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July 10, 2023
I cannot pretend to feel impartial about the colours. I rejoice with the brilliant ones, and am genuinely sorry for the poor browns. When I get to heaven I mean to spend a considerable portion of my first million years in painting, and so get to the bottom of the subject. But then I shall require a still gayer palette than I get here below. I expect orange and vermilion will be the darkest, dullest colours upon it, and beyond them there will be a whole range of wonderful new colours which will delight the celestial eye.
Winston Churchill, Jan 1922, ‘Painting as a Pastime’, Strand Magazine
A tribute, join us
Get the Churchill Bulletin delivered to your inbox once a month.
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When the Low Ballers Come Out to Play
The Two Types of Furniture Artisans
There are two types of furniture artisans that you’ll find in this furniture flipping business – the soul-invested and the business-directed.
The Soul-Invested Artisan
The soul-invested artisan, or SIA, leaves a little bit of themselves in each piece and views their creations as an extension of themselves, an expression of their deep-down selves that they must share with the world. The SIA’s emotions are painted onto their canvas and seem to speak back to them, “Here I am, I am are part of you, the artist who created me.” They view marketing process as tiresome but a necessary evil – it allows them to continue creating. When they sell a piece and watch it go out the door, they feel like a part of themselves is going home with the buyer.
If the SIA is asked to change part of their piece to suit the buyer’s vision, they may become offended or stressed over the thought the buyer might back out and leave them with an unsalable piece because their original vision dominates their thinking. Their first thought is that the request is unreasonable and too risky.
The Business-Directed Artisan
The business-directed artisan, or BDA, can easily see the bottom line, views their buyers as a means to an end and feels gratitude that they can match their pieces with someone willing to put their stamp of approval on their piece by purchasing it. Once it’s out the door, their mind is on to their next piece. They view their piece as art that needs to be shared with the world to make it a better place while at the same time feeds their families. When asked for special modifications on their piece, they gladly acquiesce because they can see a business relationship strengthened by working with their customer.
The BDA’s re-designed piece is their contribution to what makes sense – a form of accomplishment, a gift to their sphere of influence. Much of the marketing process is dealt with in a matter-of-fact mind set and has little or no emotional attachment to their wares. They love their work and enjoy the marketing process as well.
Neither is Better Than the Other
Though I think the business-minded artisan has an easier time of it. Rude comments, uninformed know-it-alls and low-ball offers are just a part of the business. They are able to sluff off the foolishness as just that – foolishness. They have no trouble separating their beautiful piece of art from the uninformed eye of the offender. They can easily say, “It’s their loss,” or, “They surely don’t know how much work goes into a project like mine,” and then give them no more thought. Each marketing move is planned out and considered a challenge.
The soul-invested artisan is the exact opposite. They take every comment, every look, every offer as a personal accolade or offense. When the piece is finally carried off, they feel separation anxiety and find it hard to believe the money in their hand is worth the effort they put into the piece. Every day they wait to sell a piece is one more day that they wonder if they will ever make it as a business person. All they want to do is paint and the marketing side is a major inconvenience.
Each has their own unique talents and can see beauty in each stroke of the brush. Each garners a unique artist’s eye that can define what is great in every color they choose and how they can be combines to bring beauty to an otherwise outdated and unwanted canvas.
Yet, Each is Foreign to the Other
The SIA constantly looks for the bottom line but it keeps changing. They are often frustrated with the business end of flipping. The BIA cocks their head when they hear of the emotional response of a soul-invested artisan regarding a rude comment or missed sale of a piece and wonders why they find it so hard.
The great similarity between the two is that each is able to create beauty in their own right. How is this? The quality of artistic talent does not hinge on the buyer. The ability to create art is a gift that is generated deep within the artist. At the last stroke, the art is complete whether one or a hundred people admire it. If the piece were never seen again for another person, it would still be art.
Therin lies the answer to the question, “How do we handle the occasional critic who does not value our work?” Whether a SIA or BDA, the low-baller or critical customer is irritating and bothersome.
The answer is, “We don’t.”
If our art is complete in itself, and we can see the beauty and quality of our craftsmanship or re-design, then the rest, the admiration or the sale of our piece is just a side benefit. It is a great benefit, but it is not how we judge our value.
We need to consider our good name and business goals in every move we make from picking out our canvas to completing the sale. Our actions will determine whether our art is ever seen.
Balancing the Emotional Expression With Our Business Goals
Sure, we may be creating our art for profit and our motivation may be filling our bank accounts or feeding our families, but that is an extension of what we are doing. Creating art is creating beauty. That alone is our satisfaction. But the emotional end of it needs to end there. If another person cannot see the value in our art, then it’s their loss. If it truly is quality art, we will find someone who will see it and value it enough to want to own it. There is where the business end takes over. Our marketing is purely a means to an end and must be viewed and executed without emotion.
How Do We Handle the “Trolls”?
Our only responsibility is to create beauty and put it out there for the world to see if we want to make a living at it. It’s the buyer’s responsibility to love it enough to want to own it. We just need to find that one person through savy business decisions. It only takes one person. 50 may scoff or discredit our efforts, but we only need one who appreciates the beauty like we do. Forget the 50. Find that ONE.
So how do we handle the critics, the jealous or the ignorant? How do we handle a low-ball offer to our piece of beauty?
• Does it educate people if we get angry and spew insults to the ignorant?
• Does it make our art more beautiful to block them from seeing it on social media?
• Does it improve our brand or lift our good name, when we complain that we were low-balled?
I say, “no”. I say, let’s rise above it all and show some confidence in ourselves and our art.
• When someone tells us they are going to repaint the piece we poured ourselves into and spend hours planning and executing our artful efforts, then we need to say, “Ok,” and then take their money and end with a smile and a “Have a nice day.” Because in the end, we made our sale and our art caught their eye long enough to open their wallets and part with their cash. ‘Nuff said.
• When someone tells us our piece is imperfect and points out all the flaws, we understand that it isn’t our art that they are unhappy with. They are just an unhappy soul that is discontent with the world around them. We understand their critical spirit did not start with their first view of our piece but is a dark cloud that follows them. Perhaps we can be the one bright spot in their day by being pleasant even through their insults. Isn’t that what art should do for the unhappy soul?
• When someone tells us our price is too high or colors are too bright or design is too dull, we just tell ourselves they have no appreciation for art and am grateful we find beauty all around us. We realize we are the fortunate ones.
• And lastly, when someone offers us $30 for a piece we have listed for $300, let’s just say, “Thanks for the offer, but the price is firm…but perhaps you would be interested in this other piece I have that is more in your budget.” Then you show them a smaller, less expensive piece that you put less materials and effort into.
We are confident lovers of art who find value not in our buyer but in the expression of ourselves on the canvas of our choice.
Hometalk is one of my best referrers to my blog, but when they feature my painted furniture on their Facebook page, the trolls come out by the dozens. Here is one of mine and a couple of the typical comments I get:
It was somewhat amusing to read them – one said they had the exact set and paid $2000 for it and would never consider painting it. I responded with, “Then don’t paint them. You should be able to enjoy your furniture in your own home the way you like.”
Another claimed it was an antique and it was a travesty to paint it. They were not antiques, rather, they were part of the mass produced pieces of furniture we saw in the 70s and 80s. There is no way this set was originally $2000. If it was, that man that paid $2000 was ripped off. BUT, after the set was painted, it was beautiful in an old world style and sold for a nice price. The buyers loved the set and sent me a picture of them in their new home.
The Take Away
We are the ones who are free. We are the ones who are surrounded in beauty. We are the ones who pick up a brush and give another hundred years of life. Knowing and believing that, how can we enter into a negative exchange or get depressed over someone who isn’t, doesn’t and won’t ever?
Be confident. We are the blessed ones.
What has been your experience? Does everyone love your art? Let me know your story in the comments.
Leave a Comment
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VAT rate of 5% is payable on hammer price and at 1… Read more THE PROPERTY OF A GENTLEMAN
Giorgio de Chirico (1888-1978)
Natura morta su un tavolo
Giorgio de Chirico (1888-1978)
Natura morta su un tavolo
signed and dated 'G. de Chirico. 1915.' (upper right); with the inscription 'Chirico via Ripagrande 61 (Sra Bonsi)' (on the stretcher)
oil on canvas
18 x 13 5/8in. (45.8 x 34.6cm.)
Painted in Ferrara in 1915
G. Gussoni, Milan.
Acquired by the present owner circa 1985.
C. Bruni Sakraischik, Catalogo Generale, Giorgio de Chirico, opere dal 1908 al 1930, vol. VII, Milan 1974, no. 389 (illustrated, unpaged).
P. Baldacci & M. Fagiolo dell'Arco (eds.), Giorgio de Chirico. Parigi 1924-1929, dalla nascita del Surrealismo al crollo di Wall Street, Milan 1982 (illustrated, p. 60).
M. Fagiolo dell'Arco (ed.), L'opera completa di De Chirico 1908-1924, Milan 1984, no. 91, p. 97 (illustrated, p. 96).
M. Fagiolo dell'Arco, Giorgio de Chirico: Gli anni Trenta, Milan 1991 (illustrated, p. 82).
M. Fagiolo dell'Arco, I Bagni Misteriosi, De Chirico negli anni trenta: Parigi, Italia, New York, Milan 1991 (illustrated, p. 82).
P. Baldacci, De Chirico: 1888-1919, La metafisica, Milan 1997, no. 95 (illustrated, p. 305).
Ferrara, Palazzo Massari, La Metafisica. Museo documentario, 1981, no. 123 (illustrated, p. 310).
Milan, Palazzo Reale, De Chirico: gli anni Venti, March-April 1987, (illustrated, p. 187).
Rome, Palazzo delle Esposizioni, Giorgio De Chirico, "Pictor Optimus". Pittura Disegno Teatro, December 1992-January 1993 (illustrated, p. 117). This exhibition later travelled to Genoa, Palazzo Ducale, March-May 1993.
Jerusalem, The Israel Museum, Natura morta Italiana: Italian Still Life Painting from Four Centuries, June-October 1994, no. 47 (illustrated, p. 109).
Brussels, Galerie Du Crédit Communal, L'Art Gourmand. Stilleben für Auge, Kochkunst und Gourmets von Aertsen bis Van Gogh, November 1996-February 1997 (illustrated,pp. 252-253). This exhibition later travelled to Darmstadt, Hessisches Landesmuseum, March-June 1997 and Cologne, Wallraf-Richartz-Museum, June-September 1997.
Acqui Terme, Palazzo Liceo Saracco, Vita Silente: Giorgio De Chirico dalla Metafisica al Barocco, July-September 1997, no. 1 (illustrated, p. 51 and on the cover).
Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, Italian Still Life Painting, April-May 2001, no. 48 (illustrated, p. 86). This exhibition later travelled to Niigata City, Art Museum, June-July 2001; Hokkaido, Hakodate Museum of Art, July-September 2001; Toyama, Toyama Shimin Plaza Art Gallery, October 2001; Ashikaga, Museum of Art, November-December 2001 and Yamagata, Museum of Art, April-May 2002.
Ravensburg, Schloss Achberg, Natura morta italiana: Italienische Stilleben aus vier Jahrhunderten, April-October 2003, no. 77.
Special notice
VAT rate of 5% is payable on hammer price and at 15% on the buyer's premium
Lot Essay
One of only five paintings made by de Chirico after his move to Ferrara in 1915, Natura morta is a unique and mysterious still-life painting from the height of his early metaphysical period. A deceptively simple and naturalistic-looking painting this work has been noted by both the leading de Chirico scholars, Maurizio Faggiolo dell'Arco and Paolo Baldacci as being an important transitionary painting that announced 'changes that would influence all of de Chirico's subsequent work.' (Paolo Baldacci, Giorgio de Chirico: The Metaphysical Period: 1888-1919, London 1997, p. 307)
Executed between September and October 1915,Natura morta was the first painting that de Chirico painted after moving to Ferrara where he and his brother, now enlisted in the Italian army, had been posted. De Chirico and his brother, the painter Alberto Savinio, had both returned to their native Italy in May in order to take advantage of an amnesty granted towards Italian ex-patriots like themselves who had so far managed to avoid the draft. Luckily, as de Chirico recalled in his memoirs of this time, on their arrival in Ferrara, 'a major who worked in the warehouse of my regiment, and who was a bit more intelligent and perceptive than the others, understood my, and my brother's, situation and hired us as bookkeepers. One could at least breathe a bit and live somewhat like a human. Our mother had come to Ferrara and rented a small furnished apartment so we could sleep at home, wash and change bedsheets, eat simple and healthy food, and, in our free time, think a little about those matters of Art and thought that had always been the supreme goal of our lives. (There), I began painting again. (Giorgio de Chirico, The Memoirs of Giorgio de Chirico, London, 1971, pp. 79-80)
The medieval town of Ferrara was to prove a catalyst for change in the strange, dark and melancholic metaphysical manner of painting that de Chirico had originated in Paris, Indeed, it came to infuse these grand revolutionary works with a new quirky and more personal atmosphere - one that concentrated on seemingly familiar objects rendering and exposing them as bizarre oddities and strange anomalies. This was a tendency that had been growing in de Chirico's work throughout 1914, but it was In Ferrara that the inherent strangeness of the still-life object ultimately gave rise to a new form of metaphysical interior. 'Ferrara itself' de Chirico wrote, 'one of the most beautiful cities in Italy, had struck me; but that which struck me most and inspired the metaphysical vein in which I was then working were certain aspects of Ferrara's interiors, certain shop windows, certain workshops, certain dwellings, certain neighbourhoods like the old ghetto, where one found pastries and biscuits of extremely strange and metaphysical form. To this period belong the so-called "metaphysical interiors".' Giorgio de Chirico, The Memoirs of Giorgio de Chirico, London, 1971, pp. 79-80)
Natura Morta is a work that seems temporarily to abandon the overt artifice of the metaphysical style that de Chirico had developed in Paris. Its surprising naturalism seems to suggest that it marks a tentative attempt by the artist to ease himself back into the act of painting after the disruptions of the previous months and the beginning of his new life in the military, or, perhaps, more drastically, the beginning of a break with his past. But, despite the apparent classicism of this work's style - one that emulates both that of artistic mentors such as Gustav Courbet as well as anticipating de Chircio's own later stance as an eminently classical artist - this supposedly naturalist painting is heavily imbued with a strange metaphysical atmosphere. Concentrating on a rather ordinary and unspectacular collation of rather misshapen fruit, De Chirico here renders the still-life subject as an oddity. It is reality itself that is here exposed as enigmatic and strange. Each specimen of fruit, whether, pear, grape or apple is carefully scrutinized and rendered in such a way as to emphasize its material density, misshapen form and surface blemishes in such a way that each asserts its manifest oddness and uniqueness. Drenched in a mysterious light and set on a bright white cloth against an empty black void, both of which seem to invoke and recall the strange spaces and enigmatic twilights of de Chirico's metaphysical landscapes, this work seems to form a bridge between de Chirico's Parisian and Ferrarese works - between the metaphysical artichokes, pineapples and bananas of the Paris paintings and the strange-shaped biscuits and impenetrably dark carnivalesque interiors of the paintings which de Chirico would make in Ferrara over the next few years
Shortly after he completed Natura Morta, de Chirico wrote to his Parisian dealer Paul Guillaume, that his military duties and 'the threat of being sent to the front, a threat which hangs constantly over my head, as it does over that of every soldier in these days of the orgy of war, (had made) such circumstances (that) are not exactly favourable to an eminently spiritual activity like my own. All of this notwithstanding, I am working, I assure you: I've made some paintings, and even when I don't have brush or pencil in my hand my thoughts invariably run along the lovely path of art...As for me, I'm relatively happy in beautiful and melancholic Ferrara, where the fatality of life has brought me. For men of fate, even the saddest events, and perhaps these above all, are necessary for the development of the mysterious forces they harbour within them and which then appear in their works; I now feel that my departure from Paris, my distance from the milieu in which I lived, and the apparition of this fatal city in which I presently find myself, are fatally necessary to my creative self.' (Giorgio de Chirico letter to Paul Guillaume, 1 November 1915 cited in Paolo Baldacci, op. cit, p. 300)
Something of the earthy gravity of these sentiments and of the overwhelming sense of both 'fatality' and destiny that de Chirico had already found in Ferrara seems to be conveyed in this dense and deceptively simple still-life.
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FLY cheeseboard - DT for Imagination Crafts
This is my last Design Team piece for Imagination Crafts, for this particular session. It's an MDF cheeseboard which I've decoupaged and painted.
First step: spray the MDF board with Mixed Media Ink in three separate areas, using Green, Blue and Orange. This ink is permanent when dry.
Next, cut the woman out of the sheet of black and white rice paper using a damp paintbrush, and glue to text weight paper using Decoupage Plus. When dry, fussy cut and add a touch of watercolour to tint the cheeks and lips.
Tip: When fussy cutting large images like this, they will blend better into your piece if you tint the edges with a little Distress Ink, or similar, in a toning dark colour. Then the edges of the paper won't stand out like a sore thumb!
Stencil the feather twice with Structure Paste, one right up the handle and the other at an angle.
Glue torn pieces of rice paper to the sprayed MDF cheeseboard in between the feathers, and down the left side.
When the Structure Paste is dry (around 15-20 minutes) place the stencil back on top and tint with Starlights paint, using Green, Bright Gold, Topaz and Zinober Gold. I used a stencil brush to stipple the colour on.
Stencil the two largest Magi Kutz feathers with text from the feather stencil, using Structure Paste. Spray all the feathers with Mixed Media Ink in Green, Blue and Light Purple. Next, brayer over very lightly (just hitting the highlighted letters) with Starlights paint in Rich Gold. Paint the edges of the feathers using the same colours, not forgetting the spines of the small feathers.
Mould the woman with your fingers to curve it slightly, and use foam tape down the centre to add height and dimension. Glue down with glue gel to position the image, and more glue gel to position the feathers.
Finally, paint the Magi Kutz word 'Fly' with gesso, then use Magi Glaze to glue on little diamante stones or sequins (these stones are from my stash). I used more Glaze and stones down the centre of the small feathers.
Finishing touches
I stamped one of the Nature's Texture Art Stamps right on the edges of the board for a little extra texture, using dark red Archival ink, and a just a little Starlights paint in Rich Gold around the edges of the cheeseboard, using my finger.
All materials used are by Imagination Crafts.
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Alana Tillim | Owner/Director
Alana is a proud wife, mother, and female entrepreneur. She has been dancing for over 30 years, studying gymnastics, ballet, modern, jazz, and hip hop. Her training began as a competitive gymnast and then she studied ballet (RAD) and jazz for over 11 years at the Menlo Park Royal Academy of Dance in Northern California. She was invited to perform on Star Search and had the opportunity to train with legendary choreographers Tina Landon and Joe Lanteri. She graduated from UCSB with degrees in history and political science. As an undergraduate, she trained in dance under Christopher Pilafian, Delilah Mosley, Valerie Huston, and Jerry Pearson.
In 2004, Alana co-founded the Arts Mentorship Program with Steven Lovelace with the mission of creating support and access to young and emerging artists. Since its inception, it has gone on to give out over $100,000 in scholarships, provide over 30,000 hours of affordable rehearsal space, and support over 500 pre-professional company dancers.
She was honored to be named Pacific Coast Business Times “Top 40 Under 40” in 2009, and has gone on to receive honors from several dignitaries and local organizations for her dedication to the community. Alana has volunteered for several local non-profits including Take Back the Night, United Way, Girls Inc, Fun In the Sun, and she served on the board of the SB Neighborhood Clinics and SB Dance Alliance where she served as president from 2007-2011.
She has taught at Foothill, Kellogg, Cold Spring, and Hope Schools. In 2012 she began working with Teen Star USA as a choreographer and through this collaboration her work was performed at the SB Bowl to open for Foreigner.
Alana believes that dance can heal, and the lessons it teaches extend far beyond the classroom. She hopes that all who visit SB Dance Arts feel a sense of belonging, community, and creative freedom.
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Rita Barton | School Director
Rita was born and raised in Santa Barbara. She graduated from UCSB with a degree in political science. She worked for many years in the footwear and clothing industries. She has also been a substitute teacher and taught elementary school art. Rita lives on the Mesa with her family. Rita is an artist, blogger, and active community member. She loves taking her dog to the beach, hiking, gardening and sunsets. Rita is a dance mom and loves watching her daughter’s journey in the world of dance. Rita also works for her family owned business, Barton Construction.
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Lauren Serrano | Director of Customer Care, Comp Team Director, Instructor
Lauren graduated from University of California Santa Barbara with a B.F.A. in dance. She is originally from Orange County where she trained at many local studios including Jimmy Defores, and Edge Performing Arts Studio in Los Angeles. She went to Orange County High School for the Performing Arts for classical and commercial dance. She has won various scholarships including a 3-month training scholarship at Edge Performing Arts studio, Miss Drill Team USA and she received the departmental achievement award from UCSB in 2011. Lauren moved to New York City in 2012 for a work-study scholarship with Jennifer Muller and the Works. She has had the opportunity to dance with singing artists such as Mayer Hawthorne, and performed choreography in New York for choreographers Young Soon Kim, Toni Renee Johnson, Jacobs Dance Collective, Pedro Ruiz, Jennifer Muller and Mike Esperanza. Lauren recently graduated Summa Cum Laude with her masters in dance education from the Arnhold Graduate Dance Education Program at Hunter College with the Presidential Special Recognition Award. Lauren is also a certified Pilates mat teacher and certified personal trainer. She is currently dancing professionally in Santa Barbara and is honored to be teaching at Santa Barbara Dance Arts.
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Susan Regan | Administrative Assistant
Susan comes to Santa Barbara Dance Arts by way of being a dance mom. She has two boys in college and a daughter who dances at SBDA. She has taught in Santa Barbara elementary schools for many years as a Substitute Teacher and loves the learning process. She hails from San Diego but has lived in Santa Barbara for many years and hopes to never leave. In her spare time, Susan likes to be with her family and pets, preferably at the beach.
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emily lacey-gordon | Administrative Assistant
Emily Lacey-Gordon graduated from Santa Clara University where she studied Dance, Marketing, and Retail Studies. She is a native of sunny Santa Barbara and has called SB Dance Arts and Company home for most of her adolescent life. Emily likely spent more time dancing than sleeping during her high school career! During her time at SCU, Emily danced on the award-winning SCU Dance Team, and studied Graham and Lewitzky based modern dance. She also choreographed several pieces for student-produced shows including Choreographers Gallery and Images annually in college. Emily is an award winning choreographer and in 2016 her dance piece, “Her’s”, placed first at a competition at UC Berkeley. After graduating college, she moved to the heart of San Francisco and pursued her ambition of working in the fast-paced Tech industry where she specialized in Digital Marketing and Executive Administration. As a proud alumni of this studio, she hopes to share her passion for dance with the wonderful Santa Barbara community. Emily is grateful that her mom enrolled her in dance at an early age because she has been able to apply the lessons she has learned in this studio and on stage to all aspects of her life.
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Brittany Sandoval | Instructor, Hip Hop & Crew Director, Rental manager
Brittany has been dancing since the age of 5. She is a proud alumni of SB Dance Arts. She started dancing at the studio when she was 9 years old and quickly became a mentor and teaching assistant. At 16 she became a student teacher and was offered a faculty position upon graduation. Currently, she teaches over 25 classes per week and is one of our most beloved instructors. She also teaches at dozens of local schools including Monte Vista, Peabody, Bright Start, and All Saints By the Sea. Brittany's gift is helping kids feel a sense of worthiness and confidence in the classroom.
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Nathan Burdine-Ortega | Instructor, Acrobatics Director,Reception
Nathan is a Santa Barbara native; he was born here and finally found his way back. He moved around California and went onto a stint at Ventura and Moorpark Colleges. He has graduated from UCSB with a Bachelor of Fine Arts in Dance with an emphasis in choreography. Picking up dance at a late age of 19, his training started with a rigorous gymnastics and diving training regime for ten plus years. He then went on to dance in college and found a love for hip-hop and has acquired the grace of ballet, modern and jazz. In 2004 he was on MTV’s show The Wade Robson Projects, as well as dancing in music videos in the industry and has graced his presence across international stages. In 2014 he toured with UCSB’s Senior Dance Company across Europe through Prague and Italy. He has choreographed for many colleges throughout California, Washington and Arizona, creating works to bring joy, comedy and thoughtful art to the minds of audience members. He has been teaching since he was 16, so for the past 17 years had taught at many studios and gyms in the Ventura and Orange Counties.
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Chloe Roberts | Instructor, jazz department director
Chloe was born and raised in Houston, Texas where she began her training at the age of three. She has trained with North Harris Performing Arts, Dominic Walsh Dance Theatre, and Boston’s Urbanity Dance Company, among others. Chloe is trained in ballet, contemporary, jazz, modern, musical theatre, hip-hop, ballroom, acrobatics, and improvisation. Her primary training came from Dawn Dippel and Amy Cain, owners of North Harris Performing Arts and founders of Revolve Dance Company. She has had the pleasure of training under Dawn Scannell, former ballet mistress of the Houston Ballet, Dominic Walsh, Artistic Director of Dominic Walsh Dance Theatre, and Domenico Luciano of the Teatro di San Carlo Ballet School in Naples. She has worked with esteemed choreographers including Eddy Ocampo, Jodinik Jo of the Centre du Danse Marais in Paris, Desiree Robbins, Sharon Wong of Alvin Ailey, Valerie Madonia of the Colorado Ballet, Tucker Knox, and Andy Noble. Chloe has worked with the Prague Shakespeare Company as well as Studio Dance Perfect, also located in Prague. Some of her earliest stage experiences were with the Broadway international touring company of The Wizard of Oz with Mickey Rooney and Lillian Montevecchi. Chloe was awarded multiple top ten titles for both solo and group pieces during her competitive years. Chloe teaches at studios across the United States and her work has won titles at both regional and national competitions including Showstoppers, Nuvo, and JUMP Dance Conventions. In 2012 Chloe founded Terpis Contemporary Dance Company in Durango, Colorado which performed for three successful seasons before Chloe relocated to Boston. During her time in Boston, Chloe performed as a company member of Boston’s Urbanity Underground and Reject Dance Theatre. Chloe is currently a resident teacher and choreographer at Santa Barbara Dance Arts in Santa Barbara, California and continues to choreograph for studios across the world.
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Suzanne Richards | Instructor, ballet Department Director
Suzanne Richards started her formal ballet training at age 9 with Robert & Carol Hanlin at The Goleta School Of Ballet. She danced with Orchesis Dance Production Company with Merrily Smith at San Marcos High School & Delila Moseley at Santa Barbara City College locally. She studied with Alexandra Zaharias of Alexandra Ballet, Antoni Zalewski & Ludmila Dokoudovsky of St Louis Ballet, Alla Sizova, Vladimir Isaaev & Dmitri Roudnev. She has been the Artistic Director of, "Ballet Rejoice!" since 1994 & the Artistic Director Of Classical Ballet for The Art Of Dance And Classical Ballet since 2006. She has taught master classes for Universal Studios Japan dancers in Osaka, Japan. She developed a Dance For Ice Skaters program in St. Peters, MO & studied ice skating with Terry Tonius. She was a dryland trainer & certified swim coach for United States Swimming programs. She is an AFAA certified Personal Trainer/Fitness Counselor, Weight Room/Resistance Training Specialist who has special interest in myofascial tissue release work, Pilates & Yoga & applies principles from these fields & exercise science to her work with ballet dancers. She teaches Ballet, Pointe, Variations & Ballet Conditioning & loves training & mentoring the next generation of dancers & teachers while imparting a passion for the art of Classical Ballet.
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Amara Galloway | Instructor
Amara is originally from Fairfax, Virginia and recently relocated to Santa Barbara to join State Street Ballet Company. As the daughter of a dance instructor she grew up in the studio environment. Upon getting her first pair of pointe shoes she decided to pursue a career in dance. To achieve this goal she joined the BalletNova Center for Dance Pre-Professional training program in Falls Church, Virginia. While at BalletNova she performed numerous lead roles including The Firebird, Paquita, Clara, and The Sugar Plum Fairy. After graduating from homeschool high school Amara went on to train with The Joffrey Ballet in Chicago, giving her the opportunity to perform with the company in their production of Sir Frederick Ashton’s Cinderella. She later moved to Phoenix to join the Ballet Arizona Studio Company where she performed in professional works including La Bayadere, The Nutcracker, Paquita, Romeo and Juliet, and George Balanchine’s Western Symphony and Symphony in Three Movements. She also performed the title role in The School of Ballet Arizona’s production of Cinderella. Amara has had the opportunity to attend summer intensive programs at Ballet Arizona and San Francisco Ballet on scholarship, as well as Rochester City Ballet, Next Generation Ballet, Houston Ballet, and The Royal Ballet School of Antwerp, Belgium. She was a three-time SemiFinalist at the Youth America Grand Prix competition and has had the opportunity to work with choreographers such as Jeffrey Cirio and Autumn Eckman. Her training styles include, jazz, contemporary, modern, tap, acrobatics, (and even a little hip-hop!), with classical ballet being her main passion. Amara has been assisting in dance classes for as long as she can remember and began teaching when she was fifteen years old. She is excited to share her love of dance with the kids of SBDA!
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Ashley Burdick | Instructor
Ashley is originally from Gilroy, California. She started dancing at the age of five, but it wasn't until high school that she decided to pursue a career in her passion of ballet. She received training from former professional ballet dancers with Ballet San Jose at South Valley Dance Arts in Morgan Hill, California. At Lise La Cours LaCademy of Ballet in San Jose, she trained with former prima ballerina Lise La Cour from the Royal Danish Ballet and her son Ask La Cour, current principal dancer with New York City Ballet. She attended American Ballet Theatre summer intensives in Texas and New York and trained with former professional ballet dancers such as Wes Chapman, Julie Kent, and Ethan Brown. She danced in professional productions with State Street Ballet and is currently in her second year training in the Professional Track program with State Street Ballet in Santa Barbara. She is so excited to have the opportunity to share her love for ballet with the next generation of dancers!
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Bryn Gallahger | Instructor
Bryn Gallagher is from Ventura, California. She is a Graduate of the University of California, Irvine where she studied dance and history. She began her training at All American Ballet and Oakley Ballet Center. She has also attended summer programs with Ballet Met, Boston Ballet, and State Street Ballet. She has performed with Footworks Youth Ballet and the Pacific Symphony Orchestra. Currently she is in the Pre-Professional Program at State Street Ballet.
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Janaya Cradle | Instructor
Janaya is a 2nd year economics major at the University of California Santa Barbara. She has been dancing since the age of 3 and has trained in styles such as ballet, jazz, tap, ballroom, hip hop, contemporary, lyrical, modern, and acrobatics at Dance Precisions and Mather Dance Company under the instruction of major industry choreographers such as Shannon Mather, Blake McGrath, Meaghan McGrath, Miguel Zarate, Todd Flanagan, Talia Favia, Melissa Sandavig, Krista Miller, and many more. Over the years she has competed in countless dance competitions and attended many dance conventions where she has been able to learn choreography from and audition for a wide range of choreographers. Janaya was awarded a Jump VIP scholarship in 2011, 2012, and 2013 a 24Seven Dance convention VIP scholarship in 2014, and a Velocity Dance Convention runner-up scholarship in 2015. In high school Janaya performed as a member of the varsity dance team for 4 years as well as captain during her senior year, and since then she has been working for AMP and United Spirit Association as a dance staff member for two years teaching summer dance camps for high school dance teams all over California, as well as dancing on the UCSB dance team. She is so excited to have the opportunity to share her passion for dance with the students at Santa Barbara Dance Arts.
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kelli forman | Instructor
Kelli Forman is a dance instructor, professional choreographer, yoga instructor, CA certified massage therapist, senior dance major at UCSB, local organizer for the Santa Barbara County Alliance for Arts Education, and the National Program Director for Everybody Dance Now!, a non-profit that offers free or low-cost hip hop dance programming to hundreds of underserved youth each week. Kelli began dancing at the age of four, attended the University of Kansas on a full dance scholarship, and later moved to New York City and Los Angeles where she worked professionally with choreographers such as Brian Friedman, Hi Hat, Kenny Ortega, Fatima Robinson, and Travis Payne (Michael Jackson’s former choreographer). She danced on shows such as X-Factor, Dancing with the Stars, America’s Got Talent, and Glee and modeled for brands such as Coca-Cola and Reebok. Kelli became the EDN! National Program Director three years ago and created EDN!’s first standards-based hip hop dance curriculum. Kelli continues her passions of teaching underserved youth, choreographing for local companies, building the local street dance community in Santa Barbara, and advocating for equity in arts education.
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Kristal Keinert | Instructor
Kristal Keinert has been dancing for as long as she can remember! At five years of age, when she was dancing around the house, her mother asked if she wanted to take a ballet and tap class, and she enthusiastically responded, “Yes!” She briefly tried a jazz class with her friends in fourth grade, but she found that her true passion was ballet, and it wasn’t until she started at Allan Hancock College that she branched out to take jazz again. She was put in a modern piece after auditioning for Dimensions in Dance, and loved that so much that she continued to take modern classes, then hip-hop, salsa, swing, and more! When she transferred to Westmont College, she was part of the modern company Windancers, and helped lead the dance ministry Charis. After college, Kristal continued to take classes in all forms, and danced with Luminus Dance Company, traveling to South Africa and New York City. Kristal began teaching ballet when she was only fifteen, and has taught jazz and lyrical as well. Her love of teaching dance also helped lead to a career teaching English, and this is her sixth year teaching at Olive Grove Charter School. Kristal thanks God for the ability to express herself through movement and communicate that art to her students.
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lacy olivera | Instructor
Lacy Olivera was born and raised in Santa Barbara, California. At the age of 4 she was bouncing around doing cartwheels and handstands wherever she could. She became a competitive gymnast and traveled all over the United States for over ten years. After quitting gymnastics there seemed to be something missing in her life, so she tried out for the dance team at her local high school. From there another passion grew and she started taking jazz, ballet and hip hop classes. She performed with her dance studio and competed at many competitions with her school dance team. After college and working full time, she became a mom of two little girls. Lacy's passion for dance came back after her children were born and has never stopped since. She has performed locally with the Rhythm Street Crew and currently takes hip hop classes every week. She enjoys the escape that dance brings and how all the problems of the day just seem to melt away. Lacy describes dance as a therapy and has seen how it can impact so many people. After taking a GROOV3 class she was immediately in love. The concept of making dance accessible to all and the community that it builds is something that she knew she wanted to be apart of. She is excited to share her love of dance and to keep spreading the GROOV3 movement.
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melanie johnson | Instructor
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parker pallad | Instructor
Parker Pallad is 17 years old and is currently a senior at San Marcos High School. She started dancing at the age of three and trains in the genres of jazz, ballet, tap, hip hop, contemporary, lyrical, acro, and pointe. She was a captain on Impulse dance company for one year and this will be her second year on Axis, as well as her third year on Team Dance Arts. Parker has gotten the opportunity to travel across California to countless competitions, including Radix, NYCDA, Velocity, West Coast Dance Explosion, Hollywood Vibe, and many more. Last year, Parker received a scholarship from Radix for her performance in the Jazz, Contemporary, and Lyrical category. She has also had the opportunity to choreograph 2 pieces for Configuration, one of which won the Student Choreography Award. This year Parker received the Choreography Internship and is so excited for the chance to choreograph on Vibe Dance Company! In her free time, she loves to go to the beach and hang out with her friends. Parker plans on attending a 4 year university next year, most likely in California.
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RAchyl pines | Instructor
Rachyl began her tap and jazz training at the age of three with Temecula Dance Company. She took ballet classes as a requirement for her jazz and tap competition teams, but did not begin her formal ballet training until age twelve. Rachyl began her ballet training in her hometown of Temecula, California at The Ballet Studio under the direction of Mark Erickson. She augmented her training by attending summer intensive programs with American Ballet Theater, Joffrey Ballet, Boston Ballet, and Walnut Hill School of the Arts. Rachyl joined City Ballet of San Diego as an apprentice in 2011 after graduating high school. She was promoted to full company member in 2013. Since joining City Ballet, Rachyl performed in George Balanchine’s Walpurgisnacht, the company’s productions of The Nutracker, Swan Lake, Romeo and Juliette, Firebird and Giselle. Rachyl left City Ballet of San Diego to complete her Bachelor of Arts in Communication at the University of San Diego. Two years ago she moved to Santa Barbara to complete a PhD in Communication at the University of California, Santa Barbara.
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Richard Chung | Instructor
Richard began dancing at the age of 14 as a break-dancer. He joined his first competitive crew, BBM, at the age of 16 and shortly after helped create a crew called Elusive Movement in the San-Fernando Valley. He competed with both crews throughout Los Angeles while attending high-school. Upon entering UCSB, Richard joined Urban Dance Company and became the Company's Artistic Director for his 3rd and 4th year. As artistic director Richard helped submit choreography, create sets, and block formations to make Urban a highly competitive team. Richard has recently joined a team based out in Oxnard called the Faction and is also a community dance teacher at EDN. Richard often commutes down to Oxnard and Los Angeles to continue his training. In addition to dancing, Richard has recently started working at a local tech company located in Goleta. In his spare time, Richard enjoys making dance videos, teaching, playing with his dog, and most of all, giving back to the community.
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Stephanie Morrill | Instructor
Stephanie is a 3rd year Biochemistry major at University California, Santa Barbara. She began her dance training at the age of 4 at Huntington Academy of Dance where she studied the Cecchetti Method of Ballet under Marnell Himes-Ushijima. Stephanie participated in many ballet intensives over the course of her training in which she was awarded a full scholarship for Cecchetti USA’s intensive in 2013. While studying up to grade 10 in Cecchetti, Stephanie also trained in lyrical, jazz, musical theatre, and tap. She later attended Huntington Beach High School where she was accepted into the school’s magnet Academy of the Performing Arts (APA) program. During her 4 years in APA, she trained in Graham, Horton, and Release techniques of modern and contemporary dance under the guidance of Marie Hoffman. Upon joining the program’s Repertory Ensemble, Stephanie competed in many competitions from the Youth American Grand Prix in New York, to the New Prague Dance Festival and Competition in the Czech Republic. Since then, Stephanie has expanded her dance repertoire in hip hop by performing with her high school team and now with UCSB’s nationally ranked dance team. She currently serves as the team's co-captain along with fellow faculty member Janaya Cradle.
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Tamarr Paul | Instructor
Tamarr Paul continues his 20 year commitment as a pioneer, artist, teacher, & director, fusing original lyrics with innovative hip hop choreography into high energy performances where the rhythm is the heartbeat of the dance. He is currently emerging in the music industry as an up and coming hip hop artist and performer. He has worked for many years with the world renowned Debbie Allan from Fame Dance School & collaborated with director Marty Thomas on several MTV music videos. He has also worked with celebrated choreographers Wade Robinson, Fatima Robinson & Rosero McCoy, as well as been a part of productions for America’s Best Dance Crew and So You Think You Can Dance. His dancing has taken him on a world tour with several R&B and hip-hop artists. His time in LA saw him featured on a Disney television show. Tamarr has performed in Santa Barbara’s hottest nightclubs, local annual events, and exclusive privée parties. His attitude and aura inspires choreographers, dancers, artists, and musicians to create, own, and love their art. For years, Tamarr ran the Rhythm Dance & Fitness Studios and Rhythm Street Team. He travels to dance schools around the country educating students in the art of rhythm. He also continues to teach dance at local schools throughout the Santa Barbara community and offers P.E. credits to the community through exploring artistic movement, dance, & performance. Tamarr’s Hip Hop classes are intense, exciting, and dance packed. His unique, innovative, and challenging fitness style is like no other. He utilizes jazz, hip-hop, salsa, tribal Afro-Brazilian dance putting him in a league of his own.
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The Aerial Studio: Gregg & Carmen Curtis
The Aerial Studio is an internationally acclaimed aerial theatre and international rigging company. Owners Carmen and Gregg Curtis are national champion gymnasts and ex-Cirque du Soleil performers. They create aerial and harness flying shows for companies such as the LA Philharmonic, Cirque du Soleil, Dancing with the Stars, the Olympics, and the Met. Recently they choreographed Beyonce’s Foundation Tour. They founded Aerial Yoga and train teachers across the world to teach aerial and aerial yoga. They are excited to be teamed up with Santa Barbara Dance Arts, offering aerial dance classes led by their professional staff.
Guest Instructors
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Steven Lovelace | Instructor, Director Emeritus
Steven Lovelace founded Santa Barbara Dance Arts (formerly Santa Barbara Jazz Dance Academy) in 1997. Shortly after he met Alana Tillim, the two of them co-directed the business from 1998-2013, when Steven sold the business to Alana. Steven loves teaching at Dance Arts and choreographs for the Student Dance Companies. Steven began his dance career in Kay Fulton's Santa Barbara City College Dance Department. Since then, he danced with Repertory-West Dance Company, Santa Barbara Dance Theatre, Santa Barbara Civic Light Opera, Bill Evans Dance Company, and Nora Reynolds Dance. He was a member of the Lit Moon Theatre Company and co-directed Dance Warehouse from 1985-91. He has taught locally at Laguna Blanca, Marymount, Cate, and San Marcos, Crane and currently teaches at Peabody school. He co-directs Stage Left Theatre Company.
Steven’s reach in the community includes work with the Summer Solstice Celebration, SB Dance Alliance and he is the co-founder and scholarship mentor for the Arts Mentorship Program. He has helped generations of children fall in love with dance!
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christina Sanchez | guest Instructor
Christina Sanchez relocated to Santa Barbara after living and dancing in New York City. She received most of her training on scholarship at the Alvin Ailey School where she was later asked to join Ailey II under the direction of Sylvia Waters. She was then accepted into the Alvin Ailey American Dance Theater under the direction of Judith Jamison. She has also danced with Ballet Hispanico of NY, Buglisi/Foreman Dance, and Complexions Contemporary Ballet under the direction of Dwight Rhoden and Desmond Richardson. She is now a "Mommy" of two beautiful girls and is happy to be teaching at SBDA.
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Kyleigh Carlson | guest Instructor
Kyleigh Carlson, originally from Sacramento, California, began dancing at the age of four. She has trained extensively in jazz, tap, ballet, pointe, contemporary, hip hop and musical theater. Kyleigh danced with The Sacramento Ballet as an angel in their annual production of The Nutcracker and other productions directed by River City Theater Company. While attending Natomas Charter School's Performing and Fine Arts Academy for High School, Kyleigh was able to incorporate art into her academics. She felt like it was important to share her love of dance, which is why she became program coordinator and director of a dance program at a local community center. Her life has always been heavily focused in and around dance, so when the opportunity of becoming a member of a professional company, CORE Contemporary Dance arose, she leapt at the offer. Currently, Kyleigh is a dance major at the University of California Santa Barbara. She was awarded the Dance Education Laboratory Scholarship, which extended her education and training in New York (2013), and she also serves as an intern for Dr. Carol Press, History of Dance Professor at the University. She would like to thank her family and friends for supporting her and inspiring her, as she knows she would not be here dancing without them.
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Samantha Bell | guest Instructor
Samantha Bell is originally from Orange County, California where she trained with the Anaheim Ballet on full scholarship. She joined their company in 2008 under the direction of Lawrence and Sarma Rosenberg and performed principal and soloist roles, including the Sugarplum Fairy in Nutcracker, Aurora in Sleeping Beauty, and Romantic Girl in Graduation Ball. She continued her training by spending summers at American Ballet Theatre, Boston Ballet, Oregon Ballet Theatre, Joffrey Ballet and Ballet Austin. Bell won third place at Youth America Grand Prix San Francisco and went onto the New York City finals for three years. She is an Orange County Performing Arts Center Artsteach dancer and recently graduated from UCSB with her Bachelor’s of Arts in History. In 2010, Samantha was invited to join the State Street Ballet of Santa Barbara where she is currently entering her third season.
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Sophia Terango | Guest Instructor
Sophia was born in Virginia and grew up on the east coast until middle school when her family moved to Calabasas, California. She started dancing at the age of 3 and started competing when she was 10, which she continued until she graduated high school. California is really where her training started at Bobbie’s School of Performing Arts in Newbury Park, California. Throughout her time at the studio she was able to travel to Los Angeles any time she could to expand her dance training at Edge. Since graduating from high school she has furthered her dance education studying dance and communications at the University of California Santa Barbara where she is currently a sophomore.
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You are watching: Maya lin groundswell (1993)
sommos.net: phone call us about Groundswell.
LIN: Groundswell is a piece that I made for the Wexner facility for the Arts. It would be their very first permanent installation, and also Sara Rogers, the curator at the Wexner facility at the time, had contacted me, together she was very aware that the smaller sized studio sculptures. I had actually been concurrently building the Civil legal rights Memorial as I was making Topo and also all this outdoor pieces. I was functioning in my studio. Few of the works were being shown with broken auto glass, lead, beeswax. There to be smaller, personally scaled functions I can physically do myself. The rule was: I had actually to be able to make it. And I think Sara and I disputed the idea of pass something of my studio functions out that doors. And also I was fully interested in doing that, understanding that it was a museum, learning that—unlike a the majority of art in outdoor places where girlfriend really have to nearly gear yourself up for maintenance-free works—a work-related here might be much more delicate. I took one look in ~ the Wexner Center and I knew that. I had actually been because that years wanting to use the damaged glass the end of doors, however inherently it’s quiet glass, and you just can’t touch it. Friend can’t placed it the end there for, just free, for daily walkers-by.
So, when I went to the Wexner Center, ns realized that, as soon as Eisenmann draft the space, he had actually pretty much merged two disparate grids, and spaces were occurring naturally. They were what i would speak to his unplanned spaces, and they were developing in very, very visible locations. In ~ the prior entrance, you looked the end on this graveled rooftop. At the cafe, you looked under on an eight-foot-deep, very odd sort of pit, filling up with gum wrappers. And also there was another one on the upper level where the administration was—highly visible however physically non-accessible, because each of these locations was walled off. It was something the you might look the end on, both native inside and outside the building. And also I knew ideal away that I could use broken glass. However at the exact same time, what i was thinking of law would need dump truck tons of broken automobile glass, which usually I had not really ever before dealt with. I mean, I had actually taken something the was, like—these piece I to be making within were no much longer than the dimension of a table. They to be very, very small. But I knew that I wanted to do this.
