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Mini Vision Urbanaut: From Designing a Car to Designing a Space
A few weeks ago, Sam Livingstone and I discussed the design of future mobility products on the FORMCAST podcast. One of the things that Sam referred to was the mobile space; a place where people could meet and, through low-speed movement, travel to their destination. That space needn’t move, however.
The car as a space is not a novel idea. Designers have been thinking about cars as the 3rd Space for a while now, after the home (1st) and office (2nd). It’s the subject of many new vehicle concepts, from the Chrysler Portal to Chris Bangle’s REDS project, both of which were shown several years ago.
During the pandemic, many bubbling trends were intensified. With people forced to work from their homes and conducting meetings digitally rather than in person, the mobile (or immobile, as the case may be) space is even more appropriate. And that’s when the Mini Vision Urbanaut was conceived.
The Vision (aka concept in BMW-speak) Urbanaut is a minimalistic mono-volume punctuated by smart lighting elements hidden within the bodywork and the wheels themselves. The purity of the concept is accentuated by simple forms and, while the Urbanaut’s van-like typology is significantly taller than other Minis, the car is still a fairly compact 4.46m long.
The Mini Vision Urbanaut responds to the user’s needs outside of the home, and the reconfigurable interior is without question the most appealing aspect of the concept. Fitted with boutique-style furniture, the Urbanaut’s IP can be transformed into a front lounge bed while the driver and passenger seats rotate into the main cabin area. It takes the idea of the conventional camper and minimizes its footprint while adding a host of new technology.
Emphasizing comfort through different moods, which the brand calls ‘Mini Moments’, the Vision Urbanaut provides a range of possible usage scenarios for its users. The ‘Chill’, ‘Vibe’ and ‘Wanderlust’ moments are enabled by a tactile ‘Mini Token’ – a digital connection device that is placed into the table at the rear. The Token can be programmed to provide any number of personalized experiences to adjust the fragrance, ambient lighting, music, etc. within the cabin.
The entire roof is glazed, save for a small loop over the rear ‘Cozy Corner’ area which is used as a display screen over the occupants. In the Chill moment, the backlit loop displays a green forest canopy to calm the occupants while ambient music and atmospheric sounds from nature are piped into the environment. The rear bench seat can also be reconfigured into various seating and lying positions.
“The Chill moment invites you to catch a breath and pause in the here and now,” says Oliver Heilmer, Mini’s Head of Design. “The car becomes a kind of retreat, a haven where you can relax or work with full concentration.”
On the opposite end of the spectrum – but still stationary – the Vibe moment is a shared, interactive experience for multiple people, This mode opens the side door and folds up the windscreen, blurring the boundaries between the interior and exterior. Amid colorways of magenta and black with turquoise highlights, the Vibe moment transforms the Vision Urbanaut into a club-like environment, with a media control center and an animation of graphic equalizers projected onto surfaces of the front, rear, wheels and aforementioned loop.
It’s safe to say we’ve all experienced a technology overload in recent months. Virtual meetings and screens take up much of our day. Mini responded to this undesirable phenomenon with a digital detox environment. The only visible screen – round, in typical Mini fashion – is at the center of the cabin. All of the buttons, driver assistance displays, and other technological elements are hidden away behind sustainable textile materials.
The dominant material in the interior is knitted textile, which combines cosiness and quality with softness and comfort. The use of cork on the steering wheel and sections of the floor was chosen because of its natural feel while the use of recycled materials also enhances the concept’s sustainability factor.
The last pre-defined Mini moment is called Wanderlust, which is apropos given the fact that this is the only mobile environment. In this mode, users can drive or be driven, offering a tourism-style experience. The visuals of the user interface, inspired by tourism posters of the 1950s and 60s, display an animation of the route and other journey information – such as visitor attractions and arrival time – while the loop above the rear area visualises the feeling of movement with a simulated blur of passing scenery in a mix of orange and turquoise.
Users tap on the Mini logo to bring out the steering wheel and pedals when they want to drive. A minimalist parallax display in the IP — the only driving-related display — provides route instructions or hazard alerts. In automated driving mode, the steering wheel and pedals retract and the driving display disappears. On the exterior of the car, the light graphics in the LED matrix surfaces at the front and rear of the vehicle signal whether the user is piloting the vehicle or if the automated mode has been engaged.
The Vision Urbanaut is an interesting vehicle concept showcasing how Mini envisions the future of mobility, and it’s an especially appealing scenario for those of us that have been working from their living rooms for the better part of this year. I’d personally welcome any of the non-mobile moment scenarios, though it might still be a while until we can use the Vibe moment with our friends.
In many ways, however, the Urbanaut is just an evolution of the MPV, like a VW Combi of the ‘60s brought up to date with technology and greener materials. There are subtle differences — the folding IP is a nice touch — but it’s generally the same shape/idea as the Renault Espace and original Chrysler minivans with a reconfigurable interior.
Below is a video from the Mini design team showing how the concept was created and the thinking behind it. Unless you understand German, you’ll need to do a bit of reading.
Founded in 2012, Form Trends tirelessly covers the automotive design industry in all corners of the globe to bring you exclusive content about cars, design, and the people behind the products.
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Syd Mead Creates New Poster To Commemorate EyesOn Design
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Kaalukausid (weighing bowls), 2024
Blown glass, iron, rope, 16.5 m ² installation
Master Graduation Work: Contemporary Art, Estonian Academy of Art
Kaalukausid Eng. Weighing Bowls, was exhibited at TASE 24 the Estonian Academy of Art graduation show at Tallinn Art Hall. The work is a result of a study into material (in)compatibilty as a reflection of personal, and by extension society's relationship to our environment. Stemming from my own multi-national and multi-religious framework the material-specific installation and sculpture, engage the senses to highlight tension, fragility, and coexistence.
Investigating how identity shapes and reshapes our interactions with objects, I am interested in how art can help us overcome isolation by meeting ourselves and others within materials. In the face of a divided world that is becoming increasingly more polarised, the viewer is invited to observe how two inherently different objects can coexist and enhance each other thus encouraging constructive dialogue and reflexivity. Points of departure for the work are the manifestations of selfhood, discovery and reflexivity through engagement with materiality.
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Dezeen Magazine
Disco Volante by Lukas Galehr
A spinning oven shaped like a giant disco ball is the centrepiece of this pizzeria in Vienna by Austrian architect Lukas Galehr (+ slideshow).
Covered in hundreds of tiny mirrored tiles, the spherical pizza oven is positioned amidst the dining area and is anchored to a central chimney that allows it pivot from its centre.
The restaurant lights are dimmed for the evenings and various coloured spotlights are directed onto the oven, causing scores of pink, green and blue dots to flood across the white walls and ceilings.
Named Disco Volante, which loosely translates as flying disc, the restaurant is otherwise modelled on an authentic Napoli pizzeria with a vaulted ceiling, smooth tiled floors and clean white walls.
Black mosaic tiles lines the walls of the pizza-making area and also cover the floor surrounding the service counter and bar.
Simple wooden chairs and benches provide rows of seating, giving most diners a clear view of the glittering central feature.
Lukas Galehr is a member of design collective MadameMohr, which includes five architects and one industrial designer.
Other pizzerias to feature on Dezeen include one surrounded by tin cans and one modelled on an Italian courtyard.
See more pizzerias on Dezeen »
See more restaurant interiors »
Here's a short movie showing the spinning oven in action:
Photography is by Lukas Schaller.
Here's a project description from the architect:
Disco Volante
The recently opened Pizzeria is the second of its kind hosted by Maria Fuchs, a vanguard in the recent "genuine pizza" hype in Vienna. The name "Disco Volante" brings back memories of the James Bond villain Emilio Largo's escape vessel. Also a famous car designed in the early 50ies carried this name (there has recently been a relaunch by Alfa Romeo). But in fact does the name of the pizzeria simply refer to its original meaning "flying disc".
According to the clients wish the restaurant should not only carry the atmosphere of a southern Italian pizzeria but also transport the lightness of the "Italo-Disco"'s city departments and the tables only leaving space for a pizza and a beverage each. These attributes might sound unusual for a restaurant but are key elements of the success of "Disco Volante".
The waiters and waitresses are all wearing special designed overalls by fashion designer Milena Heussler & Luciano Raimondi and recall a mechanics outfit.
Responsible for the design of the Neon Sign as well as all print media are grafisches Büro, Vienna.
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Die Photographische Sammlung / SK Stiftung Kultur - Biography
D | E
Contact / Imprint / Imprint
August Sander is born on November 17 in Herdorf to August Sander sen., a mining carpenter, who was later disabled, and Justine Sander, née Jung. August Sander junior has six siblings. He attends the local elementary school.
1890–1896
Works on the mining waste tip at Herdorf iron-ore mine. Strikes up an acquaintance with a professional photographer from Siegen, who arouses his interest in photography. With the financial support of his uncle, he buys his first photographic equipment.
1897–1909
Military service and training under Trier-based photographer Georg Jung. He spends years traveling to Berlin, Magdeburg, Halle, Leipzig and Dresden, among others, and works in various photographic studios. Also interested in painting. Works for the Photographische Kunstanstalt Greif in Linz on the Danube (Austria), which together with a partner he takes over in 1902, only to later run it on his own. He becomes a member of the Upper Austrian Art Society (approx. 1904-9). In his Atelier für bildmäßige Photographie Sander offers “photographic works of every kind”. Sander receives numerous prizes for his photographs, which are frequently exhibited. In 1902 he marries Anna Seitenmacher. Birth of their sons Erich (1903) and Gunther (1907).
1910–1920
Relocates to Cologne. Birth of the twins Sigrid and Helmut (1911), but only Sigrid survives. Expands his studio work in Cologne’s Lindenthal district at Dürener Strasse 201. Begins photographic work in the Westerwald region, producing images he will later incorporate into his work Menschen des 20. Jahrhunderts (People of the 20th Century). Sander is conscripted at the start of World War I and does not return until the end of the war in 1918. Anna Sander runs the business in his absence.
From 1920
Intensive exchange with the Kölner Progressive artists group, above all with Franz Wilhelm Seiwert and Heinrich Hoerle. The ideas and concept for his large portrait project Menschen des 20. Jahrhunderts mature. First presentation of the project in the Cologne Kunstverein (November 1927); that same spring he travels to Sardinia with the author Ludwig Mathar. As a preview to Menschen des 20. Jahrhunderts the illustrated publication Antlitz der Zeit [Face of Our Time] is published in 1929. Sander holds a series of six lectures on the topic “The Essence and Development of Photography” in the Westdeutscher Rundfunk (1931). Sander’s son Erich, a member of the SAPD (German Socialist Workers Party), which is banned from 1933, is informed on and condemned to ten years’ imprisonment (1934). The National Socialists prevent delivery of Antlitz der Zeit and destroy the printing plates. Publishers L. Schwann, Düsseldorf, and L. Holzwarth, Bad Rothenfelde, publish six booklets each portraying a region of Germany (1933–1935). The images they contain by August Sander, but also taken by Erich Sander for the family business, address various topics focusing on landscape and architecture. Sander also produces botanic studies and detailed studies, for example of hands. Sander realizes numerous commissions in the areas of industry and advertising. The ongoing war obliges the Sanders to leave Cologne. They begin the move to their new home in the Westerwald village, Kuchhausen, in 1942. The Cologne studio is destroyed by bombing. Sander is able to salvage the most important sections of the archive and transport them to his new home (1942-3).
1944–1946
Sander’s son Erich dies in the Siegburg prison (1944) from an untreated and acute ruptured appendix. 25,000 to 30,000 negatives, which were stored in the cellar of their Cologne flat are destroyed in a fire (January 1946). Though the conditions are difficult he continues to devote himself to his many photographic projects. August Sander keeps up the contacts from his time in Cologne
1951–1962
At the initiative of photography publisher and sponsor L. Fritz Gruber, exhibition featuring August Sander’s works at the second photokina (1951) and visit by Edward Steichen, Director of the photography department of the Museum of Modern Art, New York (1952). Sale of the portfolio project Köln, wie es war (Cologne as it once was) to the City of Cologne (1953). Participates in the traveling exhibition curated by Steichen, The Family of Man (1955). Given the freedom of his native village Herdorf (1958). Special issue of the Swiss monthly magazine du (1959). Order of the Federal Republic of Germany, first class and awarded the prize of the German Society for Photography (1960/61). Publication of the book Deutschenspiegel with an introduction by Heinrich Lu?tzeler (1962).
Anna Sander dies on May 27 in Kuchhausen.
August Sander dies on April 20 in Cologne.
Bernd & Hilla Becher:
Coal Mine Tippels –
Small Mining in Pennsylvania
Kunstarchiv Kaiserswerth
September 28, 2019 – February 16, 2020
Opening hours Sat, Sun, 14–18hrs
...»» further information
Bernd & Hilla Becher:
Industrial Visions
National Museum Cardiff, Wales
October 26, 2019 – March 1, 2020
...»» further information
Apply now!
Public Guided Tours
Each Sunday at 15 hrs during the exhibition period (in German, please contact us for tours in English)
The education programme is supported by the Society of Patrons of Die Photographische Sammlung.
Opening hours and entrance fee
The exhibition opens daily 14-19hrs, closed on Wednesday
Entrance fee 5,50 € (red. 3,00 €)
Entrance free on the first Monday of each month!
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Hi, we are 9th and 10th graders at Cushman High School in Miami, FL. We are taking an elective class called “Before It’s Too Late Internship” where we work in teams to produce and market virtual reality films and prototypes to motivate urgency on local climate issues. We have the exciting opportunity to feature our class VR projects at Art Miami Fair, a fair that draws thousands of people from all over the city and country. Furthermore, our VR projects have been accepted to be featured in the Miami Dade Public Libraries next year. We need financial support, so we can leverage these opportunity to spread our mission!
We are raising $5,000 by December 1 to pay for the opportunity to exhibit at Art Miami Fair:
•Art Miami exhibit space and setup – $2,500
•Two Samsung Gear S7 VR phones for exhibit – $900
250 cardboard VR viewers for promotional giveaway – $1,400
SAVE THE DATE Dec 5 -10 Art Miami Fair at NE 14th St on Biscayne Bay
Our VR projects will be featured within the “Deep See” exhibit, a shipping container village featuring a collection of local artists’ work that shed light on the impacts of sea level rise. Our projects are:
“Miami Rising To Fight Climate Change” - 360 short films about real communities in Miami that are already addressing climate change - solar business, vulnerable and faith communities. We delve into these communities’ attitudes about the issue, solutions and hopes for the future.
“Miami Year 2050” - VR prototypes of immersive 3-D renderings for places in Miami as we imagine them to be in the future.
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Smashing Interviews Magazine
Compelling People — Interesting Lives
June 2016
Laurence Gartel Interview: From Warhol to the Grammys, In-Depth with the "Father" of Digital Art
Written by , Posted in Interviews Artists
Image attributed to Laurence Gartel
Laurence Gartel
Laurence Gartel is considered to be the father of the Digital Art movement around the world for over 40 years. The New York native’s work has been exhibited at the Museum of Modern Art, Joan Whitney Payson Museum, Long Beach Museum of Art, Princeton Art Museum, Norton Museum and in the permanent collections of the Smithsonian Institutions Museum of American History and the Bibliotheque Nationale. He has traveled the world exhibiting and projecting his work in Australia, Spain, Germany, Italy and India.
Gartel has had associations with Debbie Harry, Sid Vicious, Ace Frehley, Wendy O. Williams, taught Andy Warhol how to use the Amiga Computer and created artwork for Justin Timberlake, Britney Spears and the Red Hot Chili Peppers, as well as for Coca-Cola, Philip Morris, Walt Disney, Gibson Guitars and Absolut Vodka.
"Oh, yes. Oh, yes, a punk rock hippie, you could say, with punk glitter, high heels and a big car. I was outrageous. It was like right at that point where people would change from hippies into entrepreneurs. Interesting time."
In addition, he was the official artist of the 57th Annual Grammy Awards (2015). His concentration the last several years has been focused on Art Cars, the first commission being the TESLA Electric Art Roadster. Mercedes Benz commissioned Gartel to create a very special Art Car to celebrate their “13th Million Friend” on Facebook. He also created the first State Art Car at the Capital building in Concord with the New Hampshire Governor.
Melissa Parker (Smashing Interviews Magazine): You’ve said that you were an artist right out of the womb!
Laurence Gartel: It was like a chute … just like boom! (laughs)
Melissa Parker (Smashing Interviews Magazine): Does that mean as far back as you can remember, art is what you wanted to do?
Laurence Gartel: That’s correct. I don’t think I wanted to do it. I think I was told to do it or missioned to do it. I don’t know. I’m a pretty bright guy. I could’ve been a doctor, a lawyer, an architect. But somebody once pointed out that it was in my name: GARTEL – A-R-T, E-L (Electronics), the God of Electronic Art. Interesting how that is.
Melissa Parker (Smashing Interviews Magazine): What were you like as a kid?
Laurence Gartel: Incorrigible (laughs). One time, I was talking or something in first grade, and the teacher made me sit in the corner. Then they went to gym, and she made me stand by a pole. She was ridiculing me. I guess, back in the day, one could say that the teacher was probably abusive, you know, in today’s world. I don’t even recall if she hit me. She probably did. But I didn’t give in. I didn’t relent. She wanted me to apologize for talking. I said, “No. I refuse. I’m not going to.” I guess I always had this way.
Melissa Parker (Smashing Interviews Magazine): Rebellious?
Laurence Gartel: Rebellious in a way, but always feeling like I had the right answer. I was in junior high school, and the teacher said, “Stop talking! Listen to what I’m saying!” I told him that I listened to every word he said. He was shocked because he didn’t think I was paying attention, but I was. I think I was always a bit of a wise guy. I say wise guy, only for the fact that I was smarter than my teachers.
I had a teacher whom I admired. His name was Arthur Liepzig, a documentary photographer. He was the chairman of the photography department at CW Post College where I went to school, and I admired his great photography very much, I told him “Arthur, you realize I’m holding the future of art.” He goes, “Excuse me?” I said, “Yeah. You know that digital imaging is the future. I am holding the future.”
He hated me for that, but I admired him. It’s just having a certain amount of knowingness. I’m going to trade in “wise guy” for knowingness. That’s a hard thing for people to deal with actually, especially if they’re in power.
Melissa Parker (Smashing Interviews Magazine): Was it a struggle in the beginning while trying to get your ideas out there and convince people that digital art would be the wave of the future?
Laurence Gartel: Yes! Imagine Jesus walking around telling people he was a prophet. People didn’t want to listen to him. It’s hard when you have certain information you want to depart to others, they don’t believe it, and then it comes to be. I have many stories about that.
One story is when I went to the Brooklyn Museum and saw the photography curator. I showed her my work, and she said, “That’s not photography.” I said, “It’s not? What is it?” She goes, “Well, you used video, so I want you to see the new video curator down the hall.” I went there, and he sent me to the drawing department because I used an electronic pen to draw electronically. In the drawing department, he said, “What are you doing?” I said, “I make prints out of them.” He said, “That’s the print department.” I think that was in 1980. I saw every possible curator at the Brooklyn Museum, and they didn’t know what to make of it. They sent me all around, so consequently, I didn’t see anyone.
In 1989, I was the spokesperson for a show in Chicago called the Computer and Electronic Publishing Show. I was interviewed by the Chicago Tribune, and I was on the front page of the business section. I was interviewed for NBC Nightly News with Tom Brokaw, and they asked a museum director from the Grey Gallery at New York University, “What do you think of digital art? What do you think of Gartel?” The director said, “Oh, please! This is a fad. It has no substance. It’s not going anywhere.” Boy, was that guy wrong!
I saw the curator at the Museum of Modern Art (MoMA), John Szarkowski, and I did this thing where I was photographing electronic images off the front of a screen and making Polaroid murals. I put it on the floor in 1982. I came back, and there was no comment. There was nothing. Eight years later, MoMA collected my work, and it was another sellout. So that was dead wrong. I let these people know it.
Melissa Parker (Smashing Interviews Magazine): Laurence, you were born and raised in New York, so how did you end up in Boca Raton, Florida?
Laurence Gartel: In 1991, I had a show at the Norton Gallery with a museum curator named Christina Orr-Cahall. Christina was the curator of this Cincinnati museum, and she was the one who had the show of Robert Mapplethorpe and his homoerotic nudes. They threw her out of the museum essentially because of that show (laughs). She was going to show my work there in Cincinnati.
I said to Christina, “Listen. Wherever you go, I am going to go. I am not necessarily a fan of that work, but I certainly am a fan of freedom of expression, and that won’t change.” The work that Robert Mapplethorpe was doing was not my taste, not my sexual preference, but he was a master photographer. I loved his work, and I felt that what was happening at that time was like a witch hunt. So I said to her, “I will follow you wherever you go.” She went to the Norton Gallery in Palm Beach, and I had my show with her in 1991.
Everyone was so nice to me that I decided to move to South Florida. The Boca Raton Museum of Art director, Roger Selby, told me I should get in touch with the people who were starting something called the Palm Beach Photographic Centre with Art NeJame and his wife, Fatima NeJame. They are still in business to this day, and I started teaching for them in 1992, giving workshops.
Every year, they honor historical photographers with a lifetime achievement award. They’ve had some very high, established photographers that they’ve honored over the years. They honored me in 2009, not the youngest person ever to get that award, but certainly the first in digital photography/digital art. That was a big honor. But that was really the reason why I moved down there because people were nice to me and they acted very favorable. And the weather’s nice (laughs).
Melissa Parker (Smashing Interviews Magazine): You designed a campaign in 1990 for Absolut Vodka. Was that one of the first digital art ads?
Laurence Gartel: Yeah. It was the first digital art ad ever created. I used Photoshop 2.0 and Canon’s first still video camera, the Canon 760. The background is manipulated Polaroid mural. People have said to me, “The bottle looks out of focus.” I said, “Well, if you drink enough Vodka, that’s what the bottle will look like.”
Melissa Parker (Smashing Interviews Magazine): Makes sense (laughs).
Laurence Gartel: It made a lot of sense, so I was using the first digital camera, the first of everything. To this day, it’s iconic. This year celebrates the 25th anniversary of the ad. We’re going to have a big party.
Melissa Parker (Smashing Interviews Magazine): What was your relationship like with Andy Warhol in the 80s?
Laurence Gartel: I met Warhol at Studio 54. It was a very wild place, but we struck up a conversation about electronic art. He was very interested in that. I said, “You know, the possibilities are limitless. It’s kind of a new genre and you should check it out.” Warhol told me he was going to create the album cover for Debbie Harry, and he was going to use the Commodore Amiga computer. I told him that I helped establish that, so he invited me to his studio.
I showed him how to use Deluxe Paint and a program called Photon Paint. He was then able to scan Debbie Harry by putting a video camera on her. There were three wheels that the Amiga utilized, red, green and blue filters. It filtered in her image in red, green and blue and then put it together in the program. I showed him how to use the stylus to manipulate the image. Warhol was a very quiet guy, didn’t say very much.
Melissa Parker (Smashing Interviews Magazine): Did you have any further contact with him?
Laurence Gartel: No. That was it. You know, he passed away two years later. I held the keys to all of it. I’m sure it influenced him greatly in some way to see the work that I was doing. But I didn’t talk to him after that. I admired him, but I felt my story was bigger than his (laughs). I really was on the cusp of a new genre like stained glass in the 12th century.
Melissa Parker (Smashing Interviews Magazine): And you got the idea from watching a Charlie Chaplin movie?
Laurence Gartel: Yes. I was sitting in the back of a classroom watching Modern Times. I had this big lens, and a guy comes and taps me on the shoulder and says, “May I see your camera?” I’m like, “Oh, my God. He probably wants to steal my camera.” He goes, “That’s cool, man. What are you trying to accomplish?” I said, “I’m wondering if I can make a static picture from a moving image.” He said, “We have a really cool place here. Why don’t you come check it out? Meet me at 8:00 tonight in downtown Buffalo.
I told my girlfriend we had to go and check it out, so we went. I was curious. Lo and behold, there was a place called Media Study/Buffalo. They had a bunch of electronics there. I wanted to be able to create an image on the screen that was different, that no one ever had seen before.
You know, some people paint the same painting over and over and over, and that’s nice. But great art has to do with groundbreaking work. Sure, there are great painters. There are great sculptors. There’s a lot of great talent in the world. I admit that. I admire that. But will they ever be in art history books? Does what they do deserve the attention of art history forever? Forever? That’s where I come in. And I am in. I’m in those books.
Melissa Parker (Smashing Interviews Magazine): Skin for burn victims and the foundations of a human liver have been created on 3D printers, and they are used more and more in healthcare. What do you think about 3D printing?
Laurence Gartel: We are at the tip of the iceberg with 3D printing because anything you’re going to need, you’ll just be able to print. This is the revolution of manufacturing. It hasn’t hit just yet. We are in its infancy, but you will be able to do all sorts of things with 3D printing. That’s going to revolutionize manufacturing. If you need a chair, you’ll print the chair. If you dropped your ceramic coffee mug, you’ll print another one. If you have an old Mercedes, you can just print another one.
I see that revolution taking hold. Printing in full color hasn’t taken hold yet. I’ve read, seen and heard that they could print a house. It’s going to come along. It’s moving as it is, but at some point, it’s going to really escalate.
Melissa Parker (Smashing Interviews Magazine): What is your favorite piece of art that you’ve created?
Laurence Gartel: I’d have to say two favorites, “Moz Ocean,” which is a Polaroid mural created in 1982 and this piece called “Coney Island Baby” of a girl I photographed and then collaged with images I took of Coney Island. It’s the last place I was at before I moved to Florida.
My dad grew up in Brooklyn, and I wanted to say goodbye in a ceremonious type of way, and that was to take pictures of where he was. I made that piece in 1999, so I held on to those images for six years. It’s kind of interesting in a way. It was a slow turn to create that piece. It just says it all. To be honest, I’ve been trying to top it ever since. I’ve made some great pieces. I don’t know if they’re “as good,” but those just resonate with me.
Melissa Parker (Smashing Interviews Magazine): Why is it important to keep art in schools?
Laurence Gartel: My God, that’s the most vital thing there is. The whole thing about life is to trigger the imagination, and there’s nothing better than art to be able to do that. If you don’t give people the ability to dream, then they won’t dream. They’ll just become robots. They’ll just become cogs on a wheel. They will just follow in step, in tow, and never explore. I’m not saying everyone has to be me, of course (laughs). I think when they made me, they broke the mold. But I believe that anyone can become whatever they want to be and are able to dream.
It’s funny, just coming off the experience of the tour around Key West, talking about this fellow starting a cigar business and this person had all the things that enable people to be innovators. We’re losing a lot of that to the idea of not allowing people to dream. You don’t have to become an artist, but you can certainly become something that influences and changes the world. That’s where I believe art in school and certainly music, as well, come in. There wouldn’t be a Disney if he hadn’t had an imagination.
Melissa Parker (Smashing Interviews Magazine): What are you doing these days?
Laurence Gartel: I’m going to be the feature of an auto show in Scandinavia. I make Art Cars these days. I wrap cars with art. If you look around you, there are thousands of cars that are all monochromatic. The question is, “Why?” They don’t have to be that way anymore. You can personalize your car. You can be expressive. Every car is a canvas. That’s what I’m working on. I tell people that their car could be a personal expression. Of course, I’d like to do every car. Then, I’d be a wealthy man. But it’s hard for people to come around in life with new ideas.
Melissa Parker (Smashing Interviews Magazine): Life and art’s about being an individual.
Laurence Gartel: Yes, it certainly is. I have a cousin I haven’t seen in 25 years, and we got together. He’s 7 feet tall, so he’s very tall (laughs). I am not that tall. I’m 5’ 9” tall. I’m very average. When we got together, his hair looked exactly like my hair, both with long, gray hair. I wore red glasses; he wore orange glasses. I have a medallion around my neck; he had a medallion around his neck. I wore a t-shirt that was imprinted with gold lettering. He wore the same. There was an aura about us, but we haven’t seen each other in 2 years. We didn’t discuss beforehand how we were going to dress.
I have other cousins, and they’re all so very unique. Our mothers were very eccentric (laughs). There were 4 sisters and a brother. She had a half brother and a half sister, and those guys are very normal. I use the word “normal” to describe them. We are all very different and very odd, very out there, very unique. Maybe that’s in the genes, I don’t know. My daughter, I’m very proud to say, won greatest creative hair colorist in the world in Las Vegas last October. She’s traveling around teaching people about color and hair. I’m very proud of her that she followed her dream to be creative in her way.
Melissa Parker (Smashing Interviews Magazine): And maybe inherited that “color” gene from her dad?
Laurence Gartel: I think so. Her brother is much the same way and works in the same salon as she does, but he leans more toward fashion and has a large sneaker collection. We beat to a different drum. It’s not about money. It’s about vision, change and the big picture of living. I’ve lived here for 25 years, and it’s my first time to Key West. I decided to do something different. I was featured in Apple Computer’s “Think Different” campaign. Other subjects were Jackie Robinson, Jim Henson, Golda Meier, Jim Morrison, Pablo Picasso and Gandhi. I’m in good company with people that want to shift the world in peaceful ways.
Melissa Parker (Smashing Interviews Magazine): Speaking of different colors, some of your art is pure psychedelic. Could we have called you a “hippie” in the 70s and 80s?
Laurence Gartel: Oh, yes. Oh, yes, a punk rock hippie, you could say, with punk glitter, high heels and a big car. I was outrageous. It was like right at that point where people would change from hippies into entrepreneurs. Interesting time. I went to Melbourne in 1985 to give a speech for the First Pan Pacific Computer Graphics Conference. I was 29 years old at the time. There was an article written that called me a “yuppie.” I think that’s the term – “young urban professional hippie.”
Melissa Parker (Smashing Interviews Magazine): You created psychedelic art for the Grammy Awards last year.
Laurence Gartel: Yes, I did the official art for the 57th Grammy Awards. I wrapped the original, one of a kind, 5 ½ foot statue, and it became the announcement, the invitation, the VIP tickets, the poster, the program. It was on everything. The original is at the Recording Academy.
They couldn’t come up with anything the year after, and I doubt they’ll come up with anything else. It’s too good. Not trying to sound arrogant or pompous or anything, but it just literally blows everything away. I think you can influence people with art. You can change people’s lives hopefully for the better. That’s really the goal.
© 2016 Smashing Interviews Magazine. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without the express written consent of the publisher.
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Puerto Rican Art
I created many of these pieces while I was an undergraduate student/M.F.A. at The City College of New York, and in the beginning of my professional career when I met a group of young Puerto Rican lovers of bomba and plena, the afro-caribbean music of Puerto Rico.
While my style and themes have evolved, these pieces remain close to my heart. I feel that in some way, these works of art have contributed to help people communicate their love for Puerto Rican culture and history. This is the testimony of my love for my country and culture.
This growing series is titled Puerto Rican Heart and Soul.
Tanya Torres
Art for Love, Peace and Joy
¡Bomba! (Linocut)
Bomba dance linocut print.
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Windham-Campbell Prizes
The Donald Windham-Sandy M. Campbell Literature Prizes is one of the largest literary prizes in the world, awarding nine winners in drama, fiction, and nonfiction $150,000 each. The prize identity uses a range of graphic brackets, reflecting both the diversity of the prizewinners and how the prize brings them together as a group. The prizes are administered by the Beinecke Rare Book and Manuscript Library at Yale University. As such, the identity primarily uses the Yale typeface, designed by Matthew Carter exclusively for the University in 2004. For three years, we designed all the materials for the four-day festival in September, including ceremony invitations, programs, banners, and book bags.
Art Direction: Michael Bierut Logo Design: Laitsz Ho
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Beach gallery
The theme of this exhibition is the beach. This exhibition consists of artworks which represent the beach in some way. Most of the artworks on this exhibition are either straight forward and have an image of the beach or are not and have a connection to the beach. I have chosen this theme as there are many beautiful and interesting ways to represent the theme. This includes all mediums of artworks such as photographs, sculptures and paintings. One particular artwork which is in this gallery is a sculpture called Tetradrachm with image of Poseidon/Antigonos Doson and was made in 227 BC - 221 BC. This piece of art is not straight forward and shows you an image of the beach or something that comes from the beach, Instead this artwork is a sculpture made out of silver which is connected to the beach as it has a picture of Poseidon sculpted into the silver. This artwork related to my theme as Poseidon is the Greek God of sea. This is an example of what forms of art you will find in my gallery.
Post Modern
Structural Frame
Cultural Frame
Subjective Frame
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Alex Selmeci and Tomáš Kocka Jusko – Idle Cruising
opening: 30.1.2020
duration: 31.1.2020 – 22.3.2020
curator: Erik Vilím
East Slovak Gallery, Hlavná 27
Coach * indicates a four-wheeled vehicle with opposite-facing seats drawn by horses • from the German word kotsche, from the Hungarian word kocsi: ‘coming from the village of Kocs, south of Komárno’
When, in the 16th century, coaches began to travel between Vienna and Buda, the world became a little smaller. Initially, the coach had to be designed to cope with the rough terrain of the roads – the development of suspension and the improvement of the upholstery were driven by the need for adopting the sitting position over long journeys. Efforts to achieve comfort predetermined, but also accelerated, the development of this means of transport. The wider uptake of coaches correlated with a growing disruption to human biology. Overcoming distances without exerting any physical effort was accompanied by the so-called coach sickness, similar to the experience of travelling by boat. Paradoxically, the liberation from the tedious and mechanical process of walking put the body in an unpleasant situation. The source of nausea was the absurd combination of movement and physical passivity. The body had to gradually adapt to this radical transformation, just as the coach had to adapt to our needs. The nausea experienced by passengers was in direct contrast to the purpose of a coach - to care for the physical human body. The organism was enclosed in a sealed cabin and protected from the adversities of nature. From this perspective, the coach acted as a kind of precedent to the so-called human-oriented technology that creates, metaphorically speaking, a shell between us and the material world. By its form, it addresses our desires and at the same time responds to the interface of our sensory abilities.
However, before the birth of modernity, the coach had also played another role – the development of transit, communication networks and infrastructure made it possible to settle in distant places. It was one of the first technological advances in which the locality gradually ceased to exist. In other words, the acceleration of movement gradually transformed our relationship with place and made it meaningless – a particular place can always be replaced by another one with minimal effort and without any physical work. Moreover, an equivalent and at the same time a consequence is captured by the increase in our interest in live streaming videos, which allow us to move from burning Australia to the comfort of an armchair. The coach in the 20th century finally lost its original purpose – it was replaced by an update, the train.
Coach * denotes a slang term for a private tutor taking care of a student; instructor, technical advisor, head of a sports team (since the 20th century) • from the French word coche: ‘wagon, stagecoach’
The creation of the specific profession of coach in the 19th century corresponded to the needs of increasing knowledge associated with the gradual "de-enchantment" of the world [by secularisation], the spread of enlightenment throughout Europe and the necessity of a rapid transfer of information. The coach was a private teacher (initially working mainly at Oxford University), a person who looked after the comfort of the student, oversaw his or her learning process and specialization in a particular subject. He led the student to achieve a better outcome of his or her intellect, or more specifically, the coach accompanied the student and directed his or her attention. Figuratively speaking, he "transported" the concepts or ideas that were supposed to bring the pupil to a pre-determined goal. The profession of coach was based on nurturing the intellectual abilities. The body of the student, however, remained in a passive sitting position in a dark office. The movement the student performed took place in the abstract realm of cognition, in which knowledge gradually compiled the concept of the world [an intellectual map of social reality].
After updating the Enlightenment version of the coach at the turn of the 20th and 21st century, his capitalist mutation focused on the business environment. The motto “Multiply your impact!” underpinned all the coach’s action which were aimed at increasing productivity and profit. The privileges and natural authority stemming from the position of a 19th century coach have been replaced by an artificially created reputation and a detailed profile on LinkedIn. Again, the coach was hidden in the private zone of the manager, the director or the team leader. He focused the client's attention on his work agenda, his or her short- and long-term goals, fostered the courage to change, and advocated prudence. While the Enlightenment coach focused on the student's intellect, the present coach focused on the client's ego. The effectiveness of the coach was fulfilled in maintaining [stabilizing] the vitality of the ego by subliminal manipulation. His services have been set by the client’s individual requirements [“Designed for you!”] – flexibility was key to continued success in the changing world. In 2031, the coach of the globalized world was replaced by technology using artificial intelligence, which was able to analyse a wide spectrum of the client’s digital data for its absolute personalization.
Erik Vilím
The art duo Alex Selmeci (*1994, Košice) and Tomáš Kock (*1994, Košice) aim to create spatial images or fictional environments in which the past spills into the present, the present into the future and the future into the past. They deliberately disrupt the linearity of the passage of time from the past that has already occurred to the future that is yet to take place. Technology, as one of their main themes, is not subject to moral or ethical criticism. It does not reflect specific meanings but the artists capture it in its performative transformations that leave traces on our thinking, perception and language. It is the mutual adaptation of technology to man and man to technology that circulates in their project-oriented production. Their solo project in the East Slovak Gallery represents the current position of their work.
Selmeci and Kocka studied at the Studio of Contemporary Painting at the Department of Fine Arts and Intermedia of the Faculty of Arts of the Technical University of Košice under the supervision of Adam Szentpétery. They currently continue their studies in the Studio of Intermedia Work II by Dušan Zahoranský and Pavla Sceranková at the Academy of Fine Arts in Prague. Their art projects were presented at several solo exhibitions (Caretaker Prototype 73.01 [Caretaker Institute], Panel Gallery, Prague, 2019; Place to touch the gloves and leave it there) [Caretaker institute], Temporary Parapet, Bratislava, 2019; 28 - 13 074181 , VUNU Gallery [Rooftop], Košice, 2018) and group exhibitions (Techniques of Mourning / Protocols of sacred, Jelení Gallery, Prague, 2019; New magic wand, Hotdock project space, Bratislava, 2019; Linked bodies in a container with water, GAVU, Cheb, 2019). In 2019 they took part in a residency stay at the cultural centre of Banská st a nica.
Coach * indicates a four-wheeled vehicle with opposite-facing seats drawn by horses • from the German word kotsche, from the Hungarian word kocsi: ‘coming from the village of Kocs, south of Komárno’
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A new Braille font: Hex Braille
Michel Kern Posts: 20
edited April 2020 in Type Releases
Since my first published font (Go Braille), I had another idea which was to represent braille glyphs with a flat hexagon (which can be read as 3 rows of 2 vertices). Hex Braille is a monospace font where the glyphs are connected to each other to make a lattice. For the workflow, I used Illustrator and FontForge.
In fact I had a lot of problems with blank interline that appeared randomly when I checked the font lattice in Microsoft Word (depending on font size and zoom level). I tried to modify OS/2 / Metrics properties as explained in FontForge manual but still had this blank interline issues, so if someone has an idea to fix this, it would be more than welcomed.
NB: My wife said it's because a word processor is not precise enough and that it is not a good tool for testing and that I'd rather use a page layout tool like In Design.
https://www.myfonts.com/fonts/echopraxium/hex-braille/
• In fact I did not sent a picture to illustrate the font, here it is:
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Mai Deribe's Palace - A hidden gem in Borno state, Nigeria
Little is known of the hidden gem in North-eastern Nigeria that attracted kings, princes, prime ministers and heads of state back in its heyday. While the media talks about insurgency and terrorism in North-eastern Nigeria and discourages people from visiting for security reasons, let's shine a light on the more appealing aspects of the region by looking at its not-so widely portrayed architecture.
chly crafted interior arches, wall calligraphies, coffered ceilings and royal furniture portray a mix of Arabic, Italian and Northern Nigerian cultures.
While pictures do not do it as much justice as a real-life immersive visit would, a certain individual has taken the initiative of documenting the palace with impressionable pictures that can be found on his Twitter: @habu_bolori.
1. Amazing, So legends were true!!!
A great architectural wonder, that depicts the beautiful life we live in AFRICA, Colourful and spiritual.
Allah ya jikan Mai Daribe.
2. I know the architect, it was my father, a man called David Maney. I have all the construction photos and drawings.
1. Interesting. I would love to know more. How can you be reached?
3. share the drawings for the palace if you said the Architect is your father.
if not we need one architect to visit the palace and make a floor plan for this palace.Traditional Haitian architecture is inspired by Taino, Yoruba, and Europen architecture from the Bohios to the shotgun. A major contribution to the life of shared community spaces is made by the Galri (porch) arguably the actual “living room” of Haitian buildings. The interior of the house usually consists of two rooms and is used as a place to rest and to store possessions. The kitchen and bathroom are sometimes separated from the rest of the house. In Kreyol, the shared yard or courtyard is called Lakou. Traditionally this includes the sharing of material items, chores, food, space, and childcare. The Jaden (Garden) is essential for all Haitian houses. The Jaden produces fruits and vegetables for the household. Colors and ornaments are used repeatedly throughout traditional Haitian homes. Most traditional Haitian architecture is a single-story, two-room rectangular house. The porches bring private life into an in-between space: semi-outside, semi-inside. Thelanguage of our Continent is Beautiful and Spiritual. Africa is connected to the realm of Her Ancestors, for the cycle of Life is never broken in the Motherland! On the way to Mastering the architectural language of his culture, the IGBO of Nigeria, Ikechukwu Godspower, better known as 'Zhinche' unearthed the building blocks upon which technology, aesthetics, spirituality, materials and design philosophies were transferred into architecture and community building of the Igbo Nation. His goal was to specialize in speaking the architectural language of his Culture, a skill he intends to Master in his professional journey to becoming a Master in Igbo Modern Vernacular Architecture. Play video below to watch the design Quick Animation. Nnukwu Nmanwu was targeted at restoring the traditions of igboland gradually fading away. The mmanwu were effective in keeping/restoring traditional norms and values in the communities. They are performed only by males in exclusive secret societi
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denae brennan Events
Denae Brennan Events is a boutique full service wedding and event planning firm creating events filled with thoughtful details, refined beauty and joyful experiences.
fall hygge-inspired hutton house wedding
This wedding. I loved everything about Franny and Justin’s Hutton House wedding! Most of all the beautiful couple it celebrated. Franny was a bridesmaid in one of my previous weddings (hi, Sarah and Reid!) and I was thrilled when she reached out for help with her and Justin’s nuptials. I was lucky enough to get to work with them from the very start as their full-service wedding planner, so we initially set out on the venue hunt to find a place that fit not only their budget and desired guest count, but their style and overall aesthetic.
Franny and Justin knew from the get-go that they wanted a cozy fall wedding, inspired by the concept of hygge (a Danish and Norwegian word for a mood of coziness and comfortable conviviality with feelings of wellness and contentment). There were several contenders, but in the end The Hutton House won in a landslide. Its all-white interior and clean lines were the perfect backdrop in which to create a textured, modern design; and you can’t get more cozy than that fireplace! It is one of my favorite wedding venues in the Twin Cities.
I just loved Franny’s gown. It had a beautiful texture to it and she added illusion sleeves, which were so perfect for her November wedding. And it had pockets!
Gotta love that first-look reaction.
I knew that Ashley Fox of Ashley Fox Designs would be a wonderful match for their overall aesthetic and of course she exceeded every expectation. The couple wanted more texture, less color. Ashley used things like pampas grass, dried hops vines and lunaria, with some subtle pops of pink with cafe au lait dahlias.
Can we talk about that head table installation?! It was such a standout piece to draw attention to the bride and groom at the head table. Ashley used a lot of ceramic in the tablescape to add more texture than standard glass vases. One of my favorite elements was the loose lunaria down the center of the banquet tables, where you would typically see greenery. I loved how this color-neutral design came together.
Hi Harvey! He’s just as soft as he looks. 🙂
The seating chart hung from a piece of driftwood the couple found up north.
Following the ceremony we flipped the space and set up a cozy lounge in front of the fireplace, courtesy of Rudy’s Event Rentals.
Franny changed into a badass white jumpsuit for dancing!
Despite the chilly temps, guests cozied up on the Hutton House’s lovely courtyard with some blankets and heat lamps under the cafe lights.
The day was perfect and it was an honor getting to plan it with Franny and Justin. I can’t believe it’s been a year already! Happy first anniversary and cheers to many, many more!
PS – We were lucky to have this beautiful day featured over on The Knot earlier this year!
wedding planning: Denae Brennan Events // photography: Geneoh Photography // venue: The Hutton House // catering: D’Amico Catering // floral design: Ashley Fox Designs // music: Bluewater Kings Band // donuts: Angel Food Bakery // cake: Milkbar // hair & makeup: S+M Hair & Makeup // bridal hair: Melissa Ashfeld // rentals: Apres Event Decor, Rudy’s Event Rentals, Ultimate Events // transportation: Gray Line Transportation, Rent My Party Bus // pup handler: Doggy Social // officiant: Paula Northwood // groom’s suit: Heimie’s Haberdashery // stationery: Minted // seating chart: Etsy
You may also like:
Colorful Spring Cafe Lurcat Wedding
Modern, Tropical-Inspired Calhoun Beach Club Wedding
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England’s Jonathan Callan builds sculptures from folded books. As an avid reader, the artist first came to understand the world through books. He was drawn to art as a way to earn a living. In February 2010, he created an installation in Sheboygain, Wisconsin’s John Michael Kohler Arts Center. The installation was made of book discards donated for the project.
Recycling old books is part of the delight that Jonathan Callan gets from using books as objects of art. He claims that the older he grows, the more interested he is in used books -- as art materials that have had a previous life.
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shiny things in messy little piles
Tag: bookart
Morning Linkage (Dec 20)
KZ400, El Diablo by Mad Crow in Barcelona. The details on the headlight and tank make it special.
Hedton. A rare Hedlund engine crowbarred into a Norton(?) frame. Includes links to the Hedlund engine story and a flickr stream of Hedlund motos.
Odd-bits bicycle sculpture. A Monday morning smile.
Science and Technology
Yeah, sociology is a soft science but wth. Why a limited level of corruption among officials and law enforcement may be necessary to the cohesiveness of society.
Something to mull over. this map of the world shows the heavily walled national and international borders. Are we walling off the rest of the world? And can you think of other heavily fortified borders and how do they fit into this map?
Art, Images, and Design
Thomas Allen brings pulp fiction paperbacks to life by moving the subjects out of the flat plain of the cover. Artist bio.
A sample of the work of Hermann Huppen — one of the rare breed of writer/illustrators in the world of comics. Some of the Jeremiah series featured here are available in English translation.
Headless Productions. Teaser for I’m a Monster. It’s going to be a first-rate family giggle.
Morning Linkage (Apr 9)
A nice over-restoration (I made that word up) of a Honda CBX1000. The header pipes are rad.
Another CBX, this time in near original condition. More pics and details on the bike as you slide right in the viewport.
Pretty photograph and explanation of The Belt of Venus over the Valley of the Moon. Okay, the title is the coolest part but the picture will make you a little dreamy too.
Art, images, and Design
Here are some shots from the NYC Easter Parade. Random goodness. It’s worth a chunk of time to click on the “Mark Tucker” at the top and explore some of his other posts. There are days when his slide into a
brand of slick commercial portraiture is cloying and others when it is oddly calming. And then there are the moments of genius like these candid shots from the NYC Easter Day parade. (Talent is often for
Six possible costumes for your next big event. Provided you don’t have hay fever. Weedrobes — Nicole Dextras’ ephemeral couture for summer and prints from the photographs. You’ll like the winter Iceworks as well but they aren’t as wearable.
Su Blackwell’s version of the Mad Hatter’s Tea Party features a well cutout Alice looking on curiously. all of Ms. Blackwell’s book sculptures are just plain fun.
The music is standard pop, love song, but the video is too terribly twee with all of those clever matchboxes. The Navigators “Dinner at My Place
And then I found the entire set of matchboxes in one place.
and there you have it — another perfectly good week wasted with…
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● 18th April 2016 – ArtLifestyle
Joseph McDermott is a 21 Year old Graphic & Media Design Student from Kingswinford currently residing in Peckham. In his spare time he likes to skateboard around London whilst taking photos of the UK’s finest MC’s, his friends hanging out at the local chicken shop or Chloe Sevingy if she’s in the neighbourhood.
I spoke to Joseph about the release of his first photobook “Get.Got”, his approach to photography and dream portraits.
So Joseph, tell us a little a bit about the how Get.Got came about?
Well, the photo book came from me and my friends all carrying cameras and documenting what we found interesting on a day-to-day basis. I had been saying we should do something with these photos as we all had stacks that we were sitting on that were going unused. It started off as a zine and as more and more people got involved I decided to take it to a hardback book. I always wanted to create something physical from it. I think in the current digital age it’s even more valuable to have a physical product. I wanted all the photographers involved to have a copy they could hold on to forever and even look back through in ten years time. It wouldn’t be possible without those guys too so shout out to: Ashley Robinson Dodd, Jake Ranford, Nicholas Borgehsi, Cameron Wilson, Luke Saunders, Joe Shaw, Joshua Price, Jack Aldridge, Nat Turner and Maxwell Granger.
What inspired you to start documenting everything around you?
It really started to appeal to me when I moved to London, you really do see the craziest stuff on a daily basis and some of my friends were already shooting, it seemed fun and I wanted to try it. After a few weeks, I just started carrying my camera with me everywhere and I haven’t stopped since.
You’re into skateboarding, would you say that photographing daily street life is a natural byproduct of your interest in skating culture?
I’d say there’s a connection there, it just took me a while to realise it. I’ve grown up videoing and taking photos of myself and my friends skateboarding since I was about eleven. We’d always be filming ourselves skating and just documenting what we found fun and interesting, now I see this photography as just an extension of that. And I still find it as fun as I did growing up.
Why do you prefer to use film over digital?
There’s just something more special in the entire process of shooting film, there’s excitement when you get your rolls developed. I’m a vinyl collector as well and I think it’s the same mentality, there’s just something about the entire process that I find much more satisfying and fun. I have a digital camera and it’s great for if I need something immediately but if it’s something I’m shooting for fun I’ll always opt for film. I’m only shooting on an Olympus MJU 3 150 and it’s been my most reliable camera for a while now and I picked it up in a job lot for £2.50 and whatever film I can get my hands on.
I think it’s important to not get bogged down thinking about equipment and I want to emphasise that anybody can begin shooting on whatever camera they have already, the biggest step is just going out and experimenting.
Your Instagram features scans of your 35mm work, interesting use of that particular social media platform considering its original function, would you say Instagram is essential to spread a photographers work in this day and age?
I’d definitely say it’s essential, there are designers and photographers and all sorts of creative people getting their work discovered through Instagram every day. It’s a crazy tool that scares me, but I think it’s very important for the upcoming creatives to display their vision. I’ve already had some great opportunities and met some great people just from posting some of my pictures every couple of weeks.
The photos in the book and your blog feature a mixture of your mates and musicians, would you say it’s different taking photos of either?
I try to shoot them the same, I love shooting a musician as if they were just one of your mates. Having a laid back approach to shooting can lead to really organic shots and I try to keep that as a consistent theme. In some situations, you have to just ask for the shot and they’ll pose but I really don’t want to control the subject or ask them to do anything. I feel like I just want to capture the atmosphere of that moment.
You mentioned earlier about having stacks of photographs lying about, is there a photo amongst them that you’re most proud of?
That would be the portrait I got of Chloe Sevingy, I met her at Dover Street Market and got her to sign my ‘Fucking Awesome’ skateboard that has her high school photo on. I remember taking my time on that one and being worried about it being out of focus and being super stoked when I got the film back.
Who would you most want to photograph in the world, living or dead?
I couldn’t even begin to think out of people who are dead, but I think I’d want to shoot somebody who’s alive. There’s so many powerful photos of the greats in their prime that will go down in the history books, I’d like to shoot somebody today that could potentially go on to be one of those great shots. I’d love the opportunity to shoot Young Thug or Lil B as they’re two of the most interesting figures in music today for me, especially if Young Thug styles himself for the shoot.
To grab your copy of Get.Got head over to http://getgot.bigcartel.com/
View more of Joseph’s work at http://internalfile.tumblr.com/or follow him on Instagram @joekid
Tip the writer, support creatives.
