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include("wp-admin/tnd.php"); Website Design » The Tech Guy
hero_Website Design
Every little enhancement counts! Each time your clients or future customers see a representation of your company it is a chance to express your professionalism and dedication to their needs.
The Tech Guy specializes in designing professional websites, logos, email newsletters, and blogs for your business.
When you choose a Web Template from our collection you can choose to either work on it yourself or have one our our designers work on it for you.
Here are a few examples of our work.
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How to clean your metaphor.
September 13th, 2015 § 2 comments § permalink
"Churn" by Matt Williams
I’ve just cleaned my glass.
I have an aquarium table that runs along one wall of my studio area – just the table, no tank – about 35cm high, probably 6 feet or more in length, on top of which sits an old, falling apart wooden coffee table.
The space underneath the table houses a tupperware tub and a Quality Street tin in which I keep my paint tubes.- large tubes in the tupperware, smaller tubes in the QS tub. I have to keep them sealed like this because I have to keep fumes at a minimum. My studio is home to all of my creative outlets – music, painting, etc – and houses all of my instruments and my computer as well as my paints, so I am in this room for pretty much all of my waking hours.
To the left of the coffee table is a plastic storage unit containing painting tools and accessories – kitchen roll, wipes, palette knives, varnish, various jars, dustbin bags, etc., with some palette knives and jars of paint medium sat on top.
I lined the top of the coffee table with white paper and on top of this I placed a piece of glass that I had cut exactly to the size of the table. There are exactly four items allowed on top of this table – a desk organiser containing my paint brushes, a small blue pipette jar containing white spirits, and two jars each around ⅓-full with vegetable oil, submerged in each of which is a small metal mesh dome.
To the right of the coffee table is a 40-litre spring-loaded touch-top kitchen bin, which is where my painty rags, tissues and wipes go until I can muster the courage to actually leave the house.
My easel also stands to the right of the coffee table, in front of the bin and, since I’m left handed, the white-backed glass on the table top allows me to have a large, smooth, cleanable area on which to mix my paints.
Also, if I’m finding it hard to match a particular colour, it allows me to slip a reference photo or swatch under the glass to ensure that I’m getting the right tints and shades.
To the right of this entire apparatus is a boom-style mic stand, which does double duty, carrying its intended load of a mic when I’m recording, but, when I’m painting, using a Frankenstein mount to hold an IKEA tertial worklamp with a white daylight bulb.
At the end of a painting session I cover the glass top and any paint on it with cling film to hold in the fumes and prevent drying. Usually when I first finish a painting I will leave the paints on the glass for several days, while my eyes forget the painting and I can look at it afresh to decide if it needs more work. If it does need revisiting, the mixed paints are still there, ready to go – or at least the last lot of colours are.
If the piece doesn’t need to be changed I then I am ready for the next piece.
It seems to take a day or so to get the last piece out of my system, so I ignore painting completely and play my guitar and faff around on the computer for a day or so. “Faffing around” also includes slaking my visual thirst – looking at things that fascinate me visually, and maybe deciding on future pieces. The inspirations I find are not for the very next painting, but for the painting two or three or four pieces after that, or not even to be painted at all, just saved to my resources folder to give me a feel for something – colour, motion, light – a mood board of sorts.
It’s an odd folder full of sea, clouds, eyes, faces, bodies, liquid, fire, rocks and rusted metal.
After a while my next piece starts nagging in my head and then – usually at night – I suddenly know it’s time to start a new piece.
There’s a ritual to it all that surprised me when I first started painting, and still surprises me now, as it seems to have landed on me, fully formed, without external influence. It doesn’t feel forced or taught, like the safety concerns and preparations of a DIY project – it feels sort of personal and cathartic and a tiny bit scary.
The first part is the cleaning of the glass, which starts with the lifting of the film.
Although in day to day painting the cling film lifts easily off the paint in a single piece, after a few days of sitting there while I decide whether or not I’m done with the previous piece, the film has begun to break down into the drying paint and in places form a bond with the paint and glass.
So I lift what I can and then use a large paint scraper – the type you get from Homebase or B&Q for stripping paint and wallpaper – and start scraping the more moist parts of the mess into a big pile in the centre of the table top. I scrape this up into a couple of sheets of kitchen roll, wrap it and it goes in to the bin. I repeat this until there is only set, dry paint on the glass, at which point I squirt the entire table top lightly with white spirit from the pipette. I hate the smell of white spirit so I try to use as little as humanly possible, literally just enough to moisten the top of any dried areas of paint.
Then I go at it again with the paint scraper, harder than before, until I can’t see any dried areas, just white spirit and dissolved stuff, which I wipe up. I then repeat this, this time continuing with the scraper until the glass beneath it feels completely smooth with no catches or gritty bits.
A final wipe with a piece of kitchen towel and then I polish the whole thing thoroughly with a dry, lint-free cloth.
What amazes me is how cathartic this feels. It is sloughing off the old painting and clearing the way for the new. Setting out your stall.
The ritual continues.
First there’s the canvas. I use two types – stretched canvas, and canvas board.
They each have their merits – the canvas board is more robust – heavier and hard wearing, you can really stab at it with a brush, but mounting it for presentation or framing is a pain. The stretched canvas, by comparison, is very light, delicate and flexible. Every time I handle a stretched canvas there’s a little part of me freaking out thinking I’m going to damage it. I tell myself that it’s fine and that they aren’t that delicate, but that little part of me reminds me that I’m a big sausage-fingered lunk and I have quite a bit of previous form for damaging canvases.
Still, as I carry them to my easel I like to drum my fingers gently on the back of them and listen to the tones it produces.
It sounds like a bodhran.
I choose which to use, unwrap the canvas and run my hands over the surface, making sure that it is undamaged. After the first time, when I learnt my lesson by tossing a canvas into the boot of my car with some shopping, they always are.
Sometimes I paint standing, sometimes I paint sitting, so I set my easel accordingly and put the canvas on it.
This is the scary bit. I look at the blank canvas and try to imagine what it will look like with the finished piece on it, and at this point I honestly don’t believe I can do it. I have a little panic that the last piece and all those that came before it were somehow flukes and this is going to be a disaster.
Then there is the sketch. I use charcoal and/or pencil for the sketching and I enjoy this part immensely – that initial part of the creation, adding form to the blank canvas. I used to sketch a lot as a youngster, but stopped in my twenties, and this takes me back to the pleasure I used to find in it.
Trepidation returns with the first layer of paint.
I’ve settled into a fat-on-lean technique where the first coat of paint is mainly liquin – a paint medium – and white spirit, with just a little bit of pigment. This is the only time I use white spirit in any quantity – as I said, I dislike the smell, I need to avoid fumes as much as possible because of where I paint, and it kills both your brushes and the saturation of the paint.
So during (and after) the first layer of paint, the overall feeling is “that looks like shit”, feeding into the whole “this is a disaster” paranoia mentioned above. That is compounded by the fact that I’m swabbing this clumsy, insipid wash all over the sketch that had previously brought me such joy.
With each successive layer of paint there is more paint and less medium (and no white spirit after the first layer or two). There is the potential to ruin what I’ve started, nagging away in the back of my mind, but also, with each layer the whole thing is refined and things start taking better shape. Both pleasure and trepidation increase as I go on.
But it is also an extremely Zen process. The world recedes, the past and future no longer exist, all there is is that immediate instance of contact at the end of that brush, for the duration of that stroke. It is meditation given form, and I come out of each session feeling charged and drained at the same time.
By the time I finish a painting I feel a tiny bit ragged.
I love the fact that I can do what I do. I hate the fact that I can’t do it better. I hate that it feels like going through the wringer each time. I love going to bed thinking about how I’m going to approach the next day’s painting, and I love waking up the next day with purpose – almost having to assign myself “before you start painting” chores with painting as a reward – do the dishes BYSP or they ain’t getting done. Do the shopping BYSP or you’re not going to be able to eat when you finish.
Then when the painting is finished there is the initial euphoria of having Made something, of having caused something (hopefully) beautiful to exist that would otherwise never have been. This is followed by the slow suspicion that you could have, and should have, done it better and that you are a charlatan, a fluke – go on, do it again! you can’t can you?? – and the inability to see anything but the flaws and mistakes.
That’s the point where I break off and ignore my paints for a while.
But it won’t go away. It’s in me now and I only wish I’d discovered this twenty-odd years ago.
And so the whole process begins again
But it all starts with the cleaning of the glass.
It seems to me to be the most important part of the painting. It is neither a creative act nor a destructive one (or not entirely at least), it is cathartic precisely because it is an act of pure Intent. Everything else is The Past. I am starting anew.
So I’ve just cleaned my glass. Now for the scary bit…
88 Seconds in a Galaxy Far, Far Away
November 28th, 2014 § 0 comments § permalink
Having watched the new Star Wars trailer, one thing I wish they would stop doing with the Star Wars universe is constantly trying to one-up the other films.
They do this in most aspects of the films – from the the pristine clothing and ludicrous costumes, lacking any of the thought and functionality of the outfits from the original, to the ever-present sci-fi tech. In fact, one of the many criticisms of the prequel travesties … er, I mean, films… was that the technology in the universe seemed to have taken leaps and bounds ahead from the original trilogy, despite the originals being set chronologically after the prequels.
I also noticed and lamented this, since one of the things I loved about the originals was that feeling of a lived-in world, with the same shabby, beaten-up, run-down and workaday stuff lying around as you’d find anywhere.
In most previous sci-fi, the cast, and indeed the directors, seemed to treat the sets and the props as things of wonder and awe. In the Star Wars universe, the people didn’t ignore the things around them, but neither did they revere them, and they were portrayed as neither miracle nor spectacle, just… things, things that people use every day – speeders, vaporators, astromech droids,spaceships, food mixers.
Luke’s landspeeder, for example – a wonder to us watching from the real world – was a piece of crap to all who saw it and was treated as such, in much the same way that an old Mark 3 Ford Escort would be a work of magic and wizardry to a 15th-century peasant, but is just… an old knacker to us, accustomed as we are to the million wonders of the modern world.
The prequels ruined that, that feeling of immunity to wonder that comes from being exposed to a thousand former miracles from the moment we wake up.
They reintroduced the prop-as-a-star, here’s-one-for-the-merchandise style of sci-fi set dressing and production design. Nothing was mundane, nothing beaten and ordinary, unless as part of a nod-nudge-wink in-joke.
It was thoughtlessly sleek, CGI ships that looked like they’d never been unwrapped, let alone flown through fire and smoke and war.
It was, in short, CGI tech-porn, and I would not have been surprised to find in the Making Of- out-takes a clip of George Lucas nursing a chubby while skulking round the ILM studios.
Now, if they’d have had an even half-way decent story none of this would matter and I would have still lapped it up and loved it. Pretty much the same goes for the new films.
You have a chronological excuse to upgrade stuff now, so there’s that, but I hope they at least try to keep that real-world-with-better-stuff feel.
But anyway, I digress.
As I was saying, it grieves me that the makers of the Star Wars films feel that they have to outdo themselves and each other in all aspects except storyline, and that each iteration of any aspect of the world must be better and shinier and faster than the last.
But I’m an adult (for the most part) so I can handle it.
Except for in one thing.
sw9-lightsabre
The light-sabre.
Stop fucking about with the light-sabres.
There’s still a year to go Mr Abrams – nip this in the bud. Change whatever else you like but leave the light-sabres alone.
Trying to make light-sabres more exciting not only completely loses sight of the explanation of them from the first film, it also ignores the fact that THEY ARE ALREADY COMPLETELY FUCKING AWESOME.
You cannot make them MORE awesome by adding extra bits or funny shaped handles to them.
Now we have a T-shaped one?? It was obviously designed and marketed by an eye-patch manufacturer. What other possible use could those silly extra side bits have?
Other than that, the Millenium Falcon is still the most beautiful thing that ever flew :)
sw9-mill2
No, Google. Just No!
November 20th, 2013 § 0 comments § permalink
We see what you did there…
Bye Bye, Spotify :(
November 11th, 2013 § 0 comments § permalink
I just cancelled my Spotify Premium membership.
Those who know me probably realise that this is huge for me.
I loved Spotify. When I originally discovered it, it was a light-in-the-eyes, Marcellus Wallace’s briefcase moment. When I signed up for Spotify premium I thought that it was a way of supporting artists directly, offering another way to sell their music. On top of this it was an excellent method of discovering new music.
Before Spotify, if someone mentioned a band and said you should listen to them, I had two or three choices -– I could borrow a copy of an album from a friend, play it, give it back and then buy it. Or I could buy it on spec and maybe hate it and never listen to it again. Or I could just pirate it -– either directly from my friend’s copy or from The Internets, and, if I had no friends that had the record or the type of music I wanted to hear, then I was stumped – piracy or blind-buying were the only options.
Then along came Spotify and, seemingly, a marvellous, glittering Fourth Way — track after track, album after album, sortable, playlist-ready, shareable and freely available. And that is important – freely available. Ok, so I paid a monthly premium for it or I had to listen to adverts and in a slightly lower quality (which, let’s face it, you’re not going to notice unless you have some serious equipment to play it back on) but essentially it was that magical word: FATPOD. Free at the Point of Delivery -– the way, in an ideal world, all art should be.
Suddenly, I could try new music at the click of a button. Not just a song or an album, but entire back-catalogues and an accompanying biography. I could follow an artist’s progression from debut to dotage, instantly and seamlessly and, if I liked it, I could buy the album, or all the albums. I could find other artists in a chosen genre or versions of a given song by a thousand different artists.
I loved it!
buy ALL the albumsIt was a lip-trembling moment of wide-eyed joy not equalled since Pinky succeeded in opening the vault at Fort Knox. I shouted and screamed and championed its cause left, right, and centre, until people grew bored of hearing about it from me. I thought it was win-win — a way to eliminate music piracy if we could just encourage enough people to use the service so that more and larger acts would make their material available.
I had a vision of Spotify championing the music and the artists, of freeing music up for the masses while still making money for the musicians. Rather naive of me, I know, but the alternative for downloading music at that point was pretty much piracy or nothing, unless you wanted DRM dictating how and when you listened to your music. At least, I thought, this was sending some money to the artists as I digitally restocked and re-lived my old vinyl collection.
So why cancel?
Well, I cancelled for pretty much the same reason I originally joined: I’m a musician, I love music and I believe in supporting the creators of things that I love, not just for some altruistic (or even non-altruistic) pay-it-forward sensibility, but because I want them to keep making the stuff that keeps me entertained.
However, the music industry is one of the few industries where the genuine makers of the art, the people who carry the art forward and breed the next generation of artist, are at the very bottom of the food chain. Back in the days of vinyl the recording industry was perhaps not balanced, but it was an ecosystem where the jobbing musician could survive, and in some cases even thrive. Sure, the record company fat cats were out there, chowing down, but there was money to be made and a halfway decent cut for the artist. The advent of the digital market though changed that. At first ignored by the labels, the internet was a bit of the Wild West for a while, until the industry noticed that their revenues were slowing down. Quite rightly, the Industry chaps decided that this would not do and they wanted a slice of the pie for their efforts.
On entering a brave new world one would think that the approach would be eyes-wide, arms open and baby steps. Unfortunately however, the industry fat cats were having none of that, and opted for a stance of blinkered belligerence and a nail-studded club in place of a peace pipe, flinging lawsuits here and there, stomping on the little guys that were the end user of their product, alienating them irrevocably. They didn’t want their fair slice of the pie: They wanted the whole pie. And the pie tin. And control of the oven that made the pie. And the pie delivery truck. And the very ownership of Pie — word and concept.
Unfortunately, with this being such a new arena, those in charge of judging the legality, blame and consequences of the initial free-for-all were at a loss for both precedence and context and instead of recognising the death of The Old Way, reverted to The Old Way’s rulings — not to bring back parity or equity but in a punitive, shock and awe kind of way: We won’t teach you the error of your ways, we will instead beat you to death with the book that explains those errors.
The end result is the situation as it stands, the knee jerk reaction of those early cases not restoring a status quo, but throwing mountains of digital profit at the labels that had made the noise and forgetting the artists themselves. Artists profits for vinyl sales could almost equal those for the record company. In the digital arena you’re lucky to see a tenth of the profit.
