forecasts for the new season reliably reflect current consumer wishes and market developments. Last but not least, they also try out all the materials and new craft ideas themselves. So, they can convincingly present their experiences and the creative results at the special presentation and in their lectures.
Creativeworld will continue to be held at the same time as Ambiente and Christmasworld at Frankfurt Fair and Exhibition Centre:
Ambiente/Christmasworld: 26. to 30. January 2024
Creativeworld: 27. to 30. January 2024
Press releases & images: https://creativeworld.messefrankfurt.com/frankfurt/en/press.html
On social media:
www.facebook.com/creativeworld.frankfurt I www.instagram.com/creativeworld.frankfurt/
www.linkedin.com/company/creativeworldfrankfurt I https://twitter.com/Creativeworld_
Creativeworld Hashtags
#creativeworld24 #homeofconsumergoods #creativeindustry
Background information on Messe Frankfurt:
www.messefrankfurt.com/background-information
Your Contact
Antje Janes-Linnerth
Press Officer
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begin to work with galleries and start to set up their art enterprise. It’s straightforward to see by reading art enterprise articles and books on artwork marketing that the opinions of the specialists range.
Ours is the age of the hybrid, the crossover, the many-splendored factor, a time when the combined drive of new media, postmodern thought, and human history has made it inconceivable for artists to worship a single god of painting. Indeed, the apply of this ancient artwork could owe its continued health to its amazingly elastic nature. People want evidence; they wish to feel assured about spending nonetheless a lot cash they’re about to spend.
I too have been promoting on Ebay for a couple of year. small items in the $50-$60 vary to determine myself. I usually use used canvases that might be three years old, from my first year portray.
Most of the artwork created on this case is made for the artist quite than an viewers. However, if an viewers is ready to connect with the emotion as properly, then the artwork work may become publicly profitable. Those who make artwork are known as artists. They hope to have an effect on the feelings of people who expertise it. Some folks discover art relaxing, thrilling or informative.
If a chunk of your art sells for considerably extra at a charity public sale than it might out of your studio, this is not essentially a good cause to boost all of your costs (learn extra about when to raise your promoting costs under). Inconsistent pricing on the low facet can work against you as nicely. Experienced buyers who cut price hunt for art adore it when artists worth low art based mostly on feelings or emotions rather than on the standard of the work or different objective market components. If you’re planning on having an art-I-don’t-like-anymore sale, get an knowledgeable outside opinion first to ensure you’re not promoting your self short. The excellent news is that fixing emotional price issues is simple.
Sometimes work I am reluctant to point out and am positive is not going to promote will go right away, others I am extremely proud of just sit there. This happens with my artist associates right here too, so it’s not simply me.
In one portray, Piece of Cake (for Jack Goldstein) , 2004, she inserted a blue-and-yellow video right into a flat blue-and-yellow composition. Jeremy Blake makes intensely-coloured videos that play on flat-display screen displays like color-field work in movement.
They reply that it seems finished to them! Beauty truly is within the eye of the beholder, and the general public actually is naive.
7 should-know portray strategies for artists
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