The various other thing the was really important come me was that—unlike the intense amount of planning, modeling, preparing the I go into to make some of the large-scale outdoor works—I want to carry to this piece an ext the action of spontaneously make the work-related of art. Which supposed all the I in reality did as drawings and planning was two or three an extremely rough sketches ~ above Xeroxes of the photographs of the currently place. I deliberately wanted to treat the the way I enter my studio, not learning what ns going to do, and also make something. And also inherently, the difference—when an artist literally has actually a blueprint because that an idea and also then lets other people develop it, or even if it is you deserve to actually in ~ a larger scale physically walk out and spontaneously do something—is something ns really wanted to explore in this piece.
So, top top a offered day, forty-three loads of car glass arrived. I had a crew of three people, and we just made this piece. I was terrified because I also realized, “Well, if that an pure disaster, I’m out there in full view.” A studio’s a exorbitant place, because if it no work, nobody can ever hear about it. Right here I was, v school groups coming by, the town hall this, and also I’m the end there not having a clue as to what I can want to do. It took me three or 4 days. And the means in i beg your pardon the glass was lugged in . . . The architect in me kicked in, in ~ some point earlier in the process, and I realized, “This is no various from acquiring roofing gravel approximately the top of a roof.” So, I called up a roofing contractor, and also I said, “Well, I’ve gained these three rooftops the I require re-graveled,” and also they were, like, “No problem.” Then i told them the was broken glass, and they said, “Slightly no problem.” and the exorbitant thing about it is—to acquire all that gravel up, you need a boom crane and also a conical bucket—and we dropped the glass, bucket pack by bucket load.
And ns knew the the item would be about that because, again, these works space also about process. I think ns absolutely coming the end of a ’70s mindset in art, where the procedure of the making of the piece oftentimes deserve to play into the piece. And for this, the is around a conference of East and West. That a play on the Japanese raked gardens the Kyoto, and the Indian burial and effigy mounds of Athens, Ohio. So, it’s a real blend.
Maya Lin. The tide Field, 1995. Shaped earth; 100 × 100 feet. University of Michigan, Ann Arbor, Michigan.
sommos.net: could you speak a little more about these references?
LIN: The Wexner center is in Columbus, Ohio. It’s forty minutes away from Mound City, i beg your pardon is the biggest grouping of these mounds. So, the a mediate of a aware idea on my part to type of mix East/West culture, yet it’s also about bringing a studio artwork mentality the end of doors. And additionally it’s around process. And also I think Smithson had done a item for Kent State, referred to as Asphalt Pour, in the ’70s. He took a recording truck complete of asphalt and also just dumped the on the side of a hill. And also I think he buried a shed with that (or to be that another artist?). It was just around bringing in—tying in—a spontaneous process into the piece. But for me, it was my very first artwork that ns made that ns was having a problem. Because I knew when I had done the monuments that i was still trying to find something. I really perform feel the memorials space separate— was standing apart. I think monuments, unlike artworks, are a mix of art and architecture. They have a function, however their role is for the most part purely symbolic, so they’re in between. They’re type of the true hybrid between art and also architecture.
I knew, because that me, that ns was struggling in the studio works—and in an earlier piece referred to as Topo—to get ago to the floor in a much more fluid yet intuitive way. And I think, once I had made Groundswell, i realized that, for me, it to be my first artwork, and also I knew that i was very interested in where it was going come go. And also where it went was to The wave Field, i beg your pardon again led me to the entirety Topologies show. So i think, because that me, my sculptures resolve naturally arising phenomena, and they’re embedded and very closely aligned with geology and also landscape and natural planet formations. I think that someone’s work—like Alice Aycock or Scott Burton’s work—dealt with a language the tied it back into architecture.
sommos.net: Why is there such a distinction in her thinking in between art and also architecture?
LIN: I actually I store them separate; that’s simply a an option I made. Ns don’t recognize why i did it. I felt compelled to perform it, basically. I have two sides: creativity and also the architecture. It’s obtained ideas about framing the landscape, being ecologically and also environmentally sensitive—not the a most the artworks aren’t using recycled products and around nature in one more way. But formally, I liked that they’re different, that i don’t want my design looking prefer my sculptures, and also I don’t want the sculptures gift at all architectonic in their form. And that’s simply a choice I made, or a selection that was made. I don’t think I ever before really thought about it. Ns don’t think i woke increase one day and also said, “I’m walk to it is in an artist on some days and also . . .” it was an ext that i couldn’t choose between the two, nor did I choose to mix them. Ns think the taken me a human body of work to see exactly how I am developing.
Maya Lin. Avalanche, 1997. Tempered glass; 10 × 19 × 21 feet. Installation at the south Eastern center for modern-day Art, Winston-Salem, phibìc Carlina. Picture by Jackson Smith. Courtesy the the Southeastern center for contemporary Art and Gagosian Gallery, new York.
sommos.net: deserve to you speak some more about this?
LIN: Okay. Ns think yes a very easy segue into it, which i think is very, an extremely interesting. I have actually one large concern because I sort of split my time between the artworks and the architecture that—in a way, the procedures of do them room very, really different. And I’ve always been afraid the there’d be a real split, or a schizophrenia that would begin to occur, between my life and my an innovative process as an architect and my life in art.
Concurrent to the Topologies show, I had actually been inquiry by Knoll, a furniture company, to architecture their sixtieth anniversary collection. And from a designer’s suggest of view, indigenous the design/architectural world, the chair is, in a way, the closest come a self-portrait. What execute you look at like, if you were a chair? and also that to be a really tough struggle for me, since I simply was searching and searching because that something. And I started researching the history of the chair. And what I come up through is miscellaneous I finished up titling Stones, and also they are as much around sculpture as they are about design and architecture. And also the type is . . . You can’t fairly tell. That a very simple elliptical stool the you sit on—ever so contempt concave in the center. They’re lightweight concrete. And also they are about that merger, or that dialogue, ns have in between art and design; they’re a hybrid.
And the whole series is referred to as The earth Is (Not Flat); they address the curvature the the Earth. There’s a chaise lounge referred to as Longitude, i m sorry literally is the same catalyst I had to make The wave Field. That a slight undulation in the floor plan. But it additionally is playing off of design, taking Mies valve der Rohe’s classic psychiatrist flat daybed and also literally throw a curve ~ above that, native a design allude of view. I think, for me, the Stones are my favorite, if you have the right to have favorite (it’s constantly terrible to say her favorite).
See more: Wrath Of The Machine 4Th Monitor Locations In Destiny Rise Of Iron
But because, in their simplicity, castle both talk to the sculptural world and also the architectural world, and also in that feeling they really talk around who i am and where i’m coming from, they’re really important to me. Therefore that, simultaneously, I could be doing an art show called Topologies and also a commercial heat of furniture licensed has been granted The earth Is (Not Flat), and also yet castle the same voice. For the very first time, and also that to be a pair of years ago, i was type of do to feeling whole. Yet I think it is difficult to separate yourself into two worlds. So, it’s an extremely nice when you recognize that the worlds, though separate, space in pure close dialogue, and that lock in action with one another. And also that’s to be very, really important because that me in my aesthetic, imaginative development.
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Dezeen Magazine
Jet Set by Jaime Hayón
Milan 08: here are photos of Jaime Hayón's Jet Set installation for Bisazza at Superstudio Più in Milan's Zona Tortona last month.
See our previous story for more images and information from Bisazza.
Here's some text from Hayón:
I loved the idea of having the opportunity to create a humorous and more sophisticated version of such a serious and functional object: a plane.
The piece has a very charming integrated shape using crystal for the cabin and leather in the wings. With colorful weapons and love symbols this is a fun plane, set in the hangar of glamour. It is made of fiber and silver mosaic, which gives a luxurious and surreal effect to the object.
Black and white lines in the floor in Bisazza glass tiles create speed and movement. Reminiscing an old Hollywood scene, a very theatrical installation atmosphere will be created by the spotlights. A circular couch is the central element of the plane's body.
I can imagine this object flying out a couple of lovers drinking champagne to deliver energy and good vibes across their journey. Jet set is a living room plane; an art object in a fantasy installation that shows the potential use of the Bisazza materials.
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‘Heri Bert Bartscht: 100 Years’
University of Dallas Hosts First Retrospective Exhibit of Texas’ Influential Contemporary Sculptor Heri Bert Bartscht in Decades
Beatrice M. Haggerty Gallery Presents ‘Heri Bert Bartscht: 100 Years
Date Published: Wednesday, Jan. 29
The University of Dallas’ Beatrice M. Haggerty Gallery is excited to celebrate the life, work and lasting influence of the late Heri Bert Bartscht, emeritus professor of art and founder of the university’s sculpture program in 1961, with the opening reception of Heri Bert Bartscht: 100 Years. The retrospective exhibition features a wide variety of Bartscht’s prized work through the decades, many of which are on loan from private collectors, including former colleagues, friends and members of the University of Dallas community, as well as a number of notable pieces from the university’s Permanent Art Collection.
A natural cultural leader, Bartscht quickly became a prominent figure in the Dallas art community, founding and directing the Dallas Society for Contemporary Art, the forerunner to the Dallas Museum of Contemporary Arts and the Dallas Museum of Art. In 1954, he received the top award in the Dallas Museum of Fine Arts’ annual art exhibition for his small bronze sculpture “Palm Sunday”; Bartscht continued to receive numerous awards and distinctions for his commissioned works through his decades-long career in professional sculpture and teaching.
The opening reception for Heri Bert Bartscht: 100 Years will take place on Friday, Jan. 31, from 6-8 p.m., and the exhibition will remain open for viewing through Saturday, Feb. 29, 2020.
Bartscht held an impressive command of a number of mediums such as stone, clay, bronze and metal (forged and welded), as well as a variety of woods, all of which he used to fashion his many works. On display are some of his best-known mythical and religious-themed creations such as “Charon,” “St. Francis” and “Moses,” showcasing his signature Romanesque style of figurative abstractionism. Also featured in the exhibit are “Portrait of Gus Gwin” and “My Mother,” demonstrating the sculptor’s mastery of proportional realism.
In June 1964, the Dallas Morning News reported on the famed German sculptor in a feature titled “Frozen Legs Give Sculptor License to Live and Create,” from inside Bartscht’s former Charles Dilbeck home in Dallas: “Heri Bert Bartscht’s splendid Spanish-style studio home on Canterbury Court overlooks a shady vista of Kessler Creek below. Lights on the patio play on sculptured figures of his ‘Annunciation’ and his powerful ceramic ‘St. Francis’ [included in the exhibit] … And there in the cool evening, the most accomplished sculptor to make Texas his home relaxed with his ever-present pipe. He talked of his art and the fates that brought him here. … ‘Why me?’ he said finally.”
On his 20th birthday, still working on his studies at the Munich Academy of Fine Arts, Bartscht found himself drafted as a Nazi soldier in Hitler’s army: An “unenthusiastic telegrapher” forced into the destruction of Germany in the Nazi Blitzkrieg, he was also a fateful causualty of freezing Russian winter storms that resulted in his hospitilization and eventually captured by American troops, leading to his escape from the Nazis.
After the war, Bartscht returned to complete his studies at the Munich Academy of Fine Arts, receiving the title of “Meisterschuler” (or Master Student), which included a private studio and 100 hours of paid model fees each semester. With gaining recognition for his work, he received (twice) Munich’s annual prize awarded to competing artists in the city. After meeting his wife, Waltraud (“Wally”), a fashion designer and late professor of German at the University of Dallas, the couple immigrated to America.
“A fateful trip to Texas in 1953 turned into permanent residence,” commented Bartscht in the forward to his book “Twenty Years of My Sculpture” more than a decade later. In 1961, the University of Dallas invited Bartscht to establish a sculpture program, which led to his nearly 30-year tenureship and much of the program’s success at the university. Bartscht’s papers, including personal letters and correspondence, two scrapbooks, and magazine articles, are available at the Smithsonian Institute’s Archives of the American Art research repository.
A devout Catholic, Bartscht included powerful religious text and themes from the Old and New Testaments in his work. His education in Bavarian art and craft, as well as his understanding of architecture and design, made him a popular choice for Methodist, Lutheran and Catholic churches across the region, including the university’s own Church of the Incarnation, designed by architects Jane and Duane Landry, that includes Bartschts’ 12 Stations of the Cross, a long-distinctive feature complementing the building’s interior.
“You can’t give a person talent … but if talent is there, discipline will free it,” noted Bartscht in an interview with D Magazine in 1977. “When I left the Academy, I knew how to carve, cast, weld, make mosaics and stained glass, work with practically any material. Now some parts of my training were overdone, such as learning how to use 90 different wood chisels, but in the end craft leads to the discovery of form and style.” The article continued, “There’s a medieval adage that a sculptor without an architect is like a child without a mother. Well, architects are discovering that it works the other way too. We’re collaborating now instead of trying to upstage one another.”
Bartscht gained a prominent and lasting reputation for liturgical art among peers, fellow artists, architects and private art collectors, nationally and internationally, and was involved in more than 50 commissioned liturgical works spread across the Southwest in various churches. More recently in 2014, the American Institute of Architects Dallas Chapter awarded the university's Church of the Incarnation the 2014 AIA Dallas Twenty-Five Year Award, the highest award bestowed annually by to an enduring post-war architectural work that is at least 25 years old.
In 2017, the editors and readers of D Home, a publication of D Magazine, also ranked Bartscht’s former North Oak Cliff residence No. 1 among the “10 Most Beautiful Homes in Dallas.”
“Heri Bartscht was the most influential individual in my early development as a maker of things,” said James Cinquemani, a former University of Dallas graduate art student and long-time apprentice of Bartscht, starting at age 17. “He taught me how to weld, braze and solder.”
His last year in high school, Cinquemani recalled taking some of his “homemade” sculptures to show his art teacher who, unbeknownst to Cinquemani, entered one of his wood carvings into the University of Dallas High School Art Competition. Receiving third in show and first in sculpture, Cinquemani remembered his introduction to Bartscht upon arriving for his award presentation. “We had a great visit. Turned out that I was his Dallas Times Herald paperboy many years before and lived only four blocks away from his home and studio. He asked if I could weld. I told him I could. He asked if I would be interested in spending the summer break at his studio welding on a crucifix for a big commission for a church in Brenham, Texas. Of course I was.”
Cinquemani added, “Though many people have encouraged and stimulated my creativity before and after, Heri has been and continues to be the most relevant factor in my own success in metalworking and life."
The Beatrice M. Haggerty Gallery is located in the Art History Building at the corner of Gorman Drive and Haggar Circle on the University of Dallas campus at 1845 E. Northgate Drive in Irving. The gallery, which is part of the university's Haggerty Art Village, is free and open weekdays 10 a.m. to 5 p.m. and Saturday and Sunday noon to 5 p.m. For more gallery information, visit udallas.edu/gallery or call 972-721-5087.
For more information (and high-resolution images) contact: Christina Hayes Haley, Gallery Manager, University of Dallas Beatrice M. Haggerty Gallery, 972-721-5087, [email protected].
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The Paranoia Episode: How Safe Are We Walking Around with Camera Gear?
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In this episode: Camera equipment is expensive — how safe is it to walk around with it?
In this episode of the Fine Art Photography Podcast, we discuss a string of recent news headlines with cameras being stolen in brazen daylight robberies, and cover a few tips for keeping yourself and your gear safe.
Full Episode Transcript
Hey everybody, welcome to the paranoia episode of the Fine Art Photography Podcast.
If you’re a photographer — or the spouse of a photographer — I don’t have to tell you that photography is an expensive endeavor. It’s very easy for an investment to approach $10,000 for serious enthusiasts, and much more for Pros.
And we buy all these assorted lenses and accessories because we intend to use them, which means we zip them up in a fancy bag and carry them out into public. I mix my preferred locations up between landscapes, and urban settings. And while I almost always feel safe, I can’t deny that on rare occasions, I feel the need to be hyper aware of my surroundings. Am I being paranoid
Maybe so — but with all the recent news of camera thefts — many occurring even in broad daylight — it pays to be cautious. Have you heard these stories? It seems like there’s been a steady stream of news stories about photography gear getting stolen in bold public robberies.
Now I’m not an alarmist and I don’t want to overplay a few news headlines, but I’ve thought about this for a while. I’ve never had a serious problem, but I had a near miss in New Orleans where I overheard a trio of young men standing nearby on a crowded street corner sizing me up as a potential victim. When they realized I had heard them, they didn’t back away but instead focused on me even more intently. I had been standing with my camera backpack dangling on one shoulder, and my nose in my iPhone. It would have been easy for them to trip me, grab the bag, and run away into the crowd in three different directions. Luckily I managed to avoid being mugged, but it could have gone a different way had I not been aware.
There was a recent news story that’s so brazen it leaves me in disbelief. A photographer was recording himself with a camera on a tripod near the Golden Gate Bridge in San Francisco, in a public park, in broad daylight with other people around, when a young man ran up, grabbed the camera and tripod, and dashed away to a waiting car. In this case, some witnesses even got photographs of the getaway car with license plates clearly visible — but the case resulted in no arrests. According to the article, police claimed they were too busy to address cases of property theft. That photographer lost an A7RIV, a 70-200 lens, and a tripod. That’s easily a $4 to 5000 loss.
And there have been many other similar stories that have made the news recently. You probably heard about the real estate photographers who finished a job shooting a house in a neighborhood — also in the Bay area — and were observed placing their gear into the back of their hatchback. Minutes later, a car stopped beside them in traffic, a man ran to their car, smashed the rear window, grabbed the photographer’s gear bags with $7,000 of equipment, and sped away in a different direction. It took a matter of seconds for the entire caper. This was all captured on dash cam, but I never heard if those culprits were arrested.
I’ve long carried my gear in the back seat of my car (instead of transporting it the hot and bumpy trunk of my car), but I make a habit of buckling it in with seatbelts through the bag straps, this keeps it from going airborne in a collision, but also acts to slow down any potential cases of smash-and-grab. I figure if a thief smashes my window and grabs a bag, he won’t be able to quickly sprint away with it.
I love to photograph abandoned buildings and urban decay — this means I sometimes shoot in sketchy neighborhoods. There have been a few destinations where I have considered leaving my more expensive gear at home, or in the hotel, and carrying around a less conspicuous and less expensive camera. But of course, that’s silly. I go to these destinations to make photographs, and so I use my best gear, although sometimes I do scale back the amount of gear I carry and use a smaller, less obvious bag.
But the above-mentioned robberies didn’t take place in bad neighborhoods — they took place in nice parts of a wealthy and uber-expensive city. And truthfully, anyone I’ve encountered in downtrodden neighborhoods has either ignored me altogether, or was friendly and curious about what I was doing. Only once has a guy on the street made a comment that he bet he could get $100 for my camera — hahaha, yeah a little more than that, I thought to myself.
And it’s not just an urban thing. Just a few weeks ago on a hiking trail in the woods I came upon a guy who commented on my big bag and asked if I had a camera in there. I’m sure he was just being friendly but I shut him down. And I watched over my shoulder as I went on down the path.
So, aside from paranoia, what are some useful tips to avoid getting your gear stolen?
Here are some tips I’ve gathered from various sources around the web. Most are common sense, of course, but sometimes we need a reminder.
Number one on the list — make sure your stuff is insured! Sometimes things happen no matter how careful we are.
Be sure to record and keep track of your camera and lens serial numbers.
Use a registration service like LensTag. Also, register your gear with the manufacturer when you buy it.
Keep an eye on your bag in crowds — and if it’s a backpack, be careful that someone isn’t able to unzip and access your bag from behind you while you’re getting jostled in a crowd. It’s better to have the zippers facing forward where you can see them.
Along that same line, I saw one video where a guy had his camera slung over his shoulder and a thief distracted the photographer in discussion over a map or something while he deftly removed the lens from the DLSR with one hand.
Bring a partner who can help you manage and watch your gear when you travel or go on shoots.
Be discreet with the contents of your bag — in other words, don’t unzip your bag wide open and reveal a bunch of gleaming temptations to a crowd of strangers.
Never put your gear in a checked bag for air travel.
Refuse housekeeping visits at your hotel. Maids often leave doors open as they move back and forth from room to room and that means someone could surreptitiously enter and steal stuff while the door is open. Even better, use the safe if you must leave valuables in the room. I generally don’t leave valuables in the room when I’m away.
Keep your gear on you or close enough that you can see it. If you’re a working photographer who must leave gear sitting somewhere (think of wedding photographers), you may want to use motion detector alarms, GPS tags, or permanent gear ID tags that cannot be removed.
Some experts recommend using a messenger bag or somehow camouflaging the bag, but I’m skeptical of this. Thieves know what a camera bag looks like, even if the brand name has been covered up, or even if it’s a ThinkTank messenger bag rather than a big black camera backpack.
Follow your gut — if a place or situation feels risky, then avoid it. Use situational awareness.
Finally — remember to keep regular backups of images — because losing your camera is bad but losing all your work is potentially disastrous. Some experts recommend taking cards out of your camera between shoots, or switching them frequently so they don’t get snatched along with the camera.
Remember, don’t be paranoid, just be cautious and aware — and have fun!
Well that’s all I’ve got for this episode.
Thanks for listening everybody — I’ll talk to you again real soon.
KTVU Real estate photographer robbed of camera equipment while driving in San Francisco
PetaPixel I Was Robbed in San Francisco While the Cameras Rolled
Keith Dotson Photography Website
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Keith Dotson
Keith Dotson is a professional fine art photographer who specializes in black and white landscapes, cityscapes, and abstractions from nature.
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Episode 25
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A Celebration of Mountain Culture in the Outdoor Capital of the UK
2009 Winner
Richard Else - Recipient of the Scottish Award for Excellence in Mountain Culture 2009
On Friday 13th March 2009, award-winning filmmaker Richard Else became the second person whose contribution to mountaineering and Mountain Culture is recognised by the prestigious Scottish Award for Excellence in Mountain Culture. As a world-renowned filmmaker and documentary producer Richard has been the eyes and ears for millions of viewers across Britain and internationally. His pioneering approach to filming in remote locations has enabled viewers to gain an insight into the most thrilling climbs, harshest weather conditions and the breathtaking energy of peaks from Patagonia to the Himalaya.
Richard Else becomes the second winner of the award, set up by the Highland Mountain Culture Association Ltd, organisers of the Fort William Mountain Festival and sponsored by Rio Tinto Alcan, to promote mountain culture within Scotland and beyond. The annual award celebrates the achievements and accomplishments of one inspiring individual and their outstanding contributions to Scotland’s mountains, encompassing sport, theatre, art, photography, film and literature.
Richard is a multi award winner with films such as Wild Climbs, made for the BBC in Britain, which has won a total of 11 awards worldwide. Another of his films, The Edge, has been described by the Daily Mail as a ‘perfect documentary’ and received a Scottish BAFTA. It was later described by the then culture minister, Chris Smith, as one of the ten most important programmes made for television. These are just a tip of the iceberg; Richard’s BBC investigation into nuclear power won him a Clarion Award recognising best practice in communicating the importance of corporate social responsibility, sustainable development, social inclusion and ethical debate.
Richard Else said: ‘I’m honoured to receive this award and think it is vitally important in a wider understanding of why mountains and the culture surrounding them are so important. All of the films I have made are, in one way or another, a celebration of these special places. In Scotland we should understand that our wild mountain landscapes are of international importance and we all have a duty to preserve them for future generations. I’m delighted we have so many individuals and organisations who share that aim, including the Nevis Partnership and the John Muir Trust, but we need to be constantly vigilant if we are to protect these fragile environments. They are the crown jewels of Scotland.’
Today Richard continues as series producer of his own creation, BBC Scotland’s monthly primetime television series, The Adventure Show, that in its first series, was short-listed for a Royal Television Society award. He is also currently the executive in charge of BBC Scotland’s most ambitious climbing outside broadcast in four decades and the world’s first of its type in high definition / surround sound.
Richard has a parallel academic career. He is currently a Professorial Fellow at St Chad’s College, Durham University, where he is involved in using the media to promote social justice, including working with Britain’s first Fair Trade Organisation, Traidcraft, and is currently jointly authoring a report for the Joseph Rowntree Foundation on poverty and the media. He is also a regular visiting member of faculty at the Banff Centre in Canada.
Based in the shadow of the Cairngorms Richard is co-author of four books on climbing and wilderness travel. Richard has brought the beauty of the great outdoors to millions whether they’re in quiet suburbia or city centre high rises and his dedication to his craft has captured rugged wilderness’ around the world in all their glorious detail. Thanks to Richard’s work inhospitable places including Baffin Island in winter, the Himalaya, the Canadian Rockies, the Yukon, and the European Alps are now recognisable to outdoor and armchair enthusiasts alike.
Mike Pescod, Chairman of the Highland Mountain Culture Association, organisers of the Fort William Mountain Festival, said: ‘Mountains have always inspired artists, sportspeople, conservationists, musicians, photographers and writers. Those people in our mountain community never consciously strive for recognition of their talent and commitment. We feel that this award will not only celebrate their amazing achievements and contributions but will also represent the recognition of their peers. Richard Else is an ideal winner of the award, a man who has contributed so much not just to Mountain Culture in Scotland but to people across the world. ‘By awarding one exceptional individual every year we will create a list of ambassadors who will represent the best in Mountain Culture in Scotland and beyond. We believe that the continuing success of the Fort William Mountain Festival, together with an increase in it’s significance and importance by the annual presentation of this award, will also be reflected in economic and cultural benefits to the people of Scotland, particularly those that are resident in mountain or rural communities.’
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search current discussion categories books & magazines - magazines
cm on cm was tc's article on bc
updated thu 5 jun 03
clennell on wed 4 jun 03
Sour Cherry Pottery
> TC brought up a great point in the article, and something I've wondered
> about because I knew that Bruce is a teacher. That is, BC makes great pots
> while giving a lot of himself and his time to his students. I find that
> quite remarkable and it's great to see a man with skills in two worlds.
> Nice piece of work TC, thanks! Craig Martell Hopewell, Oregon
> ps: I thought this issue of Ceramics Monthly was jam packed with really
> good work. One of the best issues I've seen!!
thanks Craig
Bruce puts in BIG hours.
You know I thought it was a damn fine CM issue too. I liked that bit of
work Highs and Lows by John Dix? The guy in Japan. Been there and bought
the T-shirt.
there is always a beer here for ya!
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David Lynch as a Cult Auter
Only available on StudyMode
• Topic: David Lynch, Feature film, Film
• Pages : 7 (2568 words )
• Download(s) : 116
• Published : April 17, 2013
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David Lynch as a Cult Auteur
David Lynch has long been known for his abstract, surrealist, highly ambiguous, and often confusing films. Since his first film, the bizarre and depressing Eraserhead, Lynch has become synonymous with the word “baffled.” He has been responsible for heady acid trips such as Lost Highway, Mulholland Drive, and Inland Empire. He has created a bizarre examination of sex and violence in Blue Velvet and a quiet, emotional character study in The Elephant Man. Lynch has always been the artsy type; throughout high school, he was a keen painter, with a very abstract style, and after leaving school, he studied painting at the Museum of Fine Arts, Boston in 1964. However, he left after only a year, stating that "I was not inspired AT ALL in that place". He then proceeded to travel around Europe to study the works of Austrian expressionist painter Oskar Kokoschka. He returned to America, however, after only 15 days. He then studied Fine Arts at the Pennsylvania Academy of Fine Arts in Philadelphia, before moving to Los Angeles in 1971 to study filmmaking at the AFI Conservatory. It was at this time that Lynch began winning grants in order to fund his films, including one for $10,000 which he received from AFI in 1970 to make his debut feature-length film, Eraserhead. Over his lengthy career, Lynch has been nominated for four Oscars, but has yet to win. Four of his films have been nominated for the Palme d’Or at the Cannes film festival; 1990′s Wild At Heart won the prestigious award, and Lynch also won Best Director at the festival for his 2001 film Mulholland Drive. Lynch, like many other burgeoning directors, started his audio visual career making short films. From 1966-1974, he created four of film history’s arguably most memorable shorts, leading up to his breakout, oft-critiqued feature, Eraserhead (1977). His style is defined by the dark, the grotesquely physical, and the straight out bizarre. Many of his shorts included animation of his paintings. Sound and music for films was also of utmost importance to the paranoia-filled atmosphere of his works. The dark and the bizarre were aspects he would carry over to his television show, Twin Peaks, which aired for two seasons in 1990 and 1991. Lynch is valuable because he explodes conventions, both cinematic and psychological, but it’s not enough for him to be as strange as possible—even an approach based on throwing off the fetters of the conventional and the logical demands a kind of discipline. The trick is to allow one’s imagination free play, but to be able to recognize what is genuinely strange and unsettling, rather than merely bizarre, to distinguish between the rare specimens you’ve unearthed from the darkness of the ocean floor and the seaweed clinging to you when you emerge from the water. It’s a completely unscientific process, and one that can’t be forced, so in a sense it’s achievement enough that Lynch has remained devoted to exploring his own subconscious, however successful he’s been in conveying his findings to the screen. Leading film critics Le Blanc and Odell state that Lynch’s films “are so packed with motifs, recurrent characters, images, compositions and techniques that you could view his entire output as one large jigsaw puzzle of ideas.” One of the key themes that they noted was the usage of dreams and dreamlike imagery within his works, something they related to the “surrealist ethos” of relying “on the subconscious to provide visual drive.” This can be seen in John Merrick’s dream of his mother in The Elephant Man, Agent Cooper’s dreams of the red room in Twin Peaks and the “dreamlike logic” of the narrative found in Eraserhead, Mulholland Drive and Inland Empire. Another defining pattern of Lynch’s films is that he tends to feature his leading female actors in multiple or "split" roles, so that many of his female characters have multiple, fractured identities. This practice began with his choice to cast Sheryl Lee as both...
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Nike News
Your source for the latest NIKE, Inc. stories
Introducing Jumpman LA 12
Serving as a retail and brand experience hub for athletes, creatives and passionate Jordan consumers, the new Jumpman LA space at 620 South Broadway prepares the community for flight. In partnership with Footaction, the 24,906-square-feet location sits in the heart of downtown Los Angeles and features a pinnacle product lounge, sports-science-equipped Flight Lab and full regulation-size rooftop basketball court.
“Los Angeles is a city of champions and continues to develop some of the world’s most talented athletes and creatives,” says Jordan Brand President Larry Miller. “After seeing firsthand how passionate this community is about the Jumpman during last year’s All-Star Weekend, we are thrilled to open a space here permanently and continue to help make this a place where champions of sport, art and culture can thrive.”
To that end, Jumpman LA is anchored by three core spaces that invite interaction and engagement. The state-of-the-art Flight Lab offers one-to-one diagnostic and performance testing, as well as product customization. The store’s twin Flight Lounges are designed to showcase brand storytelling and local artists alike. Finally, on the rooftop, the Flight Deck will host local Jordan-Brand-sponsored schools and others on its regulation-size court.
“As Jordan’s exclusive retail partner for North America Jumpman stores, Footaction is thrilled to see the Downtown LA space come to life," says Ken Side, Vice President and General Manager of Footaction. "We pride ourselves on the one-to-one experience offered to each and every consumer that visits Jumpman LA."
Jumpman LA, located at 620 South Broadway, opens October 20 at 8:23 a.m.
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Exclusive: HGTV's Hilary Farr's method for combining paint and fabrics to create an impressive, 'unique space'
'It's a really important part of making a room look great': the designer's advice will change how you pair colors for good
(Image credit: Courtesy of Hilary Farr)
When looking for color pairing advice, you could do far worse than follow the wisdom of Hilary Farr. Fans of HGTV and W Network's Love It or List It may need no introduction to the designer's talents, but the British-born designer is just as creative off-screen.
As the show enters its eighteenth season, Hilary has simultaneously shifted her focus to product design – most recently working with Covington Fabric & Design to create the (aptly named) Love It Collection – comprising eclectic prints, woven textures, jacquard, and embroideries. Hilary's latest designs launch in May – but mastering the art of impactful color combinations begins now. So, where should we begin?
'The concept of a room’s character being open to change – through color, pattern, and texture – has to be the starting point,' Hilary says in an exclusive interview with H&G.
'You need to ask yourself, what is my starting point? What do I have to work with? It should always be functional, but should the pattern be intrusive? Should it be whimsical? Or loud or lusty? It can depend on so much, including the wall color.'
Hilary Farr
Internationally recognized designer Hilary Farr is the co-host of HGTV’s Love It or List It. The Toronto-born, London-raised designer regularly appears as a guest on leading news and talk shows and contributes to design publications around the US and Canada – while working on product design via her studio, Hilary Farr Designs.
Decorating with neutrals is at the top of Hilary's love list, and it's easy to understand their enduring appeal.
'I tend to use a neutral on the walls if I'm designing an entire house from scratch – because that's how I like to live,' Hilary says. 'I like to have a very neutral wall, and then I always paint the ceiling the same color as the walls. I think everyone should. That's a really important part of making a room look great.'
After deciding on paint ideas, Hilary injects personality by layering her fabrics – something that is easier to do if you've opted for a neutral backdrop.
'Paint is a quick and easy way to create a mood and character, and when it’s paired with the perfect fabric, you are truly creating a unique space (which is something I love to do).'
Though Hilary often uses neutrals in her designs, she understands that, in some spaces, you may want to opt for a more vibrant paint color. In this case, however, you need to ensure your fabrics complement – rather than fight – the wall colors.
'There are only two ways you can make fabrics, and a strong color on the walls works well,' she says.
'Firstly, you can contrast the paint with fabric to create drama and impact. Or, secondly, you can choose a dramatic paint color that makes a big statement – then pull an element from that to your fabric. The two things speak to each other – as opposed to a strong contrast where they look beautiful together – but are essentially two different elements that have met in the same room.'
In terms of styling paint and fabrics, Hilary says that there are no rules, but we do need to adhere to reality. 'You have to be practical with what you choose if you have children, dogs, and cats, for example.'
We're browsing neutral swatches as we await Hilary's new collection with Covington (and, of course, we'll let you know when it's out). Only a few short weeks to go
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Recueil des differens costumes des principaux officiers et magistrats de la porte; et des peoples sujets de l'empire othoman.
[Bound with] [Die algierische Hofstaat, dabei die beiden Brüder Wolfgang im Sclavendienst].
Stock Code 111328
Paris; [Augsburg], Onfroy; [Jeremias Wolff], [1775]; [c. 1701].
Original price $65,028.00 - Original price $65,028.00
Original price $0.00
$65,028.00 - $65,028.00
Current price $65,028.00
Two extremely rare works bound in a single volume: the first work illustrating the costume of the Ottoman court and the Ottoman empire, almost certainly assembled in Paris in celebration of the enthronement of Sultan Abdul Hamid I (Abd al-Hamid, Sultan 1774-1789); the second work recording the costumes and people of Algiers by the artist Andreas Matthäus Wolfgang (1660-1736), who was sold into slavery, along with his brother, and held in Algiers from 1684-1691.
The first work demonstrates how the French, along with many other European powers, were fascinated by the hierarchical arrangements of Ottoman Society and the etiquette of the various strata particularly in their dress. The author or editor of this work is unknown; perhaps the publisher Onfroy was also the editor. A few plates identify the artist and the engraver as Pitre and Juillet respectively. The plates depict the costume of the Ottoman court and military functionaries in detail and also that of the fourteen 'nations'. The work is divided into sections, each devoted to the costume of the different orders of society; they range from the Sultan and his close court to those from the more distant parts of the Empire, such as North Africa. This work develops the 16th-century imagery of Nicolas de Nicolay and the Blackmer catalogue considered that about a third of the plates were based on Nicolay prototypes, taken from his book of Turkish costume.
The second work is a product of the artist Andreas Matthäus Wolfgang's experience as a slave in Algeria. Andreas was born in Augsburg in 1660, and was trained to be an engraver by his father, Georg Andreas Wolfgang the Elder, who sent both him and his brother to England for further training. However, on their return to the continent in 1684, the brothers were captured by Algerian pirates and subsequently sold as slaves. The present suite includes a self-portrait of the artist serving chocolate and coffee while in the service of the Bey of Algiers, wearing traditional costume. The two brothers were only released once a ransom was paid, probably in 1691. Following his return from Algiers, Andreas settled in Augsburg and lived there until his death in 1736. Some of the etchings present are dated 1701 in the plate. The Liechtenstein Collections contain a suite of 16 plates, of which only 6 are coloured, and are ascribed dates from 1701-1710. It should be noted that the Liechtenstein suite matches 14 of the plates present in this volume, containing 2 plates not present here, but without 'Conterfan dess Mezomorto gewesten Daÿ in Algier' and 'Solimann ein verschnidner über des Königs von Allgier' found in this volume. The British Museum holds only 4 uncoloured prints from the suite.
Two works in one vol., folio (38 x 22.7 cm); [TURKISH COSTUME]: contemporary hand-coloured engraved title, engraved list of plates & 16 leaves of engraved text within borders, 95 [only, of 96] fine contemporary hand-coloured engraved costume plates, all within borders, and heightened with touches of gold and silver, a few signed Juillet after Pitre, lacking plates 88 'Femme Turque d'Andriople' and 96 'Femme d'Alger avec ses enfants', but with plate 14 'Le Moufti Commandant des Mosquées' in duplicate in two variants, one on smaller paper and loosely inserted with additional title of 'Officier du Divan' and 7-line explanatory text below, the whole within wide engraved border, the other with border matching the majority, additional title 'Et Chef de la Loi' as per Blackmer's listing, and without explanatory text, occasional faint spotting, but mostly clean and fresh; [WOLFGANG]: 16 engraved plates after Wolfgang by Jeremias Wolff, all with fine contemporary hand-colour and heightened in gold, within frames highlighted in yellow, some light offsetting and toning; early 20th-century green quarter morocco, flat spine in six compartments, lettered in gilt in the second, the others decorated with stars and crescent moons, light rubbing to extremities, front inner hinge starting to split.
Blackmer 1399; Bobins I, 127; Colas 2501; Nagler (Neues allgemeines Künstler-Lexikon), p.60Recueil des differens costumes des principaux officiers et magistrats de la porte; et des peoples sujets de l'empire othoman.
[TURKISH COSTUME]; [WOLFGANG, Andreas Matthäus].
Stock code: 111328
An exceptional experience in the heart of London’s Mayfair for not only seasoned collectors but those considering purchasing their first rare book or print.
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What is a Brand Style Guide
A brand style guide, sometimes referred to as a ‘brand book’ or ‘brand bible’, is the DNA of your company’s branding. It is a visual document that defines what your brand looks like.
A brand style guide is an essential reference for creating consistent and unified content across your business. It combines your company values, mission, and vision in order to establish how your brand will be communicated. This includes not only what your brand looks like, but also how it feels and sounds.
Why is a Brand Style Guide Important?
Your brand identity is like the personality of your business. It helps customers recognize and understand who your company is.
Setting guidelines for your brand helps to maintain a coherent personality so that your customers are able to both recognize and trust your brand. If your personality was always changing, customers wouldn’t know who you are. Inconsistency is confusing for clients and prevents them from being able to form a connection with your brand. A brand style guide is a great way to maintain your company’s personality and build loyalty with customers.
A brand book keeps your team on the same page. Designers, customer service reps, marketing, and sales employees can all benefit from your company’s style guide. When different people are all working to create a consistent look and feel for your brand, a style guide works as an important reference tool. This will help colleagues to create content which fits with the look and feel of your brand.
What is Included in a Brand Style Guide?
Brand Story
Your brand story helps to introduce your business. It gives a summary of the core components of what makes your business who it is. This should include aspects of your brand personality, vision, mission, and values. It may also be helpful to include who your target audience is.
This aspect of the brand style guide helps to ensure a consistent visual representation of your logo. It defines how your company logo is used in different environments so that your brand image remains recognizable. This section may include rules for the proper usage of your logo such as correct spacing, colour variations, minimum and maximum sizes. It can also be helpful to include logo ‘do’s and don’ts’ with rules on what to avoid. These rules will assist in preventing mistakes like incorrect alignment, stretching, and altering of the logo.
It may be useful to include imagery that has done well for the brand. Including images from the company’s Instagram, print materials, or previous advertising will indicate the visual aesthetic and personality of your company. You can also create a moodboard of images which you feel convey the feeling and look of your brand.
Colour Palette
A great way to make the designers’ jobs easier is to include a colour palette in your brand style guide. Including this will make sure that company visuals keep a consistent look and feel. Businesses often choose four or fewer colours and stick close to the colours included in their logo.
These colours should include one dark colour for text, a lighter colour which can be used for backgrounds, a neutral hue, and a colour that stands out.
You will want to show these colour swatches in your brand style guide, as well as include hex codes, RGB, CMYK values. This will help maintain a consistent look throughout your print and digital content.
A helpful tool for choosing colour schemes and creating colour swatches is Adobe Color CC .
Font selection is a huge part of creating the look and feel of your brand. Some companies choose to go with one typeface family, whereas other business may choose to use multiple fonts to define their brand. A professional designer can be a great asset when deciding on which fonts to go with.
Your style guide should include an explanation for the choice of font. How does this typeface fit with your brand? It should explain what exactly the typefaces are used for, how they should be aligned, and the spacing of the font, including tracking and kerning ratios.
Writing style is often overlooked when thinking about brand style, but it is one of the key components for how people perceive your brand. It helps to establish personality and affects the interactions your brand has with its audience.
When including voice in your brand style guide, provide appropriate writing tones by defining what sort of words you like vs words you don’t like. It can help to think of your brand as a person and include various qualities that might help to guide the writing style. Words like funny, energetic, positive, trustworthy, all have different meanings and can help to give an idea of how your brand will communicate.
A brand style guide is an important tool for any business. It is something that requires a great deal of consideration, and is worth investing the time and money in. There are many aspects that need to be considered, and seeking the professional help of a branding agency will help give you the advantage of knowledgeable and experienced designers.
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All-time favorites
It has been a while since I was active on wordpress, just as it has been a while since I wrote a poem, or spared a moment doing the soulful things that make me happy. It is amazing to think I have now been on wordpress for over four years! And look how time has flown by…much as it always does. It makes you realize the importance of preserving special moments with photographs and reliving those moments again…even if slightly altered in your memory.
Here is a collection of some of my favorite pictures over the past four years. Don’t tell me you cannot find a couple nice treasures here, even if I am no photographer! Enjoy!
I love pictures of everyday simple things. Beauty lies in things we tend to overlook so easily…and we are the losers for it. I love the spindly canopy of this coconut tree and the sky peering from its foliage.
I love the icy perfection of winter captured in this photo taken by a friend Viraj Thakur.
Isn’t this picture of Walden ponds in Massachusetts, simply beautiful? I mean just look at the vibrant colors. I can’t help but feel a kinship to Henry David Thoreau by being able to enjoy what he grew to love and enjoy so much. I am not comparing myself to Thoreau that would be tall order…just saying that I feel blessed enjoying the same sights he probably once did!
My husband and I had stopped by a random coffee shop one morning on our long walks. We were young, happy and carefree and the picture reminds me of those days.
And how can you live in Los Angeles and not have a few favorite pictures of the beach?
I know people find graffiti ugly and disfiguring, but I actually dig it. I see it as just another form of art. Take these beautiful photos for instance. What’s not to like?
Aah beautiful Sedona. Nothing screams peace, perfection and grandeur like Sedona! I wish I could live here.
Arizona 2014 117Arizona 2014 160
So that’s it folks. Feel free to pingback with your favorite photos or articles. I am dying to see what you got!
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Saturday, March 12, 2011
n. The beginning of something, such as an undertaking; a commencement.
First drawing in my moleskine, which Danielle gave me for my birthday back in October. hahah took me a while to draw in it. I was a bit intimidated by all the blank pages and the nice paper they were made of, but I think I've conquered that fear now. But still, the paper is possibly the nicest I have ever drawn on.
Drawn without gridding or tracing or anything but looking at a reference, so I'm pretty happy with this sketch. It probably took an hour or two. I found the reference image somewhere on tumblr months ago and saved it because I liked her haircut ahahha. I really wonder what she's looking at in the photograph though...
but yeah, hair is way easier to do with graphite pencils. I smudged this drawing a bit... meh. hopefully it isn't that noticeable. I haven't drawn with my pencils in a long time, so I wasn't as careful.
As for what I'll decide to draw on the blank page, who knows?
title comes from the fact that I've started drawing in my moleskine. Also, I definitely had a two-level dream last night upon which I woke up with an idea...
Also, visit Danielle! -->her blog | her dA
Without her, this drawing would not have been possible because she gave me the moleskine and the pencils ahahah (:
1. heheehhhh i approve of this picture :)
my favorite part is definitely her hair, especially towards the top where the highlights go looks fantastic
i'm just sitting here staring at the lines
aaah layered dreams are the best.. I've only had one, but it was awesome
and gotta study for calc now! yay
I like her haiiir. a lot. the highlights did that in the photo ahaha
I think that was the first layered dream I ever had. pretty cool
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Claudine Doury: Exploring Adolescence Through Photography
Photographer, member of the VU agency and winner of a host of awards (including the “Leica Oskar Barnack Award” in 1999, the “World Press” in 2000 and the “Prix Niépce” in 2004), Claudine Doury has worked on the subject of adolescence for a number of years. We talked to the artist around the French release of her latest publication, “Sasha,” and her homonymous exhibition in which she creates a delicate universe based on her own daughter’s coming of age – a universe that is both enchanting and disturbing.
Q: The world of adolescence is at the centre of your photographic work. What inspired your interest in this transitional period of life?
A: I’m interested in the world of adolescence because it is situated at a turning point in life. Adolescence is the crossroads of all possibilities. James Agee wrote, “Adolescence is a kingdom of fallen and still falling angels, but it is yet a kingdom.”
Q: You delicately capture certain moments and aspects of young people’s lives in the “Artek, un été en Crimée” series, sharing their day-to-day world for the duration of a vacation. While in the “Sasha” series, which focuses on your own daughter, you seem not to portray something that actually took place, but, instead, you capture certain sensations and perceptions specific to adolescence. With the “Sasha” series, this delicacy is constantly present, but each photo seems more able to exist in its own right. Each photo tells one or more ideas or stories relating to this transitional period of life. You seem to situate yourself in a branch of photography in which it is more a question of creating an image rather than capturing it as it is (bearing in mind that every photo is a construction, of course)! Could you explain how this shift in the way you broached and elaborated on this series took place for you?