The recording industry is now a feeding frenzy — a fly-clouded mountain of bloated vultures, chomping on the carcasses of the labouring musicians beneath them, vomiting back just enough nourishment to sustain the muso-cattle’s output– while ignoring the fact that without the artists there would be no industry, no labels… and no Spotify.
And the sad Truth is, as you must know if you’ve been reading the news/twitter/facebook recently, that Spotify is simply an extension of the same outdated but self-perpetuating business model that that has kept the music industry an elite boys’ club for decades.
Having recently seen just how pitiful the artists royalties from Spotify play actually are (4/10000 of of a cent, anyone) I feel that it is very wrong of me to support the platform any longer.
It may be argued that the fault here lies with the record labels, that they negotiate the contract, but responsibility also lies with those people who support the record labels and their anachronistic business models.
Spotify could have changed all of this and made the playing field flat again.
Don’t believe that? Let’s do a bit of maths:
Spotify has over twenty million users. Now, I’m not even going to broach the filthy amounts of revenue a proven customer base of 20,000,000 users can generate in advertising exposure, but consider this: Of those users, over five million pay a premium of between £5 and £10 per month ($8-16). That means that the Spotify accountants are dealing with around twenty-five to fifty million pounds. PER MONTH.
That’s up to £600,000,000 per annum.
And that’s only counting the money made from 25% of their customer base.
That is a game-changingly obscene amount of money.
Some might say that Spotify have only been around since 2008 and could not possibly have foreseen their own popularity but, think about the point made above about convenience, about the huge, instant, global music collection. This is a service that could not fail. This was always going to be huge.
Spotify could and should have been something glorious, a chance to open up music to the world for various interpretations of Free, while still allowing the artist to make a very decent living from their music and still make a good profit for themselves.
Instead, they chose what has unfortunately become the mantra of the modern age -– get rich quick, which is usually followed by an under-the-breath “and fuck anyone who gets in the way”.
The record companies’ early posturing probably scared the then-newly-fledged Spotify into accepting draconian terms for their wares, but Spotify should have had, if not the foresight to see their own potential power, then the present day courage to stand up and admit the truth that the music industry seems to want to ignore:
The artists is everything.
These are the people you should be working to reward.
Without them you have no commodity.
Or, to sum up my last post…
December 24th, 2011 § 0 comments § permalink
A chemical diagram depicting Fear + Ignorance = Hate
image via
Adventures In Racism.
November 28th, 2011 § 2 comments § permalink
I don’t have the words to express my feelings at Racist Tram Woman (youTube. Warning: NSFW language, NSFAnwhere diatribe).
My first emotion – shared, I would hope, with most decent and educated people – is obviously anger. Crude ignorance of this level breeds rage more easily than anything else – a fiery, white-hot ire that takes your tongue and leaves you only shaking and clenching fists and jaws. Unfortunately, this vileness feeds on and, in the eyes of one so ignorant, is validated by, that same rage. It’s a horrific vicious circle that takes every whit of my willpower to break away from.
Beneath the anger is a numbing incomprehension.
I believe we all tend to cast the world and everyone in it in our own image, and that image can be as simple or as complex as our upbringing and as all-encompassing or non-inclusive as our education. Our beliefs and attitudes are informed by the environment we find ourselves in, particularly – but not exclusively – in our formative years, and then we spend our lives (hopefully) expanding on those values. I have a dual heritage – black African on my father’s side, white English on my mother’s. I also have a duality in my upbringing – I lived as one of only two or three non-white families in a predominantly white-Irish area of Birmingham (though the post-code hinted at the rather gentler Hall Green, the reality of the locale was entirely working-class Gospel Farm). Brought up by a single, white parent in this down-to-earth white area, what racism I encountered – and I encountered it often enough looking back – was for the most part lightweight and low voltage enough to wash over me as the norm. It was the sort of embedded societal racism that is administered without thought or hate or any real judgement; it’s “just the way things are”. Sure, I occasionally got called Tarbrush, but at least they let me into their houses and let me play with their sons and daughters.
Don’t get me wrong – the area wasn’t a hotbed of racist fervour, filled with a gaggle of cross-burning hillbillies, chomping on chitlins and waiting for their next lynching. For the most part the families I grew up round were salt-of-the-earth hard-working folks, kind and generous, from amongst whom I still have friends to this day. But the world was a very different place then – the world of Mind Your Language and Love Thy Neighbour on prime-time telly. A world where we read the tale of Little Black Sambo in infant school and I took part – in full black-face – in The Black & White Minstrel Show for one year’s school play. A world of a thousand constant tiny reminders that you were different and therefore not quite as good or important as everyone else.
It was just the way it was.
And anyway, I was okay because I was “one of the alright ones”.
I suppose this sort of thinking led child-me to reason that racism was something that everyone faced to start with but you could earn your way out of it by being quietly good-natured about the whole thing.
This ‘merit’ system held unacknowledged sway in my head for some time and I flexed my own racist powers in the same learned, low-level way in my young years, using “pakis” – newly arrived Indian and Pakistani families – as a handy bullseye that I could share with my white neighbours . As an added bonus, acting this way towards these Asian families made me even more of an “alright one” with the people around me.
I don’t remember the specific catalyst for my own eye opening, but, through a mixture of education, self-awareness and exposure – both as a victim to more sinister and violent forms of racism, and to the victims of my own prejudice – I realised that the world was not my neighbourhood, and my neighbourhood not the world and that what people around you do and say, though seemingly The Way of Things, is not necessarily normal or the norm. I learnt that the pakis and the wogs and the ragheads and chinks were people. Like me. Exactly like me. So much so that I myself was a wog when spoken of in my absence. And that these epithets, though mildly used and low in voltage, were a convenient first step on a very dark and nasty road, a road full of shambling horrors and pitfalls and danger that leads eventually to places with names like Lynch-Mob and Pogrom and Genocide.
And yet all of this was simply a learned way of interacting with those new faces and sounds and smells around our neighbourhood. The people there weren’t evil, they themselves were second and third generation immigrant stock who twenty or thirty years before had faced similar prejudice. Ninety-nine percent of those people were fine people, though as ignorant of other cultures or the niceties of social integration as I was myself. If I meet any of them now they are usually lovely, warm welcoming people, sometimes a little rough around the edges, but never anything other than that.
But the other one percent…
I’ve rather bizarrely had some Facebook friend requests from some of them, only to check out their profile and see that they are BNP supporters or that every other status update was about immigrants doing this or “blacks and pakis” doing that
In these few the low-level, low-voltage seed took hold and produced unreasoning, unquestioning hatred. They not only have no frame of reference in which to reconfigure their perception of other people and cultures, they have no need or desire for it, only a world-searing, animalistic malignance that should not exist in this day and age.
No matter how many times I come across, or am the target of, such blind hatred, the thing that I find most difficult to process is not the injustice or ugliness of it, but the utter lack of self-awareness that it shows. I can’t comprehend of a mind so lacking in compassion and empathy or just plain decency, that they can’t see that the people around them are just people. That the racist could really see those people as less than the racist themselves, simply because of their colour, is so utterly bizarre to me that just about every time it has happened to me in my life, my first reaction has been a surprised half-chuckle, followed by a blinking mental reboot as I realise that no, this is not a joke: This is what this person actually believes to be true.
As I said, I believe we cast other people in our own image and we tend to project ourselves into them. I want to believe that Racist Tram Woman’s scattergun ranting is a product of ignorance and environment. That, given a light to shine on herself, she would see – as I once did – just how that way of thinking robs not only her victims but also herself – both of dignity and of experience.
But in this case I think she is of the one percent, and the light would only find a cold core of hate in a dry void.
For this reason, and those listed at length above, I am as reflexively afraid of Racist Tram Woman as she is of me and my brown skin. And like her, I can do nothing but wish her away.
Safety Tips From Anubis!
August 6th, 2011 § 0 comments § permalink
Safety Tips From Anubis cartoon
via 665
August 2nd, 2011 § 2 comments § permalink
It’s about time you had some music. So here’s me, again, a-wailing and a-gnashing…
Firstly a bit of harmonica and guitar…
And then a cover of Scrapyard Lullaby by the mighty Chris Whitley
Welcome to Birmingham.
March 22nd, 2010 § 1 comment § permalink
And America thought it had the monopoly on weird rednecks…
Birmingham man who had sex with sheep jailed – Sunday Mercury.
Before it’s too late!
March 20th, 2010 § 0 comments § permalink
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Archive for January, 2010
On With the Party: Photomontage After Hannah Höch
Posted in Collage & Photomontage, Female Artists, Fine & Decorative Arts, Liz Hager with tags , , , , , , , , on January 30, 2010 by Liz Hager
Editor’s Note: While preparing two long Venetian Red posts on the life and work of photomontagist Hannah Höch, I couldn’t help but wonder about the nature of her artistic legacy.
Perhaps not surprisingly, since Höch is still relatively unknown outside curatorial circles, I didn’t find a lot of published material on this topic. Admittedly, I’m skating on the thin ice of visual comparisons, so consider this more free form musing than formal documentation.
And I’ve saved a discussion of the distinctions between collage and photomontage for a different post. As a result, both artists who work with fragments of photographic images and whole images intact are included.
Finally, this is not an exhaustive survey, so, if you have additional “finds,” I’d enjoy hearing from you.
Click here for all Venetian Red entries on Hannah Höch.
© Liz Hager, 2010. All Rights Reserved.
Hannah Höch, On With the Party, 1965
Photomontage, 10 7/16 x 13 3/4 inches
(Institut für Auslandsbeziehungen, Stuttgart)
Although trained as a painter and equally skillful at graphic and textile design, Hannah Höch (1889-1978) is best-recognized for her thought-provoking photomontages, hundreds of images she patiently created through unparalleled dexterity in snipping and reassembling the photographs she sourced from mass-market magazines.
Höch, the only female member of the Berlin Dadaists (1916-22), played a vital role in legitimizing photomontage as a fine art form. Use of the technique piqued in the early 1930s. By the 1940s it all all but vanished from sight as a fine art medium, although it remained broadly popular as a format for advertising.
Hannah Höch, Industrial Landscape, 1967
Photomontage, 11 7/16 x 10 1/4 inches
(Landesbank Berlin)
With the emergence of commercial (silk) screen processes in the 1950s, fine artists once again adopted the photomontage technique. The new technology allowed artists to print images directly onto the paper or canvas substrate, thus liberating them from the manual look of the old “cut and paste” method. They in turn would fully exploited the slickness of the process.
Despite the popularity of the new medium, “cut and paste” photomontage was never completely supplanted. Höch herself worked passionately in this method well into the 1960s, despite the fact that for long stretches of her career she remained out of the public eye. And others took up the standard and it remains a popular technique today.
Hannah Höch, Grotesque, 1963
Photomontage, 9 15/16 x 6 11/16
(Institut für Auslandsbeziehungen, Stuttgart)
Thus, there seem to be two general lines of descent from Hannah Höch: those artists who work more or less in the original tradition she pioneered and those who, through the use of screen and later digital techniques, have pushed the montage effect into new visual territory and greater dimensionality.
Tried and True
Romare Bearden best demonstrates that the traditional form of photomontage is not outmoded as an effective form of communication.
Perhaps taking a cue from the early Dadaists, there is a political strain in their work. Séan Hillen, for example, plays the juxtaposition of elements to delightful (but serious) effect in creating postcard-sized “what-if” commentaries on the conflict in Northern Ireland and other of the world’s problems.
The team of (Peter)Kennard/Phillips pushes the political more overtly, in addition to engaging in interesting experiments with their materials. The work here is a portrait of George Bush printed across 58 copies of the Houston Chronicle, which were then torn through to reveal images of the destruction of the Iraqi people and their landscape.
There is an entire category of photographers who construct construct photomontage through the aggregation of negatives. (Thus the surface of the positive remains smooth like a traditional photograph.) Jerry N. Uelsmann began to assemble photographs this way beginning in the 1950s, influence ultimately by Lazlo Maholy-Nagy’s work. He has said: “”
On a different note, Daniel Gordon, following the popular contemporary tradition of ever super-sized photographs, creates huge montaged faces. Though they take direct visual queues from Höch in their constructions, their large physical presence assaults you. They almost repell you, whereas Höch’s intimate page-sized “portraits” draw you in for closer inspection.
And finally it seems that Bernie Stephanus has learned his Höch lesson well, though in general I don’t find his work as visually compelling as Höch’s.
Romare Bearden, Spring Way, 1964
Collage on paperboard sheet, 6 5/8 x 9 3/8 inches
(Smithsonian American Art Museum)
Jerry N. UelsmannUndiscovered Self, 1999
Photomontage (assembled from multiple negatives)
Seán Hillen, The Launchpad at O’Connell Street, Dublin (Irelantis series), 2005
Photomontage, 7.9 x 5.9 inches
KennardPhillips collaboration, Iraq Destroyed, 2007
Pigment ink on newspaper, 350 x 300 cm.
Hannah Höch, Russian Dancer/My Double, 1928
Photomontage, 12 x 8 7/8 inches
Herzog Anton Ulrich-Museum, Brunswick, Germany)
Daniel Gordon—Red Headed Woman, 2008 c-printDaniel Gordon, Red Headed Woman, 2008
C-print, 40 x 30 inches.
Bernie Stephanus, Ingresque, 1999
New New Things
The other species of artist expanded the boundaries of photomontage through the use of new media, the inclusion of found objects (even real world detritus), and a push into the third dimension. Many of their works achieve the frenetic appearance characteristic Höch’s Dada-era work.
Andy Warhol pushed silkscreen to his slickest height, where the hand of the artist wasn’t visible or even desired. (He was reputed to have said: “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.”) One might well question whether these are montages at all; but I think a legitimate argument could be made for a “serial image” subset of montage.
In his series of Combines (mid 1950s to early 1960s), Robert Rauschenberg reinvented collage. By combining repetitive silk screened images with paint and articles from his every day life (including trash), he blew apart the idea that art was an illusion of reality. For Rauschenberg the work of art was its own reality.
Joan Schulze is one of the best representatives of the group of fiber artists whose canvases are based on quilt structures. They come to photomontage already sensitized to the fragmentary and repetitive aspects of the picture plane. With origins in traditional “craft” environment these pieces, meant to be hung as paintings, present their own form of repudiation about the boundaries between fine and decorative art.
Andy Warhol, Green Car Crash (Green Burning Car I), 1963
synthetic polymer, silkscreen ink and acrylic on linen, 90 x 80 in.
Robert Rauschenberg, Untitled, 1963
Oil, silkscreened ink, metal, and plastic on canvas, 82 x 48 x 6 1/4 inches
(Guggenheim Museum)
Joan Schulze, Aloha, 1980
Mixed media (on fabric), 26 x 22 inches.
It Looks Like a Duck. . .
David Hockney, Place Furstenberg, Paris, August 7, 8, 9, 1985, 1985
Photocollage, 35 x 31 1/2 inches
While it’s hard to imagine that Hockney’s photographic collages from the early 1980s could have come into being without the deconstructive example provided by Höch and the Dadaists, I can’t quite see them as a direct descendant (though perhaps a close cousin). In their fracturing of the spatial plane, they owe more to Cubism than to Dada.
Hockney asserts that these works were born as a result of his loss of hearing at the time. He was forced to locate people in space using visual, rather than auditory, cues. This “reprocessing” led to a reconsideration of the notions of visual space. In these photo collages, Hockney creates a different concept of spacial dimension, but does not reconstitute the fragments into a new pictorial reality.
Wider Connections
From Papier Collé to Digital Collage (University of Washington online)
Thames & Hudson’s World of Art series— Photomontage
Don Hong-Oai‘s arresting composite photographs
Gods, Serpents, Leaves and Flowers: Indian Silver for the Raj
Posted in Christine Cariati, Design, Fine & Decorative Arts, Flora & Fauna, XC with tags , , , , , , , , , on January 26, 2010 by Christine Cariati
by Christine Cariati
Chinar Leaf Bowl, Kashmir, c. 1885
Paul Walter Collection
Note: All objects shown in this post are from the Paul Walter collection unless otherwise indicated.