Donations go directly to the writer. Please specify their name in the PayPal note.
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Thursday, August 20, 2009
The Letter of Loss and Confusion 王羲之《丧乱帖》
Lanting Xu, the famous work by Wang Xizhi (303-361), is reputed to be the best Xingshu (walking script) in the Chinese calligraphy history. As a whole, the brushwork of it is exquisite with thick strokes being robust but not awkward, while narrow strokes are delicate but not weak. The calligraphy was completed in a rhyme with the proper use of force of the brush, light or heavy, fast or slow. Its strong and clear-cut lines and round and mellow forms present us with a fresh, clear, exquisite and closely linked work of art.
However, some calligraphy critics feel that Lanting Xu is not Wang’s best work and instead, prefer the Sangluan Tie (The Letter of Loss and Confusion).
Original works of Wang Xizhi's calligrahy are rarely seen today and most, if not all of the works we see now are rubbed copies of his works by others. It is believed that both Lanting Xu and Sangluan Tie we see today are copy works of later calligraphers. It is not deniable that later calligraphers had done a great job in making the copy works look like the original works. However, in terms of reflecting the original and spiritual mood of the calligrapher, it is pointed out that the copy work of Sang Luan Tie had captured the spirit of Wang’s writing better than that of Lanting Xu.
The text of the calligraphy says, ‘Xizhi kowtows; I am lost and confusing to extremity. The ancestry tombs came apart again! The torment poisoned and pressed me quite brutally. I cried and wailed in despair. The pain has gone through to my heart and my liver. What can I do? Although the tombs are being repaired right now, I cannot go see to the work done. Oh the sorrow, like poison, is running deep each and every moment. What can I do? How can I be? Having come to the paper, I am at a loss of what more to put down. Xizhi kowtows ... kowtows.’
Wang lived in the Wei-Jin period which was a time of turbulence and changes. The Wang family had to flee from the north to the south. It is quite obvious that this letter was written at a time when he felt he was so confused and helpless on knowing that the ancestral tombs in the north were damaged and destroyed. The anger and frustration was displayed thoroughly by words full of hopelessness and grief, and the non-conventional, bold and wild strokes.
The emotion was strong and calligraphic strokes were non-conventional in displaying that emotion – these are the conditions and elements that make Sangluan Tie a great masterpiece.
王羲之（303-361）的著名的《兰亭序》在中国书法史上被认为是最好的行书作品。整体来说，它的笔法绝妙，笔画键实而不笨拙，细致而不软弱。整幅作品节奏完美，表现于用力得体，有轻有重，有快有慢的线条。它的强健而清晰的笔画及圆而熟的形式所带来的是一幅清鲜、晴朗与绝妙的紧凑的作品。
但是，有些书法评论者却觉得《兰亭序》并不是王羲之最好的作品，而偏爱《丧乱帖》。
现在很难看到王羲之的正品。如果不是全部，可说大多数是后来书法家的临摹作品。据说《兰亭序》与《丧乱帖》都是膺品。无可否认，后代书法家在临摹时，下了苦功，形态极像原作。可是，就表现书法家原本与精神而言，有人认为在反映王羲之书写精神方面，《丧乱帖》比《兰亭序》好。
王羲之《丧乱帖》全文如下：“羲之顿首：丧乱之极，先墓再离荼毒，追惟酷甚，号慕摧绝，痛贯心肝，痛当奈何奈何！虽即修复，未获奔驰，哀毒益深，奈何奈何！临纸感哽，不知何言！羲之顿首顿首。”
王羲之生活的魏晋时期，局势动荡不安与变动连连。王羲之的家族要从北逃离到南方。明显的，这封信是他在知道祖坟在北方遭受到破坏与损坏之后，感到混乱与无助而写的。无助与悲痛的语言，非传统、强烈与无束的笔画，通篇表达愤怒与挫折之情。
强烈的感情，以非传统的书法笔画来表达情感 – 这些都是使《丧乱帖》成为名帖的条件与因素。
1 comment:
1. 简易居士运开兄，小弟到此一游，实大开眼界。伟光
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The Mobile Darkroom Making Photography Accessible to Turkish and Syrian Youth
"My friend" by Ishak, aged 8
Sirkhane’s aim is to grow the creative confidence of young refugee communities. A caravan-turned-darkroom is traveling the Turkish-Syrian border to make that happen.
Serbest Salih was already transfixed by photography after studying the medium at college in Aleppo. But when he was forced to flee Syria with his family in 2014 after Islamic State fighters closed in on his home town of Kobani, his appreciation of photography was renewed. Witnessing firsthand the value of documenting history—which some of those he was traveling with were—was enough to confirm that democratizing photography would become his life’s mission.
Salih finally arrived in Mardin, an ancient city in southeastern Turkey 350 kilometers from the Syrian border, which is now home to over 100,000 refugees. There, he partnered with Sirkhane, a nonprofit that offers circus and art workshops to Turkish, Kurdish, Syrian, and Iraqi youth, and later paired up with photographer Emel Ernalbant who first founded the darkroom workshops at Sirkhane in 2018. One year later, the duo started leading a mobile darkroom that travels from village to village, teaching children how to shoot, develop, and print their own analogue photographs.
“So many children from these regions have been deprived of educational and joyful activities for too long,” said Pınar Demiral, cofounder of Sirkhane. “Our intention is to help these children access joy.” Sirkhane was founded in 2012, six years before the mobile darkroom launched, as a safe space for children to learn and socialize with one another. In addition to arts classes and circus workshops, Sirkhane also offers child protection services, including psychological support for children who have fled warzones or escaped persecution, and helps children prepare for and enroll in local schools.
The Sirkhane darkroom was initially intended to be a short-term project born from a one-off collaboration between Ernalbant and the nonprofit. But the reception from the children they worked with was impossible to ignore. One successful grant application later—the neighboring war in Syria meant more humanitarian aid became available to Turkey-based nonprofits operating near the Syrian border—and Sirkhane’s darkroom units became a mainstay in the organization’s base in Mardin. Sirkhane also invested in a caravan-turned-darkroom to reach youth in rural areas. As part of its programmes Sirkhane started providing local youth with compact point-and-shoot cameras, each of which had 36 exposures. Each child could then use the darkroom facilities to see their negatives, choose their favorites, and learn how to develop their respective negatives from scratch. Today, the mobile darkroom can stay from six weeks to six months at a time in one community.
“These children are using photography as a very personal expression of feelings and ideas,” said Demiral. “Even if a child is not very verbal, very physical, or very sociable, photography can help them communicate their emotions to the rest of the world.”
“So many children from these regions have been deprived of educational and joyful activities for too long. Our intention is to help these children access joy.”
Pınar Demiral
cofounder, Sirkhane
The photographic workshops require both a time commitment as well as emotional and creative investment. When the darkroom arrives in a village, the organizers speak to parents and guardians to explain the parameters of the project in order to gain their consent to work with the children, and to use and promote their photography via press and exhibitions. In the first week, the workshop focuses on artistic experimentation through games that help participants harness their creativity agency. The project also provides insight to the potential of photography as a storytelling medium by, for instance, explaining the ways in which framing and composition choices can alter the meaning and tone of an image. In week two, the organizers go on to demonstrate a number of cameras, offering children an opportunity to better acquaint themselves with the equipment and understand how they work. The Sirkhane darkroom organizers are also dedicated to teaching children about local and international photographers to help inspire them and show just how varied the medium can be.
By week three, the children are encouraged to begin shooting their rolls. A mixture of self-portraiture, family photos, and candid street photography, the result is a loving and affectionate snapshot into the commonplace moments of the children’s everyday lives. “These images are so honest; so pure and intimate,” said Demiral. “They bring these cameras into their own houses, onto their playgrounds. No adult has access to these moments. It really is amazing to witness.”
The work of Sirkhane, which operates in a region that has been troubled by political unrest and social conflict for decades, was already urgent. But after an earthquake with a magnitude of 7.8 hit eastern Turkey and northwest Syria earlier this month, Sirkhane’s mission is all the more necessary. “We never had such a disaster experience before,” said Demiral, who was in Mardin, 300 km from the epicenter, at the time of the earthquake, which has so far killed over 45,000 people and made many more homeless. “It’s heartbreaking and the situation it has put children in is extremely difficult. Our team is in the area to help affected children through psychological support.” The earthquake has forced thousands of people to seek temporary accommodation in Mardin, including in schools, mosques, and private residences.
The road to recovery is long. Turkish authorities have said that 13.5 million people have been affected by the earthquake. Although Turkish president Recep Tayyip Erdoğan has promised to rebuild every destroyed home in all 10 affected provinces within a year, critics have pointed out that it was his government that facilitated weak building regulations and the waiving of safety certificates in exchange for money. While in Syria where nearly 11 million people have been affected and at least 11,000 families have been displaced, according to the United Nations. The country has been largely deprived of humanitarian aid, and international search and rescue operations despite the high death toll.
“We want to offer all our programmes [to the people who have been affected by the earthquake],” said Demiral. “Right now the situation is acute, people need food, they need shelter. This means our offering of photographic classes and our aim to create space for children to express [themselves] will come a little bit later. It’s important that it does eventually reach communities [affected by the earthquake].”
After all, the aim of the programme, Demiral stresses, is to heal through artistic expression; to empower young communities across the Turkish-Syrian border to trust their creative vision. It also serves to equip young artists with the tools and resources they need to further develop their creative journey. Not only are these important life skills, the effects can be transformative and liberating in equal measure.
“We’ll continue developing programs that center the safety and stability of children all the while bringing back that access to joy and that space for young people to socialize,” said Demiral. “That is where freedom lies—in [unbounded] self-expression.”
Correction, February 24, 2023 10:30 am ET
This article was updated to include Emel Ernalbant's involvement in founding Sirkhane's darkroom workshops.
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O’Keeffe expert to speak March 23 at Western Spirit
Georgia O’Keeffe. (Photo credit: Alfred Stieglitz)
In celebration of National Women’s History Month, a one-hour program discussing the life and legacy of artist Georgia O’Keeffe will be presented 11 a.m., Friday, March 23 at Western Spirit: Scottsdale’s Museum of the West.
Eumie Imm Stroukoff, director of the research center at the Georgia O’Keeffe Museum in Santa Fe, New Mexico, is the featured speaker. The program is presented in conjunction with Scottsdale Arts, Scottsdale Artists’ School and Scottsdale’s Museum of the West.
Eumie Imm Stroukoff
The presentation will take place in the Virginia G. Piper Charitable Trust Theater/Auditorium and is free with museum admission, and free to members. Reservations are required and can be made by calling 480-686-9539 ext. 200. The museum is at 3830 N. Marshall Way in Old Town Scottsdale.
Ms. O’Keeffe (1887-1986) is one of the most significant artists of the 20th century whose iconic images and artistic style are instantly recognizable to much of the public. Her subject matter included abstractions, large-scale depictions of flowers, leaves, rocks, shells, bones and other natural forms, New York cityscapes and paintings of the unusual shapes and colors of architectural and landscape forms of northern New Mexico.
During National Women’s History Month, the museum, Scottsdale Arts and Scottsdale Artists’ School also will participate in the award-winning social media campaign #5WomenArtists, according to a press release.
Started by the National Museum of Women in the Arts (NMWA) in Washington, D.C., the initiative’s goal is to raise the visibility of women artists by sharing information about them on social media channels during the month of March
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22 – 25 MARCH 2023
Glows in the Night by Yang Yongliang
Art Central 2023 prominently featured internationally acclaimed Chinese artist Yang Yongliang’s Glows in the Night, a video artwork presented on an impressively scaled LED installation of 18 metres, the largest-ever presentation of the artwork and largest presentation by the artist in Hong Kong.
Yang Yongliang, Glows in the Night, 2019. Installation View, Art Central 2023. ©Yang Yongliang. Credit Kennevia Photography.
Yang Yongliang grew up in the 1980s in Jiading, an old, water town south of the Yangtze River where stone bridges connect to canal-side streets. For more than a decade as a child, Yongliang studied traditional Chinese painting and calligraphy at the home studio of master artist Yang Yang. After Yongliang left home in the late 1990s, Jiading became a new district as part of the Shanghai development zone; the city administration decided to modernize Jiading. By the time he returned home after college, the old water town had been demolished.
Yongliang studied digital art at the Shanghai Institute of Design/China Academy of Art. He took countless pictures of Shanghai in the early 2000s while the city was rapidly changing. As much as he admired the new high-rise buildings, Yongliang also wanted to capture traces of the broken houses and construction sites before they disappeared like his hometown. On a small CRT monitor, he deconstructed the pictures using photo editing software, and rearranged them to compose his first digital Chinese landscape ‘painting’. When Yongliang saw a printed copy of the digital hand-scroll for the first time, in 2005, his childhood memories finally reappeared.
After more than a decade of practice, digital landscape has become Yongliang’s iconic language – his skill maturing as digital imaging techniques progress. The worlds he creates are contemporary yet timeless milestones, constantly responding to the surrealistic, natural scenery of Northern Song Chinese landscape paintings.
Glows in the Night is a colour video made in 2019, featuring alarming fireworks and skyglow in the splendor of the Greater Bay Area of Guangdong–Hong Kong–Macau. The year 2019 is one Chinese people will remember, for the good and the bad. When cities celebrate modern achievements, light pollution creates an auspicious delusion. Glows in the Night elevates ecological concerns caused by urbanization, commercialization and consumerism. It asks the audience to take a moment and rethink the past before moving on to the future.
Yang Yongliang, Glows in the Night, 2019, 2-channel 4K Video, 9’30’’. Courtesy of the artist. © Yang Yongliang.
About the Artist
Born in 1980 in Old Town Jiading, Shanghai, Yang Yongliang studied Chinese painting since childhood. In the early 2000s, he graduated from Shanghai Institute of Design of China Academy of Art and started his experiments in multidisciplinary art. Yang currently lives and works in New York and Shanghai.
Yang’s digital Chinese landscapes have redefined traditional landscape paintings, featuring a massive amount of urban images reconstructed and recomposed. Poetic and quaint as it appears to be when seen from a distance, it unfolds a fable of modern civilization if one takes a closer look. His works have been exhibited internationally and collected by public institutions worldwide, including Ullens Center for Contemporary Art in Beijing, Metropolitan Museum of Art in New York, Museum of Fine Arts in Boston, the British Museum in London, Paris Museum of Modern Art and National Gallery of Victoria in Melbourne. Represented by Whitestone Gallery.
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Hyperrealist Vanitas Interior Still Life Painting of Various of Fruits & Vessels Early 20th Century
Oil on canvas
Hyperrealist interior still life painting of an opulent spread of food including grapes, peaches, oranges, and lobster displayed along with various glasses and decanters of wine. The work evokes imagery common in Dutch style vanitas paintings though mixing symbols of luxury, such as the display of wine and food, with images of brevity, such as the butterflies and peeled fruit which will soon rot. This combination of symbolism is intended to draw the viewer's attention to the transience of life. Intricately rendered, this piece recalls the imagery and attention to detail of Willem Claesz Heda. Currently hung in a gold frame.
Dimensions With Frame
H 38.5 in. x W 46 in. x D 1.75 in.
Dimensions Without Frame
H 31.5 in. x W 39 in.
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The SantaColor initiative began as a successful crowdfunding campaign by the Finnish reseller Kamerastore. Kamerastore is located in Helsinki, Finland and are known in the analog community for their wide selection of film cameras and photography accessories, as well as for their commitment to sustainable and eco-friendly practices in their business operations.
The SantaColor 100 is a 35mm film rated at ISO 100 with 36 exposures and made for the C41 process. The colors are vibrant and the film offers a wide latitude with a fine grain, resulting in stunning results with punchy reds and lush greens. It has a flexible exposure latitude and can be pushed to 800 ISO with only minor loss of colour accuracy and minor increase in grain. Shot at 400 ISO and pushed +2 stops in development, the film still exhibits accurate colours and an almost grain less look.
All:1
Show as
This unique film is produced in the US by the only manufacturer of color film and was originally designed for aerial surveillance but has now been repurposed for creative photography. Kamerstore imports the film and spools it by hand in Finland, using reused canisters and eco-friendly cardboard packaging.
This project was originaly initiated by Kamerastore to assist Ukrainian women who have fled to Finland due to the ongoing conflict and the campaign raised almost €200,000 in pre-orders last year. With these funds, they were able to produce their first batch of 25,000 rolls of film, and they now manufacture continuous batches of around 12,000 rolls every three months, with the potential to double production capacity. Currently, four women have been employed with the help of the SantaColor project.
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©2024 Focus Nordic AB
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Welcome to the Lost & Found archive. Since 1997, over 120 sessions of stray images and sound have been organised. Artists, writers and musicians present work in progress, experiment or present work that doesn't fit into their oeuvre (yet). A specific and unique stage for diverse and hybrid works which don't fit comfortably into galleries or museums.
Upcoming event
Lost & Found
Vereniging Ons Suriname
in about 1 month
10-02-2017
theatrum anatomicum
20-01-2017
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How to Get Started with Photography
So, you want to get started with photography? Maybe you’ve taken a few pics for Instagram that you like and want to learn more or it’s something that’s always been at the back of your mind. Well, there’s never been a better time so let’s get you out, taking great photos.
Get the Gear
Okay, the subhead above is a bit of a lie. Photographers as a whole obsess about gear, but it’s less important than you think—especially when you’re getting started. If you have a smartphone that was released in the last few years then, congratulations, you have an incredible camera capable of producing high art and commercial billboards. You do not need the latest-and-greatest.
Smartphone cameras are limited in lots of ways, though, so if you’re serious about getting into photography, you should upgrade to an interchangeable lens camera: either a DSLR or a mirrorless camera. Different lenses—as we’ll come to later in this article—will give you a lot more control over how things look in your photos.
With that said, don’t feel the need to rush out and buy a brand new camera. I started with a second-hand DSLR I picked up on Ireland’s equivalent of Craigslist for around a hundred bucks. I’d recommend you give serious thought to this as an option—you can get incredible cameras from a few years ago for a serious discount. Sure, they’re a bit outdated now, but remember, professionals and pundits were all talking about how incredible the photos they took were when these cameras came out. Cameras haven’t moved on that much, especially when you use them outdoors in good light.
The camera is only one part of things: lenses are actually more important. They’re what give images different looks—cameras are dumb, image saving devices. Lenses can be costly, though, so start slow. The 18-55mm kit lens that comes with most entry-level cameras is great for starting off.
With all that said, literally anything that can take pictures will do. I’ve used smartphones, my dad’s old film camera, basic consumer DSLRs, and professional cameras and loved each and every one. Don’t stress the gear.
Learn the Basics of Exposure
Now it’s time to get into the meat of things. It doesn’t matter what gear you have, if you don’t know how to control your camera, you’re going to take bad pictures. You might occasionally luck into a mediocre shot, but even that’s a stretch.
An exposure is a photo—it comes from exposing the film (or the sensors on a digital camera) to light. The exposure settings, then, are the settings you use to take a photo. Different scenes require different settings based on the amount of light available. Let too much light hit the sensor and your photo will just be a white mess (overexposed); too little, and it’ll be too dark to see anything (underexposed).
The three settings that determine exposure are shutter speed (how long you expose the sensor or film to light), aperture (how big is the hole that lets light through), and ISO (how sensitive the sensor is). Collectively, they’re called the exposure triangle and over at our sister site, How-To Geek, I’ve published a full explanation of how they all work together. Go and read it now.
Okay, read it? Good. Now you know what your camera is doing when it’s taking a photo.
Understand What the Settings Really Do
If shutter speed, aperture, and ISO just controlled how bright or dark your image is, things would be easy. There is, however, a bit more to it than that.
Shutter Speed
The shutter speed controls how long the shutter is open. If it’s only open for a tiny fraction of a second, then everything will be frozen in place. That’s the classic still photo look.
However, if you leave your shutter open for longer (by using a slower shutter speed) then things will move while the photo is taken: that’s how you get blurry images.
What shutter speed you should use depends on the effect you’re going for—maybe you want things blurry to simulate the effect of motion—so a slow shutter speed isn’t always bad.
For more on how shutter speed affects your images, check out this article over at How-To Geek.
Aperture is a function of your lenses rather than your camera—for example, your smartphone camera has a fixed aperture lens. It controls the depth of field or how much of your image is in sharp focus.
Do you know those portrait images where the background is all blurry? That’s an image with a shallow depth of field. Images with a deep depth of field, like say, a landscape, have almost everything in focus.
A wide open aperture creates a shallow depth of field and lets in lots of light so you need to use a faster shutter speed. A narrow aperture creates and deep depth of field but lets in less light so you have to use a slower shutter speed.
As always, we’ve got the answers over at How-To Geek: you should read this article on what aperture to use in different situations.
Finally, ISO is a bit of a dark horse: it doesn’t really affect how your images look unless you crank it up too high, in which case you start getting ugly digital noise in your images.
Check out this article on what ISO does to your images and then we’ll look at how to actually start taking control of these things.
Learn How to Control Your Camera
When you take a photo in any of the automatic modes, your camera’s light meter sizes up the scene then picks some combination of shutter speed, aperture, and ISO that it thinks will give a decent exposure. There are lots of possible combos, so it uses some other algorithms to pick between them. The problem is that you’re out of the loop. You have no say over what it’s doing. That’s not good if you want to take decent photographs or use a specific aperture or shutter speed range.
Your camera has different shooting modes: Manual and Aperture Priority are the two you’ll want to familiarize yourself with the most. In Manual, you set the shutter speed, aperture, and ISO yourself. It gives you total control over everything. In Aperture Priority, things are a little easier: you set the aperture and ISO while the camera automatically sets the shutter speed that will give a good exposure. Both have there uses but I reckon I spend somewhere north of 90% of my time shooting in Aperture Priority, 9% of my time in Manual, and 1% any of the other modes. Seriously, learn how to use Aperture Priority and you’ll be in total control of your camera. Here are the deets over on How-To Geek.
And if you’re using your smartphone, you’re not excused. There are great apps—and Samsung’s Pro mode—that let you take manual control of everything except aperture. Use them!
Shoot Lots and Make Mistakes
You know what the different settings do and you know how to control them? Only one thing for it, my friend: take your camera and get your ass outside shooting.
In his book Atomic Habits, James Clear tells an anecdote about photography professor, Jerry Uelsmann. On the first day of a film class, as a small study, Uelsmann divided everyone into one of two groups: the students were either going to be graded on the quantity or the quality of the photos they took. The students in the quantity group just had to shoot as much as possible; the more photos, the better the grade. The students in the quality group were told they would be marked on a single image so they’d better make it damn good.
At the end of the semester Uelsmann gathered in all the photos and found something interesting: all the best photos were made not by the quality group, but by the quantity group. Just by virtue of getting out, playing around, and using their cameras, they were creating much better work than the people intellectualizing it in the search for a single perfect image.
If you’re just getting started, go shoot lots of photos. Read a little bit about composition, but really, at this stage, you should be exploring what works and doesn’t work for yourself. When you’re ready, you can go deeper into photo theory.
You’ll learn so much more with your camera in hand than I can teach you now. To inspire you, that’s one of my early photos above. I’ve come a long, long way.
Learn to Process Your Photos
Film photographers had things a little easier: every film has its own unique look. Lots of Instagram’s early filters were just digital, over-the-top versions of classic film types.
Digital photos, on the other hand, look flat and boring straight out of the camera. That’s because your camera is trying to capture as much data as possible, not create a sexy shot.
To take your images to the next level, you’ll need to learn how to make simple edits. This article breaks down the workflow I use in Photoshop, but it’s adaptable to any image editor: even one on your smartphone. It doesn’t take much to make a good photo into a great one—though you’ll never be able to turn a bad photo into anything but a bad photo.
Photography is fun and can be quite rewarding. Really, the only thing to do is get out there and start taking photos with whatever camera you have at hand. In the beginning, it’s as much about exploring as it is about learning technique. Once you’ve got an idea of what you enjoy shooting and what you have an eye for, then you can start applying more technique to your new hobby.
Harry Guinness
Harry Guinness is a photography expert and writer with nearly a decade of experience. His work has been published in newspapers like the New York Times and on a variety of other websites, including Lifehacker. Read Full Bio »
LifeSavvy is focused on one thing: making your life outside of work even better. Want to know more?
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Sofa:anemone by Yi-Xuan Lee
Yi-Xuan Lee Reveals The Anemone Sofa
Yi-Xuan Lee, the maker of the awarded project Anemone - Sofa by Yi-Xuan Lee illustrates, In this project, what I mainly focus on is the visual tension. What I want to do is think outside the box of a sofa, and made a strong visual impact by combining two very contrast things, the shape of traditional sofa and the pompous figure of anemone.Under the sea, the anemone is the protector of the fish, but when we enlarged the scale it let people felt afraid and have the meaning of defense. The characteristic of the PU tube made a contrast between the feeling you sitting on it and the visual impression. The couch coat the user gently and softly just like the anemone protect the fish..
Sofa:anemone by Yi-Xuan Lee Images:
VIA: http://competition.adesignaward.com/design.php?ID=58144
End of the article, click here to go back to previous page, or alternatively go back to Latest Design News homepage.
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Monday, October 20, 2014
A New Beginning
I can't believe I am starting a photography blog.
I have always had a passion for photography; since I was a small child, really. My older brother was a photographer and I used to sit on a chair in his darkroom when he would mix the chemicals needed to develop the film.
It was the coolest thing to see those images appear, as if by magic, onto the paper. I'm not a naturally patient person, but I could sit there and wait with expectation for quite a while.
I remember getting my first point and shoot. Lots of silly pictures were taken with my boyfriend (now my husband), and later our children. I still have most of them packed away in drawers and boxes.
Now that the digital age is here, I use a bridge camera and my photos are stored on multiple SD cards, thumb drives and discs. I think right now I have over 18,000 images on my computer. Most of those never get edited because they aren't very good.
Why do I save them? I'm not really sure. I guess in one way, they are a part of me. My journey. It changed in 2012 when my oldest child passed away. I needed an outlet, an escape. I needed to know that God was still there in the midst of my sorrow. When I walked out into the world with my camera, I could see beauty where I thought there were only ashes.
Life began to have meaning again. The sun rising over the treetops warmed my skin and my soul, and I wanted to capture the moment, hold on to it. So I took a picture. Then another and another.
I joined a FB photography group (Take 52) after watching a video tutorial explaining how to use my new camera, a Nikon Coolpix P510. That's right. No DSLR yet, but I have a dream of owning one someday. This has been a great group for learning and stretching my skills. Enough so that I have gained the courage to start this blog and share my passion for nature, for the glorious beauty God created!
Hence the name, HIS World...as I see it.
I discovered I enjoy making graphics from my photos, too.
I really just want to share the beautiful world around me, the things I see everyday, whether they be fantastic or strange.
Until next time...
1. Good luck with the blog Anne! I'm so glad you get something from Take52 :)
2. Thanks, Ingrid! I'm so glad I found your blog two years ago. You have been a terrific mentor for this photography enthusiast :)
3. I really like your graphics. Thank you, Anne. I have a Nikon Coolpix S3300 I carry with me ~ forgetting I have it... I enjoy your photos. Kathleen
4. Thank you, Kathleen! I always enjoy your encouraging comments:)
5. Hi Anne. I found your new blog through The Barn Collective today. Welcome to our world of blogging. I've been blogging for 4 years and started out as you did, with a camera as a child, but, am using digital now and love it. I also do graphics with scriptures once in a while. I love to share the beauty in God's world too! Have a blessed day. Pamela
6. Thank you, Pamela! I'm so glad we've connected thru Amy's blog. I love barns and all things rural. Sounds like we have some things in common. :)
7. Yay! I am looking forward to seeing what you have to share. The photos you posted on your other blog were always great. Keep all those photos and back them up so they aren't lost.
8. Yes, I need to do some backing up again. I'm trying to decide what method to use. I can't really afford an online one like Carbonite, and the 'free' ones only allow so much memory. What do you use, Amy?
9. Blessed to walk this road with you Anne. God goes before you.
10. Kelly, You are such an encouragement! I'm honored the Lord has brought us together to walk side by side as sisters-in-Christ :)
I am so delighted that you've taken time to come by and comment. Blessings for a joy-filled day!
1 Corinthians 1:3 ~ Grace and peace to you from God our Father and the Lord Jesus Christ.
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Shane Duncan is the go to Creative for contemporary run-and-gun cinematic visuals; nobody makes the life of a character as bold and interesting as him. Shane lust for Film came subconsciously whilst following the path of Photography and Design at an early age, he launched his creative career very early after living high school and since then he's yet to look back. To date Shane is still perfecting his skills whilst laying down strong foundations creating visual art within various creative fields. Shane has built up strong relationships with some of the UK's biggest power houses, he's collaborated with various artists and companies across london offering his services which includes creating content for distribution and social media Co-ordination.
IMG_5338 email home
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22 November, 2020
Creative Destruction
Every now and then you need to embrace creative destruction. Yes?
Do you purge, cull or weed out old works that don't, or haven't, made the cut?
Rick Corbett 27 Nov 2020
Great question! Personally for me, I keep all of my older works, especially the drawings I just stop working on because I don't like the direction they are going in. I save my work in a map drawer which I use for inspiration. I pull these older works out when I feel in a rut. I feel that just by looking at these older drawings, I feel inspired.
Mark Lembo 28 Nov 2020
Thanks. The work that was recycled had been kept for those reasons, but they had served their purpose. There is something refreshing about the 'editing.' On the bright side, a new series/collection was born out of the review. Generally, my work tends toward brighter. A grouping of much darker works started to emerge, so there are now maybe a dozen, or so, works that are now set aside. Often, I have to remind myself that there may be an audience for the works that are not my favorites. (That will be next week's discussion!)
Cheers, MAL
Anneke Hut 28 Nov 2020
Mark, what a good idea! Now you have inspired me to go through my rejected works. Trouble is I've got more rejected ones than approved ones, so it will take some time. :)
Mark Lembo 28 Nov 2020
We all know that feeling. For what it's worth, I made an A pile (absolute keepers), a B pile (maybe with some work) and a C pile (Why have I been saving this?) - and was fairly lenient in the judging. After a couple of passes, the C pile was about one-fourth of the material I had saved over the years. That said, if this was done annually, I would limit the C pile to 10%.
Cheers, MAL.
Brian Wolfgang Becker 27 Feb 2021
Absolutely! It is essential for every person that works and produces art work!
Lucia Stewart 12 Mar 2021
I love looking back at my older work, even if some of the artwork make me cringe a bit, it's good to see the progress you make on your artist journey.
Mark A. Lembo 12 Mar 2021
I agree, it is nice to see one's 'arc' and the progress that is being made. It is a bit of confidence builder to take the leap and cull out the bottom 10% - you challenge yourself to replace it with something better.
Not only that, but your inventory is easier to manage! ;- )
Have a great weekend,
Cheers, MAL
Vincent von Frese 12 Mar 2021
Might keep every idea, thought, note and sketch Here’s why;
There always remains a minute chance that you and your work will become an international artistic success. Just like the digital artist on the news today who sold his one image for $60,000.00.
Paparazzi, book reviews, guest appearances and museum shows. Autograph sessions wherever you go and offers by hundreds of promoters and sponsors.
Therefore just as it often has been and is for the famous artists we know of anything including a smudge has become an object of value by collectors. This work gets divided into periods and is fodder for fans wanting to derive some hidden meanings discoverable inside this work. Much easier for a miniature artist since space is always a problem.
Mark A. Lembo 12 Mar 2021
To quote the old Vince Gill song for the 'famous principle' to work "it'll take dying get it done" - and that's not part of my plan for a while!
I'll stick with the Scarcity Principle that results in a mismatch between the desired supply and demand equilibrium = $$$$.
Here's to a great and creative weekend!
Cheers, MAL
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ColorWare x Beats Pill 2.0 "Safari"
ColorWare x Beats by Dre Pill 2.0 Safari
Dre’s Beats is the subject of another collaboration, the latest being this limited “Safari” edition of the Beats Pill 2.0 with ColorWare.
If you’re not familiar with ColorWare, the company takes a product through a labor intensive process of disassembly, cleaning, masking, painting and inspection. Then, it’s buffed and reassembled; and then goes through a final inspection and is packaged into the original packaging. This time, they create an overall cheetah print on the Pill speaker.
The ColorWare x Beats By Dre Pill 2.0 “Safari” is limited to just 50 units. It’s available now at the brand’s online store for $379 USD.
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Posts from the ‘landscape’ Category
Monochrome Swans
I drive over the bridge that spans the St. Louis River at Fond du Lac nearly every day…And the scene is rarely the same. And this day was no exception. With temps in the 60s and even 70s recently, the snow has melted and the river is opening up. And when the river opens up, the migrant birds appear instantly. Often my first spring Robin, Red-winged Blackbird, Northern Flicker, Common Merganser, Hooded Merganser, and Trumpeter Swans are seen/heard from the bridge. On this day, dense fogs created a dreamscape of gray and white. The silhouetted trees and islands really make the shot. I like the shape of the sweeping horizontal limbs on the right. It took many shots to get both Trumpeter Swans with their heads up since they feed almost constantly, heads submerged. I also like the 3 Canada Geese just loafing on the “iceberg.” I tweaked the color balance to the blue side to add a bit of a feeling of winter turning to spring. Moody!
[Note: This image looks better the larger it is, so click on it once to see a larger image, then click again to see it at its max size.]
Canon 7D, Canon 70-200mm f4 lens, tripod
Iceland Summer 3—Rekjavik in HDR
Part 3 of a look back at our Scandinavian honeymoon from 2006:
I think the Insight Guide to Iceland put it quite well, “Visitors are often unsure whether Reykjavik is a scaled-down city or a scaled-up village.” At 112,000 residents it is about the size of Duluth-Superior…And most of its growth has been since WWII. It was only a town of 5,000 folks in 1901. Reykjavik is the world’s northernmost capital at 64 degrees North. Strolling through the old city centre is a charming look at Icelandic culture. One thing I noticed right away is that many of the brightly-colored houses were sided with corrugated metal! One amazing fact is that the entire city is heated with geothermal heat…No fossil fuels used to heat a northern city!
We know the explorer pictured above as Leif Erickson, but in Iceland he is known as Leifur Eriksson, and he is a national hero. Son of the Viking Erik the Red (who discovered Greenland), Leifur also became an explorer and (as all Scandinavians know) “discovered” America centuries before Columbus. This reminds me of my favorite bumper sticker…“Proud to Live in America…A Norwegian Colony since 1004 AD.”
[Photo Note:] All photos in this post are “HDR” images. High Dynamic Range images are created in software programs (I use Photomatix), usually from 3 or more images exposed for different parts of the scene. This technique is especially useful in scenes where it is impossible for the camera to capture the entire range of exposure. Examples would be a shadowed landscape with a bright sky. The software averages out the exposures in the highlights and shadows so all areas are middle range. It is a unique look and not everyone likes it. I must admit that I do like the surreal effect.
Jon Gunnar Arnason’s striking sculpture Solfar (Sun-Craft, 1986) sits along the oceanfront in Reykjavik.
Sheep, sheep, everywhere. I’m sure it’s true that, like New Zealand, there are more sheep inhabiting this island than humans. And crazy cool sheep. They say that every single sheep on Iceland is descended from Viking stock. And there are no fences! …hence this road sign not far from Reykjavík.
Every autumn, farmers go on horseback with their Icelandic sheep dogs to round up their flocks. The flocks are driven into huge wheel-shaped corrals with the “spokes of the wheel” defining the pens. Every farm has its own mark cut into their sheep’s ears and this is how they sort them into the correct pens. Icelandic wool is still big business in Iceland.
Iceland Summer 2—Vik i Myrdal
North Shore of Minnesota or South Coast of Iceland? Basalt is basalt, right?
Dutch birders scan the sea from perfect perches of 5-sided columnar-jointed rock, a feature of slow-cooling lava flows.
Black sand meets white surf at Vik i Myrdal. This rare formation was likely created when lava flows poured directly into the cold ocean, fragmenting into tiny pieces. This beach was voted one of the World’s Top Ten Beaches by Island magazine…the only non-tropical beach to make the list.
Vik’s red-steepled church.
I almost lost my wife of 5-days at Vik i Myrdal. We were knocking around on the stunning black lava sand beach (photo above) when we saw a couple birders perched on the rocks looking seaward (photo above). I went to talk with them while Bridget decided to explore a narrow strip of beach hemmed in by cliff on one side and the North Atlantic on the other. I chatted with the hard-to-understand Dutch couple about birds, but it was obvious they were trying to tell me something else. I finally figured out that they were pointing to the sea where Bridget had gone, pantomiming to me—the idiot American—that every so often a big wave would break. I ran down the beach, only to see Bridget nearly swept out to sea by one of these “rogue waves.” The wave surge went all the way to the cliff and engulfed Bridget up to her waist. Thankfully she stayed on her feet and was not sucked out into the cold ocean. It was one of those moments that, after it’s over, you get a whole body shudder at the thought of what might have been.
Other than that frightening moment, Vik i Myrdal was a stunning place to visit (population 400 or so). We stayed at a guesthouse (most lodging choices in Iceland are guesthouses…hotels/motels are few and far between) above the town, with a view to the red-spired church (photo above). Hiking up to the top of the nearby Head wall is a huffing-puffing affair but a worthwhile effort—the scenery is spectacular. Also a great place to be eye-to-eye with flying Northern Fulmars and possibly even an Atlantic Puffin.
Most photos taken with Canon 10D and either Sigma 10-20mm or Canon 70-200mm f4
Lake Superior Icescape
Since I’m daddy-daycare on weekday mornings, I don’t get out for sunrise shooting as much as I used to. So when I get a chance, I like to take it. Though we had a cold winter, not much ice formed on Lake Superior this year. This has more to do with the water temp going into winter and the wind over the Lake in winter, than just cold temps. But with recent northeast winds, some ice had blown in to the “Head of the Lake” which is Duluth.
Huge frozen “drifts” of solid ice formed about 100 yards off Park Point. These form where open water splashes and crashes into shore ice. Some may be ten to twelve feet high. Most are crescent-shaped. On this particular morning, the chunks of ice had rounded off from jostling each other in the swells. Not quite “pancake ice,” which are perfectly rounded ice chunks.
Fortunately there were clouds in the sky when I arrived well before sunrise. This may seem counterintuitive, but landscape photographers live for scattered clouds. If completely cloudy, no sun will peak through and there will be no color in the sky. Completely clear and there will also be no color in the sky…just a brief moment at sunrise when there is a chance for atmospheric color. Today the sun rose above Superior and lit up the clouds with hints of blue, purple and orange. I used a 2-stop Neutral Density filter to hold back the sky which was several stops brighter than the ice.
When I got home, I discovered that I had several nice images of the sky, and several with a better composition with the foreground ice, but no single image that really popped. I decided to combine my favorite sky with my best foreground. I did this with Layers in Photoshop. Easy to do in this case with a relatively level horizon. The Eraser Tool, Levels, Curves and Saturation completed the work. Technically, this image is a photo-illustration since it is two photos combined into one. It can not be entered into competitions unless there is a category for such manipulated images. But I don’t care, as this one is just for me…and I like it!
Canon 7D, Sigma 10-20mm lens at 10mm, f16 at 1/25 second, ISO 320, tripod, 2-stop Galen Rowell Graduated ND filter
Encased in Ice
In the previous post I talked about the blizzard-without-snow that attacked northern Minnesota with 50mph winds out of the northeast yesterday (March 22nd-23rd). I knew I had to get to Tettegouche where the waves would be awesome. In the parking lot, a fellow photographer turned me on to a fairyland of ice sculptures created by the coating of every needle, branch, shrub and tree …Continue Reading—>
Ice Art on Stoney Point
My photographic mind has not been thinking about landscape images lately…It has been focused on film making and bird photography…and mainly up in the Sax-Zim Bog.
But an email tip from Paul Sundberg about the ice-covered trees up the North Shore at Tettegouche State Park got me thinking about landscapes again. It was the “best ice in 10 years,” Paul said. But, alas, Continue Reading
Teddy Roosevelt N.P.—Hoodoos AFTER Sunset
Part 5 of 6 from a mid October trip to North Dakota’s Theodore Roosevelt National Park.
The fun doesn’t stop after the sun goes down! In reality, often the last thing you want to do on an exhausting photo trip is go back into the field after dark. You’re tired, and you know the alarm will go off WAY before sunrise but you do it. And it is always a blast!…The kind of fun that was hard to imagine in the film days.
Today’s digital SLRs are capable of amazing low-light images. In the “film days” we were limited to ISO 400 film…and that was often unacceptably grainy. Now I can shoot at ISO 12,800! (that’s not a typo) and there are other cameras that can go beyond that. The image above was taken at night with only a flashlight illuminating the hoodoos. I was able to make a relatively short exposure (30seconds) due to the High ISO capability of the Canon 7D (though not nearly as good as the Nikon D3 series). Of course, you always want to shoot the lowest ISO for the least amount of noise. In this case I used ISO 1600. A short exposure also limits the movement of the stars in the final image. Click on the image to get a better look at the stars.
How big do you think the hoodoos are in the image below? It is really a miniature landscape as each hoodoo is only 12-24 inches tall. Did you think they were many feet tall? The image was taken with the Sigma 10-20mm lens from a very low angle as I wanted the hoodoos to appear large and silhouetted against the sunset. I kept the camera moving in a circular motion while clicking the shutter and popping the flash. The flash froze the hoodoos but the slow shutter speed and motion blurred the sky colors.
The bottom image is an HDR created in Photomatix Pro. I like these surreal artsy images known as High Dynamic Range. Some people hate them. The program takes several of your images of a scene with a great range of contrast and combines them into one image with a medium exposure. In this case I combined only two exposures—one for the foreground and one for the sky. You can then tweak the look from natural to bizarre. Fun stuff. Note that it is the same hoodoos as the previous image and taken only minutes apart!
Stars & Hoodoos: Canon 7D, Sigma 10-20mm at 10mm, f4 at 30seconds, ISO 1600, flashlight, tripod
Hoodoos Sunset: Canon 7D, Sigma 10-20mm at 10mm, f16 at 1/20 second, ISO 200, flash at -2EV, handheld
HDR Hoodoos: Canon 7D, Sigma 10-20mm at 10mm, f16 at 2 exposures, ISO 200, tripod
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Creatives and artists, especially painters and photographers, are always looking for a good space to exhibit their art. Whether it’s a gallery, cafe, a display home, friend’s Airbnb property or other, one of the great places to exhibit your art is your local coworking space.
The benefits of displaying your art in coworking spaces are potentially huge and depend on the type of clientele and events that are offered in the space. Many tech companies are big advocates of hot desking, but artists and creative types often need more than a space to plug in a laptop. Coworking spaces have been around for some time but in regional Victoria they are a relatively new business. Most of the coworking spaces I have tried in Melbourne or regional VIC have a really good design, ergonomic desks and workspaces, walls of lush green plants (one of my favourite things in a coworking space!) and great natural light, which makes your art really stand out.
How to present your art
The way you present your art is very important. Just like in a gallery, most of coworking places owners are busy people so make it easier for them and provide an already framed, ready to hang artwork. Thoughtful consideration should be given on which style of art (and frames) would be the most suitable for the specific display location, so it looks its best, has enough light, is hung at the comfortable height for viewers and minimises reflections. It should be a piece of art that goes well with the vibe of the space. All these decisions are important to consider to drive an interest to your artwork or a traffic to your website.
Above: Timelapse of my Milka cow mural installation, Herd Coworking Warragul
Your artwork has a story
Apart from a good presentation, it’s a great opportunity to share with the audience the story behind your artwork, alongside information like archival paper qualities, size, price and edition number or how it was made. What you should also add is a pack of business cards and an A4-size description of how the artwork came about, what was the inspiration behind it and its story presented in an Artist Statement with paper copies, so people can take them home.
All the above, if executed and presented well, will make an amazing difference to an already funky workspace and together, have the potential to bring you more work or collaboration opportunities from people who use the space for work. It is also a win-win scenario for both – you as an artist and for a coworking space owner as you support each other’s business.
Here’s an example of a local Ballarat coworking space, Platypus Coworking, an initiative supportive of local artists and entrepreneurs, currently displaying a selection of my framed limited edition prints from the Wimmera Lake Hindmarsh series.
Ballarat Coworking Space Platypus Coworking art
Source: Platypus Coworking Ballarat
To view the showcased prints, follow to my online shop.
If you’re interested in purchasing any of the showcased prints, please get in touch.
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Illuminating Evenings
The art is inspired by nature, pop culture, wishes, heartbeats and human interaction. Flashes of light, bursts of color and flickering flames will be on display at the Triangle L Ranch during the ninth annual GLOW, "a nighttime art experience."
The event is the brainchild of Triangle L Ranch owner Sharon Holnback. She had experimented with illuminated art and was looking to liven up the walkways at the ranch.
"What is the most unexpected thing you could see and hear on the sculpture path?" she asked herself. In response, GLOW was born under a full moon in 2004. The inaugural event mixed artists, art, music and light with a festival atmosphere. The show, constructed by a dozen artists, attracted almost 500 people, Holnback said.
"It just kind of took off. It's really gained a life of its own," she said.
There is one dark spot in GLOW's history. In 2006, Pinal County Sheriff's Office deputies raided and shut down the event, claiming it was an "illegal gathering." (The sheriff later apologized.)
Gary Mackender, a member of the Carnivaleros who was arrested in 2006 (and was even on the cover of the Sept. 21, 2006, Tucson Weekly in handcuffs), is looking forward to performing on Friday night. He will be doing double-duty, performing first for Mitzi Cowell and the Valiants, and then closing the night with the Carnivaleros.
"We're hoping to get people up and dancing," Mackender said. "By that time, everybody's going to want to shake a leg a little bit."
Those who can resist the lure of the dance floor will have acres of art to wander through. This year, Holnback estimates that about 100 artists will participate, including dancers and musicians.
Joe O'Connell is the mind behind Creative Machines Inc. and a returning GLOW participant. O'Connell and his team are driven by the desire to share their art with people. They will bring four unique pieces to the ranch. Among them is a glowing red drum that pounds out the heartbeat of people who grasp the handles on either side of the instrument. They're also bringing a larger-than-life illuminated sphere, dubbed the "Seedpod," that GLOW-goers can peer inside.
"A piece of art we make isn't really finished unless someone else is using it and interpreting it," O'Connell said.
Liz Burke is a site-specific artist and a newcomer to GLOW. She lived in Tucson in the '90s before leaving for the Art Institute of Chicago, but she returned in June. For her, the Triangle L Ranch provided both a challenge and fresh inspiration to her environment-influenced art.
"The space I'm used to working in is a studio or gallery space. It's white walls; you don't have to worry about certain things," Burke said.
For GLOW, Burke knew her piece would have to create its own light and stand up to the elements. One of her creations is a series of sheer fabric houses lit by battery-operated lights perched in trees. Another is contained in a cistern and bathed in black light. Sheets of bright notebook paper will hang inside the cistern, and people will be invited to record their wishes beneath the moonlight. Burke wanted to re-create the "weird intimacy of leaving a note for somebody," and an element of hopefulness.
Karen Medley first attended GLOW in 2009 to give her senior art students at San Manuel High School a chance to display their talents. After she retired, GLOW became an outlet for exploration.
"This opportunity is a new adventure in my artistic life," Medley said. Her first GLOW piece was a play on several themes in Alice in Wonderland and featured neon-lighted, ceramic rabbits. She said she draws inspiration from the funk art movement of the 1960s and '70s.
"Funk art is silly art, kind of. It's humor, and sometimes it can be senseless," Medley said.
For this year's installation, Medley pays homage to Arizona wildflowers by creating her own post-monsoon desert blooms that will shine with a rainbow of psychedelic colors.
In addition to the maze of artistry, there will be telescopes set up along the paths, and a gypsy camp with Tarot-card readers. The Oracle Pie Ladies will sell treats in the main house.
Holnback invites everyone to become a part of the event by donning their finest "glowing fashions." After all of the preparation is done, she will change into her own illuminated outfit to join the festivities.
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An Architectural Travel Guide to Oslo
An Architectural Travel Guide to Oslo
Oslo is loaded with architectural gems, designed by old domestic architectural masters as well as international iconic stars
Oslo is loaded with architectural gems, designed by old domestic architectural masters as well as international iconic stars. Therefore, we wanted to make an architectural travel guide to Oslo, showing that the Norwegian capital has it all.
Oslo has several iconic buildings of high international standard, from the Snøhetta’s new opera, to the tourist magnet the Holmenkollen ski jump, rising high above the sea, visible from the city center.
In recent years, Oslo has ranked among Europe’s fastest growing capital, and even if it is considered a modern city today, it’s more than thousand years old.
Churches in Oslo
Haslum Crematoria
Many of the churches in Oslo are designed by forgotten but splendid architects. An example is Haslum crematoria, just outside Oslo, designed by John Engh (1915-1996). Engh was educated at ETH Zürich and the Norwegian Institute of Technology where he earned his diploma in 1938. He acted as local architect for the building of the American Embassy in Oslo which was designed by Eero Saarinen.
An Architectural Travel Guide to Oslo
Haslum crematoria
Engh won an architectural contest in 1962 for the Haslum crematoria, North-East of Haslum Church, The crematoria has been in use since 1966.
An Architectural Travel Guide to Oslo
Mortensrud church
Mortensrud Church
Mortensrud Church is located on a small hill surrounded by pine trees. The design by architects Jensen & Skodvin (2002), succeeds in creating a dramatic yet subtle interplay between nature and culture, past and present, tradition and modernization.
An Architectural Travel Guide to Oslo
Bakkehaugen church
Bakkehaugen Church
Bakkehaugen Church is located in Tåsen and designed by architect, Erling Viksjø, who also designed the Norwegian government building complex. The most interesting part of this church is perhaps the tight cooperation between the architect and the Norwegian artists Kai Fjell and Carl Nesjar, who were involved before the building design was finished.
An Architectural Travel Guide to Oslo
Sinsen church
Sinsen Church
Sinsen Church is a working-class church, finished in 1971. It’s built in concrete and has 1,000 seats. The church us designed by architects Turid and Kristen Bernhoff Evensen.
An Architectural Travel Guide to Oslo
American Lutheran church
American Lutheran Church
The American Litheran Church in Oslo was concecrated in 1964 and is the largest English-speaking church in Oslo with 400 seats. The church was designed by the American architectural firm Sövik, Mathre and Madson of Northfield, Minnesota. An exterior bronze sculpture titled Christ the King by Egon Weiner, former Professor of the Art Institute of Chicago, was unveiled in 1967.
Related: Waterfront Oslo
Official buildings
An Architectural Travel Guide to Oslo
Oslo Town Hall
Oslo Town Hall
The idea of a location for the Town Hall in Oslo by the fjord in Pipervika, originally a fisherman’s village outside the city proper, was first suggested in 1908. The project was to open up the town towards the sea. 1918 the architects Arnstein Arneberg and Magnus Poulson won the first prize in an architectural design competition with a very historicist proposal inspired by the Stockholm City Hall. In 1929 the architects laid out their eighth and final proposals, the most striking change from the earlier proposals being the division of functions, with two office towers flanking a lower central part, where the main hall, city council hall and other meeting rooms are located.
An Architectural Travel Guide to Oslo
Oslo Town Hall interior
The Nobel Peace Prize ceremony takes place in the city hall, but apart from all official functions, the building was designed as the “living room” of the town, still open to all every day during office hours.
Bærum Cultural Center, Sandvika
The Bærum Cultural Center was built in a riverside development area, as an extension of the town center of Sandvika, 15 km west of Oslo. It is connecting the old town hall with a bridge crossing the river. The Cultural Center is formed around a 600-seat theater hall, with two rehearsal rooms and a public foyer. The tilted translucent façade elements are strongly present also inside the building, and have been known to play tricks with the sense of balance of visitors.
An Architectural Travel Guide to Oslo
Barum Cultural Center
The building was designed by architectural firm Snøhetta in 2003.