A: The “Sasha” series is a kind of sequel to the “Artek” series, but I changed my approach in the latter. “Artek” was, first of all, a documentary work on the life of the biggest summer camp in what was the Soviet Union. After going there over a ten year period, I slowly began to focus on the relationship between young people amongst themselves, on their moods and their apparent passivity during the holidays. I then focused on rites of passage (“Sweet Sixteen” in the USA, “Quinceanera” in Cuba, etc.). Then the idea and desire to photograph not so much the social rituals of adolescence, but rather the secret rituals, as it were, took hold.
While there have been shifts and evolutions in my theme, there is a consistency in the treatment. Even if the environment is more constructed in the “Sasha” series, I always leave room for things that arise spontaneously.
Q: Other than the fact that your daughter appears in each of the images in the series, to what extent have you worked together on the creation of these photos, most of which appear to be staged.
A: What triggered this series was discovering Sasha rolling in the mud of an empty pond with a friend one day. Away from me, in secret, she was literally changing skin. Starting out from this premise, and with her agreement, I worked as I do normally, starting out either from a clear idea or from the memory of a moment already experienced or a specific environment.
Q: Your photographic style seems very cinematographic. In addition to the imaginary realm of adolescence, what other sources did you draw on to create this universe which is often magical and peaceful, but in which there is a latent unease?
A: The “Sasha” series allowed me to revisit my own adolescence. This universe is linked both to my imagination and my memory. The very theme, “the end of childhood,” contains fears and renunciations, but also promises of the future, or other sources of anxiety.
Q: Natural elements – the forest, water, mud, snow, grass, natural light, etc. – are highly present in your photos. How did you work with these elements? The light, in particular, contributes to accentuating the evanescent aspect of these images, which goes perfectly with the overall approach.
A: Natural elements such as water, fire, air and earth are indeed very important in my work. I mainly produced this series in a forest I have known since my childhood. The cycle of the progression of the seasons proved to be a powerful setting for this work on the passage to adolescence. Nature roots this passage in a constantly evolving universe and reveals the emotional states of this specific period.
Q: Lastly, a technical question: what equipment did you shoot this series with?
A: With a Leica M6, as always.
Thank you, Claudine!
-Leica Internet Team
To learn more about Claudine and view more of her work, visit her website: www.claudinedoury.com. To read the original French version of this interview, click here.
(1) Claudine Doury (Textes de Christian Caujolle et Melanie McWhorter), Sasha, Le caillou bleu,
(2) Sacha, du 5/01/2012 au 26/02/2012 – La Galerie particulière, Paris
http://www.lagalerieparticuliere.com/expositions/presentation/55/sasha
(3) The the series by visiting this website: http://www.claudinedoury.com/en/portfolio_artek.htm
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What is your style?
I have a very relaxed approach to taking photographs, I like to keep out of the way so that you are as natural as can be and comfortable in front of the camera. I'm always looking for those spontaneous photo's that you want to remember from your big day!
Do you need anything from us?
All that I need from you before your wedding is your timeline, to make sure that I am where I need to be at all times. The other thing I require is your photolist. This is a list of all the unique photographs you are looking to get and also a list of which group shots you are wanting.
What is it like working with you?
Let's start at the beginning! To begin working with me I require a 25% deposit, and a signed contract to fully secure your day. As soon as I have received these you can take a deep breath and you can tick "book wedding photographer" off of your list! If you have an engagement session booked with me this can be done anytime before your wedding and is a good way of seeing how well we work together. I will be around to answer any questions you may have leading up to your big day so do not be afraid to ask! I am just a message away! You won't need to worry about anything on the day of your wedding, I will be there capturing all of those beautiful moments. A few days after your wedding, I will send you some previews so that you can remind yourselves of how beautiful your day was before you whiz off on your honeymoon! All of your photos will be ready between 4-6 weeks after your wedding and will be available on an online gallery, as well as on a USB with your favourite few photographs printed.
Do you have a second shooter? And will we need to provide you with food?
You can opt for a second shooter for an additional £100 on top of your chosen package, it is always a good idea to have one as I can't be in two places at once! So whilst I am photographing you two having a laugh, the second shooter will be capturing Uncle Bill cracking out moves on the dancefloor! Also, it isn't necesary to feed us but it is always greatly appreciated.
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Today’s news:
New school trains young Queens artists
Only one week after welcoming its first crop of young artists, the Frank Sinatra School of the Arts in Long Island City is promising them an educational program that blends the artistic passion of “Fame” with the intellectual rigor of “Dead Poets Society.”
Classes at the borough’s newest public high school started last week with a celebration featuring legendary crooner Tony Bennett — who conceived of the school — Schools Chancellor Harold Levy and City Council Speaker Peter Vallone.
“It was like a boat,” said principal Elliot Salow of the ribbon-cutting ceremony, which officially opened the school’s temporary headquarters in a hallway on the fourth floor of building “C” at LaGuardia Community College in Long Island City.
Students at Sinatra major in one of five artistic fields — drama, dance, vocal music, instrumental music or fine arts — and are given the option of switching their focus to filmmaking, musical theater or technical theater when they reach junior year.
But the school is founded on a philosophy that balances academics and the arts, a goal achieved through an extended nine-period day that lasts 45 minutes longer than the city standard.
The focus on academics is popular among the budding artists’ parents.
“You can’t weave a tapestry if you don’t know math,” said Debra Halpern of Bayside, whose daughter is enrolled in the drama program.
Although Bennett originally contemplated honoring Sinatra with a statue in Times Square, the Astoria native later concluded a school would provide a more lasting legacy. The singer supplied contacts, resources and a vision for the school, guiding it with an affection visible even in his logo design — a hand-drawn treble clef that doubles as a microphone stand with a dangling cord.
The Frank Sinatra school sits a neighborhood that has drawn an increasingly diverse artistic community in recent years, including countless art studios and such institutions as the PS 1 modern art museum and MOMA Queens.
The permanent facility, which should be completed by September of 2004, will be built in Astoria across the street from the American Museum of the Moving Image, only steps from the Kaufman Astoria Studios, where television programs and films are produced.
Although its artistic needs necessitated major renovations of the LaGuardia facility, Sinatra’s only true performance space is a dance studio, an open room with a sprung wooden floor designed to give beneath the dancers’ weight to diffuse the impact on their legs.
“A regular school doesn’t have a sprung floor,” Salow said on the second day of school as he stood in the rear of the studio, behind a group of dancers learning a simple combination. “A regular school doesn’t need these kinds of facilities.”
At a school where many of the academic teachers have backgrounds in the arts — including a dancer and a former movement teacher at the Actors Studio in Manhattan — the line between the two is often blurred. For instance, a class might tackle Egyptian history by studying ancient art depicting the culture’s dance forms.
“It’s a big thing to try to incorporate the arts and the academics and to try to see the connection between the two,” said Wayne Quiles, one of two social studies teachers at the school.
Meanwhile, the students develop hands-on experience in their crafts by pursuing internships and using their talents for community-service projects in the borough.
“It’s a way to really use the arts for a purpose, not only to enrich themselves but to enrich others,” said Ira Shankman, an artistic consultant for the school who earned a Grammy nomination in 1978 for best vocal jazz arrangement.
“But I lost to the Bee Jees,” he said.
The competitive nature of a professional career in the arts is already known to Sinatra’s 243 students, who were selected through a vigorous audition that sifted through more than 1,500 applicants.
Although celebrity is always a possibility for graduates of an arts school, Salow has set a goal for his students that has nothing to do with fame.
“I would hope by the time all these kids graduate, they have an interesting choice,” Salow said. “They can choose from the best universities or the best conservatories in the country
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Wolfpack Wednesday: Alex Meraz Artistic Autographed Photo
There’s a bit of a story that goes along with this one.
If you remember, the other day we told you about a tablecloth that Alex Meraz doodled on and created a work of art that both Laura (pel) and Chaske Spencer said would be fabulous on tee shirts. Laura had also mentioned to Alex how much people on the Lexicon enjoyed his original art, especially the print entitled “Faith”. You can find prints on Alex’s website.
Well, before our blog story covering what happened in detail, Laura did a short tweet about it and put Alex’s Meraz’s twitter name in the tweet. So, lots of people retweeted the info and gave positive comments about the art, and because Alex’s twitter name was in the original tweet, he got lots of feedback and he really enjoyed that.
So, after a really long convention weekend, Laura went into the room where the actors wait until they are needed. She saw Alex at one of the desks in the room embellishing a bunch of his signed headshots. Laura asked him what he was doing thinking he was going to donate the items to an auction or put them on his website. Alex replied, “You really made me think about taking my artwork into other mediums. I’m doing these for you to give away on your website for being so supportive about my artwork.”
Laura was stunned. This was after Alex had been at the convention for two days, had done long photo ops, private meet and greets, and Q & A’s, AND in like 10 minutes he was doing another signing for at least 100 people before he had to run to his flight. She stammered out “Thank you so much!”, amazed that Alex would do one of those for us unsolicited let alone three of them.
So, we are giving away one of Alex’s special embellished autographed photos and we’ll give away the other two down the road.
So in the comments tell us what you think of Alex’s doodles and we’ll pick a random winner on Friday at 11:59pm est. The winner gets the headshot of his or her choice as seen in the above photo.
TY to Aryana for reminding us that we forgot to post this giveaway this morning!
1. jeanine bachmann amato says:
I find his artwork to be fresh and inspiring. I just ordered “Faith” from his website and am anxious for it’s arrival. After seeing some of his drawings at the convention this past weekend, I am sure these photos do not do them justice. I took my 13 yr old daughter to the convention as she is a huge Twilight fan. Alex sat with us for a few minutes at the silent charity auction/breakfast. He spoke of his artwork with such heartfelt passion, I knew I had to look into it further. I bid on the artwork at the auction but it went a bit too high for me. I would love to own another piece. Thank you for offering this.
2. heather cowdrick says:
Alex’s work is fabulous. I was at the convention in parsippany when these were auctioned off but did not have the winning bid. I would love to add one of this to my collection.
3. love the top left one with the circular spiral, looks amazing, such a talented artist
4. Thank you Alex for sharing your work with us. Your passion for art really comes through in your work! ^_^
5. Angela Graves says:
Alex is extremely talented. His artwork is beautiful; his acting astounding! He’s done a wonderful job on those pictures and I love his tablecloth ‘doodles’. 🙂
6. Tiffani Sanford says:
The detail and creativeness of his artwork is amazing. Every time I see something of his, I’m blown away. His “doodles” look so well thought out and lightyears away from my own doodles.
7. radiowidow says:
He is definitely multi-talented! But what impresses me the most about Alex and his co-stars is how they use their fame to bring attention to good causes that might not be noticed otherwise.
8. His artwork is beautiful! I would love a picture. 🙂
9. Wow!!! He is such an amazing artist. I don’t know what else you can say just Wow!
10. Seriously, I really love Alex’s art! And I would love to have one piece of it with me! I wish I were as talented as him. 🙂
11. Everything I’ve seen on his website or in person is very interesting and makes me really think about the art itself. He has an interesting mind. I’m glad to see him blossoming!
12. Alex is a talented artist with a unique style, I wish my art was as good as his. 🙂
13. I think Alex is a super talented artist not to mention a really great guy (no never met him personally) and I support one of his causes Defenders of Wildlife especially the wolves.
14. he’s so incredible talented! he should put the design from the table cloth on a shirt and make a bunch of them and sell them for charity! i know i would buy it! and i would love to own one of the headshots with a design on it, it would be incredible and i’d frame it! haha =]
15. That was so sweet of him! He’s such a talented artist. The two that he’s not working on looks like background too the picture especially the one with the sun he drew. I hope to one day meet him, so I can tell him how talented he is in person.
16. I love Alex’s doodles!!! They’re awesome!!!
17. Alex’s doodles are amazing!!! They’re so detailed and intricate for doodles and that’s why they’re so great.
18. Alex is so talented and being able to own a one of a kind piece of art by him would be awesome!!!
19. I love his art! He is so generous and talented!
20. Amanda M. says:
He’s such a cool guy. Great artwork, I’d love him to draw me a tattoo design!
21. I really think he needs to have a Twilight design tshirt. Can you imagine the money made from that alone. He is a really cool guy.
22. He is do gifted and really really sweet! I love him x x x x
23. Kassie Yates says:
faaar out hes amazing!!
being at a convention for 2 days then doing these!
gotta love him ;]
hes such a talented artist, and has inspired many of my art projects!
24. WOW!! I got to admit his artwork on the tablecloth was amazing but after a long convention he was still thinking of his fans is amazing!
I love the artwork on his website as well! He is one very talented person!
25. little-freak says:
he such an amazing artist!! i love his work!! i’d so love having one of this pictures!!!!
26. I love being able to see/hear about other things the cast are great at.It’s awesome to know that they are following all of their talents and not just forgetting about them because they can act.Thank you Alex for sharing your talents with us all,your work is phenomenal 🙂
27. Awesome. He is very talented and generous!
28. Awesome. He is so talented and generous.
29. Awesome. So talented and generous.
30. Alex has so many of these hidden talents like drawing and martial arts. He is incredibly cool
31. I LOVE Alex’s art work. If I had money when he auctioned those pictures off I would’ve bought one. He is really creative and is just so amazing. I go to his website everyday to see if there’s more work on there and if not i’m ok but i love to see his artwork. 🙂
32. Fantastic Artist love his work so talented. His website has amazing pieces of artwork on that he’s done 🙂
33. Alex’s artwork is beautiful from what I’ve seen here. I’ll have to go look at his website to check out more, but I really love the “phoenix rising” drawing he did on the table cover.
34. I had the pleasure of seeing some of Alex’s drawings over this past weekend at the NJ Convention and have also seen his drawings on his website. Faith is actually my favorite. It would be amazing to own one of Alex’s drawings. So it would be great if I get picked.
35. Alex can seriously make anyone jealous with how talented he is. His artwork just puts me in awe. It’s so amazing.
36. Alex’s art is amazing! I love how each piece speaks to something that’s influenced him or something that’s personal to him. Makes it all the more special!
37. Wow
He’s really good. I love he’s work.
Alex is really talented and he should definitly share he’s talent with the world.
It’s like each picture tell a story.
You can see that he’s drawing come from within him.
Very impress.
38. Nicole Bache says:
Alex’s art work is amazing. That was so nice of him to take the time. That just shows how much he appreciates all of his fans. I haven’t had the pleasure of meeting him yet but hope to some day. I would love to win one of his photos.
39. So much talent…..so little time!!!! What a GREAT guy!!!
40. Seriously, I love Alex’s art. Well, some of it probably has to do with the fact that I’m pretty bad at it, so I admire those who have talent. But also, his paintings and drawings are so simple and complex at the same time. He just focusses on one or two objects, but he puts so much into each one! And then of course he has his unique style, which no one can copy. So yes, I’m really enthralled by his work right now.
Also excited that he liked all the feedback from that one tweet. As soon as I saw his name was tagged in it, I new I had to RT and comment. It’s a great feeling to know that amid all the crazyness, he noticed and appreciated our appreciation!
41. i love his doodles! i hope to meet him soon. those who have had the chance to meet him always say such great about him. i cant wait till twi-con comes to hawaii!
42. How amazing–the art as well as his generosity! The doodles around the head shots fit with the mysterious vibe of Twilight and have a tribal feel as well. Very cool. 🙂
43. I think its amazing that Alex would do something like this. His art itself is always beautiful, but him offering this up shows just what a wonderful person he really is. I’d love to have one of these prints.
44. Angela Brasher says:
Alex’s artwork, whether it be on table cloths, pictures or anywhere else, is amazing. The story of him offering the pictures to Laura brought tears to my eyes. To offer something as personal as what his heart creates – just to say ‘Thank you’ – WOW.
Thank you Lexicon for sharing this story, picture and artwork!
45. He’s an amazing artist and such a great person for sharing this. What a wonderful story!
46. I imagine Bob Ross (the “happy little clouds” painter who inspired a very young Alex) is smiling somewhere.
47. Alex’s artwork is amazing. The colors he uses are beautiful. That kind of creativity is something I’ve always admired. I would be honored and ecstatic to have something so amazing!
48. I love Alex Meraz’s artwork. He is such a diverse artist and seems to be very appreciative of his fans.
49. wow he is such a great guy and us the fans appreciate when they do extra stuff like this. He is such a talented artist(and actor), i’m jealous I paint but nothing close to his great work. I would love to add some of his artwork to my walls with my stuff, please pick me 🙂
50. Alex is an amazing artist & i really hope he turns the phoenix or well the bird he drew on the table cloth into a shirt TY twilight lexicon for inspiring alex & sharing it with us. but mostly TY to alex juz for being an all around great guy & an amazing artist.
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DP2M vs 5DII comparison pic
Started Jan 20, 2013 | Discussions thread
Shop cameras & lenses ▾
Richard Franiec
Senior MemberPosts: 2,454Gear list
Re: Thanks Kendall and Lin,
In reply to Lin Evans, Jan 21, 2013
I can see the logic in reflection in ice crystals of the deep blue skies. I cannot really compare that in "my" altitude and conditions.
As for Lin's comment on the Nikon cat picture, I can only notice that the cat does not create "shadow", except for the side which is really blue. To me it seems like the cat was exposed for the white fur as there is not much of the blown highlights, leaving rest of the image, including skies grotesquely underexposed.
Another thing is the difference when looking at the rendered picture in post compared to original. This could lead to the not so accurate conclusions "at the first glance"
Thanks guys
Lin Evans wrote:
Hi Richard,
I too live at high altitude where we have intense blue skies and lots of snow. Actually, I only live about 50 miles north of Kendall.
He is indeed correct about the color of snow in the shadows and even in the sun under an intense blue sky. There are myriad "types" of snow. Some is powder, some crystal-like and other almost ice-crystals. When there is a heavy percentage of ice on the top layer, the sky is strongly reflected and the "correct" color is various shades of blue.
Yes, one can easily remove the blue tint, but then it wouldn't be true but "constructed." Sometimes that may be what is desired and I see no problem with changing the color of the snow if that suits the photographer and the audience. But on the other hand, there if one wants to be accurate, often the blue tint is absolutely correct.
As you can see in the Nikon photo below, the white in the "cat's fur" is absolutely white because there is no reflective substance to produce the blue from the sky. Also, on the snow in the "shadow" of the cat it is white because the blue reflection from the sky is obscured by the cat's body. But elsewhere, the very intense blue sky is reflected accurately by the snow. This is precisely how my eyes see it frequently in Colorado.
Best regards,
Richard Franiec wrote:
No need to be sarcastic, Kendall,
I'm sure that you know that setting exposure and WB correctly or adjusting it in PP could eliminate this phenomenon. No matter what camera took the picture, Sigma or Nikon.
BTW, you must have different vision from mine if you see the blue snow in the shadows. Maybe your sun works differently closer to heavens? I'm sure that you can see the yellow snow more often than I can see it here but that's another story.
http://blog.burrard-lucas.com/2010/06/pet-photo-contest-results/
Nikon camera image
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Artist's description:
Thank you for looking at my artwork. This one of a kind painting is done in acrylic . I try my best to represent the true colors of the paintings in the photos, but sometimes you can see a slight difference in tone. This painting has painted white 0.7 " wide sides, canvas is gallery streched. It can be displayed without frame. I use professional grade materials and canvases, and the painting is finished with a glaze of UV varnish to protect against sunlight and dust damage. Signed on the back. Painting size is 24"x24". The international buyer is responsible for any additional customs duty charges, if applicable. Certificate of authenticity is provided.
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Abstract beach (2016)
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User 8 of 10
Joseph Romain
Title: Photographer
Careof: Plumbob Publishing
Address: PO Box 22987 Seattle, WA 98102-0339 USA
Work Phone: 800-854-2834
Fax: 888-628-0839
Web: PlumbobPublishing.com
Joe grew up in the greater Seattle area, attended college here and then traveled south to study at the highly regarded Brooks Institute of Photography in Los Angeles. Considered the top school of its kind in the United States, Brooks has a reputation as a place that is hard to be admitted and even tough to graduate.
Serving as Staff Photographer, Joe also is the Videographer and creative directory for many of the company's websites and print materials. In addition to shooting highly refined still images he oversees acquisition of stock photographer, and creation of panoramas and videos.
Joe's work for the company takes him to great destinations and provides an opportunity to shoot resort, community and area photos as well as the real estate, lodging and architectural photos requires for this job. His photos are recognizable for their vibrant colors and clarity. He has an eye for the unusual and turning what could be a pedestrian commercial image into a work of art.
Joe is married and his wife is also a graduate of the Brooks Institute and a highly regarded photographer in her own right. They live in West Seattle.
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15 Women who shaped dance at Sadler’s Wells
In the week marking HeForShe Arts Week and following on from International Women’s Day, we look at some of the inspirational women who have shaped Sadler’s Wells’ history and continue to influence the world of dance today.
1. Lilian Baylis (pictured above)
Lilian Baylis is one of the most important figures in the history of Sadler’s Wells and British theatre, whose legacy continues to be felt today. Having been the driving force behind the development of the Old Vic as the home of high-quality accessible drama and opera, in 1925 Lilian Baylis began fundraising to rebuild Sadler’s Wells, where she envisaged “tickets affordable by artisans and labourers” in North London. The fifth Sadler’s Wells building (since the original theatre was founded in 1683) opened in January 1931. Her direction enabled the creation of what later became some of the UK’s top performing companies, including The Royal Ballet, English National Opera and Birmingham Royal Ballet, as well as the renowned Royal Ballet School. A second space on the site of Sadler’s Wells was named the Lilian Baylis Studio in recognition of her, and provides a home to smaller scale work and work by emerging artists.
2. Dame Ninette de Valois
Dame Ninette de Valois (Edris Stannus) was a ballerina, choreographer, ballet company director and teacher who founded The Royal Ballet. Born in 1898, her career had a huge impact on the world of classical ballet and she lived to the incredible age of 102. Lilian Baylis, who at the time was director of the Old Vic, was a great supporter of her work. The pair established an agreement for de Valois to create dances in support of the theatre, which – after the reopening of Sadler’s Wells in 1931 – led to the founding of Sadler’s Wells Ballet, later The Royal Ballet, making her one of the most influential figures in our history.
3. Dame Marie Rambert
Born in Warsaw, Poland in 1888, Marie Rambert became the founder of Ballet Rambert, later known as Rambert Dance Company. She trained under the Russian impresario Serge Diaghilev and danced with Ballet Russes early in her career before moving to London at the outbreak of the First World War and eventually establishing her own company. Rambert was the first company to perform on our new stage when Sadler’s Wells current building opened in October 1998. Their latest piece, Life’s a Dream, premieres here in May.
4. Martha Graham
American dancer and choreographer Martha Graham is highly regarded as one of the most important faces of modern dance in the 20th Century. A trailblazer of her art form, Graham collaborated with the leading fashion designers, visual artists and musicians of her day and established the Graham Technique – a style of movement which is taught worldwide. Her legacy lives on through The Martha Graham Center based in New York, which houses the Martha Graham Dance Company and School of Contemporary Dance.
5. Pina Bausch
Pina Bausch was artistic director of Tanztheater Wuppertal for over 35 years and remains one of the greatest choreographers of our time. During her directorship, she created over 40 productions for the company. We have presented many of them on the Sadler’s Wells stage and developed a close relationship with Tanztheater Wuppertal, which considers us their London home. Throughout her career, Bausch had an interest in film-making and collaborated with Federico Fellini on And the Ship Goes, as well as creating her own film The Complaint of the Empress and appearing in Pedro Almodóvar’s film Talk To Her. Her untimely death in 2009 shook the world of dance. “She was an artist of the kind that the world is only blessed with from time to time,” said Sadler’s Wells’ Artistic Director and Chief Executive Alistair Spalding. “Her repertoire of works has inspired generations of audiences and artists, with an impact that is hard to overestimate. She was a dear friend to me and I will miss her greatly. There is now a big hole in my life, and that of countless others.” Pina, a documentary film by Wim Wenders, was released in her memory shortly after her death. The company continues to present her work in theatres around the world. In 2015, it became an International Associate Company at Sadler’s Wells.
6. Anna Teresa De Keersmaeker
Belgian choreographer Anna Teresa De Keersmaeker is an innovative leader in contemporary dance. Her bold and uncompromising choreography explores the relationship between music and movement and is influenced by subjects such as geometry, numerical patterns, the natural world and social structures. Based in Brussels, her world-renowned company Rosas has performed many times on our stage and is an International Associate Company at Sadler’s Wells. In 1995, De Keersmaeker established P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels, one of the world’s leading choreographic schools. Our Associate Artist Sidi Larbi Cherkaoui spent a year there as part of his dance training, while our other Associate Artist Akram Khan took part in the school’s X-Group project, a creative programme for young choreographers.
7. Siobhan Davies
Siobhan Davies trained at London Contemporary Dance School and started her own company in 1981, also joining with Ian Spink and Richard Alston to found Second Stride, and launched her own company again in 1988. She has twice received the Laurence Olivier Award for outstanding achievement in dance.
She came regularly to Sadler’s Wells with innovative and iconic works throughout the 90’s, gradually moving away from making work for the stage in favour of other contexts such as gallery, evolving from a national touring dance company into a ground-breaking investigative contemporary arts organisation based in a bespoke building since 2006 in Elephant & Castle.
8. Nilda Guerra
At the heart of Cuban dance maker Nilda Guerra’s choreographic style and vibrant shows are the exploration and fusion of diverse dance styles and trends: Cuban popular and traditional, classical and contemporary, jazz and folkloric. Her hit Havana Rakatan, produced by Sadler’s Wells, premiered at The Peacock in summer 2007. Since then, it has enjoyed many successful West End seasons and toured extensively around the world to audiences of over 221,000. Her company Ballet Rakatan has performed at prestigious international venues such as the New York City Center Theater, Sydney Opera House, Amsterdam’s Carré Theatre, Rome’s Teatro Sistina, Oslo Opera House and Tokyo City Hall among many others. Nilda’s latest show Vamos Cuba! – a “high energy celebration of Cuban culture”premiered at Sadler’s Wells in 2016.
9. Sasha Waltz
The Berlin-based choreographer, whose birthday falls on International Women’s Day on 8 March, recently returned to Sadler’s Wells with her company Sasha Waltz & Guests to present Körper, the first in a choreographic trilogy focused on the human body. The piece premiered in January 2000 at the Schaubühne am Lehniner Platz in Berlin, where Waltz was co-director for five years. Our Artistic Director and Chief Executive Alistair Spalding describes the production as a “modern classic”.
10. Sylvie Guillem
French ballet dancer Sylvie Guillem began as an aspiring gymnast with Olympic hopes, but changed career path when she arrived at the Paris Opera Ballet School on a year’s exchange. In 1984, aged 19, she became the youngest dancer in the history of the Paris Opéra Ballet at that time to be made an étoile (star), the highest rank within a ballet company. As a Principal Guest Artist of The Royal Ballet between 1988 and 2007, she gained international fame for her roles in the classical repertoire. As an independent artist, her curiosity and desire to experiment with, and inhabit, different movement languages led to rich creative collaborations with leading modern choreographers and theatre directors including William Forsythe, Mats Ek, Jiri Kylian, our Associate Artists Russell Maliphant and Akram Khan, and Robert Lepage. She was appointed a Sadler’s Wells Associate Artist in 2006 and, since the end of her dancing career in 2015, has become our first Associate Artist Emeritus.
11. Sara Baras
Flamenco superstar Sara Baras has been performing for over 30 years and leading her own company since 1998. “It has given me the freedom to show the world how I feel and to learn how I can best present my flamenco productions. I have been able to do shows both with and without narrative, and to develop the work with dance and music in a very positive way. I’ve had to take a lot of risks – if you run your own company, you can stray from the familiar path to present something new,” she told The Guardian. Ballet Flamenco Sara Baras has performed at Sadler’s Wells’ on numerous occasions, both as part of our annual Flamenco Festival and the broader programme. Her prodigious stomping footwork, curving torso and powerful expressiveness have captivated audiences the world over.
12. Crystal Pite
Canadian dance maker Crystal Pite is a Sadler’s Wells Associate Artist and one of the most original choreographic voices working today. A former company member of William Forsythe’s Ballett Frankfurt and Ballet British Columbia, she established her own company, Kidd Pivot, in Vancouver in 2002. Her distinct style integrates classical elements with structured improvisation. Her work Betroffenheit, a collaboration with playwright and actor Jonathan Young, sensitively explored the themes of trauma and suffering, earning great public and critical acclaim as well as multiple awards, including an Olivier for Best Dance production. A five-star review in The Guardian praised the work as “human suffering transformed into heroic brilliance”.
13. Jasmin Vardimon
Jasmin Vardimon is a leading force in British dance theatre. Born and raised on a Kibbutz in central Israel, she joined the Kibbutz Dance Company and, in 1995, won a British Council On the Way to London Choreography Award. She moved to London in 1997, where she founded Jasmin Vardimon Company (previously Zbang). She has been an Associate Artist at Sadler’s Wells since 2006 and presented many of her works on our stage, including Freedom, 7734, Justitia, PARK and, most recently, her retelling of Pinocchio, “a show of dazzling imagination”. Jasmin was the first Guest Artistic Director of National Youth Dance Company in 2012-13.
14. Kate Prince
Kate Prince is the Artistic Director of ZooNation, which she founded in 2002. Three years later, we commissioned the company’s first first full-length work, Into the Hoods, conceived and directed by Prince. The production premiered in 2006 to huge critical acclaim. It became the first hip-hop dance show to transfer to the West End and the longest running dance show in West End history. We presented another of her most popular works, Some Like it Hip Hop, three times at The Peacock theatre, our West End venue. In May 2010, Kate became an Associate Artist at Sadler’s Wells and ZooNation became a Resident Company. An Old Vic, Sadler’s Wells and ZooNation: The Kate Prince Company production, co-commissioned by 14-18 NOW, her latest work Sylvia is a modern musical celebrating the life of suffragette Sylvia Pankhurst and will premiere in September.
15. Liv Lorent
As Artistic Director of balletLORENT, Liv Lorent’s choreography has taken classic fairy tales and reinterpreted them for modern audiences in innovative dance theatre productions. Her production of Rumpelstiltskin, will be presented as part of Family Weekend this March before embarking on a UK tour. She has received many awards for her work, including the Jerwood Choreography Award and an MBE for Services to Dance in 2014. She has been commissioned by leading dance companies, including BalletBoyz, Scottish Dance Theatre and Singapore Dance Theatre. Newcastle-based balletLORENT is a National Strategic Partner of Sadler’s Wells.
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Artistic Tales Archives | Page 2 of 2 | Fly Me To The Moon Travel
Konstantinos Kaspiris: Soli Dharma the miraculous energy oils
Konstantinos Kaspiris is an inspirational character who wears many hats. His exceptional talents are reflected in his numerous roles as a costume designer, stylist, fashion expert and creator of the miraculous energy oils — the Soli Dharma.
Dassios art and fashion: A blend of travels, senses and heritage
Dimitris Dassios is one of the most prominent Greek fashion designers. His unique collections can be found in some of the most exclusive fashion boutiques around the world. Since 2005, Dassios has presented his dazzling collections twice a year at the prestigious fashion fairs WHITE and TRANOI, held in the fashion capitals of Milan, Paris
Greek Wooden Boats: The history of traditional craftsmanship
Caressed by a gentle sea breeze and illuminated by the glorious sunshine, Greek wooden boats have a proud and long-standing tradition of sailing the Aegean Sea. As time goes on, this great trade will become more precious. Today’s boat makers can embrace their history and preserve traditions so that the generations to follow will have
Michael Pelamidis: Art is one of the most resilient flowers
Michael Pelamidis is a young, talented and restless jewelry designer. At a young age he has gained the recognition as a top Greek jewelry designer. Born and raised in Paris, Pelamidis moved to Greece to further explore his passion for jewelry design. He says that “art is one of the most resilient flowers” his artistic
Contemporary Ceramics in Modern Greece
Contemporary ceramics in Greece have a storied and fascinating history. A History of Ceramics The history of ceramics dates back to 10,000 BC when the pottery was used for storing water and food. Since then, ceramics and pottery have evolved as a vital tool, influencing the progress of humankind. Eventually, contemporary ceramics were created by
National Museum of Contemporary Art: EMST PROLOGUES
The Greek art scene is getting ready for the full opening of a significant new addition to the Athenian landscape, a new National Museum of Contemporary Art in Athens. Some say its Greece’s version of London’s Tate Modern.
Folk Music of Epirus: Timeless Music of Greece
Backed by a fascinating history of eloquent musical innovation, the folk music of Epirus is the end result of diverse influences that create a unique timeless sound. It’s a story that intertwines musical passion, cultural and religious beliefs and deep rooted tradition from this northern pocket of Greece that sits on the Greek and Albanian
Contemporary Byzantine Painting: Art by Fikos
Not yet 30 years old, one Greek artist is a rising name in the art world, a pure talent in contemporary Byzantine art. In this Art Tales post, we take a deeper look into what inspires him.
What Inspires a Top Greek Jewelry Designer
One talented Greek jewelry designer captures color, imagination and artistry in her pieces — in a special way that we love. Dolly Boucoyannis’ jewelry is part of the collections of many of the most elegant Athenians. She combines traditional Greek elements from various historical periods. Furthermore, her designs are influenced from her travels around the
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Laser-awesome
We interrupt this blog-post-stream on Brisbane and the JMGA conference, to feature a delightful lasercutting demonstration by the affable nerd Adam Savage.
It’s super awesome, as it shows how the whole laser system works (the part with Adam drawing in Rhino is pretty much how I design my pieces, right down to the removable guidelines and layer manipulation, and you will note after his demo that I am clearly also in love with polar arrays) alongside the drafting of the object, and how quick it is to have a part versus how long it takes to draw one.
And if you, like me, now have Georgie Girl stuck your head, here’s the complete track;
With thanks to Arthur Hash for posting up the first link on his blog. On a side note, I’ve seen a few YouTubes of late that feature Adam getting around his private workshop, and I’ve found them pretty good viewing.
One response to “Laser-awesome”
1. Very interesting! I’ve just learned about accessibility to such a device in my city, so this was very exciting. Lots of ideas floating through my head. Thanks!
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Uproar as UK government plans to cut funding for arts education by 50% to prioritise 'high-value subjects'
Artists express concerns and the Public Campaign for the Arts launches a petition as the consultation on the planned budget cuts to higher education ends today
The UK government faced a huge backlash in October last year when it released an advertising campaign that encouraged those in the arts to reskill for technology jobs Courtesy of Public Campaign for the Arts
The UK government faced a huge backlash in October last year when it released an advertising campaign that encouraged those in the arts to reskill for technology jobs Courtesy of Public Campaign for the Arts
Artists and curators are urging the UK government to reconsider plans to cut funding for art and design courses by 50% across higher education institutions in England. Under proposals put forward earlier this year by Gavin Williamson, the education secretary, funding from the Office for Students (Ofs)—the independent regulator of higher education—would be cut by half for students of art and design, music, dance, drama and performing arts, media studies and archaeology during the 2021-22 academic year.
The deadline for consultation on the planned budget cuts is today. In a statutory “guidance” letter to the Ofs, published in January, Williamson says that “the Ofs should reprioritise funding towards the provision of high-cost, high-value subjects that support the NHS... high-cost STEM subjects [science, technology, engineering and mathematics]”.
Williamson adds that the “Ofs should therefore reduce funding by 50% for high-cost subjects that do not support these priorities. We would then potentially seek further reductions in future years.” Each full-time student on an arts course is currently awarded £243 in funding (2020-21) from the Ofs; under the revised plan, each student would be awarded £121.50. The move would save around £20m, says Williamson.
The advocacy organisation Public Campaign for the Arts has subsequently launched a petition calling for the government to commit to “proper funding for higher education providers to continue to deliver world-leading arts courses”; so far, it has garnered more than 23,000 signatures.
“A 50% cut to arts education is unthinkable. Please sign and stop this,” says artist Sarah Kogan on Instagram. “We believe the arts should absolutely be a strategic priority for the government,” she adds. The Irish artist Garrett Lynch also criticised the plan, saying on Twitter: “More genius moves by the Conservatives,” adding that the creative industries contributed £112bn to the UK economy in 2018. The artist Bob and Roberta Smith tells The Art Newspaper that these are "truly appalling cuts to arts subjects which will further divide society".
A spokesman for the Ofs says it is currently consulting on proposals and will take account of responses from universities, students and others before making any final decisions on its funding method. The overall teaching grant budget from the Ofs increases slightly next year, from £1.47bn to £1.48bn.
At the time of writing, the Department for Education had not responded to a request for comment. We also reached out to key art colleges; the Royal College of Art says “it does not have an official comment on this”. The University of the Arts London (UAL) has meanwhile not responded.
UPDATE: A spokeswoman for the Slade School of Fine Art says "it welcomes that The Art Newspaper is increasing awareness on this crucial issue, as the Slade team have been raising this since March 2021".
UPDATE (6 May): A Department for Education spokesperson told The Guardian that the proposed reforms would only affect a small proportion of the income of higher education institutions, with the consultation including input from teachers and other voices from the sector.
“Our proposed reforms only affect the additional funding allocated towards some creative subjects, and are designed to target taxpayers’ money towards the subjects which support the skills this country needs to build back better,” the spokesperson added.
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Corte Bertesina
Corte Bertesina is an organic farm, located a few kilometres outside Vicenza, that has been the subject of a redevelopment project to achieve all-round sustainability. The project is the work of the traverso-vighy architetti architectural practice, which has restored and transformed the original structure of this typical nineteenth-century Venetian farm courtyard.
The development of a social farming project, which started in 2010 to offer job opportunities to young people with Down syndrome, has led to the complex restoration of the Corte. It has culminated in the creation of entirely new spaces, intended for production, sales, teaching and agritourism activities, that sit alongside the owners’ private quarters.
L&L was responsible for the lighting planning, setting itself the objectives of energy conservation, light-pollution control and the occupants’ wellbeing.
Neva 2.0 linear profiles, bracket mounted on the structural beams, light the shingles on the roof with a wash that creates a unique decorative effect. Neva 1.1 LEDs are installed indoors, in the private quarters, to draw attention to the modular panelling, and, in the study, completely recessed in the niches to light up their depths.
The lighting in the external areas has been designed to interfere as little as possible with the night-time darkness of a farming environment: Beam 2.0 fixtures pick out the driveway entrance, while Trevi fixtures are integrated into the pool of water in the courtyard to pick out the long wall of local stone.
Corte Bertesina, Vicenza, Italy from L&L Luce&Light on Vimeo.
LocationVicenza, Italy
ApplicationPaths and steps, Fountains and swimming pools
Projecttraverso-vighy architetti
Light planningtraverso-vighy architetti
PhotoAlessandra Chemollo
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Meaning of KALEIDOSCOPE in English
Optical device consisting of mirrors that reflect images of bits of coloured glass or other objects in a symmetrical geometric design through a viewer.
The design may be changed endlessly by rotating the section containing the loose fragments. A simple kaleidoscope consists of two thin, wedge-shaped mirror strips touching along a common edge. The mirrors are enclosed in a tube with a viewing eyehole at one end. At the other end is a thin, flat box that can be rotated; it is made from two glass disks, the outer one ground to act as a diffusing screen. In this box are pieces of coloured glass, beads, etc. When the box is turned, the objects inside tumble into an arbitrary grouping, and when the diffusing screen is illuminated, the sixfold or eightfold multiplication creates a striking symmetrical pattern. The kaleidoscope was invented by Sir David Brewster 0441; 1816.
Britannica Concise Encyclopedia. Краткая энциклопедия Британика.
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Mashiko ware (artists from Mashiko, Tochigi)
Mashiko ware, which is made in the town of Mashiko, Tochigi Prefecture, has been used to make daily utensils such as bowls and water jars since the end of the Edo period. Mashiko's pottery clay is coarse and has many air bubbles, and it is said that it is not necessarily good quality clay suitable for making pottery. Potter Shoji Hamada moved to Mashiko after spending three years working in England with fellow British potter Bernard Leach. After that, the current style of Mashiko ware was completed through repeated ingenuity with the people of Mashiko. There is also an environment that accepts young artists from other than Mashiko, and now there are many artists with free ideas who are not particular about Mashiko's clay and glaze. The Mashiko Pottery Market, which is held twice a year, is a successful event that attracts about 600,000 people from all over the country in spring and autumn.
We have collected artists who are making pottery in and around Mashiko, as well as artists participating in the Mashiko Pottery Fair. There are also one-of-a-kind items that can only be found in the pottery market, so please take a look! *Artists who do not make pottery in Tochigi are also included.
[Walking around the pottery production area]
Recommended shops and places in Mashiko (Mashiko Town, Tochigi Prefecture) Click here
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Religion Wiki
Hagia Sophia (Constantinople)
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Hagia Sophia
Hagia Sopia
religion Christianity later Islam
denomination Byzantine rite later Islam
founded date builded around 532
Hagia Sophia
The Church of Holy Wisdom
Hagia Sophia (Άγια Σοφία in Greek), the Church of Holy Wisdom, known variously as Sancta Sophia in Latin or Ayasofya in Turkish, is an ancient cathedral of the Church of Constantinople located in modern-day Istanbul, Turkey. It was converted into a mosque by the Turks and is now used as a museum. It is universally acknowledged as one of the great buildings of the world and a reference point in the history of architecture.
Istanbul 3 Hagia Sophia08:01
Istanbul 3 Hagia Sophia
A video tour of Hagia Sophia.
The first great church on the site was built by Constantius II, the son of Constantine the Great, but was burned down during the Nika riots of 532. The building was rebuilt in its present form between 532 and 537 under the personal supervision of emperor Justinian the Great. It is one of the greatest surviving examples of Byzantine architecture. Of great artistic value was its decorated interior with mosaics and marble pillars and coverings. The temple itself was so richly and artistically decorated that Justinian is believed to have said Νενίκηκά σε Σολομών: "Solomon, I have surpassed you!"
Hagia Sophia interior
Interior of Hagia Sophia
The architects of the church were Isidore of Miletus and Anthemius of Tralles, professors of geometry at the University of Constantinople. Justinian's basilica was at once the culminating architectural achievement of late antiquity and the first masterpiece of Byzantine architecture. Its influence, both architecturally and liturgically, was widespread and enduring in the Orthodox, Roman Catholic, and Muslim worlds alike.Hagia Sophia Christ
Mosaic of Jesus Christ
For over nine hundred years the Hagia Sophia was the seat of the Patriarch of Constantinople and a principal setting for imperial ceremonies. It was converted into a mosque following the Fall of Constantinople to the Ottoman Turks under Sultan Mehmet II in 1453. Since Islam considers the depiction of the human form to be blasphemous— that is, it is iconoclastic—Hagia Sophia's iconographic mosaics were covered with plaster. For almost five hundred years the principal mosque of Istanbul, Ayasofya, served as model for many of the Ottoman mosques of Constantinople such as the Shehzade Mosque, the Suleiman Mosque, and the Rustem Pasha Mosque.
In 1934, under Turkish president Mustafa Kemal Atatürk, Hagia Sofia was secularized and turned into the Ayasofya Museum. Nevertheless, the mosaics remained largely plastered over, and the building was allowed to decay. A 1993 UNESCO mission to Turkey noted falling plaster, dirty marble facings, broken windows, decorative paintings damaged by moisture, and ill-maintained lead roofing. Cleaning, roofing and restoration have since been undertaken. The mosaics are being gradually uncovered, including some visible from the ground floor. Islamic calligraphic displays suspended from the main dome, part of the building's heritage due to its nearly five hundred years as a mosque, also remain in place.
Although Turkey, and Istanbul in particular, is more secular than most Muslim countries, the status of Hagia Sophia remains a sensitive subject. There have been calls for the building to be reconverted into a mosque, which have been dismissed by the Turkish governmemt.
Hagia Sophia at night
External links
Further reading
• Mainstone, Rowland J. (1997). Hagia Sophia: Architecture, Structure, and Liturgy of Justinian's Great Church (reprint edition). W W Norton & Co Inc. (ISBN 0500279454)
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This page uses content from the English OrthodoxWiki. The original article was at Hagia Sophia (Constantinople). The list of authors can be seen in the page history.The text of OrthodoxWiki is available under the GNU Free Documentation Licen
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08-307-20
The global special report of international art masters --- Liu Shiquan
Liu Shiquan, born in 1964 in Wanzhou, Chongqing, now lives in Shenzhen.Influenced by his father since childhood, he deeply loves calligraphy, painting and sculpture.In the middle school teaching process, he deeply studied the theory of painting and calligraphy and insisted on copying famous works for a long time, especially in the process of glass carving process, guided by famous teachers, carvin
07-16
News：肖海明——国际艺术名家全球专题报道
Xiao Haiming was born on August 21, 1962 in Wujiang District, Suzhou City, Jiangsu Province. A national first-class artist, the fourth generation disciple of Qi Baishi, and a disciple of Liu Zhongwen, a famous Chinese painter and painter in the world.
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Five industrial plans for Nanjing in the next few years
On June 15, 2020, Nanjing officially launched five industrial landmarks of new energy vehicles, integrated circuits, artificial intelligence, software and information services, new medicine and life and health creative poster to attract investment.
06-11
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Shoot Better Cityscapes
Cityscape of New York City Skyline at dusk
Cityscape of New York City Skyline at dusk
With the recent explosion of photo-sharing sites on the web, it seems that landscape photography is at an all-time high. I’m consistently blown away by the caliber of imagery I see being captured the world over on a daily basis. Along with this ever-present promotion of far-flung, corner-of-the-world places comes the desire to travel to the ends of the earth to capture the most dramatic image of places few knew existed.
Did you know that over half of the world population lives in urban areas, however? This means that over 3.5 billion of us live in or near cities. Which means it’s time to polish up on those cityscape skills of yours! I enjoy shooting these concrete jungles, and with a little practice, you might find they begin to occupy a gaping hole in your travel portfolio. Read on for a few tips on how to shoot better cityscape images!