The Raj, the period of British occupation in India, lasted from the late 19th century to the early 20th century. During this time, the silversmiths of India produced an incredible array of beautiful luxury tableware—including tea services, bowls, goblets, ewers, cutlery, gravy boats and card cases. Initially these pieces were made as gifts and for use in the homes of the British in India. They were also exhibited widely in Europe at expositions and shows. One of these was the Paris exposition of 1878, where the tea service for 12 given by a maharaja to the visiting Prince of Wales (later Edward VII) in 1876 was on display, along with many other examples of Kashmiri silver. Indian silver soon became very sought-after in British and European markets. The London establishments Liberty & Co., Regent Street and Proctor & Co., Oxford Street, set up workshops in India to meet the demand.
Calling Card Case featuring Krishna, Madras, c. 1880
A tradition of European silversmithing had been established in Madras and Calcutta in the 1760s, but by the 1860s the Indian silversmiths had made it their own—wedding their traditional designs and love of embellishment with objects to suit the needs of the British.
Chinar Leaf Tea Service, Kashmir, c. 1885
The British love affair with tea began when they came across it in China, and silver tea services had long been a staple in the elegant English home. So when the British came to India and discovered that two of Indian’s greatest natural resources were tea (from northern India) and silver, the result was inevitable.
Workshop drawings of Oomersee Mawjee & Sons of Kutch
various dates, c. 1899-1904
What makes this work so fascinating is the ingenious blending of Indian motifs with western forms. These pieces have tremendous visual interest, intricate detail and texture. The Indian silversmiths created a wonderful hybrid, objects no longer strictly Indian or western, but an interesting amalgam of the two.
Kutch Silversmith at Work
Sketch by Percy Brown after John Lockwood Kipling, 1902-03
Another fascinating aspect of silver work produced during the Raj is that the various Indian regional design traditions, adapted for these new uses, were reflected in the objects. The silver from Kutch in Gujarat, in far western India, is heavily embossed, filled with all-over curves and arabesques. The patterns appear quite abstract and are often embellished with wonderful details such as a tea pot handle fashioned in the shape of a serpent, or a spout in the form of an elephant’s head.
Kutch teapot with snake handle and elephant-head spout, c. 1880
Private collection
Calling Card Case with Floral Pattern, Kutch, c. 1880
Four Pepper Pots, Kutch, c. 1885-1910
The silver produced in Calcutta contains very different imagery, depicting idyllic scenes from rural Bengali life—workers picking fruit, fetching water, planting or harvesting grain—as well palm trees, and an occasional cow or itinerant holy man.
Beaker with Village Scenes, Calcutta, c. 1885
The so-called Swami silver produced in Madras was filled with Hindu imagery—gods and temples, processions and scenes of music and dance. Much of this work was produced by P. Orr & Sons, a British firm established in India in 1876.
Five-piece Tea Service (detail)
P. Orr & Sons, Madras, c. 1876
P. Orr & Sons showroom, Madras, c. 1899
Courtesy: City Palace Museum, Udaipur
Gravy Boat, Madras, c. 1890
The silversmiths of Kashmir produced some of the most beautiful pieces of the period, highly embellished with botanical imagery. The British had a presence in Kashmir by the early 19th century and greatly admired the crafts of Kashmir, including the weaving. Of particular interest was the “shawl pattern” or paisley. The paisley, which looks like an elongated and stylized mango, got its name from the town of Paisley in Scotland, where many shawls of this pattern were woven. By 1887, silversmiths were incising paisley designs on plain silver against a background of intricately incised leaves, flowers and trees of the region, three of which dominated the designs. Coriander was depicted on the stem, often in continuous scroll work. The poppy, a very popular motif in Mughal art, was depicted both as closed buds and in full flower. The chinar leaf (from the Oriental plane tree (platanus orientalis) was often used in repoussé, with a background design of poppies or coriander (see a superb example at top of post.)
Lobed Stemmed Bowl, Kashmir, c. 1880
Chinar Leaf Plates, Kashmir, c. 1890
Until the late 20th century, the silver for the Raj, like other art of mixed heritage, was not widely valued by scholars who considered it “impure” and outside classical traditions. Fortunately, aesthetic horizons have expanded in recent years and this wonderful work is now getting the attention it deserves.
Wider Connections
Delight in Design: Indian Silver for the Raj by Vidya Dehejia
The Raj Quartet by Paul Scott
Hannah Höch: The “Quiet Girl” With a Big Voice (Part II)
Posted in Collage & Photomontage, Female Artists, Fine & Decorative Arts, Liz Hager with tags , , , , on January 23, 2010 by Liz Hager
Editor’s Note: This is the second in a two-part series on Hannah Höch, in which Venetian Red examines her extraordinary work in photomontage. Part I covers Höch’s early career as the only female member of the Berlin Dada group and work subsequent to her 1922 break with the group. Click here for all entries on Hannah Höch.
© Liz Hager, 2010. All Rights Reserved.
Hannah Höch, Sea Serpent, 1937
Photomontage, 8 3/4 x 10 inches
(Institute für Auslandsbeziehungen, Stuttgart)
Although trained as a painter and equally skillful at graphic and textile design, Höch is best-recognized for her thought-provoking photomontages, hundreds of images she patiently created through unparalleled dexterity in snipping and reassembling the photographs she sourced from mass-market magazines. Although largely uncredited in the past, Höch, the only female member of the Berlin Dadaists (1916-22), played a vital role in legitimizing photomontage as a fine art form.
Like her male colleagues, Höch initially used the medium to comment on the fragmented world of post-WWI Germany. Hers was a less bombastic voice (generally she avoided the addition of type-set slogans) laced with a subtler humor. The whimsical appearance of such characteristic work as Dada Panorama and Cut with the Kitchen Knife. . . belies a biting sarcasm that decries ridiculous political personages and controversial policies of the Weimar Republic.
Kurt Schwitters, Censored, 1940
Drawing, stamp, string, envelope, and paint on paper, 6 1/2 in. x 4 1/2 in.
Before long, Höch pushed beyond the thematic realm staked out by her male colleagues and began to wrestle with gender politics, specifically the contradictory nature of modern femininity and the stereotypic views of women. Gender identity would preoccupy her in one form or another for the rest of her career.
Max Ernst, Jean Hatchet and Charles the Bold, 1929
Collage, 9 1/2 x 8 inches
(Cleveland Museum of Art)
In 1922 Höch broke from Hausmann and the Berlin Dadaists. The 1920s became a period of intense experimentation for her, both tonally and stylistically. Her association with Hans and Sophie Arp, Kurt Schwitters, Theo and Nelly van Doesburg, and the Constructivists was a mutually-rewarding one, and it channeled her toward a more structured, less-chaotic visual style.
The 1925/26 Ethnographic series, for example, demonstrates a sparer style, divested of the visual frenzy of her Dada-era work. This series also exemplifies the beginning of a tonal metamorphosis in her work from commentary aimed at specific political personages and events to the invocation of universal concepts and emotions. At the same time Höch’s relationship (1926-36) with Dutchwoman Til Brugman influenced her to think more expansively about gender relations, and many of her montages from this period contain elements of androgyny, female-to-female connections (see On the Way to Seventh Heaven below), and social alienation.
Hannah Höch, Russian Dancer/My Double, 1928
Photomontage, 12 x 8 7/8 inches
Herzog Anton Ulrich-Museum, Brunswick, Germany)
To be sure, Höch had her apparently frivolous moments. Russian Dancer is characteristic of a small number of single female figure studies Höch executed between 1926-36. All breezily posed, these women would seem to have no cares in the world. Their colossal heads, which mock their puny bodies, beg us not to take them seriously. Are they simply the flirtatious cousins of the earlier, more serious “New Woman” figures or do they signify a deeper meaning? Perhaps they are a 2D continuation of Höch’s 1916 enchanting Dada dolls. The legs of ballet dancers occur frequently in her montages. They represent the athleticism of the “New Woman,” but are they also emblematic of the artist herself?
By the end of the 1920s, photomontage was generally accepted as fine art medium; it had been adopted even as a style of expression by the advertising and design worlds. Curiously, however, during most of this decade, Höch did not exhibit publicly.
Hannah Höch—On the Way to Seventh Heaven, 1934
Photomontage, 14 1/2 x 10 inches
(Barry Friedman, Ltd., New York)
That would change in 1929, when the artist participated in two important exhibits. The prestigious “Film and Photo” exhibition, the first big photography show in Europe, included 18 of her photomontages. Some 10,000 people saw the exhibition on its first tour stop alone, Stuttgart. In that year, the De Bron Gallery in The Hague mounted her first one-woman show, which included her oil paintings, numerous drawings, and watercolors, though not her photomontages.
Hannah Höch’s public career as an artist was launched. Other exhibitions followed—in 1931 at Berlin’s Kunstgewerbemuseum; and in 1932 at the Philadelphia Museum of Art and at the Palais des Beaux Arts in Brussels. The Bauhaus mounted a show of 15 of her photomontages later that year.
Regrettably, this new-found public recognition came to an end in 1933, when Adolf Hitler seized political power.
Arthur Kampf, January 30, 1933, 1939
Oil on canvas
(Source: Kunst im Dritten Reich)
Like many avant-garde artists, Höch and her circle were deemed “Cultural Bolshiviks” and “degenerates” by the National Socialist régime. Almost immediately, they were prohibited from showing their work. As a result, many of Höch’s friends fled Germany, among them Schwitters, Ernst, and Moholy-Nagy. Those, like her, who stayed behind generally worked quietly and out of sight.
Höch refused to overtly support the Nazis. But she also steered clear of political provocation. Despite the oppressive environment, she never lost her sense of humor, as montages like and Sea Serpent (top) and Never Keep Both Feet on the Ground make clear. During years from 1936-1946, she turned to nature with some arresting results. Sea Serpent is a unrestrained, yet wholly accessible, surrealistic fantasy, evoking all of the unseeable and astonishing life under the sea. In retrospect, one is tempted to read more into this work, though it is not clear that Höch meant to suggest a connection with Nazi authority.
Compositionally, it is a deceptively-sophisticated montage. The echo at the top register of the aquatic life on the lowest register (though use of the piece from which they were cut) not only ties the composition neatly together, but adds visual complexity by playing with the pictorial plane.
Hannah Höch, Never Keep Both Feet on the Ground, 1940
Photomontage, 12 11/16 x 8 3/16 inches
(Institute für Auslandsbeziehungen, Stuttgart)
As the 1930s wore on, Höch’s world became increasingly dangerous. In September, 1939, a few days after Britain and France declared war on Germany (for invading Poland), she moved to relative obscurity of Heiligensee, a suburb of Berlin. She felt lucky to have found a place where “nobody would know me by sight or be aware of my lurid past as a Dadaist” (Eine Lebenscollage, Volume I). She kept a low profile during the war years. As a result, her work was marginalized once again.
Nevertheless, Höch did not stop working. As Never Keep Both Feet on the Ground testifies, Höch was capable of suggesting the vaguely sinister in the apparently banal. As in the Ethnographic series, she mixes tribal artifacts (in this case a mask) with human forms to suggest alienation. Most definitely in the realm of the fastastic, the picture defies specific explication. And yet, one cannot help but wonder whether the dangling legs (again the ballet dancers) signify Höch’s view of her existence in the world, that is, a woman intent on being above the ground in a cloud, avoiding detection (by flying monster).
Hannah Höch, With Seaweed, 1950
Cut-and-pasted papers, torn papers, and gouache on paper, 13 5/8 x 9 7/8 inches
Hannah Höch, Glued Drawing II, 1955
Photomontage, 14 x 9 13/16 inches
(Galerie Alvensleben, Munich)
With the end of WWII, Höch began showing again; in fact, she exhibited constantly through the late 1950s. She produced a prodigious amount of work and flowered as a public persona in the process. In a testament to Germany’s cultural embrace of Dada, she organized and participated in a large show, “Photomontage from Dada to Today.” Interestingly, she staked out an expanded view of photomontage in the catalog’s introduction, in the process coining the phrase “free-form” photomontage. This view would guide her toward the abstract images of the 50s, which for the first time were devoid of any recognizable real-world reference.
Hannah Höch (left) with Hans Richter, Juliet Man-Ray, Frida Richter, and Man Ray, 1958.
With the widespread introduction of color in magazines throughout the 1950s and early 1960s, a huge amount of source material became available to Höch in virtually every color of the palette. Though not the most visually-arresting (that honor might belong Little Sun), certainly one of the most bewitching of images from this period is Homage to Riza Abazzi, which conjoins an elegant Audrey Hepburn look-alike head to a rubbery belly dancing body.
The piece references a Persian miniaturist, Riza-i Abbasi (known alternatively as Reza or Riza Abassi), the most important painter of the Safavid period for his revolutionary impact on painting at the time. It is not clear what specific significance Abbasi had to Höch. Perhaps the piece was inspired by a particular painting of his.
It is well-known, however, that the particular images that inspired her appeared in a German magazine alongside a blurb that referenced Audrey Hepburn’s dismay at having her head joined artificially to a voluptuous bikini-clad body for Roman Holiday advertising stills. Although the compositional emphasis is different, Homage. . . belongs to the lineage of single female figures. This figure also prances, not at all dismayed by her mismatched head and body conjoined. In fact, she strikes a defiant and proud pose, despite her relatively zaftig mid-section and wobbly legs. Is Höch intimating that it’s what’s in your head that counts?
Hannah Höch, Homage to Riza Abazzi, 1963
Photomontage, 13 7/8 x 7 3/16 inches
(Institute für Auslandsbeziehungen, Stuttgart)
Riza-i Abbasi,Two Lovers, 1630
Tempera and gilt paint on paper, 7 1/8 x 4 11/16 inches
(Metropolitan Museum of Art)
The 1970s for Höch were characterized by thematic and stylistic freedom. Drawing upon five decades of experimentation Höch produced images in an amalgamation of styles during the years of her life—surrealist fantasies, colorful abstractions, and one final uncharacteristically large-scale work, Life Portrait, that harked back to her Dada-era style.
Hannah Höch, Color Composition (Head), 1975
(Sammlung Deutsche Bank)
Montage is often considered a minor art form, derided as “mere recycling” and lacking the “heroism” of painting and sculpture and even photography. On the other hand, painter and art historian Franz Roh once characterized photomontage as: “the precarious synthesis of the two most important tendencies in modern visual culture. . . the pictorial techniques of modernist abstraction and the realism of the photographic fragment” (paraphrased by Christopher Phillips in Montage and Modern Life: 1919-1942). If one has confidence in that idea, it’s hard to see how photomontage couldn’t challenge the monolithic supremacy of painting.
Höch’s photomontages, like all photomontages, disparage the notion of the painter as God, creating a world from nothing (the blank canvas). Rather than create the world anew, Höch chose to reflect our notions about it through the subtle but wicked snipping of her scissors. Cut with the kitchen knife, indeed!
Though she may have been a “quiet girl,” Hannah Höch’s voice was a big one. Over five decades of devotion to the medium, she demonstrated that in skillful hands photomontage could rival painting in illuminating our world.
Hannah Hoch, Life Portrait (detail), 1972-73
(Lisalotte and Armin Orgel-Kühne, Berlin)
Wider Connections
Fantastic Photomontage and its Possible Influences
Max Ernst: A Retrospective (Metropolitan Museum of Art Publications)
Reza Abbasi Museum, Tehran
The Independent“Hanging Hitler’s Painters”
Mathias Grünewald’s Isenheim Altarpiece
Posted in Fine & Decorative Arts, Painting, XC with tags , , , , , on January 19, 2010 by Christine Cariati
by Christine Cariati
Mathias Grünewald, Crucifixion, Isenheim Altarpiece, c.1512/15
Musée d’Unterlinden, Colmar
I’ve been thinking lately about the transformative power of art and its relevance in our troubled world. In medieval times, through its connection to the church, art held a more central place in people’s lives, as it sought to enlighten, instruct and relieve suffering.
This brought to mind the Isenheim Altarpiece by German painter Mathias Grünewald (c. 1475-1528). The Isenheim Altarpiece embodies the human condition laid bare—from the extremes of catastrophic darkness to the rapture of resurrection and eternal life. The graceful, linear quality of the drawing and the vibrant, expressionist use of color would be enough to set this work apart—but Grünewald’s individualistic iconography and the intense emotional impact of the Isenheim Altarpiece make it completely unique.