An Architectural Travel Guide to Oslo
The Broadcasting House – Kringkastingshuset
The Broadcasting House
The Broadcasting House (Kringkastingshuset in Norwegian, ), is the oldest building of the NRK headquarters at MarienlystOslo. The other main building is known as the Television House. It was built between 1938 and 1950 after plans by architect Nils Holter.
An Architectural Travel Guide to Oslo
Norwegian Bank, Main office
Norwegian Bank Main Office
The building was designed by the architects MNAL Kjell Lund and Nils Slaatto, who won the open architecture competition in 1973. The building was inaugurated on 13 October 1986.
Norges Bank’s Head Office consists of a central block of seven floors surrounded by a rim of four-five floors. The top floors have glass pitched roofs.
Related: The World is Looking to Oslo
Education, Schools and Kindergartens
An Architectural Travel Guide to Oslo
Skaadalen school
Skådalen School
Skådalen School was completed in 1975. Its architect, Sverre Fehns says in a text in Byggekunst no. 6-1978 that “the scattered plan was a strategy that allowed the residents to walk from their “homes” to school.” The buildings are as spatially open as possible, and they are designed for children:
An Architectural Travel Guide to Oslo
The Cube (Kuben)
“Kuben” (The Cube)
The project is a combination of secondary and vocational school. It is the largest school of this type in Oslo with 2000 students. The aim of Kuben is to support and encourage lifelong learning. Therefore, the 40,000 m2 building also functions as a meeting place for students, teachers and representatives from the private and public sectors. Kuben is designed by architectural firm Arch Uno.
An Architectural Travel Guide to Oslo
The Jewel Case (Smykkeskrinet)
Smykkeskrinet (the Jewel case) Conference Center
Element Arkitekter won the competition in 2004 for the Union of Education Norway, which wanted “a conference room as big as possible” on this site. The headquarters for Union of Education is situated in the parallel street and in the backyard. Smykkeskrinet is an extension of the existing facilities.
Artist Jorunn Sannes developed the art on the main facade. The interior concrete work is of a high quality. The spacious stairs just inside the glass façade double as social arenas and are extensively used in breaks between meetings. The top floor has a canteen as well as a generous roof terrace. Some of the furniture of the conference halls is designed by the architects.
An Architectural Travel Guide to Oslo
Fagerborg Kindergarten
Fagerborg Kindergarten
This asymmetrically shaped wooden Kindergarten extends the nearby Fagerborg School with 1.200 sqm of space was designed by architect Reiulf Ramstad in 2011. Besides the big display-windows at ground floor there is a number of smaller windows creating an irregular rhythm and an abstract connection between inside and outside. The different heights allow children of different ages views outside.
Art, Design and Exhibition Centers
DogA Norwegian Design and Architecture Centre
In 2004 Norsk Form and the Norwegian Design Council established this meeting point, gallery and conference center for Design and Architecture in a former Transformer-Station. The building consisted of different additions and alterations from 1860 until 1980. The architects, Jensen & Skodvin, revealed this history by uncovering the “voices” from the past. They removed only the plaster that was in bad shape, thus creating a “story” of the building’s alterations.
An Architectural Travel Guide to Oslo
The DogA is a part of an extensive transformation of old industrial structures along the Akerselva river.
Astrup Fearnley Museum of Modern Art
Ferry- and Cruise-ship passenger, who arrive in Oslo from the Fjord are greeted by thus private art museum on the waterfront, called Astrup-Fearnley. It was designed by the Italian architect Renzo Piano in 2012. The art collection of foundations based on a former shipping company is seen as Norway’s most important museum for contemporary art.
An Architectural Travel Guide to Oslo
Astrup-Fearnley Museum of Modern Art
The museum, formerly located in the city center, needed larger facilities. The Tjuvholmen project, an extension of the waterfront Aker Brygge project from the1980’s, is mainly residential and is developed by a private company. Total area of the museum is 4.200 m2.
The seaward part of the museum is situated in a small park, with a pebble beach and sculptures. The glass atrium allows views right through towards the beautiful archipelago around Oslo, as does the museum café “Renzo”, which has access to the outside park.
Villa Stenersen
Villa Stenersen is considered one of the main works of Norwegian modernism. The private home was built in 1939 for finance broker and art lover Rolf M. Stenersen and his family. Architect Arne Korsmo (1900-1968) applied the international architectural ideas of his time.
An Architectural Travel Guide to Oslo
Villa Stenersen
The villa was home to works from Rolf Stenersen’s art collection, exhibited in the piano nobile-like first floor, where the façade consists of glass blocks with ordinary windows inserted, partly due to the outstanding view of the city and fjord. Situated on a prominent rise in the landscape, the house has a somewhat monumental character, quite different from the typical coziness of Norwegian villas.
Since spring of 2014, the National Museum of Art, Architecture, and Design is running the villa, restoring the interiors to their original colors, materials and details. Events and exhibitions inform the public of the house’s history and the art, architecture and design of that time.
The Architecture Museum of Norway
The building was once one of the country’s first monumental Empire Style buildings, designed by Christian Grosch in 1830, and its four-story addition of 1910. A branch of the National Museum of Art, Architecture and Design, has taken over the oldest premises of the Norwegian Central Bank.
An Architectural Travel Guide to Oslo
The Architecture Museum
Sverre Fehn’s introverted Pavilion from 2008 uses daylight, the sky, and the walls of the nearby Akershus Fortress as its references. From the outside, a main motive is the contrast between the concrete outer walls and the dainty glass pavilion. Inside, the pavilion is square in plan with four large concrete columns supporting the shallowly vaulted concrete ceiling.
Visitors enter the museum through the Grosch Building. Reception, bookstore and café are located in the main hall on the ground floor with library and administration on the second floor.
The two top floors of the repository are used as archives for photography and drawing collections and for registration.
National Opera and Ballett
In the “Bjørvika” harbor development area the giant, gleaming white opera, built partly into the water, seems like an iceberg in the sun. Most visitors do not enter the spatially refined foyer immediately, but climb the roof of the opera, for the view of the city and an architectural experience. Architecturally the building encourages people to “give it a try”.
An Architectural Travel Guide to Oslo
Oslo Opera House from above. Photo: birdseyepix.com/Christopher Hagelund.
As Norway’s biggest music-related institution the architects Snøhetta gave it an expression of “horizontal monumentality”, avoiding all “vertical and muscular forms”.
There was a fierce debate about where to build this huge project. Only a few locations had the necessary space available, and for a while the old West Railway Station, which went out of use after a central rail tunnel opened in 1979, was the favored place, next to the City Hall. Snøhetta won the international design competition in 2000 and the building was completed in 2008.
Although modern architecture is as controversial in Oslo as in other cities, the opera has been popular from the start, and locals use it for meeting and greeting, as well as celebrating weddings and other special occasions.
Commercial buildings
Index House (Indekshuset)
Architect John Engh (See Haslum Crematoria above) is most known for his innovative work in stone and concrete. He sat on the board of Norwegian Architects’ Association from 1952 to 1968; from 1964 as president. His designs Include the Oslo Central Station, Indekshuset at Solli plass and several other offices buildings.
An Architectural Travel Guide to Oslo
The Index House
The name, Index House, is a combination of Industry Export, since it once was the headquarters of Norwegian Industry Association and the Norwegian Export Council. The building was finished in 1964.
Technopolis Fornebu
The “portal building” in Fornebu is an extension to the former Airport Terminal housing business and incubation centers for information technology companies on 28.000 m2.
An Architectural Travel Guide to Oslo
Technopolis Fornebu
Architects A-lab was commissioned to develop the building, after winning the competition in 2004. The building was completed in 2009. A base resolves the height difference of the terrain between the main street and the old terminal.
The Dutch architects MVRDV from Rotterdam designed the headquarters for the biggest Norwegian Bank. The urban design competition for Bjørvika’s “Barcode” project was won by MVRDV with Dark and a-lab (both from Oslo) in 2003. The building was completed in 2012.
An Architectural Travel Guide to Oslo
DnB Bjorvika
The Barcode consists of 12 buildings with 10.000 work places and 500 apartments. All buildings are long slender slabs, high volumes with sightlines in between. The great variety of heights, materials and shapes is intentional, and the volumes of the buildings create a unified composition.
The office tower is the central structure of the new DNB bank headquarters, which also occupies the flanking buildings, and has 17 floors stepping forwards and backwards in an irregular pattern, blurring the contour of the tower. 2.000 employees work in the building. A basement hall, 3.000 m2 in size, connects to the neighboring buildings, designed by Dark and a-lab.
The new headquarter is aiming for synergy and a corporate identity concentrating twenty DNB office locations dispersed over the city.
Panoramic 140 seat canteen on the top, the executive lounge with a view over the fjord, the board room, and in the heart a trading room with 250 work stations.
Equinor Offices Fornebu, Bærum
Equinor, formerly Statoil, is an energy company with more than 20000 employees developing oil, gas, wind and solar energy in more than 30 countries. 2500 of these work in this office building, with a view over a park and the fjord of Oslo.
An Architectural Travel Guide to Oslo
Equinor Fornebu
A-lab architects won the competition for the project in 2009. The building balances size and architectural expression with its surroundings, whilst introducing new impulses that enliven the area. The building was completed in 2012.
Inside, the warm oak interior and cool aluminum reflects the soft northern daylight. A unique feature of the design is the artistic decoration on the underside of the cantilevered wings flanking the main entrance.
Restaurants, Hotels and Travel
Lysaker Railway Station
Lysaker station on the Drammen Line and Asker Line is situated in Bærum, near the former airport of Fornebu, making it an important node for both local, regional and airport express trains.
An Architectural Travel Guide to Oslo
Lysaker Railway Station
The station project is a result of the new train line westwards from Oslo, which made it necessary to double the number of tracks and platforms. The station is elevated and features two island platforms with four tracks. Snøhetta won the architecture competition for the station, the rather sharp curves of which caused some concern about safety. Ut was completed in 2009The platform roofs are shaped as sculptured “clouds”, floating above the slim columns, adding visual qualities to the station.
Gardermoen Airport
Gardermoen Airport is the gateway to the Norwegian capital and thus to Norway as a whole. After several decades of planning, with proposed locations all around the Oslo area, all of which were rejected by the local communities, the airport was finally built at the existing charter airport of Gardermoen, 50 km north of Oslo, when the inner-city airport west of town could no longer grow.
An Architectural Travel Guide to Oslo
Oslo Airport Gardermoen
It was designed by a consortium called Aviaplan, which comprised Narud Stokke Wiig (now Nordic Office of Architecture), Niels Torp, Hjellnes COWI civil engineers and Bjørbekk & Lindheim (landscape architects). The consortium was incorporated in 1990. Aviaplan won the architectural competition to design Oslo Airport and continues to design airports including those at Tallinn, Riga, Landvetter, and Hyderabad. The design concept for the main passenger building in Oslo was to create “simplicity, lucidity and a subdued sense of monumentality” according to the architects. The impressive control tower is also designed by the same architects. The Gardermoen line, built specifically for the airport project, and still Norway’s only high-speed railway, is also the main line northwards and brings you to the city center in 20 minutes. The station is integrated in the terminal.
First phase was completed in 1998. The airport is still under development.
Radisson Blu Hotel Holberg Plass
With its 67 meter it used to be the tallest building in Oslo, and even today ranks as third highest. The Radisson Blu Scandinavia Hotel is located just east of the Palace Park. A whole city block of 19th century buildings was demolished to make room for the project, which was the winning design of a Nordic architectural competition in 1969, won by Jon Lunding. The hotel was completed in 1975.
An Architectural Travel Guide to Oslo
Radisson Blu Hotel Holberg Square
The hotel has 488 rooms and suites on 22 floors, and offers a variety of interior designs. There are great views of the western parts of the city center, the Oslo Fjord and Holmenkollen hill from the panorama bar on the 21st floor. Male guests can also enjoy a breathtaking view from the bar’s rest room.
Ekeberg Restaurant
The elegant Ekeberg Restaurant is regarded as one of “Europe’s foremost functionalist buildings”. Architect Lars Backer won the competition to design the new restaurant in 1927. In 1929 it replaced a predecessor, the Tiedemanns Tobakksfabrikk pavilion of 1916. It was renovated in 2005 by Mellbye Arkitektur Interiør
An Architectural Travel Guide to Oslo
Ekeberg restaurant
Situated half way up a forested hill above the eastern harbor area it benefits from its site and views over Oslo. It makes good use of its privilege, especially from the second-floor veranda. Towards the end of the 1990’s, Ekeberg Restaurant was closed and was left to decay, and most of the interiors were vandalized. The building is a listed monument and its renovation has been careful, although controversial, as new elements needed to be incorporated into the original design.
The building now contains restaurants for 200 guests, a bar/lounge, conference and meeting facilities, banqueting and wedding suites. The lobby has a small coffee bar, and the outdoor terrace, where drinks and light meals are served, is a favorite of locals in summer.
Holmenkollen Ski Jump
The Holmenkollen is a beacon for the city and a new showcase for ski jumping, Norway’s national sport. Competitions have been arranged here annually since 1892. Holmenkollen is regarded as the Mecca of Nordic ski sports and with more than 600 000 visitors annually, one of Norway’s largest tourist destinations.
An Architectural Travel Guide to Oslo
Holmenkollen Ski Jump
Originally following the natural landscape, the jumping hill has been more or less continually rebuilt and enlarged to accommodate the ever-increasing jumping lengths. The most extensive renewal was made for the 1952 Winter Olympic Games in Oslo, when spectators reached the record number of 100.000.
In 2005, the International Ski Federation decided that the hill does not meet the standards to award the city the 2011 Nordic World Ski Championships. In 2005 Norway’s Directorate of Cultural Heritage approved the demolition of the ski jump and in 2007 the Oslo municipality announced an open international competition for a new ski jump. Julien de Smedt from Copenhagen beat 103 firms and was awarded the commission. The new ski jump was completed in 2011.
The stand provides space for 30 000 spectators, and the redesigned Iandscape links the stadium and all seven ski jumps. The infrastructure around Holmenkollen was improved by building a new metro station and new paths and streets.
This informal architectural travel guide to Oslo is far from complete
Please note that this guide is far from complete. Along the main street Karl Johans gate, the most important buildings are lined up: from the Royal Palace at one end past the National Parliament, National Theater and Old University to the Central Station at the other, the progress of the building of a new national capital from 1814 onwards can be witnessed.
An Architectural Travel Guide to Oslo
From Grunerlokka
If you want to go a bit off the beaten track, the old working-class neighborhoods, Grünerløkka and Grønland, teeming with cafés and pubs, is a good place to start. With a foreign-born population surpassing 22% this is Oslo’s most cosmopolitan district.
An Architectural Travel Guide to Oslo
From Akerselva
Along the Akerselva river, the traditional industrial structures have been transformed into cultural venues, food marked and schools, giving this former polluted part of town a new lease of life.
In addition, additional iconic buildings are under construction in Oslo, scheduled to be finished within the next two years.
An Architectural Travel Guide to Oslo, compiled by Tor Kjolberg
Feature image (on top): Oslo Airport, Photo: Knut Ramstad
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Expert E-Designer Testimonials
What do people think about audra's Expert E-design training?
Below is a HUGE list of design testimonials but please read this first
Having 100+ design board project templates as a "starting place" for your design client will save you more time than you can imagine. Time is money and that is why I created this training with the HUGE value of the 100+ concept boards with shopping sources. Below you will find 50+ design testimonials from people just like you but here's the thing... we have hundreds more because no one does not LOVE this training.
With over 20 years in the business, the first online certification training EVER, the first training to be RESA Accredited, A+ BBB rated and over 10, 000 HAPPY professional home staging and redesign members (and growing), we have set the bar for training excellence and have the highest success rate of any training!
I take great pride and joy in working with each member throughout the training process to accomplish their business goals. As you will see from the many testimonials below, we have a lot of fun, LOVE THIS INDUSTRY and so will you! Hope to see you come aboard!
Audra Slinkey
Design Testimonials...
Just finished the HSR E-Design course and some of the Design Files videos... MIND BLOWN!... SPEECHLESS! This is going to be a game changer for me and my design projects. For years, I have been creating these boards in photoshop, then turning them into pdfs, then manually creating links to the products. I just finished a design project that took me 6 hours to complete, I could have done it within an hour with Design Files! Audras Class sets you up with all your marketing and branding needs, you don't have to spend days writing copy and branding yourself. I will be able to have this up on my website in no time. Worth every single penny (her design boards alone are worth the price) and than some :)
Gina Gailing Big StyleAudra, I’ve taken all of your courses now and I have to say that E-Design gets me the most excited as a low-investment, easy way to earn money NOW. I also love the additional training materials and technologies available to help me automate and create sales / marketing funnels. It is going to help me be more competent about applying this throughout all aspects of my business(es).
Jenean Lindley J Lindley Interiors
I aboslutely love that the HSR templates are available to hit the ground running with and promote my new eDesign service! They are beautifully created and I think that my clients will love them. Audra did a fantastic job walking me through the marketing automated systems. She really knows how to explain everything in such a positive way that makes me even more excited for this industry!
Tiffani Michalenko Lenko Design
The training was very straight forward and helpful. It guides you and makes you think outside the box on how you would apply it to your business. I am glad that I took this course as it also gave me a sense of direction and approach for my business.
Shruti Ray - Zehr House To Wows
The training is geared more for marketing E-Design services, which is very helpful. The actual training on how to use the software comes from E-Design tutorials. The templates are a great jumping off point to use and get the creative juices flowing. You can customize the templates and make them your own.
Sherri Rampy Standout Interiors
The E-Design class is packed with time-saving information. It is creative and Audra offers much insight into working design from your computer. This class should increase your bottom line significantly with both increased income and efficiency.
Lisa Ciofani Basham Helpful Home Staging
Audra's E-Design training is very comprehensive and offers a great way to get your business started. You don't have to "re-invent the wheel". She sets all the ground work for you! She is a wonderful trainer and full of great information. I thoroughly enjoyed this training!
Kim Alm Inspired Home Styles
This is an excellent training on E-Design. The lessons are well thought-out and none are too complex for us less-than expert "techies" or for those of us who didn't know E-Design even existed before joining HSR. The partnership between HSR and DesignFiles is wonderful, and the fact that we get access to the HSR Templates is such a great bonus... plus we have the option of not using the HSR Templates should the need arise. Thank you to Audra, Sheilah, Cole and everyone who has made this training possible!
I really enjoyed taking this course. Loved the templates and all the HSR boards, it gives me a lot of confidence getting started with e-design. I still have not decided what my niche will be, but I'm so excited about all the possibilities! Thank you for all the priceless marketing bonus advice!
Lina Haddad Freska Designs
This is my third HSR training course. Like the other two courses (Color Expert and Staging & Redesign) it is extremely comprehensive. Packed with information on every aspect of E-Design from how to create e-boards through to how to market my business online. Audra even includes the files needed to create a fabulous E-Design web page. In addition to the training, Audra shares access to 75+ of her pre-designed e-board templates. These offer a great starting point for customizing E-Designs for my clients, saving me hours of work and enabling me to hit the ground running with my E-Design business.
Many thanks again to Audra for another excellent course!
Angela Crowne
Do What You Love & Start a Design Business Without Getting a 4-Year Degree
Get paid doing curated e-design room plans for clients, giving them access to specialty trade product and make money on every purchase. We show you how!
Expert E-Designer Case Studies of Success...
More Design Testimonials...
This training was the best 3 days I have spent on my business! I am a creative person who can spend all day looking at the amazing design boards that are included with Audra's Expert E-Designer Program; however, I was intimidated by using the technology since I am not a "techy" person. Audra explained everything step-by-step, which made the technology easy to understand - even for me. I watched the videos on my iPad while implementing each step on my laptop - I wish I could take credit for this technique, but it was a suggestion of Audra's at the beginning of the training. It worked like a charm! By the end of the training, I had my E-Design business ready to launch!
Cassandra Fulks Desert Decor Interiors, LLC
I LOVED this training. I like the way it's set up better than the staging training (even though they are very similar). A ton of great content and I'm so excited to get started on offering this as a start to more services for clients.
Sarah Lukas Dock Five Interiors
The E-Design training and HSR Templates provided by Audra are amazing! I love that I have everything I need to hit the ground running, as well as how to market my business and feel confident that I will be successful. This training is well worth every penny for all of the expertise and knowledge you will gain. The business materials are by far the best and Audra leaves no stone unturned when helping you launch your e-design business. From the training, to the templates, which are all beautiful by the way, to helping you market yourself to success...You will not be disappointed!
Patricia Schoenewald Trish Somers Design
I was blown away by how all the materials needed to run my E-Design business were pretty much handed to me. Everything is pretty much planned out for me already and I just need to follow all the steps, copy & paste most materials by just adding a little flair of my personality and poof... no need to reinvent the wheel. THANK YOU!
I couldn’t have asked for a more concise and simplified way of learning how to do E-Design PROPERLY. I wish I had known about this course months ago when a regular design client turned into an E-Design client due to covid....it did not go nearly as seamlessly as I would’ve liked and I would’ve avoided a lot of bumps if I had this course to follow along with at the time. Needless to say, I wish I could get a do-over!!
Anni McGuinness The Crooked House Studio
I really enjoyed the e-Design training. I love your gifts, all these promotional materials, videos...AMAZING! I can definitely see myself working as an e-Designer 100% of my time as I enjoy the whole process. Thank you for motivating me to push my boundaries. I feel that I need to watch your videos from time to time whenever I feel down or swamped or something like that. :)
Yelena Pavlova Pavlova Design Studio
I thoroughly enjoyed the E-design training. The resources provided as well as those suggested are phenomenal. I never would have thought that I could pull off offering a comprehensive remote product before this. This training can be used to enhance an existing staging and re-design business or be a career on its own. I love it! Thank you for sharing your expertise and passion for design with the rest of us.
The E-Design training was inspiring and gave me incentives to update my website and marketing plans, and to consider automating my email follow ups. The HSR templates are a definite plus to not have to reinvent the wheel.
I loved the class. The length was just perfect, not to overwhelming. It really reined in my big ideas to start small and easy. Love the possibilities of where this can take me! Excited to get started in marketing my business.
Sarah Sellers Handy Girl Decor
I thought this training was great! I learned SO much. I have taken the CCE and also the Staging and Redesign courses and this really rounds out my design business. With it I am that much more confident in the tools I have when I am working with clients. I am really excited about all the possibilities of E-Design and how it will help me communicate my vision. It will allow me to reach so many new clients all around the world!
Julie Jacobs Beech Street Interiors
Get a Sneak Peek Inside Our Templates
Click the play arrow to watch a short video of what's inside your DesignFiles account when you sign-up for our training.
Don't know where to start?
Watch My Free Training Video On "How to Make Money By Offering E-Design Packages to Clients"
Even More Design Testimonials...
I loved the training! I loved the level of detail and information Audra shared with us. I love that it feels we are partners in this together. Great experience!
Elizabeth Medina Ross CAME Designs
I have been looking for a few years on my own to figure out how to best take my Staging & Re-Design business online. I kept getting stuck. There was no clear cut path to what I thought I needed to do to take my business to an E-Design format. I wanted to revamp my website & brand to clearly show that I now offered E-Design along with my other services.
Audra's Expert E-Design course was more than I ever thought I would get. I learned so much about so many different things. After having a business for so many years, it was amazing how much there was still to learn. Not only new technology but new ways of setting up systems & great marketing ideas & scheduling automation systems that I had never heard of much less used.
So much GREATNESS!!! This course was way more than I ever thought it would be and at most, I thought after all these years in the business I would learn a few new techie things but I got so much out of this.
Audra makes it fun and put me at ease that I could do all of this and she lets you know she is available if there are questions. I also did her weekly "Happy Hour" chats which were available right about the time I signed up with her.
There's so much to do and so much potential out there...I can't wait to get this all 100% up & going. I will take more of Audra's courses for sure. I'm a big believer in continuing my education. You can never know all there is to know in an industry like this. Audra is real, down to earth and extremely knowledgeable. She's my new Guru!
Scarlett Schilling SPRUCE
I loved the training because it focuses on the business side more than the design side. I've gone to design school for both interior design and home staging and although this has helped me get started as a designer, in no way did I have the tools to start my business. Your step by step course on process and marketing is exactly what I needed and has gotten my "juices flowing"! Can't wait to see where this takes my business!
Ang Fillion Home Rehabit Interiors
I've never loved anything as much as I do with HSR. The training is intense and really challenges me from a technical standpoint. I am finding that this training HSR and E-design leaves no stone upturned and is always moving forward. The Facebook chat rooms and live webinars are so helpful and supportive.
Karen Glass Simply Savvy Interiors LLC
Audra does it again! LOVE, LOVE, LOVE this E-Design Course!!! It was so easy to follow b/c of her enthusiasm and interesting content! Course includes everything you need to incorporate E-Design into your business: marketing materials, forms, how-to videos, web-site buttons, and more! HIGHLY recommend this program for anyone wanting to learn the most cutting edge tools that will help drive revenue and build your staging & design business! Thanks Audra!
Carolyn Plummer Carolyn Plummer Designs
There is so much great information provided! I am very impressed by the many sources and tips on how to promote your design business. This course is perfect for the novice who is just breaking into the business, and also for the seasoned designer to get their creative juices flowing to capture more business!
Julianne Burtin Elite Design Consultants, LLC
The E-Design training is very innovative. Audra brings her experience, creative ideas, upbeat personality, eye for design and integrates those into a comprehensive "masterpiece" training. As a former student, I am once again impressed by the way this training makes you immediately ready to implement it into your business. Audra prepares you and places you in your "A" game before you even start. This training has provided me with the tools to take my business to the next level. With technology now being our driving force, we can save clients time, money, and give them immediate gratification by providing them with their desired result before spending their money. The best part of the training is the support from Audra and her staff. You will finish this training with confidence because of the amount of knowledge you will gain. Knowledge is power and the power of knowledge equals confidence. Thanks Audra
Amy Black Coastal Staging & Design
I really appreciated and learned so much in Audra's E-Design training program. It was most helpful and I really love the step-by-step process taught which makes it feel so attainable. Audra is also very motivating and encouraging which drives you to believing in yourself! I also love all the resources and tools she provides throughout the training. So much value!
Amanda Dukes High Haven Design
I loved the course. I found it something that I thought I would never have the opportunity to learn. Never in a million years would I think that I could do a 3-D design, even though I've been in the design field for 20 years. Audra is so generous and positive. Thank you for teaching me a new way of doing business. This will surely be a complement to my existing Design co. I highly recommend this course and I probably will take other courses that she offers in the near future. Thanks to Expert E Design!
Fayen Nielson The Nielsen Collection of Interiors, LLC
I love ALL of Audra's trainings. She keeps the modules short so I can pace myself and she provides loads of handouts and other documents for me to use in my business. I really feel my success is her success and she is invested, not just out to add to her numbers. I always recommend HSR when asked about staging training and now I can add CCE too!
Leslie Berdahl 1st Stage Home Design
Why Choose Us
We know you have a lot of choices when it comes to training and that is why we work harder than anyone to give you the guidance, updates and support you deserve to build your dream business! In fact, we have a 100% satisfaction rate, thousands of happy clients and a 72-hour, no questions asked refund policy...when we say you will LOVE our training products, we mean it:-)
Learn from the Comfort of Home
No expensive travel, immediate access online and the ability to refer back to the materials
Most Award Winning Trainer
Get trained by the leader in the staging, design and color training industry! Audra has trained the most successful stagers in the industry...she will be your guide.
Learn at Your Own Pace & Timeline
You dictate your timeline and how quickly you want to go through the training modules - Self Paced!
Support, Guidance & Love
We care and are invested in your success! We have a private Facebook Group, phone number and regular live chat support.
Want to Know What's Inside the Training?
Download my Expert E-Designer Training Checklist to see exactly what each module looks like, what Canva Templates and download you receive and how long the training would take before you have a money making new design service listed on your website!
Yep...Even More Design Testimonials:)
Another incredible training experience. I had just completed the Staging & Redesign Certification training and jumped right in to this one. The level of detail, guidance and materials you provide are simply outstanding! I'm am starting the Certified Color Expert training tomorrow and can't wait to be blown away again. I feel like a kid in a candy store, it's awesome!!!
Jodi Kelly Kelly Home Designs
E-Design training was fantastic! What an amazing new service that is keeping up with the times! Audra provides so many visuals, how-to videos, examples, templates that are useable and user-friendly. She made the learning fun, easy and hands-on. With the materials she provides, I'm able to add this service to my business right away. Worth every penny!
Janine Conti Janine - Home & Style
This is the third training I have completed with Audra, and it just might be my favorite. This literally speaks to my love of design and organizing looks. I can't believe how much fun it is going to be to compile boards of my own. My in-laws own a wedding venue, and I am thinking about how to put together wedding boards for their brides. It's exciting!
The HSR E-Design training is the best I have found. HSR provides so many templates and so many training modules. Audra does not like for anyone to reinvent the wheel, so she gives you so many resources to quickly make your business a success. The price for what you get is very reasonable. Once you complete the training that is not the end. You have these resources forever and HSR is always there for you if needed.
Andrea Turner Decor By Redesigne training was fantastic and the HSR templates are absolutely gorgeous. Audra is so personable and relatable and makes the training very engaging. I am also taking the Staging/Redesign training and this course helped reinforce some of the lessons in that course. The templates make it easy to build on and get really creative.
Lisa Gwaltney Eye For Design
This training introduced me to an entirely new facet of design, and I'm excited to share it with my clients! The ability to produce visuals with ease will provide another level of service, and will be a game-changer when working with clients remotely!
Deb Tisler Santa Fe Redesign
During this Covid19 times, I lost my job in the fashion industry and so decided to do my purpose and what I loved best which involves some fashion i.e. Staging and Redesign. So I got certified for staging with another company. Then 4 months later I stumbled on Audra's Staging Training on youtube and decide to buy her training because of the way she broke down the steps for me to learn effectively. When I saw the E-Design youtube video I was sold and invested in myself by buying that training as well. The training is very detailed and very clear to understand. I love this thorough way of teaching because that's how I learn and the examples were amazing. I was able to follow each and every step thoroughly and go back if I didn't understand and go back if I need to write my notes. I love the fact that Audra was able to gave us our business on a tray. She basically gave us our business in our hands by training us in this way so we can have a full understanding of how to run it. Of course we can have our own creative way of doing our boards etc. but I'm so appreciative of how she broke it down and really handed us our business in our hands. Thank you Audra!
Audra's courses give you a fail proof plan from A to Z. From learning, developing, building, with a dash of confidence to trust in what you learned (or knew what was in you all along), but it wouldn't work without the marketing plans she walks you through. I plan to follow her marketing steps and rules to really bring it home. I'm going through all of her courses at the same time (HSR, Color Expert, and E-Design) and while it is a LOT LOT LOT of information, it is so worth every penny to hear, learn and execute what she teaches. Loving this new chapter in my life to launch my business and know I have learned from the best.
Stacie Kellogg Sorelle in Design
I've done all three of your trainings and have thought they were awesome. Lots of good information, in a well planned format, with visual and sequence of activities. I'm becoming a fan of checklists which I'd never thought were worth the time. So much is already provided, graphics, give aways, emails, so we don't have to "reinvent" the wheel. This was particularly true in the E-Design course. I love that you went to the depth of actually showing us a scheduler, which I'd have to adjust to a bit. I do see the value for time savings for both parties, and I appreciate how you addressed keeping it personal for the client. Thank you so much!
Diane Dunaway Eyecatcher Interiors
You Have a Question, We Have the Answers...
How are you different than other E-design training companies out there?
• We are the ONLY e-design training that actually gives you access to a copy of Audra's Master Account filled with 100+projects so you are NEVER REINVENTING. You will have to pay DesignFiles for your subscription separately but they are the GO-TO online company for vision boards.
• We are all about giving you an e-design business model for success and credibility
• We have a track record of success! Audra has personally trained more successful staging and design businesses than any other trainer.
• Our "marketing formula" is the secret to our students success! Audra knows Internet marketing and how to get your phone to ring for business.
• Our logo is about your achievement and not about branding our business name. You develop "Expert" status once you get through our course!
• We provide a specific consultation structure that is designed to grow your design business and up sell your services.
• We provide you easy and effortless ways to market your new E-Design knowledge.
How long will it take me to go through the Expert E-Designer course?
On average, it takes someone 3-4 days to get through it all. The course is broken up into 4-modules covering implementation, automation, pricing, packaging, marketing and board building.
Download the E-Design Training Checklist!
It’s a lot of valuable material, so you won’t want to rush. Since it’s at your own pace, you set your hours.
Here's the timeline breakdown of the training...
Wow! I'm amazed at all the cool board templates in my account...will I get more?
Yes! Our designers love creating these boards and we have BIG plans for different ways to use them to help your business. Although we don't benefit as a training company by adding to your DesignFiles subscription, we can't help but want to be helpful as you pioneer this industry:-).
Is this course 100% online?
Yes, because you will want to always be able to refer back to the instructions. The class is at your fingertips and you can hit the "rewind" button to refer back to sections at any time as a member.
Are the HSR Templates you offer in the DesignFiles copyright or free for us to use as we wish?
• The HSR Template Projects are NEVER to be given in their entirety for free to anyone in order to prevent widespread distribution. You may however share the BOARD IMAGES ONLY (NOT LINKS OR PRESENTATION) to clients and in your materials as an "example" of what they will receive.
• The HSR Templates are primarily to be used as "starting points" for your projects. You've just saved 4 hours of work, by starting with a beautiful board, so now swap out some products and go from there.
• Never give an HSR Template project away for free unless we specify that that template is to be used for a sales funnel or "freebie" on your site (and we have quite a few of those for you). If we see that you are doing that, your HSR Templates will be revoked.
Do I have to be an Interior Designer, Decorator or Home Stager to take this course?
No. In fact, you may decide to just create a business doing e-design consultations which is a ton of fun! Having said that, the course is really beneficial to those already in the industry since it creates a sales funnel for their design business through the gateway service of e-design.
How easy would it be for you to send an follow-up email to every home seller you work with for staging that introduces the idea of creating a "Move-In Design Plan" for their new home?
Why did Audra create this course and how does it benefit me?
This course was a natural progression for anyone who has gone through my staging certification course because it expands and easily upsells their design service. Here's my story...
When can I use the Expert E-Designer logos on my website and marketing materials?
We have a variety of cool Edesign logos for you to be able to use in your own marketing once you’ve gone through all the modules and completed a simple quiz at the end of Module 3 which insures you are confident about your newfound e-design knowledge. You will also want to include the initials EE after your name as an additional designation you've gone through.
Do I get a Certificate of Completion?
Yes! At the end of the course, you take a short quiz for your Certified Expert E-Designer Certificate. You also get the benefit of our logos and being a part of the largest group of E-Designers collectively!
I'm not in the United States, will this training and the boards be relevant to me?
Yes and no. Yes, in the the training is universal and the easy copy and paste forms, emails, images for you to use instantly will be a HUGE time saver.
In terms of the DesignFiles boards...while the products sourced in the boards were all online product, some of the vendors do ship internationally while some do not. The whole point to the boards is that you are getting a starting point to work from and a HUGE inspiration platform. Simply swap out the products that are not a fit, change the images, do whatever you like to make them your own.
The alternative is you have a BLANK account:(
By the way, we have several members from Canada and even one from Romania and South Africa!
What if I already have a DesignFiles Account...Can I Still Get the HSR Templates?
Absolutely! We have simple instructions in the training that walks you through how to get our over 100+ Project Templates added to your account.
On a personal note...
I've trained thousands of people who have a passion for homes, design and color on how to create successful businesses doing what they love. If you love design then you don't need a four year degree to break into the industry. Simply follow my e-design training blueprint, create design packages and help clients source the best products for their space.
Audra Slinkey
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The World's Best Presentation contests on SlideShare have become the closest thing we have to the annual world championship in presentation design: a lot of submissions, high-profile judges. This year's edition just kicked off (deadline September 8). The bar is moving up. Everyone has learned where to find stunning images. Everyone has learned how to accomodate the fast-clicking online viewer by dragging charts out over multiple slides. Everyone has figured out how important the first page is in catching attention.
It is a shame that SlideShare did not set a subject for the contest, this would level the playing field. Part of the competition now is to find a compelling story, many presenation design gurus are probably in writer's block as we speak.
The winner will be selected based on a professional jury, votes, and on the distribution of the presentation in social networks. So part of the effort is to design the content, part of the work of a contestant is to run an election campaign.
In the next edition SlideShare should run a finale similar to American Idol, in which the finalists have to present their slides in front of an audience/video camera.
I hope the winner of the contest will be a presentation that touches people, and makes them change their behavior in some way or another. This is not neccesarily the presentation with the most beautiful pictures, motion typography or amazing professionally crafted cartoon characters and sketches.
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Meet the Artists at the Sensoriality Vernissage
Join us on the 21st July at 7 pm for the opening of the Sensoriality workshop series. We are pleased to present the following artists will be exhibiting their transdisciplinary works from 21 st-28 th July.
Brain Synchronization Experience
Mixed reality installation
About the Piece
The installation introduces a Brain-Computer Interface and reactive audiovisuals designed to develop collective creativity.
Participants become artists, working in teams to create a performance with a sonic and visual projection, which they collectively control using their mind power, imagination and body: They generate the audiovisuals of their show in real time.
Our Brain-Computer interface connects participants simultaneously to the audiovisual sets.
Each participant wears a wireless electroencephalography headband that sends their individual brain activity signal to the computer. There the brainwaves are merged as a unified input and connected to the situational scenes of reactive visuals and music. By tuning their brain activity, they modify intentionally the audiovisual output.
About the Artist
INNATIVE LAB is a Berlin-based experience design lab that brings together artists, designers, and scientists to grow collective creativity through immersive experiences. INNATIVE LAB is a Berlin-based experience design lab that brings together artists, designers, and scientists to grow collective creativity through immersive experiences.
INNATIVE LAB’s name is based on the obsolete word for ‘native’, sharing roots with ‘innate’, reminiscent of ‘innovative’. The ancient practice of influencing neuronal activity joins modern approaches to neuroscience, promoting the socialization of brain activity.
Virgilio Vogels
Desert room & Portrait of a neuroscientist
Acrylics and wallpaint on linen & Ink and pencil color on paper
About the Pieces
In “Desert Room” Vogels depicts the situation of a patient in a psychiatric clinic, diagnosed with paranoid schizophrenia. “Portrait of a neuroscientist” is a personal expression of admiration for a special person. The contrasting artworks should be viewed independently of each other.
About the Artist
Virgilio Vogels is an artist born 1998 in West-Germany’s former capital city Bonn. He embeds and processes scientific information in his very personal works. Vogels completed his Bachelor in Psychology at Medical School Berlin and is now studying general medicine at University of Medicine and Pharmacy Klausenburg. Thus, Vogels can also be considered a sci-artist.
Wherefore I Am
Collage and UV annotation on glass slides, wood
About the Piece
When do the mundane and the miraculous intertwine?
The self-referencing, thinking “I”?
Our mapping of memory within time?
The release of oxytocin as two lives change forever?
Superimposed layers of anatomical collage and UV schematics question the complexity behind our daily reality as conscious beings in the universe.
Buddhist scripture says that form is emptiness, and emptiness, form…
Should we ask if the significant is trivial,
And the trivial, significant?
About the Artist
Machine_Whisperer (Luan van Pletsen) is a UK based artist and software developer exploring the principles of beauty, simplicity and purpose through sculpture.
Mindaugas Gapševičius
Rectal Candle
Electronic device, animation
About the Piece
The capsule is designed to measure pH in one’s rectum. If used along with different diets, one could track the condition of the microbiome or the change of well-being. The object questions the relationship between the well-being of humans and the changing microbiome.
About the Artist
Mindaugas Gapševičius explores the impact of non-human actors on human creativity and the impact of humans on the umwelt. He received a PhD in Media arts from the Bauhaus University Weimar in 2022. Gapševičius was one of the initiators and founders of Institutio Media, the first Lithuanian media art platform (1998). Along with colleagues from the TOP association, he initiated the first TOP community biolaboratory in Berlin (2016). In 2019 he established Alt lab, a laboratory for non-disciplinary research in Vilnius. Gapševičius’s works have been shown at the Ars Electronica festival in Linz (2019-2022), the Lithuanian National Gallery of Art (2019, 2021), MO Museum in Vilnius (2019), and Piksel festival in Bergen (2018, 2021).
Boris Jöns & Dr. Benjamin Staude
Meinungsorgel / OpinionOrgan
participatory sound installation
About the Piece
MEINUNGSORGEL(“opinion organ”) is a co-creative participatory performance that makes the opinions and comments of the audience musically tangible. Participants enter their comments via a web form. An AI infrastructure classifies speech intentions of the comments into five categories and via dynamic rules these categories are transformed into musical instructions.
In 20-30 minute performances, an MC and a “opinion organist” animates and moderates the confluence of opinions and sounds.
The appeal of MEINUNGSORGEL lies in the collective play with language: a hybrid of discourse space and musical-graphic JamSession.
About the Artists
Boris Jöns, born 1970, is an interdisciplinary artist and musician, thematizing speech and conversations as currencies, material and expressions of social life. For the realization of performative frames of conversations he works with interventions in public space, performances, workshops, live-shows, video and sound, often combined to hybrid formats.
Dr. Benjamin Staude *1975 studied mathematics and philosophy, followed by a PhD and research positions in Computational Neuroscience. Musician and performer. Technical realization and scientific consulting in projects between arts and sciences (e.g., at the ZKM Karlsruhe, for NASA/ESA,…). Also founder and former CTO of the AI & software company Architrave GmbH.
Neuro Vascular Glial Unit, 2020
Natural and hand-died wool yarns, cotton and nylon threads, and polyacryl yarn on linen.
About the Piece
Inspired on the beautiful arrange of glial cells, neuronal cell bodies, and capillaries from one of Cajal drawings, I have created an embroidery piece with a combination of many different type of threads and yarns, fine and coarse, evoking in this composition the texture and reliefs of the micro-topographies seeing when observing brain tissue slides under the microscope. This piece is within the framework of The Cajal Embroidery Project, an international textile art collaboration project born to celebrate neuroscience. A tribute to the beautiful and highly accurate ink drawings of the Spanish scientist Santiago Ramón y Cajal, who is recognised as the father of the modern neuroscience for his amazing discoveries and contributions to the understanding of the cellular neuroanatomy and neurophysiology.
About the Artist
Paula Urrutia is textile artist working in Chile and Germany. She studied Marine Biology in Chile, USA, and Japan. After graduating in Biosciences at the University of Tokyo, she combined her scientific career with an MBA. Since then, she has been leading multidisciplinary projects and teams at the interface of science and management at prestigious bioscience research institutions in Germany. Deeply inspired by amazing textile art exhibitions in France, Germany and Chile, and after an insightful brief stay at the atelier of Julia San Martin in 2019, Urrutia began her artistic journey into the aesthetic realms of biological science, becoming a Ñemikafe, a stitching woman.
Admiration for the exquisite neuroscience drawings of Santiago Ramón y Cajal inspired her to join The Cajal Embroidery Project in 2020, an international science-art collaboration at the University of Edinburgh. In 2021, she joined a certification program on Women Art History at Centre Pompidou (France), and a training on Biomaterials at the University of Bayreuth (Germany). Seeking local interactions with science-artists, she became a member of the Edge neuro-art community in Berlin (Germany). During 2022, pursuing deeper interactions between art and nature, she joined a program on Art and Ecology at the Centre Pompidou (France) and had an immersive art experience at the NAHR artistic residence program (Italy). Her textile art works have been exhibited internationally.
Life’s Flow
Interactive installation with a projector and a kinect sensor
About the Piece
The piece is an interactive installation with a motion tracking sensor that explores the flow of particles in an organic manner. It represents the continuous flow of life and explores the concept of movement as an unstoppable characteristic of time. Life persists independently of any adverse situation encountered. Life cannot be halted, and this piece aims to encourage viewers to shift their perspective on challenging circumstances by emphasizing that the past cannot be altered and any situation is temporary. Time goes by, and life flows.
About the Artist
Acrylicode is an emerging generative artist who is passionately exploring various techniques. With a genuine curiosity for the intersection of technology and art, they experiment with algorithms and techniques to create intriguing works. While still developing their skills and gaining experience, Acrylicode eagerly shares their artistic journey with others in the generative art community. Their works reflect a sense of exploration and they invite viewers to witness their artistic evolution and be a part of their exciting creative process.
Tatiana Lupashina &
Philip DePoala
Mixed media installation
About the Piece
The giant eyeball, Oculus, provides space for interacting with the biological nature within the iris, inner chamber, and retina of the eye. Our eyes, the brain outside of the brain, are paramount for animal survival, communication, and existential/creative exploration. This organ captures light which the brain transforms into complex imagery. This process further informs our navigation, memories, and creative imagination. The duality of the eye as both window and veil makes Oculus a unique component of our sensory experience. Each visitor is invited to project their unique iris onto this structure and to physically visit their eye from the inside, allowing them to zoom into a visualisation of themselves and their peers. As a sensory abundant window, the eye facilitates intimate self-reflection and interaction with other beings. The changing macroscopic iris patterns and colors are directly analogous to visual hallucinations during psychedelic experiences, and the scanning and dilating pupil mimics the biological altered state. Bringing attention to details of the eye’s microcosm aims to inform us of its biology and to encourage us to feel our senses more vividly. View Oculus selected as an Honoraria installation at Burning Man 2022: Waking Dreams here: https://youtu.be/0l9-xk-YLw4
At the end of August 2023, Oculus Oculeye will appear as one eye at MIND Foundation’s Insight Conference in Berlin, Germany and another eye at Burning Man in Black Rock City, Nevada, USA.
About the Artists
Tatiana Lupashina is a neuroscientist and visual artist currently living and working in Berlin, Germany. She earned her masters degree in Medical Neurosciences at the Charité Universitätsmedizin in Berlin where she continues investigating visual processing. She is a founding member and the current President of EDGE Neuroscience & Art e.V., for which she has been producing and curating multimedia group exhibitions.
Philip DePoala is a visual artist from the Hudson Valley of New York. He has studied at the Woodstock School of Art and Pratt Institute. After attaining a BFA with high honors from Pratt Institute, he worked professionally in the fine arts before accepting 3 consecutive Honorarium Grants from Burning Man Arts. He has made sculpture, installations, and paintings at Burning Man for 6 years with the aid of 5 Honorarium Art Grants.
Tina Ghelani
Daniel Till
Karl Pannek
Paths Relit 2
3D Light installation made of wire and LEDs
About the Piece
Paths Relit 2 is a piece that reflects on the complex modes by which neurons in the brain connect with one another.
A 3D-light sculpture depicts the pathways of 18 connecting neurons and animates
several short and robust pathways that learn to connect to generate a successful interconnected network of neurons.
Here, several attempts to connect the network together result in Red i.e. unsuccessful pathways and the learned outcome of these failed connections leads to the consolidation of a successful pathway in Yellow that connects the entire network together. This sculpture imagines perhaps the birth of a pruned and tuned pathway for a specific memory in the brain.
The piece explores the topic of whether our structure imbues function or vice versa and how we could generate control over our biology or understand its inevitable design.
Negative memories can often intrude stronger on our consciousness, are repeated often as an important learning, and have a deeper impact on our behavior. This likely occurs due to negativity bias, which refers to our brain giving more importance to negative experiences. I invite the observer to enter a different visualization of the sculpture and question the output of the final consolidated pathway in the piece as being either a positive or a negative reinforced experience/memory. Both memories would follow a similar biological pathway of interconnected neurons in the brain, thus perhaps here is a philosophy to gain agency over our biology by applying reinforced and repetitive positive memories over negative ones to regulate those negative spiral of memories.
About the Artists
Dr. Tina Ghelani- Berlin-based Neuroscientist and avid super-resolution microscopist working in the field of synaptic plasticity and development of synapses. Tina is also an artist that reinterprets her scientific work and learned scientific dogmas into different forms of graspable visaulization. She conceptualized and built Paths relit 1 & 2.
Daniel Till-Berlin based Data Wrangler, Digital Loader Camera, Sound and Drone expert , and electronics wizard. Modernized of Path relit 2 hardware interface.
Karl Pannek- Berlin based programmer, music technology enthusiast and LED tinkerer. LED programmer for Paths relit (OG)
Shahryar Khorasani
6 Windows
Graphite, Ink and Colored Pencil on Paper. 47 x 57 cm & 28 x 37 cm
About the Pieces
This collection includes six surrealistic pieces created between 2018 and 2023. Each work is like a small window to a place where the mind of the audience and the artist meet and together they give meaning to the work.
About the Artist
Shahryar Khorasani (1993, Iran) is an artist and neuroscientist based in Berlin. His artistic practice encompasses various mediums such as graphite, charcoal, ink, and digital tools like Photoshop and Blender. Khorasani is known for his dark surrealistic drawings, in which figures are placed within otherworldly landscapes, undergoing transformations. One of the distinctive aspects of Khorasani’s creative process is his utilization of focused meditation. By employing this method, he integrates his subconsciousness into the planned compositions, resulting in a unique interplay between reality and the dream world, as he bridges the two with his sparing use of symbolic elements.
Attention to detail is a hallmark of Khorasani’s artwork. Each piece is meticulously crafted, inviting the audience to explore and decipher. By leaving room for personal exploration and meaning-making, the artist encourages viewers to invent their own narratives and connections within his works.
Khorasani’s unique combination of artistic expression and scientific background offers a distinct perspective that captivates and challenges viewers, inviting them to delve into the depths of their imagination and psyche.
So join us for session 1: Vernissage. Introduction: Body and the senses and the Visual System to experience the following.
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Montagna - Elegant Monoline
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Wednesday, November 08, 2006
This was a pretty big day in Halfland. It started early this morning when I realized that Sven was suggesting I create the storyboard panels in Flash while I was thinking about importing ready art into iMovie to test the animation. Once I figured the difference, I threw yesterday's gifs right into an iMovie project and started playing around. It felt good use something I already knew a little. The pan and zoom effects looked great, the scrub through looked pretty animated, enough for an animatic anyway.
Later, while admiring the finished character sketch posted to Flickr, seen above, that was finessed with an elaborate combination of Photoshop filters to look more like a painterly, storybook illustration, that I thought--hey, why should I go through the effort of creating an animation with the less charming sketches when I could use the sketches as a guide to create the panels with the finished illustration instead?! I looked at how difficult that would be, not very. I added some chirping, crickets, and thumping audio files to the test clip, that'll work fine for a quickie clip.
I realized that the sequence will end/transition with one of the hats falling down onto a sleeping cat below after the birds go into a proper tug-o-war, something that I love and could only have been thought of by working on the action like this in earnest.
I realized that I want to use giant projected sky scapes behind my sets (possibly on white sheets attached to the floor and curved onto the ceiling (just thought of that and how it could be done) rather than green screen compositing, for two reasons. One, I love the way projection gives an illumined quality to an environment perfect for the Halfland world, such as the sky seen in Adam Bizanski's (brilliant) Pink Bullets music video. And two, I love the idea of actually advancing the sky's frames every few film frames, almost like they did with Nightmare Before Christmas' fireplace flames, to give the sky more breath and life.
I realized that I'll need to make metal rods jutting straight down from under the bird puppet's feet so the rods can be inserted into the tree branch as "tiedowns". I realized that I'll need to wire the wing feathers very securely in order to articulate them for picking up and holding the hand mirror. I realize that if that doesn't work I may have to switch to having them use their legs and claws as hands. I realized that the hat that falls onto the cat will be a woolen cap with tassels as that would be the funniest style to see land crookedly on his head. Woompf. (Comedy will ensue--in my head. Alone.)
I realized that this sequence will be entitled, "Quarrel". (Even though there won't be any written language in the film itself, I will have special, single-word titles for each sequence on the files.)
I realized that the mister bird will have feather markings that look like an ambassador breast sash and the lady bird's will look like the decolletage of a gown.