1. Shoot at Dawn and/or Dusk
This is the no-brainer, super straight-forward, can’t go wrong tip. Dawn and dusk (just before sunrise and just after sunset) are the periods of day and night when the ambient (existing) light balances with the artificial light from buildings, street lamps, cars, etc. The sky turns a deep, rich blue or indigo, the city lights pop and…VOILA! Instant cityscape! Take note that you will need a sturdy tripod and be practiced up on your long exposure shooting. Many of these images are in the range of 5 – 20 seconds, so you must take special care not to bump the camera, thus rendering the image soft.
Cityscape image of Vancouver, BC
Cityscape image of Vancouver, BC
2. Provide Some Context
Rather than just shoot frame-filling city, why not include a bit of context in the image. Take this example of Vancouver. With its beautiful walking trails winding through coastal bays, Vancouver is a thriving urban area intertwined with spectacular natural surroundings. Consider different ways to frame and present the city that you’re shooting—these types of images can be especially attractive to magazines and other editorial outlets.
Cityscape image of Seattle with storm clouds at sunset as shot from Alki Beach
Cityscape image of Seattle with storm clouds at sunset as shot from Alki Beach
3. Search Out Dramatic Weather
While I could put this tip in nearly every one of my blog posts regarding so many different types of shooting, I feel it is especially true with cityscapes. Many times, we find ourselves shooting cityscapes from iconic locations. These locations are popular for a reason, as often times they offer the best views and vantage points. This means it is not entirely uncommon to come away with an image that is quite similar to so many others out there. The one separating factor when shooting from these iconic locations that we can utilize to our advantage is dramatic weather. This image, taken from Alki Beach near Seattle, WA is nothing revolutionary in and of itself. However, I was fortunate to be rewarded with a stormy sunset, which separates it from many of the other images shot from this location.
Cityscape image of San Francisco's Painted Ladies at dusk
Cityscape image of San Francisco’s Painted Ladies at dusk
4. Compress the Scene for Heightened Visual Interest
Many city overlooks feature impressive foreground and background subject matter. This serves as the perfect opportunity to pull out a telephoto lens and compress the scene. By compressing the scene, we are effectively pulling the background in very tight to our foreground, thus adding depth and dimensionality to our images which gives the viewer a much more three dimensional experience when viewing the image.
Travel image of downtown Partenkirchen, Germany at dusk
Travel image of downtown Partenkirchen, Germany at dusk
5. Use a Tilt-shift Lens for Creative Control
The tilt-shift look has become increasingly popular of late. Just bring up your Instagram feed and see how many images come up with that snow globe, dream-like feel. It’s likely that most of those images have been given the effect after capture, but if you happen to have a tilt-shift lens in your arsenal, you can capture this type of image upon clicking the shutter button. Without getting overly technical, tilt-shift lenses let you keep a “slice” of the image in focus, thus drawing the viewer’s attention to a particular part of the frame that is different, and (at times) far more effective than just shooting at shallow apertures. Given you use it modestly, this effect can be super fun, and serves as a great alternative to shooting a traditional cityscape image.
Fine art travel image of East Jerusalem, Israel in black and white
Fine art travel image of East Jerusalem, Israel in black and white
6. See in Black and White
As is apparent in this post, it seems most of the cityscape images we see are in color. However, many cities present themselves exceptionally well in monochrome. This hazy late evening image of East Jerusalem is one such example. Next time you come home from shooting cityscapes, try processing a select few in black & white. This might help you to “see” BW cityscapes in the future.
7. Try Something New
As I say with most every tutorial I write, try shedding the above “rules” of shooting better cityscapes and let your heart and creative vision guide you. Try a new angle, a new time of day or night or a different lens. Look for new and intriguing ways to capture your city. Save up some money and book a helicopter for a completely different view of what’s below. Find something that excites you, and then run with it. Good luck!
Don’t be scared of the big bad black…
An angler makes a spey cast on the Rio Grande in Tierra del Fuego, Patagonia, Chile.
An angler makes a spey cast on the Rio Grande in Tierra del Fuego, Patagonia, Chile.
I have always loved contrasty images. When done correctly, they engage the viewer and hold our attention within the frame.
Lately, there seems to be a trend with bringing detail into every part of the image with HDR or other adjustments in post. Honestly, I love the fact that we can express our vision in so many ways through photography. I’m not at all opposed to HDR, or this growing trend–even if I don’t subscribe to it myself.
I do feel strongly, however, that the inclusion of highlights and shadows as a compositional element is all but a lost art. It’s amazing how much Mother Nature does for us if we just let her. Sometimes I have to remind myself of this as well, as I am a huge fan of being able to bring out shadowed foregrounds with the use of Grad ND filters.
Images like this of an angler on the Rio Grande (Tierra del Fuego, Chile) take on an entirely different feel when we give in to the big bad black. It is less about an activity, or even a place, and more about a graphic. It’s an oversimplification, and I truly believe that in many images, less is absolutely more.
So resist that urge to recover the shadows. Study your frame and decide what’s of greatest importance. Try letting go of that perfectly balanced exposure. By giving that up, you just might create an image that’s markedly different and better than what you’ve trained yourself to capture.
The Tug is the Drug
Angler Oliver White flyfishing for sharks on South Andros Island, Bahamas.
Angler Oliver White flyfishing for sharks on South Andros Island, Bahamas.
“The tug is the drug”.
This is a common saying amongst flyfishers, and one that rings true if you’ve ever had a good bend in the rod. Here, pro angler Oliver White sets the hook like a champ against a 6-ft lemon shark in the waters of South Andros, Bahamas.
Sometimes, when capturing a sport or activity, we forget that it’s often the more intimate moments that really hit home with viewers. It may not be the prettiest or most impressive scene, but it is something that demonstrates your understanding of what really means something to the audience with which you are trying to connect.
Despite the exclusion of the bigger picture, sometimes these intimate pieces engage the viewer much more immediately and require them to explore what is actually occurring. Once discovered, there’s a sub-conscious recognition, and immediate connection.
Strive to diversify the way you capture whatever it is that you capture. Challenge yourself to tell the story in a different way. Step out of that comfortable box and try exploring a different part of the scene. It may feel a bit funny at first, but I promise you will grow as a photographer because of it!
Story Behind the Shot: Rio Serrano BW
Black and white landscape photo of Rio Serrano and Torres del Paine National Park in Chilean Patagonia by Adam Barker Photography
Black and white landscape photo of Rio Serrano and Torres del Paine National Park in Chilean Patagonia by Adam Barker Photography
I captured this image on the 10th day of a nearly 3-week run and gun mission through the wilds of Chilean Patagonia. The impetus for the trip was really fly fishing, but I knew I would be served numerous opportunities to shoot scenic imagery as well, especially in the famed Torres del Paine National Park.
By day number ten of waking up before the sun, motivation comes more in the form of a slow, sad drip than a flood of excitement and energy. I was tired (aren’t we all???), and as I set my alarm clock for yet another mind-numbing hour, I wondered if I was really going to rise and shine, or even rise at all. Throw in the fact that skies were socked in and the likelihood of morning light was minimal, and I was darn near comatose by the time my head hit the pillow.
4:30 am came way too early, and as I peered out my window, my fears (hopes???) were confirmed as the weather still looked to be less than ideal for a sunrise shoot. I was a mixed bag of fatigue-induced emotions, equal parts stoked to justify a few more hours of sleep as well as disappointed that my hopes for an epic sunrise were dashed. I lay back down–restless. Minutes ticked by…I couldn’t do it. I had to get up. No matter how I tried to justify, I could not…not shoot. Here I was in one of the most wildly beautiful places on earth, and damn it all if a few clouds and half-closed eyelids were going to hold me back…
I frantically threw on my clothes, grabbed my pack, turned on my headlamp and out the door I went.
As part of a larger group during the entirety of this trip, I did not have my own car, so I was relegated to shooting locations that were relatively easy to get to from where we were staying. As I walked hurriedly up the dirt road, the clouds began to clear a bit, and the ambient light began to grow brighter.
Let’s clarify something real quick here–dawn is a fantastic time to shoot landscape imagery. The light is soft and inviting. It is one of my favorite types of light to shoot. Dawn, however, is incredibly fleeting. It does not occur right before sunrise. Typically, dawn happens about 8-15 minutes before sunrise. These were the thoughts that were going through my head as I watched dawn grow closer…and closer. I quickly realized that I had myself in quite a conundrum…I was still a decent ways away from my pre-selected shooting spot.
So I did what any photographer would do when suffering from the immediate effects of FOMI (Fear Of Missing It–closely related to FOMIA [fear of missing it ALL]).I STARTED RUNNING. I’m not talking casual fast-paced walk here. I’m talking Usaine Bolt arm-pumping, foaming at the mouth, heart coming through my throat sprint with a fully loaded camera pack. My lungs felt like the inside of a crematorium–I promise you I was closer to respiratory failure than Joan Rivers is to her next facial procedure…
With no time to spare, I arrived at “the spot”. I threw my pack on the ground, wrestled my camera onto the tripod, inserted the cable release, grabbed a grad filter and clicked away like the crazed photographer that I was/am. Sunrise was a bit of a bust, but dawn was worth every minute on the pain train. Moral of the story? Don’t set your alarm if you don’t plan on getting up. And if you do plan on getting up, don’t go back to bed for 10 min before putting yourself through hell to capture the goods. Oh, and the real moral of the story??? Don’t give yourself a choice. ALWAYS get up and go. I’ve never regretted getting skunked behind the lens, but I certainly wouldn’t mind taking back all the times I buried my head in the pillow…
Behind the Shot: Mountain Khakis Early Spring Catalog Cover
MK-Early-Spring-Cover-2014
Can it really already be considered “early Spring”??? I guess the good folks at Mountain Khakis think so, as has been made known by the arrival of their early Spring catalog, featuring a cover and a load of other images from our catalog shoot last summer in Oregon and along the Salmon River.
I was fired up to see they chose an especially fun shot for the cover, one that took some quick thinking on both the technical and creative end of things. The short of it is that this image nearly never happened. We had about 30 min before we were supposed to head out and prep for a sunset shoot along Lake Wallowa and we decided to make use of an old Willy’s Jeep (in immaculate condition) that had been loaned to us by a kind local.
Much of the imagery we focus on with these catalog shoots is capturing the spontaneous and fun nature of the MK lifestyle. I’m always looking for an emotive image–one that makes people want to be a part of this brand/lifestyle. With that in mind, I wanted to get up close and personal as the talent was epitomizing random summer fun with an old jeep and a longboard.
I quickly set up a Manfrotto Magic Arm on the front side panel of the jeep. Shooting a Canon 5D MKII with an 8-15mm fisheye lens meant I could capture all of the action from an angle very near the driver. I attached an intervalometer to the camera and set it to take a picture every second until I stopped the sequence. Everything was set…and then the Jeep got a little cranky. We couldn’t get it started and finally resorted to pushing the jeep and compression starting this hearty hunk of metal.
What ensued was several trips up and down the highway, experimenting with different shutter speeds and camera positions, running alongside hooting and hollering and generally having a blast in mid-day light. It also took an exceptionally gifted clutch/gas operator to keep the Jeep running. Nice work Nate Morgan! It seems like the best ideas always face the most hurdles! Don’t give up on that vision!
Check out the vid below for a little BTS vid action from the entire shoot, and a better view of our setup for this image.
Interview with Shoot to Earn
From tearful frustration to triumphant success, I get up close and personal in the video interview above…it offers unique insight into my career journey thus far…
Background: I had the great fortune of working with talented wedding and lifestyle photographer Aaron Dieppa during a week-long ad shoot for Manfrotto earlier this year. In addition to his great taste in hair-style ;), he has a very enterprising mind and has recently launched an awesome website that will serve as an inspirational resource to budding photographers and experienced pros for years to come.He discusses about his career and offers tips plus he is part of family photographers adelaide
Check out www.shoottoearn.com for interviews with established photographers from portrait to landscape to advertising to…you name it.
I’m honored to be one of Aaron’s first interviews. It’s definitely lengthy, but I’d like to think it’s worth a lunch break or long car ride. Enjoy!
Desert Southwest Workshop with Adam Barker & Mylo Fowler, Oct. 11-13 2013
Desert SW Teaser
Preliminary Itinerary. (Weather permitting.)
• Location: Page, Arizona and Navajoland of Northern Arizona. Home area of Mylo.
“Mylo will always have the supreme upper hand in photographing this area of Northern Arizona. It’s his home!!! He has access the outside world doesn’t. For that reason and his knowledge of land, light and landscape photography mechanics, one may jeopardize his photographic visit if not with Mylo.” Name Withheld for Intended Purposes
(Photographer and Owner of Multiple Galleries on the Las Vegas strip and other locations).
• Workshop Host Location: Courtyard by Marriott 600 Clubhouse Drive. Page, AZ 86040.
• When: October 11-13th 2013 Three (3) full days. One of the only places where a workshop can use all the available light provided in a day. This isn’t a sunrise/sunset only photographic location. Adequate classroom work and rest will be provided. You won’t burn out.
• Where: 10-12 locations. Colorado River, Slot Canyons, sand dunes, sage and Navajo sandstone formations. How to use clouds to your advantage and how to create stunning images with severe clear –no cloud filled skies. (Weather permitting ☺)
• What: The Field Work. We will cover using an assortment of filters, composition, and artistic emotion in the image, why your best friends name is Histogram, tripod usage and creating panoramic images. A lot of hands on, one on one field work from award winning photographers Adam Barker and Mylo Fowler. They will always be in reach of assistance for help, review and critiques.
• Taking your photography to the next level: 5 to 6 Classroom Sessions: Conference Room setting. We will dive into exposing great images and creating stunning fine art with post processing software. We will cover creating exceptional compositions, controlling all elements of light, sharp as tact depth of field images, color renditions and high quality creativity from your camera. How to create a few supreme images instead of hoarding 5,000 images from a location you will never use.
One of the highlight classroom sessions will be the group critique sessions. Why? This will allow you to see your work from a different perspective. IF you want long lasting friends in the photography world, this is where a lot of the friendships start. Heck, even some marriages! For you single lads and ladies, this isn’t a place to find your future love. Actually, it is. Your love of photography will grow on this workshop! All in all you will get a chance to express your views, speak the same language with fellow photographers that your other friends and family just don’t understand….
• Who is this for? This workshop excursion with Adam and Mylo is for someone who:
➢ …Just bought or was given a digital camera last Christmas and wants to KNOW how to use it and what all the options mean in easy, understandable terms.
➢ …Has less than 5 years of photography experience.
➢ …Is a seasoned amateur or professional looking for the premium guide to the sweet places of Northern Arizona.
➢ …Wants to create 40” prints of stunning desert formations and slot canyon colors.
➢ …Wants to increase their photography IQ.
➢ …Likes hands on teaching. It is for someone who doesn’t want to read the 600 page Owners Manual and for someone who wants to get to the good and juicy elements of creating Award Winning Images.
➢ …Wants to return home knowing more about their camera, equipment and REALLY understanding the camera they bought and had all along.
➢ …Uses film or digital image capture systems. From Cropped sensor, full frame, 35mm, medium and large format film cameras.
➢ …Uses Nikon, Canon, Olympus, Sony and other systems.
➢ …Wants to expand their image design with various filters from Singh Ray and tripod systems.
➢ …Is getting ready to go on another world class trip and wants to know what to do on their trip. Trust me. You won’t believe how many people come on workshops so they know what to do in Italy, Alaska or in Antarctica. You will be better prepared for your next trip!
• Most importantly, you will have a safe and fun few days in the Desert Southwest! You will be able to create stunning images even in the wildest weather conditions.
The Area: The Colorado Plateau provides an array of image capture and composition. From Page, AZ to Mylo’s home which is about a 35 minute drive South of Page, you will climb over 2,000 feet in elevation. There truly is beauty all around. You will be able to photograph the butte’s that surround Lake Powell, Navajo Mountain that peaks at 10,387’ and other desert formations. October could provide some of the most interesting weather patterns. Snow, lightning, rain, puddles, fog, warm afternoons and incredible cloud formations are very likely. These are the ultimate natural elements in creating 5 star images. You will visually get a full access pass to the workflow, image capture and image creation of Adam Barker and Mylo Fowler. Ultimately, you will build upon your unique foundation and take your photography knowledge, presentation and portfolio to the next level.
It’s about having a memorable time and maybe you will have a life changing experience. Both Adam and Mylo have guided and provided similar workshop services for years. Mylo has guided slot canyon excursions and exotic landscape workshops that number into the thousands. He has worked with many camera makes and models, television companies from National Geographic to Weekend Explorer, publications from Outdoor Photographer Magazine to Arizona Highways. He was recently sought out to assist with Phase One (PODAS) and called on by some of the world’s finest Master Landscape photographers.
He is highly recommended by the Navajo Nation as a steward of the land and caters to personalize all experiences of high caliber companies, networks and the photographer’s experience.
• BONUS: 1.5 – 2 hour Session: Mylo will cover a “How To Create Fine Art and Do Well” class. He will dive into how to create Fine Art images. From creation to presentation. This is usually one of the highlights of the event. Mylo will share with you hot points, important aspects of fine art and how to create images you will be happy to display in your home or gallery. Especially if you are thinking about creating an extra income doing what you love! Taking photographs. He will share with you how to invest in your work. Roma Mouldings will be a sponsor of this classroom session.
We will have demo gear on hand for workshop attendees from the following sponsors: Singh Ray Filters, Manfrotto/Gitzo Tripods, Arc’teryx Outerwear, Clikelite Backpacks, Suunto Watches and Canon
Questions??? Contact Adam at 801-550-9141 or [email protected].
Desert Southwest Workshop Fee
Rebate: From Capture to Cover/Manfrotto Webinar
Several months ago I did a webinar with the Manfrotto School of Xcellence on getting your work published. If you weren’t able to join me for the live presentation, kick back and check out this archived version. Enjoy!
Joshua Tree Sunrise (Study in Light and DOF)
Intimate sunrise in the Cholla Garden, Joshua Tree National Park, CA.
Intimate sunrise in the Cholla Garden, Joshua Tree National Park, CA.
Who’s ready for a quick study in light and DOF???
This intimate sunrise image from the Cholla Garden in Joshua Tree NP is the perfect candidate.
Firstly–light. We all know that superb light is the lifeblood of any meaningful landscape image. Know light. Study it. Understand what it can do for your images. This image illustrates the qualities of having the light source behind your subject. “Backlighting” is perfect for accentuating shape and adding drama to your images. It filters through translucent, or light colored objects, and infuses tehm with life. Notice how each little needle on these cholla cacti are lit up, showcasing both the sheer magnitude and quirky nature of this location.
Secondly–this image is a legit study in depth of field. To help people better understand depth of field, I often compare my photographic frame to a loaf of bread. Think of the image in a three-dimensional way–the foreground is your front slice of bread, the background is your back slice of bread. Depth of field pertains to how many “slices” of bread will appear sharp or in focus within our image.
This image illustrates shallow depth of field. You can see that I’ve utilized a technique called selective focus to steer the viewer to a certain part of my frame, focusing on a certain cholla cactus. So, in reference to the loaf of bread example, I have very few slices of bread in focus. Selective focus (utilizing shallow DOF), is a very useful technique when you have busy compositions that would otherwise leave viewers confused and searching frantically for something to settle on visually.
Try this technique the next time you find yourself amidst a challenging, busy composition–and pay attention to that light source, give a go with backlighting!
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Life & Culture
Pepper is the spice of sculpting life
The brilliant artist you've never heard of
I was relieved to discover that another art critic had described 91-year-old sculptor Beverly Pepper as "the brilliant artist you've never heard of". Before our interview, I, too, was unfamiliar with her name, despite the fact that her monumental steel sculptures can be found all over the world, including two in Israel. However, there are none in the UK, and although she has been represented by Marlborough Fine Art for nearly 50 years, she is now exhibiting in the UK for the first time.
"I ask myself to this day why I have never before shown in England," Pepper says. "It was stupid because London has always been a great place to make art. Robert Hughes, the eminent writer, said I was not a careerist. And maybe that is why you have not heard of me."
A small, sprightly woman, dressed completely in black, Pepper walks with a stick. But she is still full of energy and committed to making sculpture. Neither a serious accident two years ago, nor the death in April of her husband, the author and journalist Curtis Bill Pepper, after 68 years of marriage has dampened her resolution. "I'm almost 92 and I don't have the same physical energy," she says. "However, I have found a way to outwit my disability. I draw and work in Styrofoam, then my assistants translate my ideas."
Pepper was born Beverly Stoll in 1922 in New York. "I came from a strange Jewish family," she says. "My mother's parents were very religious. My father's parents were against religion and were socialists. We had the most wonderful Passovers. My mother's family had the first night, where we had a very serious service but then enjoyed hiding the matzah and playing lots of games. The next day, my father's mother would have us over for candies, cakes and ice cream."
Her mother and paternal grandmother were both strong characters, which influenced Pepper in forging her own career. "And I was the first good cook in my family. My mother was a terrible cook. So bad you can't imagine. I never knew liver should not taste like rubber."
Pepper cannot recall a time when she was not drawing, a passion her parents did not understand. "However, my mother gave me the use of our basement so I could paint anything I wanted on the walls. My first great paintings were of Popeye and Olive Oyl."
She studied advertising but also attended nocturnal art classes at Brooklyn College. She then got a well-paid job as an art director for an advertising agency, saving up to travel to Europe in 1949. Studying art in Paris, she moved to Rome after meeting and marrying her husband, who was appointed Mediterranean bureau chief for Newsweek. "We knew Marcello [Mastroianni] and Fellini, Sophia Loren and Antonioni. But Rome was a small town. People knew who you were because there weren't that many people - and, of course, Bill wrote a lot about them. I had a split life. When everyone talked about the parties we gave, it was not Beverly and Bill but Mr and Mrs Newsweek." In the 1970s, the Peppers moved to Umbria, where she still lives.
She worked as a painter until a trip to the Far East resulted in an "epiphany" which made her take up sculpture. "I went with my daughter [the Pulitzer Prize winning poet Jorie Graham]. She was just 10. I had this brilliant child, more curious than I was. That was what made me focus." It was the statues at Angkor Wat in Cambodia that particularly inspired her. "When I came back to Italy, I just wanted to sculpt and never stop.
"I began with clay, because with clay you don't have to have any technique or talent. You just do it with your hands. The work was very naïve. Then there was some wood in the backyard which was probably destined for the fireplace. It never occurred to me that I didn't know how to carve. I just bought electric tools from a carpenter. To this day, I do not know how to carve with sculptors' tools." And when asked if she would like to take part in an exhibition of sculptors working in steel, she lied and said she could weld. And thus she began to work in the material for which she is best known.
Many of her sculptures have been monumental in size, though those on show are mostly smaller pieces that would sit happily in a home. They are all named after the wives of the Caesars and I remark on how very curvaceous but strong they are. "I don't think feminine has to be soft," she replies.
Marlborough Fine Art
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Home / Culture / Art / Louvre Abu Dhabi, Japanese Connections: The Birth of Modern Décor
Louvre Abu Dhabi, Japanese Connections: The Birth of Modern Décor
Louvre Abu Dhabi’s latest exhibition of twelve artists including renowned French group, the Nabis, and five Japanese Ukiyo-e masters from the 19th and 20th century is now on at the museum. In collaboration with Musée
Louvre Abu Dhabi’s latest exhibition of twelve artists including renowned French group, the Nabis, and five Japanese Ukiyo-e masters from the 19th and 20th century is now on at the museum. In collaboration with Musée d’Orsay, the exhibition showcases fifty paintings, prints and folding screens that explore the artistic and cultural dialogue between Japan and France.
Curated by Isabelle Cahn, General Curator of Paintings at Musée d’Orsay, the works of the twelve French and Japanese artists making up the exhibition have been assembled from the collections of Louvre Abu Dhabi, Musée d’Orsay, Musée national des Arts asiatiques- Guimet and Musée des Arts Décoratifs (MAD).
Manuel Rabaté, Director of Louvre Abu Dhabi, said: “It is with pleasure that we kick off our new season at Louvre Abu Dhabi with Japanese Connections: The Birth of Modern Décor. Following our inaugural exhibition From One Louvre to Another, which detailed the birth of the Musée du Louvre, and Globes: Visions of the World, which explored the history of the spherical representation of the world, we now explore the links between Japan and France that inspired a new artistic movement within European decorative arts. With our international exhibitions, we aim to bring the world to our visitors, highlighting connections between cultures and societies that have shaped who we are today.”
Artists represented include French artists Paul Sérusier, Pierre Bonnard, Maurice Denis, Ker-Xavier Roussel, and Édouard Vuillard, who made up the renowned Nabis group of artists; Marguerite Sérusier and Odilon Redon; and five Japanese Ukiyo-e masters: Katsushika Hokusai, Hara Zaimei, Utagawa Hiroshige, Kano Tanshin and Toshusai Sharaku.
Isabelle Cahn, General Curator of Paintings at Paris’s Musée d’Orsay and Curator of the exhibition, said: “For the first time, the exhibition Japanese Connections traces the fundamental contribution of Japanese aesthetics to the development of decorative principles of modern painting in France at the end of the 19th century. This dialogue between East and West celebrates creativity and cross-cultural inspiration between the Ukiyo-e artists and the Nabis painters through a coloured, vibrant and refined expression. We are very pleased to gather this exceptional selection of works and to uncover a crucial moment when Western paintings emancipated from a realistic representation of the world.”
The exhibition is divided into four sections that illustrate the influence of central Ukiyo-e aesthetic principles, including representing the world in two-dimensions without using illusions of perspective; narrative compositions that show the passing of time; innovative use of folding panels for storytelling; and symbolic refinement exploring intellectual, dreamlike and spiritual ideas.
Japanese Connections presents ten prints and three folding screens from Japan in dialogue with twenty-four paintings and three screens from France. The Japanese works include South Wind, Clear Sky from the series Thirty-Six Views of Mount Fuji (1831-32), one of Katsushika Hokusai’s most famous works, on loan from the Musée national des arts asiatiques- Guimet; Yôrô Waterfall in Mino Province (1830-1834) by Katsushika Hokusai, the most renowned Ukiyo-e master, from the collection of Louvre Abu Dhabi; Utagawa Hiroshige’s Tôto Sumida tsutumi (1858); and a six-panel screen depicting a Cherry Tree in Blossom on a Plain Gold Ground by Hara Zaimei, celebrating the ephemeral nature of the beauty of the world and life.
Édouard Vuillard’s Public Gardens (1894), a nine-panel decorative painting of which five are in the collection of Musée d’Orsay; Pierre Bonnard’s folding screen Nannies’ Promenade, Frieze of Carriages (1897); Paul Sérusier’s Women at the Well (1899) and The Field of Corn and Buckwheat (1900); an outstanding set of fifteen panels by Odilon Redon for Baron Robert de Domecy; and Rolling Landscape (1900), a folding screen painted by Marguerite Sérusier with Japanese-style motif inspired by the engravings of Hiroshige, are among the French pieces on loan from Musée d’Orsay.
Using period photographs and films, projections in the exhibition also offer visitors a walk-through Paris at the turn of the 20th century, the city then considered the world’s capital of arts.
The exhibition will be accompanied by programming that celebrates Japanese arts and culture. The weekend of the exhibition opening will feature the Emirati-Japanese Kharsha Drums group, who will play traditional waikaido percussion performances played by Japanese and Emirati musicians to the museum. The programme will offer film screenings curated by Hind Mezaina, a talk entitled ‘1000 years of Manga’ exploring how Japanese traditions inspired the phenomenon and a project with renowned street artist Myneandyours whose collaboration with several UAE schools will be showcased in the museum. The programme culminates with a Big in Japan weekend including a spoken word by award-winning Emirati Afra Atiq, and a performance by the Turntable Symphonograph Orchestra from Japan. The museum’s café will feature a special Japanese inspired menu.
The Manga Lab, a creative and experimental space for youth, will offer a variety of entertaining experiences exploring contemporary Japanese culture, including virtual reality, retro arcade gaming, an expression wall, a chill-out reading area, and a series of masterclasses and workshops about Manga and graphic art. As part of this spectacular space, we will display Manga-inspired art works from four Emirati artists. The Manga Lab will be located in Louvre Abu Dhabi’s forum.
Entrance to the exhibition is free with the museum ticket. Visitors can tour the exhibition through a multimedia guide that is available in Arabic, English and French.
Japanese Connections: Birth of Modern Decor is at Louvre Abu Dhabi until November 24th, 2018.
Review overview
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Creators: 50 States of Art
Essay: Priced Out of New York, an Artist Finds Her Midwestern Tribe
Fontaine Capel on her migration from Brooklyn to Chicago in search of space, community, and the funds to maintain a studio practice.
by Fontaine Capel
Feb 21 2017, 8:57pm
This article originally appeared on Creators.
When I told the artist I worked for that I was leaving my hometown of Brooklyn for her hometown of Chicago, she gave me a long, skeptical look before replying, "Well, let me know when you're ready to come back."
I was a 21-year-old artist with no time, space, or money to maintain a studio practice. To keep up with rent in my Bed-Stuy sublet, I worked part-time as a barista, a docent, and a studio assistant, and I scanned family photos for a wealthy Upper West Side couple. Without the buttress of familial wealth, I found that the New York my parents grew up in, the home of limitless possibility I was ready to return to after college, no longer existed. In a fit of dramatic desperation, I packed up two suitcases, said goodbye to my family, and jumped on an Amtrak to a city I'd only ever spent a couple of days in: Chicago, Illinois.
Bits and Pieces, Adam Paul performance. Photo by Katy Albert.
By the end of my first snowy week, I found myself sitting on the wooden floor of a Humboldt Park live/work space, surrounded by dozens of strangers. The event was Bits & Pieces, an open mic for in-progress works hosted by performance art duo Mothergirl. I can no longer remember the art performed that night, but I can remember how gracious and inviting the space, the hosts, and the guests all were. I was welcomed. I was asked where I was from. I was offered popcorn smothered in butter and nutritional yeast. And I was invited back the next time. It was the first of countless nights I'd spend crammed into the living rooms, basements, and storefronts that are the architecture of the Chicago underground art scene, and the first of many nights that I'd be astonished by the generous spirit of the people who comprise it.
Por La Mañana installation shot. Courtesy of Jaclyn Rivas.
Chicago is vast and incredibly segregated. I can't claim a comprehensive understanding of the disparate artistic communities that exist within each of the city's neighborhoods, but here are some quick observations from my limited, personal experience:
• Artists and musicians here are nice. Really, alarmingly nice. It's the prevailing culture.
• Good living is cheap. Which means that...
• Studio spaces and storefronts are also cheap.
• There is an expansive network of DIY and artist-run spaces in attics, storefronts, garages, and basements throughout the city.
• Everyone is working on something. And they want to know what you're working on.
• If you ask people to show up, they will. Whether it's for an apartment art show, a night of playing board games, or a fundraiser for your new art space.
• If people ask you to show up, you'd better. But they won't hold it against you if you don't.
• Wealth is not as concentrated in Chicago as it is in New York, and the wealth that is here is not often oriented toward supporting the arts. This means that...
• Many artists use the low-pressure zone of Chicago to build momentum in their practices, then head for the coasts, where people pay for art.
Por La Mañana installation shot. Courtesy of Jaclyn Rivas.
In the four years since I stepped off that Amtrak, I've shown my work in living rooms and in galleries. I've rented—on a part-time salary—a small storefront, then a larger one, to house Hume, an artist-run space that rents out studios and exhibits the work of underrepresented emerging artists. I've organized conversation series and sit on the board of 2nd Floor Rear, a yearly celebration of Chicago's underground art scene. Even without a graduate degree, I've been paid by major museums and nonprofits for the work that I do as a teaching artist.
Here in Chicago, my community is made up of cartoonists and puppeteers, dungeon masters, festival organizers, urban farmers, creative re-users, printers, and presses. It's true that I moved out of New York before I found an artistic stride or a community. I have no idea what my trajectory would have been had I stayed home to tough it out. Do I miss Brooklyn? From my bones. But looking around at the fulfilling creative life I'm living, I think it'll be a while before I'll be letting my old boss know I'm ready to come back.
Bits and Pieces audience photo, taken during performance. Photo by Katy Albert.
Click here to visit Fontaine Capel's website.
All year, we're highlighting 50 States of Art projects around the United States. This month, we're covering Illinois, Indiana, South Carolina, North Dakota, and Hawaii. To learn more, click here.
50 states of art
fontaine capel
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Arezou Nik-Ahd
Home / Salons / 14th ARC Salon
Arezou Nik-Ahd
Iran, Islamic Republic of
Arezou was born in Tehran 1978, She started painting at the age 15 and she was always being encouraged in art by her mother. In 1998 Arezou entered the Art University and graduated four years later in the field of painting. Meanwhile, she started to learn painting from Iman Maleki at Ara Painting Studio.
One of her artworks has been published in the book of the Iranian Contemporary Painters. In 2008, she established her own studio “Daricheh” for training children and young adults.
She has participated in several exhibitions in Iran such as:
2002- Group Exhibition of Kara Studio at Sa’ad Abad Palace.
2012-Group Exhibition of Ara Studio Painting at Barg Gallery.
Some of her artworks have been published in “Libro Anuario” and “Arte Y Librated X” and “Leonardo” in 2013 to 2017.
She has also participated in several exhibitions in Barcelona and Zaragoza from 2013 to 2017.
In 2013, her colored-pencil artwork “Expectation” and in 2017 her oil color artwork “Anxious” have been selected as the best tenth artwork in “Modportrait” Competition Spain.
In 2017 her oil color artwork “Sunset” has been selected as the cover of “Leonardo” book.
* This statement has been provided directly by the artist in association to their 14th International ARC Salon entries. This content has not been edited for typos or grammatical errors and has not been vetted for accuracy.
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Newsletter ISSUE 09 May 2014
Sorel1-01_1000x750
ISSUE 09 – Sorell Apartments Complete!
This architecture explores modern and clean lines, to provide an iconic architectural statement. Buildings modulate in scale along the streets edge, from low-rise dwellings on the western front responding sympathetically to the suburban context, to a 9-storey tower which architecturally adorns the corner of the site. This is reflective of strong urban design principles to reduce the buildings footprint, while satisfying the density required of the lease agreement.
This inspiring place to live underpins a vision for a diverse urban community, with a series of courtyard spaces providing a sustainable landscape outcome and a labyrinth journey through the site, encouraging interaction with the residents, architecture and wider community.
We are proud to be part of this landmark project, “integrating contemporary functional design with architectural excellence, beautiful outlook and natural light” said project architect Keiko Mino, with special mention going to the Hindmarsh Group, who provided an excellent platform for a collective vision of the project. Sorell Apartments is a testament to a successful multidisciplinary design approach; between architects, consultants, builders, contractors and developers.
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Sorell-09_1000x750
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Behind the Lens with Farrah’s Photography
Farrah's Photography
Member Farrah Williams-Deck of Farrah’s Photography in Maryville, Tennessee began shooting wedding photography in 1999 when asked to photograph a friends wedding and from that point on her business grew into a full time career. Learn about her style, advice for photographers just starting out and what makes her stand out in this edition of Behind The Lens.
WPUSA: Farrah, tell us a little about how you got started in wedding photography?
Farrah: I began shooting wedding photography in 1999, when I was asked by a co-worker to photograph his daughter’s wedding. I had mostly been a nature photographer during the years before that. After shooting my first wedding, I had more and more requests to photograph weddings and booked them through word-of-mouth advertisement. After doing wedding photography as a part-time job for eight years, I got so busy that I decided to open my own business and do wedding photography as a full time job.
What’s your photographic style?
Farrah: I enjoy outdoor portraits and photojournalistic-style photographs, but I show a mixture of traditional, artistic, and photojournalistic/candid style photos in all of my work to satisfy our broad spectrum of customer requests.
Are there any books or workshops that you would recommend to new photographers?
Farrah: I would highly recommend “Digital Portrait Photography” by Steve Sint. This book is very easy to understand for beginners and has much to offer both beginners and professionals with ideas for posing, light, and equipment for the job.
With four children at home (including a newborn), I continue to learn more about photography on line or by reading photography books. I would love to attend seminars and workshops with hands-on training in the future. In the meantime, I find a wealth of knowledge on line without having to pay a fee.
Is there a piece of equipment that you would say is most important or helpful to you?
Farrah: I have recently purchased the Canon Mark II 21.1 MegaPixel camera with 24-105 IS L Lens. With the full frame sensor and the 580 EX II flash, images are clearer and much higher quality than the Rebel series I used to use. I also could not live without my photo editing software, Photo Impact Pro.
For all the brides reading this, is there anything unique or special about your service?
Farrah: All of our wedding packages include two photographers. I have eight experienced assistants to help me with photography during weddings, and the value we offer with our low prices really set us apart. Many of our customers are surprised with the quality of photographs they receive for such a reasonable price.
What would you say is your biggest challenge as a business owner?
Farrah: As a business owner, my biggest challenge is keeping up-to-date with our equipment and maintaining low prices while still turning a profit. I used to wonder why photographers charged so much for their services, and now I understand just how much upgrading and advertising money is necessary to stay competitive.
Is there anything you would have done differently during your career that could be advice for others?
Farrah: Get samples to show your clients so they can see the difference in quality, especially if you offer higher quality print paper than what they would receive in retail store when printing from a disc. I offer a copyright-released disc that can be purchased with our packages, but I also show them the difference in the prints they get from our gallery compared to an instant print machine.
What do you love most about photographing weddings?
Farrah: I love the responses I get from our customers after the job is done. I have even had brides who cried because they were so happy with their photos or dvd slide shows. I always welcome feedback and constructive critism to improve, and I learn something from every photo shoot. Some of my most fun poses during weddings have been ideas from my own customers, and I have been able to use those ideas on future jobs.
What new and upcoming technologies in photography excite you?
Farrah: I am excited to see the improvements each year in digital photography to improve photographs where they can be compared to the quality of 35mm film photographs.
Farrah Williams-Deck – Farrah’s Photography – Maryville Tennessee
website: www.weddingphotographyintennessee.com
email: [email protected]
Blog For Brides Photographer Showcase
Wedding Vendors
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martedì, Ottobre 19, 2021
Surveillance and Shame in Dave Eggers’s The Circle
Shame is a complex and controversial emotion, but there are commonly accepted notions of shame which revolve around questions regarding exposure, appearance and visibility. As Jonathan Finn notes, through digitalization and camera surveillance in public spaces, surveillance has become a “way of seeing, a way of being” (2012). Thus, the question of visibility — or invisibility — is as inherent to the concept of surveillance as it is to that of shame. Social media users tend to contribute to disempowering exhibition by sharing their personal information in the online public domain. In other words: today’s “Funopticon” (Lewis 2017) is all about self-exposure. Shame, on the other hand, is generally perceived as an affect that emerges from fear of exposure. But how sustainable is this notion of shame in light of contemporary digital ‘surveillance culture’ (Lyon 2017)? I will examine shame against the backdrop of digital surveillance in Dave Eggers’s The Circle (2013), while also drawing comparisons to our contemporary condition in the culture of surveillance.
https://www.on-culture.org/journal/issue-6/wasihun-surveillance-shame/
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Back to media
How to meet building regulations without sacrificing creativity, with digital facade planning and access solution support
As artistic and individual as many construction projects can seem during the initial design stages, the need to meet upcoming building regulation parameters can douse the flames of creativity. Of course, ensuring the safety and security of new and developed existing buildings is paramount, but if not considered early on in the design process, bending to meet safety regulations at a later stage can mean giving up on the more creative aspects of a project.
Safety and security, however, are not the only parameters. There are also client-set sustainability targets for architects and planners to concern themselves with – now just as valuable to a corporation’s brand as a glittering architectural jewel in its crown, the industry-specific security requirements regarding a building’s entrance, the safety of its emergency exit procedures, and the ease and functionality of its use, all to consider.
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First point of contact: the challenges of facade design and planning
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A building’s facade represents the physical face (hence the name) a company presents to the world. But although the look of a building’s facade is one of its most important design considerations, the architectural elements are highly fortified with building regulations and codes, along with other design factors:
• Emergency Safety: As the only means of escape in an emergency, regulations demand a building’s facade feature non-combustible, stable, durable, and inclusive exit points for people of all ages and abilities.
• Building-Specific Security Features: While allowing as many people to exit as quickly, calmly, and safely as possible in emergency situations, the majority of large-scale buildings also need to include access control for those coming the other way, for safety and security or ticketing purposes – or both as at international transport hubs and large entertainment venues.
• Environmental and Sustainability Credentials: To achieve certain environmental accreditations, a building’s thermal efficiency can be improved with the use of sensor-controlled sliding or revolving doors, for example.
• Clean and Contemporary Design: By following the recent design trends of clean lines and bringing a natural outdoor feeling to a building’s interior spaces, architects and designers can create a comforting, welcoming atmosphere both inside and out.
With many of the above façade and access requirements having contradicting solutions, professional specifiers must make decisions early on during a project’s planning stages – often selecting a customised option that balances one with another.
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Finding a way in: dormakaba Specification Support clears a path for design professionals
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With a range of automatic and manual doors, barriers, and security gates available, as well as the technology systems to keep entrance and exit points safe, secure, and monitored, the timeframe involved in searching for the perfect customised option in a sea of access solutions can have a big impact – especially at such an early stage – on a project’s schedule, and can often be rushed or even overlooked as a result.
As an international expert in architectural entrance products and access control solutions, dormakaba’s product range includes solutions that balance safety, security, traffic flow, and ease of operation with sustainability-focused technical spaces and the aesthetic options to fit multiple project styles. But finding the perfect combination to meet the dual demands of building regulations and clients is no simple task.
Helping architects, designers, and planners find the right solution that works for each individual project is precisely what dormakaba’s Specification Support Service is designed for. The service assists professionals by suggesting different types of facade access solutions and explaining how they can meet the specific requirements of a project. This means not only finding the most suitable product solutions, but also those with the technical specifications to comply with regulations and upcoming design challenges.
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dormakaba’s digital planning tools and BIM library specifications
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Professionals in the construction sector like architects, engineers, and planners are adept at visualising fully-formed three-dimensional spaces, along with spotting any future hazards or complications – like fire-safety or security compliance, with just a set of blueprints alone. With multiple voices needed to offer opinions on ongoing projects at any one time, however, the use of digital design and planning tools such as BIM software makes architectural planning far more inclusive. Giving all stakeholders the ability not only to visualise the plans but also to suggest and see any amendments made in real-time.
With the ability to speed up project processes from weeks to hours, cut the mistakes and misinterpretations that result from a paper-led design system, and even utilise AI to plan and co-ordinate the project schedule for more efficient management, BIM-led projects have a clear advantage.
The only downside is a restriction of available products to include in a project’s digital doppelgänger. With a wide range of dormakaba’s products available in a dedicated BIM library, however, BIM-based projects can find and select the solution they require from the start. Using its details to inform scheduling decisions during the planning stage, and to inform on building management processes and services allows architects, planners, and all construction professionals to find solutions that meet building regulations and client requests with speed and simplicity.
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Find out more about how dormakaba’s Specification Support Service and extensive BIM library can help you find and select the perfect access solution to balance aesthetics with sustainability and security, all while adhering to local building regulations.
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The Orchard Residence @ Ion
Nov 23, 2007
Bukit Batok
1. In what area is critique to be sought?
Composition, Post Processing and Overall colour of the photo
2. What one hopes to achieve with the piece of work?
Honestly it was just a random shot out in town, wanted to take the whole of ion but it was a mess so i cropped it and found the lower half of the photo fills in nicely( the curve from Ion building) into the photo.
So my answer would be, to showcase this beautiful building, tall and mighty like how its value says it all.
3. Under what circumstance is the picture taken? (physical conditions/emotions)
Went to town with my girlfriend for some street photography and to catch National Day atmosphere. but i got this, which it took me awhile to consider posting it up.
4. What the critique seeker personally thinks of the picture
Perhaps what i feel most lacking here is a Name for it. Like Ion name in it or the Orchard Residences.
Maybe i can add in myself? The Orchard Residence at the bottom left of the photo?
Thanks all in advance for viewing and critique.
Senior Member
Jan 19, 2002
Upper Bukit Timah
Visit site
The composition is ok.
The colours are ok.
But that's just about it, its only an ok photograph.
I would probably dial in 1/2 stop brighter for the shadowed portion at the top of the building, while retaining the blue sky. I didn't think the curve from the podium adds to the composition. In fact, I'd exclude the podium altogether. The bits of planting doesn't go well with the contemporary structure.
While I know that the perspective tilt cannot be eliminated totally, it certainly can be handled in a better manner. The angle of tilt are different on both sides of the building. That means you are rotating the camera to one side (to the left in this instance).
I would try a B&W conversion too.
I don't quite get what you mean by adding a name.
Top Bottom
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Australia's largest compounding-only pharmacy.
This was an academic assignment to re-design the corporate identity for Australian Custom Pharmaceuticals, Australia's largest compounding-only pharmacy. Working with a small team from UTS of designers, a professor, art director and company executives, below are the results after approximately 6 months of work. The brand is now getting implemented throughout the company and it's numerous marketing collateral.
After a little running around (see work in progress below), we came to a decision that this is it.
It’s always refreshing to look back at what you had and then again to where you are heading.
This is a simplified Branding Guideline, just to give users a snapshot of the brand, the colours, font and some of it’s usage.
At the opening night for the launch, we had a few posters put together to tell people the story behind the company and industry.
We created a few mockups for logo usage and also came up with something we call “responsive branding”. What this essentially means is that the logo, even though strict in some ways – can easily respond, or adapt to the surrounding environment, without actually altering the icon. Few examples of this can be seen above right.
Conferences and exhibitions is something that ACPHARM visits a lot. Previously, the banners were mainly colour and text. Very little images used, cluttered information, mixed messages. We had to reinvent the whole proccess, starting from the main message, the type of images used and the placing of both of those mediums so they are visible from far.
As you may have already picked up, the logo was based on the idea of a DNA. Of course this was not a random choice of an logo element either, you can read about it, if interested, in the intro section at the top. When multiple icon are places side by side – they connect, transforming into a DNA. Eventually it multiplies and becomes the ACPHARM corporate pattern.
First live trial at a doctor’s conference in Sydney.
First brochures printed.
Book a limo is an Australia-wide limousine service.
ClientACPHARMServicesGraphic Design, Corporate Identity, PrintYear2013
Small Business grants of up to $5,000 now available in Australia.