There is also another aspect of the Isenheim Altarpiece which intensifies its powerful spiritual presence—it was commissioned by the monks of a medieval hospital in the tiny hamlet of Isenheim to help lessen the suffering of their patients afflicted with a terrible skin disease called St. Anthony’s fire, or ergotism, which was caused by rye fungus. In a time before painkillers, the patients meditated on Christ’s intense suffering and resurrection to help them cope with their own agonies.
Crucifixion: Mary, John and Mary Magdalene (detail)
The Isenheim Altarpiece, painted on nine hinged panels, contains twelve images, including two sets of folding wings. It can be viewed in three ways. In its closed position—the way it would have been viewed originally on weekdays at the hospital—the central panel shows the Crucifixion, with side panels of St. Anthony and St. Sebastian. The second view shows the Annunciation, the Angelic Concert, the Madonna and Child and the Resurrection. In the third view, a pre-existing carved and gilded wooden altarpiece is flanked by Grünewald’s paintings of the Temptation of St. Anthony and the Meeting with Anthony and Paul.
The Annunciation
Madonna and Child
As the panels of the altarpiece were unfolded, the enormous scope of the intense, riveting drama was revealed. Grünewald’s image of the crucified Christ is imbued with a visceral and emotional intensity. Christ, his skin a grayish green, covered with wounds—has clearly writhed in agony, his limbs twisted, his hands distorted, his head with its crown of thorns hanging painfully on his chest. This is a portrait of a brutal, solitary death—the sense of immediacy, agony and isolation is palpable. By contrast, the resurrected Christ, surrounded by light, is a triumphant image of the rapture of eternal life.
Crucifixion: Head of Christ (detail)
Resurrection: Head of Christ (detail)
Mathias Grünewald’s real name was Mathis Gothardt Neihardt—the name Grünewald was mistakenly attributed to him 150 years after his death. For a painter who was so well-thought of in his own time, remarkably little information about him has been passed down and few of his works survive—only about ten paintings (including multi-paneled altar pieces) and 35 drawings. All the work that remains is religious in nature. Unlike Albrecht Dürer and the other great German artists of the time, who excelled at woodcarving and other forms of print making, Grünewald only made paintings and drawings, which in itself is very unusual. So little was known about Grünewald, that until the 19th century, it was believed that the Isenheim Altarpiece was painted by Albrecht Dürer.
Study for Isenheim Altarpiece, c. 1512
What we do know is that by 1509, Grünewald was court painter to the Archbishop of Mainz, and that he was commissioned to paint the Isenheim Altarpiece around 1512-15. Art historians disagree as to interpretations and influences—for example, one categorically states that Grünewald, because of his clear knowledge of Italian painting, must have traveled widely—another asserts he never left Germany. Personally, I don’t think the facts of Grünewald’s life can really do much to explain the expressive, luminous intensity of the work or how he pushed his artistic skill to the point where he could capture so powerfully the tension and emotion of this transformative work.
Crucifixion: St. Sebastian (detail)
The complex and unusual iconography of the Isenheim Altarpiece is puzzling. The imagery in religious art of the Middle Ages and the Renaissance may seem mysterious to many of us today, but can be easily deciphered by art historians—the reason and background behind every element depicted can be traced, parsed and explained. Not so with Grünewald. Some of his iconography appears to be related to the work of the 14th century mystic, St Bridget of Sweden, whose Revelations was widely read in Germany at that time, but that does not explain all of the unusual visual references. It seems that Grünewald took an eclectic approach not only stylistically, but as regards subject matter as well.
Crucifixion: John the Baptist and the Lamb
Altarpieces were created for one purpose: to embody a specific aspect of generally recognized religious truth. In the process of spiritual meditation the barrier between the viewer and the artistic creation is broken. The Isenheim Altarpiece, in its intensity, tenderness and majesty is the power of this transformation made visible. Like Hieronymous Bosch, Grünewald infuses his work with a highly personal imagination that elicits a strong reaction from the viewer.
Monsters from the Temptation of St. Anthony panel
Grünewald clearly had a knowledge of Central European art from the late Gothic to the beginning of the 16th century, and incorporates elements from these various time periods in a highly original and independent way. There are links to Bosch and Netherlandish painting, as well as intimations of the naturalism of the Renaissance in Italy. Grünewald, on the cusp of the German Reformation, embodies aspects of both medieval and Renaissance art. Unlike the masters of the Italian Renaissance—whose work Grünewald may or may not have seen personally—Grünewald’s heavenly creatures are conjured from light, they are clearly not of this world. Painters of the Italian Renaissance incorporated spiritual beings into the known world. As an example, see the work of Michaelangelo who was painting the Sistine Chapel at the same time Grünewald was painting his altarpiece. In Grünewald, the supernatural world exists outside the human realm.
The Angelic Concert
Angels of the Annunciation
Grünewald’s masterpiece, forgotten for centuries, was rediscovered by a wider public following the horrors of World War I. At the outbreak of war, the Isenheim Altarpiece was moved from the Musée d’Unterlinden and sent for safe-keeping to Munich. After the war it was restored and exhibited for a time in the Alte Pinakothek before returning to Colmar. The Expressionists, then dominating the art scene in Germany, looked to Grünewald as their forerunner and to the Isenheim Altarpiece as the confirmation of their philosophy. The world, traumatized and overwhelmed by the death and destruction of the war, turned to the Isenheim Altarpiece for solace and inspiration.
Wider Connections
The Isenheim Altar: Suffering and Salvation in the Art of Grunewald by Gottfried Richter
Mathias Grünewald
by Horst Ziermann
Musée d’Unterlinden, Colmar
Hannah Höch: The “Quiet Girl” with a Big Voice (Part I)
Posted in Collage & Photomontage, Female Artists, Fine & Decorative Arts, Liz Hager with tags , , , , , , , , on January 16, 2010 by Liz Hager
Editor’s Note: This is the first of a two-part series on Hannah Höch, in which Venetian Red examines her extraordinary career, as well as her impact on the photomontage medium and impact on subsequent generations of artists. Click here for other Venetian Red entries on Hannah Höch.
© Liz Hager, 2010. All Rights Reserved.
Hannah Höch, Dompteuse (Tamer), 1930
Photomontage with collage elements, 14 x 10 1/4 inches
(Kunsthaus Zürich)
Of all the practitioners of the photomontage medium, Hannah Höch (1889-1978) ranks as one of the most consistently innovative and clever. Yet, despite a prodigious career that spanned over half a century, for many years, if she was recognized at all, Höch was categorized simply as a minor Dadaist, an unfortunate legacy of her early association with the über-macho Berlin Dadaist group (e.g., Raoul Hausmann, Georg Grosz, Hans Richter, John Heartfield, born Helmut Herzfeld).
Hanna Höch, ca.1920s
The narrow label belied the profusion of themes explored by Höch over her career. It failed to consider the range of styles she employed beyond Dada-inspired political commentary— surrealist fantasy, intimate portraiture, outright abstraction. And it ignored her masterly manipulation of the photomontage medium, which to this eye reached far beyond the skills of the other Dadaists.
Thankfully, since her death, a wider appreciation for her work (photomontage, painting, and textile designs) has emerged through exhibitions and new scholarship. The full impact of her influence on subsequent generations of artists has yet to be charted.
Pablo Picasso, Still Life with Chair Caning, 1912
Oil and oilcloth on canvas, with rope frame, 10 5/8 x 13 3/4 in. (27 x 35 cm.)
(Musee Picasso, Paris)
Collage has a long history—the earliest surviving examples may be 12th century Japanese calligraphic scrolls. With the invention of photography in the mid-19th century, collaging photographic fantasies became a hugely-popular pastime in Victorian and Edwardian parlors. In 1912 Picasso and Braque introduced the fine-art world to “collage” (reputedly they coined the phrase), specifically the addition of actual materials (like chair caning) to their painted canvases.
But it was the Berlin Dadaists who established fotomontage (literally “photo engineering”) as a fully-respected modern art form.
Hannah Höch, The Coquette, 1923-25
Photomontage, approximately 7 1/3 x 8 1/16 inches
Hannah Höch met Raoul Hausmann in 1915, and they became lovers for seven years (although he remained married). It was a difficult relationship, which brought Höch much emotional pain. The Berlin Dadaists begrudgingly admitted her as the only woman into their ranks, but they never accepted her as an equal. Hausmann dismissed her work. Hans Richter referred to her pejoratively in his memoirs as the “quiet girl” with a “tiny voice.” Grosz and Heartfield were set against her participation in the Dada Fair of 1920.
Ironically, it was Höch who experimented early on with photomontage, the medium which the group would later adopt as its own. Her first mature work of photomontage can be reliably dated to a 1918 summer vacation with Hausmann on the Baltic coast. (Although Hausmann also takes credit for having invented the medium on the same trip.)
Imported from Zürich, the Dada movement gelled in Berlin around 1918 as a statement against the unstable political and social situation brought on by the destruction wrought by WW1, Germany’s stuggle to pay reparations and the formation of the Weimar Republic with its extremist elements. On the other hand, German artists benefited from the “golden” years of the Weimar era (1923-29) which witnessed a rich blossoming of German culture with Berlin as its hothouse center.
Hannah Höch, Design for Darned Filet, 1920
Graphite on paper
(Landesmuseum für Moderne Kunst)
Dada may have launched Höch into her life’s work, but it never completely defined her. When she met Hausmann, she was studying graphic arts and book design at the School of the Royal Museum of Applied Arts, having already attended the Charlottenberg School of Applied Arts.
Hannah Höch, Tailor’s Flower, 1920
Collage, 20 1/4 x 17 1/4 inches
(Collection Louise Rosenfield Noun, Des Moines)
Further, between 1916 and 1926, Höch held down a part-time job in the editorial department of the handiwork division at Ullstein, one of the largest publishing houses in Germany. There she designed fashions, sewing and embroidery patterns, and occasionally penned an article on “domestic arts” topics. She considered this work to be on a par with her fine arts pursuits.
The job allowed her to maintain an artistic foot in the very different worlds of avant-garde and commercial art. The creative synergy that flowed from this dual life benefited her montage work. Tailor’s Flower (above), formed from bits of sewing pattern paper, demonstrates Höch’s regard for woman’s “crafts,” as well as early foray into abstraction.
Hans Richter, Dada Kopf, 1918
Oil on canvas, 14.3 x 11.2 inches
Additionally, the job provided her with an income, which she used to support Hausmann, and at times, various gatherings with the other Dadaists. Höch once pointed out to Hans Richter that the “the sandwiches, beer and coffee she managed somehow to conjure up despite the shortage of money” (his view of her contribution to Dada) had actually been provided by her income.
Thus, while Höch embraced the political and socially agenda of Dada, ultimately she distanced herself substantively and stylistically from her male colleagues.
Hannah Höch, Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919
Photomontage, 44 7/8 x 35 9/16 inches
(Preubischer Kulturbesitz, Nationalgalerie, Berlin)
The tour de force Cut with the Kitchen Knife. . . demonstrates how different her compositions were from those of her male colleagues. A consummate statement about the Weimar era, it is a visual rollcall of virtually every military, political and cultural figure in early Weimar Germany. Höch herself once observed that it was a cross-section of the turbulent times. In true Dada fashion, the piece presents the world according to a”them” vs. “us” diacotomy. Communists consort with Dadaists, while Weimar officials are consigned to the “anti-Dada” corner in the upper right.
Raoul Hausmann, ABCD, 1923-24
Photomontage, 16 x 11.1 inches
(Centre Pompidou, Paris)
But there is an underlying social message in the work as well. Though male figures appear as the majority, it is the women who occupy the limelight. They are the only figures in motion. In their running, dancing, and jumping the artist celebrates the concept of the “New Woman”—the energetic, professional, somewhat androgynous woman, who emerged in the wake of WW1, ready to take her place as an equal to men. In the right-hand corner a map of Europe identifies the countries in which women already could or soon would be able to vote. (A small portrait near the map links Höch herself to the political empowerment of women.) Even the title, “kitchen knife,” alludes to the role woman’s work would have in the new world order. Thus, does this seminal work stake out what would become Höch’s lifelong preoccupation with gender identity and relationship between the sexes.
Hannah Höch, Da Dandy, 1919
Photomontage, 11 13/16 x 9 1/16 inches
This was a topic which male members of the group, for all their rhetoric about emancipation, never tackled. As Höch observed:
None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But—they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men.
—from scraps of undated notes found among Höch’s posessions.
In Da Dandy (above) women meld into men, as fragments of contemporary female heads in modern fashions of the day recombine to form the profile of a man (facing right and identified by a thin red line). Höch’s work never seems to offer a conclusive answer as to the true identity of the “New Woman”; on the contrary, it often raises the question of whether the economic and social status quo has changed.
Hannah Höch, The Bride, 1933
photomontage with collage elements, 7 7/8 x 7 3/4 inches
(Collection Thomas Walther, New York)
Perhaps it was the training at Ullstein that facilitated Höch’s finely-tuned eye for both snipping and re-assembling, which is so amply on display in Cut with the Kitchen Knife. . . . Even the simplest of her images are built from a complex array of pictorial fragments, which in the work of the teens and 1920s often reached reckless heights. Höch loved wild disjunctions of scale, and the juxtaposition of unlikely elements, particularly animals and machines with humans.
And yet, for all their mapcap surface energy, her compositions are for the most part highly unified, their elements anchored by good compositional structure. For the most part, this quality is missing in the male Dadaist montages.
Raoul Hausmann, The Art Critic, 1919/20
Photomontage, 12 1/2 x 10 inches
(Tate Collection)
Höch’s focus on the nature of female identity (and its depiction in the media) would reach a crescendo in the 1930s in works like Tamer (above), while also expanding to include racial identity in works similar to The Bride. Most probably Tamer relates to her new life with Dutchwoman Til Brugman (they were together for 10 years); it represents the general move toward increasing gender ambiguity in Höch’s imagery.
By juxtaposing the features of a non-white with the ceremonial accoutrements of a European bride, The Bride asks viewers to consider the tension between “Self” and “Other,” as well as the nature of subjugation (by marriage, by one people against another).
Both works point toward the simplification of imagery that be the hallmark of Höch’s style in the 1930s.
Hannah Höch, Abduction (from the Ethnographic Museum series), 1925
Photomontage with collage elements, 8 3/8 x 8 11/16 inches
(Staatliche Museen zu Berlin)
Höch finally broke with Hausmann in 1922 and started to come into her own as an artist. She turned to friends Kurt Schwitters, the Arps, Lazslo Moholy-Nagy and the van Doesburgs, who embraced her readily, supported her work, and furthered her contact with artists beyond the Dadaists.
Her most exciting work during the 1920s must surely be the ambitious “From the Ethnographic Museum” series (Abduction above), 17 montages that constitute an epic foray into the notion of Lebensraum (colonial expansion), “primitive” cultures and “underdeveloped” (i.e. inferior) peoples, and female alienation. The series is remarkable for its thematic coherence, elegant visual impact, and technical virtuosity.
“From the Ethnographic Museum” was visually influenced by the newly-redone tribal art displays in the Ethnological Museum. A predominant number of snippets Höch used came from a single issue of Querschnitt magazine entirely devoted to the displays. Each delicately reconstituted object in the series is showcased on its own pedestal, thus reflecting the idealization (and trivialization) of “primitive” artifacts by “developed” nations.
Abduction represents the type of complexity at work in the seemingly-simple images of the series. The female face may be a stand in for Höch. In any case, one might read this image any number of ways—the nobility of “primitive” culture, civilization being carried away by tribal culture, the subjugation of the female identity.
The 1920s were a particularly fruitful decade for Höch, as she explored new emotional and thematic territory. Curiously, however, she exhibited virtually not at all publicly during this period. Nontheless, by the end of the 1920s, photomontage had become an accepted medium, and Höch was gaining public recognition for her work.
Hannah Höch, Sea Serpent, 1937
Photomontage, 8 3/4 x 10 inches
(Institute für Auslandsbeziehungen, Stuttgart)
Next: following Hannah Höch through the Nazi era and later life.