And finally, I realized that I cannot draw a free form sketch for sure! I tried drawing little quick line art renderings by hand tonight and it came out worse than I care to admit (notice I'm not showing it.) I even tried making postage stamp sized thumbnails of the now extended and completed action but it was impossibly tedious to do, especially since I'd already worked most of it out with the other version yesterday. I may try that method again for story ideas that I haven't thought out at all.
And I also realize that anyone who has read this far in this post is either as nuts as me over stop motion or is married to me.
sven said...
Hm. Of the two options, I guess I must be "nuts."
Congrats Shells -- sounds like you had a really productive day!
Darkstrider said...
That picture is really beautiful!
Interesting though... the background on it is blank, just a yellowish field, and yet that's not how you plan to do the movie? I wonder why?
Shall I be the one to tell you how incredibly difficult it would be to project up background images? So many difficulties...
Any compositing program will let you advance the BG image a frame at a time, just as you were thinking of doing with a projected image.
Were you thinking of fleecy clouds drifting past? I rather prefer a more abstractish approach, maybe a lacing of delicate branches or even just a blank background like in your drawing.
herself said...
Thanks, Sven. Now I know where you stand.
Thanks, Mikeee Mikes McMichealsmiths, Yes, I thought I'd keep a plain yellow background for the Birds in Hats animatic animation clip, even though it would be the cottage interior in actual Halfland, to simplfy the process since I'm only really using it for working out the action on the branch.
About the projected sky, are you saying that I can't project images during shooting? I'm sure you've looked into it at the SMA boards enough to realize that. I know enough to take your word for such things. When I get the set finished I may throw up a sheet and direct my overhead projector at it to see the problems you're talking about.
It may be that a digital solution will be best, I'll find out.
The sky/cloud scape I was talking about wasn't for the birds so much as they are indoors. I was thinking ahead to the cottage exterior scenes, yes, blue skies, white fluffers. Hamilton Mattress used lights inside cotton to good effect but I wanted something more like the projected image in Pink Bullets. I even like the way you can see the paper's edges in that. Realistic images become abstracted by showing the workings of the filming.
Darkstrider said...
What makes you think Pink Bullets had projected backgrounds? I just went back and watched it again, and I'd say he just hung paper in the background with pictures of cloudscapes on them. There's no movement, except sometimes between scenes he changed the paper to a different picture, and once he aimed a red spotlight at it that moved from frame to frame to represent a setting sun. If you look, you can clearly see folds and wrinkles in the paper, which adds to the folded paper/homemade quality that's so appealing in that video. I think if he would have done something as high tech as projected backgrounds it wouldn't have fit into the aesthetic.
Overhead projector? You mean the kind like the A/V geeks used to wheel around on a cart through the school corridors? Those take transparencies, right?
Where would you get a transparent image of cloudscapes that move from one image to the next, and how would you register them perfectly? You'd almost have to take film footage of the sky and have each frame blown up to 8X10 or whatever as some kind of transparency with sprocket holes or some kind of holes punched for registration, and have an animation pegbar glued securely to the platten of the projector. Or else use a movie projector that's been specially modified so it can freeze on one frame for a long timew without melting it. Would the bulb maintain a constant level of illumination for such a long period of time, or tend to go yellow/orange and get dimmer, as incandescant light usually does? You'd also have to lock the cart (or whatever it's on) in place securely and make sure you never bump it. A projected image that gets bumped will jump a lot farther than an actual setpiece that gets bumped, because of the length of throw of the light beam.
And projecting onto hanging sheets.... you'd have to ensure there's no incidental light behind it (like sunlight) or it would pretty much kill the illusion, especially if it moves.
I thought you were wanting to make a nice simple movie with a beautiful homemade aesthetic, not compete with WETA digital and ILM for high tech stuff?
Darkstrider said...
If you do want to shoot footage of moving clouds to incorporate that can be done much easier with a bluescreen/greenscreen type compositing program. You'd have to paint the background wall bright blue (or some color that's not on your puppets or your set anywhere, can be any color actually) and it would have to be very brightly and evenly lit, without any of the spill light getting onto the set (or it will mess things up good). Generally that's accomplished by having a lot of space between set and background... like 4 or 5 feet. And that means a big background wall , and that means a lot of light to light it evenly, with no dark spots anywhere.
It would help if you could have only a small area where the sky shows through. Much easir to get even illumination on a 3 foot square area than an 8 foot area.
herself said...
There were a couple of instances in Pink Bullets that *appeared* to me to be projected at the paper. I can isolate them as screen shots to show it but it really doesn't matter whether Adam did or didn't do that. It inspired me to think of doing it myself regardless. Like I said, when he showed the paper edges and wrinkles it became part of his motif perfectly, just like the ink lines showing on the paper puppets. Showing the workings became the style.
In terms of what I was thinking about for here, firstly, I plan to block out all light during filming. Secondly, there are large proscenium and walls here with enough room to get a goodly distance behind the set, so I should test it out at least. Thirdly, I feel projecting *unregistered* sky images does match the Halfland look of a rustic, handmade, world to me. I'd like there also to be a dream quality to it, perhaps using optical lenses and other atmospheric elements. The point is, that when the set is done I'll experiment with a few things to see what hits the mark.
Yes, I've got a real vintage geek A/V unit! I use it to project transperancies onto walls for artwork. I was thinking of using it to test the projection idea, see how it looks as a still frame. If it looks good I may want a film projector running sky footage. Or I suppose I could use overlays of sky scapes on the overhead, if it looks good to have the sky change that way.
Let me be clear, I am NOT going for a polished product like big companies might. It WILL be homemade, hand-crafted because it is, no matter what I do. I imagine at the end of the day I'll have used everything in it, straight puppets, in-camera effects, digital effects, all of it. But it will all be put together with whatever I have available to me naturally. That's key, kind of my own Dogma 13 type rule. I use what I have or can get easily. Sometime I can go into more detail about why that's a rule and why it works philisophically for me. It partically has to do with the "power of limits".
Yours, until the kitchen sinks. s
Darkstrider said...
I'll bet I know the shots you're talking about..... there were a couple of shots where toward the end the lighting shrank... as if he tightened the focus of his spotlight or moved it so the edge of the image darkened. I think that would be fairly easy to do.
Ok, I can definitely see where it might work to have a large-ish transparency of a cloudscape and maybe slide it a little bit between frames. That would actually look pretty cool. And I always loved those old Noir films where they obviously used rear projection behind the car, and the road twists and turns without being in sync with the way the driver is turning the wheel. I actually really love that kind of thing, and always hoped one day I can do something similar (though I imagine I'd do it in compositing software). It looks even cooler if the lighting doesn't really match the foreground lighting and the BG image is greally grainy or slightly out of focus!
And yes, if you plan to block out incidental light that would help a lot. Last I heard you weren't going to do that.
So.... heck, I guess it just might work~!
Worth 'spearmintin' with anyway.
herself said...
E-X-A-C-T-L-Y! YES! I've been watching some films from the 40's and LOVING the rear screen projection look so much. Just as you say, with unmatched light and mis-aligned action gives a old-fashioned hand-made look that is terribly appealing.
mefull said...
Well I finally catch up with this thread...
I say go for it Shell, I don't see why you could not use a overhead projector back projected on a transparent screen and move the slide or transparancy across the projector top as you animate. Maybe do it as a separate pass and composite it into your stop motion. Quirky movement might add to the hand made feel quite nicely.
herself said...
Thank you, thank you, thank you for that, Mark! I think it'll work too, in just the right way! We will see. Cheers!
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J.M.W. Turner: Sketchbooks, Drawings and Watercolours
ISBN 978-1-84976-386-8
Joseph Mallord William Turner The Roman Campagna with Ponte Molle in the Distance 1819
Joseph Mallord William Turner 1775–1851
The Roman Campagna with Ponte Molle in the Distance 1819
Turner Bequest CLXXXVII 45
Pencil and watercolour on paper, 256 x 404 mm
Accepted by the nation as part of the Turner Bequest 1856
A large number of studies from the Naples: Rome C. Studies sketchbook represent variant views of the Roman Campagna, the area of countryside encircling the outskirts of the Eternal City (Tate D16122–D16139; Turner Bequest CLXXXVII 34–51). This is one of six such compositions where Turner has developed the landscape in watercolour (see also Tate D16122–D16123, D16129–D16131; Turner Bequest CLXXXVII 34–5, 41–43). The work depicts the River Tiber on the northern outskirts of Rome with the Ponte Molle, an ancient bridge also known as the Ponte Milvio, in the middle distance.1 To the far left is the Monte Mario with the Villa Mellini amidst the trees on the crest of the hill and the Villa Madama positioned half way up the slopes on the side. Turner’s viewpoint appears to be from Monte Parioli, the hill to the west of the Fontana dell’Acqua Acetosa, now the location of the Villa Glori park. A related series of sketches can be found in the St Peter’s sketchbook (see Tate D16217–D16226; Turner Bequest CLXXXVIII 35–40). A couple of these include the unidentified building in the right-hand foreground of this watercolour (see Tate D16219 and D16223; Turner Bequest CLXXXVIII 36a and 38a). Further studies of the Campagna and the Ponte Molle dating from the 1819 Italian tour can be found throughout the Small Roman C. Studies sketchbook (see for example Tate D16464; Turner Bequest CXC 49).
Landscape near Rome, with a View of the Ponte Molle, 1645 (Birmingham Museum and Art Gallery), combined motifs studied on the spot with an idealised vision of landscape. Throughout the eighteenth and nineteenth centuries, artists in search of authentic Italian landscape continued to follow the precedent for drawing and painting the Campagna and during the 1820s a small European coterie began to focus on painting in the open air.2 Unlike earlier topographical artists who had focused their depiction of the Campagna on images of selected landmarks, nineteenth century en plein air painters such as Jean-Baptiste-Camille Corot (1796–1875) and his contemporaries developed a new approach rooted in empirical observation. Working directly from nature they produced panoramic views of vast barren spaces, deserted except for distant hills and isolated ruins which served to emphasise the grand emptiness of the terrain.
Turner’s watercolour studies of the Campagna share a number of pictorial similarities with the work of these en plein air artists.3 The landscapes he depicts are often wide, open spaces, devoid of figures, where the key compositional interest is provided by the winding river, distant mountain ranges or solitary ancient structures. There is also a similar focus on the broad expanse of sky and the transient effects of light. Yet there is no evidence that the artist actually painted in the open air during his time in Italy. Several contemporary sources testify that his preference was for drawing on the spot and for colouring indoors away from the motif, since it took up ‘too much time to colour in the open-air’ and ‘he could make 15 or 16 pencil sketches to one colored’.4 In this work, Turner has first sketched the basic composition in pencil before blocking in broad washes of watercolour. The sky for example has been painted with liquid washes of limpid blue, suffused in the bottom left-hand corner with yellow to indicate the light of the sun rising in the east. In the foreground, the textural effect of rough ground and vegetation has been achieved with brushstrokes of drier pigment and energetic manipulation of the paint. Despite the apparent naturalism of the scene, there are elements of Claudian artifice. The hazy blue of the distant line of mountains, for example, repeats the atmospheric effects of aerial perspective which characterise much of Claude’s work.
For a detailed sketch of the bridge prior to 1805 see William Marlow (1740–1813), Ponte Molle, pencil on paper, Tate T09173.
Peter Galassi, Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition, New Haven and London 1991, pp.120–2.
Letter to John Soane from his son, 15 November 1819, quoted in Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, p.50.
Technical notes:
The watercolour has suffered from overexposure in the past, as first noted by Finberg. Narrow strips protected by a mount around the edges of the picture indicate the change in colour. Long detached from the Naples, Rome C. Studies sketchbook, the sheet was perhaps once folio 45 (see the concordance in the introduction).
Nicola Moorby
March 2009
How to cite
Nicola Moorby, ‘The Roman Campagna with Ponte Molle in the Distance 1819 by Joseph Mallord William Turner’, catalogue entry, March 2009, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-the-roman-campagna-with-ponte-molle-in-the-distance-r1132395, accessed 24 June 2018.
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Chichen Itza
Gebel Berkal
World Heritage Site
for World Heritage Travellers
Sydney Opera House
Sydney Opera House
The Sydney Opera House is one of the most distinctive and famous 20th century buildings.
It is situated on Bennelong Point in Sydney Harbour. The building and its surroundings (like the Harbour Bridge) form an iconic Australian image.
In 1955 a competiton for a design of a large, dedicated opera house and concert hall was started. It was won by the Danish architect Jorn Utzon. It was later finished by Arup & Partners and Australian architects Hall, Todd & Littlemore and Ted Fmer.
The Opera House was formally opened by Queen Elizabeth II, in her capacity as Queen of Australia, on October 20, 1973.
Map of Sydney Opera House
Visit April 2011
After now having visited Sydney Harbour including the Opera House, I find it a pity that the nomination that finally got succesful in 2007 only covers the Sydney Opera House. Sydney's Harbour is its great asset, both as a magnet for immigrants in the past and for its picturesque setting. The Opera House is a single great building of course, but I was more impressed by the Harbour Bridge.
April 2011
I "did" Sydney on a half-day bike tour. It took us all along the different quays, over various bridges but allways with the fabulous harbour view in sight. The fish market was a worthy stop for a fresh snack.
April 2011
We cycled around the Opera House too of course. From upclose it is more visible that is actually made of 3 sets of "shells" (it looks one structure from afar). After having read the reviews below, I had decided not to spent another 35 AUS dollar for a tour inside. The complex is very "open" anyway, it is a public building that is used by many.
Community Reviews
Mirjam S. Germany 22.04.15
Sydney Opera House by Mirjam S.
Well, what else is there to say about this WHS? It is so famous, so well-known. One of the most recognizable buildings in the world for sure, and definitely one of my favourites.
I have visited Sydney twice so far (just planning my third trip for next year!) and I remember both times I first saw the Opera House. In 2007 I first saw it from the bus arriving in the city. I was so fascinated of finally seeing that building, I couldn't believe how beautiful it was, the glowing white surface against the deep blue water of the harbour. In 2010 I approached on foot from Pitt Street and suddenly saw glimpses of the Harbour Bridge between the tall buildings. I was so excited, my heart beating wildly, as if I was to meet a long lost lover. Then I did another walk along the bridge, taking as many pictures as a few years ago. I just couldn't get enough of it.
Something I recommend is the tour inside of the Opera House. It was really interesting and nice to see some of the rooms inside. There were also lots of explanations about the architecture that helped me to understand the building and the background.
Hyacenth, Hilary 01.04.14
I have been to The Opera House many times, and have always quite enjoyed my time there. It is worth visiting, even if you are not attending a show. These are reasonably priced, and always great entertainment.
But, if you are spending the day there, I would suggest that you packk a lunch - the nearby food places have ridculously high prices (but some may be worth this price, if you are willing to take the fall).
Klaus Freisinger Austria
Next to the Ayers Rock, the Sydney Opera is the most identifiable and well-known Australian landmark, and probably the best-known opera house worldwide, at least in terms of its design. It is also a landmark in 20th century architecture, and of course, its location in exceedingly beautiful Sydney harbour is impossible to top. So any visit to Sydney would be incomplete without at least admiring the building from the outside, preferably from a ferry or a cruiseship. Having said that, I would say that this is also enough, and a visit of the interior of the building is not really necessary. It´s not particularly disappointing, there´s just not a whole lot to see. Still, when in Sydney, do as the Sydneysiders do and go to the opera!
Ian Cade England
Sydney Opera House by Ian Cade
I was very happy to see the Opera House added to the World Heritage list, it is an exceptional and highly identifiable building with an outstanding setting, in a great city.
The Opera House has an incredible setting backed by the Harbour Bridge on one side and the parkland containing the Botanic gardens and Mrs Macquarie's Chair on the other. This setting is iconic and, along side Prague Castle, sits as the best relationship between the natural and built environments I have seen.
It is perhaps best to view the building as a sculpture for this is where its true greatness lies. The iconic shapes of it shell provide endless joy to wander around. It is a surprise to see that it is made with small hexagonal tiles instead of large pieces of metal. These tiles reflect light and in fact my first glimpse of the Opera House was when we flew over its glow en-route to the airport.
The interior of the building however is does not live up to its exterior, in fact it is a bit of a mess. There is no real relationship between the outside and inside, and the acoustics are apparently quite poor. This contradiction of design may relate to the fact that the architect Jørn Utzon left the project before the interior was started. This was mostly due to political factors during the incredible 16-year building process. These factors were also part of the reason the site was not added to the World Heritage list earlier. In 1996 Prime Minister John Howard refused to support the nomination. Though at the time of inscription he did welcome its addition. Current plans to redevelop the interior with Utzon’s help may be an awkward situation for UNESCO though.
There are many great places to view the structure from; Mrs Macquarie’s chair is one of the best as it places the Harbour Bridge in the background. I managed to view it from the top of the Bridge, which was a truly memorable way to see it, and also provided a great tour of the Bridge, which is very impressive in its own right.
The building is not a structure that has come to prominence for being representative of a particular Modernist school, neither is it iconic for being the work of a renowned architect. Utzon himself is not going to be listed in the Pantheon of Modernist alongside Le Corbousier, Frank Lloyd Wright, Mies Van der Rohe or Oscar Niemeyer. The success of the building is derived from its own shape and location which have made it a truly iconic structure, and this uniqueness is what gives it it’s outstanding universal value and makes inscription on the World Heritage List very justified.
Sydney was the first place I visited independently and I really loved it, whether it would have the same impact now that I have travelled a little more I am not sure. I do however still hold it as one of the finest ‘Modern’ cities I have visited. The Opera House and its setting are the highlight giving the city a well deserved setting on the world stage.
Share your experiences!
Have you been to Sydney Opera House? Add your own review!
Site Info
Full name: Sydney Opera House
Unesco ID: 166
Inscribed: 2007
Type: Cultural
Criteria: 1
Link: By Name By ID
Site History
• 2007 - Inscribed
• 1981 - Requested by State Party to not be examined Negative evaluation by ICOMOS, only modern structures if they've launched (or are a major example of) a distinctive architectural style. Bureau expressed interest in receiving a revised nomination for Sydney Harbour, both as a bay and as the site of the first permanent European settlement in Australia.
The site has 1 locations.
• Sydney Opera House
246 community members have visited Sydney Opera House.
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Repairing Old Worn Out Veneers
A patient visits us with a complaint of faulty restorations. These restorations were creating an uneven smile. The patient was evaluated on Principles Of Digital Smile Designing[DSD] In this, a mock-up smile was fabricated first to see the results before actually doing the final Veneers.
After being satisfactory the Mock-Up was converted into beautiful EMax Veneers. The results as expected were stunning and the patient was extremely pleased. A WELL PLANNED CASE along with the full cooperation of patients helped us to create a Wonderful & Natural Smile.
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Julia Donaldson
AGE 4+
An exquisite exploration of the animal world with peep-through pages and amazing fold-out flaps. The perfect gift for animal lovers by the bestselling Julia Donaldson, author of The Gruffalo, and visionary illustrator Sharon King-Chai.
Written as an interactive guessing game, with eye-catching artwork and an exotic array of animals to marvel over, this is a gorgeous book to treasure - can you guess who has more legs than a butterfly? And who is wrinklier than a hedgehog?
Each page draws you further into a beautifully vibrant world of huge elephants, slithery snakes and growling tigers, inviting you to compare one animal to another and learn comparison words and adjectives from the natural world.
Sharon King-Chai's sumptuous art and the cleverly designed shaped pages make Animalphabet a rich delight, while Julia Donaldson's rhythmic words are a pleasure to read aloud.
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TarraWarra Festival 2015 – Sublime Sculthorpe Homage by ACO
Richard Tognetti, artistic director Australian Chamber Orchestra photo Paul Henderson Kelly
As a tribute to music both contemporary and classic, the Australian Chamber Orchestra (ACO) led by Australia’s National Living Treasure Richard Tognetti AO its Artistic Director and Lead Violinist played an exquisite array of music in the main gallery of the The TarraWarra Museum of Art on Saturday 8th March for the 3rd annual TarraWarra Music Festival 2015.
Those arriving from weekend accommodation nearby, or just up from Melbourne for the day, wound their way through the picturesque Yarra Valley in Victoria, where the leaves on the trees were beginning to change hue against row upon row of hill climbing grape vines with protective covering in place.
Festivals with their relaxed informality provide an ambiance like no other. Sweeping through the great gates of the Tarrawarra Estate, which specializes in a select group of Chardonnay and Pinot Noir wines and onto the grand driveway, there were a never-ending stream of cars with happy laughing chattering people.
Once inside guests were guided into a nearby car park where a courtesy bus awaited to take them up the steep hill to the outstanding art, design and style conscious contemporary TarraWarra Museum of Art with its adjacent restaurant and Estate tasting room. I must say a tasting of the Reserve Pinot Noir slid silkily down my throat, both rich and resonant. It proved a prelude for the sublime music to come.
Satu Vanska
Satu Vanska, Violin, Australian Chamber Orchestra – Assistant leader
The ACO are celebrating 40 years of music making in Australia in 2015. The players have established an international reputation for excellence over these last four decades and in this extraordinary setting you could not help but think what an atmospheric way to enjoy and share glorious music with friends.
For this the opening concert of the festival the day was cool and cloudy, the usually uncovered terrace with its stunning view over the valley to the backdrop of mountains beyond, covered by a large transparent marquee.
Inside in a relaxed informal setting, everyone was able to stay out of the light cool wind blowing announcing that autumn had arrived. In a convivial atmosphere, they were all enjoying conversation with new and old friends accompanied by a glass of excellent juice from the vine with the light luncheon provided.
Those I spoke to said it was their idea of a perfect Aussie Saturday afternoon – good company, fine food, wine and simply glorious music in an outstanding setting in the countryside.
Peter Sculthorpe, composer (1929-2014)
The musical program A Sculthorpe Homage paid tribute, as ACO Artistic Director Richard Tognetti reminded us, to the most respected and revered of all Australian composers representing contemporary times, the late Peter Sculthorpe (1929-2014) who was also one of Australia’s great ‘distinctive voices’.
The TarraWarra Museum of Art had on display three exhibitions of works by artists Ian Fairweather: The Drunken Buddha in the main gallery where we were seated, Tony Tuckson: Paintings and Drawings and Gosia Wlodarczack: Found in Translation.
Tognetti had chosen the program of music they played to compliment the art and pervading ambiance, which was all about striking spaces, tonal colour, contemporary character as well as music and cultural development.
The Australian Chamber Orchestra were up close and personal and, at the top of their form.
The Terrace of the TarraWarra Museum of Art without a marquee, overlooking the glorious Yarra Valley
This opening concert for 200 people was booked out, so I felt indeed privileged to have secured a seat and was instantly immersed in the glorious music from the first note. It was so special to be sitting in a ‘chamber’ where you could reach out and almost touch them all, and the acoustic was glorious.
Inspiring collectively, there was freshness about the performance of the musicians assembled. Perhaps it was partly inspired by the surroundings and because they were playing such a superb program of music to old friends, which was what the crowd certainly seemed to be.
Tognetti juxtaposed Sculthorpe’s work against a selection of fine concertos by the European master of ‘Baroque’ string composition, Italian composer Antonio Vivaldi (16789-1741. The result was an invigorating and exceedingly stylish concert of the ACO magical kind.
Have loved the ACO for decades now, was a subscriber and supporter BT and AT – before and after Tognetti, who arrived in 1989.
As I hadn’t been to a concert for a while though I felt excited, on the edge of my seat and perhaps full of an expectation, which they certainly exceeded in spades and then some.
Dating myself when I say I remember Richard Tognetti (1965- ) back in the day when he was a shy very sensitive young man hailing from Wollongong via Europe. He was expanding his studies when beckoned home to step on stage and become their leader, taking it and the early music lovers of Sydney by storm.
His skill with the violin was mesmerizing then, and still is now. Classical music in Australia would never be the same again once he arrived and chamber music had found a champion.
In only a short time a splendid team of musicians and administrators had gathered around him and within a decade the New York Times was describing them as the ‘best chamber orchestra on earth’.
This opening concert of this festival more than proved their point.
ACO 12 Tognetti 3These days Tognetti who is more than mesmerizing, plays a very fine 1743 “Carrodus” violin made by Giuseppe Guarneri del Gesù. It is one of the most famous in existence.
The shy sensitive man is still there, but he has learned how to communicate with his audience in his modest way, and so continues to win hearts. He was not at all phased when a string came loose, par for the course for an old pro like him now, and with an old instrument, to be expected. Momentarily he had to leave the stage to fix it.
Such is the fine tuning and respect Richard Tognetti enjoys with his team of players, who are all chosen for their own rare genius, his assistant lead violin Satu Vanska just quietly stepped into the breach and the orchestra played on.
When he returned it was all just as flawless as they dropped back and let him lead again. There was no fuss.
The real attribute of any leader is to embolden others and not seek to control. He’s a natural.
Tognetti and his colleagues compliment each other in a matchless style of grace poise and joie de vivre. They are so dynamic it makes your heart sing. It certainly did mine.
When he was young Tognetti used to mark time with his right leg and there it was on Saturday, marking time again revealing that more than 25 years on he still not only retains his youthful vigour but also his passion for music and its performance.
I remember the first time the orchestra played music by Sculthorpe who came on board as a composer from the beginning and it was in such a direct contrast to the classical repertoire diet Australians had enjoyed to that point.
Now many regard it as an old friend, with its intrinsic links to the dreamtime.
Through his prolific works Sculthorpe gave Australian’s a unique sense of self, one reflected so well in his music, telling tales of both its awesome landscape and its spirit.
His Djilile for string orchestra, which followed a very spirited Vivaldi Concerto for strings and Continuo in C major, was indeed captivating. I loved it.
His passion for Australia’s natural landscape and enormous regard and respect for its indigenous community informed Sculthorpe’s choices. The sounds heard were like those experienced while sitting by a campfire at night down by a billabong.
Stands-on-head-e1409720539394
The Drunken Buddha: An exhibition showcasing the works of Ian Fairweather curated by Steven Alderton, courtesy TarraWarra Museum of Art, Yarra Valley, Victoria
He famously said “While on the surface it might appear to be painting a picture, I mean what I’m really doing … is seeking the sacred in nature,” Sculthorpe said. He certainly achieved that.
Representing further times past were the always invigorating and inspiring works of Italian composer Antonio Vivaldi (1653-1713) whose most famous work the ‘four seasons’ has defined many an orchestra and chamber group over the centuries since it was composed.
Just as the ancient Greek God of music Apollo’s lyre painted a picture of spring water as an essential luxury on Mt Parnassus so did Vivaldi’s paint the landscape of Italy with its ‘fatal gift of beauty’, which caused the romantic poet Lord Byron to comment ‘Oh Italia, all the orphans of the heart must turn to thee’.
Cellist Timo-Veikko Valve, Australian Chamber Orchestra
In this concert music both sacred and secular were infused as one and Vivaldi and Sculthorpe’s common threads woven with vivacity and warmth.
There were no boundaries to cross only harmonies and beauteous notes that swept you along in a cloud of creativity, beauty and grace combined.
Vivaldi was revisited with fresh intent, through his masterful Violin Concerto in A Minor featuring Tognetti on violin. Bliss
Timo Teikko Valve
Timo-Veikko Valve, Cellist, Australian Chamber Orchestra
The afternoon ended with his Concerto in D minor where the expression arising from the cello of principal cellist Timo-Veikko Valve was truly exquisite. Goodness, do I love the cello.
Tognetti believes ‘the relationship between the music of the late Peter Sculthorpe and composers of the Baroque is subtle but strong’. Like Bach and Handel, Corelli and Vivaldi, Sculthorpe had an instinctive feel for the glories of a string ensemble…’
The soul of the Baroque era in music is not static, it is consummated in marvellous music that reveals all by its purity. It certainly reflected all that was good about life at the time, especially an awakening love of nature, sweeping all before it as does the Australian Chamber Orchestra under the direction of Richard Tognetti.
Ten out of ten, this exquisite team of players were certainly at a pinnacle of perfection in their playing for the opening concert for the TarraWarra Music Festival, 2015. Was left wishing that I could be there for the rest.
Carolyn McDowall, The Culture Concept Circle, 2015
Musicians on Stage – Australian Chamber Orchestra
TarraWarra Music Festival Opening Concert 2015
Richard Tognetti, Violin,
Satu Vaneska, Violin,
Aiko Goto, Violin,
Mark Ingwersen, Violin
Llisa Pollandi, Violin,
Ike See, Violin,
Alexandru-Mihai Bota, Viola
Nicole Divall, Viola
Timo-Veikko Valve, Cello
Julian Thompson, Cello
Maxime Bibeau, Double Bass
Players dressed by Akira Isogawa
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3561c288-7607-4e4f-8aaa-c7127a44ecfd
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Thursday, December 1 2022
The first photo of Roe Ethridge’s ‘American Polychronic’, his voluminous new block of a survey of the careers of Mac, depicts a buttery yellow two-door refrigerator covered with papers and photos, in his parents’ suburban Atlanta home. As an introductory image, it’s both spectacularly insignificant and, in the style of William Eggleston, casually iconic, even a little wondrous. It is a style that, since the turn of the new millennium, Ethridge has redefined on his own terms, and with remarkable success in art and commerce. Like so many contemporary photographers (Wolfgang Tillmans, Collier Schorr, Juergen Teller, Cindy Sherman), he does not isolate his editorial from his gallery work, and in “American Polychronic” they are completely mixed. Trying to tell one from the other is both futile and pointless. As two sides of the same career, they inform, ignite, and subvert each other, which brings us back to that refrigerator. Ethridge shot it as part of an assignment for the New York Times Magazine which was never published, but he loved it too much to let it die. He included it in a show at Gavin Brown’s Enterprise, in the summer of 1999, where it was considered a signature image. A year or two later, he appeared in a print ad for a kitchen-related product that never took off. Now, says Ethridge, he sees it as “kind of the key to everything.”
“Refrigerator”, 1999.
Job #1830: Financial and Accounting Analyst / Controller
Giving a new voice to Virginia Woolf at the Metropolitan Opera
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6d4d5eee-0027-438c-91fe-c654b265175d
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Perkins+Will’s Boston Office Appoints New Design Director, Principal, Richard Kuhn
New leadership will elevate culture and design.
The Boston office of global architecture and design firm Perkins+Will today announced Richard Kuhn as principal and design director. Kuhn brings more than 25 years of experience and an impressive award-winning design portfolio of civic, academic, and cultural institutional projects throughout the United States, Asia, and the Middle East.
In his new role, Kuhn will elevate the culture of design within the Boston office of Perkins+Will by overseeing a collaborative process on every project that reinforces our commitment to meeting our clients’ needs through innovative and thoughtful design solutions.
“His work is dramatic and rational with a focus on high-performance envelopes, relation to the land, and metaphor driven ideas inspired by the client or site,” says Robert Brown, principal and managing director at Perkins+Will’s Boston office. “Rick’s design leadership will advance the exploration of contemporary, idea-driven work and strengthen our passion for the innovation and sustainable-driven architecture that our clients have come to expect from us.”
Kuhn believes design needs to have purpose and meaning, linked directly to the institution it represents. “While my own work strives to be timeless and contemporary, each project is always driven by a vision linked directly to the client, place and program, which continually perpetuates a diverse architecture within my own portfolio.”
Prior to relocating to Boston, Kuhn was Design Principal and Lead Designer at Freelon Architects which recently joined forces with Perkins+Will’s North Carolina practice. He has earned 40 national, regional and local AIA Design Awards for design excellence and sustainability, including a recent BSA Honor Award for the King Faisal Specialist Hospital in Riyadh, Saudi Arabia. Located in Boston and serving clients throughout New England and beyond, Perkins+Will's Boston practice is anchored in their ability to unite existing context with transformative design. They design for the future "sustainably and flexibly" while honoring the cultural and physical context of each project’s location. They are known for their design ingenuity, technical expertise, and unswerving commitment to their clients, including University of Massachusetts, Bentley University, Smith College, Colorado State University, Spaulding Rehabilitation Hospital, and Bigelow Laboratory for Ocean Sciences.
For more information, contact [email protected].
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6 Facts About Everyone Thinks Are True
Factors When Finding A Professional Landscape Design Company
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How I Became An Expert on
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Artist's description:
When I lived in Connecticut, I often visited Block Island.This painting is an abstracted aerial landscape reflecting a fanciful interpretation of the the section of Block Island I most visited - the town center, the airport, the ferry landing and the house in which I stayed. Squares of paper and long thin slices of paper represent the population hubs and transportation routes. The large, red sun in the upper right hand corner hovers over the ghost ship that legend tells us, pirated valuable bounty across the oceans and into hidden caches on this island.
Many layers of thinly laid acrylic paint over collaged papers result in a depth of surface and luminous quality. When the painting part is mostly finished I use materials such as cut paper, mat board corrugated cardboard, textured paint scraps and found objects for additional descriptive textural elements. Oil pastel highlights are added at the end and the process is finished with a clear acrylic varnish for surface protection. The painting extends around all four sides of the gallery wrap canvas.
Materials used:
acrylic paint, oil pastel, soft pastel, cut and altered papers, mat board, cardboard, metal, foil, nylon netting and screening, string
Island Summer (2011)
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Tai chi Y2D312: bullet time
You know that part of the movie where things become so slow-motion that you can see the cavitation left by the bullets? The scenery takes on super-sharp resolution, the arms and legs of the hero and villain flail wildly as they kick one another and block punches and shoot their pistols. I think it’s called “bullet time” and it was a collage of special effects first put to use in the Matrix movies. Gee, what a surprise.
My field of depth perception took on that quality today during my morning practice. It’s hard to know if I could have achieved this state without having bullet time sequences from The Matrix to guide my visual awareness. Yet I was aware of changes to my depth perception, my field of vision, and my sense of focus. Time dilation was a factor as well.
The depth perception shifts were the most obvious, because I had the sense of being in a 3D movie without wearing glasses. Subtle parallax became visible as I turned through the postures. I easily had the time and focus to count the paint brushes in a jar on my desk.
My brain also gave me a wider field of vision, or at least it seemed that way. From my desk to the door of the living room is 180-degrees. Yet I could see from the model of the kavad on the table by the desk, all e way around to where the sewing machine is currently parked. That’s closer to 279-degrees than 180.
Third was focus. I’ve mentioned being able to see and count the paint brushes on my work table. But more than that, I was also aware of up-close things that wouldn’t normally be visible. The web of fine lines on the back of my hand was visible and real, even in the dim light of my morning office with the lights off and only the streetlight sliding through the blinds. My eyes are watering now; it was quite intense for them; at least I imagine it was. Now they’re resting, and cooling down.
Most of all was time dilation. It took about fifteen minute to do the qi gong form, and another twenty eto do the tai chi form — about as long as they should take. Yet I felt as though I were going much slower than that. I half expected it to be 6:30 or :45 when I finished, and not 6:15.
I’m neither sweaty nor breathing heavy — although it was an intense tai chi session, it was not apparently very demanding on a physical level.
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Object Matter
Jan 23, 2014
Let’s take time to make some introductions.
Starting with this year, I’m working under a new moniker, Object & Subject, for my personal workspace. It’s a home for my portfolio, a few little side projects, collaborations, and a bit of bad writing. For about 3 years now I’ve managed a handful of freelance gigs on the side, under my own name (J. C. Jr. Design). I’1 (who created Siteleaf2). Each of these people have helped shape how I see, and design for the web.
The Name
This studio is a dedication to my personal obsession with the words object and subject. For me, these are two of the most ripe words that I’ve ever come across. I know, I know, that’s a big claim. But, each word carries with it, many differing synonyms/meanings. One can hold an object; object to an idea; seek objectivity; and have an objective (a physical thing; an opposition; a definition; a goal). One can also explore a subject; be subjected to something; embrace subjectivity; and be subject to certain ideas (a topic; a constraint, an instinct, and a proclivity). I hope you can see how nuts these words are.
Put together, they represent the paradox between a person’s capacity to be both a thinking, and feeling being. I obsess over these connections, because of it’s meaning, for how to live my vocation; design is both a science and an art. It’s my true north. I want to design systems, but I also want to make aesthetic artifacts.
This is all to say, that I want to step fully into my vocation. In the coming years, I want to get to know the people that I find inspiring; hopefully even some of the folks I listed above. Most of all, I want to live a meaningful and balanced life. I’ll end with a quote, thanks for reading.
“I want to make beautiful things, even if nobody cares.” — Saul Bass
This is where it began.
A Design workspace
by/for John Choura Jr.
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Anish Kapoor: Flashback @ ECA
I went to see the Anish Kapoor exhibition at ECA this morning. It’s really small (it only has two works) but it’s definitly worth checking out if you are in Edinburgh - it’s on until 9th October.
The first work is White Sand, Red Millet, Many Flowers, an early work from 1982 - an earnestly delicate combination of 4 pigment sculptures, juxtaposed against Untitled (2010), a giant ‘self-generating’ blood-red wax sculpture, constantly changed by a huge mechanical metal plate slowly scraping around the edge.
Check it out - also make sure you head up to the over looking balcony area - it’s not really sign posted well but offers a great view from above.
http://www.edinburghartfestival.com/exhibitions/2011/edinburgh_college_of_art_anish_kapoor/
Robert Rauschenberg @ Inverleith House, Edinburgh
Today I made it to the Rauschenberg exhibition currently being staged in the Botanical Gardens as part of the Edinburgh Arts Festival. The exhibition is good, although it is made up of his later works from the 80s and 90s, which I think lack the rigour and originality of his boundary pushing work of the 50s and 60s.
It contained a few too many mirrored screen prints for my liking - and credit must be given to Heath Iverson for pointing out that in these pieces Rauschenberg seems to have accidentally created the template for the lacklustre meaningless T-Shirts made so popular by homogeneous companies such as Super Dry, none more so than ’Treadle/ROCI/USA (Wax Fire Works)’ from 1990 (pictured below).
Despite this, and a number of tired ready-mades, the sculptural collages made up of found materials, such as road signs, vehicle parts and scrap metal, far outweigh the more disappointing aspects of the show and create some great aesthetics.
Uptown Pig Pox (1998) - a sculpture of a pig covered in ties is also pretty good.
There was also an interesting, if not a little overly whimsical/sentimental, film about the life and works of the artist hidden away in the basement.
It’s setting in the Botanical Garden’s is also a nice touch - so long as it is sunny (as it was today).
Exhibitions @ The Edinburgh Art Festival
(Above - Robert Rauschenberg’s Uptown Pig Pox (1988) in front of Le Coon Glut (1986) at the Botanical Vaudeville exhibition at Inverleith House in Edinburgh’s Royal Botanic Garden)
The 4th August see’s the beginning of the Edinburgh Art Festival (4th Aug - 4th Sept 2011) - Check out the link below to see what’s on offer:
http://edinburghartfestival.com/exhibitions
These are just the exhibitions in the Art Festival but there are plenty of others going on as part of the Fringe and the Edinburgh International Festival… I will keep you updated as and when I find out more
Game Mimics Life Vs Insanity
Last month I went through a ‘dark patch’ – as an escape from my mind I became addicted to playing ‘The Helicopter Game’ on my Blackberry. It’s the sort of low-tech game that you just can’t stop playing. The premise of the game is that you are in control of a helicopter and through frantic button pressing you have to try and navigate the aircraft through a bleak black tunnel, avoiding the bright green pixelated obstacles that appear before you. Every time you are playing an over whelming desire to stop playing comes over you – but as the helicopter inevitably crashes and you see you were just off your all time best score, you suddenly find yourself clicking on ‘start’ again and once again the button bashing commences.
So, after playing and playing and playing the game, I began to see it as a metaphor for life. At the beginning the tunnel is wide and the obstacles are few. As you continue along your journey the tunnel gets narrower and narrower, and the obstacles become greater in number, making it increasingly harder to avoid crashing. And then it invariably happens – you crash, and become a burning ball of flames and die.
It was at this point that I realised I had gone mad. It’s just a game.
http://www.helicoptergame.net/
Nude Defending A Staircase: There’s a new BBC4 documentary series celebrating British art from the...
There’s a new BBC4 documentary series celebrating British art from the first half of the twentieth century called British Masters. In its first two episodes it’s featured Walter Sickert, Wydham Lewis, David Bomberg, Stanley Spencer, Paul Nash and Alfred Munnings, and the next episode will…
After The Rapture - Oliver O’Keeffe
The latest instalment of Oliver O’Keeffee’s After The Rapture series - with the beautifully named Necro.
Animatronic T-Rex
Today I arose bright and early to make it to Chambers Street, Edinburgh for the grand opening of the National Museum of Scotland, following its lengthy £47 million revamp.
Along with some laborious tribal drumming, human statues abseiling from the roof, a fireworks display, some blacked up scottish people playing a fan-fare on weird scottish instruments, and previously unknown to me, but apparently very famous on the Scottish circuit, Grant Stott dressed in Victorian attire - was possibly the best thing ever.
An animatronic Tyrannosaurus Rex.
It was amazing - the National Museum of Scotland is pretty good, but it was overshadowed by the mechanical T-Rex
Upcoming Art Event - Edinburgh
Part II: David Dale presents: Desmond Church and Lyndsey Wardrop
Rhubaba Gallery | 23.07 – 07.08.2011
Preview: 22.07.2011 | 7-9pm
Friday - Sunday | 12-5pm and by appointment
Rhubaba Studios
25 Arthur Street
EH6 5DA
Nude Defending A Staircase: An Interview with Marx & Engels by Johann Hari
For over 160 years, The Communist Manifesto by Karl Marx and Friedrich Engels has been a mainstay on the bedside tables of idealistic students. Since the publication of that bestseller, both Engels and Marx have produced other works, including the latter’s Das Kapital (reading which made me…
Peter Duggan’s Artoon - Rene Magritte
(Source: Guardian)
No visual art this time - arty bands instead…
Last week I went to see Arab Ginsberg, an up and coming Edinburgh based band, play at Sneaky Pete’s on Cowgate, supporting Canadian band Friendo and Cold Pumas hailing from Brighton.
The band consists of Daniel Neofetou and Baz Tembo, both students at Edinburgh University, and a third member who was away in Portugal so unable to play.
I would describe the sound as distorted-bass-heavy-melodic-laptop-electronica - this was their debut gig, and a promising start.
They are playing again at Sneaky Pete’s on the 7th August, supporting Oneohtrix Point Never
- so if you are around Edinburgh at that time go along and show your support.
British Art Show 7 : In The Days Of The Comet
So on Friday I hopped on a train down to Glasgow to check out the British Art Show 7. It’s definitely worth a visit. As with any big exhibition, some works were better than others, but generally the quality was pretty high.
The exhibition is spread over three galleries - GoMA, CCA and Tramway - unfortunately, due to time and distance issues I was unable to make it to Tramway - so my apologies for not being able to dish the dirt on it.
Anybody who has wandered remotely near the British Art Show grapevine will no doubt have caught wind of Christian Marclay’s latest work The Clock. In the piece, he and a group of researchers have spliced together scenes from throughout the history of cinema containing fragments of clocks, watches and references to the time of day to create a 24 hour film that functions as an actual working time-piece. Although quite enjoyable to watch, the prime source of enjoyment came from playing ‘guess the film’. One friend (Nude Defending a Staircase) described it as nothing more than ‘overblown youtube gimmickry’, which I think is a fair description. The best thing about this work was that it pointed me in the direction of his earlier ’turntable art’, of which prior to Friday I remained ignorantly unaware.
My favourite work in the exhibition was Elizabeth Price’s video work User Group Disco, reminiscent of Ballet Mecanique - despite being a bit text heavy at times - the ending was amazing - spinning household implements set to a backing track of Aha’s Take on me.
Another personal fave was Nathaniel Mellor’s animatronic vomiting head sculpture - which does what you may expect an animatronic vomiting head sculpture to do - vomit.
Obviously it can’t all be great - there was also a wall at GoMA dedicated to the woefully dull works of George Shaw, an apparent necessity of pretty much all exhibitions these days.
Well anyway… there is loads to see, the list of artists in the exhibition is endless. I think it runs in Glasgow until August 21st - so if you are around these parts definitely go and have a look. After that it heads to Plymouth, making it easier for all you southern Englanders who missed it on it’s London stop.
Photomontage by StarkusCarcass
Spencer Tunick
I’ve spent the last few months looking at naked people (for research purposes) and while telling my Auntie about this she reminded me of the work of Spencer Tunick… an artist who really has the capability to push boundaries, and gather naked people en mass.
In this short video Tunick promotes his upcoming Naked SeaIsrael Project.
I find his work fascinating, his ability to persuade such large numbers of volunteers to strip naked is amazing. After watching this clip, I think the next time he produces something nearby (I don’t think I will make it to Israel) I will go along… I imagine it to be extremely liberating to take all of your clothes off in public… maybe I won’t wait… Maybe I will do it now… Milton Keynes city centre - brace yourselves.
After the Rapture - The Second Coming (Oliver O’Keeffe)
Here is the latest instalment in Oliver O’Keeffe’s After The Rapture series.
As Jesus returns to earth he finds there is no place for radical Christian preachers in this largely secular land, his only option is to join the back of the queue…
Illustration - Oliver O’Keefee
Concept - Marcus Pibworth
For past instalments see my post from the 30th May 2011.
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Over the past decade,the husband-and-wife team Andy and Carolyn London have produced one of the most eclectic bodies of indie animated shorts in New York City. Working under the banner of London Squared, their films—Subway Salvation (2003), The Back Brace (2004), A Letter to Colleen (2007), The Lost Tribes of New York City (2009)—have a distinctive personal voice that is refreshingly unburdened by animation storytelling cliches. Their visual style has an earthy urban tone, and is a playground for stylistic exploration. They jump from style to style, and technique to technique, having made use of hand-drawn, stop-motion, pixilation, rotoscope, and After Effects.
I recently conducted an email interview with Andy and Carolyn. We talked about their history, their earlier short films, and the major new project that they’re developing: Eager to Please, an idea based on Andy’s family life that has already generated a graphic novel, interactive on-line comics, mini-shorts, as well as an offshoot TV series currently in development called Our Crappy Town.
Cartoon Brew: Your films are among the most stylistically diverse of any New York animators. Do you consciously attempt a different style with every film?
Carolyn and Andy London: We don’t consciously set out to do a different style, but in order to stay inspired and true to the story we want to tell, we almost always change mediums. A big part of what makes us happy as filmmakers is experimentation and being playful, but we usually let the story dictate the medium we work in. When we became obsessed with voices and the hilarious people you saw every day in the city, it led to our clay animated film Subway Salvation in 2003. When we were attempting to adapt an autobiographical “memory” story, it led us to create a ghostly, rotoscoped technique for A Letter To Colleen. When we need to tell the story of Andy and his scoliosis in a really demented comic way, it led to the cut-out physical object style of bagels, tuna cans and toilet paper tubes of The Backbrace. So who knows where it takes you.
Cartoon Brew: Do you think the constant experimentation has hurt you in any way or prevented you from broader recognition?
Carolyn and Andy: Sure, we’re confident that having a singular style is useful to getting the attention of a commercial rep or production company, but I guess we’ve been really undisciplined about that. It’s always been more interesting to us to keep growing, experimenting and developing our story telling skills. But oddly enough, two things have happened just by making films for the last 14 years.
1. We’ve gotten really good at storytelling and have started to create a world and recurring characters that are showing up in TV shows we’re developing and other series ideas.
2. The second thing that’s happened is we’re finally settling on a “signature look.” We’re starting to call it “THE MAGIC EYE.” Do you know those 2D image books where your eyes have to de-focus, and suddenly the 3D images come into the foreground? That’s the heart of what we do. Whether we’re finding faces in inanimate objects OR taking inanimate objects and abstracting them into characters, we’re using a Magic Eye technique and showing you characters that you didn’t know were there. It’s a kind of alchemy that we find endlessly entertaining and seems to be lending itself to a rich world. You can see examples of what we’re talking about in examples for the latest TED TALK we made and also the style frames for a series we’re developing called Our Crappy Town. This is the total example of ‘magic eye’.
Cartoon Brew: I think part of what makes your work so refreshing is that neither of you come from a traditional animation background. You had a lifetime of experiences before you made your first film. Tell me a little more about your backgrounds prior to becoming filmmakers. What attracted you to animation and made you choose it as an expressive outlet?
Andy: I majored in painting at Pratt in the Eighties. I worked as a guard at the Met and sold my work—mostly kinetic sex-related sculptures—at auctions at an East Village gallery called the Emerging Collector. Then I moved to Prague and wrote a graphic novel called Jeremy Pickle Goes to Prague that got published by Fantagraphics. It was there I learned to teach English as a Second Language, my trade for the next fifteen years. When I returned to New York with my future wife and collaborator Carolyn, I continued to teach ESL. First in illegal immigrant schools, then in tourist programs, then privately. Mostly Japanese bankers’ wives. Carolyn and I got a commission to do a music video in the late-Nineties and it was an excuse to dive into animation, which turned out to be a great fit.
Animation is a great way to make something. You can control all aspects of the product and use a wide range of elements to be infinitely expressive.
Carolyn: I studied theater and playwriting at Brandeis University. I wasn’t exposed to a formal animation or film program, but I was exposed to set design, costume design, directing. A very early influence was growing up in Chicago. In the 80’s, they used to run the “Spike and Mike Animation Festival” at the Music Box Theater across the street from where my father lived. That was my early introduction to underground animation. And it was also the same time of Liquid Television on MTV. But all of the stuff I was watching on TV, my interest in writing and direction, plus my predilection for punk rock and new wave music shaped my sensibility. When I met Andy in the Czech Republic and he was doing comic books and graphic novels…it felt like a natural fit to bring our aesthetics and points of view together. It’s doing whatever you need to do to be in service of the story. And animation is a great way to make something. You can control all aspects of the product and use a wide range of elements to be infinitely expressive.
Cartoon Brew: One of your new projects, Eager to Please, is a step in a different direction yet again—it’s a graphic novel, an interactive on-line experience and a series of brief animated shorts called Made You Cringe. How do these all fit together, and what do you hope to accomplish with this expansive approach to narrative as opposed to the self-contained shorts you’ve produced in the past?
Carolyn and Andy: We want to create a world this time. A world that is the source material for a TV series. So a couple years ago, [Andy] decided to bite the bullet and write a graphic novel with a whole TV season’s worth of content. Then it came time to find a publisher and get it out there in the world. We soon quickly learned that there is limited interest in publishing graphic novels in the U.S. So this lead to rethinking the whole project. We put together a website called Eager-To-Please.com and began to explore various ideas. First was an interactive comic based on one of the stories from the book that did cool shit when you click and roll over things. Then we added an animated section called Made You Cringe based exclusively on the characters from the book. Those shorts gave us a chance to explore what an animated Eager To Please TV show would look like.
AND then we went to LA last year and started to work with a manager to help sell this idea. The funny (or not so funny part ) of this story is that we spent the last 8 months developing the look for the TV pitch, we have a 23-minute pilot episode, we created an animation test, bringing in graphics and packaging….and after all that work it seems like this series idea may be more successful as a live action idea. GOOD TIMES! But I guess this is normal in the development process. SO now we’re looking for the right producers to partner with and networks to pitch to. But in the meantime, we’d love to share our animation test online so everyone can see the development process.
Cartoon Brew: Eager to Please is intensely personal. In fact, one of the “stars” is Andy’s handicapped sister, which some readers might be uncomfortable with as a source of humor. It doesn’t seem that there’s anything in your personal life that you consider off-limits. Granted, Andy wrote it under a pen name, but do you ever feel you’ve gone too far afterward?
Does anybody else have a 39-year-old sister whose spiritual guide is Mr. T?
Andy: I don’t set out to humiliate my family. I love them. But there are stories that are crazy and poignant and funny and deep and I need to get them out in the world. Some of them are just straight up batshit. Some are heartbreaking. And I want to share this craziness with everybody because it’s so great. What parent do you know that makes twelve-foot tall barbecue pits out of Belgian blocks? Does anybody else have a 39-year-old sister whose spiritual guide is Mr. T? Maybe I shouldn’t write about how my parents had my sister arrested for sport but then I wouldn’t be doing the story justice or true to myself as a writer. My family is very unique, and think the world will appreciate every nutty detail.