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Côa and Siega Verde: Art without Limits
Côa and Siega Verde: Art without Limits
The international exhibition “Côa and Siega Verde: Art without Limits”, will be on exhibition at the Popular Art Museum, in Lisbon, between July 14th and October 23rd, 2022, and afterward, it will be on exhibition at the Museo Arqueológico Nacional de Madrid, where it will be between November and February 2023.
This is an exhibition organized by the Junta de Castilla y León and the Côa Park Foundation, as part of the Paleoarte project, and has the purpose of disclosing the open-air Paleolithic art from the sites of Siega Verde (Spain) and Côa Valley (Portugal), the only cross-border material asset in Europe that is inscribed on the UNESCO World Heritage list.
The aim of this exhibition is not only to raise public sensitivity to the most ancient forms of artistic expression but also to combat the idea, which is still largely widespread, that these images were only produced inside caves and shelters. In fact, today we have a lot of evidence that assures us that images from the Upper Paleolithic were much more common outdoors than inside caves and shelters, but most of the former have been lost, unlike the latter which have been better preserved by being protected from the weather. The special conditions of the Côa Valley and Siega Verde, especially its geology, allowed the conservation of Paleolithic art in the open air until today. These sites are rare testimonies of a particular variant – open-air art – of a European artistic tradition that existed between at least 42,000 years ago and 12,000 years ago (the European Upper Paleolithic art).
The foundations of this exhibition are the results of several research teams, mainly Portuguese and Spanish, that have been working in the region for about 30 years.
Along the exhibition, visitors will find original pieces, replicas, and reconstitutions, as well as diverse textual and graphic information, sometimes in the form of drawings, photos, videos, and even holograms. The exhibition is also dotted with several interactive elements that intend to contribute to a better understanding of the exhibit’s contents.
The exhibition is curated by Thierry Aubry, André Tomás Santos (Côa Park Foundation), Javier Fernández Moreno and Cristina Vega Maeso (Junta de Castilla y León), also editors from a guide book that includes the participation of 12 other researchers, Portuguese and Spanish.
Educational Program:
In addition to guided tours in Portuguese, English and Spanish, the educational program of the exhibition includes painting workshops dedicated to families with children and peddy-papers for the school public.
Visiting schedule:
The exhibition “Côa and Siega Verde: Art without limits” is accessible during the normal opening hours of the Popular Art Museum, namely:
Wednesday to Friday: from 10 a.m. to 6 p.m.
Saturdays and Sundays: from 10 a.m. to 1 p.m. and from 2 p.m. to 6 p.m.
See HERE the Educational Program of the Exhibition
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14/04/2024
The Best Wearable Gadgets
Mixed Media and Installation Art
The mixed media art installations are a western modern art genre began in the 70’s. These installations are produced using various media types and techniques in a single art work to produce a unique, conceptual experience. It allows greater versatility and a richer viewer’s experience, owing to the numerous layers characteristic of the art. Famous mixed media artists of the Installation Art genre are Damien Hirst and Tracey Emin, amongst others.
Assemblage art using 3-D compositions has become more popular. One particular popular piece by Robert Rauschenberg named Canyon, was made in 1959. Made from oil, house paints, papers, pencils, fabric and metal and also buttons and nails, cardboard and photos with wood including string on canvas and paint tubes, this is one piece of art that utilizes a little bit of everything assembled into one fantastic 3-D experience. Assemblage art as well as mixed media art are both creating a large comeback with brand new artists, and the ones wanting to be a little more environmentally friendly. With more people being mindful of the eco status of the world, it really makes sense that lots more people would turn to utilizing the fabrics of the modern days which are no longer being used.
Artists use a variety of techniques to make unique styles of installation art. This consists of the wide variety of materials and the media used. Material choices consist of the utilization of textiles, terracotta, cardboard, carpet, spray and oil paints, graphite, sculptures and discovered objects. Different media types, like computers, music and the world wide web are used properly to convey the meant message.
When it comes to mixed media, it is said that it’s very important to select the layers and their makeup carefully to ensure every layer has enough time to dry before the next is applied to retain the integrity of the piece. The effects accomplished by utilizing this art can be amazing, as found in a piece entitled Arc Angel by Jim McNitt. This particular mixed media art is made of oil, acrylic and pigmented inks on a canvas which used traditional oil painting techniques as well as new contemporary digital image editing software. Artists such as Christian Boltanski, Roberta Jenkins, Jane Frank, Mateo Romero and Annette Messager are all mixed media artists.
With the aid of the electronic age, digital mixed media art is becoming increasingly popular with artists. Such artists like Jason Mecier offer mixed media art that is centered on certain items, in his case, celebrities. Meceirs art is focused on making use of thrown away materials that the specific celebs have left, and he uses them together with panels or canvas as well as digital media in order to produce a likeness of the superstar. One particular piece is the one called Elvira, where he has captured the Mistress of the Dark using art pieces on a panel to create her likeness from the waist up. Beads, buttons, and lipsticks, lips with fangs: all items found within this exhilarating piece of transcendental likenesses. Inks, comics and makeup sold by the Mistress of the Dark are all incorporated into the piece to create a most unique and attractive mixed media art piece.
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Pamela Alderman
Pamela Alderman, an artist without borders, demonstrates how art can engage participants within a safe space. Her two-part workshop includes a short presentation on how to reach a secular audience through art and a collaborative project called “Art Mysteries.” The hands-on activity, designed for artists and non-artists alike, challenges participants in team building as they problem-solve together. After coloring small wooden tiles, the group compiles the pieces like a puzzle. This fun team-building exercise celebrates collective community expression and demonstrates how art can be part of the healing solution.
Collage Workshop Leader
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James Anno
James. Anno earned his PhD in art history from Washington University in St. Louis, where he wrote a dissertation on the interrelationship of time and movement in Michelangelo’s art. From 2017 to 2019, James was the inaugural American Friends of Capodimonte post-doctoral curatorial fellow. At Capodimonte, James contributed to numerous exhibitions including Carta Bianca: Capodimonte Imaginaire, Depositi: Storie ancora da scrivere and Caravaggio Napoli. With interest in Italian Renaissance and Baroque art, James has published essays on Francesco Guarino, Artemisia Gentileschi, and he co-authored with Christopher Bakke the exhibition catalogue Flesh and Blood: Italian Masterpieces from the Capodimonte Museum, which enjoyed venues in Seattle and Fort Worth. Since 2019, James has served as Associate Curator of European Art at the Museum of Fine Arts, Houston, where he recently curated the exhibition Glory of Spain: Treasures from the Hispanic Society Museum & Library.
Breakout Presenter: Circa 1656: Parthenope, Plague and Mattia Preti’s Martyrdom of Saint Paul
Zac Bensen
Zac Benson is an international artist who has shown in Taiwan, Bulgaria, and throughout the United States. He has also had public commissions in Australia, California, New York, and Washington, D.C.. His gallery work deals with the relationship between his personal faith and beliefs and his engagement with society while his public sculptures deal with the traditional relationship of scale and form. He graduated with his B.F.A. in sculpture from The University of Tennessee, Knoxville in 2011 and an M.F.A. in Studio Art from The University of Maryland in 2017. Currently, he is an Assistant Professor of Studio Art at Anderson University where he teaches sculpture and ceramics.
Plenary Panel: The Sublime in Art
Katherine Brimberry
Katherine Brimberry co-founded Flatbed Press with Mark L. Smith in 1989 to be a publishing press for fine art prints and open studio for artist-printmakers. At Flatbed she served and still serves as the master-printer for publishing and art director. In 2012, Brimberry became the sole owner and director of Flatbed. As lead collaborating master printer, Brimberry has worked with nearly 100 different artists to create over 500 editions or projects over the past thirty years. During Flatbed’s early years, Brimberry was an esteemed instructor of printmaking at Austin Community College, St. Edward’s University and Texas State University.
Plenary Panel: The Sublime in Art
Explore Group Host: Printmaking at Flatbed Press
John Cobb
John Cobb studied with Charles Normann at the Texas School of Fine Arts and attended college at the University of Texas at Austin. In 1976 he entered the undergraduate program at Rhode Island School of Design. Rather than obtaining a degree Cobb took advantage of their overseas program and traveled in Romance Europe for a year, returning eventually to obtain a degree in art from St. Edward's University. His art is a life-long project---to form a Chapel reflecting a deeper psychological meaning to Texas Bible-Belt religious sentiments.
Plenary Panel: The Sublime in Art
Ikon Chapel Artist Talk
Local Austin Hospitality
The conference is an opportunity to meet many wonderful and creative people from within the CIVA community. Get to know those people who helped make this year's conference possible. Bios are in alphabetical order and include local Austin hospitality, presenters, workshop leaders and Explore Group guides.
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Kristen Cochran
Originally from Portland, OR, Ms. Cochran moved to Texas to complete her MFA in sculpture. She has been awarded residencies in New York, Austria, Wyoming and Texas. Kristen has taught extensively at local universities and museums including The University of Texas, Dallas, The Nasher Sculpture Center and The Modern Art Museum of Fort Worth. Recent exhibitions include After Carolee: Tender & Fierce at Artpace, San Antonio, fare well at The Nasher Sculpture Center, chroma soma at Barry Whistler Gallery (Dallas, TX), Fold In at Lawndale Arts Center (Houston, TX) and GOALS at the Stein Galleries (Wright State University, Dayton, OH). She will participate in the NARS Foundation Residency in Brooklyn, NY in 2021.
Plenary Panel: The Sublime in Art
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Joe Cory
Joe Cory is a visual artist and an Associate Professor in the Department of Art and Design at Samford University in Birmingham, Alabama, where he also serves as a Faculty Fellow in Samford’s Center for the Worship and the Arts. Using fragmented imagery, he creates paintings, collages, and digital artworks to help him navigate the complex world in which we live. Cory is especially interested in using his work to serve as a reminder of God’s grace amidst a broken world. He exhibits his artwork across the United States and has received numerous grants and awards. He is a member of Shades Valley Community Church (EFCA) where he serves as an Elder. When he is not in the studio or classroom, Joe enjoys spending time with his family, reading, and watching sports.
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Jennifer Craft
Jennifer is Associate Professor of Theology and Humanities at Point University in West Point, Georgia where she teaches courses in theology, philosophy, and the arts. She earned a PhD in Theology, Imagination and the Arts from University of St. Andrews and is the author of Placemaking and the Arts: Cultivating the Christian Life (IVP Academic 2018). She has also contributed to other publications such as Transpositions, SEEN Journal, Christianity Today, and The Visual Commentary on Scripture (forthcoming). Her latest research focuses on the prophetic imagination in contemporary art, along with the relationship between art and social justice.
Ted Eubanks
Ted Eubanks
Ted Lee Eubanks is the founder, CEO, and President of Fermata Inc., a leader in ecotourism, interpretation, sustainable development, and outdoor recreation planning. Photography is an integral part of his work, as well as a lifelong passion. Another passion of Ted's is nature, and the two come together in his lifetime involvement in nature photography.
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Maria Fee
Maria Fee is an artist, theologian, and educator. Her visual art explores ideas of fragmentation, metizaje (cultural mixing), alienation, and hospitality. These notions also drive her theological research currently explored through the art of Theaster Gates and other social practice artists. As an adjunct professor at Fuller Seminary, she delves into theology and art topics through courses like Visual Arts and the Christian and Capstone Theology and Art. Maria has also contributed her expertise and energies to the Brehm Center’s Visual Faith initiative. She currently lives in Pasadena with her husband Brian Fee, who is also an artist.
Rev. Stephen Fields, S.J.
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Stephen Fields, SJ is Professor of Philosophy of Religion and Systematic Theology at Georgetown University, Washington, DC. With degrees from Yale and Oxford, he has been the Bannan professor at Santa Clara and has held the Maclean Chair at St. Joseph’s University in Philadelphia and the Loyola Chair at Fordham University. His books and articles deal with a wide range of topics, such as metaphysics, aesthetics, nature and grace, modern interpreters of Aquinas, and Christian mysticism. Fr. Fields is an expert in philosophical theology and the history of Christian thought. He is the author of Being as Symbol: On the Origins and Development of Karl Rahner’s Metaphysics (2001), Analogies of Transcendence: An Essay on Nature, Grace and Modernity (2016), and numerous scholarly articles. His works often include reimagining the role of Christian art, revising the Thomist doctrine of God, and defending Christianity's unique claim in relation to other religions. He is former president of the Jesuit Philosophical Association.
Plenary: The Transcendent Art of Rouault and Grunewald in Light of Hans Urs von Balthasar
Robert Feuge
Robert's goal as an artist is to see the extraordinary in the ordinary and see the value in those things marginalized or discarded. His foundation as an artist is grounded in childhood. He lived near a city dump that became his playground. Robert would rummage through those discarded things he found and create something new from seemingly disparate objects. He still embraces that childlike curiosity to ask "what else can this be and what is this thing trying to tell me?" Robert's goal is to see everything as an opportunity in teaching himself something new.
Art Workshop Leader
Local Austin Hospitality
Kim Garza
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Kim Garza is an Associate Professor of Graphic Design at St. Edward’s University in Austin, Texas. Besides creating engaging experiences for students, she leads campus programming on vocational exploration and career preparation. She works on creative projects as a user experience designer and an experimental filmmaker in collaboration with her singer-songwriter husband, and she is a mom of two boys. Kim has been an active CIVA member since 2001 and serves in leadership with Doing Good Well. She holds a B.A. from Anderson University and a Master of Graphic Design (M.G.D.) from North Carolina State University.
Presentation Moderator
Local Austin Hospitality
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Delta David Gier has been called a dynamic voice on the American music scene, recognized widely for his penetrating interpretations of the standard symphonic repertoire, passionate commitment to new music, and significant community engagement. Orchestras Mr. Gier has conducted include the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, the Chicago Symphony, the St. Louis Symphony, and the Minnesota Orchestra.
Since 2004, Mr. Gier has been music director of the South Dakota Symphony Orchestra. During that period the orchestra has been lauded for its programming, including The Lakota Music Project, developed under Gier’s direction to address racial tensions between Native Americans and whites in the region the SDSO serves.
Plenary Panel: The Sublime in Art
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Shen, also known as :ShenShen210: "The Original West Coast Graffiti Girl”, has shown in museums, galleries and private collections spanning the globe. However, such amazing opportunities did not come without a price. Many adversities drove her deep into her sketchbook, and Shen now finds answers for life’s biggest questions from God, which she translates into solutions that are the worship experience that occurs as she paints.
Mural Workshop Leader
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David JP Hooker is an artist and professor of art at Wheaton College. He received an M.F.A. in Ceramics from Kent State University and a B.A. in English from Furman University. His works have been exhibited both nationally and internationally, and he has twice been part of the Dunhuang Ceramic Residency in Lanzhou, China. When David is not freaking out over deadlines, he enjoys spending time with his wife, Elaine, his children Abbey and Samuel, his dog, Meg, and his cat, Evee.
Plenary: In Praise of Ordinary, Everyday, Humdrum Transcendence
Donna Kemper
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Donna Kemper earned a double major in psychology and fine art from Grand Valley State. Rather than earn an MFA, she found a portrait artist to apprentice with before she launched her art career. She laid down that career to be a caregiver. Now, she's transitioning back into art.
The Mercy of Lament Project Workshop
Ben King
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Ben R. King is Professor Emeritus and former director and associate dean of the Greatbatch School of Music, Houghton College, an institution he first joined in 1980. From 1992 to 1996, he also served as professor and chair of the department of music at Sam Houston State University.
A native of the Texas Panhandle, Ben holds the DMA in vocal performance and music literature from the Eastman School of Music and earned B.Mus. and M. Mus. degrees in vocal performance from Texas Tech University. He has appeared with Houston Grand Opera, New Orleans Opera, Gulf Coast Opera, and Western New York Opera, among others.
Edward Knippers
Edward Knippers holds an MFA from the University of Tennessee and has worked in the studios of Zao Wou-ki, S. W. Hayter, and Otto Eglau. He has also studied at the Sorbonne, Paris (language) and the Pennsylvania Academy of Fine Arts. His work has been shown extensively thoughout the U. S. and abroad including the L A County Museum, Cheekwood, Nashville, the University of Oklahoma, Catholic University of America, Washington, DC., The Virginia Museum of Fine Arts, Richmond, Palazzo dei Setta, Orvieto, Italy and the Vatican Museum, Rome. Books and periodicals include: LIFE Magazine, the Washington Post, Dallas Morning News, Baltimore Sun, Fort Worth Star-Telegraph, New American Painting, Art Voices and two monographs: Violent Grace, A Retrospective (paintings) and The Art of Edward Knippers, Prints and Drawings. Most recently his work was included in Jesus Now, Art and Pop Culture.
Gallery Talk
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Bobby Martin is an Artist / Educator / Facilitator who works out of 7 Springs Studio in Oklahoma. Martin’s artwork is exhibited and collected internationally in group and solo exhibitions, the most recent being a one-person exhibition entitled But You Don’t Look Indian… . His current project, Altars of Reconciliation, is a three-person show featuring Martin, Erin Shaw (Chickasaw-Choctaw) and Tony Tiger (Sac & Fox-Muscogee-Seminole) that focuses on the experiences of the artists as Native Americans and as Christians. An enrolled citizen of the Muscogee (Creek) tribe in Oklahoma, Martin holds a Professor of Visual Arts position at John Brown University in Siloam Springs, Arkansas.
Conversation: Cultural Transcendence
Nadia is the founder and the director of the Florence Classical Arts Academy and New Renaissance Foundation. She has received a degree in graphic design at Grekov Art College, Rostov-on-Don and earned her masters degree at "Academy of Fine Arts", Florence, Italy ("Accademia di Belle Arti"). Nadia has held several exhibitions in Russia, Ukraine, and Europe and is an experienced teacher in graphic design, painting, drawing and composition. Nadia has also worked as a graphic designer and the Art Courses Director for the University of Nations at the Kyiv (Ukraine) St. Petersburg and Rostov-on-Don (Russia) branches.
Plenary Panel: The Sublime in Art
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Sylvia Orozco, co-Founder and Executive Director of Mexic-Arte Museum, has been with the organization since its incorporation in 1984. She received her B.F.A. in Fine Arts from The University of Texas at Austin in 1978 and completed course work for an M.F.A. in Fine Arts from the Autonomous University of Mexico in Mexico City in 1983. Among many other honors, in 2007, Sylvia received the prestigious Ohtli Award from the Instituto de los Mexicanos en el Exterior of the General Consulate of Mexico, and in 2009 was selected for the Austin Arts Hall of Fame. She also serves on the Board of Directors for the Mexican American Cultural Center and on City of Austin Mayor Lee Leffingwell's Community Cabinet.
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Erin Shaw is a painter of borderlands, the spaces between worlds. As a visual storyteller, the child of an Oklahoma farm, Shaw tills the rich soil of dichotomy through her masterful use of color, iconography, and story. A Chickasaw-Choctaw artist, she creates in a state of tension, where both solemnity and humor pervade and truths are revealed in unanticipated ways. The artist earned a BFA in studio art from Baylor University and MFA from the University of Oklahoma. She is Assistant Professor of Visual Arts at John Brown University, an international speaker, and a featured artist in Visual Voices: Contemporary Chickasaw Art, among other exhibits.
Conversation: Cultural Transcendence
Presentation Moderator
Bishop Joe S. Vásquez
Bishop Joe S. Vásquez studied at St. Mary Seminary and the University of St. Thomas, from where he obtained a Bachelor's degree in Theology. He then furthered his studies at the Pontifical North American College and Pontifical Gregorian University in Rome from 1980 to 1985. He was ordained a priest for the Diocese of San Angelo on June 30, 1984, by Archbishop Joseph A. Fiorenza. On November 30, 2001, Vásquez was appointed Auxiliary Bishop of Galveston-Houston and Titular Bishop of Cova by Pope John Paul II. He received his episcopal consecration on January 23, 2002. On 26 January 2010 he was appointed as bishop of Austin by Pope Benedict XVI filling the vacancy left by Gregory Michael Aymond who was appointed archbishop of New Orleans.
Prayer and Blessing of the Artists
Ray Williams
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Ray Williams, Director of Education and Academic Affairs at the Blanton Museum of Art.
Before Austin, Williams was appointed the first ever Director of Education at the Harvard Art Museums. Previously, Rhode Island School of Design Museum of Art, Peabody Essex Museum, the Freer Gallery of Art and Arthur M. Sackler Gallery, and the Ackland Art Museum. While at the Harvard and Sackler Museums, Williams stewarded a project initiative that brought English language learners and those applying for their United States Citizenship test into the museum. The project, titled Engaging New Americans: Explorations in Art, Self, and Our Democratic Heritage” was funded by the National Endowment for the Arts and served to connect American art with an immigrant experience, through gallery sessions, discussions and activities. Also at the Harvard and Sackler Museums, Williams developed programming that brought physicians and medical educators into the museum spaces for lessons in close looking, and empathy and communication skills; this work further carried over to the University of Texas at Austin Dell Medical School.
Explore Group Host: Blanton Museum of Art & Ellsworth Kelly
Denise Weyhrich & Cindi Zech Rhodes
We, as artists living among artists, often hear about our colleagues’ struggles. We realize that many have a hidden wealth of personal artworks coming from the depth of their souls - experiments that speak in a private voice. These artworks are not shown in galleries or commercial venues, but as pure expressions of pain, loss, wanderings, searchings and joy, and have great potential to create deep connections.
These private artworks are our passion. We have "to bring these artworks alive" as Madeleine L'Engle discusses in her book "Walking on Water." So, SEEDS has been busy transforming galleries and museums into sacred spaces all across the nation. We have curated exhibits working collectively with artists, and inspire them to pursue new directions of risk.
Portfolio Reviewers
Taylor Worley
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Taylor Worley serves as Associate Vice President of Spiritual Life and University Ministries as well as Associate Professor of Christian Thought at Trinity International University in Deerfield, Illinois. He completed a Ph.D. in the areas of contemporary art and theological aesthetics in the Institute for Theology, Imagination, and the Arts at the University of St. Andrews.
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Dark and moody, collodion photos make a comeback
Frustrated by the ease at which digital photos can be taken and doctored, some artists are kicking it old school: They’ve revived wet plate collodion photography, a medium invented and popular during the mid-1800s.
Complicated, cumbersome (it requires darkroom work on the spot) and potentially hazardous, the collodion process uses raw chemicals in a race against the clock.
And that’s why collodion photographers love it so.
“There’s something about these hands-on, historical processes ... you’re so in control, you’re making your film from scratch ... (but) you’re subject to physics and the chemistry, and then you’re trying to make something in your mind’s eye – the composition and lighting – while maintaining this technical finesse,” says Quinn Jacobson, a Denver-based photographer. “There’s great satisfaction in accomplishing that. There’s a level of satiety that you don’t get from working in digital or even film.”
Collodion portraits and landscape images have fine details but appear dark and moody – even haunting or ghostly.
“The aesthetic is kind of a half-remembered dream,” says Jacobson.
The process involves coating a surface, usually glass or aluminum, with a mixture of collodion, ether, alcohol and two salts that dries to a tacky, clear film. The collodion is derived from a flammable compound known as guncotton (in other uses, it’s flash paper) dissolved in sulfuric and nitric acids.
The plate is made light-sensitive in a bath of silver nitrate, after which it is exposed to light. The image exposure can take seconds or several minutes, depending on available light and photographer preference. It’s developed and then fixed, or stabilized, in a solution of potassium cyanide. With longer exposure and an added step, a negative for printing can be made.
Of all the chemicals in the process, potassium cyanide is the most dangerous. “A tenth of a gram is enough to kill a horse,” says wedding photographer and collodion fan Matt Alberts. “There’s 18 grams in my fix. That’s kind of scary.”
Alberts, also of Denver, learned the collodion craft from Jacobson nearly a year ago. He was motivated partly by learning that his ancestor, Lowell Gilmore of Albany, N.Y., worked in the medium more than a century ago. Alberts has invested thousands of dollars in the collodion process, which for him captures the essence of photography.
“I’m creating something just with light and my hands. It feels more like art,” he says.
Jacobson makes portraits of the “marginalized” – day laborers, the homeless, convicted felons. In his Ghost Dance project, he also documents sites in the West where troops massacred Native Americans in the mid- to late 1800s. He’s concerned he won’t be able to capture the land’s terrible past, but thinks the moody collodion – in use during those times – will help.
“It adds that mystery and darkness and that kind of melancholy feel to the whole project,” says Jacobson. “I couldn’t do this in film or digital. They’d be straight-up landscapes.”
Alberts is documenting skateboarders, picking up images at skate parks around the Western United States. He says collodion photography “sees beneath the skin” of its subjects: “I often photograph ‘fringe’ people. Even though they have a rough exterior, they are some of the smartest, nicest people. Collodion shows how people really are not what people think they are.”
Photographer Euphus Ruth, meanwhile, makes his plates in the quiet fields and neglected cemeteries near his Greenville, Miss., home. He documents the decay of abandoned churches.
“It’s not for just anyone,” says Ruth. “It’s for people who like to slow down and methodically enjoy the process of making the photograph.”
A retired public utility worker, he has been making collodion images for eight years. He first learned how during a three-day retreat with John Coffer of Dundee, N.Y.
Jacobson, who has taught photography around the United States and Europe, helps Ruth and other “collodionists” by email and online at The Wet Plate Collodion Photography Forum, which has more than 5,000 members. Collodion photography, developed in 1851 by Frederick Scott Archer, was being practiced by only a handful of photographers 15 years ago, according to Jacobson.
Jacobson says a novice can expect to spend about $3,000 on collodion equipment and supplies, and two to five years learning the science and techniques. He recommends finding a good introductory workshop.
Ruth works out of the back of an old Cadillac hearse – his portable dark box slides out on casket rollers. Jacobson and Alberts rely on portable dark boxes, too. Online sites for buying them and other supplies include Wetplatewagon, Chamonix View Camera, Art Craft Chemicals and Chemsavers.
The process hooked Alberts immediately.
“The first time you pour it and you do the whole thing and you watch it come up, it’s like, ‘What?’” says Alberts. “That’s where the real magic happens.”
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Tickled Pink
If you are looking for the Life Imitates Doodles Weekly Wednesday Giveaway #16 , you can find it here.
Today, my hubby took a Great White Pelican in his lunchbag.
Doodlewash prompt ‘Tickled Pink’. I chose the Great White Pelican for the prompt because during the breeding season the males take on a pinkish cast to their faces. Tickled Pink seemed appropriate.
Artwork-Zebra Zensations Technical Pen , Arteza Watercolor brush pen and Uniball White Signo gel pen on Hahnemühle Cold Pressed Watercolor postcard.
Wanna buy some of these cool toys now?
Hahnemühle Cold Press Watercolor Postcards (you can find my review here).
Zensations Technical pens (you can find my review here)
Daniel Smith Watercolor Half Pan Set of 15 Ultimate Mixing Set ( review )
Princeton Velvetouch Series 3950 Synthetic (
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Helmut Newton Rosa paradas W2
Helmut Newton (born Helmut Neustädter; 31 October 1920 – 23 January 2004) was a German-Australian photographer. He was mainly a fashion photographer whose provocative black-and-white photos were a mainstay of Vogue and other publications. Helmut Newton was one of the most important and controversial photographers of the 20th Century. He was primarily known due to the alternative nature of his photographs. Newton’s pictures, whether fashion, nude or portraits, were often highly erotic, bold, and provocative.
The photographs above are some of his most popular picture called Sie Kommen, Dressed, Paris and Naked, Paris, 1981.
He was not famous for a specific photograph exactly, but more for the nature of the photos he took. He was born in an era where women had just gained a new type of freedom within themselves. Women were more independent and Newton, throughout his career, empowered women. He showed their true magnificence and beauty in each of his works. But one of his most known pieces is Sie Kommen (Dressed) and Sie Kommen (Naked) (shown above).
His early studies were at the American School in Berlin; however, by 1936, as his fascination with photography began and his disinterest in school waned, he left school and started an apprenticeship with then renowned photographer Elsie Simon, known as Yva.
Helmut Newton has influenced countless photographers, but his mark of influence also extends beyond photography into fashion, advertising and design. I personally love his work because Newton did not objectify women for his own pleasure, but for their own pleasure instead. He empowered them and showed their true beauty. He depicted their sensuality, their tall, statuesque figures, their womanly curves, their unique personalities. Newton photography presented women as the rule-makers instead of rule-obeying, weak persons.
Wolfgang Sievers and Helmut Newton, New Visions in Photography exhibition, held at the Federal Hotel, Collins Street, Melbourne, Victoria, 1953.
In the beginning of his career, Newton opened a studio on Flanders Lane, a fashionable street in the textile district of Melbourne, where he began to shoot fashion and theater. It was there that Newton would also see his work in his first exhibition, along with architectural photographer Wolfgang Sievers, who had served alongside Newton in the army.
The two books on the sides were both written by Helmut Newton himself. They also contain a collection of photos he took himself. The author of the Helmut Newton Autobiography is Nan A. Talese.
In 1975 Paris, Newton staged his first one-man exhibition. The following year he published his first book, White Women. Over the next twenty-five years he worked steadily and productively, publishing a series of books and creating countless exhibitions, the most impressive of which was surely the large-scale celebration of his career at the Neue National Galerie in Berlin on the occasion of his eightieth birthday in 2000, accompanied by the simply titled book, Work.
Newton was highly sought after until the end of his life. He died of injuries from a car accident at the Chateau Marmont in Hollywood, California in 2004. Shortly before his death he had established the Helmut Newton Foundation in Berlin, Germany, and donated approximately one thousand of his works to his native city.
http://www.hamiltonsgallery.com/artists/37-helmut-newton/biography/
http://www.widewalls.ch/helmut-newton-photography/sie-kommen-dressed-naked-1981/
https://en.wikipedia.org/wiki/Helmut_Newton
http://fadedandblurred.com/helmut-newton/
http://www.publishersweekly.com/978-0-385-50807-0
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Exhibition view, Zsolt Irsai Exhibition, B5 Studio, Târgu Mureș, 2011, chair, MP4 player, headphone, adhesive film with text. Photograph: Zsolt Fekete (Lovacska)
Zsolt Irsai Exhibition
2011 Mar 19 2011 Mar 28
2011 Mar 19, 19:00
“… One can never navigate a contemporary phenomenon, if we don’t observe it, don’t research its history, if we do not view art history as a unified, unfolding phenomenon. (…) I often hear that someone walks into a Gallery and says, “I don’t understand what’s going on”. Of course he can’t understand that if he has no minimal insight into twentieth-century art or art history in general. Because these things are related, these things generated each other, one step brings the next one. In this sense, the twentieth century is a very exciting and truly a unified phenomenon. Whether we consider cubism, futurism, or post-impressionism as the first stages of the twentieth century – all the way to conceptual art or post-conceptual art – we can feel a kind of unfolding, connection, historicity that lies in it. I imagine this as if someone lifts the hood of the latest Mercedes and says they don’t understand what is underneath. But it doesn’t even start here. It starts somewhere at the wheel, or at the cart, or with the fact that there is an axle with wheels. And then the propulsion and a lot more. We can only really understand, or have a chance to understand what is under the hood, when we have a minimal knowledge about the cart or the wheel or the axle. So it is with contemporary art. For someone to comprehend or for someone to truly understand or conjecture what is happening in contemporary art, there really is a need for a kind of art-historical insight.” Zsolt Irsai
The title contains a wordplay: the Hungarian phrase means both “Irsai Zsolt’s exhibition” and “The exhibition of Irsai Zsolt” – making Irsai the exhibiting artist and the one “being exhibited” at the same time. The actual creator of the project is the artist Bartha József, who set the date of the exhibition to mark Irsai’s original intention (“For autumn I have two projects. I will finally go to the doctor. After that, I will start to work and in March I will have an exhibition at the B5 Studio.” Irsai Zsolt, May 2010). The event is a slightly mystical evocation of the well-known personality from the Transylvanian art scene, where the viewer is offered the possibility to meet with the deceased artist: in a spiritual sense, through sitting on the chairs brought from his house and his voice in the headphones, and in a mental/cognitive sense, through connecting with his thoughts (the recordings playing in the headphones have the artist in conversation with the radio presenter B.Szabó Zsolt, on the subject of art, its historical and theoretical perspectives). The objects and sounds are treated like readymades in the séance-like event; it is a memorial exhibition and an exhibition on memory itself; it continues Irsai’s characteristic, social sculpture-like (Beuys) activity, an homage to his immense dedication to art and pedagogical inclination. His deep-toned, elaborately constructed thoughts, which have the effect of an initiation, attempt to persuade us of the importance of art. – Kata Ungvári Zrínyi
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In Review: Buffy the Vampire Slayer #5
A change in artists for this issue hurts worse than a vampire's kiss.
The covers: Nine covers to take back to your crypt if you have to have them all! The Main cover by Marc Aspinall looks like the cover to a 1970’s pulp novel. Within a giant light blue circle is Vampire Xander holding his neck with Drusilla cradling him from behind. Below them is Buffy holding a note with one hand and the other on Williow’s shoulders who is on her knees in sorrow at seeing human Xander on the floor inside a circle surrounded by candles. There’s a lot of empty space within the rose colored background; a larger logo would have helped fill it. This is okay, but not an image I love. The Spotlight cover by Kevin Wada features Angel with his hands behind his back and head tilted slightly to the right. The point of view is him looking out a window, because the shadow of the frame of the aperture is on him as well as a tree limb. Behind him are out of focus lights that could be from many candles. This is going to be the cover that fans will want. Though it has nothing to do with this issue, the Chosen One cover by Morgan Beem really caught my eye because it looks as though it’s from a B.P.R.D. comic. The top left states THE PHILIPPINES, with 1910 below it. There is a fantastic illustration of woman wearing a massive puffy coat and tight long skirt holding a stake in her left hand. She’s got her other hand on a vampire’s skull that’s on a table and there’s a animal tail (or a worm?!?) protruding out of the skull’s upper mouth. There’s a lion sized slug creature on the floor beneath her that’s smiling. On the right is a large bookcase containing jars, skulls, and drawings of all things arcane. This is colored in sepia tones to give it an aged look. This looks stunning and I would buy a series with this Slayer if it looked just like this. Becca Carey has created the Episode Preorder Variant cover that’s a strong crimson with Willow’s head in the center. However, her face can’t be seen because it’s got a whirlpool swirl on it. The title of the book is at the top and the word Doppelgangland beneath it. This looks like anyone could have cranked it out on a computer in twenty minutes or less. There are two Variant covers by Yasmine Putri. The Color Variant has Xander on the floor with his back against some lockers that have been battered and torn open. He’s holding his right arm before him which has sprung some vampire nails. On the floor shadows of Willow and Buffy can be seen, with the latter holding Mr. Spikey. Very cool. The Black and Variant Variant is the same image sans colors. This makes me appreciate the colors on the previous version which do a lot of work on this image. The Unlocked Buffy Retalier Variant cover by Kaiti Infante features the Slayer turned to the right with a smile. Her left hand disappears as if it goes off the frontpiece and her right hand is held low in a fist. She looks happy about something. This is not a good image of Buffy, looking more like Vanessa Bayer than SMG. The Unlocked Vampire Buffy Retalier Variant cover by Infante connects to the previous cover by having Vampire Buffy with her back to the reader as she puts her left hand out to the left where it disappears. She, too, is smiling, but she is obviously a vampire. This is also not a good look for the Slayer. I couldn’t find online a copy of the Showcase Variant by Simone di Meo, so good luck, collectors! Overall grade: Main B, Spotlight A-, Chosen One A+, Episode Preorder Variant F, Variant Color A, Variant B&W C, Unlocked Buffy Retailer Variant F, and Unlocked Vampire Buffy Retailer Variant F
The story: The first five pages have Buffy fighting several vampires, exchanging barbs as they battle. After the credits pages, Jordie Bellaire has Buffy experience something that should have happened a lot more often on the television series. Someone comes looking for Buffy at night and their conversation is the best thing in the book: I loved what each character said with the tone excellent. The pair head to someone’s home where the serious aspect of the book begins. I love the additional character who’s in the house; I can’t get enough of this individual. The reaction from a character at the bottom of 12 and first two panels on 13 are perfect. I love the response written on a note that’s read. I didn’t like either of the characters on 15 and 16 because they’re so unlike how they’ve been in every other form of media I’ve seen them, which is quite a few. The dialogue on 19 and 20 is good, with the first panel on 21 going extra icky. The last page shows one character’s appropriate response to information and I like the tease of immediate danger in this person’s future. I enjoyed this, with exception to the villains who were not true to their pasts. There also wasn’t Anya in this issue, which is good, because I haven’t liked how she’s now written. To cut to the quick, I’m just not liking the villains. If you can’t believe the villains, you can’t buy into any threats in the book. I like more than not, but still have issues with the changing of certain characters. Overall grade: B-
The art: David López is the artist this issue (a new artist after only four issues?) and his style does not work for me. I do not like artists that blur their visuals to create speed. The first three panels on Page 1 are supposed to capture quick gestures, but they look sloppy. Better is the close up in the third panel, though the source being struck is not seen. The final panel on the page would make more sense, especially to new readers, if the victim of panel three would have been shown. Buffy’s face in the top right of Page 3 look inhuman, like she’s related to Abe Sapien. I really dislike the speed lines in the large panel on 2 — it’s like her knee was smeared. I do like the antagonists on 5, which all look fantastic. What is up with Willow’s face in this issue? Her eyes are so far apart or bugged out in a cartoonish fashion. I also do not like the way the villains are illustrated. Look at Buffy, Xander, and Willow on Page 17. Look at Willow on 19. This is just bad. Now the change on 20 is good as is the look of this character after the transformation. The character that’s on the final page is another overly cartoony interpretation. This is not working for me. Overall grade: D-
The colors: The first three pages have some fairly bright colors, but after this colorist Raúl Angulo goes pretty dark with very bland colors. It makes sense things are pretty dark on 4 and 5 due to the light source being far from Buffy and the nature of 6 demands it’s dark. Violets are used for the night sky, which allows the visuals to be clear when characters are outside, but the characters dim on 9 after being brighter on 8. I do like the sepia colors for the quick flashback, which look neat. Notice how the characters brighten considerably when they reappear on 10 — what happened? I don’t understand why the primary setting for the remainder of the book is so dark. There is a massive light on in the left and a ridiculously smaller one on in the right. Why aren’t the two wall lamps on? There’s no reason explained for some, but not all lighting, being used. Yes, it makes it scarier, but it left me wondering. I really liked the blues at the top of 21 — very cool. Thankfully, the last page has bright colors, but the book has been so dark I’m almost blinded by the light. Overall grade: C
The letters: Ed Dukeshire creates dialogue, sounds, whispered dialogue, an editor’s note, a yell, and the three word tease for next issue. I’m really beginning to dislike the tiny, thin font of dialogue. It’s difficult to read and I’m willing to bet this is the smallest dialogue font of any comic book series I read. When this font shrinks to become whispered dialogue I’m really straining to read the text. I’ve always liked Dukeshire’s work, but this is not working. Overall grade: D+
The final line: A change in artists for this issue hurts worse than a vampire’s kiss. The story is neat for having one of the Scoobies in trouble, but the villains are so different from the way they’ve been portrayed in the past they come off as poor substitutes. The new artist in this issue is not consistent with this characters, especially on Willow, and the blurred images for speed look horrible. The colors are also really dim, making the art lessen further. And I continue to find the dialogue font to be practically unreadable. I did not like this issue. Overall grade: C-
To order a print copy go to https://shop.boom-studios.com/comics/detail/9522/buffy-the-vampire-slayer-5-cvr-a-aspinall
To order a digital copy go to https://www.comixology.com/Buffy-the-Vampire-Slayer-5/digital-comic/7736
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The 15 Best Architects in Memphis
Reading Time: 6 minutes
Memphis architects
Boy Scouts of America, Camp Kia Kima Dining Hall by ANF Architects
While Memphis may be most famous for the legendary sounds of blues, soul, and rock and roll that originated on its streets, the city is also home to a pool of rich design talent. These architects truly care about their community and the built environment, providing solutions as well as designs. By considering the building site and using sustainable design practices, Memphis architects contribute to the future of the city in an important way. They also bridge the old and new, preserving historic buildings in a locale with a large number of properties on the National Register of Historic Places.
We curated a list of the 15 best architects in the city (named here in no particular order), based on industry recognition and involvement, professional contributions to the community, and client satisfaction. Take a look, and don’t forget to vote for your favorite Memphis architect in the poll below!
Brad ShapiroBrad Shapiro As the founder and president of Shapiro & Company Architects, Brad leads the design team and is actively involved from start to finish with every one of the firm’s commissions. He knew he wanted to be an architect in junior high school, and has tirelessly pursued his passion with great enthusiasm. Brad leads the design team, with the result of the firm’s work being showcased in Southern Living, Home & Garden, and At Home Tennessee (as well as on MTV Teen Cribs and a Taylor Swift music video). He earned his Bachelor of Architecture from the University of Arkansas, and is an active participant in both national and regional building-related conferences and seminars.
scott+newScott Guidry Scott brings to his role as an architect and owner of designshop the values of true community spirit that he learned growing up in rural Louisiana. He has served two terms as president of both the Construction Specifications Institute Memphis chapter and the CSI Memphis Dempsie B. Morrison Scholarship Fund, Inc. Over his 20 years of work, Scott has a long record of successful projects ranging from multi-million dollar facilities to simple bath and kitchen renovations, and everything in between. He holds a BSET in architecture from the University of Memphis, and has won over 25 AIA design awards (along with his partner Tim Michael).
Scott FlemingScott Fleming Scott has been at Fleming Architects for 35 years, where he is the firm’s president and principal architect. The firm has most recently been recognized with a 2015 Home Design Award from Memphis Magazine, a 2014 Excellence in Construction Award from Associated Builders and Contractors, and a 2014 Best Law School Facility award from Pre-Law Magazine. In 2012, Scott won Executive of the Year honors at Memphis Business Journal’s Small Business Awards. He obtained his Bachelor of Architecture and Bachelor of Environmental Design from Auburn University.
Jeff EdwardsJeff Edwards Jeff’s passion for design and construction came naturally, growing up in a family of builders, furniture makers, artists, and engineers. A drafting set at the age of 10 seemed to seal the fate of architecture as a career, and Jeff continues to convey and explores ideas by drawing by hand. Jeff earned his bachelor’s degree in architecture from Auburn University, where he had the opportunity to participate in a study abroad program in France, Spain, and Italy. During his internship, he was introduced to the all-inclusive design theory supporting the harmonious relationship between architecture, interiors, and landscape–a vision Jeff shares with his clients at Carlton-Edwards Architecture + DesignBuild.
Barry YoakumBarry Alan Yoakum As principal-in-charge of vision and collaboration at archimania, Barry promotes extraordinary architecture by leading the collaborative design process between clients, project stakeholders, and the design team. His work has received more than 50 awards and has been featured in numerous architecture books. Barry has garnered national recognition from CNN, PBS, and The New York Times, and his self-designed residence was featured on the cover of The Wall Street Journal. He was elected to the College of Fellows American Institute of Architects for his contributions in design in 2010.
Stephen BergerStephen Berger Stephen is the managing principal and president of brg3s architects, a firm that was originally conceived as Walk C. Jones in 1900 and continues to build upon more than 100 years of design excellence. This year, the firm was recognized with the highest Honor Award from AIA Gulf States for the design of the Memphis Slim Collaboratory. Stephen received his Bachelor of Arts in psychology from Rhodes College, and his Bachelor of Architecture from the University of Tennessee at Knoxville. He serves on the boards of Opera Memphis and Literacy Mid-South.
mark_mcclureMark McClure Mark launched his namesake firm in 2015. McClure | architecture is a small boutique architectural firm engaged in upper-end custom residential work that has a reputation for producing elegant, refined, and well-proportioned designs. Prior to starting his own venture, Mark worked at several of Memphis’ largest architectural firms, and he spent 23 years working with local architect Oscar Menzer on luxury custom residential work. He earned his Bachelor of Architecture from Mississippi State University and completed professional studies at Harvard University’s Graduate School of Design.
CLARKDIXON-1007Dianne Dixon Dianne is a founding partner of Clark/Dixon Architects. With more than 34 years of professional experience with an emphasis on public projects, she has established an expertise in existing building evaluations and new building compliance with various codes analysis. Her work is characterized by its focus on public places and their sense of place. Dianne earned her BS degree in architectural technology from the University of Memphis Herff College of Engineering. She did graduate work in theater design at the Harvard University Graduate School of Design.
Jimmie TuckerJimmie Tucker Jimmie is a founding principal of Self Tucker Architects and an adjunct instructor of architecture at the University of Memphis. During a career spanning 25 years, he has remained highly committed to designing and building better communities and in recent years has focused his work toward revitalizing Downtown Memphis and various neighborhoods. Jimmie is a past president of the AIA Memphis chapter and current president of the NOMA Memphis Chapter. He holds a bachelor’s degree in architecture and urban planning from Princeton University, and his Master of Architecture from Washington University in St. Louis, where he has been recognized as a distinguished alumni.
KBoboKirk Bobo Kirk is a visionary leader, assuring all elements of a superb practice are in place at HBG Design, from client service to business development and long-term firm sustainability. The firm has been recognized with over 200 design and industry awards, including the National IDP Outstanding Firm Award from the American Institute of Architects and National Council of Architectural Registration Boards. In 2016, HBG Design ranked number four on the 2016 Hotel Business Design Top Architects and Designers List and number 10 in the nation by Building Design + Construction Magazine. Kirk is a Fellow of the American Institute of Architects.
John H JonesJohn Harrison Jones John is the sole proprietor and principal architect of his eponymous firm. He launched John Harrison Jones Architect in 1998 as a one-man studio, adding staff based on the abilities of the individual paired with project demand. This deliberate and measured growth has resulted in a firm deeply rooted in fundamental principles of responsible design and individuality. John received his education at the University of Arkansas and began his career in architectural design firms in Memphis and Newport Beach, CA.
Mary HaizlipMary Haizlip Mary wears many hats at Haizlip Studio, including managing business partner for the Memphis and Asheville offices, senior project architect, exhibit director, and interior designer. She graduated magna cum laude with a degree in engineering technology from the University of Memphis. Mary has parlayed her interests and considerable talents in math, science, and design into an expertise for management and art direction of complex architecture and exhibit design projects. She was the 2015 president of the AIA Memphis Board of Directors.