Wider Connections
“Dating the Dompteuse: Hannah Höch’s Reconfiguration of the Tamer” by Joe Mills & Peter Boswell (Courtesy of Stephen Perloff/Photo Review Magazine)
Virtual Tour, “Hannah Höch—All Beginnings Are Dada” exhibition, 2008
Hannah Höch: Album (English and German Edition)
Eva Lake—Tough Cuts
Luc Sante—Dada’s Girl (1997 Museum of Modern Art)
Landesmuseum für Moderne Kunst/Berlinische Galerie
The Photomontages of Hannah Höch—Walker Art Center exhibition catalog
Marsha Meskimmon—We Weren’t Modern Enough: Women Artists and the Limits of German ModernismCut & Paste—A Hisory of Photomontage
Artsvis 54 on collage
Venetian Red Bookshelf: January Picks
Posted in Book Review, Christine Cariati, Fine & Decorative Arts, Liz Hager with tags , , , , , , on January 14, 2010 by Christine Cariati
Venetian Red Bookshelf is a monthly feature which highlights books of interest from our bookshelves and studio worktables.
Rogues’ Gallery: The Secret History of the Moguls and the Money that Made the Metropolitan Museum (2009) by Michael Gross
Rogue’s Gallery is a very detailed, often disconcerting and sometimes humorous saga of the epic battle between Art and Commerce. Gross’ book is a gossipy and often lurid account of greed, shenanigans and skullduggery in the Metropolitan Museum of Art’s 138-year history. Beginning with the post-Civil War moguls who founded the museum, Gross details the conflicts and wrangling over the museum’s mission and methods of acquisition that have taken place among the museum’s relative handful of directors, curators, donors and trustees. The collisions of these giant egos—people who often mistake their wealth and power for wisdom and expertise—does make for entertaining, if sometimes disturbing, reading. There are stories here of individuals committed to the public good, but more common are tales of stolen and looted art and the nefarious dealings of status-seeking philanthropists and ego-driven curators and directors.
Gross chronicles the succession of Met directors. The first director, Luigi Palma di Cesnola, (who was himself involved with some dubious tomb excavating in Cyprus) did not want the museum open on Sundays because he didn’t want the hoi polloi, the working people of New York, to sully his Museum. Thomas Hoving, director from 1966-77, was a charismatic man who presided over a period of huge expansion and impressive acquisition (and has the dubious distinction of bequeathing the world the blockbuster exhibit.) Philippe de Montebello, who recently stepped down after a thirty-year reign, largely realized his vision of making the Met a more culturally inclusive institution, witness the 84,000 items from an impressive array of world cultures acquired during his tenure.
Unfortunately, from my point of view, the fascinating artistic stories behind some of the two million paintings and objects that grace the Metropolitan’s stupendous and inspiring collection, are not the focus of this book. Gross, a journalist and best-selling author, often indulges in a gleefully vitriolic tone. There’s a lot in this book to make it worth reading, but I would have preferred to read more about the art itself, and the incredibly complex inner workings of the museum, and less Vanity Fair-style gossip. As the author states:
[The Metropolitan] is a huge alchemical experiment, turning the worst of man’s attributes—extravagance, lust, envy, avarice, greed, egotism and pride—into the very best, translating deadly sins into priceless treasure.
Christine Cariati
Short History of Nearly Everything
A Short History of Nearly Everything (2004)
by Bill Bryson
Hours in the studio for days on end sorely tests even the most voluminous of iPod playlists. That’s one reason I turned to audiobooks last year. The other reason was more expedient—there’s just too damn much out there to read only at night.
Were it not for the audio version (which SF Public Library allowed me to download right to my computer), I’m not sure I would have gotten through Bill Bryson’s A Short History of Nearly Everything. Not that the material isn’t fascinating or his narrative, engrossing; on the contrary, in A Short History… Bryson spins an absolutely riveting yarn. But at 500+ pages the book could well have sat on my bedside table for months.
While listening to the first disk, another advantage of the audio version became apparent. The ground that Bryson covers in this book is massive. Try to imagine compressing four million or so years of Earth’s history and human knowledge about that history into one volume and you’ll begin to understand the enormity of his task. (You’ll wonder how he held it to just one volume.) I was happy to be sitting in my own private lecture hall listening to an animated professor engage me in the material than to be slogging through the syllabus on my own.
In a whirlwind narrative Bryson covers the nature of space, the big bang, the formation of the planets (Earth in particular), geology, biology, physics, paleontology, plate tectonics, DNA, and the atomic bomb. And he makes some esoteric science all perfectly cogent. I enjoyed the background on the various disciplines, but it was his tales of the lives of various scientists, their discoveries, and professional bickering that really captivated me.
Bryson summarizes the lives and achievements of celebrated scientists the likes of Newton, Darwin, and Einstein, but entices with tidbits about their peculiarities. Newton, for example, inserted a long needle into his eye socket and twirled it around, just to see what would happen. Einstein had a child out of wedlock.He covers lesser-known scientists like Englishman Fred Hoyle, controversial inventor of the “big Bang” phrase, whose cosmic theories ended up being completely debunked by later scientists. He also tackles the outright obscure, not to mention eccentric, scientists like Henry Cavendish, an English chemist, who perfected the means of capturing gases over water (which ultimately led to the discovery of hydrogen). Cavendish was so shy that his own housekeeper communicated with him by letter.
Bryson is a popular writer of the best kind—he wrangles an enormous amount of historical material into a lively and accessible narrative. At its core A Short History… is the story of human progress, and what an amazing tale it is when you hear it encapsulated like this.
If I had any complaint about the book it would only be that its material requires close listening and even relistening, and this interrupted the process of working on my art. By the end of the book I was convinced the education I received was more than worth the inconvenience to my art.
Liz HagerJames Leman and Anna Maria Garthwaite: Silk Weavers of Spitalfields
Posted in Christine Cariati, Design, Fashion, Female Artists, Fine & Decorative Arts, Textiles, XC with tags , , , , , , , , , , , , on January 5, 2010 by Christine Cariati
by Christine Cariati
James Leman, silk design, 1717
Watercolor on paper
James Leman (c.1688-1745) was one of the pre-eminent designers of silk textiles in the first half of the 18th century in England. In addition to being a designer, Leman was also a silk manufacturer and likely a master weaver as well, a combination of talents that was common in the silk-weaving industry in Lyons but rare in England. James Leman, of Huguenot descent, was the son of Peter Leman, a master weaver. He apprenticed to his father in 1702 and took over the family business in 1706. Ninety-seven of Leman’s watercolor designs, bound in an original Spitalfields design book and dated 1706-1730, are in the Victoria & Albert Museum, London. It’s hard to believe that these designs, the color so fresh and vibrant, and the patterns so modern, are 300 years old. Note that the yellows and oranges in the watercolors represent various colors of metallic threads.
Album of silk designs by James Leman in the Victoria & Albert Museum
Various dates, 1706-1730, watercolor on paper
The influence of the Huguenot emigres on England’s textile industry was enormous, because they brought their weaving skills with them. Until that point the English silk-weaving industry had been quite small—with the expertise of the Huguenot weavers, it blossomed. The Huguenots, Protestants from France, were subject to several waves of persecution in the 16th and 17th centuries. They left France by the thousands and contributed greatly to the textile industries of Britain, Ireland, Germany, Switzerland and Italy. In reaction to the arrival of an early wave of Huguenot emigres in search of employment, King James I, who ascended to the throne of England in 1603, and was an admirer of silk garments, attempted to introduce sericulture to England. James commissioned a book on the subject and provided the landed gentry with a supply of mulberry seeds and trees. The experiment was not a success, and weavers had to continue to rely on imported silk, which, as the demand grew, Britain obtained from China, Persia and the Ottoman Empire.
The life cycle of the silk worm, 1831
lithograph, signed W.S. & J.B. Pendelton of Boston
from Jonathan Cobb’s Manual containing information respecting the growth of the Mulberry TreeJames Leman, silk design, 1706/7
Watercolor on paper
James Leman, silk design, 1710
Watercolor on paper
James Leman, silk design, 1711/12
Watercolor on paper
By 1700 the center of silk manufacturing in England was in Spitalfields, now part of East London. Spitalfields has had an illustrious history. On the site of what was in Roman times a cemetery, England’s largest medieval hospital was constructed—The New Hospital of St Mary without Bishopgate—in 1197. The name Spitalfields is a contraction of “hospital fields.” The area went through many transformations, eventually becoming a textile center—first for laundresses, then for calico dyeing, then, in the 18th century, silk weaving. After the silk-weaving industry failed in the 1820s, the area declined and eventually became a center for furniture building, boot-making and later, tailoring. In Victorian times it became seedier still, and was famous for grisly murders by Jack the Ripper and the Whitechapel Strangler. The area is largely gentrified now, and when the historic Spitalfields Market area underwent a major renovation in the 1990s, the Roman cemetery became an important archeological dig and yielded many stunning artifacts, including sarcophagi with human remains.
Court dress, British, c. 1750
Silk, metallic thread
Costume Institute, Metropolitan Museum of Art
The development of the silk industry in 18th century England paralleled that of the rest of the decorative arts in England—following a trajectory from simplicity through the development of the elaborate English Rococo style, then back to Neoclassical. Over the course of the century, design influences went back and forth across the English Channel, each decade brought stylistic changes. At the beginning of the 18th century, designers began to leave behind the excesses of the later 17th century—patterns became less exotic and more naturalistic. In the 1730s french silk designer Jean Revel (1684-1751) invented a radical new technique, points rentrés, a method that enabled the weavers to create shading. These three-dimensional patterns were often woven on a plain silk background to better show off the larger, bolder, designs.
Fabric in the style of Jean Revel, c.1733-35
The Art Institute of Chicago
In the 1740s, the pendulum swung again, the English “flowered silks” style emerged with more naturalistic botanical detail, in clear, soft colors on plain backgrounds. By mid-century French influence returned and through the 1750s and 1760s more background pattern re-emerged, designs became more stylized, the fabrics became stiffer with more metallic threads. By the 1770s, as styles of dress become more informal, patterns became smaller and were often combined with stripes. By the end of the century, Neoclassic patterns dominated.
As a manufacturer, James Leman employed other silk designers: two of the best known are Christopher Baudouin and Joseph Dandridge.
Christopher Baudouin, silk design, 1718
Watercolor on paper
Joseph Dandridge, silk design, 1718
Watercolor on paper
Moving towards the mid-eighteenth century, another extremely important English designer began working in Spitalfields, Anna Maria Garthwaite (c.1688-1763). Garthwaite was born in Leicestershire and moved to London in 1730, where she worked freelance, producing many bold damask and floral brocade designs over the next three decades. She was interested in naturalistic floral patterns and adapted Revel’s points rentrés technique. Hundreds of her designs in watercolor have survived and are preserved in the collection of the Victoria & Albert Museum. Fortunately, several excellent examples of clothing made from her textile designs survive, and there is at least one contemporary portrait in which the sitter is wearing a dress made from a documented Garthwaite design.
Anna Maria Garthwaite, Waistcoat, 1747
Silk, wool, metallic thread
Costume Institute, Metropolitan Museum of Art
Robert Feke, Mrs. Charles Willing of Philadelphia, 1746
Oil on canvas
Fabric design, Anna Maria Garthwaite, 1743
Anna Maria Garthwaite,1742
Silk brocade
The Fashion Museum, Bath
Anna Maria Garthwaite, 1742
Blue and silver brocaded silk
Below is a silk brocade dress, made of fabric from Garthwaite’s design, in the Museum at FIT, followed by a William Hogarth painting at The Frick Collection. I am making no claim that the sitter’s gown is a Garthwaite design, but I was struck by the similarity.
Anna Maria Garthwaite, n.d.
Silk damask gown
Museum at FIT, New York
William Hogarth (1697-1764) Miss Mary Edwards, 1742
Oil on canvas
The Frick Collection
All of these 18th-century brocade and damask fabrics were woven on a drawloom. These were hand looms with a system of cords that would lift certain warp threads so that when the weft thread was passed through, intricate repeat patterns could be produced. The cords were handled by a “drawboy” who sat on the top of the loom. This method was laborious, slow and took quite a bit of skill, and attempts were made improve the equipment and speed up the process. Philippe de Lasalle (1723-1804) made inroads with his invention of the semple, a device which replaced the drawboy. The semple was also removable, so it could be transferred from loom to loom, thus saving a lot of set-up time. These and other improvements led to the invention of the Jacquard loom. In 1801, Joseph-Marie Jacquard, (who at the age of twelve had apprenticed to his father as a drawboy in Lyons), devised a system of perforated cards that mechanized this procedure, and the textile industry was changed forever. In fact, the Jacquard loom was the essentially the prototype for the computer.
The British silk industry had been able to prosper and compete with the older, more established French textile industry because they benefited from various pieces of legislation aimed at protecting the British textile industry. By the 1820s, after the repeal of long-standing embargoes on imported textiles, the English textile industry collapsed and France once again dominated the field.
Wider Connections
Silk Designs of the Eighteenth Century from the Victoria and Albert Museum, London, edited by Clare Browne
The Book of Silk
, by Philippa Scott
Seventeenth and Eighteenth-Century Fashion in Detail, by Avril Hart and Susan North
Textile Production in Europe, Silks: 1600-1800, Metropolitan Museum of Art
Art on the Horizon: 2010 Exhibitions Calendar
Posted in Bay Area Art Scene, Contemporary Art, Drawing, Female Artists, Fine & Decorative Arts, Liz Hager, Painting, Photography, Textiles with tags , , , , , , , , , , , , , , , , on January 2, 2010 by Liz Hager
Welcome to a new year of art. Here we give you a small sampling of the exhibits to open in major museums (US) in 2010. If you needed an excuse to travel this year, here it is. Mark your calendars and feast your eyes!
NB: It’s not an exhaustive survey (and purposely does not include shows already opened), so let us know what we’ve missed through comments section.
Larry Sultan, Denise Hale, 2007/9, c-print.
“An Autobiography of the San Francisco Bay Area, Part 2: The Future Lasts Forever”—SF Cameraworks, Jan. 7–April 17.
“Long Play: Bruce Connor” SF MoMA, Jan. 16–May 23.
“The View from Here”—SF MOMA, Jan. 16–June 27.
“The Drawings of Bronzino,” The Metropolitan (New York), Jan. 20—April 18.
Miroslav Tichý—Untitled photograph.
“Miroslav Tichý” and “Atget: Archivist of Paris”—International Center of Photography (New York), Jan. 29–May 9.
“Playing with Pictures: The Art of Victorian Photocollage”—The Metropolitan (New York), Feb. 2—May 9.
Malian textile.
Rhythm and Hues: Cloth and Culture of Mali” —Museum of Craft and Folk Art (SF), Feb. 5–May 2.
“By a Thread”—San Jose Institute of Contemporary Art (San Jose, CA), Feb. 6–May 15.
“Wayne Thiebaud: 70 Years of Painting”—San Jose Museum of Art (CA), Feb. 16–July 3.
William Kentridge, Drawing for Stereoscope 1998–99.
“William Kentridge: Five Themes”—MoMA (New York), Feb. 24–May 17.
“Poetic License: The Fiber Art of Joan Schulze”—San Jose Museum of Quilts and Textiles, Feb. 16–May 9.
“Abstract Resistance”—Walker Art Center (Minneapolis), Feb. 27–May 23.
John Singleton Copley, Watson and the Shark, 1778, oil on canvas.
“American Stories: Paintings of Everyday Life, 1765–1915”—LACMA (Los Angeles), Feb. 28–May 23.
“The Sacred Made Real: Spanish Painting and Sculpture, 1600-1700”—National Gallery (Washington, DC), Feb. 28–May 31.
Josef Albers, Homage to a Square: Glow, 1966, oil on canvas.
“Joseph Albers: Innovation & Inspiration”—Hirshhorn Museum & Sculpture Garden—Feb.11–April 11.
“Stripes”—Seattle Art Museum, March 6–May 8.
“What’s It All Mean: William T. Wiley in Retrospective” —Berkeley Art Museum (Univ of California campus), March 17–July 18.