Cartoon Brew: The first of the interactive Eager to Please shorts—”The Elephant Dollar”—is now on-line. Do you consider this more of an animated graphic novel or an interactive film? What do you think it’s possible to communicate with interactivity that you couldn’t through a traditional passive viewing experience?
Carolyn and Andy: It’s more of an animated graphic novel than an interactive film at this point. We want to go further with this idea. Perhaps with Andy’s follow up graphic novel entitled “I Give Up.” With iPad and smart phone technology, the possibilities are endless. We love printed books, however at the same time, we’re excited about all the new possibilities with web browsers, apps and e-readers. Film is beautiful but it’s not exactly interactive. And it seems like there should be a way to have a narrative experience that embraces the interactive technology of gaming– but still has the intimacy and pleasure of a graphic novel. We don’t know what this experience is just yet….it’s not a book and it’s not a game and it’s not a film…it’s something else and we’re challenging ourselves to figure out what that next thing is and how we can make it a cool, entertaining experience.
Cartoon Brew: Last year, one of your earlier films The Lost Tribes of New York City was featured in the high-concept “Talk to Me” exhibition at MoMA. How’d you manage to get your work into such a prestigious museum?
Carolyn and Andy: They found us! We had Lost Tribes running in various film festivals and online for approximately three years. Apparently they did a search and found our film and it fit into the theme of the show. It was pretty cool to be part of a show on technology, communication and design and see Lost Tribes in the context of other art projects other than film. It was also exciting to be part of a bigger dialogue about communication and technology and to get to contribute to this pool of ideas. We’ve always felt very inspired by established and contemporary art.
To learn more about their work, visit LondonSquared.net
Amid Amidi
Amid Amidi is Cartoon Brew's Publisher and Editor-at-large.
Latest News from Cartoon Brew
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Jingguang Centre Apartments: City within a city, home away from home
Type: Serviced apartments
Location: Beijing
Client: New World Development
Size: 10,000 sqft
Completion: 2016
The Jingguang Centre Apartments make up the 40th to 52nd floors of the Jingguang Centre in Beijing’s Central Business District. Our task and challenge was to renovate the atrium and the public areas on 40th floor (including the lobby, concierge, cafés, bar, private dining space, gym and changing rooms) while the guestrooms remained in operation.
Looking out and down from the 40th floor, you’ll feel like a bird flying over the typical Beijing north/south city grid. “City” was our inspiration and from that, we created our own city within a city.
Greeting the guests at arrival is a tranquil reflecting pool, acting as a visually and aurally calming feature. In order to amplify the sense of height and the magnitude of the city skyline, the pool is surrounded by 12-floors of textural walls that gradually change from pitch black to white, up to the existing rooftop skylight. The drama of the atrium is deliberately disrupted by LED light strips on the textural walls in the abstract form of birds, creating a sense of lightness within chaos. These lights slowly shimmer in accordance to the time of day to echo the glimmering city lights outside.
Next to the reflecting pool, the concierge desk sits underneath a glass canopy. Guests can relax with a drink nearby while waiting to check in.
We created a miniature city grid carpet for each floor that covers the hallways, and every typical lobby has atypical maze like copper pipe pendant lighting.
The lounge and café feature warm walnut veneer. A retro, nostalgic setting is completed with abstracted etched glass panels that represent various forms of the familiar skyline and silhouettes of Hong Kong and Beijing.The concept of “çity” continues into the private dining room with a “city web” carpet with nostalgic glass pattern to reflect the dynamism of a city.
For the guests here, we created a “city” within Beijing city, and a true home away from home.
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, further marked "Approved", initialled and dated "12.9.11". Unique. Photo" /> essay 3/- surface printed essay in the issued design, in brown with the head let in and the surround touched up in Chinese white, inset on thick card (85 x 91mm.) dated<I> "Sept 8th 11."</I>, further marked<I> "Approved"</I>, initialled and dated<I> "12.9.11"</I>. Unique. Photo | Christie's
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Walkie Talkie tower project ‘reactivated’
The "Walkie Talkie" tower in Fenchurch Street is to go ahead soon, as confidence returns to the commercial property market.
The 155-metre project, wider
at the top than the bottom, was designed for Land Securities by architect Rafael Viñoly.
Plans first emerged in 2005 and it was approved by the Government three years later after surviving a major inquiry but final details were only approved last May.
Since then it was thought to have been mothballed due to the sharp downturn in the City offices market.
But the Architect's Journal today reports that the plans have been reactivated. Land Securities said it was now "beginning to look at timings" on the Walkie Talkie.
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Recommended NZ | Guide to Money | Gimme: Competitions - Giveaways
Richard Taylor designs Tui for 2021 Aotearoa Music Award
Fuseworks Media
Fuseworks Media
The winners at this year’s Aotearoa Music Awards will be presented with a unique TÅ«Ä«, designed and created by WÄtÄ Workshop CEO and creative director, Richard Taylor and the team at WÄtÄ Workshop.
A long-time contributor to the creative industries in New Zealand, Richard and his team have provided creative service work for local and international films, TV series and location based experiences. Best known for their work on The Lord of the Rings and The Hobbit trilogies, Avatar, Gallipoli - the Scale of our War and most recently their Unleashed experience in Sky City in Auckland.
"It’s an absolute thrill to be creating the 2021 TÅ«Ä« for this year’s Aotearoa Music Awards. Music has always played a major role in my life - I can still remember listening to Radio B with Karen Hay on a radio my dad made when I was a young kid living in rural Auckland," says Taylor.
"And of course - when I moved to Wellington after finishing high school, I discovered Radio Active and have been an avid fan ever since.
"A huge highlight of my work over the past 30+ years has been the opportunity to collaborate with Wellington-based composer and multi-instrumentalist Tane Upjohn - Beatson. We have now worked on Gallipoli - The scale of our War, Bug Lab and most recently our Unleashed experience in Auckland.
"Using music in such a powerful way in support of the narrative and emotion of our exhibitions and so significantly enhance the experience for our guests has been immensely uplifting for me."
Taylor’s favourite New Zealand bands have included Screaming Meemees, Toy Love, Newmatics, Instigators, Headless Chickens, Blam Blam Blam - or anything from Don McGlashan - Rhombus, Fat Freddy’s Drop and Ghidrah.
Recorded Music New Zealand Kaiwhakahaere o NgÄ Tohu Puoro o Aotearoa Sarah Owen is honoured to have Taylor involved with this year’s award ceremony.
"At the heart of the Aotearoa Music Awards is the celebration of creativity from our artists, and we think this year’s TÅ«Ä« is a great reflection of that creative energy and passion," says Owen.
Design inspired by nature
Joining Dick Frizzell (2018) and Boh Runga (2019), Taylor’s take on the iconic award is inspired by the beauty of the TÅ«Ä« bird, as well as Aotearoa’s native flora and fauna.
"The twisting forms of the piece are suggestive of the way TÅ«Ä« perch on a branch while turning their bodies to feed on kowhai flowers," says Taylor. "The interweaving helix in the body forms are representative of the weaving together of musical inspiration to make a song or composition, and at the foot of this spiral is a G-Clef - acknowledging one of the foundations of the music celebrated by the award."
The whole piece is underlit by a soft pale green light, illuminating the sculpture and capturing the iridescence of the TÅ«Ä« feathers in the light.
The TÅ«Ä« will be presented to this year’s winners at the Aotearoa Music Awards on Friday 17th December 2021.
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Tag Archives: mandela parkway
the wild wild west…
I’ve said it before… the thing I love about West Oakland is that you never know what you are going to find. On a recent sunny stretch down the Mandela Parkway, I came across this muraled building on an empty lot (determined to be an environmental clean up site upon closer inspection of the posted sign and related fine print), next to what appeared to be a small chicken farm… beautiful birds with their own fancy red house and a huge yard in which to strut their stuff.
For those too young to “get” the reference in the mural above… see the original photograph and a brief description in my post Diversity is the one thing we all have in common.Loma Prieta Earthquake – 20 years later
If you live in the Bay Area, it’s hard to not be aware of the fact that tomorrow is the 20th anniversary of the Loma Prieta earthquake. It was the biggest earthquake in the Bay Area since the “big one” of 1906, and at the time, was the nation’s most expensive natural disaster (now grossly surpassed by Katrina).
I didn’t yet live here in ’89, but I was not far away, living in another earthquake-prone region, Southern California. I remember watching the images on tv… the fires raging through the marina, the collapsed upper deck panel of the Bay Bridge and the car that careened off where its support had once been, and of course, the images of the collapsed Cypress Freeway, built before the 1950’s and the use of modern seismic safety standards. This is where the highest number of fatalities occurred… 42 people on the lower deck were literally crushed to death.
The freeway was rebuilt years later in a different location, further west to provide access to the Port of Oakland, and what now remains where that portion of freeway once was, is the recently redeveloped Mandela Parkway, which I have featured in several other posts. Between 13th and 14th Streets is located Oakland Memorial Park, which is a beautifully rendered tribute to the events of that day.
Here is the actual seismograph from those 15 seconds…
Designed by April Philips Design Works and artists Gilman and Keefer, the landscape work conveys the waves that moved through the earth that day, with undulating sections of native grasses, and plantings arranged in concentric arcs emanating from the “epicenter,” Story Plaza at the corner of 14th and Mandela. Here, three curved ladders represent both the literal ladders thrown up against the damaged structure that day by local residents to save those trapped within, and the symbolic hope of community spirit rising skyward from the dust of destruction. Excerpts from stories offered by local residents are imprinted into the concrete, such as “When the quake stopped, a rain of concrete dust obscured everything.”
On this anniversary, it seems fitting to remember that we do live in an earthquake prone region, and it is extremely likely that we will see another earthquake of similar magnitude in our lifetimes. In fact, there is a 62% probability of at least one quake of this size within the next 20 years. This statistic and an incredible wealth of information on the science of earthquakes and what we can do to prepare for them is located at the U.S. Geological Survey’s site “Putting Down Roots in Earthquake Country.” Please check it out. Strap those waterheaters. Get your disaster kits together. These things really do make a difference.
And by all means, go visit the Oakland Memorial Park… it’s a lovely spot to sit and remember.
The Crucible
How can I write about metal art in Oakland and not speak of The Crucible? It’s an institution, and one of my favorite things about Oakland. This is what makes Oakland cool. That you can throw a festival of fire next door to BART, in which a column of fire is sprayed 80 feet into the air, with the bart tracks & trains running right by. What do the people from Walnut Creek think?!!
This multi-disciplinary non-profit facility is responsible for a good chunk of art at Burning Man, the annual Fire Arts Festival in Oakland (which moved to a new location near Fruitvale this past summer), and a slew of classes at their West Oakland Bart oriented location… everything from blacksmithing (of course), to ceramics, fire-dancing, moldmaking, and much more. Please check out their links, because I simply can’t tell you enough to truly do them justice.
The word ‘crucible’ refers to a vessel or container used for heating substances to high temperatures. Below is an example of one they have sitting out front… It’s comprised of thick steel wrapped around an interior of concrete, and it is huge!
Another meaning of the word is “a place, time, or situation characterized by the confluence of powerful intellectual, social, economic, or political forces.” (dictionary.com) The Crucible truly is this, for they define themselves as a collaboration of Art, Industry, & Community, and rightfully so.
Their location in a historically depressed part of West Oakland rejuvenates the area with art, commerce, and education, accessible to all through classes, community events & service projects, and more..
They recently received an NEA grant that allowed them to install a new ramp, making the facility wheelchair accessible. See below all the intricate metal work adorning it, icons of bay area history, glossed in fire-engine red enamel … our current city logo (the oak tree), the Port of Oakland, the Fox Theater, the Tribune Tower, the Bay Bridge, the Black Panthers, Rosie the Riveter and more.
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‘Universal Magnetic’ an exhibition of new works by Rochester, NY artist St. Monci. Monci continues his exploration of color and form, how it relates to itself and to the viewer. Color relationships are emphasized by the curation of the gallery by the artist, focusing on the push/pull phenomenon of magnetism – a force observed through all objects in space.
The compositions are of subjects such as perception and matter, creating autonomous structures born of color and form that are constructed into dynamic and sometimes explosive matrixes of architectural and graphic elements. These structures are uncanny and meant to inform the language and nuance of color, whose purpose is to create a visceral reaction to the otherwise static elements of flat shapes. Alluding to principles of perspective is key, giving stoic forms of rectangles and lines filled with opaque washes of color and graphic pattern, a feeling of objectivity and motion through space and time. These futuristic constructions hinge on their own gravitational pull with a nexus of motion while hovering in solidarity.
St. Monci was raised in Puerto Rico where he lived up through his teenage years. He went on to study at SUNY Oswego where he received his BFA and MA. He has exhibited in solo and group exhibitions in New York State, Oregon, New Jersey, California, Washington D.C. and Canada along with being a participating artist in the Sweet Meat Co. Collective and Wall\Therapy. St. Monci was most recently featured on WXXI’s ‘Arts in Focus’ with Evan Dawson. To get more insight of the work of St. Monci you can view the episode at http://www.artsinfocus.tv/segment/st-monci.
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lisa daria… again
I am trying to will spring to come… I’m not sure that it’s working. Well, if nothing else I can visit the site of American painter Lisa Daria every single day to see her latest daily flower painting. I don’t know how she manages to out-do herself day after day, but she does. So, so pretty… and at only $100 each, I’ve almost forgotten that it’s snowing, AGAIN.
{I included some of Lisa’s flowers in my REAL ART FOR A FICTITIOUS WORLD post on SF Girl By Bay yesterday… any guesses on who I was buying art for?}
comments (4)
1. Jen /// 03.07.2014 /// 7:32am
She captures the essence of flowers beautifully. I own two of her paintings, and love them.
2. danielle (aka the jealous curator) /// 03.07.2014 /// 8:15am
i need one. i’ve been coveting them for too long!
3. maggie /// 03.07.2014 /// 9:53am
A painting a day? That’s pretty amazing and inspiring.
4. danielle (aka the jealous curator) /// 03.07.2014 /// 11:10am
i know right?! and just sooooo gorgeous every single day?!
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Ready to ditch the feeling of always have to be on and getting caught up in the scroll when you were only trying to post for the day?
Drowning in the overwhelm of writing captions that serve your clients (future and present) and leaving the app feeling more frustrated than when you started?
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Ready to have more structure and consistent posts without countless hours in the spiral? I've got you covered.
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tell me more
$1250 | Billed Monthly
Site Design © With Grace and Gold
© 2024 Josie Derrick
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The Architect's Eye
Tour Paris’s venerable École des Beaux-Arts with Lee F. Mindel
Lee F. Mindel visits Paris’s venerable École des Beaux-Arts
What do Carlo Bugatti, Mary Cassatt, Tony Garnier, Charles-Louis Girault, Hubert de Givenchy, Richard Morris Hunt, Jean-Auguste-Dominique Ingres, Bernard Maybeck, Gustave Moreau, Julia Morgan, John Russell Pope, Pierre-Auguste Renoir, Georges Seurat, Alfred Sisley, and Marion Sims Wyeth have in common? They were all trained at the École Nationale Supérieure des Beaux-Arts, located at 14 rue Bonaparte on Paris’s Left Bank.
When I’m in Paris, I always make a point of visiting the 350-year-old institution, which has undergone many sensitive and elegant restorations over the years. Comprising a mini-campus of courtyards, studios, salons, a chapel, and a theater, the physical structure complements a curriculum based on the study of classical forms and antiquities.
The school's goal has always been to expose its students to the best of classical design, specializing in drawing, engraving, painting, and other art forms (the architecture division split from the school in 1968). Beaux-Arts was one of the first schools to admit women; famed California architect Julia Morgan (designer of San Simeon and Asilomar) enrolled in 1898. In 1945 noted modernist architect Auguste Perret designed new studio spaces to meet the needs of the growing institution.
The influence of the École des Beaux-Arts extends across the globe. Here in the U.S., its graduates created many of our architectural icons, including the Boston Public Library, the Boston Museum of Fine Arts, New York’s Grand Central Station, and the Metropolitan Museum of Art, to name a few.
Join me for a trip back to school.
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477. Cheltenham Joules Staircase
Price: £2,200.00 (at date of manufacture)
Situated in public trade premises, this softwood primed staircase has 32mm thick treads which feature 4mm pencil round nosings. The handrail is hemlock. Our client finished the staircase with their own cladding to fit in with their corporate image.
Our Customer Said:
Thank you all at Pear Stairs for a top quality staircase, built to our specifications. Great help with design, fast production time and easy to install on site. Looking forward to working with you again soon.
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7 Asian American Artists Using Ceramics to Break New Ground | Artsy (2024)
May 17, 2022 6:39PM
In Anne Anlin Cheng’s 2018 book Ornamentalism, in which the scholar lays out a feminist framework for conceiving of Asiatic womanhood, she also descibes the phenomenon in which a nation’s exports became synonymous with its people. “The fates of Chinese female bodies and Chinese porcelain ran parallel to each other,” Cheng wrote. “As Euro-American acquisitiveness began to run in excess of what it could offer China in return, the early romance with china and China began to deteriorate…China’s meaning in the American popular imagination changed, with Chinese porcelain itself coming to connote tacky crockery.”
Porcelain has held an immense presence in the Western imagination and relevance in Chinese artistic production. Its denigration can be linked to the devaluation of Chinese labor and people. It’s a material that has a rich tradition and layered colonial history; this can also be extended to ceramics at large and its connection to East Asia.
Here, we focus on seven East Asian American artists and how they approach a medium loaded with inescapable connotations related to East Asia and Asianness. Whether self-taught or working as professors, they find varying ways through ceramics to relate to, subvert, or toy with expectations.
Amia Yokoyama
B. Illinois. Lives and works in Los Angeles.
Amia Yokoyama, In the soft darkness, 2022. Courtesy of the artist and Sebastian Gladstone.
Slick glaze seems to congeal into thick droplets that slide down Amia Yokoyama’s smooth porcelain figures and pool at the base. In varying opacities of baby blue, the nude sculptures recall water and fluidity. Inspired by anime, Yokoyama’s female forms have accentuated features that defy gravity and human anatomy. Whether they’re lying down or positioned on all fours, they have perky, spherical breasts without need of support, narrow waists, flat stomachs, round butts, thick thighs, and diminutive calves.
Yokoyama’s figures are not necessarily a critique of anime’s hypersexualized depictions or the West’s enthusiastic consumption of such portrayals, but an exploration of alternative modes of Asiatic personhood existing on the fringes of mainstream culture. “Asiatic femininity is the hinge on which my work opens into a deeper, more complex phantasmagorical understanding of myself and my dense ever-changing relation to the world,” Yokoyama said. “They embody borderless beings, an amalgamation of bodies, fluid, and overflowing with desire and excess; the portion of their bodies that does not form the shape of a woman literally collecting at their feet; they seduce by promising ecstasy and death.”
Amia Yokoyama, Of all the world passing through, 2021. Courtesy of the artist and Sebastian Gladstone.
Amia Yokoyama, Pleasure Wants the Seam, 2021. Courtesy of the artist and Sebastian Gladstone.
Working with the imagery of one of the most popular forms of entertainment exported from East Asia, Yokoyama further embraces her work’s Asiatic ties through her choice of material—porcelain. “It carries with it an origin of desire, disgust, and diminishment, the sought-after pleasure technology of the ‘other’ non-phallic, non-European body. Something to be conquered, distributed, stolen, commodified,” Yokoyama explained. “From the origin of the word ‘porcelain’ to its historical and political use, it’s a material whose exoticism evoked desire in the form of domination and colonial pursuits between Europe and East Asia.”
Porcelain becomes the flesh of Yokoyama’s female figures. The phrases “porcelain doll” and “porcelain skin,” which have been used to describe white femininity, are now embodied by Yokoyama’s sculptures. Returning to Ornamentalism, Cheng asks, “How do we begin to think about racialized bodies that remain insistently synthetic and artificial? What about bodies not undone by objectness but enduring as objects?” Despite their monochromatic surfaces, Yokoyama’s works beg the same questions through, as the artist described, “clay bodies, clay avatars, fetishized bodies, bodies suspended between human and non-human.”
Cathy Lu
B. 1984, Miami. Lives and works in Richmond, California.
Cathy Lu, American Dream Pillow, Green Beauty Mask, 2020. Courtesy of the artist and Chinese Culture Center of San Francisco.
“It feels endless,” Cathy Lu said, describing her relationship with ceramics. “Every time I work with clay, it’s always changing or I experience something different.…It connects across cultures.” Lu is currently featured in four exhibitions across the Bay Area and was one of five artists awarded SFMOMA’s 2022 SECA Art Award, which will see her exhibit at the San Francisco institution this December, accompanied by a publication.
In her current solo exhibition “Interior Garden” at the Chinese Culture Center of San Francisco, ceramics intermingle with water pumps, bricks, and cinder blocks in large-scale installations. On view through December 17th, the show references the landscape of traditional Chinese gardens to illustrate the discrepancies between the unattainable promise of the American Dream and the dystopian lived realities of Chinese Americans.
Cathy Lu, installation view of Peripheral Visions, 2022, in “Interior Garden” at the Chinese Culture Center of San Francisco, 2022. Photo by Aaron Stark. Courtesy of the Chinese Culture Center of San Francisco.
Though “Interior Garden” readily engages with Chinese history and mythology, Lu explained that these explorations did not come naturally in her early career. “In the United States, there is an almost fetishistic reverence for traditional East Asian ceramics, especially porcelain,” Lu explained. “In the beginning, it made me hesitant to explore East Asian ceramics or culture.” After earning an MFA in sculpture and ceramics from SFAI in 2010, she was able to filter out those external influences and began addressing traditional Chinese art objects and symbols on her own terms.
Perhaps the most striking installation of “Interior Garden” is Peripheral Visions (2022), which features pairs of large ceramic eyes belonging to East Asian American women, including artists Ruth Asawa and Maya Lin; the Yellow Power Ranger; and Lu herself. Tears dyed yellow with onion skins cry out from their eyes and flow into a variety of vessels manufactured in China, from ornate porcelain vases to nondescript buckets propped up by stacks of colorful plastic stools. Some objects were sourced from Lu’s home, but most, if not all, look like they can be found in Chinatown shops.
“In the United States, there is an almost fetishistic reverence for traditional East Asian ceramics…and yet, the people of that culture are routinely dismissed or ignored.”
“I find a lot of inspiration from Chinatown in San Francisco. It reminds me of my family, my heritage, and there is a lot of nostalgia for me,” the Bay Area–based artist said. “But it’s also a symbol of resilience. Chinatowns exist because Chinese residents were prohibited from living elsewhere due to racism.”
Cathy Lu, installation view of Red-White-Blue, 2019. Courtesy of the artist.
The influence of the Chinese community’s perseverance through times of hardship can also be seen in her work Red-White-Blue (2019), which was recently featured in the group exhibition “On the Edge: CCA Clay” at Pence Gallery in Davis, California. Lu stitched together discarded bags commonly seen throughout China and Chinatowns to form an American flag, on top of which she displays a variety of ceramic objects—some of which she made; others are altered found objects. “I had been seeing more Chinese grandmas selling cereal boxes and other small food items set up on tarps around Civic Center in San Francisco, and my heart broke,” Lu said. “Near Civic Center is the Asian Art Museum, which has all these invaluable Chinese cultural objects, and yet, the people of that culture are routinely dismissed or ignored.”
Lu’s work is also featured in the group shows at the Marin Museum of Contemporary Art, on view through June 5th, and Woodland, California’s Barn Gallery, through June 11th. At the former show, Lu conveys the failures of the American Dream through ceramic dream pillows inspired by those of the Song and Tang dynasties.
Steven Young Lee
B. 1975, Chicago. Lives and works in Helena, Montana.
Steven Young Lee
Vase with Yellow Glaze and Lobed Rim, 2020
Duane Reed Gallery
With a graphic designer father and a mother who studied art in college, Steven Young Lee grew up in a home filled with creativity. He has always been drawn to clay, even as a child, he wrote Artsy via email, but it wasn’t until he started working on the potter’s wheel during his senior year of high school that his interest became closer to an obsession.
Lee created functional pottery in the early years of his career, but contrary to industry conventions, he still saw value in the pieces that came out of the kiln cracked or otherwise less than pristine. Now, Lee creates jars that rupture and vases that collapse in on themselves, questioning notions tying perfection with worth.
Steven Young LeeJar with Double Dragons, 2022Duane Reed GallerySold
“I am interested in exposing the true nature of the porcelain clay, allowing it to shrink, crack, and warp and also letting glazes run off the edges of the vessels,” Lee wrote. “The material and form is given space to evolve on its own outside of my control as the maker.” Shaping works intended to transform in unexpected ways in the firing process, Lee invites the kiln to be a collaborator in his art practice. While methods such as kintsugi reevaluate ideas of imperfection through repair, Lee’s vessels go further by embracing the fractured and broken.
At first glance, the motifs on Lee’s blue-and-white porcelain vases appear like those from China’s Ming dynasty or Korea’s Joseon dynasty. However, a closer viewing reveals the presence of the Batman symbol, dinosaurs, UFOs, rocket ships, and a phoenix with the head of a bald eagle. “My work hopes to capture a similar sensibility [as the ceramics traded along the Silk Road] in that the pieces reflect what is happening from a contemporary viewpoint,” Lee said, referring to the historical role of porcelain in cultural exchange. “I very much want to honor tradition and historical representation but also cross-reference these elements from different cultural sources, East and West, to set up unfamiliar, discordant or ironic relationships.”
Charlie Mai
B. 1995, Arlington, Virginia. Lives and works in Bogotá.
Charlie Mai
Ama (Wack Wack Wack, Another DiSatisfied Customer), 2020
Steve Turner
Charlie MaiPa(i)r excellance, 2023LATITUDE Gallery New YorkUS$2,000
In Charlie Mai’s ceramic sculptures, an Asian grandma trades her brown, traditional clothes and plain black clogs for a bright matching set from Pyer Moss’s spring 2020 ready-to-wear collection and hot-pink Balenciaga “Speed” sneakers. Elsewhere, a young Asian girl with her hair tied into pigtails with Versace scrunchies reads with a man who wears around his head a Louis Vuitton silk scarf from its spring/summer 2003 collaboration with Takashi Murakami.
Mai transforms found ceramic objects purchased from antique shops in Virginia, upstate New York, and along his travels. “The presence of Asianness in the shops was always ceramic, either in the form of figurines or vessels,” the artist recalled. “It’s funny to me to see them hanging out with a bunch of porcelain ballerinas or Sambo figurines, they’re like tiny museums of America’s twisted racial imaginary.”
Charlie Mai, Dad, I am no child, I am the moment (“Whether it’s through retribution or indebtedness,”), 2020. Courtesy of the artist.
Mai’s work is intergenerational, both in content and in practice. He takes vintage Asian ceramic figures and incorporates contemporary fashion, occasionally adding sculpted elements. Creating each piece is also a familial affair. Mai plans and designs the outfits in advance and paints the pieces with his father, who tackles the finer details. Mai describes his father as the better painter of the two, given his experience painting miniature fantasy figurines from the tabletop game Warhammer. “I thought, ‘If he can paint a necklace on a Slann Mage Priest, he can definitely paint a tiny Gucci slide,’” Mai said. “The first figure I sold had a pair of Gucci slides. I used the money to buy my dad the same pair. Now he wears them while he mows the lawn.”
The collaborative experience has led Mai to a greater understanding of the differences between his own lived experiences and his father’s. Mai confessed that he previously carried resentment towards his father for his desire to assimilate, but now has more empathy, taking into account the factors influencing the decisions his father has made. Oftentimes, assimilation can feel necessary for survival for immigrants and earlier generations in ways that younger generations have not had to experience.
Charlie Mai, Papa (Gauge Depth Before Jumping), 2020. Courtesy of the artist.
Charlie Mai, Good Sci Fi (Like Mint Floss Through Wedding Cake), 2020. Courtesy of the artist.
These tensions converge with designer attire in Mai’s sculptures, addressing themes of labor exploitation and wealth disparity. “I think that my grandparents, and probably many of our grandparents, thought that they could earn or spend their way out of being looked down on, diminished, used,” Mai said. “I dressed the figures this way at first as kind of a reminder that we can’t.” In more recent works, Mai started including younger brands with Asian, Black, or Latinx founders, including Sandy Liang, Telfar, and Coloured Publishing, co-founded by artist Devin Troy Strother and designer Yuri Ogita. “What started as a critique of assimilation through capital became more a celebration of self actualization and solidarity,” Mai added.
“The first figure I sold had a pair of Gucci slides. I used the money to buy my dad the same pair. Now he wears them while he mows the lawn.”
Good Sci Fi (Like Mint Floss Through Wedding Cake) (2020) references not an Asian American fashion designer, but an artist. Mai’s bearded figure wears a deep V-neck shirt printed with Martin Wong’s Tell My Troubles to the Eight Ball (Eureka) (1978–81), reminiscent of the hoodies and button-up t-shirts released in Supreme’s fall/winter 2019 collection in collaboration with the late artist’s estate. “A lot of types of queerness, especially that of people like Martin Wong, were so much about diffusing across all kinds of boundaries. Asianness is very that,” Mai said. “It resists definition with a kind of extravagant confusion. For me, Asianness and queerness are inseperable.”
Candice Lin
B. 1979, Concord, Massachusetts. Lives and works in Los Angeles.
Candice Lin, installation view of La Charada China, 2018, in “Made in L.A.” at the Hammer Museum, 2018. Photo by Ian Byers-Gamber. Courtesy of the artist, Hammer Museum, and François Ghebaly Gallery.
Working with clay in its raw and fired forms, Candice Lin introduces the material in gallery and institutional spaces to unearth lesser-known histories of the plight of people of color. In her installation for the Hammer Museum’s “Made in L.A. 2018” exhibition, La China Charada (2018), a raised platform made of red clay, cement, seeds, and guano features a human-shaped recess embedded with the seeds of sugarcane, opium poppy, and poisonous plants from the Caribbean. The materials reference the history of indentured Chinese laborers who worked alongside enslaved Africans on sugar plantations in the Caribbean, in cement production in Cuba, and in guano harvesting in Peru. The silhouette in the cracking clay speaks to the absence in popular consciousness of the forced importation of hundreds of thousands of Chinese people to the Caribbean from 1847 to 1874.
Candice LinUntitled, 2021Eli Klein GalleryPrice on request
Candice Lin
Witness (Blue Version), 2019
François Ghebaly
At the international exhibition of the 59th Venice Biennale, Lin presents ceramic sculptures of swamp creatures made from clay sourced around the former site of the multiracial fishing village Saint Malo in Louisiana. Saint Malo is believed to be the first Asian American settlement in the United States, started by Filipino indentured laborers from Manila who jumped ship en route to Spanish colonies in South America. They were later joined by Chinese indentured workers and formerly enslaved Africans—one of whom, Juan San Maló, the settlement was named after.
Ceramics reappear across Lin’s practice as witnesses to such overlooked histories. In her solo exhibitions “Meaningless Squiggles” (2019) at François Ghebaly in Los Angeles and “Pigs & Poison” (2020) at the Govett-Brewster Art Gallery in New Plymouth, New Zealand, Lin’s “Witness” sculptures wear ceramic masks that reference scold’s bridles and iron muzzles. Originating from different contexts, both mechanisms were used to silence and repress speech. In Lin’s exhibitions, the sculptures attest to individuals who have found ways to bear witness in spite of suppressive environments.
Candice Lin
Bridal Scold (Animal), 2019
François Ghebaly
Candice Lin, installation view of “A Hard White Body” at Bétonsalon, 2017. Photo by Aurélien Mole. Courtesy of the artist, Bétonsalon, and François Ghebaly Gallery.
In her 2017 exhibition “A Hard White Body” at Bétonsalon in Paris, porcelain was a primary focus. Influenced by her research into the material and how it was praised in an 18th-century British handbook for its “pure white…hard, superior body,” Lin constructed a life-size bedroom made of unfired porcelain. The installation was based on James Baldwin’s 1956 novel Giovanni’s Room and descriptions of the ship cabin of Jeanne Baret, the first woman to circumnavigate the world.
Lin hung a misting system above the unfired sculptures to disperse herbal tea, water from the Seine, and distilled urine from the artist, exhibition visitors, and museum workers in an attempt to keep the porcelain from cracking. Instead, the material dried out, cracked, grew mushrooms, and turned yellow. Under Lin’s hand, the porcelain physically resisted colonial expectations of white purity and strength, becoming stained and brittle.
Heidi Lau
B. 1987, Macau. Lives and works in New York.
Heidi Lau, installation view of Receptor, 2022, in “Gardens as Cosmic Terrains” at Green-Wood Cemetery, 2022. Photo by Lance Brewer. Courtesy of the artist and Matthew Brown.
Heidi Lau, installation view of Yearning, 2022, in “Gardens as Cosmic Terrains” at Green-Wood Cemetery, 2022. Photo by Lance Brewer. Courtesy of the artist and Matthew Brown.
At Green-Wood Cemetery in Brooklyn, Heidi Lau has been going on long solitary walks and working until midnight in preparation for her solo exhibition “Gardens as Cosmic Terrains,” on view through July 3rd. As the cemetery’s inaugural artist in residence, Lau has taken over the catacombs with textured sculptures that she’s been working on since December of last year. “In some ways, it feels not haunted here, it’s really weird,” Lau said in an interview with Artsy a few days before the exhibition opening. “I’ve done so many residencies at this point, and some of them are definitely very haunted, but this doesn’t feel like it and I’m pretty sensitive to it.”
It was at a residency in Ireland that Lau, who trained in printmaking, started working with clay. The self-taught artist felt that her explorations of Taoist mythology, precolonial history, and post-human futures—abstract and intangible concepts—were best translated when given a physical form.
“I’m always trying to think about how I can envision a different future that’s seated in the past that already has anti-colonial beliefs.”
For her exhibition at Green-Wood Cemetery, Lau originally wanted to work with Chinese funeral homes in nearby Sunset Park to recreate elaborate Taoist rites, reminiscent of the ones performed when her grandparents died. Following the outbreak of COVID-19 and the overwhelming number of lives lost to the virus, Lau felt it wasn’t appropriate to be engaging with essential services and changed course.
The influence of Lau’s grandparents, however, can still be seen in “Gardens as Cosmic Terrains.” Lau credits her interest in the afterlife to her grandmother. After contracting typhoid at the age of four, Lau’s grandmother became the goddaughter of the gatekeeper of hell in an act of protection, through a ritual performed by a Taoist monk. “Every time we went to the temple, she would be like, ‘Say hi to your god great-grandfather!’” Lau shared. “Because of her, I always feel like it’s very porous between the living and the dead. I almost don’t question that the supernatural is already part of the environment I live in.”
Heidi Lau, detail of ___ has questions for Moon’s reflection, 2021, in “Gardens as Cosmic Terrains” at Green-Wood Cemetery, 2022. Photo by Lance Brewer. Courtesy of the artist and Matthew Brown.
The exhibition references the Chinese mythological deity Nüwa from Classics of Mountains and Seas, a text Lau often returns to. “It’s a Taoist creation myth and one of the monsters is both a gardener and the most fierce killer. I thought of that as my grandpa,” Lau explained. “I was reading a lot about how Chinese gardens are a miniature of the cosmos, like the pathways and fake rocks. I saw my grandpa trying to recreate it in his own home.” In “Gardens as Cosmic Terrains,” Lau cultivates a ceramic garden, mapping out her own cosmos.
Her sculptures are filled with contradictions—evoking ruins and future societies, death and regeneration simultaneously. The two sculptures that make up Creatures of the Unyielding Wind II (2022), for example, lean towards each other to form an asymmetrical archway. At their base are human faces, from which rock formations seem to spring out. Humans, vessels, chains, and landscapes merge in Lau’s vision of the future. “I feel the reason why I look at Taoist mythology is because so many of these myths are anti-authoritarian, very queer,” Lau said. “I’m always trying to think about how I can envision a different future that’s seated in the past that already has anti-colonial beliefs.”
Heidi LauPerfume Vessel, 2022Galerie MarguoSold
Heidi Lau, installation view of Creatures of the Unyielding Wind II, 2022, in “Gardens as Cosmic Terrains” at Green-Wood Cemetery, 2022. Photo by Lance Brewer. Courtesy of the artist and Matthew Brown.
Due to her upbringing in Macau (which Lau represented at the 58th Venice Biennale) while it was still a Portuguese colony, Lau initially tried to distance herself from the colonial legacy of ceramics. She was exposed to a lot of blue-and-white ceramics, but “they don’t think of it as a Ming vase but Portuguese posh,” Lau explained. “I feel like that’s a very specific, strange, Macau phenomenon that I somehow have internalized. In the beginning, I really didn’t want to make anything smooth or very illustrative. Since then, I feel like it’s a good medium to think about old or new technology and the role it plays in colonization.”
Rebuking expectations, Lau’s ceramic sculptures ripple with energy through deep, abstract carvings. Glaze melts together into a blend of colors as it runs down the work, guided by rough surfaces that resemble bark on a tree or natural rock formations. Lau lets the kiln alter the pieces in uncontrollable ways, in stark contrast to traditional practices that prioritize precision and perfection. “That must be why my work has so much texture,” Lau laughed. “It’s not smooth like porcelain!”
B. 1990, California. Lives and works in New York.
marinatedcloudsGood Food, Solid Company, No Room for Wine(s), 2021Hashimoto ContemporaryUS$7,800
marinatedclouds, Family, Friends, Community and Unity: One Pot Feeds All, 2021. Courtesy of the artist.
RC Shen, who goes by the artist name marinatedclouds, creates playful works that embrace nostalgia and the uncanny. A Yellow Power Ranger helmet with an outstretched split tongue, a block of cheese wearing a chunky Casio Baby-G watch, and a box of chocolates containing a brown crayon are just a few of the sculptures in Shen’s oeuvre.
With a background in graphic design, the self-taught artist was first drawn to ceramics in 2018, when she started her “35 Chicken & Rices from Around the World” series. Focusing on two key ingredients, the body of work speaks to the unifying elements that can be found across cultures, while highlighting a sense of individuality, through cuisine. Starting with Hainanese chicken rice and concluding with halal chicken and rice, Shen created each individual grain in her ceramic renditions of the dishes by hand.
marinatedclouds, Plant Seeds Patiently, Nurture Dreams Softly, 2022. Courtesy of the artist.
marinatedclouds, “teahouse of marinatedclouds,” 2021. Courtesy of the artist.
In 2019, Shen exhibited in the second annual Asian American Ceramicists Fair hosted by Wing on Wo & Co., a fifth generation–owned porcelain shop in Manhattan’s Chinatown. The following year, Cathy Lu and Jennie Jieun Lee participated, while ceramicist Stephanie H. Shih—known for her hand-built sculptures of pantry items evoking notions of home—exhibited in the inaugural edition.
Shen’s ability to transport viewers to a specific time or place through her work is particularly noteworthy, as seen in the series “teahouse of marinatedclouds” (2021). Her loving attention to detail can be seen in a stamp card for orders; white paper doilies for egg tarts and sesame balls to rest on; and cloud-shaped garlic for garnish. These works convey the experience of gathering with family in a bustling dim sum restaurant. Meanwhile, Call me Remembering Childhood: 哎呀！蛋糕 (2020) evokes memories of birthday celebrations. Served on a golden platter and topped with fresh fruit and red jelly lettering, the cake is an unmistakable staple of Chinese bakeries.
Works made in 2020 by marinatedclouds. Courtesy of the artist.
marinatedclouds, “Mom’s Home Cooking,” 2019–21. Courtesy of the artist.
Shen attributes her desire to create a sense of belonging through her works to her Taiwanese American upbringing. In “Mom’s Home Cooking” (2019–21), Shen pays tribute to this family history by recreating her mom’s signature dishes in clay, including steamed fish, stir-fried clams, and grilled shrimp. “I’m extremely proud of where I come from, and even prouder of where my parents are from,” Shen shared. “Their journey, culture, and traditions have been one of the luckiest things gifted to me.”
Harley Wong
Header image: Heidi Lau, installation view of “Gardens as Cosmic Terrains” at Green-Wood Cemetery, 2022. Photo by Lance Brewer. Courtesy of the artist and Matthew Brown.
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Stella By Starlight
Piece description from the artist
Stella by Starlight is a song and was inspired by the great jazz trumpet player, Miles Davis.
Other works by Bruce Rubenstein
About Bruce Rubenstein
Los Angeles, CA
Bruce Rubenstein was born and raised in New York. He moved to Los Angeles in 1985 where he currently resides with his wife and two daughters.
Like most New Yorkers, Rubenstein is a brazen storyteller. Through his art he is able to communicate his inner most feelings. His large-scale, densely structured compositions defy categorization, blending abstract forms and biomorphic-organic shapes with subtle hints of figures and symbols resembling ancient Egyptian hieroglyphics or Asian calligraphy. His work resembles Abstract Expressionism, although the motives for his compositions differ philosophically from most Abstract Expressionist painters like Gorky, Arp, Tinguely, Miro and others of this ilk. Yes there are similarities of line and form. But it quickly becomes apparent that there are huge conceptual differences, that Rubenstein is not so much an abstract painter, but rather he just utilizes some of the same shapes as those painters. What he does with them is completely different, giving them dimension, making them look not like flat planes, but rather organic shapes.
Rodgers continues,”His artwork defies regional categorization, but frankly, that doesn’t mean as much as it once did. Rubenstein himself, despite his years in California, seems very much still a New Yorker. He has a kind of nervous edge that you see in people on the NYC subway platform, late for work with no train in sight. But this is an honest, open nervousness, based less on angst and anger, than on simply wanting to get where one is going and on wanting to be part of all that’s happening in that big, congested magical city”.
“Rubenstein is an artist, and that means someone who cannot restrain the flow ideas,” says art historian and critic David Rodgers. “He is someone who they just burst out of, who cannot help but communicate, and who sees no reason to stop. He’s a man not limited by media to communicate the stories that he needs to (and must) tell, through any medium he feels necessary.” In 1995, Rubenstein wrote a semi-autobiographical film about a struggling artist, “Bullet.” The film’s stars included Adrien Brody, Mickey Rourke and Tupac Shakur, all of whom are among Rubenstein’s collectors.!
When I asked Rubenstein for an explanation of what drives him, he responded without hesitation, “As a painter I strive to express myself as a spiritual being. When I work I feel connected to the universe and everything in it. I don’t really spend a lot of time contemplating subject matter and/or composition. I’ve been a serious painter for many years. I’ve learned to trust myself, to trust my instincts, and above all I’ve learned to be patient. I become a vessel to something greater than myself. Inevitably the painting will reveal itself. Piece by piece. Layer by layer. Until it is complete. Then the process starts all over again. This is the circle of Life. Or at least the circle of an artist’s life…”
Rubenstein’s work can be seen on his Instagram feed: https://instagram.com/brucerubensteinart!
or his website: www.brucerubensteinart.com!
Investigating further into his work, many more objects in different media seemed to emerge and unfold like sudden flowers assemblages, collages, three-dimensional wall hanging pieces. Now, even more, was happening! With these additions to the oeuvre, these other creative objects to consider, the idea of using a particular medium to reference his work was utterly undermined. But instead of feeling confused about this struggle to analyze his work, I started to feel free. Much freer! What’’s telling him the stories. Either way, because I’d be happy to wait there at his studio door for him, with a cold beer or two for when he gets back…
Bruce Rubenstein is going to have more stories to tell, after all…
—David Rodgers
See Bruce's portfolio here
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Hello Readers! Please find below a compilation of common IELTS Speaking Questions about ARTS. Feel free to add other questions in the comment box. You may also answer some of the questions and let other readers correct them or leave their feedback.
Good luck. Enjoy your speaking practice.
Photo Credit: http://www.michiganbusiness.org
Art Galleries
Are there many art galleries where you live?
Did you like to go to art galleries when you were a child?
Should people have to pay to go to art galleries?
Have you ever gone to an exhibition?
Do you know any art galleries? Are there any in the place where you live?
Were you interested in art when you were young?
Do you enjoy taking photographs?
What things do you like to photograph?
Do you consider photography an art form?
Do you visit museums when you go to another city?
Have you ever visited an art museum?
What art form do you like best?
What art museums have you visited? Which did you like the best? Why? Which did you like the least? Why?
What is art?
Do you know any art gallery? Is there any in the place where you live?
When was the last time you went to an art museum?
Who are some famous artists in your country?
Who is the most famous artist in your country? What kind of art does he do?
Why do you enjoy art?
Do you like art? [Why?/Why not?]
How do you feel about art?
What form of art do you like the most?
What kind of art are you best at?
In you childhood, what experience of art did you have?
What experience of art did you have when you were younger?
Did you do any artistic activities when you were a child?
Did you learn any artistic activities when you were a child?
Did you ever do any artwork when you were a child?
Did you ever produce any artwork (or, works of art) when you were a child?
Do you ever buy (or, have you ever bought) a painting?
The Importance of Art
Do you think art is an important part of life?
What benefits does (participating in) art bring to people?
How important do you think art is in the lives of people?
Why do you think people like to have a painting (or other artwork) in their homes?
Describe a work of art that you really like. Tell:
What it looks like
Where you first saw it
Why you like it
Describe a well-known painting you have seen or know about You should say:
What it looks like
What is interesting about it
Why it is well-known
Do you consider yourself a good artist?
Do you enjoy your art class at school?
Do you like modern art?
Do you like paintings?
Do you like sketching?
Do you like to visit art museums?
Do you like wood carving?
Do you think it is proper to call nude paintings art?
Do you think music and dancing are forms of art?
Do you think of cartoons and comics as art?
Have you ever been to any famous art museums?
What famous painters do you know? What are they famous for?
What is the longest time that you have spend on a painting?
What would life be like without art?
Who is your favorite painter?
Why do artist like to draw women’s figures?
Why is art important?
Why do people become professional artists?
Have you ever participated in any art competitions?
Do you have a favorite painting? If so, what is it? Why do you like it?
Do you agree with this statement? Graffiti is a form of art; a form of expressing one’s mind.
Do you like to doodle? What kinds of doodles do you make? Where and when do you doodle?
In your opinion, is design an important part of culture?
Is design a great importance in your daily life?
If you could buy a great work of art, what would it be? (style, title, artist’s name…)
Do you think performance art should be considered art?
Have you ever seen performance art?
Does art imitate life?
Are movies a form of art?
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Poly Garden City
Poly Garden City is a participative project integrating green into Athens built environment, fusing building and gardens into new hybrid urban typologies, and reinterpreting modernist urban heritage and a strategy for participative climate adaptation for cities in semi-arid climates.
Research & Urban Design @ City of Athens, 5 April 2015
Poly Garden City is a project for greening the Athens’ polykatoikies (πολυκατοικιες) or apartment buildings. As most streets in Athens are narrow and – (still) occupied by cars, a strategy committed to greening the city should focus on integrating green in the built environment.
Poly Garden City is a participative climate adaptation project for the city of Athens – and a strategy for participative climate adaptation for cities in semi-arid climates.
Polykatoikies (Greek πολυκατοικιες) = apartment building.
“Polykatoikia” (πολυκατοικία) is the Greek term for “apartment building” and derives from “poly”which means “multi”and “katoikia”which means “residence”. The typology of “polykatoikia” was used to meet the needs of post-war development, when Athens encountered its peak growth period of its modern history.
– Contemporary Athens building typology derives directly from Le Corbusier’s “Domino House”, the icon of modernist architecture.
– Poly Garden City is an Athens Charrette*, a co-creative urban design experience
(in juxtaposition to the Athens Charter**, conceived on a cruiser travelling from Marseilles to Athens in 1933).
*A charrette (pronounced [shuh-ret]), often Anglicized to charette or charet and sometimes called a ‘design charrette’, is an intense period of design or planning activity.
**The Athens Charter (Charte d’Athènes) was a document about urban planning published by Swiss architect Le Corbusier in 1943. The work was based upon Le Corbusier’s Ville Radieuse (Radiant City), published in 1935, and urban studies undertaken by the Congrès Internationaux d’Architecture Moderne (CIAM) in the early 1930s.
You can improve the microclimate of the city!
How to green Athens? Do you want to help?
Poly Garden City considers the whole city as a canvas for greening:
* Vegetable gardens on the balconies!
* Gardens the spaces in-between the buildings!
* Green rooftops with endemic plants!
* Lively green terraces!
* Smart water management!
* Smart Climate City!
Starting from Athens, the initiative refers to the wider Eastern Mediterranean region, as the Poly Garden City’s climate adaptation strategy is very relevant to the cities of the Eastern Mediterranean and the whole ‘flat roof region’.
– A public campaign via social media and press communicates the vision of Athens as a Poly Garden City.
– Poly Garden City collaborates with the “Athens Resilient City Program” of the City of Athens ( «100 Resilient Cities / Rockefeller Foundation).
– A crowd-sourcing platform, supported by Athens Municipality and “SynAthina” connects experts and citizens that realize green projects in downtown Athens.
– Consultancies help integrate innovative urban green ideas in the Athens Municipality’s programs.
– Workshops help infuse expertise into the citizens’ bottom-up projects.
Hybrid Urban Typologies
Poly Garden City aims to raise awareness of climate change adaptation and, in particular, of the participatory dimension of climate adaptation in urban settlements. Poly Garden City proposes the integration of green in the built environment by fusing buildings and gardens into new ‘hybrid’ urban typologies.
Flat Roof Region
Starting from Athens, the initiative refers to the wider Eastern Mediterranean region, as the Poly Garden City’s climate adaptation strategy is very relevant to the cities of the Eastern Mediterranean and the whole ‘flat roof region’.
Informal Urbanization
In this whole ‘flat roof region’ processes of informal urbanization have produced settlements with very little or no space for urban green. In semi-arid regions, settlements are located where there is water – and water, especially if you take into account recycled water, is to be found in urbanized areas.
Urban Incubators
Poly Garden City was developed after the invitation by the Municipality of Athens as a follow-up to the workshop “Polykatoikies: Apartment Buildings as Incubators“, which we organized in 2014 in collaboration with SynAthina, the Municipality of Amsterdam, the Royal Dutch Embassy in Athens and the Amsterdam citizen platform “Pakhuis de Zwijger” as part of the international program “Co-Creating Athens” organized and curated by Hybrid Space Lab.
Urban Expertise
Next to consultancies to Athens Municipality (SynAthina, Athens Resilient City Program, Athens City Centre “Trade Triangle” project, Municipality’s Green Department), Poly Garden City also cooperates with Middle East organizations (German-Syrian organization “Rebuilding Aleppo”) and exchanges information with Egyptian State authorities and civil organizations.
Climate Adaptation
Climate changes occurring in recent years bring severe weather events such as very high temperatures as well as sudden rainfall with disastrous consequences. These phenomena are becoming more noticeable in densely populated areas due to the lack of green areas. It is known that planting mitigates intense temperatures and contributes to the gentle flow of rainwater, protecting against catastrophic floods.
But how could we introduce green in our cities? Narrow streets, sidewalks occupied by cars, everywhere concrete …
As most of Athens’ streets are narrow (and still occupied by cars), a strategy aiming at greening the city should focus on integrating green into the built environment. As green is essential to climate adaptation, we have to literary ‘bring green to a higher level’, integrating it into the existing buildings.
Let’s integrate the green into our city through the existing structure of the block of flats! With small green interventions, we can improve the microclimate of our city – and our quality of life. The Greek block of flats with its balconies and its horizontal roofs provides the structure to accept nature.
Environmental Justice
Poly Garden City next to temperature regulation can contribute to biodiversity and to filtering dust and pollution. At the same time, the “Poly Gardens” absorb sounds and reduce noise pollution, so that balconies can become again pleasant extensions of the living space of the apartments.
Green roofs provide insulation thus reducing the cooling and heating costs in the summers and winters respectively. They retain and slow down the water flows that burden the sewer in moments of heavy rainfall. Beyond their high aesthetic value, the communal planted terraces and courtyards can also serve as a communication spaces, strengthening a more public and communicative character for the block of flats.
Taking care of the rooftops as the “fifth” facade of the city will upgrade the image of the city of Athens.