Carson_Looney_367-thumb400x400J. Carson Looney As one of the founding principals of Looney Ricks Kiss, Carson established the philosophy of the firm’s residential work. This precept is tat design is based on appropriate proportion, detail, and scale as well as livability for today’s active lifestyles and flexibility for future stage-of-life changes. The success of the firm’s philosophy is evidenced by the more than 390 national and regional residential design awards covering both production-priced houses and high-end custom homes. Carson is a University of Memphis graduate, and a Fellow of the American Institute of Architects.
Lee1Lee Askew III A native Memphian, Lee is a founder of Askew Nixon Ferguson Architects. After serving for two years aboard the USS Enterprise, he worked in Sydney, Australia for two years, which influenced him to start a firm that was a fun place to work with an emphasis on the people. Lee holds a Bachelor of Architecture and Master of Architecture from Tulane University, and he studied at the Architectural Association in London. He is a past president of AIA Memphis and a Fellow of the American Institute of Architects.
Memphis architects
Trezevant Manor Assisted Living Center by ANF Architects
Metcalf CrumpMetcalf Crump Metcalf co-founded The Crump Firm 46 years ago, and continues to serve as chairman and CEO. He has served as the principal architect in charge of a broad range of projects; some of his most well-known work includes his designs for the St. Jude Children’s Research Hospital, Memphis International Airport, and Rhodes College. After earning his Bachelor of Arts from the University of the South and studying at the Ecole des Beaux Arts in Paris, Metcalf went on to earn both his B.Arch and M.Arch from Harvard University. In recognition of his award-winning designs and professional and civic contributions to the Memphis community, he was advanced to membership in the AIA College of Fellows in 1994.
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Amanda Miller
Amanda Miller's posts round up the best designers, the best personalities to follow for home improvement, the best ideas for home decor, and more.
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'Sunset' Sculpture - cold cast bronze, numbered edition
'Sunset' Sculpture - cold cast bronze, numbered edition
Shipping to United States: Free
https://www.etsy.com/uk/shop/KaraSanchesSculpture?ref=seller-platform-mcnav
Cold cast bronze and resin - can also have bronze with verdigris patination
Numbered edition to order - 6 weeks
Moulded and cast by my family's business at LSSculptureCasting.com
Have a look at the website to see more about the sculpture moulding and casting process.
Each sculpture has been hand made and finished to order and will have a 'Certificate of Authenticity' signed and numbered by the artist supplied with the finished sculpture. The edition number will also be engraved on the sculpture by hand.
It is mounted on a 20cm x20cm x3cm slate base.
Weight: Approximately 9kg
Finish: Cold cast Bronze with resin
Size: height is 45cm and width 50cm and depth 28cm
This sculpture shows the way the sun and moon connect with each other by setting on the sea. Both can create wonderful reflections on a calm sea with a few rippling waves. This gives a wonderful broken reflective surface for the light to fracture on the water.
I create my sculptures first in clay and sometimes plaster, from my little garden studio where I live in the seaside city of Brighton & Hove, UK. They then go to my families casting studio to be a cold cast in bronze and resin. These sculptures are of the highest quality finish and great care and time is taken to achieve this.
Frequently asked questions
Q. Can it be used as a garden sculpture?
A. Yes the sculpture is completely frost-proof making it suitable for the garden. Due to the almost solid bronze outer layer, it does react with the weather and can, as solid bronze, develop verdigris. This can be cleaned off very gently if required by using a small "wash up" sponge with a rough side to it. This will highlight the metal.
Q. What about after care?
A. Do not use strong detergents or chemical cleaners, as this will destroy the surface. If placed outside is advisable to polish the sculpture with pure bees wax once a year.
Q. Ordering sculptures?
A. Ordering an additional sculpture in bronze or another finish such as aluminium or rusted iron for example has a lead-time of 6 weeks.
Please don't hesitate to message me for further information: Kara [!at] Sanches.comReturns & Exchanges
I gladly accept returns, exchanges, and cancellations
Just contact me within: 7 days of delivery
Ship items back to me within: 14 days of delivery
Q. What about aftercare?
A. Do not use strong detergents or chemical cleaners, as this will destroy the patination. It is advisable to polish them with pure bees wax once or twice a year. Brush on the wax from the tin, leave for 5 minutes before gently buffing.
Securing the sculpture
The sculptures are made with a threaded rod screwed into the base and cemented in. This is then bolted onto the slate base if provided with the sculpture.
The sculpture can be fixed using an extra long bolt to be attached to a pedestal, however this needs to be requested.
However if the slate base is placed on a flat non porous surface, I recommend securing it with Museum Wax, which will stop it from being knocked off.
With a spatula scoop out 4 large blobs and simply put them on the surface and push down the slate base and sculpture, giving it a wiggle to position it.
3cm slate bases
I supply 3cm thick slate bases either 30cm, 20cm or 17cm with my sculptures, which have a hole in the middle 1cm and countersunk on the underside by 1.5cm deep (for the nut attachment) by a diameter of 3cm.
Displaying sculptures - pedestals/plinths
Useful information about how to display your sculpture can be found here:
https://www.forging-ahead.co.uk/Plinths.htm
Some photos show my sculptures displayed on slate-affect planters that have been turned upside down and used as pedestals. They are relatively inexpensive and you can find a variety of stone finishes and sizes. They are also easy to move around. One customer placed a tile, matching in size and colour, on top of an upturned planter to display their sculpture, which looked great. https://www.primrose.co.uk/planters
Pedestals and plinths
Here are a few links to pedestals that I have found on the internet, however I'm not able to endorse them. Just copy and paste :-)
-Grey cement pedestal - 100cm x 28cm x 28cm
https://www.maisonsdumonde.com/UK/en/p/charcoal-grey-pedestal-mineral-mineral-130257.htm
-MDF display pedestals, ready to paint:
//www.greatart.co.uk/gerstaecker-display-plinths.html
- Solits Plinths
https://www.plinths.co.uk/11-plinths
More plinths and pedestals can be found on Etsy.
Legal imprint
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When the end of the world arrives, Apple employees will be swept into space.
The idea for Apple’s incredible campus which looks a lot like a spaceship – already dubbed the Mothership – has hit the ground running with officials. Just a day following Steve Jobs’ presentation to Cupertino City Council, Mayor Gilbert Wong has issued a statement and organized a press conference confirming they’re on board.
“There is no chance we are saying no” to the Mothership, Wong said. They set up a section on the Cupertino homepage at www.cupertino.org/apple dedicated to progress reports related to the new facility and released stunning renders of the new campus. Go past the fold for the news conference video and more jaw-dropping Mothership renders.
Jobs told Cupertino City Council there is “not a single piece of straight glass” in Mothership
The four-story, ring-shaped facility draws from Apple’s retail expertise, meaning it’ll feature curved glass all the way around the building. This unbelievable architectural landmark will be bigger than Pentagon and will be the home to 12,000 employees. Per Jobs’ presentation, the Mothership would have a large auditorium and a single cafeteria that could seat 3,000 at a time. The new campus will be located in the 150 acres Apple bought from Hewlett-Packard for about $300 million earlier this year. Apple would complete the building by 2015, Jobs said, adding that the environmental-friendly features would include the use of natural gas and other greener and more efficient fuels, while relying on the grid as backup. You can check out more images in the Mothership presentation slides.
via MacRumors
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Posters is inordinately luxury and makes a singular wall decoration, the poster dimension isand the price is $0.00. If you're trying to hunt for top recommendedPosters with uncostly price, this one is the striking deals for you.
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Close this search box.
Betsy Brown & Paul Bates Create a Masterpiece: A Mediterranean Oasis in Alabama
Interior Designer Betsy Brown and Architect Paul Bates joined forces to craft a 5,500-square-foot masterpiece on 2.5 acres, offering a perfect blend of antique, vintage, and contemporary elements. Drawing inspiration from the Italian Renaissance, the residence seamlessly integrates indoor and outdoor spaces, creating a tranquil atmosphere that resonates with nature.
In Mountain Brook, Alabama, This Mediterranean-inspired Home is a Dream Come True Thanks to Interior Designer Betsy Brown and Architect Paul Bates
Created for a couple of gardening enthusiasts, this home epitomizes country living at its best. A fresh, modern take on Mediterranean style presents a soft beige palette complemented by materials such as mohair, velvet and cashmere. With its loggias and garden, this retreat, which reflects the aesthetic of the very design-oriented homeowners, is an invitation to indoor-outdoor living with a perfect mix of antique, vintage and contemporary pieces in a pleasant atmosphere surrounded by nature.
With architecture by Paul Bates and interiors by Betsy Brown, the 5,500-square-foot, two-level, three-bedroom house—which sits on 2.5 acres—is located in Mountain Brook, in the countryside just south of Birmingham, Alabama
“In the 1920s, wealthy people from Birmingham would build summer homes on large parcels of land, where they could have horses,” says Paul Bates.
“This was a time when families would travel to Europe and be inspired by the beautiful presence of the architecture of England, France, Spain and other countries. The houses were strong and had substance. It was the first time Americans began to be inspired by the history of Europe. The connection to the landscape was obvious, and the two could not be separated.”
The homeowners, Patsy and Chuck, are an empty nest couple and avid gardeners who were first inspired by Spanish architecture while living in California.
“Mediterranean architecture is often about connecting the indoor rooms to the landscape and giving importance to the outdoor spaces,” says Paul Bates.
“Inspiration was drawn from the Italian Renaissance period where columns, arches, and groin vaults were repeated as a theme inside the home as well as the landscape. It was important that the architecture grew from the land, and it has a soul that belongs to the earth.”
In the light-filled interior spaces, Betsy Brown opted for soft beige tones—without any hint of yellow or gray—echoing the couple’s favorite hue.
“Paul and I developed the palette of materials dominated by what came to be known as ‘Patsy Beige’ and is reflected through the roof tiles, exterior stone walls, ceiling beams, wood floors, limestone floors, sofa and pillow fabrics, among others,” remembers Betsy Brown.
Textures were introduced through Persian rugs “to provide a base of antiquity that would create tension with midcentury pieces—which dictated the other choices,” says the interior designer.
“Simple off-white linen sofas allowed us to use very textural accents, such as mohair, velvet and cashmere. The drapery creates a beautiful glow from the large window in the living room.”
The beautiful loggias also help to connect the inside and outside of the house continuously. Highly personal and calm, this delightful home creates a space where time stands still.
Interior Design: Betsy Brown | betsybrowninc.com
Architecture: Paul Bates Architects
Landscaping: Golightly Landscape Architecture
Builder: Russell Building Company
Photos: Shade Degges
Clayton Korte: Going Underground
Wine, from its earliest days, required the storage of its age, with solutions both inelegant and sophisticated. The Egyptians had mud-bricked and limestone cellars, the Romans fumitories and catacombs, the Italian's damigiana.
• May 15, 2024
• Jenn Thornton
Northern Exposure: The Rock by Gort Scott
Fixed to a rocky crag above Alta Lake in the Canadian mountain resort of Whistler, a truly exceptional private house surveys the mountainous landscape from which it is quite literally inseparable.
• April 17, 2024
• Jenn ThorntonTimeless Fusion: The Cotswolds Home by Architect Richard Found
Architect Richard Found's contextual country home in the Cotswolds encapsulates the essence of minimalist design within an 18th-century edifice. Located in the picturesque Cotswolds, this project by Found Associates breathes new life into a derelict gamekeeper's cottage, blending modernist architecture with the vernacular stone construction of the region.
• January 10, 2024
• Jenn Thornton
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About Mike
Mike has had a general interest in photography for many years although without any original formal training. It wasn't until the 1990s that he started to concentrate on photographing Wildlife during Safaris to East Africa; those were the years of slide photos and cameras with only manual focusing on the lens barrels.
For the past 16 years he has concentrated on photographing birds, using digital equipment, and particularly likes to catch some of them in flight. He is grateful for the excellent guidance in these respects from a friend, John Daniels, who is an exceptionally good Professional Wildlife Photographer. He owns a beautiful cottage, Bird Cottage, located in a remote part of mid-Wales where many photos of the species shown initially in the Portfolio section were taken, and where John offers photography courses. All the photographs on the website of his cottage, including both wild birds and garden birds, have been taken by John himself. To see his cottage please follow the link below.
Bird Cottage
Go to Mike's Portfolio
Click on an image to enlarge
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Architecture Design
We bring together a professional team with expertise acquired from large scale projects in highly competitive and demanding environments.
Our specialists provide a complete range of commercial and residential interior design services that encompass
every detail.
Construction administration
We cut through the maze
of entities and agencies involved
in a project, ensuring that all requirements are handled seamlessly.
The Principals of GCCA are seasoned veterans in design, development, construction and project administration. Together, we provide a unique service that allows us to meet all of our client’s needs under one roof.
Glen C. Campbell, PA, Architects (GCCA) is a small, multi disciplinary firm established in 1991, with the flexibility and ability to provide design services on small projects as well as large complex projects, addressing a variety of building types and uses. The firm brings more than forty years of professional expertise to bear on the thinking, design and execution of all of its work. Whether it is a Residential, Commercial, Place of worship or an establishment to enhance community life, GCCA takes pride in making sure that the end result is all that it should be.
GCCA is unique in its capability to deliver a combination of services under one roof. In addition to its Principals who have extensive experience in very complex building structures, their education allows the firm to master small intimate projects, covering even the most minute details of furniture and product design, decoration and furnishings. This type of comprehensive service is usually not found in one place. At GCCA, we not only help you navigate the labyrinth of design options but are also able to foresee and prevent potential complications. We will work tirelessly so you can achieve your desired results.
Architecture Design
We bring together a professional team with expertise acquired from large scale projects in highly competitive and demanding environments.
Our specialists provide a complete range of commercial and residential interior design services that encompass every detail.
Construction administration
We cut through the maze of entities and agencies involved in a project, ensuring that all requirements are handled seamlessly.
Most clients come to the architect with an idea of what they want; however, many times the full extent of their functional needs is not completely worked out. At GCCA, we attempt to first understand what a client desires, then sufficient time is spent with the them, working-out the functions of the building and the associated square footage for each space until the building’s recipe comes into view, is clear and is well understood by all involved.
GCCA brings together a professional team with expertise acquired from large scale projects in highly competitive and demanding environments. This architectural vocabulary is used on projects of every size and scope so that the best in thinking and designing can be provided. The customer’s satisfaction is our motivation.
Architecture Services
Design/Build Services
GCCA provides services from concept to completion, working on any and all components. In order to assure the quality and integrity of the design work, we collaborate with Coy Builders Enterprise, for execution on the Construction of the project. Coy is a partner who brings extensive Construction Management expertise to the entire construction process with Sub-Contractors who specialize in fine quality Mill Work and other areas of expertise. By this collaborative process we desire to execute the design as it is intended; at the agreed-cost without compromise in quality, function or beauty.
Project Inception
With any project, it's hard to think of a more important step than the planning phases. It's during this crucial period that a project starts to take form, where the budget is solidified and you can start to see your vision unfolding in front of you.
Schematic Design
When working with an architect, the first step is to meet with them and discuss your vision for the project. With Glen C Campbell PA, this step involves an exploration of your goals and needs for the building, two essential factors in determining how to satisfy the functional objectives of the project and set a platform for the graphic representation of the design.
Design Development
As the architectural process continues to move forward, our team will start developing concise designs for your project. It is during this phase that your vision will truly start to come to life, as we produce more detailed renderings of the building.
Interior Design
Glen C Campbell PA interior design specialists provide a complete range of commercial and residential interior design services that encompass every detail! From space planning and furniture selection to color coordination and art and accessories. Regardless of the scope of the project, the same attention to detail is given so that the expertise and inspiration you seek will be realized in an environment that will be appealing and enjoyable. You come to us with a vision of how your environment must feelwhen the job is done. We come to you with an open mind to captureyour vision and professionally articulate it in your environment so thatyou will be truly satisfied when the job is done.
Glen C Campbell PA offers complete corporate office and commercial design services that focus on enhancing the image and appeal of your Brooklyn business for clients and employees alike. Our experienced team of design experts can bring some fresh originality to an existing commercial interior, or completely transform your business enterprise through a creative design plan that focusses on enhancing your brand image and improving overall productivity and profits.
There are a number of things in design that contribute to a more industrious and profitable workspace. From color schemes to seating arrangements and interior decoration styles; depending on your industry we can help to create a more effective and work friendly environment. Our team of professional designers will work with you and together we will come up with a décor theme that best represents your company. From professional, sleek and modern, to cutting edge, innovative and luxurious, Glen C Campbell PA will find the design best suited to your needs.
Interior Design Services
Stylish and practical space planning for your business is what Glen C Campbell PA is all about. Our design team creates accurate scale representations for the interiors of new constructions, renovations, or the redesign of any commercial space. Whether your requirements include complete site plans, only the finishes, elevations, ceiling plans, or electrical and lighting designs, Glen C Campbell PA customizes their design services according to your requirements and budget. Add inspiration to the design ideas you have already imagined with scaled 3D renderings that allow you to see the results before a project starts.
Glen C Campbell PA interior design specialists provide a complete range of residential interior design services that encompass every detail! From space planning and furniture selection to color coordination and art and accessories. Whether you want to change only one single room in your home or have decided to completely transform the entire residence, our designers can help. Glen C Campbell PA provides the expertise and inspiration you are looking for and will make your living space all it can be.
Start creating your wish list now by discussing your ideas during a consultation with one of our experts. They will put together a comprehensive and detailed plan for each room and bring it together in a personalized and functional interior design plan that reflects your lifestyle and contribute to your well-being.
Furniture Design
At GCCA, we take every aspect of finishing a space into consideration. Where selection of furniture is required, we have the expertise and experience to guide a client in the right direction. When new innovative custom designs are required, we are fully capable of providing that design service. A large variety of materials and options are brought to the table in order to ensure that the space is well fitted, functional and in harmony with the theme and taste of the design and client’s desires.
This type of Furniture Design service has been utilized in the past on very large commercial projects and on very small intimate residential projects. We bring a sophisticated legacy of design understanding to bear on furniture, furnishings and decorations so you are able to benefit from it. Regardless of style or personal taste, give us a call to assist with your new building or renovated spaces.
Construction Administration
Construction Administration Services
Construction Documents
Once the schematic designs have been fully developed and the client is satisfied with how things are progressing, Glen C. Campbell, PA moves onto the next phase, which is Design Development (DD). This is where the schematic design is fleshed-out and the various Building Systems and Material Selections come into play. Once the client approves of the DD, GCCA begins preparing Construction Documents. The Construction Documents (CD) AKA Working Drawings is the DNA from which the building is constructed. As a point of emphasis, a significant amount of time and effort is put into CD to insure that everything needed in the building is in the Drawing Set. This extensive exercise avoids construction changes on the site and limits the need for additional money to be spent on the project. These steps guarantees the smooth running of Construction Administration.
Project Management
No matter what size the building is a construction project is a significant undertaking. There are numerous items that require a watchful eye. Keeping track of every detail can be very overwhelming, but with an experienced project manager you can be confident that nothing will slip past unnoticed.
Once hired to provide architectural design service, Glen C. Campbell PA designates a principal in the firm to manage the project. This person is responsible for guiding the design process in- house and communication with the client. This process begins with the initiation of the design and continues until the project is constructed and turned over to the client. All administrative functions relating to design, communication, correspondence, bidding, negotiation and construction oversight is managed by this principal. We at GCCA do not prepare design documents and just turn them over to the owner and a contractor. We stay in the process to protect the integrity of the process and the interest of our clients.
Project Profiles
The Williams Family
St. Johns Place, Brooklyn, New York
The exercise started as a renovation of the Third Floor and eventually extended throughout the entire structure. Recently placed on the Historic Landmark record of the City of New York, the Campbell-invented front entry Door and Canopy was installed in time to be grandfathered into the Landmarks regime, but is seen as an appropriate resolution to protecting the aesthetic and functional elements of the entrance to this building. As part of the experiment in design philosophy and architectural thinking, several elements in the Bedrooms, Baths, Kitchen and other parts of the house have been treated with creative elements taken from the Glen C. Campbell, PA design vocabulary. The building is Three Floors plus a Cellar, a total of about 3,100 Square Feet and the entire Mechanical and Electrical Systems were redesigned and installed in collaboration with the renovation work. New Kitchens, Baths and of special importance are the design of Wall Units and other Furniture in the Bedrooms. Fire Place mantle design, Fixture design, Drape design and selection along with original Art Work displays complete the Aesthetic statement. Coordination between the new and old was of particular interest and importance.
Photographs by Abe Jasinowski, Vanessa Blake
Construction by Coy Builders Enterprise.
East 222 Street, Bronx, New York
Designed for the St. Luke’s Episcopal Church, it is a 32,000 square foot contemporary, multipurpose structure which blends harmoniously into a residential community. The building features a Great Hall which will accommodate athletic events and dining uses, a Day Care Center with unique roof top play area, Library and Administrative Offices. Design responsibilities included a comprehensive exterior and interior design, taking into consideration design of all related furniture and fixtures. The current construction estimate is around $ 9.5 Million. Construction is to be scheduled.
Rendering by Luis Blanc
Chelton Avenue, Camden New Jersey
This 10,400 Square foot renovation provided an opportunity to recreate a contemporary image for the existing Sanctuary and also to expand its capacity. It allowed for reorganization of the associated administrative functions around the sanctuary. New Audio/Visual control room was added along with an expansion of Community Services and Administrative Offices. Of important consideration was the redesign of the Altar. Special emphasis was given to the religious vocabulary, taking into study the Seventh-Day Adventists theology. The lit cross, golden crown and Ten Commandments all come together in symbolic form to create this aesthetic statement. Mechanical and Electrical Systems upgrade were required along with furniture design and selection of all materials and colors for the entire interior of the facility. The result is good functional architecture which does not break the bank.
Rendering by Simple Twig Architecture, Nicholas Buccalo
Queens, New York
This 13,000 square foot expansion provides a 100% extended Sanctuary, additional Administrative Offices, Class rooms for religious study and space for Community Outreach programs. The project called for redesign of the entire facility, comprehensive landscaping including expanded parking and interior design along with furniture selection. These improvements add greatly to the aesthetic appeal of the chapel and enhancement of the neighborhood. Project design completed but not taken to construction. Executed by Glen C. Campbell, PA.
Perspective by Louis Blanc
Saving Orphans through Healthcare and Outreach (SOHO)
Swaziland, Africa
To a request from Cynthia J. Prime, the CEO and co-founder of SOHO, the response was a discussion about the needs of the community and the available funds needed to get it done. The design team at GCC immediately brain stormed the request and came-up with a design concept which resulted in this building of 6,000 Square Feet of space on a single level. It includes a Common Community entry space, a Residential quarter for the care-taker and a large Multi-purpose room which would facilitate a variety of functions. The masonry walls were covered with a metal roof, defining the major blocks of the building’s functions.
Rendering by Simple Twig Architecture, Nicholas Buccalo
Lake Placid, Florida
The site is located approximately north of Ft. Lauderdale, in Highland County as one of several five. to six-acre lots, divided by a developer from what was previously a citrus grove. We were to design a residence with three bedrooms for family and guests and a master bedroom suite for the permanent residents. A clear division between visiting family and owner was needed so we created two bedroom wings. After some preliminary schematic studies and client direction, we agreed on a classical procession from the front entry with Living Room, Dining Room, Family Room and Kitchen on either side of a central corridor. This allowed us to serve the habitable spaces with light and ventilation from the sides of the building’s skin. The intersection between the Living block and the Bedroom block allowed us to connect the house with a Rotunda that hovers around the Kitchen and Family Room; where most of the social gathering will take place. We decided to puncture the ceiling of that intersection and bring north-east light above these spaces into the interior of the building with a slanted pitched roof running from east to west.
The building encloses approximately 3,800 square feet with every detail inside and out taken into consideration.
More Projects
Marie St. Hill (Pending Construction)
Emerson Avenue, Bronx, New York
This Three-Floor, 4,000 Square Feet residential project came to us at an interesting time in our professional and philosophical development. The client requested a single-family building that would serve herself and her two children. Because of Zoning, demolition of the existing old building for replacement with a similar sized building was required. In addition to designing a modern-contemporary building with personal considerations, the challenge was to address the fact that the adjoining neighbor’s house was abutting the St. Hill building at the side property line.
T.J.B. Realty (Design Development)
Bronx, New York
The T.J.B. Corporation commissioned Campbell to design a Residential Apartment Building on a Site it owned in this working-class section of the Bronx, NY. There was no specific aesthetic mandate but the facility had to house One-Family and Two-Family Units to the maximum zoning possible. After a thorough Zoning Analysis, GCCA presented a solution to the executives of the corporation by taking advantage of the Quality Housing regime New York City allows in its resolution. A total of more than 25,000 square feet of space was taken and turned into good quality housing while maintaining the scale of the street and neighborhood in addition to addressing the mandate of the client.
The Castro Family
Orchard Street, Spring Valley, New York
The objective was to expand a small Two- Bedroom Cape Cod styled house into a larger One-family structure. Using the dynamics of the lot and taking into consideration the scale of the community, GCCA began by trying to blend the traditional architectural style with new and contemporary thinking. Additional Bedrooms, Baths, Dining Room and a Kitchen expansion resulted, a total of about 1,800 square feet. The project was designed and construction-managed by Campbell.
meet our team
Glen C. Campbell
Glen became inspired to pursue architecture at an early age while studying the work of the classical masters during his early life in Trinidad. The images fascinated him and sparked a desire to create architectural art for life. After graduating from The School of Architecture and Environmental Studies, The City College, New York with a degree in Architecture, Glen worked with Copeland Novak and Israel, and subsequently with Tucci Segrete & Rosen. With each move, he honed his skills. After a two-year stint with Hambrecht Terrell, he was employed by Fitzpatrick Design Group, where he executed projects as an executive for small, mid-range and large Department Stores. Projects over the years included designs for prestigious names such as Tiffany, Saks Fifth Avenue, Bergdorf Goodman, Bonwit Teller, Barneys, Bloomingdale’s and many others. It is on these projects that he acquired skills which now influence the level of satisfaction that clients get from his work today.
Whether designing churches, community centers, schools, residential structures or small intimate spaces, his attention to detail ensures that clients are fully satisfied. As an Adjunct Professor, he taught at New York City Technical College and intends to continue giving back his knowledge to new talent as he proceeds on his own personal growth path. Glen is registered in the States of New York, New Jersey, Florida and Maryland. He , holds National Council Registration and is a member of the American Society of Composers, Authors and Publishers.
Human Seal
As the philosophical basis of his approach to Architectural Design,
Frank Gehry went back so far that he decided to select the fish. Following Gehry’s lead, I however decided to begin at humans.
“For Humans by Humans”
Our journey therefore continues and we thank him for his enormous contribution, stylistically and technologically. Everything is now possible.
Winston L. Williams
Winston, who hails from the island of Jamaica, was first engaged in the United States at the office of Le Gendre-Johnson, Architects. While there, he attended The School of Architecture and Environmental Studies, The City College, New York from which he earned a degree in Architecture.
He was recruited by Environetics Architects, PC, where he served for four years and then moved into the office of John Burgee Architects where he worked with Philip Johnson of the Johnson & Burgee team for eight years. He had a reputation for laying-out the entire building on Sketch Paper, taking into consideration every detail to a level of substantial completion before starting to draft Construction Documents of the facility. His skills were surprising considering his roots in a small Caribbean island.
Winston became a specialist in Multi-Story Curtain Wall Design and worked on projects at Johnson and Burgee such as the IBM Tower and One Ninety One Peachtree Tower, each building more than Fifty Stories in height. After Johnson and Burgee, he also worked for Kohn Pedersen Fox Associates, PC. Upon leaving KPF, he then served at Lawless and Mangione, Architects & Engineers, LLP, Yonkers, NY., specializing in restoration and repair on a variety of building-types.
After doing contract work for GCCA for several years, Winston finally became a principal at the firm, using his strong technical skills and keen understanding of the nuances of fine design enabling clients to benefit from the company’s best efforts.
Orville Hayles
Orville is a graduate of The School of Architecture and Environmental Studies at The City College, New York. He first worked at Harry Soled, Architects where he was involved in various aspects of Design Planning, including Zoning Analysis, Code Investigation. He worked on a variety of buildings with emphasis on Residential use. With the passing of time he became an expert in the legal documentation of buildings and continues to be deeply involved at the start of every project in analysis and decisions as to what is legally possible. After leaving Soled Architects he joined Bricolage Designs, Architects/Planners where a significant proportion of his work included Condominium and Co-operative Development.
Over the years, Orville’s contribution to the projects at GCCA has always been significant from the initial discussions, to shaping the design philosophy, to actual production and execution of the plan. A valuable contributor to GCCA, he is registered in the State of New York and has National Certification.
Eslpeth Knox
Elspeth Knox has traveled extensively internationally and brings a wide range of skills to the firm. Experienced in fine art and with a firm knowledge of cultures from several continents, she brings fresh ideas to every project.
At Sotheby’s, New York, she worked as a Departmental Assistant in the Decorative Arts department, then on to Tucci Segrete & Rosen, Architects, Macy’s Corporation, NY, Brennan Beer Gorman Monk, NY, Rosenblum Harb Architects, NY, as an Interior Designer. The projects range from small to large commercial spaces for clients such as Macy’s, Bloomingdale’s, Bergdorf Goodman, Saks Fifth Avenue, Caesar’s Palace and Hilton Hotel.
It was at Fitzpatrick Design Group, New York that Glen Campbell, and Elspeth worked on several projects together, with Elspeth serving as the Senior Colorist and Materials Designer for projects that included clients such as Bonwit Teller, and Bloomingdale’s. In 2000, Elspeth opened M. Elspeth Knox Interior Design, New York, NY, collaborating with GCCA as its chief Color and Material Expert. She has since worked on several high-end projects including IDC on the Bund, Shanghai, China and Lotte Department Store, Beijing, China. Her work also includes projects for the Matloff Residence, the Molin Residence, and the Maoz Residence Columbia Medical Center, to name a few.
Elspeth is an expert in Color and Materials, Graphics and Furniture. She is also a talented Artist, skilled in Jewelry Design which is one of her hobbies. She is a graduate of Parsons School of Design and the Fine Arts Department of New York University.
We'd love to hear from you! Please reach out at your convenience so we can discuss your project.
Monday - Friday: 9am - 5pm
Saturday - Sunday: Closed
Glen C. Campbell, PA, Architects
338 Atlantic Avenue #201 Brooklyn, NY 11201
718-246-0422
[email protected]
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Talking travel with Shutterfly's resident photographer
Dane Howard is the photography portal Shutterfly's resident photographer and author of The Future of Memories, a book about sharing photos in the digital age. He's here today to talk about some secrets of the trade--and to give us the scoop on today's launch of Shutterfly's new travel site.
What photography equipment do you take on your travels?
When I have a targeted 2-hour segment of shooting, I like to walk with my digital SLR, the Nikon D40x. I'm like a soldier for visuals. I've outfitted my Nikon with a hand-strap, allowing me to freely walk with my finger on the shutter button at all times. If I'm planning on taking large area photos with a single shot, I'll bring along my Nikkor 18-55mm wide angle lenses, a lens hood to reduce flare and increase contrast.
A small, lightweight tripod is really useful when it comes to time-lapse or night shots. The Joby Gorillapod is awesome because it works on uneven surfaces and can even be wrapped around rails and branches.
When it comes to everyday shots, I'll need something pocket size. I use my Panasonic Lumix LX2 or my Canon G9. These are my 'everywhere' cameras, which means I take them 'everywhere.' They allow me to shoot great photos and video. They are small enough to just slip into my pocket.
Extra memory cards are definitely a necessity because you don't want to be caught in a situation where you have to delete pictures just to take more. And of course a battery charger--do not forget that! If I'm traveling to a foreign country I also make sure to bring a power adapter. I use the Belkin Universal AC Travel Adapter. I never shoot with the flash, so this extends my battery life while travelling.
How would you make the best of shots from a point-and-click? Any tips?
• Find Visual 'Book-ends': Think about the visual elements that establish a new scene. These can be either a sign or entry into the successive shots. By establishing a shot that gives context, you help build a stronger narrative.
• Panoramic POV: Photos are magnificent because they can really get the span of a beautiful view. One of my favorite techniques for the photo books that I make on Shutterfly is to create panoramic layouts by facing two "full bleed" pages.
• Take your time. Take a moment to observe your environment and take shots from different angles to make sure you get the best lighting, background, and character of your environment.
• Close-ups: You'll never forget to take the wide panoramic, but you'll want to remember the details. Don't forget to capture the Macro shots of an important detail, like a table setting, glass or ornate door or structure. Focus on textures, like ripples on a lake and various materials on city buildings. You'll want the juxtaposition later.
• Use people or objects: Put them in the foreground/background to help convey the scale of your subject matter and to make the picture more visually interesting
What advice would you give to travelers who want to move away from the cheesy "me-standing-in-front-of-the-Eiffel-tower" shots?
I would definitely suggest trying different perspectives than the predictable shots. Not only is it more fun for you, but it makes it more interesting to those you share your photos with. For example, if you are taking a picture of a monument or sign, stand below and look up at it versus the usual front and center point of view. Or another unique approach is to take a picture of the monument/sign reflected in another object.
How do you land those "slice-of-life" shots of locals?
I stay put. Usually when you travel you're always on the go. I often observe and set a camera on a key ledge or table where I know the locals will pass by. If you are on the move, so is your camera. I like to show 'local fare' by shooting two shots of a local passing through their space. This gets to the essence of local movement, thus local behavior. If I have time, I'll switch over to movie mode and capture an audio track along with the video. I may use this later when I share the memory.
It's always good to venture away from the tourist shopping areas to check out the local market where residents buy their groceries. Check out local hangouts and neighborhoods away from downtown.
What are some tips to telling a narrative through photography?
Context, context, context. Choose and drive the context of the story you want to tell through your pictures. If you know what context you want your narrative to be told in, it makes it much easier to stay focused. This helps in the process of actually taking pictures while out and about as well as when you have to choose the best pictures that you want to include in your story and how to do it in a cohesive sequence.
No matter what you choose your narrative direction to be, enjoy the process of gathering a body of work aligned with something that gives you the freedom and creativity to author something you will enjoy for years to come.
What are your favorite digital solutions for preserving and displaying vacation photos?
I really love online sites like Shutterfly for photo books. Vacation photos can be shared individually or by album. You can also create a photo book with captions and share the beautiful finished product with friends and family.
I also use VUVOX, which enables me to quickly showcase and share my photos in rich presentation styles. I use this on chloehoward.com all the time.
Top 3 photography travel blogs?
• Europe: I love his emphasis on Europe through the Back Door. I find helpful hints, stories and insight by his site and the community that follows it.
• Daily Practices: I must practice what I preach, and when I re-read my own material and from contributors of my own book, I am reminded why I am so passionate about the future of memories and sharing this information. These convictions help push me to make my photos and my work better, wherever I go.
• Shutterfly Gallery: Shutterfly Gallery is a community that provides readers with inspiration for storytelling, tips, and encourages them to be active in the community by contributing their own photo books. You can learn a lot here. They've also introduced "Hit the Road with Shutterfly," a new destination for travelers to find inspiration on where to go this summer and how best to record and tell tell the story of their summer journeys through photos.
Filed under: Talking
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Anna Marshall
A young woman with long brown hair. She wears a white teeshirt and stands against a concrete wall
After spending 7 months studying and volunteering in Mexico, Anna felt motivated to keep up the work she was doing, despite being back in Aotearoa New Zealand. When she discovered The Lucy Foundation she knew she had to get involved.
As a graphic designer, Anna has a passion for creating work that contributes to positive social change. Whether illustrating, animating or designing, she loves to make important information engaging and is motivated by the positive impact The Lucy Foundation are having on our communities.
© 2021 The Lucy Foundation.
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Drawn to Comics: Help The Artists Coming Together To Help Our Country
Donald Trump and MIke Pence were just elected President and Vice President of the United States of America. Both have said monstrous, horrifying things about women, people of color, immigrants, LGBTQ people, poor people and many, many other marginalized groups in America. Both have talked about how they hope to overturn the advances in rights that those groups have made under President Obama. Trump has already began naming people to his team that are as bad or worse than he and Pence. This is honestly a really terrifying time for a lot of people. In response to this attack on so many marginalized people, a lot of comic creators are stepping up and offering their art and services in order to make donations to organizations like the Trans Law Center and Planned Parenthood.
The comics industry is complicated, but it’s also filled with a lot of wonderful, generous and kind-hearted creators. This is just one example of that truth.
This list is by no means complete, and there surely will be more people doing more things in the upcoming weeks and months, but this is a start. You can also check out the hashtag #DrawDrive and my original tweet about this, as well as a list that the wonderful Taneka Stotts is is putting together (watch her Twitter) to see more people.
Kate Leth’s #IAmHoldingYourHand button
+ Molly Ostertag, the artist of the webcomic Strong Female Protagonist, and former Witch Hunt contributor, plans on selling $100 commissions in order to raise money for a different charity or organization once a month.
+ Emily Randazzo might have a few slots open in their commissions where they’re donating the proceeds to the Trans Lifeline.
+ Veronica Agarwal (Vron) is doing charity commissions where you can donate to a charity on a list and she’ll draw a “cute girl” for you.
+ She’s also doing a charity stream through her blog with Cathi Chavers and Alex Graudins that hasn’t had a date announced yet.
+ Natasha Alterici, the creator of the comic Heathen is going to start selling art this week.
+ Jenn St-Onge is going to take on some new commissions this week, donating the proceeds to Planned Parenthood.
+ Bree Jordan and Jess Taylor will be putting together a charity zine supporting Planned Parenthood, check out their twitters for more information.
+ CK Russell will be selling art on eBay to benefit the ACLU.
+ The non-binary artist glip is doing some artwork for Planned Parenthood.
+ Travis McElroy started a store called IAmHoldingYourHand where artists like Kate Leth have drawn a pair of hands holding each other, and you can buy pins, keychains and water bottles to show that you support your neighbors and give money to the ACLU.
+ Kate Leth has also been selling her original copies of the comics she’s written on etsy and donating all proceeds to the Trevor Project.
+ KaiJu, the a team of comic creators, will be donating proceeds from issue 1 and preorders of issue 2 of their comic Novae to CAIR and Lambda Legal until December 23.
+ Stephanie Zuppo made some lastercut Not My President buttons and is selling them online.
+ Molly Brooks is doing ink commissions for charity for the foreseeable future.
+ DoctorKara on twitter is selling $20 grab bags of prints that send the proceeds to Panned Parenthood and RAINN.
+ Jessica Trevino is donating proceeds from an art print to Planned Parenthood.
Like I said, this is only a tiny part of the number of people who are doing this kind of thing. You should check out your favorite indie and online comic creators and see if they’re doing anything or retweeting other creators who are. The world is a dark place right now, but these creators are shining some light into it.
(New Releases November 16)
Lady Killer 2 #3
Green Lanterns #11
Raven #3
Suicide Squad #6
She Wolf TP Vol 1
Southern Cross #9
All-New Wolverine #14
Black Panther #8
Jessica Jones #2
Patsy Walker, AKA Hellcat #12
Silk #14
Unbeatable Squirrel Girl #14
Adventure Time Comics #5
Backstagers #4
Disney Princesank you for this, Mey! One of my (sure to be many) New Year’s Resolutions for 2017 is going to be to learn how to draw. Art plays such an important role in community and resistance against oppression.
And damn, I love those laser cut buttons.
2. The artist Dave Wachter was taking commissions for charity. He asked people to request inspiring progressive individuals or endangered North American animals. You can see the pieces he has done so far on his blog davedrawscomics dot com. He is also on twitter. He just accepted my suggestion to draw Marsha P. Johnson earlier today, so he may still be taking commissions. He has been donating his work for charitible causes for years now and turns out some great stuff.
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Why Fifth Avenue Is Amping Up Its Holiday Windows
The shopping district has empty stores. Short term, this means more window displays. Long term? Hmm.
Credit...Brittainy Newman/The New York Times
In early fall there was a problem on Fifth Avenue.
In a matter of weeks, about 750,000 daily visitors would descend on the northern part of the thoroughfare to see the famous holiday windows, an uplifting, nostalgic tradition for many tourists and New Yorkers alike.
Yet there was a depressing sight: four colossal buildings that were vacant, vacant, vacant, vacant. Until recently, the buildings had been the flagship locations for Polo Ralph Lauren, Henri Bendel, Massimo Dutti, and Tommy Hilfiger.
To put it bluntly, said Michael Hirschfeld, who works in commercial real estate, it was “mood killing.”
So the Fifth Avenue Association, which represents more than 120 establishments, sprang into action, deciding to do more of what Fifth Avenue does best: holiday windows.
The association hired the designer Mark Briggs, who has created window scenes for Harrods and Saks Fifth Avenue, to create four new displays for the empty buildings. The designs will not represent any company or brand, but rather the romance of the city in high winter, with scenes of ice skating in Central Park and skyscrapers made of gingerbread.
It was an ideal project for Mr. Briggs. “Not to have to think about a product,” he said, “is the best thing for a creative.”
The fact that Fifth Avenue tenants are teaming up to create something that belongs not to an individual retailer but to the area as a whole is a sign of what is to come. It’s time for Fifth Avenue, many local experts say, to remake itself.
“Fifth Avenue has to change and go beyond its traditional missions,” said Jerome Barth, president of the Fifth Avenue Association.
The problems of Fifth Avenue are well documented. The area in question, between 40th and 60th Streets, represents some of the most expensive commercial real estate in the city, and prices keep going up, according to CoStar Group, a company that provides real estate analytics and research. The ongoing e-commerce boom has not helped.
In the past year alone, Fifth Avenue lost the Gap, Tommy Hilfiger, Henri Bendel, and Lord & Taylor.
In 2017 it was Polo Ralph Lauren. Although a few companies like Puma and David Yurman have moved into some of the empty buildings, many remain.
Even President Trump abandoned Fifth Avenue as his official residency this year.
“Brands don’t need these dinosaurs,” said Stacey Widlitz, president of SW Retail Advisors. “I don’t see a world where these huge Fifth Avenue stores are going to be in high demand again.”
But the area itself is still in high demand. More crowds than ever are flocking to Fifth Avenue, especially during the holidays. Mr. Barth singled out the Rockefeller Center subway station as an example. “A few years ago during the holidays it used to get 51,000 swipes a day,” he said. “Now it’s 70,000.”
In an effort to embrace the swarms of people, the city recently announced that it would temporarily limit cars around certain parts of Fifth Avenue. But with store options on the wane, how will Fifth Avenue entertain its visitors?
Some stores are opening restaurants, cafes and niche services only offered on Fifth Avenue. Others are putting on shows. And the neighborhood, in general, is attempting to move toward becoming a center for special events and exhibitions.
On the eighth floor of Saks Fifth Avenue, tucked away behind the shoe displays, is Le Chalet, a Philippe Starck-designed cocktail bar. Indoor seats are next to fireplaces and covered in fur throws. Outdoor seats on a patio overlook Rockefeller Center. On the floor above is L’Avenue at Saks, a fine French restaurant. Both opened in February.
There is also Tiffany & Co.’s Blue Box Cafe, and soon, Bergdorf Goodman is expected to open a new restaurant in the middle of its men’s store. The tables will be placed on an inside terrace, ideal for people watching.
Other stores are offering products and services shoppers can’t get online, like the elaborate customization station on the top floor of the new Puma flagship, where you can get your initials embroidered on a shoe.
And then there are the actual shows. On Nov. 25, Saks Fifth Avenue unveiled its Frozen 2-themed windows with a performance by the Broadway actress Idina Menzel. Fifth Avenue was closed down as a 50-person choir sang and danced in the street. Behind them a glittery light show transformed the department store’s facade. At the end of the performance fireworks shot out of the top of the building.
Mr. Barth is planning more for Fifth Avenue. The specifics are a surprise, but he hinted at more theatrical performances, art installations and pop-up events.
Still, many New Yorkers want to avoid the area at all costs, regardless of the cool new enticements.
Inyang Akpan, 34, who lives in the East Village and owns a game developing company, can’t imagine spending time on Fifth Avenue. “I don’t even know what stores are up there anymore,” he said. “I want to go where the smaller brands are. Everyone wants these small curated experiences instead of huge flagships.”
Clearly, Mr. Barth has his work cut out for him. In order to produce the new holiday windows, for example, he had to convince his board — a powerful group including executives from Tiffany & Co., the Trump Organization, The St. Regis New York and Rolex — of the idea.
Mr. Barth does have some credibility to his name. For many years he worked at the Bryant Park Corporation and the Times Square Alliance, where he gained experience diversifying commercial centers. It was his idea to create the “show globes” — installations housed inside igloos that are inspired by Broadway shows — currently dotting Times Square. His ideas come from all different places, he said. “I read very widely, both novels, nonfiction, magazines, newspapers, and I follow about 200 blogs,” he said. “I travel, and I think about what is good in a space when I see one.”
But transforming Fifth Avenue, a high-end shopping destination for over 150 years, into a center of interactive experiences that complement the stores, will be a different challenge for him.
The holiday windows are his first test. “People aren’t used to working this way on Fifth Avenue,” he said. “Honestly, we are trying to build legitimacy. We have to show we can produce on a high level.”
The holiday windows will be on display through January 5th.
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at Triennale di Milano
From March-September this year we will be part of the exhibition "Broken Nature - Design takes on human survival" at the Triennale di Milano. The exhibition curated by Paola Antonelli highlights the concept of restorative design and studies the state of the threads that connect humans to their natural environments. Very happy to be part of it with Transitory Yarn!
supported by
with 1070 Unseen
For this years Vienna Design Week I collaborated with Kay Kender, Lisa Hofer and Johanna Pichlbauer on a social design project were we joined employees of Caritas Heimhilfe (help at home) on their tours to clients within the 7th district. During the 10 festival days we shared glimpses we collected from those characters hidden behind the facades of the district Wien-Neubau.
We are so happy we received the MEHRWERT DESIGNPREIS for the project, thank you Caritas, Erste Bank and Vienna Designweek!
at Schloss Eckartsau I Nationalpark Donauauen
I was invited to design an exhibition about the turbulent transition from the Austrian-Hungarian empire to the First Republic of Austria in Schloss Eckartsau in the Danubian Nationalpark. The exhibition goes with the title "Karl & Zita - im Schatten der Geschichte".