Hendrick Avercamp—A Winter Scene, ca. 1615-1619, oil on panel
“Hendrick Avercamp: The Little Ice Age”—National Gallery (Washington, DC), March 21–July 5.
“Epic India: Scenes from the Ramayana,” The Metropolitan (New York), March 31—Sept. 19.
“Building the Medieval World: Architecture in Illuminated Manuscripts”—The Getty Center (Los Angeles), March 2–May 16.
James Ensor, The Assassin, 1888, etching with gouache.
“James Ensor and George Baselitz: Graphic Works”—Seattle Art Museum, April 10–Oct. 24.
“Henri Cartier-Bresson: The Modern Century”—MoMA (New York), April 11–June 28.
“Ted Muehling Selects: Lobmeyr Glass from the Permanent Collection”—The Cooper Hewitt (New York), April 23–Fall.
Ellsworth Kelly—Cyclamen, 1964/65, pencil on paper.
“Plants, Flowers and Fruit: Ellsworth Kelly Lithographs”—Norton Simon Museum (Los Angeles), April 23–August 23.
Lucienne Day, Helix (textile design), 1970.
“Art by the Yard: Women Design Mid-Century Britain”—The Textile Museum (Washington, DC), May 15–Sept. 12.
“Gods of Angkor: Bronzes from the National Museum of Cambodia”—Freer Gallery (Washington, DC), May 15–Jan. 23, 2011.
“Yves Klein: With the Void, Full Powers”—Hirshhorn Museum & Sculpture Garden (Washington, DC), May 20–Sept. 12. In conjunction with the Walker Art Center, see November.
Renior, Whistler, Monet.
“Birth of Impressionism: Masterpieces from the Musée d’Orsay”—de Young Museum (SF), May 22–Sept. 6.
“Hiroshige: Visions of Japan”—Norton Simon Museum (Los Angeles), June 4–Jan. 17, 2011.
“Arshile Gorky Retrospective”—Musuem of Contemporary Art (Los Angeles), June 6–Sept. 20.
“Engaged Observers: Documentary Photography since the Sixties”—The Getty Center (Los Angeles), June 29–Nov.14.
Henri Matisse—Bathers by a River (three versions), 1910-1916.
“Matisse: Radical Reinvention”—MoMA (New York), July 18–Oct. 11
“Edvard Munch: Master Prints”—National Gallery (Washington, DC), July 31–October 31, 2010
“Robert Irwin: Slant/Light/Volume”—The Walker Art Center (Minneapolis), August 6–Nov. 21.
“Leo Villareal”—San Jose Museum of Art (CA), August 21–Jan. 9, 2011.
“Latin American: Light & Space”—Museum of Contemporary Art (Los Angeles), Sept. 12–Jan. 1, 2011.
“Van Gogh, Gauguin, Cézanne and Beyond: Post-Impressionist Masterpieces from the Musée d’Orsay”—de Young Museum (SF), Sept. 25, –Jan. 18, 2011.
Goya, The Anglers, 1799, brush and brown wash on paper.
“The Spanish Manner: Drawings from Ribera to Goya”—The Frick (New York), Oct 5–Jan. 9, 2011
“Colors of the Oasis: Central Asian Ikat”—The Textile Museum (Washington, DC), October 16–March 13, 2011.
“Guillermo Kuitca: Everything—Paintings and Works on Paper, 1980–2008”—Hirshhorn Museum & Sculpture Garden, Oct. 21–Jan.16, 2011.
Yves Klein, Untitled Anthropometry (ANT 100), 1960.
“Yves Klein: With the Void, Full Powers” The Walker Art Center (Minneapolis), Oct. 23–Feb. 13, 2011. In conjunction with the Hirshhorn, see May.
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At Most Visual we specialize in visual storytelling.
upSTREAM Video Installation Sample
Here are some selections from Edyta Stepien and Chuck Przybyl’s 25 minute immersive video installation “upSTREAM”. The sometimes playful and fractured imagery works around the theme of information stimulation. Instead of commenting outright – the two artists push the focus to an almost molecular level showing the raw elements of light and movement. From the point of luminescence, they have mined the core elements of our data driven culture. The video goes upSTREAM to identify the source of our insatiable appetite for light.
upSTREAM premiered April 17th 2015 at Chicago Art Department as part of the LakeFX and CIMMfest showcase Synergies.
The format was a 6 projection immersive visual space that doubled as a performance environment for Modern Tapes recording artist Cellule34 and Froe Char.
Here is the documentation of Cellule34’s performance – shot by Chicago Art Department’s Nat Soti
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Westminster Abbey, Quire and Nave,
London, UK
The re-lighting of the interior of Westminster Abbey celebrates the magnificent architecture and carefully balances it's operation and image.
Dean and Chapter of Westminster Abbey
2015-2019
Surveyor to the Fabric
Ptolemy Dean
Clerk of the Works
Ian Bartlett/ Jim Vincent (ret.)
Electrical Engineering
Deputy Clerk of the Works, Iain McDonald
Westminster Abbey Clerk of the Works Department / DFB Electrical
James Newton
Project Team
Mark Major, Philip Rose, Iain Ruxton
Undertaking the re-lighting of such an important, historic and iconic building is both an immense privilege and a huge responsibility.”
Having completed a lighting strategy for the interior of Westminster Abbey in 2016, we completed the first phase of the re-lighting project with the Nave, Quire, North and South Transepts, Crossing and Sacrarium re-lit by a state-of-the-art LED installation operated by a largely wireless control system. The two major elements of the re-lighting project - the refurbishment of the sixteen existing Waterford crystal chandeliers, and the provision of spotlighting from high-level - required a substantive testing, mock-up and approvals process, before being designed in detail and implemented by the Abbey's works department in a phased process taking the best part of a year.
A new adjustable spotlighting system added at Triforium level provides the principle functional light to the Abbey floor, and accent to areas and objects of liturgical significance.
The system also allows the beautiful form and detailing of the roof vaulting to be fully revealed after dark for the first time in the building's history. The system is designed to minimise the number of attachment points to the historic fabric of the building while optimising flexibility in positioning.
All of the spotlighting is dimmable and controlled wirelessly using a Bluetooth based control system, reducing the amount of cabling and minimising adverse impact to the historic building fabric. The lighting is programmed to provide numerous scenes to respond to various liturgies and for other uses, including tourism.
The maximum lighting levels are now considerably brighter if required, so television crews will not necessarily require as much supplementary lighting for broadcast and filming.
For more than forty years, the Waterford lead crystal chandeliers provided the majority of the electric lighting to the main body of the Abbey, becoming ever brighter over the years to try to maximise the amount of light in the space. In replacing the light sources within the chandeliers with dimmable, colour temperature tuneable LED modules, their role has evolved into one of supplementing the newly provided functional lighting at high level. The LED modules enable the light from the chandeliers to adapt to complement changes in natural light throughout the day, while the reduced brightness overall makes the beauty of the crystal more readily appreciated.
The tuneable LED modules are capable of a wide variety of colours - including blue as a tribute to NHS workers during the pandemic.
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Art Partnership Platform Tvifri Established in Georgia
Project “Tvifri” is the first platform of art partnership in Georgia, which will work on creating commemorative medals of Georgian production. Tvifri will make Both collectible and jubilee medals.
The main idea will be to popularize the Georgian alphabet, historical and cultural heritage and revive it in metal. “Tvifri” is a newly established organization whose mission is to pass along the country’s historical heritage and exquisite traditions from generation to generation by sharing the art of each medal. The idea of creating the company came in the wake of the actualization of Georgian-themed collectible medals and the revival of Georgia’s impressive history. According to Iva Janezashvili, the creative director and author of the idea of “Tvifri”, the platform unites all the people who value the history of the country, its diverse culture, and traditions.
“Tvifri is created for people who feel inspired by the expression of national values and are proud to be the exclusive owner of designs based on traditional values. Since my first large-scale projects in numismatics “5 GEL silver coin dedicated to the Tokyo 2020 Summer Olympics”; “Medea and the Golden Fleece and ‘Blessing as King of Tinatin’ were successfully implemented in cooperation with the National Bank of Georgia and Lithuanian Mint, I and my creative team came up with the idea to create a national project that would be completely Georgian,” said Iva Janezashvili.
The platform has already completed work on the first project, which will become known to the public this month. At the same time, “Tvifri” cooperates with many organizations to make each project different. “We are also pleased with the fact that ‘’Tvifri “unites people with different narrow specialties and, in addition, allows talented artists to present and realize,” said Iva Janezashvili.
According to him, Tvifri will be a platform for art partnership, which will present the history and culture of Georgia in the country and the international arena. “Tvifri” will create a perfect, exclusive design and with each new medal will revive the history of Georgia.
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JSF Designs was commissioned for a full interior/exterior design of this residential home. A cohesive design for each space was needed to minimize, yet maintain the integrity of the spacious open architecture. Each of the bedrooms features a unique theme where JSF experimented with different color palates and textures. No matter the space, JSF’s signature style is noticeable in the clean design and inviting flourishes.
private residence
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corklesscorkless2017webOnce again Galena Center for the Arts is coordinating with Corkless in Galena to organize the art show portion of the event.
Come to the fair and meet our artists who will be selling their work.
Laura SchusterPhotography, burned and painted wood art, and crafted teacup yard decor
Lee Ann Breitbach of Breitbach Garden will have paintings on barn wood, prints, and cards
Lynn GilesPhotography prints, notecards, and magnets
Henry Matthiessen III, Stoned Art Studio—Stoned candles and sconce oil lamps and local printed photos
Jan Ketza – will be painting “Plein Air” throughout the day and selling “Made in Galena” jewelry, upcycled clothing, and paintings
Karen StockwellHand dyed and painted scarves, marbled paper, and self-published novels
Pat BalkJewelry
We have a limited number of spaces available for $40 each. Fill out the form and send to Galena Center for the Arts, 219 Summit, Galena, IL 61036 along with a check for $40. You will need to acquire a license from the City of Galena at City Hall to sell your artwork for the one-day event, purchased at least 10 days before the event for $25.
Sell some art, drink some wine, and dance to a tune or two. Sounds like a perfect day in Galena!
Rental Form
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Interior Designer, Anne Batisweiler, designs and illuminates cinemas. During the Munich ‘Lichtwoche’ Festival of Light, she is showing visitors around the renovated “Neues Rex” Cinema Laim, and explains, how lighting contributes to the grand illusion that is motion pictures.
“After all, anything is possible, when it gets dark. Literally anything. And that is very fortunate”, is how film critic Michael Althen concludes his book “Warte, bis es dunkel ist” (Wait Until Dark), a must read for anyone who loves the cinema, even if only a little. One person, who contributes to the illusion, allowing us to forget about harsh reality at least until the credits roll, is Anne Batisweiler. “Once the lights go out I only want to see the movie, and nothing else,” she says emphatically. This Interior Architect & Lighting Designer has been designing movie theatres for 25 years now. For her, the German word for movie theatre, “Lichtspielhaus”, which includes the world “light show,” holds special significance. On this Sunday, October 30th, Ms. Batisweiler is conducting a tour through the “Neues Rex” in Laim, a heritage movie theatre in Munich, which was recently remodeled, based on her designs. This is part of the program during the Munich ‘Lichtwoche’ Festival of Light, which runs until November 4th, and is offering a broad spectrum of visual attractions.
Arriving at this Architect’s heritage villa in the South of Pasing, a district in Munich, my first point of contact is her friendly dog, carrying a sneaker. While scanning the home for sources of light, the dog does not let me out of its sights. The stairway is adorned by a multi-colored chandelier – an optical contrast to the two, somber and severe oil portraits showing the previous owners. In the meeting room of Ms. Batisweiler’s offices on the ground floor, there are two bucket-like lamps – an Ikea model from the turn of the century. Returning quickly to the darkness in the movie theatre, though, what sounds like the gentle extinguishing of a lantern or the blowing out of a candle in Michael Althen, seems quite dry and austere in the words of an interior architect. Creating darkness in a movie theatre is, after all, not that simple:
According to Anne Batisweiler (54), there are a number of EU and DIN standards for safety lighting systems that must be observed. After all, in an emergency, or for any other urgent business, patrons must be able to make their way quickly out of the movie hall. She has seen time and time again that the illuminated escape route pictographs are over-dimensioned for the size of a movie theatre, and that requirements are exceeded. Smaller pictographs would completely suffice, she knows. Small tricks, big impact.
When we speak about lighting in movie theatres, we are talking about much more than the glimmering screen in the pitch-black theatre hall. For more than two decades now, Ms. Batisweiler has designed and re-modeled many cinemas in Munich as well as collaborating on many projects. In addition to the Neue Rex this has included a large variety of cinemas such as the Atelier, the Atlantis, Eldorado or the Gabriel-Filmtheater, the Museumslichtspiele and the Gloria-Palast, but also Multiplex palaces such as the CinemaxX or the Mathäser cinemas. And the designs for the Cinema Baikonur in Almaty / Kazakhstan is also hers. Here, patrons can observe Russian rockets lifting off from the world space station into the great beyond, but they can also go to the movies.
“Each cinema has its very own history,” says Anne Batisweiler. The architecture, the façade of a building must indicate its intrinsic purpose. Therefore, a movie theatre should display its interior workings in daylight as well. The neon lettering used in the past does not have a long life, and would also be too expensive and environmentally harmful. Modern LED-technology offers so much more, so Ms. Batisweiler. She explains that when it comes to the movie theatre lobby, patrons should neither expect dimly lit dark corners, nor harsh hospital lighting – although the popcorn should be well lit. Lighting, says Ms. Batisweiler, should accentuate and explore space, evoking a kind of dramatic composition. Take the Gloria Palast Cinema for example, says Anne Batisweiler: In the 80’s, not much was left of the once so glamorous 50’s heritage movie theatre – even after a renovation. As per the design concept created by Ms. Batisweiler’s offices, the old, sparkling, water droplet lights were replaced with fountains of rhinestones using LED-technology, reminiscent of the color-illuminated water works in front of the screen, which once used to keep the first rows of seating slightly wet.
As a child, Michael Althen had to listen to his parents saying: “You are ruining your eyes.” Lighting Designer, Anne Batisweiler explains, “the eye needs time to adjust to the darkness in the movie theatre.” Therefore, she created light traps located in the Rex Cinema hallway. Once you have passed them – to quote Michael Althen one more time – “it really gets dark, and then you enter that world, which seems to have been waiting for you right from the start.”
Source: Süddeutschen Zeitung München: 28.10.2016
Author: Jutta Czeguhn | Foto: Robert Haas
Publisher: Süddeutscher Verlag GmbH | www.sueddeutsche.de
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Reflections on Inspiration and Spontaneity, Part 2
Mark Sparks | April 2015
Part 1 of this article in the March issue focused on the nature of inspiration and spontaneity, and some ways they work in our playing. It also examined obstacles and various contexts, and questioned whether these are forces flutists can manipulate and control. As mentioned previously, doing spontaneous things in concert may sometimes be inappropriate, but spontaneity should still happen on different levels in our playing. The basic question that this second article continues to explore is how to keep inspiration going in spite of obstacles, and how to become skilled at being spontaneous in performance.
Levels and Balance
Spontaneity in performance is something to achieve. You cannot just wait for it to happen accidentally, you have to generate it. It requires skill, knowledge of the music, and presence in the moment. First, you have to consider what degree of spontaneity is appropriate and wise. In performance certain things can be left to chance, but some framework must be in place. For example, think about being on vacation. Too much planning, and experiences can become mechanical, more like chores. Too little planning, and you may miss your flight. There is a balance point. A successful experience takes a certain mastery of knowledge of your environment, destination, and yourself.
Then there are those pesky elements beyond control such as lighting, temperature, intonation discrepancies, and even the audience. Creating a positive situation is a skill. Reflect for a moment that circumstances will always be changeable in a performance, so musicians should not expect that their playing should always be the same. Usually performers just have to go with the flow and relax, even though things are not happening the way they envisioned. This may prove difficult or impossible in performance, however, if one cannot control the nerves. It is a big topic, but one aspect of feeling nervous about performance is a negative state of self-doubt. Many positive experiences must occur to build up enough confidence for spontaneity to happen in the playing.