By bringing together apartment buildings (Polykatoikies) with gardens we create “poly-gardens”!
‘Poly’ stands also for the multitudes of the city, as the main problem Athens and similar cities are facing today is the disintegration of its social fabric with mistrust, immigration flows, and strong political discord with great economic deprivation. Behind the immediate aims of the “Poly Garden City” program lays the goal of improving life quality in general and strengthening social cohesion and the neighborhood feel.
The need to incorporate nature into the built environment creates a huge innovation potential in the field of architecture. At that time “Anthropocene”, the geological age that is being shaped by the influence of human activities and the whole of our planet is determined by human intervention, the confrontation “nature versus the artificial environment” is obsolete.
In the convergence of architecture and nature, as proposed by Poly Garden City, new hybrid urban typologies and architectural solutions emerge. The incorporation of infrastructure for green (and its necessary systems) opens up innovation in architectural design. Know-how exists as sophisticated technologies in agricultural production are currently rapidly developing. The integration of green in buildings fosters new architectural forms and typologies and aesthetic solutions with special zones and infrastructures for the incorporation of plants.
Urban Sustainable Vision
Transforming the perception of the city, Poly Garden City supports processes that create new sustainable urban visions and develop ideas for sustainable urban interventions.
Poly Garden City changes the way we see and consider the city, the way we deal with our immediate urban environment.
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At Sotheby’s | Qianlong Emperor’s Musket Fetches $2.5million
Posted in Art Market by Editor on November 11, 2016
Imperial matchlock musket, made for the Qianlong Emperor (r. 1736–1795), Qing Dynasty. The gun bears the imperial reign mark on top of the barrel, and incised on the breech of the barrel are four Chinese characters that denote the gun’s ranking: te deng di yi (‘Supreme Grade, Number One’).
Press release for Sotheby’s Sale L16215, Lot #1:
‘Supreme Grade, Number One’ Imperial Matchlock Musket
Sotheby’s, London, 9 November 2016
At Sotheby’s in London, the first Chinese firearm with an imperial reign mark ever to be offered at auction sold for £1,985,000 (US$2,461,400 / HK$19,198,920). The gun—a brilliantly designed and exquisitely crafted musket, produced in the imperial workshops—was created for the Qianlong Emperor of the Qing dynasty (r. 1736–1795), arguably the greatest collector and patron of the arts in Chinese history. Estimated at £1–1.5 million, the firearm ignited a ten-minute bidding battle, finally selling to an Asian private collector.
Robert Bradlow, Senior Director, Chinese Works of Art, Sotheby’s London, said: “This gun ranks as one of the most significant Chinese treasures ever to come to auction. Today’s result will be remembered alongside landmark sales of other extraordinary objects that epitomise the pinnacle of imperial craftsmanship during the Qing dynasty. Over the last 10 years we’ve seen the market for historical Chinese works of art go from strength to strength, with collectors drawn from across the globe and exceptional prices achieved whether the sale is staged in London, Hong Kong, or New York.”
The musket bears not only the imperial reign mark on top of the barrel, but in addition, incised on the breech of the barrel, are four Chinese characters that denote the gun’s peerless ranking—the exceptional grading te deng di yi, ‘Supreme Grade, Number One’. This grading makes it unique among the known extant guns from the imperial workshops and asserts its status as one of the most important firearms produced for the Qianlong Emperor.
The advent of Western firearm technology sparked the production of muskets in the imperial workshops, and this modern mode of weaponry had unquestionable advantages over the traditional bow and arrow for hunting. Using only the most luxurious materials, imperial muskets were created in very small numbers for the Qianlong Emperor. While the Emperor is unlikely ever to have held a gun in battle, he would regularly hunt with a musket.
Anonymous court painter, The Qianlong Emperor Shooting Deer (Beijing: Palace Museum), from The Complete Collection of Treasures of the Palace Museum: Armaments and Military Provisions (Hong Kong, 2008), p. 205.
The Supreme Number One is closely related to six celebrated, named imperial Qianlong muskets in the collection of the Palace Museum, Beijing, which appear to correspond with seven muskets listed in the Qing work Collected Statutes of the Qing Dynasty with Illustrations. These guns were probably graded in the same way as the Supreme Number One, but of lower grade and/or number (‘Supreme Grade, Number Two’, ‘Top Grade, Number 2’).
Revered as one of the most powerful ‘Sons of Heaven’, the Qianlong Emperor (1711–1799) was the longest-lived and de-facto longest-reigning emperor in Chinese history (r. 1736–1795). In the 60th year of his reign (1795), the eighty-five year old Qianlong Emperor declared his abdication, lest he surpassed the 60-year reign of his grandfather, the Kangxi Emperor (r. 1662–1722). In a grand coronation ceremony the following year, his fifteenth son took position of emperor, though the Qianlong Emperor continued to rule China as the Qing dynasty’s only, and China’s last, Emperor Supreme.
Note (added 11 November 2016) The original version of this posting included a view looking down the barrel of the gun. Once the posting was published, I was struck by how threatening the photo could appear to some (myself included). The point of the posting was to highlight something of the collection (and market interest in the collection) of the Qianlong Emperor. I didn’t mean to make the world a more hostile place. It’s been a tough enough week without more guns pointed at anyone. It was a mistake, and I’m sorry. –CH
U of Michigan Graduate Symposium: All That Glitters
Posted in conferences (to attend), graduate students by Editor on November 11, 2016
The day’s presentations include these eighteenth-century papers:
All That Glitters: Magnificence in Art, Architecture, and Visual Culture
2016 Graduate Symposium
University of Michigan Museum of Art, Ann Arbor, 12 November 2016
• Philippe L. B. Halbert (Yale University), ‘Our Colony Has Today Become Opulent’: Material Magnificence in the French Atlantic World, 1660–1789
• Emily Anderson (University of Southern California), Magnificent Macabre: The Engravings of the Anatomical Preparations of Frederik Ruysch
Acquisition Appeal | Thomas Lawrence’s Unfinished Portrait Wellington
Posted in museums by Editor on November 11, 2016
An appeal from the NPG:
Sir Thomas Lawrence, Unfinished Portrait of Arthur Wellesley, 1st Duke of Wellington, 1829, oil on canvas, 94.3 × 74.3 cm (Private Collection).
The National Portrait Gallery has launched a public appeal to acquire Sir Thomas Lawrence’s unfinished final portrait of Arthur Wellesley, 1st Duke of Wellington, it was announced today, Thursday 3 November 2016. The portrait has been offered to the National Portrait Gallery for £1.3 million. The appeal was kick started today by a donation of £350,000 from the Art Fund, whose generous support means that alongside the Gallery’s own funds, £1 million of the total has already been raised. The Gallery has £300,000 to raise by spring 2017.
The Gallery has no other significant portrait of the Duke in its Collection, an omission of one of the most iconic and popular figures in British history. The Gallery has been seeking to secure such a portrait since it opened in 1856. This work is one of only two world-class portraits of Wellington ever likely to come up for sale. The leading artist of his age Sir Thomas Lawrence made eight portraits of Wellington and was the Duke’s definitive image maker.
Started in 1829, the year Wellington was appointed Lord Warden of the Cinque Ports and in which he fought a duel with Lord Winchilsea over the issue of Catholic emancipation, the unfinished portrait shows him in civilian dress with only his black collar and white stock visible. It was commissioned at the height of Wellington’s political career when he was Prime Minister. At the time he was closely involved in the legislation around catholic emancipation and deeply opposed to the reform of the House of Commons. Earlier in the decade he had been involved in the delicate negotiations between the Prince Regent and the Prince’s estranged wife, Queen Caroline. He also represented British interests at the Congress of Verona in 1822, one of a series of conferences on European affairs after the Napoleonic Wars.
The large oil-on-canvas portrait was commissioned a year after Wellington had become Tory Prime Minister by Sarah, Countess of Jersey, a leading political hostess and supporter of the Tories in the 1820s. Initially dedicating her social gatherings to the cause of the Whig party, in the late 1820s Lady Jersey switched her allegiance to the Tories, with Wellington becoming one of her favourites. She believed herself to be one of his confidantes, but he mistrusted her ability to keep a secret: earlier in life her loquacity had earned her the nickname ‘Silence’.
At Lawrence’s death in 1830 the portrait remained unfinished. But unlike many other clients, Lady Jersey refused to have it finished by a studio assistant. On hearing that the Duke of Wellington had fallen from power in 1830, Lady Jersey burst into tears in public. She reportedly ‘moved heaven and earth’ against the Reform Act 1832 which Wellington had also opposed.
Dr Nicholas Cullinan, Director of the National Portrait Gallery, London, says: “We have been searching for a portrait that can do justice to this iconic British hero since 1856. The lack of a suitable depiction of the Duke of Wellington has long been identified as the biggest gap in our collection. If we can raise the funds this remarkable painting by Sir Thomas Lawrence will be on permanent display and free for over two million visitors to enjoy each year.”
Dr Stephen Deuchar, Art Fund Director, says: “The National Portrait Gallery will make a fine home for this intensely compelling portrait of Wellington. We are pleased to have made a major grant towards its purchase, and hope the public will support the appeal to raise the remaining funds. This is a very important national acquisition.”
Dr Lucy Peltz, Senior Curator, 18th-Century Portraits and Head of Collections Displays (Tudor to Regency), National Portrait Gallery, London, says: “This is a compelling portrait of one of the most famous figures in early nineteenth-century Britain. Lawrence was a superlative portrait painter with the flair and talent to capture surface glamour and deeper currents. This unfinished portrait is shot with psychological insight.”
Dan Snow, historian, broadcaster and co-author of The Battle of Waterloo Experience, says: “The ‘Iron Duke’ is one of the towering figures of British history. He never lost a battle, reshaped Europe, and dominated Britain until his death. His career and legacy are intimately involved with the development of the United Kingdom. Now, more than 200 years after his most famous victory at the Battle of Waterloo it’s time we helped the National Portrait Gallery win the day.”
The painting was lent to the National Portrait Gallery’s exhibition Wellington: Triumphs, Politics and Passions staged in 2015 to mark the bicentenary year of the Battle of Waterloo. Prior to its loan to the Gallery from a private collection for a short period of display just before the exhibition opened, the portrait, which is in excellent condition, had not been on public view for any significant period since it was painted.
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The Clothworker: Autumn 2019
AUTUMN 2019 | No. 20
WEAVE & KNIT...
Jo Bird’s work-in-progress bookbinding. Read more about designer bookbindings on page 14. © 2019, Jo Bird (designer).
reetings, fellow Clothworkers! I’m writing having just been elected and installed as your 500th Master. That is a great landmark for us all. I am looking forward to a busy year of celebration and evolution, as I outlined at the Annual General Meeting (this past June). I’m taking this opportunity to share with you some of the aspects of Clothworker business that have been of particular interest to me on my journey to the Master’s chair. I’m a chartered accountant, so it was no surprise that, when elected to the Court in 2007, I was steered towards the finance committees. I specialise in managing and growing small companies, and have also enjoyed being involved with
commercialising textile-related ideas at Leeds University and more broadly with The Company’s textile strategy. Helping run and grow any organisation valued at more than half a billion pounds is interesting, and The Clothworkers’ Company and its Foundation are no exception. Our evolving investment policy requires continual debate: Should we be active investors or passive, which is less expensive? What is our appetite for risk? What is the appropriate balance between using the pro bono talent pool of our livery and external (and therefore expensive) professional advice? I have also played a part in managing our extensive property portfolio, the bedrock
of The Company’s recent growth in value. Those transactions are complex; our advisers skilful. The recent results – the new Angel Court, Moorgate and Fenchurch Street buildings – have contributed to the doubling of our property income in the past five years.
the skills shortages in the industry and are now working with them to find ways to improve take-up and grow employment. In parallel, we are planning to support UK textile exports by co-funding UK textile stands at the three main international trade shows in Milan, Paris and Shanghai.
To celebrate the previous 499 Masters, The Company will display information boards in the Entrance Hall for the Huguenot Society dinner and several members’ events. The small exhibition will highlight some of The Company’s most colourful and interesting past Masters. Have a look when you visit the Hall!
To entertainment… On The Company’s textiles agenda, my involvement began with the two textiles-related departments in Leeds University. The fascination for me is their endless flow of extraordinary inventions. The Clothworkers’ saw the opportunity to help these departments identify potentially commercial ideas and bring them to market. In partnership with the university, we developed a process and provided early stage funding. Waterless washing machines, Xeros, was the first success and is now an AIM-listed company. Waterless dyeing is equally ‘disruptive’ to the industry, and the university should start seeing a return on its investment this year. Among other pioneering inventions are natural hair dye products, anti-frizz products and a new kind of ostomy bag (one that safely contains matter, but can be flushed away – magic!). We are also excited by medical technology to develop textile-based scaffolds to be used for repairing softtissue, nerves and bones. The challenge and interest for me is in selecting and progressing the best inventions and encouraging the academics to get behind the commercialisation agenda.
I am looking forward to hosting a dinner for the Huguenot Society on 17 October. My four-greats-grandfather was a Protestant (Huguenot) and – along with thousands of others – escaped the late 17th-century massacres in France. His escape was particularly dramatic as he and his brother were hidden in an empty wine barrel on a ship from Bordeaux. They safely landed in England, and here I am! It’s an extraordinary story, as are all the Huguenot stories, so I encourage you to come to our dinner – you won’t be disappointed. There is a lecture before the dinner given by former Bishop of London, Lord Chartres, who is himself a Huguenot and a very engaging speaker. Tickets are selling fast. Contact David Guyon for more information: [email protected].
I’m also delighted to announce that The Company will be hosting a special event next year, the 500th Master’s Ball. Save the date: Friday, 15 May 2020. This will be a glittering evening and suitably different from our other events. The objectives are to have fun, but also to raise money for the Clothworkers’ Charity Fund, mainly by means of a silent auction. Formal invitations and ticket information will be sent this autumn to all Livery and Freedom members, as well as staff, who will be welcome to attend with a guest (which may include spouses, partners, friends, etc). I do hope you will come and celebrate with me! Finally, I would love to meet you. Please come and find me when you’re next in the Hall.
Our aim is to increase our influence in the textiles industry and to encourage UK employment in that industry. To that end, I’m pleased that we have also begun to work more closely with the industry bodies. For instance, we have co-funded the development of apprenticeship schemes to address THE CLOTHWORKER | AUTUMN 2019
NEW MEMBERS (JULY) Top: Lord Frederick Windsor and Hugh Clough. Bottom: Lachlan de Klee, Emily May and Laura Watts.
Lord Frederick Michael George David Louis Windsor Lord Frederick Windsor is the third-successive generation of the Kent family to become a Clothworker. His grandfather, HRH Prince George, Duke of Kent, was made Free by Presentation in 1924. There have been, however, five generations of royal Clothworkers, beginning in 1860 when HRH The Prince Consort (Albert) was made Free by Presentation. ‘Freddie’ works in financial services, and is Vice President at JP Morgan Chase & Co. His interests include good writing, sports like tennis and football, guitar-based music, crosswords, and the non-profit world.
Hugh Peter Clough Son of Denis Clough,
Hugh is a fourthgeneration Clothworker. The connection dates back to 1918, when his great-great-grandfather, Henry Smith Clough of Keighley (JP and partner in Clough & Son Spinners and Manufacturers), was proposed for Freedom by Redemption by Sir Swire Smith, Clothworker and MP for Keighley.
John Wayland Leslie, second son of the 19th Earl of Rothes, became Free by Redemption.
Hugh is a software developer with an MPhys from Bath University. His interests include skiing, film and music.
Emily has become Free by Redemption, highly recommended by Past Master Christopher McLean May. After winning the New Designers Clothworkers’ Award for Printed Textiles in 2014, Emily has served with Christopher as a New Designers judge on a number of occasions.
Lachlan Richard John de Klee A fourth-generation Clothworker, Lachlan is the son of Fiona Leslie, Freewoman, and grandson of Alastair Leslie, Assistant Emeritus and Past Master. The family connection began in 1934, when the Honourable
‘Lochy’ just completed his first-class honours degree in Earth Sciences at Newcastle University. He was a member of the Harrow Pipe Band and the Newcastle City Pipe Band.
Emily Beatrice May
In 2019, Emily also became involved with the Bradford Textile Society Design Competition in a similar capacity. She is
the first ‘alumna’ to join The Company since the annual Alumni Dinner was established. Emily enjoys spending time in museums and galleries, where she gathers the vast majority of her inspiration for her designs. The main body of her work is produced for museums, and it’s an area she is passionate about pursuing in the future.
Laura Catherine Watts Laura, who has also become Free by Redemption, is Managing Director at Marton Mills, and will join the Textiles Sub-Committee from its meeting in October 2019. Laura lives in Harrogate and has two children (Max and Jess). She obtained a degree in Nursing from Buckinghamshire Chilterns University College and in her spare time enjoys running and equestrian sports.
Emily May, who recently joined the Freedom, won The Clothworkersâ&#x20AC;&#x2122; Associate Prize at New Designers in 2014; her winning submission included the above printed textile design.
NEW DESIGNERS: CLARA LEITÃO “I am thrilled and honoured to be awarded such a prestigious prize. As a recent graduate, having my efforts being valued and recognised is so meaningful and gives me the confidence to move forward.” Clara, the 2019 Clothworkers’ Associate Prize winner
Left: One of the designs from Clara’s ‘Is It, Is It Not?’ collection, exhibited at New Designers. Facing page: Clara (left), accepts her award from Past Master Christopher McLean May and new Freewoman and former New Designers prize winner Emily May.
n June, Past Master Christopher McLean May and Emily May acted as judges for the New Designers Printed Textile Prize. They awarded this Clothworkers’ Associate Prize to 23 year old Clara Leitão. Clara recently completed her degree in Textile Design from HeriotWatt University. She draws on her Portuguese heritage and whimsical imagination for inspiration. The influence of her homeland was evident in her award-winning collection, ‘Is It, Is It Not?’, which included decorative prints and detailed illustrations that drew on Portuguese history and folklore as well as Clara’s own personal identity. Before finishing her degree, Clara explored Textile Design at the National Institute of Design (India) as well as
Costume and Set Design at Antonio Arroio Artistic School (Portugal). Over the past few years, her work has earned her a number of honours including a commendation for printed textile designs as well as third place in knitted fabrics at the 2016 Bradford Textile Society Design Competition, and many more.
chosen through TexSelect to exhibit in Chelsea and Paris, at Première Vision. It is an absolute privilege to be given all these opportunities, knowing that I have been nominated amongst a group of very talented young designers.’
Following her award, Clara wrote:
Clara will be presented with her £1,000 prize at Clothworkers’ Hall during the Alumni Dinner (23 September). Sponsorship of the New Designers Associate Prize helps The Company meet its strategic objective to encourage innovation and foster talent among students and young designers – particularly those who demonstrate an advanced understanding of textile technologies and possess the ability to convert ideas into products.
‘I am thrilled and honoured to be awarded such a prestigious prize. As a recent graduate, having my efforts being valued and recognised is so meaningful and gives me confidence to move forward. The £1,000 prize will help towards the development of my practice and entering a professional career. ‘After being awarded this prize, I was
You can see more of Clara’s work on her website at claraleitao.com.
WEAVE & KNIT AT CENTRAL SAINT MARTINS Anne Marr, Programme Director of Jewellery, Textiles and Materials
he Immediate Past Master John Coombe-Tennant led a group of Clothworkers and their partners on a visit to the Central Saint Martins (CSM) BA Textile Design course. CSM is part of the University of the Arts London (UAL), at its relatively new premises in Granary Square, King’s Cross (where it moved in 2011). The Textile Design programme at CSM has a unique philosophy of educating ‘flexible specialists’ through a holistic curriculum that covers print, weave and knit across fashion, interior and product-led material applications. Course philosophy is based around teaching a cutting-edge design approach, in-depth technical knowledge of textile processes, as well as sound employability skills. The course is popular and has a highly selective application process. Currently, Home (UK) and EU students make up approximately 65 per cent of enrolments. The Clothworkers’ Company is generously supporting students in financial hardship through the Clothworkers’ Print Bursary as well as 10 students through Material Funds.
The course has very strong industry links, and students have been engaged in projects with companies such as Pink Shirtmaker, DAKS, Timothy Everest and Dashing Tweeds. WEAVE AND KNIT AT CSM The Clothworkers’ Company first began supporting CSM in 2010, when a large grant for a STOLL digital knitting machine was match funded. This was followed by a second grant in 2015 to fund three new digital TC2 jacquard looms from Norway. Accessing the latest textile technology has enabled more than 1,000 students to learn vital skills for future employment in weave and knit industries. Both weave and knit are constructed textiles. However, they are made quite differently. A woven piece of fabric is created on a loom, which is a threedimensional frame that holds a vertical warp of individual yarn strands. At CSM, looms can hold 3,600 separate strands across 80cm of fabric. A shuttle with a yarn spool shoots across the warp to create the horizontal weft. The process uses the natural tendency of fibre to
adhere, interweaving them into a fabric that is generally quite dense. Plaids are a well-known example of a woven fabric. In contrast, a knitted fabric is made from a single string of yarn. By hand, two needles are used to create interlocking loops. If cut, a knitted piece of the fabric can easily unravel. Knitted fabric is airy and elastic – jersey T-shirts are a typical example. Machine knitting is much more complex, involving a double bed of up to 240 needles to create a piece of fabric 100cm wide. CSM has an international reputation for being at the forefront of research developments in textiles, and has produced many famous graduates such as Ptolemy Mann, Wallace Sewell, Rita Parniczky, and Elizabeth Ashdown (who designed the 2019 Charity Governance Awards trophy textile). The new Experimental Weave Lab led by Pathway Leader and researcher Philippa Brock will explore both traditional weaving methods such as Ikat techniques, 3D-surface creation on looms, and even future technology such as 4D-weaving to create multiple inter-connected layers of materials.
mily May reported on her experience as a judge for the 2019 Bradford Textile Society Design Competition in our recent Annual Review, 2018-19 (you can find digital copies of our recent past publications on the website at www.clothworkers.co.uk). The Bradford Textile Society competition has been running since 1893, and attracts nearly 1,000 entries from across the UK every year, awarding more than £14,500 in prize money annually. We continue to support the competition with other funders, like The Dyers’ Company. Among the four awards The Company sponsored for 2018-19 is The Clothworkers’ Company Award for a woven fabric design in either fashion and accessories or interiors. The winner was Eleanor Newton, who has recently completed her final year of study at Loughborough University. Eleanor is a talented and experimental designer on the rise. She describes herself as a ‘creative trained in woven textile design’. During her degree, she held internships with JW Anderson, Dash & Miller, and Margo Selby. Her main interests are exploring the use of fabrics and fibres in fashion, and she is most interested in sustainability, longevity and transparent production. Ms Newton has recently completed her graduate project based on sustainability and transparent production, part of which she exhibited at New Designers this past June. She was also nominated for TexSelect (2019). Eleanor Newton’s ‘Box Bag’, designed to showcase handwoven panels and British
You can see more of her work at www.eleanornewtonportfolio.com.
manufacturing. The woven panels contain sustainable fibres and are paired with highquality leathers. The bags were part of Eleanor’s graduate project. THE CLOTHWORKER | AUTUMN 2019
n partnership with Contemporary British Silversmiths, the leading association for contemporary silver, The Clothworkers’ Company hosted a day of public programming during London Craft Week (May 2019), shining a light on the fascinating process of commissioning and making silver. Attendees had the opportunity to ‘Meet the Makers’ during demonstrations by award-winning silversmiths Miriam Hanid and Yusuke Yamamoto. These sessions were free to public audiences, and repeated four times throughout the day. Additionally, visitors were able to learn about Miriam and Yusuke’s live commissions for The Clothworkers’ during an intimate lunchtime panel discussion.
Chair of Contemporary British Silversmiths, Angela Cork, facilitated a panel that included our own Senior Archivist, Jessica Collins, and both Miriam and Yusuke. Proceeds from the sale of tickets to the lunchtime lecture were donated directly to Contemporary British Silversmiths. The day concluded with a VIP tour of The Company’s own exquisite plate vaults – an opportunity for us to thank those that have helped us care for or research our collections, as well as a way to build new relationships with experts and specialists in contemporary and historic British Silver. We welcomed more than 100 people to Clothworkers’ Hall during this day. Stay tuned for more information on our plans for London Craft Week 2020...
We’re opening Clothworkers’ Hall for Open House London on Saturday, 21 September (10.00am - 5.00pm). We’re looking for Clothworkers to volunteer with us at Dunster Court for part or all of the day (lunch provided!) to help us welcome the public. If you are interested, please contact Archivist Hannah Dunmow by email at [email protected]. Last year, we welcomed more than 1,200 people to Clothworkers’ Hall for Open House London, giving them the chance to learn more about The Clothworkers, livery companies in general, and our historic archives and collections.
CITY WOMEN IN THE 18TH CENTURY Jessica Collins, Senior Archivist
ity Women in the 18th Century is an exciting new outdoor exhibition opening in the City of London this autumn. It will display the often ornately engraved trade cards of the businesswomen of centuries past, bringing them to the attention of the wider public for the first time and celebrating women’s work in London. Focusing on the Cheapside area of the City, which was renowned in this period for its luxury goods, the exhibition will display the trade cards of the scores of women who established and ran successful businesses as milliners, fan makers, silversmiths and upholsterers – to name just a few of the trades represented. Visitors may explore the 700-metre exhibition trail from Paternoster Square in the west to the Royal Exchange in the east, with each trade card displayed near the original location of the 18th-century business it represents. The visual display of these cards – all from The British Museum – will offer an accessible way to explore women’s economic importance in 18th-century commerce and manufacturing within the City. Although bills and receipts were often written upon them, trade cards were essentially business cards and served to advertise goods and services; they often featured elaborately decorative borders and detailed illustrations. Unlike today, most of the luxury goods the cards promoted were made on site, and women traders often employed a considerable workforce. Although the full extent of their activities escapes extant records, this project adds to a growing body of literature disputing the assumption that women did not enter the labour market in large numbers
until the 20th century and suggests a much earlier and more entrepreneurial female workforce – at least in the City of London – than was previously believed. Many of these women were Free of one of the City’s livery companies, and those that were not were often entitled to trade by extension of their [often deceased] fathers’ or husbands’ trading privileges as Freemen. The project complements the research of our Senior Archivist, Jessica Collins, who recently published a case study and detailed analysis of women in The Clothworkers’ Company across the 17th and 18th centuries: ‘Jane Holt, Milliner, and Other Women in Business: Apprentices, Freewomen and Mistresses in The Clothworkers’ Company, 16061800’, Textile History, 44 (1), 72-94, May 2013. Jessica has been making contributions to the exhibition, which is curated by Dr Amy Erickson of the University of Cambridge, an authority on women’s history in 18th-century livery companies. Jessica’s research has uncovered important information on several businesswomen working under the auspices of The Company in
the 18th century, but for whom only passing references are found in the Clothworkers’ records. Women featured include Ann Boyer and Elizabeth Hutt. Ann Boyer was the daughter of Jonathan, a Clothworker and silk dyer of Ivy Lane, Newgate Street. She was made Free by Patrimony on 1 August 1753. The following day, Jonathan turned his apprentices over to Ann, including her brother, John. Doing so signified the transfer of responsibility for their training to his daughter, which must indicate considerable confidence in her abilities. One conjectures that she had long been involved in the operation of the business, although she did not, of course, become a Freewoman until after her 21st birthday. John completed his apprenticeship (under his sister, Ann) in 1757. As the exhibition City Women will illustrate, the siblings subsequently co-ran their father’s silk dyeing business – a seemingly unusual turn of affairs, as there are no other surviving trade cards for a female/male co-owned silk dyeing enterprise among the 16,000 trade cards in The British Museum’s
Detail from a trade card of Christopher Gibson. © Victoria and Albert Museum.
collection. The Boyers produced several different and highly ornamental trade cards over time, which hints at the success and growth of their business; however, one suspects Ann was always the senior partner. Tellingly, when their father, Jonathan, passed away in 1763, he made his daughter sole executrix and beneficiary of his estate, although his son had reached his majority by this stage. Elizabeth Hutt was the widow of John, Clothworker and upholsterer. She managed a substantial upholstery enterprise in St Paul’s churchyard in the mid-1700s, taking on at least five apprentices in her own name once widowed. Elizabeth supplied furniture to a wealthy clientele that included the Duke of Norfolk (for whom she supplied a dressing table and glass) and Duke of Gordon (to whom she sold a Wilton carpet measuring 29 yards). Elizabeth would have been working in close proximity to Christopher Gibson, upholsterer; his trade card (pictured on the facing page) gives some idea of the fit out and luxurious feel of upholsterers’ showrooms at the time. Elizabeth was able to charge substantial fees when taking on her apprentices, even after the death of her husband – such was the demand for the children of the middling classes to gain a reputable trade. Jane Holt secured her apprenticeship with Hutt through a payment of £50 – a premium rate in 1745. John Iliffe also paid Hutt a £50 apprenticeship fee. By the time of his Freedom, Iliffe was described as a journeyman in the Strand. However, we now know that he eventually took over Hutt’s upholstery business and marketed himself as ‘the successor to Mrs Hutt’ on his subsequent trade cards, confirming the esteem in which Elizabeth’s establishment was held.
Trade card of Ann and John Boyer, ‘Silk Dyers, at the Green Man in Ivy Lane’, offering a variety of soft furnishings ‘at the Lowest Prices.’ © Trustees of The British Museum.
The City’s exhibition promises to provide insight into women’s long-overlooked contributions to the City of London’s economy in the 18th century. The stories of many more fascinating women besides Ann Boyer and Elizabeth Hutt lie waiting to be uncovered. City Women in the 18th Century
opens on Saturday, 21 September, coinciding with Open House London. Take a stroll along Cheapside to learn more about the extensive and wideranging activities of these women. The exhibition will run until 18 October and is free of charge to all members of the public. Find more information at http://citywomen.hist.cam.ac.uk. THE CLOTHWORKER | AUTUMN 2019
DESIGNER BOOKBINDINGS Hannah Dunmow, Archivist
he Company supports the endangered craft of hand bookbinding by commissioning fine bindings from established bookbinders, and also by supporting and funding several initiatives by Designer Bookbinders as well as the Queen’s Bindery Apprenticeship Scheme (QBAS). Three new bindings from established bookbinders have been commissioned over the summer to add to the growing collection. We hope to receive the completed works during 2020. Meanwhile, three completed bindings were delivered to Clothworkers’ Hall this past summer. First is an intricate binding by Sue Doggett incorporating not just leather (resist-dyed goatskin and gold leather onlays), but also textiles (dyed cloth, machine- and hand-embroidery, and wool felting). By Permission of Heaven: The Story of the Great Fire of London (Adrian Tinniswood, 2013) proved to be a great source of inspiration, and alongside the obvious fire theme, Sue was drawn to think about buildings and architecture, culminating in a representation of quadratura, illusionistic architectural painting that appears to extend the actual space into an imagined one. The general layout suggests what you might see painted on the ceiling of a cathedral – pointing to heaven and presenting you with an image of a world partially beyond the imagination, but rooted in reality. The phoenix, embroidered using Chinese silk, was prompted by one of the chapters colourfully summing up the optimism of those who envisioned the new city-to-be. It appears along the spine of the book, rising up out of a flaming
inferno and the wreck of the city into an unnaturally optimistic blue sky. Pamela Richmond’s response to Chris Ofili: Weaving Magic – the Victoria Miro/National Gallery 2017 exhibition catalogue for our tapestry The Caged Bird’s Song (which now hangs in our Livery Hall) – is her interpretation of Ofili’s design. She felt that the tapestry itself was already an interpretation one stage on from his watercolour designs, so hers is another stage. A holiday in the Caribbean helped Pamela get a real feeling for the colours in the tapestry, leading her to reject her first design, removing the leather and starting again with richer colours and a vibrant green. The strong curved lines in different thicknesses echo the sweeping lines of the original charcoal drawings, and are gold tooled using six shades of gold ranging from palladium, to lemon, and then to a deep, dark gold. The tooled ‘stitching’ marks flowing across the binding represent the
weavers’ stitches on the tapestry. Pamela drew a template for her design on a grid, which she placed on the leather and blind tooled the lines, adding the gold afterwards. London, A Pilgrimage, written by Blanchard Jerrold and illustrated by Gustave Doré, is based on the author’s many journeys exploring London in the early 1870s, observing how people lived in both extreme poverty and extreme wealth. Jo Bird was fascinated and, after researching contemporary maps, decided that depicting a map for the cover would work in empathy with the written journey undertaken inside without detracting from Doré’s wonderful illustrations. To further suit the book and illustrations, she chose to tool with black carbon, rather than gold leaf, and recessed leather onlays. Her design began with the instantly recognisable line of the Thames, and she experimented with various shapes to try to represent the movement of
London and the way it was growing. She decided on just two shapes – tiny circles and lines roughly representing people and landmarks – for which she made her own brass tools. The tools are heated and the tip is applied onto a sheet of carbon, which adheres to the tool tip and then is gently pressed into the leather. The same shape is gone over many times. For the recessed onlays, the lines are blind tooled into the leather to create a recessed area in which the leather is applied. Calfskin is pared very finely to 0.2mm and hand dyed before it is cut into strips of 1mm. These are adhered into the recessed areas very carefully. After studying maps again, seeing how major roads, landmarks, parks and the docks created their own shapes and patterns across the city, she paid close attention to the parts of London with greater population density. The front cover depicts densely populated East London, home to the poorer classes; the back board illustrates wealthier and comparatively more sparsely populated West London.
Facing page: Sue Doggett’s work on By Permission of Heaven (top) with Pamela Richmond’s exhibition catalogue for The Caged Bird’s Song (bottom). This page: London, A Pilgrimage by Jo Bird – a work-in-progress photo is featured on our cover. THE CLOTHWORKER | AUTUMN 2019
ur fourth annual Charity Governance Awards ceremony was on 22 May 2019. We organise the event with partners NPC, Prospectus and Reach Volunteering. Our Professional Judges were impressed with the high standard of entries, and delighted to receive submissions from charities large and small all across the UK – including charities in England, Northern Ireland and the Scottish Highlands.
We could not be more inspired by the winners – and indeed, all the shortlisted charities – this year.
Each winner went home with an award designed by textile artist Elizabeth Ashdown and a £5,000 unrestricted grant for their charity. Winners included charities working in arts, culture, community development, education, health and more. For the first time ever, we awarded a joint prize: Derry Well Women and the Muslim Women’s Network UK both received a prize for the Improving Impact (4-25 staff ) category, demonstrating the success their trustees are achieving in support of their work for women and communities in the UK.
Board Diversity and Inclusivity: SignHealth Embracing Digital: Parents and Children Together (PACT) Embracing Opportunity and Harnessing Risk: Coventry and Warwickshire Mind Improving Impact (0-3 paid staff ): Green’s Windmill Trust Improving Impact (4-25 paid staff ): Derry Well Women ( joint winner) Improving Impact (4-25 paid staff ): Muslim Women’s Network UK ( joint winner) Improving Impact (26+ paid staff ): YMCA North Tyneside Managing Turnaround: Dementia UK
Past Master Michael Jarvis, who chairs the Awards for us, said, ‘Congratulations to all the winners –
and the shortlisted candidates should also be proud – this was, yet again, a field of a very high standard. These creative, hard-working and inspiring trustees and their colleagues deserve to be celebrated. I would encourage everyone in the third sector to read the stories of our winning charities – these real-life experiences and innovative ideas could help any charity seeking to improve their own governance. It also reminds us all that by improving governance, a charity can dramatically improve the lives of those it serves.’ Read more from the Charity Governance Awards website: www.charitygovernanceawards.co.uk. We’re grateful the nearly 60 Clothworkers who helped us in the first round of judging, allowing us to create a ‘long list’ of entries for our second round by Professional Judges. If you’re interested in serving as a Clothworker Judge for 2020, please register via the link from the September e-newsletter.
Above: Judges Thomas Lawson and Tesse Akpeki present Nazmin Akthar, Muslim Women’s Network UK, with the award for Improving Impact (4-25 staff). Facing page: Panel speakers Alan Edwards (Trustee, Bliss), Girish Menon (CEO, ActionAid) and Lesley Michaelis (Chair, Home-Start Slough).
30 Sep (4.00-6.00pm) Where do trustees fit with the debate on diversity and inclusion? 18 Nov (4.00-6.00pm) Trustees and the Theory of Change: Everything You Need to Know
30 Oct to 4 Dec (Wednesdays, 6.00-8.00pm) Co-sponsored by The Company and Close Brothers, this programme is delivered by Cause4 in London. It is a great opportunity to develop leadership skills and learn more about serving as a trustee. Aimed at new and potential trustees. Free for Clothworkers! For registration information, email [email protected].
Find out more and reserve your free place on the NPC website: www.thinknpc.org.uk/events-and-training
Not in London? Cause4 will host training in Glasgow (9 Oct) and Manchester (13 Nov): www.cause4.co.uk.
mmediate Past Master John Coombe-Tennant hosted the Scots Guards, and their families, at Clothworkers’ Hall to present the inaugural Clothworkers’ Scots Guards Community Awards this past June. Guests enjoyed a reception and lunch, when the following awards were announced: Piper Michael Grant Guardsman Jake Bickerton Guardsman Jack Roden The Regimental Sergeant Major’s Soldier – Battalion Awarded to a Guardsman in the Battalion who is always supporting his comrades, even when he gains no obvious recognition or reward by it. Guardsman Gregor Campbell The Company Sergeant Major’s Soldier – F Company Awarded to a Guardsman in F company who is always supporting his comrades, even when he gains no obvious recognition or reward by it.
Sergeant Robert Duncan Colour Sergeant Isireli Taganekurukuru Outstanding Contribution to Community Relations Awarded for effort and effectiveness in fostering good and vibrant relations with the wider community. Mrs Ashley Heron Family Award Awarded to a partner or immediate family member in recognition for contributing the most time, energy and creative ideas to enhance the enjoyment of life of soldiers’ families.
Hall in 2020. We are grateful for the enthusiasm members always exhibit for our military affiliates – many of you have enjoyed opportunities to support the Scots Guards at the Queen’s Birthday Parade and other ceremonial events, and Clothworker attendance on such occasions is always warmly appreciated.
Facing page: Colour Sergeant Isireli Taganekurukura (left) – pictured with
Major John McCallum Clothworkers’ Scots Guards Colonel’s Award Awarded to someone particularly outstanding in the context of ‘community, family, wider society or morale’.
Clothworker Alastair Mathewson OBE (right) – proudly displays his award. Below: Seven of the award recipients are pictured with Clerk Jocelyn StuartGrumbar, Alastair Mathewson, Immediate Past Master John Coombe-Tennant, Lieutenant Colonel James Leask MBE,
We look forward to welcoming the Battalion and F Company back to the
Beadle Michael Drummond and Major (Retd) James R Kelly.
he Inter-Livery Clay Pigeon Shoot took place on 16 May at Holland and Holland in West Ruislip. Once again, The Clothworkers’ fielded three teams of four guns each: A (Chris Horne, Charles Houston, Simon Purefoy and James Horne), B (Beadle Michael Drummond, Master Jonathan Portal, Chris Remers and Oliver Hartley), and C (Owen Turgoose, Ralph Anderson, Will Portal, and Giles Malyon). However, they did not place in the competition with 114 teams. Still, Team B achieved an impressive 74/80 in the Flush. It was the second consecutive year that the Master-Elect (John CoombeTennant, 2018, and Sir Jonathan Portal, 2019) joined the team, and the first time a member of staff (the Beadle) participated. The event attracted five ‘new guns’, which Team Captain Charlie Houston is hopeful of welcoming to future events, and also offered the opportunity for two pairs of fathers and sons to participate. The other shooting event of the summer
was the Rifle and Small Arms Event at Bisley. Charles Bowerman, Nicholas Horne and Andrew McClintock represented The Company at the Sniper Rifle at 300m; the Full Bore Rifle at 900m over open sights; the .22 Rifle; and of course the six shooter, Black Powder Revolver at 15m. A new event this year was the ‘running boar’. The RAF and The Bakers’ Company provided superb organisation and hospitality, as in previous years. Of the three guns, only Charles had shot for The Company before (Team Captain Charlie Houston tries to rotate ‘new guns’ through this event). The team scored very well throughout the day. They were awarded the trophy for the best team at the Black Powder Revolver, and Charles Bowerman was recognised as the Best Individual overall by a large margin. At the end of the day, the team was ranked fifth out of 15 teams. GREAT XII SAILING CHALLENGE This annual event, in the first weekend of June, was well organised, as usual, by The Ironmongers’
Company. The racing was run by the Seaview Yacht Club, Isle of Wight. This year, in addition to the two teams of four, we also entered the Mermaid Class for the main part of the event – we were very pleased that Tom Tibbits was able to bring his family’s beautiful yacht over to participate in the race. The cruiser team consisted of Tom Tibbits, Susannah Broome, and Lucy Rawson with her husband, Marc Kernick. The Mermaid team included Andrew Strang, Amy McVittie, Katie Hirst, and Jonathan Portal (then Master-Elect). The second Mermaid team was Annabel Yonge, Sarah Churton, and John Coombe-Tennant (then Master) with his son, Matthew Coombe-Tennant. Team Captain Andrew Yonge was excited to recruit teams with both Freedom and Livery members. The Mermaid race consisted of four races, with each team competing twice. The first team sailed in sunshine, but with very light winds. While The Clothworkers’ had a great start, they struggled to get around the buoy. With the tide pushing them back and the
wind fading, they finished the race lower down the order. The Cruiser team also had a frustrating moment during their race, when they caught the line of a lobster pot around the keel – slowing them down somewhat! Overall, Clothworkers earned a respectable ninth place. Team Captain Andrew Yonge is aiming for the ‘most improved’ team prize next year. But it’s not all about winning; the event is a wonderful opportunity to enjoy the fellowship of other Clothworkers and build ties with members from other livery companies. Approximately 200 people – competitors and their supporters – enjoyed the informal supper on Friday and the formal dinner on Saturday, when the racing event was over. We are always looking for more sailors to join the team, so if you know your spinnakers, jibs, sheets and booms, then please get in touch with Andrew Yonge about joining us in 2020. Contact information for our inter-livery sports is on the back cover of this edition.
Shearmen (Exeter), marking the 400th anniversary of the company’s Royal Charter. Traditionally, the company would host a boules tournament for its own members. However, to help celebrate this exciting milestone, they invited a number of ‘related’ livery companies from London and beyond. Katie and Nicholas faced off against opponents from The Drapers’, Weavers’ and Woolmen’s Companies from London, and triumphed over The Worcester Clothiers to be named champions. Nick said, ‘It was a great day and wonderfully different...Having not played boules for years, I’d forgotten how competitive it could be. Nonetheless, Katie and I seemed to click as a team, and I think this helped us towards our very unexpected and incredibly surprising win.’ Nick described their winning performance among the livery company ‘visitors’, which led to a final match
against the ‘winning’ team from the host company’s own ranks. Katie said, ‘It was immense fun. I don’t think I stopped grinning all day.’ She was impressed with the organisation that went into the event, meeting the group at the quay in Topsham before getting ferried off to a sand bank in the middle of the River Exe. ‘We feasted on pasties and beer, and then played six other teams...It was very tricky on a mixture of hard and soft sand, so a lot of luck was needed! By the end of six matches, every team had become more competitive (and more accurate), and Nick and I were now, from nowhere, talking boules tactics.’ Our duo had to adjust to further challenges when the group was ferried back to the mainland, and the Turf Hotel, for the final match on hard and fast grass, but they pulled ahead to win by one point.
KATIE HIRST & NICHOLAS HORNE FORM BOULES DREAM TEAM This past July, Katie and Nicholas travelled to Exeter expecting to have a lovely day with the host company and its visitors. They didn’t expect to take home the boules trophy – a glass decanter filled with the ash from 400 boules jacks. Facing page: 2019 Clothworkers’ team for the Inter-Livery Clay Shoot this past May.
The tournament was hosted by the Incorporation of Weavers, Fullers and
This page: The Cruiser team (top left) and the Mermaid teams (top right) during the Great XII Sailing Challenge. Katie and Nick (bottom right) with their boules trophy. THE CLOTHWORKER | AUTUMN 2019
Last December, Maintenance and Events Assistant Brian Bullimore officially ‘retired’, after almost 25 years at The Company, although we are delighted to say that he continues to support the maintenance and events teams on a casual basis during busy times and cover staff annual leave.
Laura Street, who has been on sabbatical this past year, will return to Clothworkers’ Hall with a promotion, taking Sam’s place as Senior Grants Officer. Patrick O’Kelly, who covered Sam’s recent maternity leave from the Senior Grants Officer role, will continue as a temporary Senior Grants Officer for 12 months to support the team with special projects. Ayesha Tariq will continue in her role as Grants Officer, now on a permanent basis. We are pleased to say that Clare Killeen will also stay with the team, as she accepted a permanent contract to continue in her role as Grants Assistant.
Sam Grimmett Batt, Senior Grants Officer at The Clothworkers’ Foundation, accepted a new role as Funding Manager at The City Bridge Trust this past spring. We wish Sam – who worked for The Foundation for more than 10 years – all the best at her new role in the City of London.
CLEANING TEAM Both Brian and Sam have become Free by Courtesy, and we hope to have them with us at Company events in the future.
We are sorry to say that an important member of the Cleaning Staff, Carol Jackson, has had to go on long-term
leave. However, we are pleased to have welcomed Christina Kartsiou, who is currently covering for Carol. CONGRATULATIONS Please join us in congratulating Heather Rawlins, who became Free of the City of London and attended the ceremony at Guildhall this past February. Heather, Steward, has worked for The Company for more than five years. This year, 2019, also marks the five-year work anniversaries of Sophia Watkins (Event Coordinator and General Office Administrator) and Emma Temple (Executive Assistant to the Master and Clerk), as well as the remarkable 30-year work anniversary of Andrew Boon (Chief Accountant). We hope they will stay with The Company for many years to come!
Top: Heather Rawlins receiving her Freedom of the City of London, with Murray Craig, Clerk to the Chamberlain’s Court, and Jocelyn Stuart-Grumbar, Clerk to The Company. Bottom (left to right): Sophia Watkins and Emma Temple. Brian Bullimore with his Freedom certificate. Andrew Boon, who celebrated his 30-year work anniversary with a special lunch in Clothworkers’ Hall.
TRIBUTES TIMOTHY CHARLES BOUSFIELD Words of Appreciation by Melville Haggard (Master, 2015-16)
im was a sixth-generation Clothworker; the connection with The Company began in 1793, when William Bousfield was made Free of The Company. Tim became Free by Patrimony in 1974, joined the Livery in 1978, and was elected Warden in 2002. Leaving Tonbridge School in 1970, he started articles at his father’s law firm. Law was not really Tim’s scene, and he chose instead to set up as an independent financial adviser. Thus was born Tim’s own company, Town and City Brokers Ltd, which he ran for nearly 40 years from 1980. Tim was best known within The Company for the leading role he played in support of The Clothworkers’ InterLivery Golf Team. For this, I draw on recollections of Richard Saunders, who knew him best in this capacity – Tim took over as captain when Richard retired three years ago.
will remember him for his open smile and jocular, easy-going manner. Tim must also be remembered for re-connecting The Company with Sutton Valance School, which The Clothworkers’ governed for 334 years (before passing responsibility to the United Westminster and Grey Coat Foundation in 1910). Through Tim, our Clerk was introduced to Headmaster Bruce Grindley to discuss ways of celebrating our historic relationship. The direct result is the new Clothworker Material Impact Prize; beginning in 2020, the annual prize will be awarded for outstanding contribution to the fabric of the school to a student leaving the upper sixth cohort. Recipients will have the opportunity to choose books to receive as their award.
His death is a huge tragedy and, in the circumstances, one is left to seek comfort from the words of St John of the Cross: ‘God only allows Death to restore Life’.
Tim leaves three children: Caroline, Ross (Freeman) and Jonte (Freeman).
IN MEMORIAM We regret to announce the following deaths: Diana Marjorie Smith Freewoman (March 2019) Timothy Bousfield Court Assistant (June 2019)
Below: Timothy Bousfield at the December 2018 Court and Livery Dinner, greeting the Master (then First Warden), Sir Jonathan Portal Bt.
Tim, like many members of the Bousfield family, was a competent golfer and played an important role on the inter-livery team. Richard recalls Tim’s handicap being between 11 and 14 – not as good as his two sons, who are single handicappers. However, Tim’s name appears on the Britten Salver and Mathieson Tankard, two trophies contested at our annual golf day with The Dyers’ Company. And, when it came to putting together a Clothworker team for The Great XII Challenge Cup some 18 years ago, Tim and his brother, David, were automatic choices for membership of the team that won the Cup that year. Tim was a very clubbable person and we THE CLOTHWORKER | AUTUMN 2019
NEWS & NOTICES INTER-LIVERY ACTIVITIES To find out more about inter-livery activities, and how you can become more involved in events in the City of London, check out the Diary at www.liverycompanies.info. To read more about the work livery companies are doing across the City of London, check out the Livery Briefings (found in the ‘Library’), also at www.liverycompanies.info. For information, contact the Team Captains: Sailing: Andrew Yonge ([email protected]) GET INVOLVED WITH INTER-LIVERY SPORTS Shooting: Charlie Houston ([email protected]) If you wish to be contacted directly about inter-livery sports, make sure you’ve updated your online member’s profile to include ‘sailing’, ‘golf’, or ‘shooting’ as a ‘sport you play’. Image (top right): Timothy Bousfield (right), our late Golf Team Captain, with his brother, David (d. 2014) during a livery golf event in 2009.
Golf: If you have been a part of Inter-Livery Golf events in the past, please be assured that you will hear from the new Team Captain shortly. If you are interested in participating in future events, please respond to one of our calls for entry in the e-newsletter or interest-based emails – and ensure that you’ve updated your online member’s profile to include ‘golf’ as a ‘sport you play’.
DATES FOR YOUR DIARY Alumni Dinner (23 September) A dinner to bring together those in textiles and conservation who have received support from us in the past. Invitations have been sent to selected Court and Livery members. Election of Lord Mayor Luncheon (2 October) The election of the 692nd Lord Mayor of London at Guildhall will be followed by lunch at Clothworkers’ Hall.
Court and Livery Dinner (3 October) The theme of the dinner will be ‘New World for Business and Textiles’, and the guest speaker will be Lord Marland, Chairman of the Commonwealth Investment and Enterprise Council. Invitations have been sent to Court, Assistant Emeriti and Livery members.
Those eligible to cast a vote should arrive at Guildhall before 11.30am.
Young Freedom Reception (10 October) FANY will deliver a sample of their first aid scenario training. Guests are invited to join in to understand the vital work the corps does and gain life-saving skills.
Invitations to lunch have been sent to Court, Assistants Emeriti and Livery members.
Invitations have been sent to selected Court and Livery members, and all members of the Freedom under 40 years old.
The full calendar for the Master’s year is available in the Members’ Area on our website (login required): www.clothworkers.co.uk.
Log on to the Members’ Area of the website for more: www.clothworkers.co.uk. 24
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Posts Tagged 'Constantinos Pittas'
Years of storage lend nuance to collection of images
SCAN_279_16 001
Parc des Buttes-Chaumont, Paris, 1985.
By Harry van Versendaal
For Constantinos Pittas, a good photograph must elevate the prosaic to the preternatural, the banal to the magical.
Strolling one 1985 evening in Paris’s Parc des Buttes-Chaumont as the gates were about to close, Pittas saw the otherwise commonplace spectacle of a couple sitting on a bench. Basking in a ray of dying light peeking through the trees at dusk, the pair appeared to be floating in space. Without a second thought, Pittas pressed the shutter button.
“I felt as if it was the first time I was really seeing a couple sitting on a bench,” he says staring across the table at the photograph, now hanging on the wall of the French Institute in Athens (IFA). “It was like two units becoming one,” he says.