If you want to experience this episode in Austrian History in a more interactive way come visit, it is open til fall!
a work in progress image from the courtyard of the castle
showing Transitory Yarn
We were allowed to share our progress on our project and installation 'Transitory Yarn' at this years Maker Faire in the METAStadt in Vienna. Read about the project here. We were even featured on FM4 yay!
We really had to speed up our knitting for the ambitious audience - it's just unravelling so quickly...
3-day Film- and Fotoworkshop
From raccoons that adopt swan babies, to depressive Asian ladybirds to gray squirrels that integrate into the labor market.
I am very happy I was invited to conceptualize a storytelling workshop for students, called 'How to ethically kill a turtle' (click to get to know more about the project). Within this 3-day workshop students were encouraged to explore the ambiguous topic of how to deal with alien invasive species through film and photo techniques in a creative way. So much be said:
Jenny working on a squirrel
studio short film
I was invited to create a short film for the Exhibition "Ästhetik der Veränderung - 150 Jahre Angewandte" at MAK Vienna. The film offers a peak into the work we do in the Studio I've graduated from this year at the Angewandte. Our studio is called Industrial Design 2 but opens up a way broader term of what Design can mean.
The film is a meshup of the projects that emerged over the past years and a glimpse into the possible future the direction of the studio is heading at. It can also be interpreted as a kind of mission statement for the course.
also visit the new studio website!
Kunstfabrik Groß-Siegharts
with Transitory Yarn
We were invited by the Kunstfabrik Groß-Siegharts (somewhere in the Waldviertel) to present our project Transitory Yarn. The exhibition venue was part of an old textile and weaving factory. It is kind of in the middle of nowhere, but anyways very recommendable to visit. Many of the old machines are still intact and just awesome to watch while in action. We prepared an interactive performance, where visitors could try out our machines and dissolve and reknit garments.
at Antenna Conference during Dutch Design Week
I was invited to present my project "Menu from the New Wild" at the international Antenna conference during the Dutch Design Week in Eindhoven. The Conference is organized by
Design Indaba and is a format where a selection of 20 design graduates world wide had the possibility to present their latest work on stage. Super exciting!
Follow the latest tweets on twitter or check on their facebook page!
guests having a taste of himalayan balsam
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international collecting
Saving Art for the Nation: 2003 Centenary Conference of the National Art Collections Fund
Author(s)
Art Fund
London, NACF
‘Saving Art for the Nation’ is a compilation of addresses, discussions and case studies from the 2003 Centenary Conference of the National Art Collections Fund; contributing voices include Sir Nicolas Serota (Tate London), Sir Timothy Clifford (National Galleries Scotland), Dr David Fleming (National Museum Liverpool) and a variety of museum professionals and interested parties. The most significant concern of the conference was to instigate ongoing collecting, after all, ‘a closed collection is a dead collection,’ especially focusing on the acquisition of contemporary art and international art—a weak point among many of the national collections. In fact, a growing appreciation for ‘global culture’ is present among many of the conference addresses. This is evidenced not only by relaxing attempts to keep pieces of heritage within the UK but also encouraging its display in other parts of the world and in new contexts. The conference also considered the vestiges of patriotism and heritage that surrounds national collections and encouraged institutions to challenge complacent notions of ‘Britishness’. These sentiments ultimately shifted the institutional responsibility towards its public audience and the ways that a collection should express the identity of a community.
Shelby Lakins
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This amazing work, premiered by the Los Angeles Master Chorale, Grant Gershon, director, is a contrast of homophonic refrains against polyphonic verses. Beginning with the austere Sacred Harp tune “Heavenly Home,” California composer Kirchner sets “hallelujahs” leaping and plunging and circling through the choir to thrilling results. Duration: ca. 3:30.
Arranged for SSATBB voices by Shawn Kirchner.
Stay updated on the latest composer news and publications
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Tag: Public Spaces (Page 1 of 2)
Reblog: Climate Clock | Damon Matthews
From December 5 to 7, 2018, the Climate Clock was projected at the corner of De Maisonneuve Boulevard and MacKay Street, thanks in part to Elastic Spaces member, Damon Matthews, professor in the Department of Geography, Planning and Environment and Concordia Research Chair in Climate Science and Sustainability.
The Climate Clock is a visualization tool developed by Matthews and David Usher, founder of the Human Impact Lab. It harnesses data, art, technology and interactivity to add to the conversation about climate change. “If greenhouse gas emissions continue to increase, we will reach 1.5°C of global warming in less than 16 years. This is the direction we’re headed right now, but it’s important to stress that this is not the direction we need to take,” Matthews says. “There are actions all of us can take to reduce our carbon emissions and add time to the clock.” The projection of the clock coincided with COP 24, a United Nations climate change conference in Poland. The event also marked the release of new data about carbon emissions, to be published by the Global Carbon Project.
For more information, check out the link below!
https://www.concordia.ca/news/stories/2018/12/05/a-1-5c-increase-in-global-temperatures-may-be-reached-in-fewer-fewer-than-16-years-but-the-damage-can-still-be-reversed.htmlReblog: Into The Woods
CanadianArt: Into the Woods
Kelly Richardson, The Erudition (2010). Installation view at NGCA UK. 3 screens, 48 feet x 9 feet; HD video with sounds, 20 minute loop. Courtesy of the artist and Birch Contemporary. Photo: Colin Davison.
“Supernatural: Art, Technology and the Forest” at the Art Gallery of Greater Victoria seems less intended to provide directives than to register tensions. Curator Haema Sivanesan indicates gestures of connection without becoming explicitly political, while upholding a sense of reverence that accommodates moments of both open-endedness and opacity.
A powerful introduction to the show, Kelly Richardson’s three-screen video installation The Erudition (2010) presents a nocturnal hoodoo landscape haunted by twitching holographic trees. This film-negative aesthetic, recalling the spectral landscapes of Peter Doig, evokes both intimacy and unease: a state of being not-at-home at home.
Contrasting with The Erudition’s atmospheric ambiguity are geographically specific works in which forest composes both site and archive.
Ian Wallace’s Clayoquot Protest series (1993–95) presents large photographs of the historic protest, featuring acrylic-print insets of woodgrain cross-sections.
A nearby monitor screens Bones of the Forest (1995) by Heather Frise and Velcrow Ripper; this documentary features First Nations Elders, alternative loggers and corporate apologists, spliced together in a nod to punk’s DIY ethos.
Leila Sujir, Forest Breath, 2018. Stereographic 3D video Projection; 5 minute loop. Cinematographer: Christian Kroitor.
Leila Sujir’s Forest Breath (2016–ongoing), a differing vision of collective texture, is a stereoscopic video installation proffering live feed as porous tableau: tactile gaps in the matrix of limb, vine, twig and mulch mingle to the drone of overlapping sine waves. (Sujir’s live feeds have often featured Vancouver Island’s Walbran Valley, which is slated for clear-cutting.)
This contrast—between document as frame and forest as continuum—continues in the video How to climb a tree (2017) by photographer and video artist Sandra Semchuck and performance artist Ayumi Goto. Offering abstract homage to Squamish carver Robert Yelton, Goto moves through forested space in a dance aligned with Semchuk’s continuo of overtone singing.
Semchuck’s practice is also represented by a series of landscape photographs overlaid with text. The relentless density of Semchuk’s settings—all middle ground—and the ambiguity of the speaker or listener in the texts allow for an intersubjective approach that moves beyond genre.
Further gambits of perspective and identity take place in artist-anthropologist Trudi Lynn Smith’s work, Drift Camera (2015–ongoing). Halfway between a camera obscura and a wearable tent, this structure is suspended to form a cave-like recess from which a single viewer gazes out at driftwood that Smith dubs, “a fugitive forest.”
Trudi Lynn Smith, Breath Camera — prototype 1, 2015–ongoing. Documentation of the camera being used in field-based research into contested territories/burned landscapes, 2016. Darkcloth (velvet and cotton), hand-built camera (suede, bellows, optical lenses, screen material); dimensions variable. Courtesy of the artist.
Transformation via camera is at hand in two other photo series: Dan Siney’s Stump 1, 2, 3(2008) and Rodney Graham’s Study (5 Polaroids from Series: 75 Polaroids) (1976). Siney’s anthropomorphized stumps are the result of loggers cutting eye-like notches into trees for springboards before cutting. Blurrily monumental, they are accidental votives in a state of fertile decay. Graham’s pictures, likewise, make strange a kind of lark: a walk through the forest at night with a Polaroid camera. Tantalizingly hermetic, his images stage a provocative vanishing act.
Carol Sawyer’s Woodwork (2011) consists of seven short videos made from archival footage of the logging industry. The truncated videos develop a metanarrative: fragments of an epic depicting epic fragments.
Mike Andrew McLean’s series JR (2015–ongoing) documents the ongoing narrative of “ghost town” Jordan River, northwest of Victoria. In 2014, residents were told that the combination of a nearby dam and seismic activity meant the threat of sudden flood in the event of an earthquake, an apocalyptic prophecy that loomed large for the artist as he traversed these remnants of the town with his large-format camera. Notable is his use of scarce Kodak Aerochrome film, developed for military and surveying aerial photography, which tints organic material in hues of pink and crimson, summoning counterpoints as richly varied as Frederick Edwin Church, Walt Disney, Richard Mosse and Edward Burtynsky.
Kelly Richardson, The Erudition (2010). Installation view at NGCA UK. 3 screens, 48 feet x 9 feet; HD video with sounds, 20 minute loop. Courtesy of the artist and Birch Contemporary. Photo: Colin Davison.
A defining non-feature of “Supernatural” is its absence-as-presence of Indigenous voices. With its focus on photo-based media, the story of the forest presented here is one of Cartesian colonial methodologies: capture, extraction, taxonomy and commodity. This point is underscored by the accompanying exhibitions in the gallery: “Form as Meaning,” a survey of Indigenous printmakers, and “Picturing the Giants,” a show of Emily Carr’s work in dialogue with pieces by contemporary First Nations artists like Sonny Assu and Lindsay Delaronde, among others.
Between these exhibition offerings, indigeneity is performed in varied guises, transposing itself and reorienting its audience, with the forest—home (for some) to formlessness, and at the very least, home to phenomena that elide photographic capture—as informal host.
John Luna is a poet, critic and visual artist whose practice includes painting and installation, and a teacher working in the areas of art and art history. He is based on Vancouver Island.
https://canadianart.ca/reviews/supernatural-art-technology-and-the-forest-aggv/
Reblog: Artists Explore the Forests and What Lies Ahead
Photo Credit: Jorge Zavagno
Artists Explore the Forests and What Lies Ahead
by Mike Devlin/ Times Colonist
May 17, 2018 06:00 AM
http://www.timescolonist.com/entertainment/visual-arts/artists-explore-the-forests-and-what-lies-ahead-1.23305227
What: Supernatural: Art, Technology and the Forest
Where: Art Gallery of Greater Victoria, 1040 Moss St.
When: Saturday through Sept. 3
Admission: $13 (adults), $11 (seniors and students), $2.50 (ages 6 to 17); children five and under are free
Information: 250-384-4171 or aggv.ca
Note: Admission on May 19 is free from 10 a.m. until 5 p.m.
The junction where technology meets the environment has become an uneasy meeting point in the modern era. A bygone phrase about ecological conservation — “Take nothing but pictures, leave nothing but footprints, kill nothing but time” — would suggest humankind’s need to dig deeper into the biosphere runs contrary to the ecosystem ethos. On the other hand, how do we learn about the environment without studying it?
That’s what a new exhibit at the Art Gallery of Greater Victoria is attempting to answer. Supernatural: Art, Technology and the Forest, which opens Saturday and runs through Sept. 3, is a multi-media presentation that uses videos, photos, and computer-generated images to examine the forests of B.C.
The goal is to better understand the forest and how human interaction with it will adjust, according to exhibit curator Haema Sivanesan.
“People have always lived with and alongside the forest,” Sivanesan said. “If we look at Indigenous histories and go back further than our modern idea of what the forest is, we’ve always had a relationship to forests and forest landscapes. Maybe this [exhibit] is trying to think through some of those bigger questions.”
There is an underlying sense of inspiration about the exhibit, one that can be encapsulated by 19th- century philosopher Henry David Theroux: “It’s not what you look at that matters, it’s what you see.”
Sivanesan loves what Supernatural: Art, Technology and the Forest offers in that regard. “It’s looking at how artists are using new technologies, and a lot of that is camera-based technology, whether it’s as simple as digital photography or 3D video. All of it has to do with a camera, in some way, and how they are using that to look at the forest in a new way.”
Eight Canadian artists (Mike Andrew McLean, Kelly Richardson, Carol Sawyer, Trudi Lynn Smith, Sandra Semchuk, Dan Siney, Leila Sujir and Ian Wallace) and one collaborative team (Ayumi Goto and Sandra Semchuk) are participating. Their art ranges in tone and medium, from Richardson’s computer-generated imagery with sound that takes up a whole room of the gallery to Sujir’s blackbox-style Imax 3D captures of the Walbran forest.
“It’s very compelling because it’s working between the two genres,” Sivanesan said of Montreal-based Sujir’s work. “We’ve all looked at photos from very famous photographers like Ansel Adams, who’ve taken pictures of national parks and forests we are very familiar with. Because of this new technology, it’s allowing artists to do different things and understand the forest in new ways.”
The contributions of Victoria artist Trudi Lynn Smith are of particular note. Her “Breath Camera,” a hand-built prototype housed in suede, presents what the viewer sees in tandem with what they feel while immersed in a camera-form cloak. Smith serves as a guide, shepherding the participant through a journey using only lenses from an old optician’s kit — to play with reality through what she calls “noticing.”
“It is meant to show how simple it was to build a camera and how difficult it is to take a photograph,” Sivanesan said of Smith’s installation. “It has more to do with making us think about how we look at the world. Everybody has a cellphone these days and it’s so easy to just snap a picture. This is talking about the complexities of that.”
[email protected]
© Copyright Times ColonistFatal error: Uncaught TypeError: count(): Argument #1 ($value) must be of type Countable|array, string given in D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-content\plugins\ultimate-responsive-image-slider\layout.php:15 Stack trace: #0 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-content\plugins\ultimate-responsive-image-slider\shortcode.php(176): require() #1 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\shortcodes.php(395): Wpfrank_URIS_Shortcode() #2 [internal function]: do_shortcode_tag() #3 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\shortcodes.php(235): preg_replace_callback() #4 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\class-wp-hook.php(310): do_shortcode() #5 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\plugin.php(205): WP_Hook->apply_filters() #6 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\post-template.php(256): apply_filters() #7 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-content\themes\hemingway\content.php(83): the_content() #8 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\template.php(787): require('...') #9 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\template.php(720): load_template() #10 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\general-template.php(206): locate_template() #11 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-content\themes\hemingway\index.php(47): get_template_part() #12 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-includes\template-loader.php(106): include('...') #13 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-blog-header.php(19): require_once('...') #14 D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\index.php(17): require('...') #15 {main} thrown in D:\Groups\HEX-GRP-tuliptheory\HEX-PRJ-elasticspacesweb\public_html\wp-content\plugins\ultimate-responsive-image-slider\layout.php on line 15
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Eva Schildt Umbrella Stand
• Eva Schildt Umbrella Stand
Umbrella Stand, by Eva Schildt, is unique as it is both a functional design piece and a sculpture. Inspired by the artist Yves Klein, Eva uses the sponge, which is closely related to the theme of water, as a base. The frame is made of blue steel, which is an important element of the design process.
The austerity of the steel is a perfect contrast to the softness of the sponge and the blue colour represents both water and the sky.
Metal umbrella stand with artificial sponge. H 28.3". Including an umbrella.
Eva Schildt
Design House Stockholm
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The book
Not to flaunt our feathers or anything, but the CHICken book was designed to blow your mind with the highest quality printing techniques. We want to give you the WOW factor when you open the package and look at these sexy feathered chickens! That is why we hand-picked the best materials and print processes available and chose the best certified photographic quality print out there.
The book is produced 100% in Italy.
The chickens in this book are the protagonists and are photographed as Top models because they had natural born talent.
Atellani-foto-book0049 b.jpg
Thanks to the offset print technique used you’ll be able to have high quality photos that are clear and precise, not dot-based like digital printing.
The black pages and the dark background allow the subject to emerge dramatically like models on the runway.
Every image is paired with an inspiring phrase that pays tribute to beauty. Each quote is printed in fine silver Pantone. When we spoke with our supplier about the variety of binding selections, we opted for a quality flat-opening sewn binding to emphasize the high definition photographs.
This special binding makes it possible to lay the book flat when it is opened, flush with the surface it is on, creating a pleasant coffee table book appearance.
Atellani-foto-book0137.jpg
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Press Release 09/22/2020
Press info
The Piece with the Ship
A Piece by Pina Bausch
World premiere: 1993
Premiere of the restaging: 21 November 2020
Choreography: Pina Bausch
Stage: Peter Pabst
Costumes: Marion Cito
Restaging by Barbara Kaufmann, Héléna Pikon and Julie Anne Stanzak, in collaboration with the Israeli artist Saar Magal, assisted by Niv Marinberg
In November, the Tanztheater Wuppertal will embark on an ambitious restaging of The Piece with the Ship. Characterised by sweet melancholy, delicate humour and zestful dancing, the piece depicts a community stranded in an abandoned place. A beach without an ocean, a ship without water. People who have been torn from everyday life, poised between extreme vulnerability and a strong will to survive, dance as if their lives depended on it. Rarely seen, the piece premiered in Wuppertal in 1993 and was last performed in Saitama, Japan, 24 years ago. It is now being restaged with an intergenerational cast.
Beginning in 2019 with Bluebeard and continuing in 2020 with He Takes Her By The Hand And Leads
Her To The Castle, The Others Follow, the Tanztheater Wuppertal has been undergoing a process of transformation in how it cultivates and engages with Pina Bausch’s choreographic legacy. Not only are we rethinking how we rehearse, cast and perform her pieces, but we are also re-evaluating how we work together and how we pass on roles and repertoire. Artistic Director Bettina Wagner-Bergelt was able to enlist the Israeli artist Saar Magal as an ‘outside eye’ for the restaging of The Piece with the Ship. Together with Barbara Kaufmann, Héléna Pikon and Julie Anne Stanzak as rehearsal directors she will help to bring the piece back to the stage. Several other dancers from the original 1993 cast are directly passing on their roles to the new cast.
Saar Magal is a choreographer and director with an unusual approach, whose productions explore the interstices between dance, opera, theatre and performance. She has developed projects for Batsheva Ensemble Dance Company, the Bavarian State Opera (Hacking Wagner), and the Staatsoper Unter den Linden in Berlin. In 2021 she will create works for the Schauspiel Frankfurt and the Burgtheater Vienna. Her international collaborations include works with the directors Krzysztof Warlikowski and Robert Woodruff. She also teaches dance and performance at several schools and academies in Israel and the USA, among them ART Institute for Advanced Theatre at Harvard University.
The extraordinary stage set by Peter Pabst – featuring sand dunes and the hull of a stranded ship – is
being restored to its original state under his supervision.
Birdsong, the sound of raindrops, jungle noises and strains of harp are punctuated by heavy storms and rolling thunder, alongside arias by Walther von der Vogelweide, Georg Friedrich Händel and Christoph
Willibald Gluck, as well as medieval and renaissance music and songs from India, Morocco and Namibia.
The musical arrangement is by Matthias Burkert.
With the start of the 2020/21 season, the Tanztheater has welcomed four new colleagues into the ensemble.
Because several dancers had left in recent years (among them Regina Advento, Bénédicte Billiet, Breanna O’Mara, Douglas Letheren and Pau Aran Gimeno), there were empty spaces, which have now been filled by Taylor Drury, Alexander Lopez Guerra, Dean Biosca and Gabriel Brito. They will appear on stage in Wuppertal for the first time in The Piece with the Ship.
Taylor Drury (born 1992), from Canada, studied at the Royal Winnipeg Ballet School and at the Juilliard School in New York. She previously danced with the Staatstheater am Gärtnerplatz in Munich. Dean Biosca (born 1994), from the USA, previously danced with the Saarländisches Staatsballett. He has performed in works by Stijn Celis, Richard Siegal, Anna Konjetzky, Jiři Kylián, Alexander Ekman, Lar Lubowitch and Brian Brooks. Gabriel Brito (born 1997), from Brazil, previously danced with the German National Youth Ballet for two years and then the Hamburg Ballet John Neumeier, before deciding to join the Tanztheater Wuppertal. Alexander Lopez Guerra (born 1995), from Peru, has gained experience by performing works by Crystal Pite, Akram Khan, Alexander Ekman, Sidi Larbi Cherkaoui und Ohad Naharin.
The restaging of The Piece with the Ship launches the performance series Pina Bausch Centre under
, which will take place at the Altes Schauspielhaus in Wuppertal from 21 – 29 November
Further information will be published on pinabauschzentrum.de and pina-bausch.de at the end of October.
Tanztheater Wuppertal Pina Bausch
Artistic Director Bettina Wagner-Bergelt
The Piece with the Ship
A piece by Pina Bausch (Restaging)
World premiere: 1993
Performances: 21, 22, 24, 25, 26, 27, 29 November 2020
Booking opens on 25 September 2020
Launch of the performance series:
Pina Bausch Centre under construction
Cast: Emma Barrowman, Andrey Berezin, Gabriel Brito, Taylor Drury, Çağdaş Ermiş, Jonathan Fredrickson,
Silvia Farias Heredia, Ditta Miranda Jasjfi, Milan Nowoitnick Kampfer, Yosuke Kusano*, Alexander
Lopez Guerra, Blanca Noguerol Ramírez, Ekaterina Shushakova, Oleg Stepanov, Julian Stierle, Michael
Strecker, Christopher Tandy, Stephanie Troyak, Tsai-Wei Tien, Ophelia Young, Tsai-Chin Yu, N.N.; subject
to change!
Press Contact
Ursula Popp
[email protected]
+49 (0)202 563 6720
+49 (0)172 882 3718
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Art Deco Era, Cut Steel Shoe Clips
Two Art Deco era, circa 1920s, oval-shaped shoe clips of cut steels. The price is for both clips. There are interesting Deco style markings on the bars that run behind each oval.
Please note condition of clips. There is some rust and a square shaped steel has a piece broken off on one of the clips. Please see second photo at about 25 after. Do let me know if you require more photographs, and I'll be happy to oblige.
Many, if not most, cut steel shoe clips were made in France but this doesn't have a country designation.
Size is 2" x 1.75"
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Making Covid His Own
October 18, 2020
This has been a crazy school year and we are still in the first quarter. With all the masks, frequently absent teachers and fellow students, it can be hard to find joy. Everything feels more stressful and freedoms are limited at school. Thankfully, Khamani Rutherford is helping to create some joy through his art. Khamani is painting a large mural right outside the math room. The mural is vibrant and breaking out through the neutral colored bricks, grabbing the attention of anyone who walks past. His inspiration? Covid 19.
This is the second student-painted mural to appear on the walls as a part of Coach Lawrence Brookin’s art class. When asked by the local news team at KFVS12 what inspired the direction of the piece, Khamani stated, “I think what really led me to draw this is just being in class and having to draw with my mask on.” The mural is a expressive self-portrait, showing how COVID makes him feel. “You see the eyes? You see how they’re all closed, I would say tired, sad,” he said to KFVS12.
Khamani has only joined us here at CA this August, but already he is making a positive impact. Teachers comment that he is a joy to have in class, bringing up everyone’s mood, while also holding his classmates accountable. Khamani is a great example to those around him and is always smiling. Coach Brookins often refers to Khamani as “fearless”, in his use of color and approach to art.
While painting this mural Khamani has received guidance from Coach Brookins and local artist, Malcom McCrae. It has been great to walk by the piece each day and see it a little bit more finished. It has been on several students’ social media pages and is commented on each day. Each day students walk by and give positive words of encouragement to Khamani or comment about how awesome it is. The support and positivity around the mural from the student population has been a nice addition to the day.
Upon first glance it might seem odd to immortalize a time period that is stressful for everyone, but Khamani is taking this moment and making it his own. While he is still working on his piece at the time of this article, we know that it will leave a lasting impact on each person who walks by it.
This mural was covered by the Southeast Missourian. https://www.semissourian.com/story/2843234.html
Collaborative Staff 2020-2021
August- October: E'Jah Wade, Xavion Mahoney, Danielle Gorham, Mason Cookson, David Suchil
November-January: DaShonta Sterling, Brandon Depree, Collin...
2 Responses to “Making Covid His Own”
1. Andrea Schneider on October 21st, 2020 7:34 pm
Thrilled to see Khamani using his artistic abilities to make a positive impact in the community! I had the joy and privilege of being his art teacher in elementary school-his talent was evident to me from the time he was in 2nd grade! Does my teacher heart good to see he is still pursuing his passion….great job, Khamani!
2. Mary Richards on October 23rd, 2020 10:28 am
This is a great article! Love this publication! There are so many talented students at CA – Coach Brookins brings out the very best in them!
If you want a picture to show with your comment, go get a gravatar.
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Why hiring a graphic designer is vital for your business in 2020
The 12 big graphic design trends of 2019
If you want your brand to stand apart from the crowd, or if you want to be at the cutting edge of graphic design, add these trends to your repertoire.
20 Ιαν 2020 • 5 λεπτά διάβασμα
Φωτογραφία Φόντου
Graphic design is constantly evolving, and new trends seem to define each year.
Here are the ones you should pay attention to in 2019.
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1. Animated logos
Logos are moving beyond being static elements as motion design becomes more pervasive. Animated logos help companies stand apart from the competition, particularly in a design field where a bias toward minimalism means many static logos can look similar.
Animated logos can be enormously beneficial to the brands they represent. A motion element means users view a logo for longer, increasing the chances of retention. They also help companies better communicate their identity by using playful animation to convey their brand.
2. Minimalism
This year is one of extremes for graphic design. While designers will go big, bold and busy with their creations, we'll see an equal number of designs stripped back to their bare essentials. According to the minimalist philosophy, you should strip a design back until it can't be improved by removing more elements.
Minimalism will be especially ubiquitous in logo and packaging design, but web and app design will also follow the trend. Minimalism puts functionality front and center for websites and apps, and creates a more intuitive UX.
3. 3D design
Tools for 3D design are getting better and more intuitive, making it a simpler task for designers to make their creations pop off the screen. In 2019, expect to see 3D design everywhere.
Designers will use 3D to create realistic, immersive environments, as well as to bring depth to simple 2D illustrations.
3D will also be big in typography in 2019. The technique works for any kind of font. We anticipate seeing the move toward 3D typography married with the trend towards typographic elements dominating designs. Look for big, bold 3D typography that serves as the focal point for a design.
3d graphic design
4. Big, bold fonts
Typography is the hero for 2019. Rather than playing a supporting role, 2019 will see designers use typography as the focal point for their creations. This trend will combine with other 2019 trends such as the move towards 3D and asymmetric, grid-shattering designs. Motion graphics will also allow typography to interact with other design elements to stretch, skew and bend around its environment.
5. '80s and '90s retro
Everything old is new again. Our cultural obsession with self-referential nostalgia extends to the design world with retro '80s and '90s art. While '80s design has been prevalent for some time, 2019 will see a shift towards late '80s and early '90s-themed design.
What does this mean in practice? Expect to see vivid colors, abstract geometric designs and retro human illustrations and photography. Think hot pink, teal and neon yellow. Bold colors like this grab viewers' attention, inspire nostalgia and make your design eye-catching.
80s and 90s graphic design
6. Breaking the grid
Web designers and developers alike love using grids because they provide a simple way to place UI elements on a page. They ensure all the elements are sized proportionately and arranged in a navigable way. Well, forget them for 2019.
Asymmetric web design really took off in 2018, and 2019 is set to see it come into its own. Designers will use images and text to break the boundaries of the traditional 12-column web grid. This can be done in both bold and subtle ways. Good designers will find ways to create asymmetry without sacrificing user experience.
7. Using grain and noise for depth
If you're a 2D illustrator and want to add depth to your creations without diving into 3D design, grain and noise can help bring 2D designs off the page. While 3D design will be a major trend in 2019, flat design will remain popular. Designers will gravitate towards simple retro illustrations, adding grain and noise effects to create texture.
8. Isometric illustration
Isometric illustration, like the use of grain and noise, helps create depth in 2D illustration. Isometric illustration creates a three-dimensional feel with the use of shading and different perspectives, but without the pesky need to actually add converging perspective lines or do 3D rendering.
Isometric design helps add detail and complexity to 2D illustration. It's particularly helpful to convey complex, related information in infographics, but can be used to bring some unique visual flair to any design.
isometric graphic design
9. Complex, colourful gradients
Gradients fell out of fashion for awhile there. Like many graphic design trends, they suffered from overuse until they became synonymous with cheesy, amateurish design. But 2019 is the year gradients once again rise to ascendancy.
Forget a simple linear gradient transitioning from one color to another. This year will see designers layer gradients to give greater depth and complexity. This trend will often go hand-in-hand with the trend towards '80s and '90s color palettes. Expect to see vivid colors layered together.
10. Amorphous and asymmetrical geometry
This trend springboards off the Memphis Group style movement, which came to prominence in the 1980s by rejecting minimalist design standards and adherence to traditional form. The style uses bright colors and abstract shapes, like its iconic bacterium squiggle.
Memphis will continue to be big in 2019, but expect to see designers expound on the trend with more complex abstract geometric patterns. And abstract geography isn't just bound to the Memphis "more is better" mindset. It can also work a treat with minimalist design.
11. Playful people
Retro human illustrations are everywhere in 2019, mostly due to the work of designer Pablo Stanley. Stanley's free Humaaans library lets designers mix and match bodies, faces, hair and environments to create simple, charming retro people. But other designers have put their own spin on the trend, creating their own playful human illustrations. These design elements help form an emotional connection with the audience and convey a sense of whimsy.
The 12 big graphic design trends of 2019 - Image 1
12. Natural colors
On the other end of the scale from the vibrant gradients and vivid colors that we'll see throughout much of 2019, designers are also moving toward a more natural, earthy palette. Muted colors create a calmer palette that adds a touch of class and gravitas to your design.
Any highly saturated color can be tweaked to fit a muted palette by adding tints or shading. Think beiges, dusty pinks, mossy greens and mustard yellows. This color palette works particularly well for Art Deco and Baroque designs.
muted color graphic design
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Lesson Plans
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Galloway renovation readies sanctuary for Easter
Sherry Lucas
The Clarion-Ledger
The signs show up like winks from above.
An original balcony step, pulled up last November to accommodate new rails, was tossed upended on the heap to reveal a date — exactly 99 years prior, written in floor varnish by a workman's finger before it was installed.
A 1930 letter urged manufacturers to finish the second set of four 8-foot stained glass windows for the sanctuary at Galloway Memorial United Methodist Church in time for Easter Sunday. In that year, Easter fell on April 5. Just like this one.
Easter Sunday is the target date again for the congregation to be back in its beautiful surroundings.
"Very ironic,' said Jim Wilkirson, head of the trustees for the past year and interior designer on the project, with Eley and Associates the project's architectural firm.
"It was like, OK, we were meant to be doing this restoration."
The church didn't fully hit its target in 1930, though two original windows, shipped off for a stylistic match, were returned on time. The four new ones followed that summer.
As for 2015, all windows are restored and back in place. The specially woven carpet's in. Wooden pews gleam. Organ pipes are back. Workers were painting the front steps Wednesday.
A sanctuary renovation, crowning moment of the five-year, $4.6 million capital campaign, has been in the works since August, sending churchgoers downstairs to the Fellowship Center for worship. Galloway continued its TV ministry throughout.
The renovation addressed goals such as handicapped accessibility, acoustic issues, upstairs stair rails for safety and better flow. But it also uncovered a wealth of clues that helped keep history in mind.
Scaffolding wall to wall, front to back, was in place for two months of ceiling plaster work and gilding. Water issues in one area required peeling back plaster, uncovering "a good five or possibly six" wall colors through the years since the church's birth, Wilkerson said.
Pilasters (side wall columns) had never been marbled, but given the building's history and that of surrounding buildings dating to the same era (the State Capitol included) and ornateness of the gilding upstairs, that was likely the intent, Wilkirson said. "I think that once the war (World War I) got here, money was tight and they were not able to finish the church the way they originally intended. These pieces would have normally been marbled."
Now they are. Faux finisher Virginia Weathersby of Brandon added the decorative painting for a marble look for pilasters in recent weeks. Paint colors — creamy buff, sandy gold, dark red — discovered during the plaster repair were mixed together for the marble pattern.
"We worked with the color scheme original to the building," Weathersby said. "That went well with what would have been done 100 years ago."
Galloway Memorial United Methodist Church is a contributing element in the Smith Park architectural district, which is listed on the National Register of Historic Places, said Bill Gatlin, National Register coordinator with state archives and history.
"We've been on the same corner since the start of the city," Wilkirson said. A historical marker dates the congregation to 1839.
The present church was constructed beginning in 1913-1915, and dedicated to Bishop Charles Betts Galloway in 1917, according to the J. B. Cain Archives of Mississippi Methodism.
Galloway will celebrate its centennial when the Mississippi United Methodist Conference meets in June.
"Really, this is the first time to my knowledge we've taken everything out and refinished it," Wilkirson said. That includes every pew and the floor, wall to wall, and every stained glass window, pictorial and transom, taken out, fully restored and brought back.
An 1882 cornerstone from the church Galloway laid was found in the 1950s during another restoration, will be sunk into the upper chancel floor, with a glass covering for viewing.
"It's holy week. It's waiting for joy," Wilkirson said of the timing.
"There's a great expectation of not only the season, but being back in the sanctuary for the season," longtime church member Anne Webster said.
The Rev. Joey Shelton said everyone's looking forward to it with great excitement. The interim held intangible benefits as well, bringing the congregation closer together.
"Actually, people have loved it," Shelton said. "We were able to create a very worshipful atmosphere (in the Fellowship Center) and the intimacy of the seating, people enjoyed. They also enjoyed sitting in different places each week and getting to know new people."
The renovation, he said, "has combined the best of the past with the needs of the present, and looking forward to the future."
To contact Sherry Lucas, email [email protected] or call (601) 961-7283. Follow @SherryLucas1 on Twitter.
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Henry Wolf
1852-1916, American
The Daydreamer
1852-1916, American
Wood engraving, 8 5/8 x 6 3/8 inches, c. 1900, pencil signed.
A View in Scotland
Watercolor, 18th century, image size 10 1/2 x 18 inches, titled in ink on reverse
The Three Sisters
1818-1910, British
"The Three Sisters" by Sir Francis Seymour Haden measures 5 1/2 x 8 1/4 inches, pencil signed, 1868, state VI/V, cat: Schneiderman-119. Sir Francis Seymour Haden was one of the most important British etchers of the 19th century, along with his brother in law James Whistler. In addition to being a highly regarded artist he was a successful surgeon, accomplished author and dedicated angler. He was a founder and the first president of the Royal Society of Painter-Etchers and Engravers, and was knighted in 1894.
The Old Orchard
1872- c.1950, American
A beautiful scene of a summertime apple orchard done in pencil by Dexter Dawes, a Marlboro, NH artist. 7 3/4 x 11 inches.
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200 Best Adobe Illustrator Patterns
Adobe Illustrator is an essential tool that helps graphic designers, illustrators, vector artists a great deal to complete their tasks pretty easily.
It allows the users to access unlimited images, graphics, videos, templates, and other creative assets for you to start from scratch.
It also provides many ready-made presets to kick-start one’s work from blank pages.
One of the important items out of these presets are patterns. They can be used to fill, strokes and they help to resize, rotate, or reposition anything within the subject.
This guide introduces you to some of the best illustrator patterns that can be used in your work to make it super fit on any platform.
Adobe Illustrator Patterns
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Kaleidoscope Creator Pro
This kaleidoscope is a great tool for creating unique mirrored patterns. It’s the best one out there for making coloring books, logos, stock images, posters, patterns, and tattoo designs. It’s compatible with Mac as well as Windows. These pattern fills can be made accessible from the swatches panel.
The swatch libraries menu which is located at the bottom of the Swatches panel contains the respective folder. You can use it and make your work look incredibly good.
Floral Patterns and Illustrations
This wonderful set of carefully pre-made patterns instantly provides you with the solution for adding floral elegance to the work. These seamless patterns come in rich colors and make your work stand out from the crowd.
This is simply apt for creating stylish backgrounds and it effortlessly adds a luxurious look and feels for the extravagant designs.
1805 Pattern Bundle
This exquisite collection contains patterns that are just suitable for any project. These are perfect for business, branding, stationery, clothing, accessories, wedding, packaging, magazines, etc.
You can choose the patterns that suit the occasion; floral patterns are great for creating calendars while thematic patterns look good for postcards. This bundle consists of 56 collections on different topics, and all these patterns are saved in 3 formats; Al, EPS, and JPG respectively.
Celestial fonts and vintage pattern
It’s handmade by combining modern and classic typography with some amazing features. Add a classic touch to your work using celestial patterns.
Typical celestial features include uppercase, lowercase, numerals and punctuations, old-style tabular, vintage ornament, accents, ligatures, contextual alternates, ss01, ss02, ss03, old-style tabular for numbering.
Celestial patterns (Ai CC), celestial brush (Ai CC), watchword, and outline decorative stroke comes as a bonus with the pack.
Hand Drawn Japanese Patterns
This is a beautiful collection of around 25 Japanese vector patterns that are completely hand-drawn and inspired by Wabi-sabi design. The Japanese patterns are mainly used to express ideas, concepts, and life beliefs.
All these are fully editable and a high-resolution jpg of tile patterns comes with the pack. Do enjoy using these elegant patterns on branding projects, fabrics, packaging, fashion apparel, posters, wrapping paper, printables, and backgrounds.
Mosaic Maker
With this amazing collection of patterns, you can create stunning designs by adding a touch of antiquity. Many contemporary patterns with fantastic designs are available as well.
Some of its features are a quick reference guide, example files, instructions, and specific tips for making screen-shot designs. It’s compatible with illustrator CS1 to CC only.
Flower Power Botanical Illustrations
The flower consists of 6 premade arrangements, 55 hand-drawn illustrations, 18 patterns in vector and raster formats. It consists of well-organized layers for recoloring and editing.
The patterns are flexible that it’s ideal for projects like wedding stationery, branding, packaging, logos, blogging, social media, fabric, etc.
The hand-drawn elements have been digitized by giving utmost care to preserve their original quality. Moreover, its vectorized versions provide a space for infinite scaling by maintaining the beautiful hand-drawn characteristics of pencil work.
52 Halftone Seamless Patterns
These comic tone patterns are compatible with illustrator CS+. It’s pretty easy to use, all you need to do is open the swatches pallet. All the required patterns are available for you to use.
The easiest way to import the patterns into the file is to select your preferred boxes and then copy/paste them into the document you are working on. You can even scale the patterns by selecting the shape and adjusting the pattern size.
50 Astonishing Argyle Pattern Swatches For Illustrator
This astonishing set of argyle pattern swatches is very useful and can do wonders on many platforms such as fashion designs, textiles, package designs, graphics, and web design.
These are quite flexible in how they can be displayed. You can scale, rotate as well as nudge them over pixel by pixel without changing the shape of the object.
Illustrator Sashiko Patterns
These are a collection of 51 patterns which is well suited for any project. Like its name, the patterns are inspired by the famous Sashiko designs, so basically patterns are rough outlines on top of solid colors.
17 different designs are used with different colors and sizes which resulted in 51 fabulous patterns. Instructions to use these patterns vary across instructors, all you have to do is find the saved file entitled “sashiko patterns” in the window or swatch library. The files open up to a box full of swatches of patterns.
Each pattern has been woven out of different stories, find the one that’ll meet all your requirements and add it to your design story.
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Monet in Zaandam
In 1871, French painter Claude Monet stays in Zaandam for four months. During this period he makes 24 cityscapes and landscapes of Zaandam, and this single portrait, of the 17 year-old Guurtje van de Stadt. The Van de Stadt family are involved in the timber trade and are one of the wealthier families in Zaandam.
Subdued portrait
Compared to Monet’s other Zaandam works, this black-grey painting is rather subdued. A possible explanation for this is the fact that Guurtje’s father Jan van de Stadt had died quite recently. The black dress, earrings and ribbon would indicate that the girl is still in mourning.
Leading figure of impressionism
Monet is the leading figure of impressionism. The artists of this movement attempt to capture the fleetingness of the moment in their paintings and are occupied with the effects of light, colour and movement. Another characteristic trait is the way they apply the paint in loose, rapid brushstrokes. That is clearly evident here in the light background and Guurtje’s hair. Her face and dress, on the other hand, are painted very precisely.
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Now Create
In his classic, remarkable lecture delivered in 1991, John Cleese drew attention to the fact that
"Creativity is not a talent. It is a way of operating."
As self-taught artists, this hits home. We're all capable of creating something we can call our own. The connection between what the mind perceives and how it processes for expression is incredibly malleable. As soon as you realise that your ability to create is a trained behaviour, you will make a conscious commitment to seize every opportunity to create. If you're constantly waiting for the right mood to strike or when you achieve the mythical work-life balance or the kids to grow up, you will never create anything your heart truly desires.
In hindsight, we had no idea that our interest to take part in every art contest back in school or preference to make gifts instead of buying them for friends and family or even those spontaneous weekends spent flipping through tutorial books could potentially lead us to being working artists we are today.
Not all of us are put into this world to pursue a creative career but creativity is essential to our very existence. It's the driving force of seeing beauty in the everyday, solving problems and producing ideas, irregardless of your lifestyle and profession.
The unspoken truth is you are the sole custodian of your creativity and where it takes you.
It's what we advocate to thousands of people who have attended our classes and invited talks throughout the years. NOW CREATE is our next response to the pervasive idea that creativity is limited to the finite time and resource you think you have. A subscription program starting January 2017 where we explore a subject matter with the intention to initiate creative expression through print.
Each month, we'll introduce a subject matter and show you how to integrate it into your repertoire with two pattern templates for novice and intermediate skill levels. We'll also be featuring a Singapore-based professional whose line of work is well associated with the subject matter to give a glimpse into their world so you can reimagine with a broader perspective. The end result could be a handprinted fabric, wall art, repurposed wearable - you make the call.
Here's what you will be receiving on the 1st of every month:
• Introduction to surprise subject matter
• Exclusive interview with featured professional
• Two printable pattern templates designed by Fictive Fingers
• Tutorial of a piece created using the templates including colour study, material glossary and tips
We'll be using the Fictive Fingers Printing Kit throughout the NOW CREATE program. If you don't own a kit, make sure you purchase one upon subscribing.
Early Bird Subscription
We've reopened the early bird subscription for subscribers in Singapore until November 18th so this is your very last chance to receive a sweet 50% discount and complimentary ART FRIEND membership. This is the only time we're offering the 12-month subscription and it's no surprise that it's the popular choice among the growing #FFNOWCREATE community.
Commit to giving yourself the precious creative time you deserve or since it's the holiday season, subscribe as a gift for that special someone you know would love enjoy the program.
If you're purchasing a Fictive Fingers Printing Kit, the kit is scheduled to be mailed out by the end of November to avoid the holiday season so you can receive it by mid-December, ready to start in the new year!
1-month Subscription $20
Available in January 2017
3-month Subscription $55
Available in January 2017
• Only $18.40 per month
• Scheduled for January - March 2017
6-month Subscription $95
Available in January 2017
• Only $15.80 per month
• Scheduled for January - June 2017
12-month Subscription $135
• Only $11.25 per month
• Scheduled for January - December 2017
• Complimentary 2-year ART FRIEND membership
• Subscription option will not be available in 2017
*ART FRIEND is the go-to art supply store with all your creative needs and we're sure you'll be visiting them often throughout the program. With the ART FRIEND membership, you're entitled to store-wide discounts and special promotions. This bonus is not sponsored, endorsed or administered by, or associated with ART FRIEND (BBC) PTE LTD. This bonus will not be valid once the early-bird subscription ends on November 13th.
Words from the #FFNOWCREATE community
"I'm always interested to undertake a new creative challenge, particularly one that I can incorporate into my own schedule around children, family and life commitments. Looking forward to seeing what unfolds over the coming months!" - Angela Campbellsmith
"I'm a mama who wants to get out of the routine and use this as an opportunity to do that and go exploring with my son. I really enjoyed the screen printing experience when I went to your studio last time and I can't seem to find the time to join another studio class so this is a great alternative!" - Teresa Liew
"I'd describe myself as a closet creative and I think Now Create will be a great stress reliever." - Nicolette Ng
Will the subscription open to others outside Singapore?
Yes! Subscription will be open to all come January 2017 where you'll get to order the Fictive Fingers Printing Kit if you like and choose the subscription option that fits. If you'd like to be notified, pencil in your details on the waitlist here.
What will I receive upon subscribing?
On the 1st of every month, you will receive a downloadable PDF package that contains an introduction of the subject matter, exclusive interview with featured professional, two printable pattern templates (one that is easy to start of with, another with more challenging details), a tutorial of a piece created using the templates including colour study, material glossary and useful tips. The PDF package is limited to the month in which it's released.
Here's a sample of the PDF package:
What's the difference between single-month and multi-month subscription?
Single-month subscriptions are only available upon the release of the subject matter on the 1st of every month starting January 2017. This is suitable for you if you're unsure about committing to several months.
Multi-month subscriptions are available in 3-month, 6-month and 12-month options. You're given up to 50% discount off the monthly subscription rate and it's an assurance that you'll receive the PDF package in a timely manner on the 1st of every month.
Can I know all the subject matter before subscribing?
No. The basis of this program is to keep an open mind and experience with a sense of wonder. If you'd prefer to know the subject matter before committing, we recommend purchasing the single-month subscription that will only be available upon its release on the 1st of every month starting January 2017.
If I don't like the subject matter of the month, can I exchange it with another?
No. We believe that everything can influence the way we think and eventually create, even things that we would normally not give a second glance. We put a lot of thought into designing a program that would inspire but of course, we can't account for everyone's preference. Again, if you prefer to know the subject matter before committing, we recommend purchasing the single-month subscription that will only be available upon its release on the 1st of every month starting January 2017.