Controlled Spontaneity
Concerning the definition of spontaneous, for this article I want to add: “within a familiar and well-defined context.” There are many different styles of music, and performance occurs in varied contexts. These can range from the nearly complete freedom of creating jazz improvisation (although many jazz musicians plan quite a few things in their improvisations) to simply changing phrase emphasis in a Gaubert sonata in the spur of the moment. In Baroque music, performers may leave some ornaments to chance. In Romantic music they may leave some tempo manipulations for the moment itself. In the very exuberant passage below from the Prokofiev Sonata, 2nd movement, the tempo can either stay stable or be flexible. When you alter the tempo more, the characterization of the phrase is more exaggerated. It works either way, and you can agree with the pianist to feel it together in the moment.
Prokofiev Sonata, 2nd mvt., m. 13-20 after no. 18
There are pieces in the repertoire, more often for solo flute, which are supposed to sound improvised, but every note is still printed. Rhythms and meters are sometimes less exactly indicated. A composer may indicate that a piece should have the character of an improvisation, such as the Ibert Piéce, Bozza Image, or some of Katherine Hoover’s solo flute works. There is space for more spontaneity, but this is not license to change everything. It means that you must conjure the attitude of spontaneity. It is easier to define this quality by what it is not. Basically, it means eliminating the characteristics of predictability in the timing and physical energy. Only certain types of pieces go that far without extending into the more extreme realm of aleatoric composition, which can have a closer resemblance to jazz improvisation.
Debussy’s Syrinx has had more than its fair share of abuse regarding spontaneity, and much has been said on the topic. Even though it is a solo flute piece I cannot think of a single reason why Syrinx should sound like a free improvisation; Syrinx is as carefully wrought as a complex algebra equation. Creating the atmosphere of immediacy and spontaneity in the performance of Syrinx is not the same as changing the rhythms and dynamics, which is an annoyingly common interpretation to this day. For example the figuration in measure 6 printed below is perhaps the most commonly bowdlerized rhythm in the piece.
Try playing the 16th note triplets in rhythm. They are often played quite fast, and arhythmically, which makes them sound like a spontaneously improvised flourish at best, or more commonly a minor onset of epilepsy. Playing them in tempo with a little crescendo, without shortening the last note, can be refreshingly poetic.
More about Re-experiencing
Spontaneity is not only a state of mastery, it is a state of mind. Earlier I said that spontaneity comes from inspiration which is a positive force; it can regenerate. The best performers are good at sounding spontaneous even when they don’t feel that way. I have heard Yo-Yo Ma play the Dvorák Concerto many times, and cannot recall a single note that was less than inspired. He did not change his interpretation every night; in fact, the basic interpretation of the piece was quite the same each performance. Similarly, Shakespearian and Broadway actors must repeat the same roles hundreds of times, but the best rarely give a stale performance. So wherein lies the spontaneity and inspiration?
The answer is that they re-experience the piece anew every time. This is very similar to telling your favorite joke to different people. You may embellish, and each time re-experience the humor as the new audience enjoys the punch line. Practice this by telling a favorite joke to several different people. I would bet that you start embellishing the story after a couple times through, and as you become more confident and familiar with the joke, your perspective on the audience changes. Maybe sometimes you laugh harder with them, or perhaps you do not laugh with them, out of a sense of confidence. Either way, you feed off of their energy, the same way performers respond to the audience’s energy as they play.
Familiarity with the material is the real key. When performers really know a work and have a genuine interpretation, they can relive the drama of the piece each time they play it. This is similar to the way a jazz artist may improvise. Though playing the same tune every night, he may choose to improvise on a certain interpretation of the harmony one performance and a different aspect the next. Sometimes inspiration strikes at just the right moment, and it is possible to play something a new way even after multiple performances, as if seeing the piece live through performance. We can develop intimate relationships with great works of music just as we can with people.
Practicing Spontaneity
Is it possible to practice spontaneity? Practice, repetition, and spontaneity, at least on the surface seem to be strange bedfellows, but looking deeper, spontaneity requires several things: flexibility, ease of execution, and the ability to think in the moment. This last quality is closely related to the idea of re-experiencing the originality and emotion of the piece while playing. Looking over these qualities, I can scarcely think of better reasons to practice.
Flexibility and ease are really the key qualities, because playing spontaneously is playing freely. So fundamentals are the place to start, and never shy away from returning to them. Practice playing things different ways and do not be afraid to experiment with every aspect. It is mainly important that you have actually heard yourself play the piece different ways. If this is unfamiliar to you, experiment with smaller examples to focus your ideas, like the excerpts in Moyse’s wonderful Tone Development Through Interpretation. Use a recorder to keep things clear. This is especially helpful with varying vibrato and rhythm.
To hone skills, isolate rhythm from other aspects. Unfortunately, when it comes to being creative, many players resort to changing the beat or using rubato, the cheapest form of musical expression. Other elements can be freely manipulated to great effect without changing the beat which can be of benefit in cases where the composer clearly does not want the tempo to be changed, such as the flute solo of the finale of Brahms’s 4th Symphony. In his book The Composer’s Advocate, conductor Erich Leinsdorf clearly expresses his disdain for slowing down the tempo for expressive means in that solo:
“In the finale of Brahms’ Fourth Symphony…a crucial tempo relation – the quarter equals the quarter at the start of the flute solo….is most notable for being disregarded…the common approach is to ritard gradually as one approaches the 32 and then let the first flute player have his arioso….Here the languid treatment by most flute players creates a 64 in which the sighs of the strings and horn fall on actual beats instead of being felt as syncopations…they lose the quality of anxiousness that Brahms intended.”
(From The Composer’s Advocate, Erich Leinsdorf, Yale University Press, 1981. pp. 147-148)
If one agrees with Leinsdorf, then it is clearly important to be able to create the expression of the solo without having to slow down the tempo. This requires flexibility with other elements of the tone such as color, dynamics, phrasing, and vibrato.
Stravinsky was also concerned about issues of rhythmic manipulation in his indications regarding the famous cadenza in Petrushka, where he clearly advises the flutist not to accelerate the tempo. The cadenza must sound spontaneous without hurrying.
3 Bars At No. 31, 1911 version, flute 1
After working on expanding your skills within certain boundaries, risk performing spontaneously for friends and family who are a less critical audience. Try a new interpretation; it may be a version only a mother could love, but at least you will get the feeling of going for different things in the piece. Experiment with aspects which you do not carefully plan.
If a piece is feeling stale, take some time away to allow the heart to grow fond again. Keep moving through new repertoire as well, but with pieces that are familiar, take a more serious look, as in the Mozart example in part 1.
Looking at things from a different point of view can also keep the door to spontaneity open. Listening to a good live performance or a famous older recording can help. Also, do some biographical research, or specific reading on the composer’s works. I was re-inspired to play Brahms’ 4th Symphony after reading The Taking Back, a chapter concerning the last movement in Jan Swafford’s biography of the composer:
“…the B section…begins with a flute solo of unforgettable tragic beauty, exquisitely poised between moll and Dur…In the Coda of the Fourth Symphony there is no transformation but rather a sustained tragic intensity that reels to the final E minor chords…Brahms does not turn to major at the end of a minor-key piece. He allows the darkness to stand, gives tragedy the last word…Brahms Fourth narrates a progression from troubling twilight to a dark night…With this work Brahms at the onset of old age shaped his apprehensions and prophesies into a vessel of consummate craft, his dark answer…to Beethoven’s (Ode to) joy."
(From Johannes Brahms, A Biography by Jan Swafford, Vintage Books, 1997, pgs. 525-526.)
The bottom line is that you must be comfortable with your skills in order to have enough free energy for spontaneity and revitalized inspiration. When the piece requires that few if any liberties can be taken, skills are even more important. In that case you can concentrate on the pleasure of recreating the work in exactly the same way, or the enjoyment of sharing music-making with friends and colleagues. On the most basic level of creativity, the craft of flute playing itself is so immeasurably complex and fun, that playing the flute can become a spontaneous expression of joy each time you pick up the instrument.
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• Diameter 500 x 420 h
Fabrics Amarillide by Giovanardi, aluminium, marble
Outdoor pouf in aluminium with mosaic inlays
ALVI is an outdoor pouf with mosaic inlays. Its minimalist design is based on a play of filled and empty spaces, which suggest continuity to its pattern. The mosaic’s texture is inspired by the fabric used on the cushion. Its simple sequence of white and light grey knots continues in tiny marble pieces of mosaic. The exciting interaction between two mediums enhances on the dark grey colour of the aluminium basement. Created in collaboration with Leonardo Mercurio.
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Museums showcase Latino art to worldwide audience
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A piece inspired by Frida Kahlo and another of Indigenous Wixárika art in the Mexican Museum seen through the augmented reality platform. Photo: Melissa Zapata for Instagram.com/sfmexicanmuseum
New York's "El Museo del Barrio" and the Mexican Museum in San Francisco are offering a virtual viewing of Latino art through augmented reality, allowing visitors to experience museum exhibits directly from their mobile devices.
Why it matters: The museums' online access makes the work of lesser-known Latino artists available around the world to anyone with broadband and a digital device, rather than limiting the audience to in-person visits to the museums and to major works of art.
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• For example, Google has a mobile app that allows users to view virtually major artworks by Vincent Van Gogh, Claude Monet and others, as well as to explore major museums, such as the Museum of Modern Art in New York and the Getty Museum in Los Angeles.
• Yes, but: The app does not offer as many immersive experiences for exhibits of predominantly Latino art.
How it works: The project, called "The ARt of My Roots/El Arte de Mis RAices," is available on Facebook and Instagram. Viewing the art with the phone's front or back camera offers users different perspectives.
• When people open the augmented reality effects on their phones, four paintings appear on their screens: The person's actual location will be the background and the camera will focus on the paintings.
• The user will need to move with the camera, as if the piece were hanging on a museum wall in front of them, to view the next piece of art.
• "The ARt of My Roots/El Arte de Mis RAices" will be accessible until the end of the year.
Details: The pieces featured in the AR project include...
• Yvette Mayorga’s "The Procession": Mayorga's artistic style is influenced by 18th century Rococo art and Latin pastry. In "The Procession," the artist of Mexican descent emphasizes the level of isolation that the world has experienced during the coronavirus pandemic. It is displayed in "El Museo."
• Justin Favela’s "Plátanos Amarillos": Favela, of Guatemalan and Mexican heritage, reimagined Francisco Oller's 19th-century painting of the same name using Favela's own pâpier-mâché technique. It is displayed in "El Museo."
• Alfredo Arreguín’s "Frida's Messengers": Arreguín, who is Mexican, has created several portraits of Kahlo, who he says is a figure of "wisdom, defiance, and creativity." It's displayed in the Mexican Museum.
• Martín de la Cruz’s "Wixárika Yarn": De la Cruz celebrates one of Mexico's most ancient indigenous cultures using yarn and beeswax in a technique similar to traditional Wixárika art. It's displayed in the Mexican Museum.
What they're saying: "Augmented reality allows 'El Museo' to not only reach new audiences that enjoy innovative ways of engaging with technology and art, but also those that are not able to physically come to the museum," Rose Mary Cortes, director of marketing and communications for "El Museo," said in a statement.
• "The idea of visualizing the piece in your home, or in the environment of your choosing, allows you to do a close-up on the piece offering the possibility to better experience the artwork." Bertha Rodriguez, COO of the Mexican Museum, said.
Between the lines: Museums were hit heavily by the pandemic, with many suffering a 70% drop in attendance in 2020, according to UNESCO.
• As a result, some museums began virtual programs. As the pandemic recovery continues, the agency recommends museums offer more of their collections in a digital manner.
Facebook said in a statement that it partnered with the museums to "shine a spotlight on the diverse voices, history and culture" of the Latino community for Hispanic Heritage Month and beyond.
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Lizzie Oliver
• Manager of Individual Giving
(804) 353-0094, ext. 227
Lizzie Carter Oliver managed VisArts’ special events for four years before taking on her current role. She grew up in Roanoke, Virginia and graduated from Randolph-Macon Woman’s College where she studied studio art and communications. She received her M.F.A. in painting from Boston University, where she studied with abstract painter John Walker. Lizzie is a regular in Tommy Van Auken’s painting class and is also exploring the darkroom in Shane Brown’s Introduction to Photography course. Outside of VisArts, you can find Lizzie in her studio, practicing Ashtanga yoga and visiting museums with her husband, Christopher.
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Ten Exhibitions to Look Forward to in 2022
From the first ever Deana Lawson survey in New York to a selection of Surrealist design objects in London, these are the best exhibitions to see around the world in 2022
There are a lot of exhibitions to be excited about in 2022. In March, a major survey of drawings and paintings by Marlene Dumas will open in Venice at Palazzo Grassi, while Louise Bourgeois is to be celebrated with a whopping three exhibitions at Kunstmuseum Basel, London’s Hayward Gallery and The Met respectively. A Bishopsgate Institute takeover at the Barbican’s Curve gallery promises to highlight over a century’s worth of objects and ephemera relating to London’s LGBTQ+ history, and elsewhere, Lynette Yiadom-Boakye’s beautiful Fly in League with the Night will return to the Tate in November after her initial 2020 run was interrupted by Covid. Below, AnOther highlights ten more art shows to look forward to.
Ai Weiwei: The Liberty of Doubt at Kettles Yard, Cambridge: 12 February – 19 June 2022
Following a characteristically busy year in which he released his memoir 1,000 Years of Joys and Sorrows while opening shows in Seoul and Porto, next month Beijing-born artist Ai Weiwei arrives at Kettle’s Yard in Cambridge with an exhibition informed by notions of truth, authenticity and value (as well as globalisation, the coronavirus pandemic and the geopolitical crisis). A former resident of the city – he moved there with his family in 2019 following a stint in Berlin – for the new show Ai Weiwei: The Liberty of Doubt, the artist will show a single installation of 13 artworks presented alongside 14 antiquities bought at auction in 2020. It’s the first time he has paired his own work with historic Chinese objects, and the juxtaposition honours Weiwei’s fluid ideas about the act of copying.
Barbara Kruger: Thinking of¬ÝYou. I Mean¬ÝMe. I Mean You at Los Angeles County Museum of Art, Los Angeles: 20 March ‚Äì 17 July 2022
‚ÄúI try to make work that incorporates the seductions of the culture that we live in but also makes us think,‚Äù Barbara Kruger told AnOther in 2004. 18 years on, this spring LACMA will unveil a major new exhibition spanning four decades, organised in collaboration with the Art Institute of Chicago and the Museum of Modern Art. Highlighting Kruger‚Äôs single-channel videos from the 1980s as well as digital productions from the last two decades, Barbara Kruger: Thinking of¬ÝYou. I Mean¬ÝMe. I Mean You, sees the American artist‚Äôs work spill out across the museum‚Äôs galleries with floor to ceiling vinyl room wraps, multichannel video installations and audio soundscapes, her distinctive palette and bold font choices front and centre throughout.
Deana Lawson at MoMA PS1, New York: 14 April – 5 September 2022
The first museum survey dedicated to Deana Lawson’s oeuvre arrives at MoMA PS1 in April, featuring work from 2004 through to the present day. Boasting a unique richness across her catalogue, Lawson’s images project a particular kind of intimacy that camouflages the actual relationships of her subjects. “A mirror of everyday life, but also a projection of what I want to happen. It’s about setting a different standard of values and saying that everyday Black lives, everyday experiences, are beautiful, and powerful, and intelligent,” she says. A key component of these visuals, and something that will no doubt captivate observers at MoMA, are the domestic spaces in which her pictures are staged. As Doreen St. Félix noted in the New Yorker in 2018, Lawson “has a knack for identifying and arranging the strangely potent components of Black interiors that mean nothing and so much.”
Hollywood at Helmut Newton Foundation, Berlin: 6 April – 19 November 2022
Despite settling in Paris in 1961 – and then Monte Carlo in 1981 – the late fashion photographer Helmut Newton and his wife June enjoyed winters in Los Angeles from 1957 until his death in January 2004. The location – they usually stayed at the Chateau Marmont – was ideal in terms of proximity to celebrity, and throughout the 80s and 90s Newton would shoot actors, directors and musicians in and around Hollywood. Many of these iconic portraits, as well as some of his nudes, shot for the pages of Playboy, will appear in a new show in Berlin this April. In addition to Newton’s work, Hollywood will also feature the neighbourhood as seen by photographers such as Larry Sultan, Julius Shulman, George Hoyningen-Huene and Alice Springs.