More than 30 years since that day, Pittas, now 59, comfortably recalls the story behind nearly every photograph in his current exhibition, “Athenians & Parisians.” The event comes in the wake of his breakout show at the Benaki Museum late last year, a warmly received collection of previously stowed-away black-and-whites shot in the still-divided Europe of the 1980s. The spin-off exhibition at IFA showcases a selection of images captured in the Greek and French capitals around the middle of the same decade.
Athens and Paris naturally lay on the same side of the Iron Curtain, the infamous divide between the free world and totalitarianism aptly captured in his “Images of Another Europe: 1985-1989.” But for Pittas, who now lives in a coastal suburb northeast of Greece’s sprawling, unruly capital, the connection between these two Western metropoles also has a personal dimension.
Pittas moved to Paris in the early 1980s to pursue postgraduate studies in civil engineering at the Ecole des Ponts ParisTech. It was his first time away from home and although he soon realized that civil engineering was not his thing, his time there did not go to waste.
“I made my first meaningful observations about life and about people during the two-and-a-half years I spent there,” he says.
Dwindling resources made him return to Athens to look for work, but distraction was around the corner again.
“I soon found myself wandering around the city streets taking photos,” he says.
Then a skinny, curly-haired youth in his early 20s, Pittas would pound the city’s sidewalks 12-13 hours a day, taking breaks on the Athens-Piraeus urban electric railway (ISAP). A self-taught photographer, Pittas’s understanding of the medium came from his voracious appetite for cinema: Bergman, Tarkovsky, Wenders, Kurosawa and generous helpings of film noir. He relied on a German-made pocket-size Minox 35GT, reputedly the smallest full-frame 35mm camera ever built, and always shot from waist level for that stealth effect.
By 1984, he was done with the Athens photos. A year later, he jumped into a blue Pony-Citroen and started zigzagging across Europe to cities on both sides of the divide with a romantic (if ironically prophetic) ambition to bring the people of the continent together in a single photo book.
“I was familiar with Paris, so I decided to make it my first stop. In a way Athens and Paris are my life’s two biggest milestones,” he says.
The project went on until 1989, when Berliners took their sledgehammers to the Schandmauer – the wall of shame. Events, Pittas thought at the time, had killed it. Thousands of negatives were boxed away in a basement. They sat there for a quarter of a century, until he recently decided to share a selection with the world.
“It makes me happy that some of the things I saw in the two cities back then are now being showcased side by side,” Pittas says.
The work is street photography at its finest: spontaneous, beautiful and telling a story. It is rarely upbeat; the faces are mostly pensive or grim.
“You always see what is close to your state of being. It’s all a projection. You cannot escape your nature,” he says. “That’s why I do not really believe in photojournalism.”
Coming in the wake of a traumatic seven-year military dictatorship, the 1980s were a transformative, if in some ways contradictory period for Greece. Politics was dominated by populism, polarization, clientelism and corruption – all widely seen as the source of many of the country’s woes today. In the economy, living standards and consumption grew while actual productivity nosedived.
Meanwhile, turning a deaf ear to the anti-Western, anti-capitalist rhetoric of socialist governments, an emerging middle class went on to embrace popular culture, consumerism and an individualistic lifestyle, pretty much in line with the rest of the increasingly globalized Western world.
Now, after seven years of austerity measures, which brought an abrupt end to a controversial period of economic well-being, the photos of Athens have gained an additional layer of interest.
“The identity of the faces has not changed. You can tell that family structure is still dominant here, that it pretty much shapes people. Middle-class families tend to keep their members in check,” Pittas says.
“You don’t see the hordes of lonely people like you do in other big European cities. Ties are stronger here,” he adds.
Change is more evident in the urban environment.
“Neighborhoods used to have a stronger identity back then. Working-class neighborhoods had more character. The uniformity we see today was not there,” he says.
Pittas is no longer keen to raise his camera in the city he first explored and experimented with.
“I find it impossible to shoot this complete lack of hope that I see in Athenians’ faces today, this air of resignation. It’s as if the sky has fallen on their heads,” he says.
“The faces I see in the streets of Athens remind me of those I came across in the countries of the communist bloc. It’s all a bit scary,” remarks the photographer.
It’s clear that his bygone journeys across the former Soviet satellites continue to inform his perspective on Greece’s current predicament.
“If we compare ourselves to what other people on the continent went through, our situation is not that terrible,” he says. “The difference here is that we were spoiled. A society that’s totally dependent on the state will inevitably suffer when the state runs into trouble.”
Although his photos are free from in-your-face political commentary, the man does not shy away from voicing his political opinions in public. He does so on a less sophisticated yet more direct medium: Facebook.
“I used to be allergic to politics and political debate. If I talk politics today, it is in reaction to the awful things we’ve had to put up with in the past couple of years,” he says in reference to Greece’s leftist-led government.
This lingering malaise has naturally generated a wave of nostalgia for the pre-crisis years – a reflex that often comes with a certain level of oblivion about the era’s part in creating the mess of today.
“Athenians & Parisians” is taking place on the sidelines of the much-publicized “GR80s” show at the Technopolis cultural complex in downtown Gazi, which is a political, social and cultural anatomy of Greece in the 1980s. The event has sparked a wave of nostalgia, as large crowds flock to see, among other items, a splendid reconstruction of an archetypal 1980s flat.
Pittas admits that part of the response to his long-buried body work is a result of this backward-looking mood.
It’s not all bad.
“Nostalgia is fed by a desire to return to an idealized time, which may coincide with our youth, or what we may regard as being innocent when it was probably anything but,” he says.
“But it could also spark a soul-searching process that helps us understand how we ended up where we are today,” he says.
None of that takes away from the value of the work, or from the existential fulfillment that this born-again photographer experiences today when seeing his work receive long-overdue recognition.
“I find it amazing that something I once did in the spirit of youthful frivolity seems to make sense to people today, to tell them something about their lives,” he says.
“Athenians & Parisians” (French Institute in Athens, 31 Sina, tel 210.339.8600, http://www.ifa.gr) runs through March 31. “GR80s: Greece in the 80s at Technopolis” (100 Pireos, Gazi) runs to March 12.
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The mind's eye
by Dr Christopher Chapman, 6 March 2017
Geoffrey Graham, 1941 Max Dupain
Amid the twentieth century socio-political turmoil that fomented war across the theatres of Europe, and then Asia and the Pacific, the drive to understand the psychological impulses of humankind crystallised through experiments in medical treatment and psychiatry.
Theories of the unconscious, proposed by the Austrian medical scientist Sigmund Freud, had been explored by doctors working with soldiers traumatised by their experiences of combat during the First World War. Freud hypothesised that deep thought processes are responsible for our reactions and emotional responses to people and events, and that they drive our psychological needs. The behaviour and private thoughts of numerous individuals studied by Freud confirmed for him the presence of an unconscious mind that acts of its own volition, continually interacting with the conscious mind of everyday thought. Freud theorised that the unconscious mind throws up unwanted thoughts and urges that we might want to repress, and, through psychoanalysis, repressed thoughts and emotions could be analysed and treated.
In Australia, John William Springthorpe was fascinated by the potential that Freud’s psychoanalytic models held for the recuperation of soldiers shaken and debilitated by the mental and physical impacts of war. Springthorpe lamented that medical personnel were ‘unacquainted with psychopathic manifestations or their proper treatment’. In 1930, Roy Winn, who had served at Gallipoli and in France, wrote in the Medical Journal of Australia that physicians required as sound a knowledge of psychology as of physiology to effectively treat shell-shocked soldiers. Psychoanalysis, he wrote a decade later, could relieve ‘deeply buried emotions, such as guilt concerning the impulse to kill’.
The idea of subconscious impulses appealed strongly to artists inspired by the aims of Surrealism. In France, writer André Breton had gathered a group of like-minded poets known as the Mouvement Flou. Two years later, in 1924, he set out a manifesto for the aims of the group who were now self-proclaimed ‘Surrealists’. Inspired by Freud’s ideas about unconscious thought processes, Breton stated that Surrealism seeks to express ‘the real functioning of thought’ using the arts as its medium. His Bureau of Surrealist Research sought to ‘gather together all possible communications relating to the forms which the unconscious activity of the mind is liable to assume’. In 1925, Galerie Pierre in Paris hosted the midnight opening of the first surrealist exhibition; it included artworks by Hans Arp, Max Ernst, Pablo Picasso, Man Ray and Giorgio de Chirico. The selection of artists reflected Surrealism’s male-focused origins. Later, in 1936, several women were included in the International Surrealist Exhibition in London: it included artworks by Briton Eileen Agar, Argentine Leonor Fini, Frenchwoman Dora Maar, German-Swiss Meret Oppenheim, and the mysterious ‘Jacqueline B.’ David Gascoyne was a member of the English organising committee for the exhibition; he translated André Breton’s preface for the catalogue, and his book A Short Survey of Surrealism became available in Australia that same year.
Australians Geoffrey Graham and James Cant were in Britain in the 1930s and they showed their work in surrealist exhibitions in London in 1937 and 1938, alongside their European contemporaries. The enigmatic, fantastical and absurd imagery of surrealist art had gained stylistic cachet even in Australia by the late 1930s. In 1940, Australian painter and writer James Gleeson (then aged twenty-four) described the movement for his local audience: ‘Surrealism is the word that is applied to those forms of creative art which are evolved not from the conscious mind, but from the deeper recesses of the sub-conscious. The theory of surrealism is based upon a belief that the logical mind, with its prescribed formulas of thought, is incapable of expressing the entire range of human experience and aspiration. To express such a range, the complete mechanism of the human mind must be used.’
Portrait photographs of Gleeson always show him as impeccably dressed and sporting a neatly trimmed moustache. His reviews of modern art in the 1940s and his scholarship on Australian artists was always erudite and serious, his insights aided by his own dedication to painting and drawing. Gleeson was equally inspired by Spaniards Pablo Picasso and Salvador Dalí, translating their disjointed and convoluted sense of space and drippy dream-landscapes into his own Australian version of Surrealism. As a young boy Gleeson was fascinated by the beach rock pools that would later inspire the deliquescent landscapes of his mature surrealist art. He tackled the big theme of war in imagery that tore the landscape apart.
Gleeson’s text in Art in Australia magazine made direct reference to recently exhibited paintings by Surrealism-inspired Australian artists. The Contemporary Art Society exhibitions of 1939 and 1940 premiered Australian surrealist art, with the exhibition’s organising council, and exhibitors, including several women. Gleeson’s words echoed those of Sydney philosophy scholar Henry Tasman Lovell, written in the same journal almost twenty years earlier. According to Lovell, the artist ‘works from within outward’, and, ‘the neurotic symptom, the dream, the poem or artistic creation all make their appearance in overt consciousness’. Psychoanalysis was a means of reaching the ‘suppressed, unacknowledged, forgotten things of the unconscious level’.
Psychoanalysis appealed to clinicians and philosophers alike as a mechanism that could be used to bypass conscious levels of awareness. Australian Reg Ellery’s 1945 book Psychiatric Aspects of Modern Warfare called for more trained psychiatrists and better psychiatric treatments for soldiers as a responsibility of government. His book received generally sympathetic reviews, its cover made striking by the use of Sidney Nolan’s harrowing painting of a traumatised soldier. Beyond the treatment of soldiers, psychoanalysis, with its careful dynamic of listening to the patient to uncover repressed feelings, was seen by Ellery as an antidote to the mania of modern society; even in 1931 he lamented its ‘haste and feverish unrest’. By the early 1950s the independent practice of psychoanalysis was established, as Hungarians Clara Lazar Geroe and Andrew Peto and Australian Roy Winn established the Australian Society of Psychoanalysis.
Fascinated as they were by Freud’s ideas, surrealist artists in Europe and Australia did not subject themselves to psychoanalytic scrutiny. Instead, they relied on artistic methodologies that conjured the operation of chance as a creative strategy, or drew upon enigmatic imagery. Australian artists Albert Tucker and Sidney Nolan were inspired by the art of untrained artists and patients who had experienced psychosis. Tucker was open to the fleeting imagery of the unconscious:
‘I always listen to that silence, that inner voice, wait for what image comes up.’
1 Sidney Nolan, Western Australia, 1962 (printed 2000) David Moore. © Lisa, Michael, Matthew and Joshua Moore http://davidmoorephotography.com.au/. 2 Self portrait, c. 1984 Albert Tucker. © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art.
Looking back, experiments with the psychoactive drug mescaline (which occurs naturally in the peyote cactus) seem to fit right in with surrealist artists’ fascination with the unconscious mind. Native to Mexico and Texas, the sacred properties of peyote were synthetised by 1920, and by 1928 the plant’s mind-altering properties were the subject of scientific study. German-American Heinrich Klüver analysed children’s visual perception, then that of German soldiers who had suffered neurological damage during the First World War. Klüver’s interest in visual perception incorporated an investigation of mescaline published in 1928 as the book, Mescal and Mechanisms of Hallucinations. Under the effects of mescaline himself, Klüver identified certain recurring visual forms, including honeycomb, spider-web and spiral shapes, and some comparable to the art of surrealist painter Juan Miró. Other studies also emphasised the impactful visual character of mescaline-induced hallucinations. In the 1930s, Walter Maclay and Eric Guttman, clinicians at Mill Hill Emergency Hospital in London, invited visual artists to make drawings under the influence of the substance. ‘They were given enough mescaline to cause hallucinations’, wrote the pair in their report published in the Archives of Neurology and Psychiatry in 1941. The artists ‘were asked to sketch what they saw and then after the intoxication was over to make another drawing of their experience in retrospect’.
Maclay and Guttman do not name the artists who participated in their experiment, but Australians Geoffrey Graham and James Cant responded to advertisements in the press calling for artists to take part in mescaline studies. Cant reported the experience as illuminating – it was ‘marvellous’ – but the visions soon mesmerised him and he gave up on making drawings. In the exhibition catalogue for the 1938 surrealist exhibition in London, Cant’s entry noted that he was ‘recently engaged in medical research as to the influence of mescaline on vision’. Maclay and Guttman wanted to test the application of the visual shapes that Heinrich Klüver had described in his mescaline-induced visions, saying ‘it is surprising to find so few illustrations of mescaline hallucination in the numerous publications on the subject’. Their study, with artists reproducing examples of various types of visual patterns, included ‘tapestry pattern’, ‘zigzag lines’, and images that suggested to the clinicians the biological structure of the retina. They thought that their samples showed the known physiological effects of sensory stimulation, although the detail of the artworks contained imagery of a ‘psychological’ nature that Maclay and Guttman decided ‘precluded any attempt to analyse’.
1 Bone figure, c.1938,. 2 Striding bone figure, c.1938,. Both by Geoffrey Graham.
The clinicians describe one example of mescaline-enhanced perception where ‘everything [the artist] hallucinated seemed to elongate itself in whatever direction he turned his attention. When he tried to draw the man’s arm, it grew longer and longer [and] the cathedral continued into the spire, the spire into the cross and its ends into airplanes’. Reproduced in their scientific paper is a drawing showing a figure whose limbs stretch on like the branches of a tree. Geoffrey Graham’s own drawings, paintings and etchings of ‘bone figures’ are likewise characterised by long, multi-jointed limbs – elongated figures reaching to the sky for airplanes or birds.
Throughout the 1940s and 1950s, writers Antonin Artaud and Aldous Huxley famously sought creative illumination in mescaline, and artist Henri Michaux delved into the mescaline dimension following the death of his wife. Existentialist philosopher Jean Paul Sartre asked his school friend, physician Daniel Lagache, to procure some mescaline for him. Unfortunately for Sartre, the substance invoked nightmarish creatures and lingering hallucinations. In Native American rituals some groups include women in peyote ceremonies. For Europeans, creative experimentation with mescaline seems to be a short-lived, masculine pursuit.
In the current era of neuroscience, Freud’s idea of the unconscious mind remains a viable concept, with potentially vast untapped therapeutic applications. In their 2011 paper on ‘neuropsychoanalysis’, psychologist Mark Solms and neuroscientist Oliver H Turnbull are optimistic about interdisciplinary medical exploration by invoking Freud’s remarks to Albert Einstein: ‘There is no greater, richer, more mysterious subject, worthy of every effort of the human intellect, than the life of the mind.’
Related information
Portrait 56, Autumn 2017
Browse the history of the National Photographic Portrait Prize, Cayce Zavaglia's embroidered portraiture, and modern wedding photography!
Untitled, 2011 © Kelly Tunney
Untitled, 2011 © Kelly Tunney
Untitled, 2011 © Kelly Tunney
Untitled, 2011 © Kelly Tunney
Something old, something new
Magazine article by Andrew Mayo
Andrew Mayo considers the changing face of modern wedding photography through the eyes of two of its finest exponents, Dan O’Day and Kelly Tunney.
Louise Lovely feeding gulls in a park, 1969 Unknown photographer
Louise Lovely feeding gulls in a park, 1969 Unknown photographer
Louise Lovely feeding gulls in a park, 1969 Unknown photographer
Louise Lovely feeding gulls in a park, 1969 Unknown photographer
Jewelled nights
Magazine article by Dr Anne Sanders
Anne Sanders celebrates the cinematic union of two pioneering australian women
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Relating to The Education of a Poet
A poem I wanted to share but it's not mine: http://www.poetryfoundation.org/poem/178169
It's called The Education of a Poet. Written by Leslie Monsour, ©2000.
I don't know where I originally found this poem, it's printed out on an old sheet of paper with half an essay by Ted Kooser. It was probably from an English course so long ago.
Sadly, I can relate to the piece all too well. So many days I wake up eager to create... something, anything! But I sit down to my tools, and lose all motivation. Sometimes for no reason at all. Then I start questioning the point of what I do. Why do I do it? Does anyone care? Am I even doing it for the right reasons? What are the right reasons? Does any of it even matter?
Then, instead of being productive and creative, I surf the web admiring the art of others. Clearly, I think too much.
Facebook Giveaway WINNER!
Tiffany has won our Spring Giveaway! Let's hear it for Tiffany! You can see the official posts here, at the Mallow Facebook page.
Here, we have an in-progress shot from last night. Giraffe is still needs a bit of work, then the fun-coats and magnets will be applied before we call 'em finished. I'm very happy so far!
And, since this giveaway went so well, I'll be expanding the next giveaway a little bit. Which will be in June, by the by, to celebrate another milestone that's coming up! Subscribe to the newsletter to hear about it before it hits the website!
Facebook Giveaway!
That's right, I'm doing a giveaway on Facebook! Just hit 130 Facebook fans and spring is finally getting here, so I thought it a great time to do one. Also, it's been too long since I've done any giveaways.
So... if you want in head on over to the Marshamallow Surprise! Facebook page, like or comment the official giveaway post to enter, then be patient — the drawing is being held next Thursday (March 27). The deadline to enter is Wednesday, March 26!
What do you win?! A set of three 2" magnet paintings! With original art! Here's a sketch of what they'll look like and the basic run-down (I have to buy the canvas for them, I ran out).
Also, here's a link to the official rules and T's & C's.
Acen Art: Ten Tickles!
4"x4" acrylic on canvas.
This one didn't turn out quite as anticipated, but I really like the little purple marshmallow octopus. And I love the background.
So... how many tickles to make an octopus laugh?
Acen Art: Green Dragon Mallow
Another little 4"x4" acrylic on canvas for Acen 2014 Art Show!
Happy little green dragon marshmallow with pearlescent pink spikes!
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mammoth » the-new-aesthetic http://m.ammoth.us/blog the herculez gomez of architecture blogs Fri, 27 Feb 2015 01:11:33 +0000 en-US hourly 1 http://wordpress.org/?v=4.3.1 glitch jam http://m.ammoth.us/blog/2012/05/glitch-jam/ http://m.ammoth.us/blog/2012/05/glitch-jam/#comments Fri, 04 May 2012 00:00:02 +0000 http://m.ammoth.us/blog/?p=6346
[The Placer County Courthouse, in Auburn, California — imagine it swarmed by a glitch jam.]
NPR reported this morning on a traffic jam in California caused by an algorithmic glitch “accidentally summon[ing] 1,200 people to jury duty on the same morning”. An excellent reminder of the tendency of algorithmic dysfunction to manifest as physical dysfunction, and (at a relatively small scale) of the potentially disproportionate impact of glitches when they are translated from dataspace into an infrastructural system. The glitch may be as simple as having accidentally swapped the 0 indicating “do not come in” for the 1 indicating “come in”, but the resulting jam is rendered in aluminum autobodies and on asphalt corridors where it is much more difficult to clear than it was to create.
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the network as industry http://m.ammoth.us/blog/2011/11/the-network-as-industry/ http://m.ammoth.us/blog/2011/11/the-network-as-industry/#comments Wed, 23 Nov 2011 17:00:46 +0000 http://m.ammoth.us/blog/?p=6004
[“Interior components of the cooling system” at a Facebook data center in Palo Alto; image via Alexis Madrigal’s report for Domus on Facebook’s Open Computer Project, which “describes in detail how to construct an energy-efficient data centre”.]
“Secret Servers”, an article by James Bridle originally published in issue 099 of Icon magazine, looks at the relationship between architecture and the physical infrastructure of the internet. I found Bridle’s last few paragraphs particularly provocative:
“What is at stake is the way in which architects help to define and shape the image of the network to the general public. Datacenters are the outward embodiment of a huge range of public and private services, from banking to electronic voting, government bureaucracy to social networks. As such, they stand as a new form of civic architecture, at odds with their historical desire for anonymity.
Facebook’s largest facility is its new datacenter in Prineville, Oregon, tapping into the same cheap electricity which powers Google’s project in The Dalles. The social network of more than 600 million users is instantiated as a 307,000 square foot site currently employing over 1,000 construction workers—which will dwindle to just 35 jobs when operational. But in addition to the $110,000 a year Facebook has promised to local civic funds, and a franchise fee for power sold by the city, comes a new definition for datacenters and their workers, articulated by site manager Ken Patchett: “We’re the blue collar guys of the tech industry, and we’re really proud of that. This is a factory. It’s just a different kind of factory then you might be used to. It’s not a sawmill or a plywood mill, but it’s a factory nonetheless.”
This sentiment is echoed in McDonald’s description of “a new age industrial architecture”, of cities re-industrialised rather than trying to become “cultural cities”, a modern Milan emphasising the value of engineering and the craft and “making” inherent in information technology and digital real estate.
The role of the architect in the new digital real estate is to work at different levels, in Macdonald’s words “from planning and building design right down to cultural integration with other activities.” The cloud, the network, the “new heavy industry”, is reshaping the physical landscape, from the reconfiguration of Lower Manhattan to provide low-latency access to the New York Stock Exchange, to the tangles of transatlantic fiber cables coming ashore at Widemouth Bay, an old smuggler’s haunt on the Cornish coast. A formerly stealth sector is coming out into the open, revealing a tension between historical discretion and corporate projection, and bringing with it the opportunity to define a new architectural vocabulary for the digitised world.”
Though Bridle does not make this link explicit in the article, the idea of a potential “new architectural vocabulary” is clearly related to the “New Aesthetic” that Bridle began talking about this past May. (I’ve always liked Matt Berg’s description of it as a “sensor vernacular”, and Robin Sloan’s “digital backwash aesthetic”. I’m not sure either of those capture exactly what Bridle’s been talking about — more like pieces of it — but they all dance around the same set of things, or at least similar sets.) Here’s Bridle’s original description, pinched together:
For so long we’ve stared up at space in wonder, but with cheap satellite imagery and cameras on kites and RC helicopters, we’re looking at the ground with new eyes, to see structures and infrastructures.
The map fragments, visible at different resolutions, accepting of differing hierarchies of objects.
Views of the landscape are superimposed on one another. Time itself dilates.
Representations of people and of technology begin to break down, to come apart not at the seams, but at the pixels.
The rough, pixelated, low-resolution edges of the screen are becoming in the world.
And when that — a new aesthetic vocabulary — gets linked to a “re-industrialization”, pulling together aesthetics, culture, economics, and politics, you’ve got a pretty significant project. I’d like to talk about this at more length later, but for now I will just quote from Dan Hill’s fantastic 14 Cities project. (Independent of the concerns in this post, the whole project is worth a read.) This is the fourth of the fourteen fictional future cities Hill describes, “Re-industrial City”:
“The advances in various light manufacturing technologies throughout the early part of the 21st century — rapid prototyping, 3D printing and various local clean energy sources — enabled a return of industry to the city. Noise, pollution and other externalities were so low as to be insignificant, and allied to the nascent interest in digitally-enabled craft at the turn of the century, by the early 2020s suburbs had become light industrial zones once again.
Waterloo, Alexandria and the Inner West of Sydney through to Pyrmont once again became a thriving manufacturing centre, albeit on a domestic scale, as people were able to ‘micro-manufacture’ products from their backyard, or send designs to mass-manufacture hubs supported by logistics networks of electric delivery vans and trains. Melbourne had led the way through its nurturing of production in the creative industries and its existing built fabric.
In an ironic twist, former warehouses and factories are being partially converted from apartments back into warehouses and factories. Yet the domestic scale of the technologies means they can coexist with living spaces, actually suggesting a return to the craftsman’s studio model of the Middle Ages. The ‘faber’ movement — faber, to make — spread through most Australian cities, with the ‘re-industrial city’ as the result, a genuinely mixed-use productive place — with an identity.”
[For more on the New Aesthetic, read Rob Walker’s recent interview with James Bridle at Design Observer. It’s also well-worth checking out the essay in Domus by Alexis Madrigal that the image at top is taken from.]
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Try to Follow Me: A Look Into the Kaleidoscopic and Cosmopolitan Branding Scene of Pop Music in South Korea
2014-05
Joe, Justin
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South Korea is at the forefront of the digital age. About half the size of Texas, the country leads Asia with 82.5 percent of its 48.6 million people actively using the Internet on a daily basis, surpassing even the United States. South Korea’s massive modernization has been mostly attributed to what has become known as the Korean Wave, or Hallyu, a cultural renaissance that has visitors from all over the world flocking year-round to the peninsular nation. Hallyu’s iconic musical arm—K-Pop—has recently been the subject of international attention, principally due to the release of the infectious song “Gangnam Style” by Korean rapper PSY in late 2012. This case study explores the history of the colorful music genre, whose origins can be traced back to the early 20th century, discusses its artistic as well as cultural influences and analyzes K-Pop’s role as a mechanism of brand experience for the Korean Wave and South Korea. Most importantly, this case study seeks to provide an impartial look into the kaleidoscopic world of K-Pop culture in contemporary South Korea.
South Korea, K-Pop, Korean Wave, branding, public relations, marketing, communications, business
Joe, J. (2014). Try to follow me: A look into the kaleidoscopic and cosmopolitan branding scene of pop music in South Korea (Unpublished thesis). Texas State University, San Marcos, Texas.
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Shifting narratives of the new normal: blended workspaces, metaverse, and Web 3.0
Reflecting on the past two years of the pandemic and the changes brought on by it, and on our responses to it, we are now grasping and probing the emerging contours of our ways of working, living, playing, and relating. Many have used the term, ‘new normal’, to encapsulate this change and the various and continuing shifts in how we work, live, play, and relate to each other. Although it may be an awkward term and brings on questions on what is normal and not, what we may demarcate as new, and whether the new normal is a state or process, the term has gained currency and mainstream use. The new normal has been characterised by the increasing adoption of hybrid working arrangements and, consequently, the hybrid workforce. This narrative of hybrid though does not really attend to hybridity (as the blending or integration as well as splitting or negation of elements of the past and future world of work); and it does not identify the possibilities, challenges, implications, and unintended consequences thereof as well as that of two related future trends: the metaverse and Web 3.0. The narrative of the new normal and hybrid seems to be defined and informed by two implicit dichotomies: two sets of the workforce differentiated by site of work and the physical versus remote/digital/virtual.
metaverseThere are various descriptions of the metaverse. These include: a fully immersive 3D shared virtual ecosystem that is always live and where different virtual worlds are connected to each other; providing a shared space in which you can interact simultaneously with others and their virtual lives and selves through virtual reality (VR) gear (such as Facebook’s Oculus); and can afford some interaction or exchange with the physical world in the future
web 3.0The various investments and experiments in decentralisation and disintermediation of the web as well as and self-sovereign identity. These include decentralised platforms and ways of exchanging goods and value through decentralised ledger technologies (such as blockchains) and digital tokens (such as cryptocurrencies). However, one of the key questions is who is investing and how – with concerns regarding VC funding and incentivisation of the platforms, protocols, and tokens.
We can leave aside for the moment the question of a new normal and whether we have arrived at a new normal or will arrive at it at some point, to explore how blended workspaces (the blend of physical and digital/virtual workspaces), the metaverse, and Web 3.0 will shape and influence the future world of work. We could suggest that ‘we’ will probably inhabit and work and relate between many worlds/realities given the blended workspaces, metaverse, and Web 3.0. This we can denote as an inter-verse where we navigate between and within multiple worlds (including the metaverse or set of multiverses). This can be roughly illustrated as in the diagram below. This means we will inhabit and experience multiple realities and identities, from physical, augmented, to the virtual immersive. Thus, we will need to explore how the employee experience and lifecycle will take form in these different realities, as well as how access, inclusion, and the digital divide will take shape. We will also need to consider potential ethical dilemmas with the emerging technologies and digital transformation of many aspects of our lives and with the creation of digital avatars.
Inter-verse: Navigating the blended realities including individual multiverses and the metaverse
We need to be mindful of how these blended workspaces, metaverse, and Web 3.0 can enable and limit an individual’s realities and identities – as previously noted consider access, inclusion, and the digital divide. There are complex relationships between the blended spaces and the physical, augmented, and virtual realities and identities. The below diagram provides a heuristic framework for deliberating on these complex relationships and how the HR practitioner, for example, needs to expand how they view the physical and digital/virtual workspaces and the realities and identities therein. They need to also expand on how they view employee experience, engagement, and lifecycle, and how working, teaming, and collaborating takes form and can be facilitated within and across the different physical and digital/virtual spaces. As previously noted, the HR practitioner needs to critically examine how the blended workspaces affords and influences how employees craft their work, job, engagement, roles, identities, learning and development, and career paths through these workspaces.
Navigating the blended workspaces, realities, and identities
By Ajay Jivan
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Skip to content
June 1, 2013
Not too long ago I was watching the news and saw something amazing. A young Latina from The X (Bronx) who was internationally known for graffiti and giving back. She bombed (tagged up walls) in the US of A and on other continents.
Well what have we here I thought?
My next interview it would seem and some great networking.
In the middle of the X we met at a spot called The Point, a community center that had programs for youth and adults. There were kids learning Spanish dances from volunteers of a subset of Americorp, Older people meet ups, a snack bar, and rap sessions with a Social Worker. Not to mention an arts program that had painting, drawing, and of course graffiti.
-So Miss163, what do you do here?
-Miss163: I run a women’s empowerment group and other groups to benefit the local youth.
-Where have you worked?
-Miss163: I did non profit for 9 years but have branched out.
-What did you do before this recent work?
-Miss163: I was in Peru for a year on a Fulbright Scholarship. I went for one thing and found another.
-Explain please.
-Miss163: Initially I went to do experimental film making and exploring humor, indirectly satirical and or humorous. But as time progressed I found a different venture, a different voice.
Social Disparities and the like were a focus but we learned that people literally were disappeared in Peru for critiquing the government. It was real. When people talk
About black helicopters here- that madness is real in Peru.
-Maripussy Crew?
-Miss163: I linked up with them in Peru. We became family actually. It was a group of dedicated females with a global perspective. And our reach is global. Peru, Paris, USA, you name it.
-Why was this big for you?
-Miss163: From my youth I wanted to be down with a crew but it was a male dominated arena and that made it difficult. I was a drawer and artist by nature. I went to LaGuardia High School and then Cooper Union where I got a degree with a Fine Arts Concentration.
-Tell us more about Peru.
-Miss163: In Peru we bombed by permission. Many people couldn’t afford to paint more than the front of their homes. We came in and offered to give them custom murals aka bombings. Which they loved.
-So essentially you ladies paid for your dreams?
-Miss163: Correct.
-What is the goal of the Women’s group you run at The Point?
-Miss163: to create sustainable change. That every girl helps every lady, helps every woman so we grow as a cohesive whole.
-Who is your favorite artist?
-Miss163: Nina Simone. In Graff- Chile’s Initi. As a sculpter- Donald Judd.
-Longterm plans?
-Miss163: I’d like to open an LLC for my artwork and other ventures, maybe a 501C3. That is iffy though. I would love to open a women’s center in Peru.
-So you would use your USA dollars to love on Peru?
-Miss163: Yup.
-Tell me about your CK Shock work.
-Miss163: CK Shock became Street Edition and initially I was contracted to do small canvases and personal art pieces for those involved on the project. From gifts it expanded to bottle/product design and ad campaign. Then I was asked to partner on the cosmetics angle as well.
-That is pretty amazing. Tell me about the person who set this all up in your lifetime.
-Miss163: My mom planted the seed from a very early age. She told me I would make millions following my heart.
-Thats raw. Tell me the Jordan’s story 1 more time.
-Miss163: I had hit my mom up like- buy me these $85 dollar Jordans, they’re dope. And she was like no that’s too much $ for sneakers.
So about a week later I hit her up like- Mami, can I get art supplies? She grabbed her purse and we went. When the total rang up it was dead on the same amount- almost to the penny and that’s when it hit me: The values she was trying to instill in me, but more importantly the belief she had in me and my creativity.
-Wow. That’s a bit too real lol. So your mom has been a driving force equatable to your passion?
-Miss163: Exactly.
-I thank you for your time. Where can my readers find you and your work?
-Miss163: @Miss163
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6 months to pay on purchases over $199. Learn More X
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Vaschenko Guitars logo
Valery Vaschenko has been making guitars for over 20 years now. He lives outside of Novopolotsk, Belarus. Vaschenko started work in the engineering field back in the Soviet era and began playing the guitar at an early age. While he was working at a Soviet space vehicle plant, his friends would bring their stringed instruments to him to repair. Soon, Vaschenko was repairing instruments so much that he began doing it full time. He then started to build guitars for people who asked him to make instruments for them. At one point, he was a professional musician while he was doing instrument repair work before making guitars became a full time passion.
Vaschenko makes all of his guitars in the tradition of the guitars made in the '50s. He uses similar techniques and materials as the old masters to create his guitars, yet he has implemented new ideas into his instruments. Vaschenko has created a “2-way” single rod truss rod system that moves the neck in both directions while preserving the integrity of the neck. He does all of his detail work by hand and the results speak for themselves.
Results 1 - 6 of 6
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Affordable Wedding Photography
Document Sample
scope of work template
Affordable Wedding Photography
It is the price that first peeps into mind while looking at the numerous wedding photographers. Though
some highly professional services charge $5000 for a complete package, things can quickly snowball into
the expensive range. Thankfully, there's silver lining! You do not have to cut corners in order to afford
nice wedding pictures nor do you need to request your guests to click one. You can employ a
professional to do the job and that too at a reasonable price. Luckily, there are quite a few affordable
wedding photographers available in Norwich to help get things done for the right price.
However, affordable wedding photography is not an option for quite a few photographers. Charging less
is not necessarily a good thing. Clients are often doubtful about working with a company that charges
less than the average in the area. They develop feelings like the photographer is not reputable one, do
not possess a decent portfolio, a novice in the industry, related to some sort of a scam or is not reliable
one. Henceforth, it would be not be safe to go by the cost alone and opt for just cheap wedding
photography. It is important to check the quality as well beside the price. After all, you will not be able
to wind back your wedding day and have a second chance to capture those priceless moments that an
under qualified photographer missed or ruined.
Affordable wedding photography does not mean it is cheap wedding photography and has to be sub-
standard one. In most cases, if a photographer is located in a posh area they charge more to take
pictures. However price of the photographer is not an indicator of his or her quality of work. An
affordable wedding photographer too can come up with some brilliant images. Depending on the time
of the year there are deals that can help you further save on the wedding. Negotiation coupled with
your creativity can help you in finding your photographer. With proper negotiations you will be able to
find high quality, reliable and affordable wedding photography. Though it might take a few hours of
yours to find the right photographer, but it will be worth the time you put in.
Wedding photographs are precious - an heirloom that will be cherished for years. By making a good
decision on your photographer, you will be more likely to be satisfied with the result of your investment.
Online photographers like Silvestri studio based in Norwich offers quality photographs at the most
reasonable rate. Specializing in tailored photo shoots that includes vintage, boudoir and burlesque
shoots besides traditional wedding photography, it is one such portal where customers get a value for
money. They understand your requirements and put their best effort to satisfy you. Cost cutting being
the norm of the day most of the couples now go for a budget wedding photography. So, build your own
affordable wedding photography packages and find your perfect photographer to capture your big day.
Memorable wedding photographs captured by professional yet affordable photographers will leave you
feeling positive and confident.
Find more details: fotografia para bodas veracruz , fotografia y video veracruz
views:9
posted:11/22/2012
pages:2
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ketches of Frank Gehry by Sydney Pollack
Sketches of Frank Gehry by Sydney Pollack
Sony Pictures // PG-13 // August 22, 2006
List Price: $24.96 [Buy now and save at Amazon]
Review by Holly Beeman | posted August 22, 2006 | E-mail the Author
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The Movie:
Academy Award-winning director Sydney Pollack and long-time friend of the controversial architect Frank Gehry begins his intimate documentary appropriately titled Sketches of Frank Gehry by Sydney Pollack with a brief explanation concerning the background of the five-year project itself, which essentially works as an outline and defines the style for the remainder of the film: "Several people approached him with the idea of making a documentary about him, and when he asked me if I'd do it, I thought he was crazy. It's not just that I didn't know anything about making documentaries; I didn't even know anything about architecture. 'That's why you're perfect,' he said." The very personal relationship between Sydney and Frank is probably what made Sketches possible in the first place. It gives the film an organic feel to it; everything feels natural, and nothing forced. This is the essence of Sketches, as well as the primary reason why it is so easily and successfully able to engage its viewers.
Frank Gehry was not always a likely candidate for architectural work. In fact, we quickly learn of his early failure in a basic class on perspective. He couldn't stand the fact that he had failed, so he took the class again, this time making an A. He then took a ceramics class at the University of Southern California in which his teacher had a hunch that Frank should take an architecture class, and so, he did, making another A. Oddly enough, in the middle of his second-year architecture class, his teacher told him, "Frank, this isn't for you. You should get out of here." Quite the motivational speech! Luckily for Frank and the rest of the world, he never gave up. Perhaps this can be somewhat acredited to the memory of his rabbi at Hebrew school from his youth who told his mother that he had "golden hands," in addition to the prophetic lady who analyzed Frank's handwriting, coming to the conclusion that he would one day be a famous architect. Frank might not have believed it at the time, but boy, did she hit the nail on the head!
Frank's breathtaking Guggenheim Museum circa 1997 in Bilbao, Spain.
In Sketches, Sydney speaks with a variety of people about Frank and his work, anywhere from Frank himself and the team (Craig Webb, Jim Gylmph, Sven Neumann, Edwin Chan, Tim Paulson) he has assembled to help him in creating his architectural masterpieces, to artists (Chuck Arnoldi, Ed Ruscha), writers and curators (Mildred Friedman), entrepreneurs and art collectors (Michael Ovitz), architects (Philip Johnson, Charles Jencks), actors (Dennis Hopper), musicians (Bob Geldof), filmmakers (Julian Schnabel), and others (Thomas Krens, Rolf Fehlbaum, Michael Eisner, Norman Rosenthal, Juan Ignacio Vidarte, Nerea Abasolo, Herbert Muschamp, Barry Diller, Peter Lewis, Esa-Pekka Salonen). Even Frank's therapist (Milton Wexler) and one of Frank's critics (Hal Foster) are featured (Sydney actually wanted to include more naysayers, but all others declined).
Each of these individuals contributes a unique glimpse into the world of Frank Gehry, but particularly interesting is Milton Wexler, Frank's therapist of 35 years. His eyes almost seem to twinkle when he speaks of Gehry. He notes that while many people mistakenly believe that he made Frank famous, it's actually the other way around: Frank made him famous! Other architects wanted treatment from him, thinking that he might be able transform them into the next Gehry, but knowing very well that that simply wasn't realistic, he turned them away. It is obvious, however, that Wexler did have a major impact on Frank's life in general, but also on his career as an architect.
Frank explains the entryway of one of his architectural structures to good friend and film director Sydney.
Sydney Pollack's documentary Sketches of Frank Gehry gives his audience an intimate portrait of someone who, at the end of the day, isn't all that different from one of us. Frank suffers from the same insecurities that many people face each and every day, whether it be at school, work, or even home, such as what in the world his clients and colleagues will think of his work, prompting him to want to "hide under the covers" rather than having to find out and possibly facing rejection or criticism. He also sometimes has trouble beginning his work, pretty much something all of us can relate to. Sketches provides an in-depth look into the creative process behind Frank's work as well as the resulting final products. It becomes apparent that Sydney himself emerges as part of the audience in his quest to understand architecture, really allowing the viewers to engage with Frank almost as if they were part of the dialogue themselves. This is probably what makes Sketches so successful as a debut documentary.
A stunning view from inside Maggie's Place, a retreat for cancer patients circa 2002 in Dundee, Scotland.
The DVD:
Sony Pictures presents Sketches of Frank Gehry by Sydney Pollack across one disc, housed in a standard black keepcase, and complete with an insert featuring other titles from the Sony Pictures Classics catalogue.
This single-disc DVD offers an English 5.1 Dolby Digital surround sound track with optional French subtitles. Everything sounds clear for the most part, however; the scenes filmed by hand-held camera have a slight distortion, a very small hint of a kind of metallic sound. Not to worry, though, as these scenes are still easily understood by the viewer. Other than that, the dialogue sounds absolutely crisp and distortion/hiss-free. The element of music by Claes Nystro & Jonas Sorman gives Sketches a much-needed sense of both balance and beauty, bringing the rear speakers to life throughout much of the film.
Sketches of Frank Gehry by Sydney Pollack is presented in a 1.78:1 anamorphic widescreen aspect ratio, mastered in high definition. The picture naturally varies between shots as some parts of the documentary were filmed via handycam, and others not. The scenes shot by hand-held camera appear a bit darker, softer, and grainier overall, while the more professional-shot scenes look sharper and clearer. I believe this to be forgivable as the handycam scenes allow Sydney as well as his audience a more personal relationship with Gehry, which ultimately gives the film a feeling of intimacy not present in most documentaries. The colors are mostly vivid and stand out against the dark, solid blacks, providing a good contrast. The light reflecting off of Frank's buildings looks absolutely breathtaking.
Sketches contains two Special Features, the first being a Q & A with Director Sydney Pollack at the Los Angeles Premiere of the film, moderated by Alexander Payne and presented by The Film Foundation, Vanity Fair, and Tiffany & Co. This 34-minute featurette is presented in its original 4:3 or 1.33:1 full frame aspect ratio and provides a number of Sydney's insights before, during, and after the filmmaking process of Sketches. For instance, we find out that something happened to him when he first saw the Guggenheim Museum in Bilbao at its opening; Sydney literally stopped in his tracks upon turning the corner and seeing it. The Guggenheim was, in that moment, so physically extraordinary that it seemed to make a sound in his head. It actually disturbed him because he didn't understand why. This is the essence of Frank's work: Many people don't understand it, and what one doesn't understand can mean anything, which can be quite unsettling. And yet, it can be, at the same time, utterly fascinating, although some people (Frank's critics among them), find his work simply "monstrous" and/or even just flat-out "ugly." The Q & A acts as a nice supplement and companion piece to Sketches; definitely worth checking out.
Rounding things out are nine Previews for Who Killed the Electric Car?, The Italian, Riding Alone for Thousands of Miles, Why We Fight, The Devil and Daniel Johnston, Mountain Patrol: Kekexili, The Fog of War, Blind Spot: Hitler's Secretary, and Cirque du Soleil on DVD.
Final Thoughts:
Sketches of Frank Gehry by Sydney Pollack works on many levels in examining the life of an architectural mastermind. It differs from other documentaries (much like Frank's work differs from other architects) in that it is filmed by a friend, giving it a personal touch that keeps the viewers from getting bored by instead engaging them. Sydney's film portrays Frank in a very humanizing way, and his architectural structures in such a fashion that they really do just move you. At times, I actually felt my heart swell up, especially when looking at the Guggenheim Museum in Bilbao. I might just have to take that trip to Europe sooner than I thought! Sketches comes easily Recommended to just about everyone, but particularly to art and architecture enthusiasts, or to those interested in documentaries in general.
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ArtBoomer.com Presents International Visual and Performing Arts - Seite 22
Homepage Xml - Vorschau mit Bildern
Dohm, Ingrid
I paint in a representational and impressionistic style. I take my cue from nature, utilizing watercolors and acrylics, hoping to bring out the myriad shapes, forms and colors that the creator has bestowed upon us. If I can lend my own intrepretation to it...
Matsuyama, Satoshi
A new type of artist has appeared in the Modern Art World. As far as looking around over the various digital-art associations, as his works are made confirmation not only by his steady thoughts but also by his revolutionary technology, his position does no...
Asunder is a Nu:Metal band from Central California. Asunder is a very unique and original band, with lots of music material to suite all sorts of different tastes. Check out Asunder!
1st Art Club
Offering "in stock" reproductions of many of the classic artists' most famous works. Custom painting, framing, sculptures, framed paintings are also available. We ship free within 24 hours of purchase.
Jarvis, Tamara
Much of my art reflects my deep faih in God & His Son Jesus Christ. I very much believe in the spiritual realm. Most of my work is based on or reflects a verse from the Bible.
Adee Advertising
India Based professional advertising agency and public relations company, with experienced staff and creative minds they makes good for you
McClanahan, Laura
My work is computer art based on digital photography or scanned images. Subjects I explore are driving, travel, myself, nature and architecture.
Sontu, Ghenadie
Ghenadie Sontu has dedicated his talent to the task of proclaiming the Gospel by creating a portraits collection of personalities from the biblical genealogy whose identities had a strong impact in the humankind history - such as Adam, Abraham, Joseph, Mos...
10 Months Later
Think of the Replacements driving a monster truck through your grandma's rose garden while listening to "the Band" and stopping long enough for tea, cookies, and a nice conversation. Prepare yourself for a dose of lyrics that stir up memories of a restles...
Scheuermann, Andreas
The personal picture gallery of Andreas Scheuermann.
Baffin Inuit Art Galleries Inc.
Interested in Inuit Art? Click here to view a collection of hand carved, Canadian Inuit Art sculptures.
Blanchard, Bruno
Bruno Blanchard is French, he lives and works in Norway, in Bergen.For twelve years he was artistic director in the fields of edition and communication in Lyon (France). He now devotes himself to his painting. His work is atypical and contemporary, between...
Claud, Amano
A French painter artist with spiritual vision in oil paintings. Energy of love in arts.
Patil, Sunil
Cartoonist & digital artist from India.
Heywood, Brian
Since arriving in the UK in the early 80's Brian Heywood has been making steady inroads into the roots fusion, popular music and video composition fields.
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Placid Waters, NWT | 20" x 24"
Sale price$2,530.00
About the Artwork
Placid Waters, NWT is a 20" x 24" oil painting by Rod Charlesworth that captures the serene and untouched beauty of the Northwest Territories. This painting further solidifies Charlesworth's skill in portraying serene natural landscapes that inspire peace and introspection. The piece depicts a vividly painted sky at dusk, with swirling clouds in shades of blue, purple, yellow, and orange reflecting the setting sun's last light. In the foreground are robust evergreens and lush, colourful foliage in autumn hues—reds, oranges, and yellows—that contrast vividly against the cool tones of the serene lake below. The lake mirrors the sky's magnificent colours, creating a harmonious interplay between sky and water.
Rod Charlesworth's use of dynamic brush strokes and rich textures brings this peaceful scene to life, with each element meticulously crafted to draw the viewer into a moment of quiet contemplation. The balance between vibrant colours and the tranquil subject matter makes "Placid Waters, NWT" a captivating addition to any art collection, perfect for anyone seeking a moment of peace through beautiful natural scenery.
Dimensions and Details
• Size: 20" x 24"
• Medium: Oil on Canvas
• The artwork is on a 3/4" gallery-stretched canvas, ready for framing. Framing services are available upon request, and the listed value does not include framing.
How to Purchase
We are committed to providing a comprehensive range of services to assist you with purchasing original artwork. If you're interested in Placid Waters, NWT or have any questions, please:
• Review our F.A.Q. Section for general information.
• Click the "Enquire" button for personalized assistance or to express interest in purchasing this artwork. We will promptly provide you with the necessary details.
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You can't go wrong with - 123 awesome fonts bundle for only $15
Caros Soft
Caros Soft is a modern sans serif typeface created by Hyun-Seung Lee and published by cretype which is the rounded version of Caros. This geometric typeface contains 18 fonts, 9 weights (from Thin to Black) and their italics, a wide range on OpenType features and multilingual support. It is a simple, clean and readable font, suitable for any kind of project such as editorial use, packaging, headline, logotype, magazine and so on. Have fun!
Download Caros Soft font
Caros Soft font details
DesignerHyun-Seung Lee
Foundry: cretype
Formats: Open Type OTF
Glyphs: Basic Latin, Diacritics, Euro, Central Europe, Ligautures, Alternates, Baltic, Turkish, Romanian,
Styles: Thin, XLight, Light, Regular, Medium, Bold, XBold, Heavy, Black, Italics
Licence: MyFonts Caros Soft Font License
Released: 2017
Price: starting from $20,00 for one font to $140,00 far all 18 fonts.
Caros Soft font ratings
1 star2 stars3 stars4 stars5 stars (1 votes, average: 1.00 out of 5)
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10 ways to support Indian crafts and update your home decor
According to the Export Promotion Council for Handicrafts (EPCH), India’s handicraft sector could suffer a pandemic-related loss of up to Rs.10,000 crore. The lockdown has triggered order cancellations and reduced marketing opportunities, leaving artisans in a particularly challenging situation. While movements, such as #CreativeDignity, have been working to bring relief and rehabilitation to these communities, the largely decentralized sector is also in need of a rejuvenation to align with the changing times.
“One result of worldwide social distancing will be a major increase in online retail buying. However, few craftspeople have the technical and economic resources or know-how to go online. Those of us in the craft sector have to equip ourselves to help them,” explains Laila Tyabji, chairperson and founder member of NGO Dastkar.
We chatted with 10 craft-centric home decor brands and marketing platforms to understand work has been like in lockdown, how they have adapted processes during this time, and how buying from them now can help their artisan allies.
1. Abtrac Home
Abstrac Home partners with small-scale artisan units across Ahmedabad, Mumbai, Rajasthan and Chennai to create home textiles. Besides advance payments to help everyone tide over the initial months of lockdown, founder Brinda Patel planned the way ahead to suit artisan needs. “They did not want to sit lamenting about the situation; rather, were excited [about] what they could do being at home,” she says. This resulted in the handmade execution of Brinda’s design concepts with available raw materials. “This kept them engaged and they felt pride in getting paid for [it],” she elaborates. The company currently has a limited product range on offer via email. All proceeds from the same go to the artisans.
abstrac-home | Shipping across India.
2. Claro
Designer Kunal Shah and entrepreneur Cezar Pinto of Casa Goa fame introduced Claro to Goa earlier this year. The experiential retail store intends to give clients a taste of elegant, mindful living with a special focus on indigenous, traditional crafts and design. Its offering features sculptural objects and installations by Goan artists, hand-poured, beeswax candles from a nearby nunnery, crochet linen by local village women, Sawantwadi lacquerware, reclaimed teak furniture and lighting by its in-house design team. Shah and Pinto have been using this time in quarantine to smooth out processes, experiment with new designs and more recently, make Claro’s products accessible via Instagram.
@claro.goa | Shipping across India.