Can I use my own screenprinting tools instead of using the Fictive Fingers Printing Kit?
If you're an experienced screenprinter or have access to screenprinting supplies, you may choose to use your own but we'll not be accountable for any variation in the way you experience the program. Our printing kit includes professional-grade materials that we've customised for our classes so if you're unsure, contact us here and we'll advise accordingly.
Am I limited to only fabric-related projects?
Absolutely not! If you've been to our classes, you'd know that the knowledge and skills we share can be applied on various surfaces. This program encourages you to explore and break new grounds within your repertoire.
Will the templates be similar to Fictive Fingers' line of work?
Some what. We'll be exploring a wide variety of subject matter throughout the year, some of which we may not have integrated into our work you've seen thus far but the templates will have characteristics you've come to associate with our work.
Can I purchase the program subscription as a gift?
Yes, definitely! The gift option includes the Fictive Fingers Printing Kit with a welcome note to the program, wrapped up with a box. You'll have to provide the recipient's name and email address upon subscribing.
Can I share the subscription with others?
No. This program is meant to be a personal experience, however, if you'd prefer to take it on with a friend or family member, they would have to be subscribed to the program as well. Sharing the subscription simply devalues the amount of thought and effort put into this program and it would be considered as unauthorised distribution of a copyrighted work. We make it a point to keep the program subscription affordable so let's play nice, shall we?
Can I get a refund if I don't use the subscription?
All subscription purchases are final. Please read all available information carefully and if you have any questions, contact us here.
Can I sell the products created through this program?
This program is for personal use only and any items created using the templates provided are not for commercial distribution. However, if you created your own design, you have the right to do so.
Can I request a previous month's subject matter that I've missed?
No. The PDF package is limited to the month in which it's released so make sure you follow us on Instagram for #FFNOWCREATE updates.
Can I request for an existing Fictive Fingers design (e.g. Raga)?
Our designs are not for licensing or distribution so no, we won't accept such requests.
What do I need to prepare once I've subscribed?
You don't have to prepare much, actually. As long as you have your Fictive Fingers Printing Kit, some inks and printing surface at the ready, you're off to a good start. We'll include a material glossary in every PDF package but it's entirely up to you to embark on a project within your means.
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Fine Art Presentations
An e.Gallery for Artists
Navigate: Home → Collection → Anthroposophical [Link Partners] [Help] Help support the e.Gallery!
In this directory you will find artists who were inspired by the writings of the Austrian philosopher, Rudolf Steiner, or influenced by him personally. Dr. Steiner was born in 1861 and passed on in 1925. He was the founder of the Anthroposophical movement, thus these are Anthroposophical artists. The term Anthroposophy is derived from the Greek word Anthropos (man/humanity), and the suffix -sophy (study of) ... the Study of Man or Humanity. You can read more about Rudolf Steiner and Anthroposophy at: https://www.rudolfsteinerelib.org/, the Rudolf Steiner e.Lib.
More info from ArtCyclopedia
21 Galleries
Beuys, Joseph [German, 1921-1986] (6 Images)
Gold, Monica [Canadian, 19??- ] (19 Images)
Kandinsky, Wassily [Russian, 1866-1944] (24 Images)
Keltz, Martha [American, 1942- ] (9 Images)
Kennefick, Lani [American, 1961- ] (3 Images 2 Galleries)
Klee, Paul [Swiss, 1879-1940] (22 Images)
Klimt, Gustav [Austrian, 1862-1918] (40 Images)
Linde, Hermann [German, 1863-1923] (10 Images)
Maltitz, Hanna von (Hanna Von Maltitz) [South-African, 1951- ] (13 Images)
Marc, Franz [German, 1880-1916] (24 Images)
Maryon, Edith Louisa [English, 1872-1924] (13 Images)
Miscellaneous Anthroposophical Art (4 Images)
Mondrian, Pieter Cornelis [Dutch, 1872-1944] (9 Images)
Pollock, Jackson [American, 1912-1956] (16 Images)
Rosenkrantz, Arild [Danish, 1870-1964] (50 Images)
Steiner, Rudolf [Austrian, 1861-1925] (40 Images 3 Galleries)
Sturmheit, Igor [South-African, 1971- ] (15 Images)
Trčka, Anton Josef [Austrian, 1893-1940] (15 Images)
Twombly, Cy [American, 1929-2011] (9 Images)
Maltitz, Hanna von (Hanna Von Maltitz) [South-African, 1951- ] (13 Images)
Wagner, Gerard [Swiss, 1906-1999] (8333117 total hits since Tuesday February 8th. 77782 hits today.
Page was last updated on Wednesday November 15, 2023 at 03:44:03.
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Liverpool Giant spectacular new locations revealed
New Brighton lighthouse and Liverpool’s Princes Park will be among the locations visited during the latest Giant spectacular.
Royal de Luxe’s Giants will spend a day in Wirral as part of Liverpool’s Dream, running from October 4-7, and both the landmark Perch Rock lighthouse and the South Liverpool park will become massive public stages for events on October 5.
The locations were revealed with the help of new artwork designed by city artist Alice Duke.
Duke, who also created work around the 2014 Royal de Luxe event, said: “After making work for the 2014 campaign it was an honour to be invited back to create a piece of artwork to promote the 2018 visitation.
“Seeing the Giants is always magical and surreal; I think the way Perch Rock Lighthouse emerges from the sea and sand matches that perfectly. It was a beautiful location to research and paint and will be a wonderful place to see the Giants.”
Liverpool’s Dream will be the third time the Nantes-based street theatre organisation has brought the Giants to the city, following the centenary of Titanic in 2012, and the centenary of the outbreak of the First World War two years later.
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Installation views of CORRIDOR, Pictures by Dieter Van Caneghem / INLAND EMPIRE, David Lynch.
26.11.2022 - 08.01.2023
Jan Persijnstraat 1, 8500 Kortrijk
Open every day 2-6 pm starting January 2nd until finissage weekend 7-8 January.
NOCTURNAL OPENING until 10 pm January 6th.
NL/ EN CORRIDOR is the second exhibition by ELDERS. By showing contemporary installations with an immersive character this project creates a parallel universe offering an escape from our daily reality, but at the same time opens up unexpected perspectives on it. With works by Darren Bader, Julie Béna, David Claerbout, Antoinette d’Ansembourg, Simon Lehner, Laure Prouvost, Janne Schimmel and Marianna Simnett
ELDERS invites the visitor to experience very different worlds, perception is questioned, but also the way we deal with our daily existence that spans over widely diverse realities, media and platforms. A range of contemporary technological media including video, augmented reality and interactive installations is deployed to open the gates to different dimensions. Mesmerizing melodies, rhythmic whispers and otherworldly, almost magical characters lure the visitor into the multiverse of CORRIDOR.
Through the corridor, symbolized by an architectural intervention by LEAGUE and 51N4E, the visitor enters the exhibition to discover a secluded garden at the heart of the city. Hidden away from the noise and distractions of the outside world, with a historical and decaying building overgrown by plants. At this unique location in the center of Kortrijk, the experience is augmented by an interdimensional winterbar that forms the gateway to the various portals of the exhibition.
Arriving at the threshold, a synthetic siren appears at the entrance, conjuring us with flute sounds and calling us into the corridor. The constant and captivating music and moving images are created by data sets of Marianna Simnett in disguise that were fed in an Artificial Intelligence model. When we follow the lights into the corridor, we come across a scene by Simon Lehner, who questions the contemporary constructs of identity, creating a synthesis between his own input and patterns generated by algorithms and 3D printing.
Through a door on the other side, we discover an arcade where the world of Janne Schimmel functions as an interface between this world and the virtual reality of computer games. The visitor is invited to participate in the game and walk through this programmed world as the protagonist. Sneaking digitally constructed creations through the screens of our smartphones by Augmented Reality into what we perceive as our real world, Darren Bader adds an intangible layer throughout the exhibition.
We enter the hidden garden where looming lights are visible in an abandoned house. The skeleton of a caravan inhabits the first room, where Julie Béna presents herself in an uncanny clownlike disguise. On the verge of horror and comedy her fictional characters grow towards catharsis, cleansing and reinforcement. Through the hallway and the black curtains we enter the secret flora of Laure Prouvost, digging into the subconscious like hungry insects, seduced by the hypnotizing whispers. The warm glow stimulates the spectacle into a burning climax.
Climbing the staircase to the first floor, we find a strange set of mutated organisms growing in a dilapidated space. They react to our presence but initially it's unclear if they're hostile or friendly... This biotope evolved on location through the investigations of Antoinette d’Ansembourg, culminating in a miniature sculptural forest. Turning back into the unknown, the final black veil confronts us. Stepping into this void we enter a world of comfort and bliss. We travel through pristine landscapes of natural beauty. David Claerbout blurs the boundaries of what we consider reality with high-definition animation technique, he interrogates the very essence of existence. Seemingly specific from a distance, but all-encompassing from within.
As a whole, CORRIDOR offers its visitors a phenomenological journey through physical appearances, the dream world of the subconscious and new facets of social interaction where we encounter both ourselves and each other at the end of the tunnel.
Curated by ELDERS
︎︎︎ 19.04.2023 - 19:00u
David Claerbout - The Silence of the Lens
Concertstudio, Conservatoriumplein 1, 8500 Kortrijk
/ EN ELDERS welcomes David Claerbout (b. 1969, Kortrijk) for a lecture on his artists' practice on 19 April. His work 'Travel' was part of our last exhibition CORRIDOR. David Claerbout lives and works in Antwerp and Berlin. He is known for his video installations, which he exhibits worldwide. We hope to see you at our very first Art Talk and convivial drink in the concert studio. The doors open at 19h and the lecture will start at 20h sharp. The language of this lecture is Dutch. The lecture is free with the possibility of a free contribution.
︎︎︎ 22.06.2023 - 19:45u
Budascoop, Kapucijnenstraat 10, 8500 Kortrijk
/ EN As an epilogue to CORRIDOR, Elders is organising a screening in collaboration with Arts Centre BUDAof the newly released 4K restoration of INLAND EMPIRE, David Lynch's alienating masterpiece. Reality and fiction, past and future become almost impossible to distinguish in this four-dimensional puzzle in which a Hollywood actress gets lost in her subconscious and the film sets via the script she is interpreting.The film was shot with a digital camera, completely independently produced and originally released in 2006 which makes the cinematic experience of this new restoration extra worthwhile. English version without subtitles.
BUY TICKETS︎︎︎
Special thanks to Alaska Accounting, Allaert Alluminium, BROOKLYN brands and pants Buda Arts centre, Bureau Cnockaert Urban IngeneeringCentrimo, Floram Plantendesign, Leiedal, Sileghem & Partners, Stad Kortrijk, OMER Vanderghinste, Vidisquare, Wever & Ducré and Wienerberger.
Project supported by Flanders State of The Arts.
Installation views of CORRIDOR. Pictures by Dieter Van Caneghem.
Marina Pinsky
︎︎︎ 25.08 - 24.10.2021
Martin Belou, Paulien Föllings, Philip Janssens, Camille Le Meur, Sarah Margnetti, Marina Pinsky
In six empty store windows spread across the center of Kortrijk, six international artists (Martin Belou, Paulien Föllings, Philip Janssens, Camille Le Meur, Sarah Margnetti and Marina Pinsky) each show an installation they created especially for this exhibition, accompanied by a podcast with fragments of conversations with the artists and a soundtrack composed by Laura Huysmans, Mattias De Craene and Maya Dhondt.
NL/ EN Our reality flows and is in constant motion. We are confronted with it and changed by it. Panta rhei. πάντα ῥεῖ . ALLES STROOMT. In the past year, walking has been rediscovered. With the closing of the bars and restaurants, we saw our cities in a different light. Walking became a goal in itself, a sensorial experience. We took the time to look at our surroundings differently. We are currently in many ways at a tipping point and are subject to coincidences, but we can choose how to deal with it and whether we continue to take our time to walk.
With ALLES STROOMT, ELDERS wants to hold on to this urge to walk and the momentum that walking has known over the past year, now in a city that is blossoming and breathing again. ALLES STROOMT is a city walk and exhibition guided by the flow of music that asks you to walk like a 'flaneur' through the streets of Kortrijk, with an open mind to the beauty of chance. In six empty shop windows spread over the center of Kortrijk, six international artists: Martin Belou (France, 1986), Paulien Föllings (Netherlands, 1984), Philip Janssens (Belgium, 1980), Camille Le Meur (France, 1997), Sarah Margnetti (Switzerland, 1983) and Marina Pinsky(Russia, 1986). Each artist shows an installation that will change and evolve during the two months of the exhibition ALLES STROOMT.
The empty shop windows are redefined by the installations as a symbol for the revival of the city. The works of art evolve in the course of ALLES STROOMT. This transformation ensures that the experience of the exhibition will be in constant evolution, not only due to our own state of mind, the weather conditions or other external factors, but also due to the intrinsical change of the artworks. By placing them in illuminated shop windows, they become part of the public space, constantly accessible and constantly changing.
The visit is accompanied by a podcast with fragments of conversations with the artists and a soundtrack composed on the occasion of ALLES STROOMT by a trio of musicians: Laura Huysmans, Mattias De Craene and Maya Dhondt. Listen to the podcast here. The flow of music and conversations lead you through the different locations. The isolation from the city noises enhances the visual experience and sets the rhythm of the walk. Then it is up to you to let your imagination work. Walking is a necessary act; it frees your mind and gives space to your imagination. Just like the Dérivé, described by the Guy Debord, the various junctions, shop windows, serve as an intervention in the mental space of the city. It is a walk that is nor logical, nor purposeful, but shows new places in the city and brings new ideas.
We hope that you take in everything that crosses your path with a distracted attention, surrounded by the anonymous crowd and in the best case, that you complete the route several times. Each visit will be a different experience that changes your perception of the city center and the artworks.
Laure Decock
Special thanks to Hélène Depondt for the artist residency, Muziekcentrum TRACK for the music residency, FOLD for editing the podcast and Constance Hautier for interviewing the artists. We would also like to thank the City of Kortrijk, Embassy of the Netherlands in Belgium, Fotorama, Vidisquare and Omer Vanderghinste for their generous support, as well as Marc Vandecandelaere, Schoenen Verduyn, Patrica De Wit and Dekeyser immo for making the properties available.
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Katrine Annesdatter-Madsen: Posthumanism in the Feminist Avant-Gardes of the 1970s
All are welcome to Aesthetic Seminar
Oplysninger om arrangementet
Torsdag 9. marts 2023, kl. 14:15 - 16:00
Kasernen, Langelandsgade 139, 8000 Aarhus C. Building 1584, Door B, Room 124
Within the last 10-20 years, art institutions and academia have shown great interest in the feminist avantgardes of the 1970s. The reactualization of the 1970s coincides with contemporary artistic and philosophical practices of the so-called material and posthuman ‘turn(s)’. What does contemporary aesthetics owe to the explorations of the agency of matter in 1970s feminist art? My PhD project is part of the research project The Feminist Legacy in Art Museums (FLAME). FLAME investigates the institutionally marginalized practices of a Norwegian feminist avantgarde of the 1970s. My presentation will challenge the myth of the so-called essentialism of the 1970s, a critique that goes hand in hand with the prevailing discomfort with body and matter in Western culture. I will do so by sharing my work on artist Sidsel Paaske’s (1937-1980) graphical score Blått brev (Blue Letter). The piece measures 22 meters in length and was made for Molde jazz festival in 1979. At the opening of the festival, musicians improvised to the piece made in watercolor on parchment. Blått brev is an exploration of the watery rhythms and flows shaping the human body as well as deep time geological events. Differing from the explicit political art that characterizes the practices of many of Paaske’s male colleagues, I will discuss how Blått brev can be said to embody a feminist material politics.
Katrine Annesdatter-Madsen is a PhD Fellow in art history at the University of Bergen, Norway. She holds a BA and MA in Scandinavian studies and visual art and visual culture from Aarhus University. She is part of the NFR-funded research project The Feminist Legacy in Art Museums (FLAME). Her project develops a (new) materialist and posthuman approach to feminist art in 1970’s Norway. She explores themes such as water and rhythm, metamorphoses of body and nature, care for matter, play and imagination. Her overall research interests are: women’s avantgarde art in the 20th century, relational art, affect theory, posthumanism and (new) materialism.
• Aesthetic Seminar F-2023 Program
• Aesthetic Seminar F-2023 Poster
Aesthetic Seminar F-2023 is organised by Bodil Marie Stavning Thomsen and Morten Kyndrup on behalf of School of Communication and Culture, Aarhus University.
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Subaltern Nayika and Lotus Pond: A. Ramachandran
November 15-December 12, 2021
Vadehra Art Gallery, D-40 Defence Colony, New Delhi, Delhi, India
Vadehra Art Gallery presents a solo show by the painter A. Ramachandran featuring his latest bodies of work, Subaltern Nayikas and Lotus Pond. Besides the show at the gallery in Defence Colony, works will also be on display at Triveni Kala Sangam, Tansen Marg in New Delhi from 14th November to 30th November. Ramachandran has worked with the motif like the lotus pond, like Cezanne with Mont Sainte-Victoire or Monet with his lily pond, year after year, inviting us to engage deeply, to see, and to acknowledge. Besides the lotus pond, the artist in this show also takes up the concept of the Ashta Nayikas— a form of representing the eight emotions of a human being— with bold and vibrant colours.
Find out more on the Vadehra Art Gallery website.
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Jeff Lohaus
Door G
http://www.lohaus.com
(612) 805-8815
[email protected]
Jeff Lohaus is a sculptor and painter. His main sculptural medium is metal which he fabricates and casts into table top and larger than life size pieces.
He is available for commissions and a wide variety of custom metal work. He is in the studio most days but does not keep regular hours. However he is happy to meet at the studio on short notice to show work or discuss your project.
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Bethann's Table
Pamela Grabber
Whether it's vegetables and flowers grown in her garden, familiar domestic objects, or the landscapes Pamela Grabber visits, her personal connection to those things is her inspiration. She's especially interested in capturing her place in time through the medium of paint as she explores the timeless images of garden, beach, forest, field, or sunset.
Framed: 15" x 18Pamela Grabber
Pamela A. Grabber was born and raised in Lebanon, CT. She graduated from the University of Connecticut in 1986 with a BFA in Printmaking. After raising a family with her husband, John, she became a working artist in 2017. She has studied painting with Kathleen Heinen, Cynthia Quinn, Jan Norsetter, and Mark Boedges. Currently, she paints in her home studio in Mazomanie, WI as well as wherever her travels take her.
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Urban Moves International Dance Festival
Performers take to the streets and the skies at the Urban Moves International Dance Festival
Published on July 23rd 2008.
Urban Moves International Dance Festival
The second Urban Moves International Dance Festival stomps its way into Manchester, Oldham and Bury this weekend for three days of free outdoor performances.
Dance company Cie Retouramont from France will be suspended high above Albert Square using skyscraper cranes.
Dance is usually seen as about as accessible for mass audiences as opera, but this mini-festival seems determined to grab the attention of unsuspecting crowds. Described as a blend of dance and spectacle, performances will take place all over the city centre – in parks, squares, fountains, gardens, and in the sky above.
Dance company Cie Retouramont from France will be suspended high above Albert Square using skyscraper cranes. Their 'vertical dancing' is inspired by the empty spaces that are part of the city's landscape. They'll be performing impossible movements and challenging the idea that humans can't fly on Friday at 6.30pm – so cast your eyes skyward if you're in that part of town.
Back on ground level, there will be a full programme of events over the weekend, including dancers in giant transparent pods in Cathedral Gardens, a troupe who travel across town using pedestrian crossings, waiting for the green man to appear before they perform, and four ladies searching for a prince charming in the Piccadilly Gardens fountain. Most of the action takes place in Manchester city centre, but there'll be a few performances in Bury on Friday and in Oldham on Saturday.
Although the artists come from as far afield as Australia, their work will specifically celebrate the cityscape and architecture of Manchester. On Sunday at 3.30pm, you can see a piece by dance company EKLECTIKA that brings to life the history of Piccadilly Gardens – from the eighteenth century when it was home to an asylum, through war time when the tunnels beneath it sheltered city dwellers from bombs, up to its use by the public today.
All the performances are free. There's a full schedule at: www.urbanmovesfestival
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For the Pratt Contemporaries’ 10th Annual Black and White Party, I shot a mix of black-and-white film and digital to capture the spirit of the original Studio 54, the theme of this year’s black-tie fundraiser. The disco-themed ball, held at The Assembly Room, as the central branch of the library undergoes extensive renovation, raised $235,000 for youth programs at the Enoch Pratt Free Library, according to the philanthropic organization.
All photos by J.M. Giordano.
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Oriland on Facebook Oriland on Tweeter Oriland Kingdoms Origami Studio Oriland Oriversity Oriland Store & Custom Origami My Oriland Oriland Authors Portfolio Oriland Gallery Oriland Home
Write your own impressions about Oriland and read impressions of other travellers who came to Oriland from 80 countries!
Do you like Oriland? Write your Impression!
page: | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |
I received a Origami calendar for Christmas but having flunked folding in Kindergarten I had trouble with following its directions and turned to Oriland. Their step by step simple directions including pictures has made it possible for me to actually make paper creations. Thanks.
Louisenae, United States
I only found Oriland a couple of days ago so that I could find ideas about what presents I can make for my family for Christmas. When I looked through the Treasury, I was so amazed at how someone could make a thing like that! I mean everything was so beautifully and well made almost as though it were made from something more delicate than paper! This site is absolutely incredible and it must have been tough work trying to make all these models! Oh and I was so inspired by these models and my results were beautiful!
Caitlyn, Australia
I enjoy Oriland because of its diversity. I learned origami 2 yrs ago and now that I'm 11 I like to look here at the beautiful designs and diagrams.
Katie, United States
Cool website. My favorite is the fairy tale flower pot!! So pretty!!!
Ash, United States
The feelings when I visit Oriland can not be expressed in words. Iwould like to have the detail foldings of other figures also.
Thank you.
Maya, India
Liked the look of the site and also the tutorials are also very nicely written.
Jaydev, India
Very very beautiful Oriland. Very good Oriland. Hello.
Ali, Turkey
Dear oriland, your origami is SOOO GOOOD!
i learend alot about origami!THANK U!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Emily, Cape Verde
I came across your website months ago when I was looking for Origami flower materials. I was so taken aback by the vibrant and whimsical creations, they were absolutly charming! The Oribana that you have made are wonderful, This is the first time that I have seen it done so elegantly. The detail and imagination that is put into your models are greatly shown through your website, which was one of the selling points for me to purchase the Oribana Charm CD. I also found it wonderful that you covered with great screen shots, what the CD layout and look was going to be, I felt very confident in making a purchase. And lastly I recieved yesterday to my suprise the CD, in just 8 days after I placed the order. The CD runs great and there are many real photos showing what the final outcome of a model looks like. This is much better for me to compare what I have done when working with a new diagram for the first time, instead of comparing it to a drawn rendering. My overall experience from my very first encounter with the website till recieving my CD has been a very pleasant experience and I definatly look forward to doing business with you again. :)
Na'Cole, United States
They are so beautiful!
I like it very much!
Seesa, China
Hi I'm Nweninaywin.
I'm interested in your web site.
Nweninaywin, Myanmar
I am glad to join de Oriland!! thank u!
Waterblue, China
I'm really impressed with your work. That is fantastic!
Zlata, United States
Wow u are excellent could you like give me a few tips or techniques that could help me. Some personal tips from both of you.
Joshua, United States
This is the best origami site ever! I've looked everywhere else but this is the best one yet!
Rachel, United States
I love your models, and both of you have wonderful artistic ablitlities. Both of you create stuff i never knew you could make out of paper. Keep up the good work, oh and thank you for the diagrams you have, I really appreciate it.
Joshua, United States
Wow, I don't know where to start with! this site is the best thing that I've found on the web so far... I'm bored in my office, and have nothing to do. one day I got interested in Origami and I looked for a useful site, but all i found was complicated sites that didn't really help. and then I found Oriland!!! my god! it's so much fun! I hope that you'll modify and put some more diagrams...
Thank you so much!
Agi, Israel
Dear authors of origami can I have some DvDs plese so when I grow up I want to be a origami artist.
AndyDo, United States
Dear Mr. and Mrs. Shumakov,
My name is Erika and I am a Japanese.
I found your Oriland when I was looking the home page of Nihon Origami Association.
I love your world! I called my sister Tomoe and we both fall in love to Oriland! Collor, building. elves. and goblins---How wonderful world of origami it is! Thank you for wonderful time.
Love, Erika.
Erika, Japan
Wow, I love Oriland so much! All its origami are really pretty!
Ira, Indonesia
Nothing like when I saw this web site
I tell all my friends about it.
Linda, Australia
Спасибо за прекрасно проведенный с Вашим сайтом вечер. А есть ли зеркало на русском?
Василий Зеленов, Belarus
very very very impressive images
very very very hard to understand them
very very very annoying pop up
a very very very nice website
good job
Wized, Australia
Потрясающий сайт!!! Вы открываете какие-то безграничные возможности в этой области. Мои дети в полном восторге, но очень хочется аналог на русском языке. Есть ли у Вас диски или книги на русском языке, если да, как их можно приобрести? Заранее благодарны. Спасибо,что Вы есть.
Маша Винцкевич и мальчики Савва и Леня
Mariya, Russian Federation
Looking for origamis for my students I find this beautiful site. Beautiful work!
Limarie, Puerto Rico
I love Oriland I think that it is incredible the way that you get to learn about origami and how you can make your own origami. I have shown many of my friends this site and they also say that it is very good. Thank you for giving me more to create I am very greatful.
Georgina, United Kingdom
You guys have got real genius... and magic in your hands too... and beauty at your fingertips... a big applause... keep the good work up...
Shadia, Mauritius
Simone Andrade, Brazil
I love Oriland for its initiative and colorful personality that highlights my origami-self. Thanks Oriland Authors!
Bug, Ireland
Beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful beautiful!
Sara Silva, Portugal
I like!!!...FANTASTIC!!!..Thank you!!!
Elena, Romania
Malu, Colombia
I like to make beautiful shape.
Chen, Taiwan
Thank you.
Vuong Hung, Vietnam
How to buy cd? Help me please.
Nathya, Vietnam
I like Oriland, but can you make other free origami diagrams, please?
Jonathan, Indonesia
I love Oriland! Congratulacion!!! :)
Flaviaweckmuller, Brazil
Your origami is amazing. I was in awe when I first came upon Oriland. It never fails to amaze me (:
I like origami so much. Oriland is a great web about origami, I think so.
Ngan, Vietnam
page: | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |
ORIBANA DELIGHT - download instantly oriland_magic_star enticing_paper_roses origami_starry_revolution
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The event creation is a branch of arts, and art can not be created through templates. We will be utterly happy the moment you tell us that you want to get something unique and unprecedented.
Warning: FREŠ event development group does not provide pre-made templates, or standard thematic event offers.
• VIP Events
VIP Events are highly unique and rare, mostly they come as a gift to a recipient who is hard to impress. Highly confidential events with unlimited duration and budget ranges, with an aim to make a huge impression on the recipient of previously mentioned gift. The script of the action is created based on the information about persons dreams and hobbies, physical capabilities, other psychological aspects of the character. More information would be provided during the meeting with our consultant.
• Promo Events
You have to love and respect your customers, sometimes surprise them, sometimes shock them a little. Or maybe an invitation to a cozy (or not) location with a presentation of your latest product in a way that will make your competitors' product fade away in the shadow. Your client will accept the information much easier and will remain loyal if you will give him that freš experience.
• Corporate Events
Each event is a new work of art which reflects your company’s employees uniqueness and company’s history, combined with small details and unique ideas an unforgettable fresh phenomenon is born.
Michael Frishman
Event director / Creative
Creative thinking without templates
Tomas Green
Totally Old-School, with huge experience, accumulated at radios, clubs and private events. Featuring a vinyl set of 2 hours.
Arvydas Trybė
A complete music lover, with a scientific degree in dance floor psychology.
Gabrielius Varnauskas
Lighting designer
Once had a childhood dream of becoming a bushido fighter, now one of the best light designers in Lithuania
Paulius Varonenka
Ever seen a guy with a Masters degree in Computational Physics do Art ?
Paulius-Varonenka
Evaldas Bielinis
Sound director
Graduate of Edinburgh Napier University, wake him up in the middle of the night and he will willingly tell you all he knows about the generals of WWI and old jazz records.
16587015_10206501061405513_1629502528033110915_o-e1488785525626
Andrey Fadeev
A man with creative power of five. Ambitious and highly cultured, always accomplishes his goals.
• “We would like to thank Michael for a superb corporate event !! Even now, after a couple of months we remember the mood of the event and a really good feeling emerges, and a thought comes to mind – QUALITY. Elegant and tactful, with good sense of humour, with an ability to create a positive atmosphere, please and motivate, creative and really really easy sociable. From the first moments of communication we knew we could rely on them, and we knew that everything is going to be fine. Michael was really beyond our expectations. I wouldn’t hesitate to delegate even a personal event to Michael, as well as a corporate event. I recommend !
”
Raimonda Klimenė, HR JSC "Biomapas"
• “We chose FREŠ to organize a private 400 guests 2 day event for our customers (target group – architects), during Midsummer weekend, cause from the beginning they were the most creative and dedicated to their job. And after the event I can say – they did even more than we expected! The event was very intensive: we had lots of active competitions: yacht regatta, sports and etc., we had Midsummer traditional activities, a very attractive Saint-Gobain game, where FREŠ helped a lot, cause we wanted to represent our 5 brands not in a boring way, but in creative game style, where each game is somehow related to our brands materials. Only 5% of invited people didn’t attend the event, pre-communication was also well planned. I highly recommend FREŠ for all kind of events! They are sincere, professional, creative and loving their job!”
Miglė Vaškienė - Marketing & Communication Manager
• “We are very happy to thank JSC “Renginių kūrimo grupė” for the lighting and audio show at the highest level at our clients JSC “Narbutas” Christmas party. We would also like to thank Michael Frishman for an outstanding event hosting and live music show at the event.
”
Gėrnešiai: Audrius ir Darius
• “We would like to thank Michael Frishman for an excellent corporate event, spectacular live music show, our employees were very grateful.
”
Marijus Kriščiūnas, CEO JSC “Ermitažas”
• “We are happy with our choice to collaborate with JSC “Renginių kūrimo grupė”, the event was estimated as one of the best events in the history of the company. KRUZAS NCD 2016 summer event was highly cheerful and charming by it’s content, it was hosted in a highest quality. The event creators are unique with their versatility (level of photography, hosting, audio, lighting show, live music, etc.). The live show from Michael Frishman was special, it was a great surprise to everyone.
Dagnė Bitienė, Category Development Director JSC “Kruzas NCD”
Ooops! Landscape mode in not supported. Please, turn your device to portrait orientation)
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This room have a gorgeous glow to it thanks to that large window and light sage colored walls. On the wall, we do see a couple of paintings that are shielded by light fixtures. Next to those, there are three pieces of art in front of a desk. I’m not too sure what they are supposed to be. Flowers maybe? Whatever they are, they give the room a unique touch.
• Compliance with laws. We may collect, use, retain, and share your information if we have a good faith belief that it is reasonably necessary to: (a) respond to legal process or to government requests; (b) enforce our agreements, terms and policies; (c) prevent, investigate, and address fraud and other illegal activity, security, or technical issues; or (d) protect the rights, property, and safety of our customers, or others.
This is probably on of my favorite rooms on the list. I love the writing on the walls off to the right side of the room. I can’t make out what it says, but I’m sure it’s just as beautiful as the writing itself. Above the couch, which is a perfect sitting area, are multiple pictures that take up the entire wall. This room has a classy feel to it and I really love how well-lit it isWith an abundance of neutral colors and simple patterns, this room goes easy on the eyes. It also shows many signs of antique influences on the furniture’s style, offering us the comfortable feeling, like that of vintage elegant hotels and even the guest room on the family’s elders, without making it outdated or old, which allow for rest without too much aversion.
Giant art prints are perfect for making a BIG statement and being the focus of any room. An oversized canvas print can set the tone for any room, from quaint intimate spaces to large open lofts or even businesses and conference rooms. Add unique style with huge 3-piece triptychs. iCanvas can also transform your custom photo-to-art and make it larger than life.
There’s quite a bit going on in this room. It looks as though there is a little loft area next to the bed. Along that whole wall is a mural of black flowers and leaves. On the wall in the middle of the room, there are a few paintings that have the same colors in them as on the wall-that mint green color. The rest of the room is pretty simple and well designed.
Impart color to your home and express your sense of style with wall art from Pottery Barn. A few strategically placed wall prints can make a dramatic difference in any room's appearance. The selection contains a vast array of canvas art, wall paintings and other types of art from which to choose, so you're likely to find something that coordinates with your design style.
If you didn’t notice, there is a large variety of different wall hangings behind the bed. I think that they tell a story about he owner of the bedroom. It expresses their creativity and individuality. The room itself is rather small, but they make the best out of the space that they have. I love those cure little stairs that are next to the bed. I wonder if they lead up to a loft?
The light color of the walls and the bed contrasts with the color or the objects and fabrics which make the room feel more carefree and happier. The paintings are also in harmony with the rest of the decoration, making elements of nature more evident. The lamps and the night-stands, although similar, end up breaking the symmetry in a subtle manner, which matches even more with the light air of the ambiance as a while.
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Jonathan Alpeyrie War Photographer
12-39 am
Jonathan Alpeyrie War Photographer
Jonathan Alpeyrie is one of the most influential war photographers of the twenty-first century. Recording vulnerable moments of battlefields in over thirteen wars, Alpeyrie has established himself as an esteemed photographer of conflict.
His photos capture stories of migration, vulnerability, and pride across numerous countries, including Nepal, Afghanistan, and most recently Ukraine. Kidnapped by Israeli rebels in 2013, his harrowing story as a captive became a global story that proved his mettle and determination.
We were tasked with developing a creative website that showcased Alpeyrie’s stunning works and astounding story. We drew attention to his unique, captivating story by redesigning his biography page with a rich interview page and an improved, responsive gallery of photos.
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Get in Touch with DD.NYC®
I'm interested in...BrandingWeb DesignPackagingGraphic DesignUI/UXExperientialLogoBrand AssetsDecksOther
up to $10,000
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Placenta Prints?!?
Avatar for cmkristy
iVillage Member
Registered: 07-05-2005
Placenta Prints?!?
Fri, 09-27-2013 - 8:34am
Placenta prints: Placenta prints are a growing trend — pun intended. “Parents create an artistic representation of the organ which sustained their child — most people refer to this image as "the Tree of Life," because the veins and the umbilical cord look just like a tree”, explained Jada Shapiro, co-founder of Birth Day Presence in Brooklyn, NY. Curious enough to DIY? Shapiro says you can use pre-stretched canvas or acid-free art paper and simply press the veiny side of the placenta onto the paper/canvas. “I photographed a birth a few years ago where the parents had 4 small canvases waiting and soon after the placenta came out the father pressed the canvasses onto different parts of the placenta to create a multi-part wall hanging for their son's room.” Sinew, so good.
http://www.today.com/moms/placenta-prints-live-tweeting-labor-pregnancy-trends-gone-too-far-4B11217634
I have never heard of this before, have you?? What do you think of this new trend?
photo snowsiggy.png
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The Future of Progress?
Worldwide, millions of people are showing their concern for climate change and are demanding a sustainable future in the #fridaysforfuture demonstrations. My orchestral work “The Future of Progress?”, written between 2004 and 2019, also addresses this issue. It evokes scenes of serene beautiful nature, contrasted with environmental pollution and climate disaster in a musical composition to trigger the imagination. As the title of my piece suggests, the underlying question is: where are we going with our current technological advancements?
As it is often difficult to get an orchestral work performed, I decided to have it done on computer by an American company called The Fauxharmonic Orchestra. The word “fauxharmonic” is a little joke and refers to both the word “philharmonic” (meaning “symphonic”) and the word “faux”, meaning “fake” or “artificial”. The computer performance sounded fantastic and the final version was done on September 24, 2019 which was the same date Gretha Thunberg gave her fiery speech at the UN Climate Summit in New York.
Image by cocoparisienne via Pixabay
Blog updated on September 26, 2019.
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Status Quo
A new video series on diversity within the arts. Watch the first episode here. The second episode is launched November 26, at 12.00.
In conjunction with the 20th anniversary of TrAP and our predecessors, artist Monica N. Ifejilika creates a series of conversations (in Norwegian only) that provide an entertaining and informative overview of the development of Norwegian arts and culture over the last 20 years. In these talks artists, performers, cultural managers and leaders will take a scrutinizing look, with the best intensions, on the development that has taken place since international artists really began to claim their place in the Norwegian art scene.
The first episode, "Round table of the legends", was launched September 20. Watch Cliff Moustache (Nordic Black Theatre), Malika Makouf Rasmussen (Global Oslo Music), Khalid Salimi (Mela Festival) and Miloud Guiderk (Cosmopolite) discuss diversity in the arts, then and now.
The second episode, "Round table of the queens", will be shown November 26, at 12.00, and discuss the role of women with a minority background role in the arts, from the 90s until today. Here, you will meet Shanti Brahmachari, artistic director of TekstLab, Hannah Wozene Kvam, artist, writer and slam poet, and Camara Lundestad Joof, playwright, performing artist, writer and musician.
"Being a Norwegian and an artist with a minority background, i miss foras where "we" can talk among ourselves. Where the viewpoints of the Norwegian majority has less importance, and where we can freely discuss the dreams and visions for an inclusive culture of the future. It's been almost 50 years since immigration to Norway really began, and new generations of dark-skinned and light brown Norwegians grow up with different preconditions and expectations, but how much has really changed?
Cliff Moustache, Malika Makouf Rasmussen, Khalid Salimi and Miloud Guiderk have all hada major big impact on my career - not necessarily because of their opinions of the art I've created, but because they have created creative spaces and alternative stages, where my colleages and I have been able to experiment and become good artists. They are the people behind our institutions, and I wonder what they dream about today? How do the pioneers of the multicultural Norwegian arts scene see the future?"
Monica N. Ifejilika
November 26
Produced by
Project manager
Monica N. Ifejilika
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About brandon
• Birthday 03/25/1986
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Windsor, Ontario
1. it's surprisingly a lot wider especially on a full frame camera. I use it for a lot of my star photos to get as much sky in as possible.
2. belippy I have a 14mm, 16-35mm, 24-70mm, 70-200mm, and a 500mm. All Canon Lenses. Hope that answers your question!
3. Hey everyone, Normally I would post photos in the photography section but since this is fishing related, and just downright cool in my opinion, I felt I'd share them in the main forum...hopefully there's no probs with that! Anyways here in Northwestern BC, the Sockeye have entered the streams. I remember back when I was younger seeing some underwater photos of spawning salmon out east and since then I've always wanted some shots of my own. Now this whole thing is still a work in progress as there's still not too many fish in the streams, but here's a couple keepers so far. I hope you like them and keep an eye out for some more in the near future! And for those wondering, these were all shot with a GoPro Hero. Underwater Sockeye by bbroderick86, on Flickr Migrating Sockeye Salmon by bbroderick86, on Flickr Thanks for checking them out, Brandon
4. brandon
Photo Contest
It doesn't matter when the photo was taken and time is running out to enter!!
5. Here's a 7 vertical shot panorama of the Milky Way as it's seen from Shames Mountain Ski Resort near Terrace, BC....enjoy! Specs - 7 vertical shots stitched together, 30sec @ f/2.8, ISO 4000, 14mm The Milky Way by bbroderick86, on Flickr
6. thanks for all that info Dave!
7. thanks again everyone!
8. If those shots are from Ontario then they're 100% cinnamon phase black bears, not grizzlies. Grizzlies don't exist east of the Rockies. still cool to see cinnamon black bears though! nice shots!!
9. thanks for all the comments! In regards to the ones about me being too close, I agree that it looks bad in that shot, but also keep in mind my years of experience in the field with bears. That Kermode was the calmest bear I've ever been around and I didn't feel threatened at all. The only reason I got up and moved right after that last photo was taken was because the bear was too close to shoot with my big lens (Drifter - I'm shooting with a Canon 1D mk IV and a Canon 500mm f/4 L IS USM lens). And I always carry a can of bear spray with me in case things get bad....but haven't had to use it yet!
10. Hey Guys, I normally keep this stuff in the Photography forum so I hope this is fine to post here....anyways, as some of you know I now live in Terrace, British Columbia. I moved here in January to take a Pest Control job - more or less just a means of paying bills so I can afford to live in and photograph a new area. The scenery and wildlife is the main reason I chose this region to move to, but one species in particular was the real driving force behind the decision - The Kermode, or Spirit Bear. For those of you who aren't familiar with them, they're basically white black bears. The white coloring is due to a recessive gene making only about 1/10 bears look this way. It's the beauty combined with the rarity of these bears that made me want to get a photograph of one - and the other night, it happened. My girlfriend and I got in my truck and went for a drive about 50kms east of Terrace to check out a spot where a Kermode had been seen a few days before. Sure enough when we got to the area, it was still there. It was just hanging out eating grass on the side of the highway...definitely a lucky night for me, and even luckier that I had all my camera equipment with me. So basically I just sat down in the grass off to the side in the direction he was heading and snapped shots as came and went. The bear was extremely calm and the whole experience was very peaceful. Just so amazing to have such a close encounter with a rare animal. There's currently a proposal in the works to allow oil tankers to travel through the coastal islands that are home to the Kermode Bears. My goal with the photos wasn't to just show a rare animal, but to share a species of Canada that isn't as well known as it should be. And if a petition crosses your path about the oil tankers, hopefully this might give you a reason to sign it. Enjoy the photos and thanks for checking them out! Kermode Bear by bbroderick86, on Flickr Kermode Bear by bbroderick86, on Flickr Kermode Bear by bbroderick86, on Flickr And here's a shot that my girlfriend took of me while I was shooting IMG_1070 by bbroderick86, on Flickr Cheers, Brandon
11. thanks everyone! Bill, I've added the EXIF data below each of the shots. And as far as noise reduction goes, I really don't have to do all that much. My cameras can shoot at fairly high ISO's without damaging image quality. And for what it's worth, I edit with Lightroom and not PS. I'm sure the noise reduction is similar in both though. Dave, I did enter that seagull shot...and I didn't win lol
12. Hey Everyone, It's been a while since I've posted anything here so I'll pick a few of my personal favorites over the last few months starting with a fishing shot....enjoy! This is a self portrait of me fishing under the milky way and the northern lights...but since I know some of you will ask if I caught anything, I wasn't actually fishing...just a prop for the photo! Milky Way Fishing by bbroderick86, on Flickr 30sec exp @ f/2.8, ISO 4000, 14mm This is another shot of me from the other night during the Lyrid Meteor Shower....there's actually 8 of them in that shot although only a few are really visible. Shooting Stars by bbroderick86, on Flickr 30.0 sec @ f/2.8, ISO 4000, 14mm Here's a panoramic shot from last week in the Queen Charlotte Islands Rainforest Pano by bbroderick86, on Flickr 1.3sec @ f/10, ISO 50, 16mm here's a Pine Marten captured with my GoPro camera Pine Marten by bbroderick86, on Flickr The Northern Lights were out the same night as the meteor shower....this is a 2 shot panorama over the Skeena River Northern Lights Pano by bbroderick86, on Flickr 30.0 sec @ f/2.8, ISO 4000, 14mm These next 2 shots are from the Eulachon (also known as Ooligans) run on the Skeena River. This first one is a Harbour Seal Harbour Seal by bbroderick86, on Flickr 1/1600 @ f/4.5, ISO 1000, 500mm and this one is a Glaucous-winged Gull Gull Dive by bbroderick86, on Flickr 1/1600 @ f/4, ISO 250, 500mm Here's another shot of the Aurora over Lakelse Lake near Terrace, BC on Valentines day Valentines Day Northern Lights by bbroderick86, on Flickr 30sec @ f/2.8, ISO 3200, 14mm This is 2 people out for a walk on frozen Lakelse Lake A Frozen Walk by bbroderick86, on Flickr 1/500 @ f/13, ISO 200, 200mm this is a small waterfall that I shot today on the way home from work near Prince Rupert, BC Waterfall by bbroderick86, on Flickr 1.6sec exp @ f/14, ISO 50, 16mm + 8 stop ND filter and lastly, this is a 9 vertical shot panorama taken from the road up to Shames Mountain Ski hill about 20kms west of Terrace, BC. Shames Pano @ Night by bbroderick86, on Flickr f/2.8, ISO 4000, 30 sec exposure, at 16mm Thanks for looking!! Brandon
13. Here along the west coast there's eagles everywhere, and even more so in the winter as eagles are a migratory species...well most are anyways. There will always be local resident eagles just like there's migratory waterfowl but there's also resident ones. The resident eagles are the ones that will be more familiar with the area, and if there's people in the area, more familiar with people and less afraid. These are the ones you want to try and photograph as they'll tolerate sneaking in a bit closer. My 500mm lens does allow me to reach pretty far so I don't always need to get extremely close..which is pretty convenient when it comes to photographing bears. And another thing is just being patient. When I show up to a spot I generally just sit and watch what's going on for a bit. Just take in the behaviour of the birds or whatever wildlife I'm shooting. Once they're aware of my presence and don't see me as a threat anymore, I can start to set up and slowly make my way closer. I've waited hours before just to gain an animals trust and it's always worth the wait! Hope this answers your question!
14. thanks! those were shot with a 500mm f/4 lens
15. thanks guys! And Harrison, I actually had someone already purchase 75 greeting cards with that star shot on them!
• Create New...
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Like any business, a place can benefit from great branding. It’s a way to celebrate, differentiate, and capture the essence of a community. But where do you begin? Moensie Rossier sits down with the two Nicks (Sampson and Ryan) to ask just that.
With so many voices and elements of a given destination, distilling it all into one cohesive brand story is a seemingly ambitious task. Using New Zealand’s gold standard of place branding Taranaki as an example, we discuss how the approach is much the same as any other branding project – it’s about people.
No matter where you go, painting an authentic picture begins on the ground, and chatting with the locals will soon reveal enough gems of insight to craft the Big Idea. We discover how place branding is more than simply tourism, and why any serious rebranding effort must stem from within.
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