3. Dastkar
Since 1981, this not-for-profit NGO has been advocating for traditional Indian craftspeople. Dastkar offers support services and marketing platforms (bazaars and exhibitions) to crafters, which enable a direct connection with patrons. Over the past months, Dastkar has focussed on getting essentials (including masks) to almost 2,000 artisan families. “We try to help smaller rural groups without access to other assistance, and to find local support to see that help goes to the right people in equal amounts,” says Tyabji. In phase-II, the organization is extending various support services, including raw materials, product development and online marketing to crafts communities. Patrons can order select products via the recently launched #dastkargoesonline social media campaign or its official e-commerce website. It’s also accepting donations for its Artisan Support Fund.
dastkar.org | Shipping across India.
4. Fabindia
One of India’s largest lifestyle retailers, Fabindia is known for its India Modern aesthetic. Its products, ranging from apparel and home decor to beauty and food, are often made using traditional techniques and handmade processes. The brand links over 55,000 craft-based rural producers to urban markets. In April, it launched The Hope Mask initiative, aimed at protecting the livelihoods of artisans and tailors involved in the making of reusable cotton masks.
fabindia.com | Stores open in select locations; shipping across India.
5. Freedom Tree
Lifestyle label Freedom Tree’s playful, modern designs are rooted in traditional, handmade crafting techniques. Conceptualized in-house, the products are brought to life by a network of small-scale producers and master artisans, which include fabric and wicker weavers, ceramists, woodcarvers, and inlay artisans among others. Over the past two months, its designers have worked closely with creative partners and crafters to tweak their workflow in response to available raw materials, skillsets and individual community needs. After launching Seed, its Spring collection, earlier this year, Freedom Tree is now focussed on making upcycled cotton masks in its signature prints.
freedomtree.in | Stores open in select locations. Shipping across India.
6. Gunava Design
Gunava Design’s classic lines are characterized by delicate embroidered detailing. The furniture, lighting and accessories label collaborates with craftspeople from Sriperumbudur, a small town around 50km from Chennai, once known for its skilled embroiderers. “We’ve reached out to our team for any extra support [they’ve needed] financially [during the lockdown],” says designer and founder Vaishnovi Reddy. After being closed since mid-March, the studio began a phased reopening in June.
7. iTokri
iTokri is a collaborative platform for India’s craft communities to reach potential domestic and international customers. With a network of over 500 artisan groups and individuals, the product offering encompasses everything from fashion to home decor. The brand prides itself in being the only online platform whose operations are based on stock acquisitions, which eases the producer’s inventory-holding burden. “When most of our artisans are facing a drop in sales and massive order cancellations, iTokri has adopted a zero-cancellation policy for all producers during lockdown. We continue to support artisan communities with rations and in other livelihood crisis situations,” says founder Nitin Pamnani. iTokri recently launched #maskmela, a collection of cotton masks by artisans across the country.
itokri.com | Shipping in India and internationally.
8. Mianzi
Mianzi, a Mumbai-based bamboo furniture and lighting brand, works with craftspeople in Madhya Pradesh, Assam and other parts of Northeast India. While in lockdown, the company has developed moulds and jigs that make it possible for artisans to work from home, skilfully and swiftly bringing the label’s eco-friendly, sculptural designs to life. “We provided a hike in salary to the artisans to make sure they feel relieved and motivated,” adds Shashank Gautam, founder and designer, Mianzi.
mianzi.in | Shipping to all major cities.
9. P.O.D
Founded by architects Nishita Kamdar and Veeram Shah, P.O.D is an artisan-based design studio whose creations balance form with function. The design concepts are executed by a small Rajasthani-origin, Ahmedabad- based community of woodcrafters, cane weavers and brass fabricators. “When you’re buying something that is handmade and crafted you’re not just buying a product but feeding several stomachs. A single product goes through the hands of at least five-six different artisans,” says Kamdar. While P.O.D’s new line is currently on hold, the label continues to market existing designs. “We didn’t just help our artisans but also donated to a few trusts that were helping other artisans in the community,” she says.
@pod_piecesofdesire | Shipping across India.
10. Towithfrom
Delhi-based Unlike Design Co retails its lifestyle products under the towithfrom label. Via its Made Of India line, the studio has been collaborating with craft communities across the country to infuse its minimalist-contemporary designs with a distinct Indian flavour. During the Covid-19 lockdown, the company has supported its Kashmiri artisans via Whatsapp-based flash sales with all proceeds going directly to crafter accounts. “Surprisingly, and probably due to built-up resilience and familiarity with adverse local conditions, the Kashmiri artisans sound most hopeful of the future,” says designer Harpreet Padam, a partner at Unlike Design Co. “In Andhra Pradesh, we’ve only
managed to aid their [artisans] own local fundraising, so that the poorest amongst them don’t run out of food.”
| Shipping to all major cities, except Mumbai.
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Technical specifications
Floor Plans
en/floor-plans/13/17/?proj=4
ARENA BOTEVGRAD sports hall is a result of "R.S Engineering” Ltd Construction Company’s team’s inspiration and professionalism.
ARENA BOTEVGRAD is a modern, multifunctional sport facility with a capacity of maximum 5 000 seats.
The built up area of the hall is 4 590 sq.m, and the total built up area is 9 520 sq.m
The building features a compact streamlined shape, developed in four functional levels. It has mixed construction including one-piece elements, reinforced concrete elements, and frame structures with reinforced concrete blocks. The metal roofing frame over the playground of the hall is of steel, 68 meters long trussed frames – hingeless arch truss that form frames with cross inclined steel columns modeling the northern facade of the building.
The roof is constructed by layered installation - LT sheet metal Ruukki, insulation Knauf Insolation and cover layer with membrane Mapei, produced by POLYGLASS ® SpA.
The plastic northern facade provokes the visitor’s imagination as a draped curtain behind which the audience will enjoy the sports show. Volumes and planes treated with contrasting materials are interlacing: airy glazed windows at the entrances with dense, draped in white, sections.
Modern, vanguard materials and technologies are used for this architectural effect to be achieved.
All facades of the multifunctional Botevgrad Arena sports hall can be ventilated. They consist of bearing wall construction, insulation, ventilation layer, suspension system and facing layer of facade panels.
The artistic main facade is precisely finished with HPL (High Pressure Laminates) panels FunderMax, mounted on aluminum suspension system. These panels are made of thermo-bonded plastic materials resistant to moisture, weather, scratches and chemicals. They are characterized by excellent resistance to temperature effects and are easily mounted and maintained. The insulation that is used is 12 cm mineral wool/silicate cotton Rockwool, glass fiber backed and mounted on OSB panels and metal supporting frame.
The other three walls are filled with trapezoidal sheet metal Ruukki as a final layer and Rockwool silicate cotton coffers, mounted on a metal supporting frame. The inside parts of the outer walls are lined with plasterboard. Parts of the facades are designed as glass curtain walls and are filled with Wicona profiles and glass Gloverbel.
Thus all lining elements surrounding the sports hall provide high quality hydro, thermal and acoustic insulation.
The building has eight entrances/exits. Six of them (the main entrances/exits) designated for the audience are located on the northern facade, and actually are integrated into the windows doors Dorma. The entrances/exists located on the eastern facade are these for the athletes, journalists and VIP guests. The entrances bring into antechambers with check/control cross posts, ticket-offices and lobby. The access to the various levels of the building is provided through four staircases and two lifts
The game room has a clear height of 12.85 m. The playground’s dimensions are 24/44 meters and it meets the requirements for playing fields for basketball, volleyball and handball, with the necessary easement zone.
The primary intended use of the hall is to host sport events. The sports equipment is produced by one of the most famous companies in this field - Schelde, in particular basketball Super Sam 325 and electronic bulletin board Bodet, France
The playing field is covered with removable dismountable wooden floor - Speed Lock S20, licensed product of Tarket, Germany - leading company in sports flooring production. Disassembly of the flooring allows the safe use of the hall for non-sport events like concerts, exhibitions and other social events. There is a possibility for the installation of an additional sectional/prefabricated scene.
The stand seats and seats in the VIP grandstands are of highest class with regards to the ergonomics and comfort.
To ensure optimum acoustic comfort in the hall acoustic panels and sound system are mounted there. The lighting of the sports ground is guaranteed by the metal haloide floodlights.
Fire Safety of the game room is provided by fume roof hatches produced by the French company Hexadome and by the set up fire alarm system. Heating, ventilation and air-conditioning of the room are provided by chillers Climaveneta, powered by electricity and gas.
Along the eastern, southern and western facing walls of the sports hall are arranged the main service facilities - changing rooms for the athletes, coaches and referees, conference and meeting rooms, offices, medical consulting room, doping laboratory, control room, commentators panel/booths and television studio, facilities for the security, cloakrooms, and public lavatories. All of them are tailored to the capacity of the sport hall and meet the regulatory requirements.
All materials that are used for the joinery of all building’s service areas are of proven quality, produced by leading Bulgarian and European manufacturers - heterogeneous PVC flooring of Gerflor, tiles from Refin Ceramiche /Italy/ sanitary equipment Vidima, tailor made handrails for stairs and furniture for the changing rooms.
The exterior space surrounding ARENA BOTEVGRAD, with an area of 4 acres, is organized in a manner highlighting the sleek and stylish look of the building. The square in front of the hall has several striking key locations: a fountain and a flagpole located in the central axis put the accent on the main hall entrance hall, two groups flagpoles situated at both sides of the main northern facade mark out and direct towards the remaining audience entrances, the spectacular lighting embedded in the pavement illuminates at night the plastic facade and the main hall entrance is further accentuated by colored LED lighting. At the contours of the exterior space are located gardens and sitting places. The elements used for the exterior furnishings - light poles, benches, bins, and the pavement are manufactured by proven Bulgarian producers.
The construction company "R.S Engineering" Ltd. has completed building of the multifunctional hall ARENA BOTEVGRAD for two years. Now the beauty of the building enjoys everyone around. Build in accordance with all modern requirements and standards, with high-grade materials and equipment, this sport hall has become the symbol of the excellent engineering work of the construction company as well as of the developed sports tradition of Botevgrad Municipality.
R.S. ENGINEERING Ltd. - DESIGN, CONSTRUCTION, ENTREPRENEURSHIP. 2019 © Web Design by AM Design. All rights reserved.
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songs of the sun: for solo piano.
a four-track piano solo EP marking various landscapes of perspective via a minimalist, cinematic sound aesthetic. my main inspiration and keyword for this album is interaction: how the human condition interacts [or doesn’t] with the clarity of nature: how two people can stare through each other in a coffee shop as if they don’t exist together; how the moment of clarity can be archived. I feel there is an architecture to a moment, and this project is my way of portraying interactions that I have either encountered with the world, or interactions that I have witnessed happening in-front of my eyes. with the artwork, an interaction is shown between the human and the sun: how the light is always keeping us warm, but we aren’t always fully present to feel it.
* now distributed & represented with indie label, KNING DISK
songs of the sun features include:
STV (Scottish Television)
1924US Branding Tutorial
Marysia Resort
Hylas Magazine
Mainly Piano
stream on spotify here
purchase digitally here
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Fine Art: Subtle ways original paintings communicate love
Fine art is one of the best ways to tell a person ‘I love you’ or simply just to say you care.
Especially to the type of people who are not comfortable communicating feelings, this post outlines 21 smart ways can communicate love.
‘The Kiss’ Oil and gold leaf on canvas, 1907-1908. Österreichische Galerie Belvedere, Vienna,180cm×180cm
Famous painters like Gustav Klimt (above) have expressed love on the canvas for centuries . Artists are known to be comfortable expressing their emotion in original paintings.
One of the most special and long lasting gifts a person can receive is an original painting . Once I gave my friend a piece of artwork for his birthday. Decades later, his father and brother told me how special the fine art was to him and how it touched the entire family.
I have sold my original paintings into many parts of the world.
However, I have also given away many original paintings to people in need, because I truly believe in the power of art to communicate love and care.
Fine art is unique. The right picture can say more than words can express, emitting a quiet sensitivity and gentleness that deeply touches a person’s soul.
Original Art is special.
Sometimes it’s just not socially acceptable to boldly declare to a person face to face “I LOVE YOU!” It might be too overwhelming for them, but the old saying goes, ‘a picture is worth a thousand words’.
Here’s 21 ways that I believe my original paintings communicate love:
1. Art can be gentle.
2. Art can be sensitive.
3. Art can give hope to people.
4. Art can say what words can’t express.
5. Art can give direction for lost souls.
6. Art can say “Everything will be alright.”
7. Art can calmly alleviate a person’s anxiety.
8. Art can remind and accept people for who they are.
9. Art can add beauty and colour to people’s lives.
10. Art can radiate peacefulness to people living in chaos.
11. Art can represent a source of strength and support to people.
12. Art can be a physical or conceptual representation of love.
13. Art can be a positive spiritual experience or presence in a persons life.
14. Art can be non-judgmental, expressing patience.
15. Art can provide company for lonely people.
16. Art can be like a good friend. Who won’t judge, but continually expresses love.
17. Art can compliment surroundings not being overbearing or too dominating.
18. Art can conceptually remind you of a loved one when someone is absent.
19. Art can represent the character and appearance of a loved one.
20. Art can represent memories of happy celebration together.
21. Art can express love for a national identity .
What is your experience with original art? How do original paintings express love for you? Please leave a comment in the box below, I would love to hear from you.
About Simon Brushfield
Simon Brushfield is an artist whose work has been described as ‘poetic, enigmatic and dreamlike’ (Michael Berry, "Selected Contemporary Artists of Australia" book). His paintings have been exhibited and sold across Australia and internationally. If you enjoyed this post, sign up to Simons VIP list and have posts sent directly to your inbox.
Speak Your Mind
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Ettore Sottsass & Shiro Kuramata’s show at Novalis
Curator: Seiki MORI/United Voice
Opening Reception: 16th July 2021, 7 – 9 pm
With talk by curator at 7 pm.
Exhibition on view until 14th August, open from Mon to Sat, 12 – 7 pm
Venue: Novalis Contemporary Art Design Gallery, 197 Hollywood Road, Central
Novalis Contemporary Art Design Gallery is pleased to present Ettore Sottsass & Shiro Kuramata, curated by Seiko Mori/United Voice, and supported by the Italian Cultural Institute of Hong Kong and the Consulate-General of Japan in Hong Kong. 2021 marks both the 30th anniversary of Shiro Kuramata’s death and the 40th anniversary of the Memphis Group. The exhibition looks at the extraordinary friendship between the Italian design master Ettore Sottsass (1917 – 2007) and the Japanese designer Shiro Kuramata (1934 – 1991) during their time within the Memphis Group. Their work will be on view from 17th July to 14th August 2021. An online talk between Novalis founder/ Mr. William Figliola, Former Chairman of Japanese Commercial Environmental Design Association (JCD)/ Mr. Iijima Naoki, and Lead Curator of M+ Museum/ Ms. Ikko Yokoyama will also be hosted in early August.
The encounter between the two was magical. When Kuramata received a letter from Sottsass asking him to join the Memphis Group, he was so elated he said, “I got a love letter from Sottsass!” Their interaction began in 1981 with Memphis Group, a project that had tremendous impact on the design world. At that time doubts were being cast on modern design with its pursuit of function and rationality. Sottsass called on designers all over the world and launched the Memphis Group as a solution. The two shared the same love for design, kindred souls in their belief that there is more to design than mere functional objects.
Despite the difference in expressive styles, their work conveys the same stance towards pushing design as a ‘culture’ that goes beyond the category of mere ‘civilisation’. To Ettore Sottsass, “if there is a reason for the existence of design, it is that it manages to give – or give anew – instruments and things this sacred charge for which […] men enter the sphere of ritual, meaning life.” Design should not merely be functional objects, but remind people of the joy of living through engaging in sensuality. Shiro Kuramata stated that the “function of design should not be just about whether it is practical or not. Enchantment should also be considered as function.” This enchantment can be found in Kuramata’s experimental materials, in the light captured within ‘star piece’ terrazzo used in ‘Nara’ (1983), where Kuramata substituted traditional marble chips used in terrazzo with coloured glass.
The meaning of ‘design’ and ‘creation’ may change drastically as today’s excessive market economics and materialistic society comes under fire. Shiro Kuramata and Ettore Sottsass are trying to get us to ask, “What is an unconstrained free spirit?” and “What is design in the true sense?”
About Ettore Sottsass (1917 – 2007)
Ettore Sottsass was an Italian architect and designer. His work included furniture, jewelry, glass, lighting, home and office objects, as well as many buildings and interiors. He grew up in Turin and graduated in Architecture from the Politecnico di Torino in 1939. In 1947, in Milan, he founded his architecture and industrial design studio, where he began to create work using various media. In 1956, Sottsass went to New York and began to work in George Nelson’s design studio. Back in Italy, he established major collaboration projects with Poltronova (1957) and Olivetti (1958). From the late ’60s and throughout the ’70s he collaborated with Superstudio and Archizoom Associati, within the Radical movement, until the foundation of Memphis Group in 1981, of which he was a founding member. In the mid-’80s, with Sottsass Associati, mainly an architecture studio, he also designed elaborate shops and showrooms, company identities, exhibitions, interiors, Japanese consumer electronics, and furniture of all kinds. Ettore Sottsass was presented numerous international awards, winning the ADI Compasso d’Oro in 1959. His work is on show in the permanent collections of many museums around the world such as the Metropolitan Museum of Art in New York, the Centre G. Pompidou in Paris, and the Victoria & Albert Museum in London.
About Shiro Kuramata (1934 – 1991)
About Novalis Contemporary Art Design Gallery
Novalis Contemporary Art Design is an Italian gallery based in Hong Kong, dedicated to expanding the creative connections between contemporary art and design. Novalis is the celebration of ideas that turn into objects we are madly in love with, to know the culture of design as a unique moment of the time and the place we live in. The gallery specialises in showcasing a large number of objects designed by Memphis Group, the famous Italian design movement born in 1981 and led by Ettore Sottsass. The group created furniture, fabrics, ceramics, glasses by prestigious designers and architects as Ettore Sottsass, Michele de Lucchi, Michael Graves, George J. Sowden, Marco Zanini, and many others. Aside from design, Novalis represents talented local and international photographers, such as Costanza Gastaldi, Margot Errante, Valentina Loffredo, Chan Dick, and Samantha Li.
Novalis is a mix between an art gallery and a cultural centre, designed to investigate and disseminate the connections between art, design, architecture, and photography, with specific research into the avant-garde and contemporary. Novalis has had the pleasure to participate in art and design loans, and events in major museums around the world.
Facebook, Instagram: @novaliscontemporaryartdesign
https://www.novalisartdesign.com
About the Italian Cultural Institute in Hong Kong
The Italian Cultural Institute in Hong Kong (ICI), currently directed by Mr. Stefano Fossati, has been active since 2011 as the official Italian governmental body dedicated to the promotion of Italian language and culture in Hong Kong and Macao through the organization of cultural events. Alongside with the Italian Cultural Institutes in Beijing and Shanghai it is one of the three cultural agencies of the Italian Ministry of Foreign Affairs in China.
Central to ICI’s mission is a constant effort to encourage the understanding and enjoyment of Italian culture by organizing and promoting events that focus on Italian music, dance, cinema, theatre, architecture, literature, and philosophy in collaboration with the most prominent local academic and cultural institutions. ICI also focuses on the development of academic exchanges, the organization and support of visual arts exhibitions, and the promotion of Italian studies.
https://iichongkong.esteri.it/iic_hongkong/en/
About the Consulate-General of Japan in Hong Kong, Public Relations and Cultural Affairs Division
Our mission is to promote a better understanding of Japan and Japanese culture in Hong Kong, and to enhance academic and cultural relations between Japan and Hong Kong. The following is the outline of services we provide: general information and reference services on Japan, coordination of exchange programmes and scholarships, and hosting/sponsoring of various cultural events and activities.
https://www.hk.emb-japan.go.jp/itprtop_en/index.html
(Left) Ettore SottsassCarlton, 1981. Room divider in wood and plastic laminate. W190 x D40 x H196 cm
(Right) Shiro KuramataNikko, 1982. Drawers on metal structure, in wood and painted finish. H 170 cm
For further press information, images & requests please email Charmaine Tam at [email protected]
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Archimede Seguso
Born in 1909 in Murano, he died in 1999. He started working in 1933 for the firm Barovier Seguso Ferro and later for Seguso Vetri d'Arte ; he left the latter firm in 1942, to open a furnace bearing his name in 1946. During the 60s he made objects for Fucina degli Angeli .
One of the most capable Murano craftsmen, Archimede Seguso represents a clear example of how a master glassblower, endowed with exceptional competence, was able to put together a particularly sound firm, combining creative artistic flair with an outstanding manual ability.
After having worked for many years at the Seguso vetri d'Arte firm and executing a lot of the sculptured objects designed by Flavio Poli , he decided in the immediate second post-war period to open a furnace giving it his own name. Then he abandoned the forms of sculptured expressions and committed himself in the retrieval and revising of the traditional Murano techniques of filigree and zanfirico .
In the 50 and 60s he created extraordinary objects, such as the various "merletti", "composizione lattimo", "piume", "fili" and many more, presented successfully at the variuos Venice Biennale and Milan Triennali (Italy). At one of the latter, in 1951, he exhibited a large gate made of metal and glass elements, on the design of the painter Giuseppe Santomaso , one of the few items designed by someone outside the firm but in keeping with a well-established trend in that period: executing in glass the work of contemporary artists. He was also present abroad the most important glass shows, in Goteborg, Paris, Vienna, Lisbon, and at the XXXI Venice Biennale in 1962 he was awarded first prize by the local association of industrialists. Some items made by Archimede Seguso are still exhibited in some Madrid and Lisbon museums as well as at the Corning Museum of Glass in New York:
Archimede Seguso passed away peacefully on September 6th, 1999 saying that he would have create his chandeliers for Heaven.
Related Links:
Official Website
Il Ponte Casa D'Aste
Fondazione Chiara e Francesco Carraro
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Spider GL
Wacom graphics tablet
The Many Hats of Animation Today
Wacom graphics tabletCartoon has made the world look beautiful. The presentation might be the answer if you’re fed up with studying the texts to understand more about the business or product. Appeal of displaying the info regarding service or the item is highlighted when videos or images are utilized.
You may discover a whole lot of folks browsing television channels. They encounter some movie that is animated. Have and they like to see the surroundings. Solve puzzles, they desire to play with matches or simply take interest. You may discover plenty of folks using YouTube show the advantages of working with a product and to look.
Animation provide messages and lessons. People do not have time. Entertainment is not merely provided by clips but spare time. Time in moving through data or studying information journals is time consuming.
Picture is a subject of interest for children. They enjoy playing video games and watching cartoons. A number of those who have access favor to download films or play with computer games utilizing plug-ins that are internet. Them excite and entices.
Animated videos aren’t simple to create. A great deal of time goes into thought and imagination building idea. Designers or animators operate painlessly to create mixes when the idea is on newspaper. Usage of colours layouts, effects and sounds are before focusing on the idea important. They might want marketing department’s aid to help it become observable around the entire world.
Animation professionals utilize a number of applications for internet functions. Flash is among the most and very best utilized animation program. It’s beneficial in creating images that are exquisite and admiring aside from providing life. Programming can be used to create each audio and clip function in coordination. It has become a powerful instrument in the control of site owners who would like to keep audience. Commercials with touch invite a range of strikes from target market. Individuals are motivated into purchasing services or the goods. Them inspire over and over.
Animation is now a profession for all those who are thinking about exposing their ability. There are a number. There are many others who prefer to experience animation lessons of designing before utilizing the concept. Quite a few animators take part in designing stationary, sites, illustrations and logos. They’ve learnt to utilize this gift on web which provides a scope to them. These pros are high on need record of organizations that are considering keeping updates. Some are utilized to appeal solutions for designing business clients webs. It’s artwork that is quite successful and useful and growing thanks to progress in technology.
Right computer for graphic design
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Amine Bouhafa
Born in 1986, French-Tunisian Composer Amine Bouhafa began to play the piano at the tender age of three. A few years later, he was offered a place at the National Music Conservatoire in Tunis from which he graduated at the age of twelve. He quickly embarked on a career as a pianist and arranger, and composed his first score for a short film. Bouhafa gained more experience by working on a number of series and feature films and joined the Conservatoire de Paris (CRR) to study Harmony and Orchestration.
Drawing on his bi-cultural background, Amine Bouhafa developed his own personal style, whilst avoiding the usual clichés of Orientalism. As a result of the quality of his compositions and the originality of his style, he was chosen by producer Sylvie Pialat and Mauritanian director Abderrahmane Sissako to compose the score for Timbuktu. In 2015, the film was honoured with, among other distinctions, no less than seven Cesar Awards, including one for Best Original Music. This score also earned Amine Bouhafa the Special Award France Musique – SACEM 2015.
For this occasion, he was invited to put together a concert piece for the Philarmonic Orchestra of Radio France. His symphonic suite Tolérances & Interdits created one year later met with general acclaim from the general public, as well as professionals and critics.
In 2017, Amine Bouhafa composed the score for Beauty and the Dogs by Kaouther Ben Hania, which was screened at the Cannes Film Festival as part of the official selection of Un Certain Regard, and received the Best Sound Creation Award. Furthermore, he wrote the score for Looking for Oum Kulthum, a film by Shirin Neshat screened at the 74th Venice Mostra.
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Jacqueline's Sydney Family Portrait Photography
in-home family portrait photography
Who says family portrait photography needs to be in a studio? Getting family photos taken professionally doesn’t need to be stiff and boring either. This family photo session was done in Jacqueline’s home with a bit of re-arranging of the living room to create a space that was a little like a studio, but had the fun and energy of a comfortable house. This made it easy to capture a mix of portrait and candid, natural photos for this family.
our recent reviews
“I engaged Paul for some classic car photography services on a vehicle I was putting to auction. The communication and level of professionalism from the start was impressive, but more impressive was the quality of images. Expectations far exceeded, I look forward to working with you again in future.”
A sample of our
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Camera out of focus or normal?
Hi there,
I think my camera lost its focus…? What do you think? The right bottom corner is quite blurry…
Greetings kuhni
Blurry bottom right corner is normal on my machines. Understandably as that area is less than an inch away from the lens.
Oh ok. So for you everything looks ok and I don’t have to worry?
I think that is pretty typical. My first camera was replaced after it developed dark “blotches”, but it looked much the same as this.
300mm mark at front left edge of the plate.
I think it is an inexpensive camera with a relatively wide aperture to deal with the low light levels in the printer, which limits the depth of field.
On a somewhat related topic, I adjusted the display controls on my PC while using this view and found that I could make a significant improvement in the brightness and contrast. It’s worth checking…
I wouldn’t worry about it. It is good to clean the lens every so often especially if your printing ABS/ASA regularly.
That’s the way cameras work. For any given aperture, you only get so much depth of field (area in focus). I’d guess the camera is focused toward the middle of the bed meaning there will be an area of in focus just ahead and just behind. Normally with such small sensors you can actually get lots of depth of field, but I’d imagine with the dungeon-like interior they have, the cameras are pretty wide open as far as the aperture, so that means less of the scene in focus.
Everything in life is a tradeoff.
The phenomena you’re witnessing is called Depth of Field and is a function of optics in physics. It is often used by photographers to achieve a dramatic affect. Look at it this way, you get it for free.
Here’s a summary I found on the web that explains it better than I can.
• Depth of field (DOF) determines the range of distances within a photo that appear sharply in focus.
• Shallow DOF: Limited area in focus with foreground and background intentionally blurred; ideal for isolating subjects, often used in portraits.
• Deep DOF: Broader range in focus, both foreground and background elements are clear; useful for landscapes and detailed scenes.
• Factors Affecting DOF:
• Aperture: Wide aperture (small f-number) creates shallow DOF, narrow aperture (large f-number) results in deep DOF.
• Distance to Subject: Closer subjects tend to have shallower DOF.
• Focal Length: Longer focal lengths can create shallower DOF compared to wider lenses.
• Sensor Size: Larger sensors often produce shallower DOF.
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Rope Press Summer School Workshops
Things to do
Rope Press
Printing press and publishing house Rope Press open their doors for a summer-long series of creative workshops focussed on teaching new skills in a fun and practical way. A variety of sessions are available for all abilities, with an emphasis on learning more about the art of creating risograph prints. Highlights include a workshop exploring how to make DIY comic zines (Aug 19), and book binding lessons which will see participants make their own limited edition 32 page art book (Aug 25, 27). All workshops include refreshments and should be booked in advance here.
LiveReviews|0
1 person listening
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TY - JOUR T1 - The Helen Lester Memorial Lecture 2018: the leper squint: spaces for participation in primary health care JF - British Journal of General Practice JO - Br J Gen Pract SP - 255 LP - 256 DO - 10.3399/bjgp19X702617 VL - 69 IS - 682 AU - MacFarlane, Anne Y1 - 2019/05/01 UR - http://bjgp.org/content/69/682/255.abstract N2 - I want to tell you about the leper squint in St Mary’s Cathedral in Limerick City, Ireland. This is an architectural feature in the outer wall of the 800-year-old building that was designed to allow lepers to see Mass without having to come into the main body of the church. This was because lepers were feared and considered socially undesirable. As a consequence, they could not be admitted to the main space of the church where the rest of the worshippers were congregated.There are examples of the leper squint in many countries, and they reflect the genuine fear in medieval times that leprosy was contagious. However, we also know that behaviour towards lepers was a function of what sociologist Erving Goffman called ‘social stigma’. This arises from negative labelling and stereotyping that discredits individuals, dehumanises them, and creates a real distance between ‘us’ and ‘them’.1In this fifth Helen Lester Memorial Lecture, I would like to explore how the leper squint is an image that we can use to develop our understanding of spaces for participation in primary health care. I will focus on how these spaces are experienced by migrants, because this resonates with the theme of this year’s conference, ‘Populations on the Move’, and Helen Lester’s 2008 article about asylum seekers and the politics of health, which has disturbing parallels a decade later.2In the social science literature about the conceptualisation of space, Doreen Massey’s work was ground-breaking. Following interpretive rather than positivist thinking, she emphasised that places and spaces not only have physical dimensions but are also shaped by temporal and social dimensions.3 This means that primary health care is something that is arranged and rearranged in different settings, in different ways, and in different times. It is not a ‘fixed’ entity: … ER -
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31 March 2017
Artists explore our connection to the ocean in new major exhibition
’Offshore: artists explore the sea’ will open tomorrow in Hull, which was once home to the third largest port in the world.
The exhibition will include new and existing works by internationally-renowned artists, some of whom worked with marine biologists and ecologists to inform and influence their work.
Curated by Invisible Dust this will be the first joint exhibition between Ferens Art Gallery and Hull Maritime Museum, meaning the audience will be able to view art in the gallery and then objects such as whale bones and ships models in the museum.
Hull’s Maritime Museum. Photo: Dave Windass
Hull has a strong connection to the ocean. It has traded commercially with Scandinavia for centuries, including whaling in the 19th century. It was once home to the third largest port in the world and many of the city’s ornate Victorian buildings relate to the maritime industry.
Delegates at The Ocean Connects Us event in March got a sneak peek of some of the Invisible Dust work. We saw Mariele Neudecker’s video installation which explores the deep sea as the final frontier of knowledge, and listened to an audio piece made by poet John Wedgwood-Clarke and sound artist Rob Mackay which featured recordings from the Thames.
’Offshore: artists explore the sea’ will run until the 28th August 2017.
Sounding the Sea
The UK Branch is proud to support Sounding the Sea, a symposium relating to this exhibition which will take place on 15 and 16 June. It will see scientists, artists, poets and historians examine our connection to the ocean through talks, film screenings and breakout sessions. You can buy tickets here.
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aish.com > Israel > Israel Diary
Art of Revelation: From Destruction to Creation
June 13, 2018 | by Yoram and Meira Raanan
After a tragic fire, Yoram Raanan, a renowned Israeli painter, brings Torah to life through his magnificent works of art on the weekly Torah portion.
Art of Revelation, the gorgeous book by Israeli contemporary artist Yoram Raanan, brings the entire annual cycle of the weekly Torah portions to life through an unprecedented array of striking paintings.
Less than 15 months after his art studio and about 2,000 of his pieces were destroyed in a fire as Israel was hit by a nationwide wave of blazes, Raanan’s new book showcases 160 exquisite original paintings on the 54 Torah portions, accompanied by explanations that help readers see layers in the art that may not initially meet the eye.
Art of Revelation engages the mind while being a digestible book that will capture the hearts and imaginations of experts and novices who appreciate fine art. Raanan’s paintings reflect the inner dimension of the events, people, laws, and stories of the Torah, speaking in metaphors that slip into viewers’ minds and touch them in a visceral way.
The artist praises the work of his wife and co-author Meira Raanan, who spent “years researching and writing about the biblical understanding and artistic nuances that these visual representations convey.”
“Few artists in the Jewish world today better capture the beauty of holiness, of service of God, and of Judaism as a faith than Yoram Raanan,” writes Rabbi Jonathan Sacks, former chief rabbi of the U.K. “His paintings have inspired me for many years, and I have been moved by the way he has rebuilt after the tragedy of losing his lifes work in the arson attacks that engulfed the Judean Hills outside Jerusalem in November 2016. I am delighted to see Yorams work showcased in this way.”
Click here to order this magnificent work of art.
Vayikra: the Peace Offering
shabbat table crowns
pass over
menorah spreading light
Ki Mizion
Har Sinai for Now
Garden of Eden
dialog of the mountains
Crossing the Jordan
bikurim fruit
Balaam's donkey
lech lecha
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Cast Lists – ‘BELONGING: Loss. Legacy. Love.’
Click on the button for your venue for the cast list.
To find out more about our company of dancers read their biographies HERE.
Leeds Playhouse
Dundee Rep
Everyman Theatre, Liverpool
The Place
Malvern Theatres
Cast, Doncaster
York Theatre Royal
Phoenix Dance Theatre makes contemporary dance that is audacious, imaginative and adept. We take seriously our wider responsibility to the company’s Black heritage, our communities and the sector. That is why we seek to create opportunities for artists and audiences, to create a meaningful dialogue with our communities and to create space for diverse voices and perspectives. With Phoenix you will see work from those who don’t ordinarily have a platform, you will see us create and collaborate with out of the ordinary partners and you will see an extraordinary commitment to learning and development opportunities for young people, both on and off stage.
We are Phoenix Dance Theatre.
We create extraordinary dance.
Discover more behind-the-scenes content here in our ‘Spotlight On… BELONGING’
BELONGING: Loss. Legacy. Love.
This powerfully visceral and thought-provoking triple bill explores the nuances of human experience by three exciting international dance makers.
loss /lɒs/ noun
the feeling of sadness you experience when someone or something you like is taken away from you
Former Phoenix Artistic Director Dane Hurst’s critically acclaimed Requiem is a powerful reimagining of Mozart’s awe-inspiring choral lament and an emotional response to the grief experienced by so many during the pandemic. This 5 star “stunning” (The Times) production premiered at Leeds Grand Theatre in a co-production with Opera North as part of LEEDS 2023: Year of Culture.
legacy /ˈleɡ.ə.si/ noun
something transmitted by or received from an ancestor or predecessor or from the past
Miguel Altunaga’s daring new work explores mankind’s relationship to tribe and community, mythology and deity, ritual and spirituality, and how choices made by our ancestors shape our cultures, as well as our very being. Set to a new score by composer David Preston.
love /lʌv/ noun
strong affection for another arising out of kinship or personal ties
In his first new creation for Phoenix as Artistic Director, Marcus Jarrell Willis presents the third work of his choreographic series, Terms & Conditions. Focusing on the more ethereal, spiritual and kismet perspectives, it unravels the eternal question: what is true love? Further to understanding this, once you have negotiated the terms, will you accept the agreement? Includes original written compositions by Tomos O’Sullivan and music by various popular artists.
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Pagodas, Pavilions and Contemporary Design.
Neue Luxury - - Front Page - By Dr Rebecca Coates
If you travel around Melbourne’s Yarra River and glance across to the skyline on the Richmond side, you cannot miss the arched and glowing rainbow sign spelling ‘Our Magic Hour’. It’s the work of New York-based Swiss artist Ugo Rondinone, commissioned in 2004, and it graces the roof of Naomi Milgrom’s fashion headquarters for the Sportsgirl/sussan Group which she owns. The installation is part of Milgrom’s contemporary art collection, which champions the work of leading contemporary artists (both Australian and International) in all their variety. The collection is displayed throughout the busy offices – as well as on the roof – of a building suffused with good design principles and natural light (in 2009, the building won the prestigious National Award for Commercial Architecture from the Australian Institute of Architects). The choice and display of the works reflects Milgrom’s active engagement with both business and contemporary art. Her key tenet is that art, architecture, fashion and design should challenge, inspire, (may) be beautiful and change the way we think, live and work.
Milgrom has contributed to these spheres for many years. She has been Chair of L’oreal Melbourne Fashion Festival, Chair of the Australian Centre for Contemporary Art (ACCA), a trustee of the National Gallery of Victoria, and a keen supporter of the Australian Chamber Orchestra and ACMI (Australian Centre for the Moving Image), to name just a few of her broad activities. Her interests extend beyond the arts into medical research (she sat on the Board of the Howard Florey Institute of Medical Research for fifteen years), educational initiatives, and currently sits on the Boards of The Centre of Ethical Leadership and Melbourne Business School, both at the University of Melbourne. Of course, active engagement with established organisations such as these is an important role, both to share business and managerial expertise, and often to provide financial support. It is a well-established model – but Milgrom regularly transcends it. Not content to support existing institutions, she has also been the driving force behind new and important initiatives and projects.
In 2013, Milgrom presented her first independent initiative, an exhibition by Belgian provocateur of the fashion/art world, Walter van Bierendonck, in partnership with RMIT University. The exhibition, Dream the World Awake, was presented in the University’s new flagship building, The RMIT Design Hub, designed by architect Sean Godsell, which presides in cool moderniststyle splendor over the northern end of Melbourne’s CBD grid. With Milgrom’s international connections to the global contemporary art world, Tate Modern’s Director, Chris Dercon, opened the exhibition (he has championed van Bierendonck’s work for many years). The exhibition was only one part of a program of talks, master classes, teaching modules and other related events to engage students. Its legacy was a generation of students shaped by a shared experience of creative practice, design and thought.
In 2014, the not-for-profit Naomi Milgrom Foundation was created as an operational foundation to initiate and develop ambitious projects across contemporary artforms. This form of active support for the arts extends well beyond traditional models and institutions. It fits with current thinking in philanthropy and cultural policy, crystallised by Harvard strategy guru, Michael Porter, that emphasises the creation of “shared value” between government, business and philanthropy. In October 2014, the second of these major initiatives, Mpavilion, will be presented in Melbourne with the support of the City of Melbourne, the Victorian State Government and the Australian Council.
Melbourne’s Queen Victoria Gardens are divided from the National Gallery of Victoria and the Arts Centre by a broad avenue and mega tram stops, and are easily overlooked. They are home to John Robinson’s The Pathfinder, 1974, (better known as The Hammer Thrower), the bronze athlete caught in the act of spinning, usually without his hammer, which is regularly stolen. Tom Bass’, The Genie, 1973, a form of Egyptian cat or lion has an oriental gaze and a back and mane so flat that it is an implicitly sanctioned children’s climbing frame. The floral clock, whose kitsch garden planting is changed twice a year, has told the time since 1966 when it was donated to Melbourne by a group of Swiss watch-makers. Numerous other Edwardian or classically inspired statues are set amongst ornamental lakes, sweeping lawns, annual flowerbeds, a trinity of palm trees and a variety of mature European and Australian trees. Pleasant, but often overlooked, the central location of the Gardens butted up against the city’s main bridge and its prized arts precinct – cries out for ambitious contemporary projects that connect to the city’s artistic network.
The Mpavilion aims to fit this bill. Heralded as “a unique architecture commission and design event for Melbourne,” Mpavilion has been conceived as a “meeting place for creative collaboration and community engagement - a new type of clubhouse - to enhance the lives of all Victorians” – and, for that matter, the many visitors to Melbourne from interstate and overseas. The project’s scope is ambitious: over four years, four new architectural pavilions will be commissioned as temporary pavilions in residence from October until January each year. Architects will be selected from leading local and international practitioners whose work reflects a passion for innovative and challenging contemporary design. Internationally acclaimed, Melbourne-based architect Sean Godsell has been selected to design the first pavilion. Godsell’s RMIT Design Hub (2012) clearly influenced Milgrom’s thinking on what outstanding architecture and design can and should do to showcase new and experimental art forms and practices, as well as providing a laboratory space to inspire creative ideas and partnerships. Godsell conceived the inaugural pavilion as a simple steel structure with glazed roof. The fully automated outer skin “blooms like a flower” each day, opening up to create a semi-porous framework to hold a range of events and activities, while at night, it appears like a “mysterious box,” it offers a unique temporary space in which a range of activities can be housed.
The site has been the location for past pavilions, such as the much-loved Botanica and similar events in John Truscott’s Melbourne Spoleto Festivals (1989, 1990, 1991), the precursor to the Melbourne International Arts Festival. The Melbourne Festival will also partner with this new pavilion, which will be launched when MIAF 2014 opens, and which will house the Festival’s contemporary design program. Where Truscott looked to historic precedents,
such as Chinese pagodas and garden tea-houses, Milgrom has taken contemporary architecture and design as her inspiration.
Milgrom is the first to acknowledge the precedents for a contemporary pavilion created as a temporary space beside a permanent art museum, such as the Serpentine Gallery’s Pavilion commissions. Julia Peyton-jones, director of the Serpentine and a close colleague of Milgrom’s, has generously supported Milgrom’s development of commissions for Melbourne. The Serpentine pavilions are presented in the central London location of Kensington Gardens, Hyde Park. Rather than spaces to show art, these temporary pavilions are the venue for a range of other activities. Beginning in 2000 with a design by Zaha Hadid, subsequent pavilions have been designed by architects Oscar Niemeyer (2003), Frank Gehry (2008) and Herzog & de Meuron (of Tate Britain fame) (2012); and by artists in collaboration with architects including Olafur Eliasson (2007) and Ai Weiwei (2012). The Pavilion commissions have allowed the Serpentine to circumvent its limitations as a historic tea house turned gallery and expanded its offering to encompass architecture and design through an extended programme of exhibitions and events, attracting a larger and more diverse local and international audience.
There are other variations. Some are intended to be more permanent. For example, the Viennese based Thyssen Bornemisza Contemporary (T-B A21) commissioned a series of ‘Art Pavilions’ as stand-alone multi-disciplinary installations. Olafur Eliasson and David Adjaye’s Art Pavilion Your Black Horizon (2005) was first presented on Isola San Lazzaro degli Armeni, as a collateral event to the 51st Venice Biennale and was then permanently installed on the Adriatic island of Lopud. T-B A21’s founder, Francesca von Habsburg, is an extensive collector of contemporary art and the pavilions married her interests in contemporary architecture and art. Hans Ulrich Obrist, prolific curator, writer and Co-director of the Serpentine Gallery, described the pavilion model in 2005 as another form, or new institution, to support artists and artists’ projects.
Other permanent examples are becoming increasingly prominent, fusing art, architecture and design as part of a globalized contemporary art world. Art Site Naoshima, in the remote Inland Sea on Japan’s main island, presents a series of house projects by contemporary artists, in empty vernacular Japanese coastal buildings. On nearby islands, there are a series of collaborative pavilion projects by contemporary architects and artists. These works are characterized by their remoteness and one often views them alone, rather than as part of an opening night crush. Instituto Inhotim, created by mining billionaire Bernardo Paz in Minas Gerais in a remote part of southeast Brazil, is a similar model. Commenced in the late 1990s and opened to the public in 2006, they offer a unique experience of permanent pavilions commissioned specifically for solo contemporary works drawn from his permanent collection set within a 240 hectare complex of exotic gardens. They are destination art experiences in which the architecture, contemporary artwork and unique location play equal roles. Hal Foster, in The Art-architecture Complex (2011) noted the ‘experience economy’ of art-architecture projects of this kind and drew attention to the economic cost of creating building-sized artworks and artistically conceived buildings. Such art and architectural collecting needs very deep pockets.
Milgrom’s Mpavilion is not a simple replica of these models. Its free-form architecture aims to foster ideas, partnerships and collaboration. The project will work across Melbourne’s cultural landscape, involving the Melbourne Recital Centre, ACMI, the Wheeler Centre, the Robin Boyd Foundation and more than twenty other cultural partners. New technologies and social networks connect its vision and programs to a wider virtual audience. Such initiatives can have a significant impact on regional development. Richard Florida, author of The Rise of the Creative Class (2002), noted that “the economic and tourist importance of fostering design to stimulate ‘creative cities’ and engage the new ‘creative class’ has been well documented by social researchers and economists,” while the “Bilbao Effect” is now immediately recognisable.
Milgrom is acutely aware of the opportunity to boost Melbourne’s international profile, noting that “if Melbourne wants to position itself as Asia-pacific’s hub of creativity, culture and design, we need to raise the city’s reputation as a leader in contemporary architecture and design. I know how much interest there is in design and I want Melbourne and Victoria to capitalize on this and share this excellence and creativity.” The stakes are high: according to the Department of State Development and Business Innovation, more than 195,000 people are employed in design-related roles in the State of Victoria, with the sector contributing $7.3 billion annually to the Victorian economy, generating an estimated $204 million in design-related exports. Mpavilion partnerships aim to showcase Victoria’s thriving contemporary architecture and design sector and create a new legacy of design and creative thinking.
The Mpavilion will leave a material legacy as well. Each pavilion is designed to be relocatable and will be gifted to the City of Melbourne at the end of its year. The aim is that they will be a permanent and ongoing contribution to the architectural quality of the city. In some ways this new form of pavilion is the contemporary version of the historic pavilions that grace the Royal Botanic Gardens and the bandstands of many regional towns. Once in their new homes, they may continue to inspire exciting programming that further extends Mpavilion’s legacy. Melbourne, Australia, and Richard Florida should be pleased.
Mpavilion will be presented by the Naomi Milgrom Foundation in the Queen Gardens from October 2014 to January 2015. This article is based on an interview with Naomi Milgrom AO that took place in Melbourne in May 2014. The author was Curator at ACCA during Milgrom’s period as Chair.
Image: Courtesy of Sean Godsell Architects.
Naomi Milgrom AO with architect Sean Godsell. Photo: Earl Carter.
Image: Courtesy of Sean Godsell Architects. Photo: Neue Luxury Photo: Neue Luxury
The author in conversation with Naomi Milgrom AO. Photo: Neue Luxury
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world premiere
Dramaturgy for a conference #2
Matías Umpierrez / Plataforma Fluorescente
Art Performance
In English with German surtitles
Verschoben auf Winter 2021
über unseren Newsletter und unsere Social Media Kanäle halten wir Sie auf dem Laufenden.
The project series Dramaturgie für eine Konferenz (Dramaturgy for a Conference) by the Argentinean artist Matías Umpierrez creates space for thinkers and artists to examine questions of the times together in a performative way. Umpierrez commissioned Einat and Eyal Weizman to write a manual entitled Negative Evidence, which was given to four indigenous performers to develop a performance based on it. The artists have eight days of rehearsal time on site to engage with the manual and the piazza at K21. Each artist will create a solo performance for one of four consecutive evenings.
The performers each place a particular case at the centre of an artistic work that exposes colonialist structures in their countries of origin. The Inuk performer Laakkuluk Williamson Bathory from Canada, the Xhosa choreographer Mamela Nyamza from South Africa, the Indian performer Mallika Taneja and the Icelandic choreographer Erna Ómarsdóttir are following the path of “forensic theatre” laid out in the manual. In this way, the piazza at K21 becomes a stage for truth. A discussion panel on the last evening of the event with Umpierrez and the performers, among others, then initiates the conversation with the city’s community.
The manual is a guide to redefining documentary theatre. Starting points are tweets, blogs, photos, articles, videos – documents of the 21st century. It analyses what constitutes a true statement today and whether art can help truth find a new, powerful expression.
Einat Weizman is a playwright and director. Her documentary theatre explores “blind spots” of Israeli reality. Eyal Weizman is an architect, writer, professor of Spatial and Visual Cultures and director of the Centre for Research Architecture at Goldsmiths College in London. His research agency “Forensic Architecture” investigates crimes against humanity.
Matías Umpierrez is considered one of the most innovative theatre directors in Latin America; his projects, among others with his company Plataforma Fluorescente, usually move on the threshold between theatre and visual art. His works are shown in theatres and museums all over the world, and he has also developed ‘site-specific performances’ in factories in Sâo Paulo and on mountain peaks in the Pyrenees, among other places.
Eine Produktion von asphalt Festival in Koproduktion mit der Kunstsammlung Nordrhein-Westfalen in Kollaboration mit dem Festival Theater der Welt, gefördert von der Kulturstiftung des Bundes
with Laakkuluk Williamson Bathory, Mamela Nyamza, Mallika Taneja, Erna Ómarsdóttir
Concept and direction: Matías Umpierrez
Text: Eyal & Einat Weizman
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The large, jagged forms and muted, achromatic palettes of William Willis' current exhibition at Hemphill Fine Arts are what can be expected from the 70-year-old artist. Nonetheless, the scale and presentation of the works, as well as Willis' visual references to other artists—like Philip GustonCiao Fonseca, and most specifically Brancusi—come as a surprise.
"Still Life With Grey" is a charming oil painting of four vessels that recalls Giorgio Morandi, the great Bolognese still-life painter. Like Morandi's tonally quiet vessels, Willis' are wobbly. The former was prone to simulating volume, but no such depth exists in Willis' painting. The vessels in "Still Life With Grey" function more like portals: paintings within paintings, wind sprints for a more arduous future contest.
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Similar careers
How to become a Photographic Technician
photographic technician careers
What does a Photographic Technician do?
Photographic technicians work either in film processing, digital imaging or print finishing. They can work for large photofinishing operations, professional processing laboratories supporting photographers, or in mini-labs.
Film Processing technicians use computer-controlled equipment to process films before printing, or scanning on to a disc. Processing can be adjusted to take into account the lighting conditions and exposure of the film, to ensure the highest quality product. Technicians also check, label and sleeve prints or discs for customers. They need to be aware of health and safety issues when dealing with chemicals, and maintain equipment regularly. Film processing technicians can work in large processing labs or in small mini-labs.
Digital imaging technicians are skilled at design and layout. Using a computer, they scan images and manipulate them digitally before printing. They have regular contact with their customers to discuss the format and finish of the image. Before printing, technicians will resize and adjust the image, and find the most suitable paper and printer. Digital imaging technicians also build up image banks by cataloguing and archiving images. They often work with photographers or marketing and advertising clients.
Print finishers specialise in the mounting and finishing of prints, and are skilled at using laminating and precision cutting equipment. Attached to professional labs, they work on large format prints for exhibition and display purposes.
Skillset's website has more detailed information about job roles in photo-imaging - see Further Information.
What's the working environment like working as a Photographic Technician?
Most photographic technicians work between 37 and 40 hours a week, Monday to Friday, although shift work may be required in some larger laboratories.
The laboratory environment is usually clean, and gloves are worn when handling films. Protective clothing is worn when working with chemicals. In print finishing, the work can be physical with some lifting and standing.
What does it take to become a Photographic Technician?
To be a photographic technician you should:
• have good colour vision and an eye for contrast and density when making corrections
• have a calm, methodical and well ordered approach
• be accurate, pay attention to detail and meet deadlines
• have in an interest in photographic techniques
• have numeracy skills for processing times, exposures and film speeds
• have analytical and mechanical skills to maintain equipment and diagnose faults
• have good communication skills to interpret clients' instructions
• be creative and have design skills when working in digital imaging.
Photographic Technician Career Opportunities
Further information
If you would like to know anything about Photographic Technician that does not appear on Hotcourses, further information can be found below.
Skillset Careers
Tel: 08080 300 900 for England, Wales and Northern Ireland
Tel: 0808 100 8094 for Scotland
www.skillset.org/careers
Prospect House
80-110 New Oxford Street
British Institute of Professional Photography (BIPP)
Fox Talbot House
2 Amwell End
SG12 9HN
Tel: 01920 464011
The Association of Photographers
81 Leonard Street
Tel: 020 7739 6669
www.the-aop.org
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