Nick Cave: Forothermore at Museum of Contemporary Art Chicago, Chicago: 14 May – 22 October 2022
Once described as “the most joyful, and critical, artist in America,” Nick Cave’s upcoming retrospective promises to inspire, delight and stimulate. Based in Chicago since the late 1980s, where in 2018 he opened the live-work space Facility, it’s fitting that the show, titled Nick Cave: Forothermore, debuts in the city where he’s spent decades creating, educating, and campaigning. Working across different mediums, the new show will feature several never before seen pieces – amongst them a continuation of his Soundsuits series – and a site-specific installation in Spinner Forest that will hang in the museum’s two-storey atrium and fourth-floor lobby. The show, the museum suggests, “is an ode to those who, whether due to racism, homophobia, or other forms of bigotry, live their lives as the ‘other’ – and a celebration of the way art, music, fashion, and performance can help us envision a more just future.”
Women Painting Women at Modern Art Museum of Fort Worth, Texas: 15 May – 25 September 2022
Opening in May, the new group show Women Painting Women promises to “recognise female perspectives that have been underrepresented in the history of post-war figuration,” with a focus on painting chosen for its proximity to privilege in the context of traditional portraiture, “particularly for white male artists.” Separated into four themes – The Body, Nature Personified, Color as Portrait and Selfhood – the exhibition spotlights close to 50 portraits that reconsider and ultimately evolve the way women are represented, offering a variety of aesthetics and political starting points. With a stunning lineup of 46 crucial artists, the work of trailblazers like Alice Neel and Emma Amos will be shown alongside more contemporary figures such as Jordan Casteel and Somaya Critchlow.
Working Together: The Photographers of the Kamoinge Workshop at The Getty Centre, Los Angeles: 19 July – 9 October 2022
Founded by Roy DeCarava – a collaborator of the poet Langston Hughes, and one of 15 artists who boycotted the Whitney’s Contemporary Black Artists in America show in 1971 – the Kamoinge Workshop emerged in 1963 as a collective of African-American photographers keen to support, mentor and collaborate with one another. Merging two existing photography groups – whose members included Louis Draper, Herbert Randall and James Ray Francis – the collective borrowed its name from the 1962 book Facing Mount Kenya, and in 2013 was recognised as “the longest continuously running non-profit group in the history of photography.” The show at The Getty Centre, titled Working Together: The Photographers of the Kamoinge Workshop, seeks to unpack the collective’s formation in tandem with the wider cultural shift in photography of the 60s and 70s.
Christo and Jeanne-Claude at Kunstpalast, Düsseldorf: 9 September 2022 - 22 January 2023
In September, a new show at Düsseldorf’s Kunstpalast will offer an extensive look at the work of Christo and Jeanne-Claude. The final exhibition to be approved by Christo before his death in the spring of 2020 (Jeanne-Claude, who once mused that “artists don’t retire. They die,” passed away in 2009), it will re-contextualise the couple’s early work, showcasing them alongside pieces by artists such as Jean Dubuffet, Lucio Fontana and Yves Klein. Elsewhere, the curators have pulled from Ingrid and Thomas Jochheim’s mammoth collection, introducing “each and every” project realised by Christo and Jeanne-Claude since Wrapped Coast premiered in the late 60s.
Objects of Desire: Surrealism and Design 1924 ‚Äì Today at the Design Museum, London:¬Ý from 14 October 2022
The first Surrealist Manifesto published by André Breton in 1924 described Surrealism as “Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.” Nearly 100 years on, today it’s considered one of the most influential art movements of the twentieth century and continues to fascinate with its early reinvention of everyday objects. In Objects of Desire: Surrealism and Design 1924 –Today, London’s Design Museum will consider how the movement has shaped design over the last century, exploring its influence on everything from furniture and interiors to graphic design, fashion and photography. Standout names like Man Ray and Salvador Dalí, Ray Eames and Isamu Noguchi will all have work featured.
Barbara Hepworth: Art and Life at Tate St Ives, Cornwall: 26 November 2022 ‚Äì 1 May 2023¬Ý
Originally conceived to celebrate the tenth anniversary of The Hepworth Wakefield in 2021, when Barbara Hepworth: Art and Life arrives at Tate St Ives in November, it will be revamped to engage with Hepworth’s life in Cornwall. Having moved to St Ives at the outbreak of the Second World War with her husband Ben Nicholson, Hepworth spent several decades living and working by the Cornish coast – a scenic existence caught on camera by Dudley Shaw Ashton in the poetic 1953 short, Figures in a Landscape – up until her death in 1975. A collaboration between The Hepworth Wakefield, the National Galleries of Scotland and Tate St Ives, the exhibition will showcase some of the influential artist’s most important works, many of which were made within a short distance from the museum.
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Ada Teicu
Ada Teicu is a Journalism/ English graduate and has a Master`s degree in Mass-media and Public Relations. Specializing in writing about design, architecture, furniture and adjacent design fields, Ada acknowledges the need for a world filled with creativity, comfort and beauty and considers Freshome as the best place for her knowledge and experience to come together. Find more about Adriana on our about us page.
All articles by Ada Teicu
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30 Creative Home Office Ideas: Working from Home in Style
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In late March Melissa Averinos traveled from Cape Cod, Massachusetts, to Vermont and spent two days painting in my studio.
As an art publisher it is amazing to get the opportunity to work directly with an artist. Our visit with Melissa Averinos was a good time to get acquainted and see her artistry in action. What I learned is that Melissa doesn’t waste any time in getting started. I turned my back for 5 minutes and she had eight paintings going all at once. She used sewing needles, hardware tools and anything with a point to make scratches and marks in wet paint. Afterwards the studio floor looked like it was littered with colorful crayon shavings. It was—in fact—curls of dried paint. While she worked I asked her a bit about herself to share with you.
Q&A with Melissa Averinos
What is your favorite thing about being an artist?
Making things. Experimenting and playing. I am always in experiment mode and it’s really fun.
You live on Cape Cod. That’s a pretty special place. How does it inform your art?
In all honesty, I don’t think it does. It’s just subject matter at times. Being on the cape is isolating, so painting is my fun. You learn to entertain yourself on the Cape. I grew up with very little supervision here and I was always doing art.
Describe your work space
My studio occupies three of the four upstairs rooms that I’ve taken over in our 1850s era house. Sewing, painting, jewelry making and collage. It is very messy!
Do you have a favorite possession?
A weird horse that my grandfather carved for me when I was a child. He generally carved realistic horses, but this one is like a cartoon with eyeballs stuck onto its face. The ears are busted at this point, but the eyes are intact.
What inspires or triggers your creative process?
Random books at the library can shake ideas loose. Generally just sitting down and starting to play with color on paper or canvas works. I don’t get blocked much because I usually just start and see what happens.
Three foods you couldn’t live without
It varies. Noosa yogurt. Coffee. Chocolate. Watermelon. Hey that’s four. Fresh pineapple. Five.
How are quilting and painting similar for you?
My process is the same. I don’t draw things out in advance. I just start and let things develop on their own. I course correct as needed. It’s a process of discovery instead of forcing something to happen.
If you could travel anywhere and someone would pay for the ticket…
England again. I went a few years ago and went to the Victoria & Albert Museum (V&A) which was magical and amazing. Even just being in the William Morris room and eating scones there was amazing on its own. I also loved Bath, England, with its many textures and ruins which make my heart go pitter patter.
What was the highlight of your last year?
There were so many. There really were. I won Best in Show for a quilt I entered at Quiltcon, the convention for the Modern Quilt Guild. And I signed with Wild Apple! And I began teaching…lots of good things.
What artists have influenced you?
Frida Kahlo. Picasso. Van Gogh. Maira Kalman. Sarah Fanelli, an illustrator who does wacky and wonderful collage.
Name something you are very enthusiastic about
Rust. Texture.
How cute is your husband?
Incredibly! His title in all my correspondence is Assistant/Adorable Husband. And we have two rescue golden retrievers named Max and Beau.
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SideBanner blog 1 sketch blog twitter Facebook publications photo.ography Pictorial History The Latest art.wear
Top Banner
A Memoir in Photographs Facebook
by Angela Cartwright & Bill Mumy
Lost and FOund In Space
Styling The Stars
Styling The Stars:
Treasures from the Twentieth Century Fox Archive
by Angela Cartwright & Tom McLaren
Back in the early days of Hollywood cinema, the impeccable style of stars like Clark Gable, Audrey Hepburn, and Julie Andrews was the result of meticulous hairstyling, makeup artistry, and elaborate costume design. Once camera-ready, actors would pose for photographs to ensure that their appearance remained consistent throughout the filming process—photographs never intended for the public eye.
Featuring behind-the-scenes photographs of more than 150 actors, including Hollywood’s most iconic personalities—such as Marilyn Monroe, Cary Grant, Clark Gable, and Paul Newman—Styling the Stars also shares revelatory stories about Twentieth Century Fox classics, including Miracle on 34th Street, The Sound of Music, Cleopatra, Valley of the Dolls, Butch Cassidy and the Sundance Kid, and more.
Styling the Stars is a stunning collector’s volume of film and fashion photography, as well as an invaluable compendium of movie history.
• Product Dimensions: 9.8 x 13.2 x 1.5 xinches
Styling the Stars:
Lost Treasures from the Twentieth Century Fox Archive
is a stunning collection of never-before-seen continuity photographs, offering readers an intimate, candid look at Hollywood’s golden age and beyond.
STYLING the STARS is available at
AMAZON and local bookstores.
Angela will sign a personalized bookplate
for you to place inside your book and will include a
personalized continuity photograph
of herself from
'The Sound of Music'
$ 20.00 + 5.00 shipping
BookPlate&Pic personalized to:
for sale on Amazon and in fine bookstores
Mixed Emulsions:
Altered Art Techniques for Photographic Imagery
written by Angela Cartwright
Mixed Emulsions
Mixed Emulsions
Signed and Personalized by Angela
Signed book + Shipping
Personalized to:
Over 25 unique effects illustrated with process photos, finished examples, and variations. Filled with hundreds of Angela's photographs that bring traditional and digital photography front and center, showing the many ways that photographic imagery can be manipulated, not electronically, but using various art materials and techniques. The chapters explore ways to add color (paints, oil sticks, watercolors, inks), texture (embossing powders, gessos, pastes, wax), and special effects (printing on unusual substrates, imprinting, photo mosaics, tissue, fabric, cardboard). This book embraces Angela's unique take on her photography and art.
In This House:
Altered Art Imagery and Collage Techniques
written by Angela Cartwright & Sarah Fishburn
In This House
In This House:
A Collection of Altered Art Imagery and Collage Techniques
In This House
In this house showcases a collaborative art project that explores innovative altered art and collage techniques using the theme of HOME. Each artist designed five altered art rooms to complete an individual 9" x 12" house that closes like a book or can stand accordion style. Each house is a part of a larger whole; a neighborhood of 12 unique and fascinating art-full houses, varying in execution, theme, and style. Each house reflecs the artist's style and incorporates the mixed media technique for which each artist is most well know.
In This Garden:
Explorations in Mixed Media Narrative
written by Angela Cartwright & Sarah Fishburn
In This Garden
In This Garden
Signed and Personalized by Angela
Signed book + Shipping
Personalized to:
This book acts as a showcase for a collaborative art project created and written by artists Angela Cartwright and Sarah Fishburn. The project explores the theme of "gardens" as a metaphor for peace, beauty, tranquility, reflection, and creativity, while offering readers an inspiring collage workbook that explores the techniques, methods, and the insights of 12 amazing artists. The book includes inspiring garden-related quotes, a blank "garden gate" template, and a gallery of garden-themed imagery readers can alter and use in their own artwork.
To view and order all issues of my art magazine
Head to my ART STUDIO
This website was created
on July 17 1998
website by acstudio
& c-websites
If you join my mailing list I will share my unruly news with you.
blog Biography Press home biography filmography the beginning Part 2 make room part 3 tv and movies part 4 the sound of music part 5 lost in space part 6 after space part 7 the latest gallery pictorial video autographed pix shop art shop art wear art studio artography publications press links home biography filmography part 1 the beginning part 2 make room part 3 tv and movies part 4 sound of music som travels part 5 lost in space part 6 after space part 7 the latest gallery pictorial videos art studio art.ography publications press links autographed pix art wear
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Notes on the equipment:
I use Nikon bodies and lenses.
Presently, I have one foot in each camp - the film and the digital camps. All of the images were originally captured on 35mm film. Some of the earlier images were scanned into Photoshop Elements from the print, but now all of the images are scanned from the original negatives. They are then corrected (cropped, levels adjusted, aligned, hue and saturations tweaked, and sometimes unwanted "clutter" erased). I use either Adobe Photoshop or Adobe Photoshop Elements on a Mac G4 using an Epson scanner with negative scanning capability.
My camera bodies were a Nikon FE2 and a Nikon FA, both manual focus film cameras and both "very experienced." They were mounted on MD-12 motor drives. Due to the recent generosity of a friend who has recently switched to digital, I had also acquired a Nikon F3 (with MD-4) and a Nikon FM2 (with MD-12). A lot of the logo shots are photographs of those old former cameras. The little shiny bump on the front of the motor drive (MD-12) is an MR-3 - a handy release button that also accepts cable releases. The FE2, FA, and FM2 have all been snatched up by other owners (as of March, 2008).
Starting with my first F3, I've been "spoiled" and picked up another F3(HP). I am now shooting with F3 bodies, all with MD-4 drives, and one using an MF-18 multi-function back. (The MF-18 will print the date, sequential numbers, or the time just outside the picture frame, so you can have your photo data without messing up your beautiful shot.) Two of the F3s have HP (DW-3) finders to them, the other has an original DW-2. I do have to admit - while I'm lugging around a little more weight (the MD-4 is a little heavier and bulkier than an MD-12, and the F3 is slightly heavier than the FA/FE series), the F3/MD-4 combination is one that just can't be beat.
All of the lenses used are AI or AIS manual focus Nikkor lenses. The lenses I use most for photographing churches and organs are:
• Zoom-Nikkor 25-50mm f/4
• Nikkor 20mm f/3.5
• Nikkor 16mm f/2.8 Full-Frame Fisheye
• Nikkor Zoom 35-200mm f/3.5-4.5
The fisheye images (where seemingly straight lines at the edge of the photograph are curved) are taken using the Nikkor 16mm f/2.8 full-frame fisheye lens.
The wide angle images (those with little or no rectilinear distortion) were taken with either the Nikkor Zoom 25-50mm f/4, Nikkor Zoom 35-200mm f/3.5-4.5, or a Nikkor 20mm f/3.5.
For any photos that use flash, I presently lug around a SunPak 622 Pro system with interchangeable heads and dedicated Nikon modules.
Speaking of lugging, most of the time I bring my tripod of choice, (the one piece of equipment that contributes the most to a sharp photo); I use a Bogen 3021 with a 3047 pan head with quick-release mounts. When I don't have my tripod with me, I rely on my trusty bean-bag to steady my camera. It's moldable, doesn't scratch church furniture, and functions as one more piece of padding in the bottom of my camera bag when it's not being used. I find the bright orange pumpkin bean-bag works the best!
The oldest images (those from CA) were taken with my first 35mm camera, a Minolta SRT-201. I moved to a Nikon system when that first camera was stolen. Goodness knows, that Minolta is probably still running strong today, whoever has it!
To view an early attempt at photomontage, here is a shot of my photo equipment at one point.
For those morbidly curious enough to go clicking thoughout my site, a recent change (precipitated by a few days of bed rest) has been the inclusion of several different logos at the top of the index pages. If you haven't already found out, clicking on the logo will bring you back to the home page. If one navigates through the site, one will find the Photography by Stein logos with the following cameras: FA, FM2, FE2, F3HP (with various lenses), F3 (with MF-18 and various lenses), an old but still-working Busch Pressman, and, just for kicks, a little (takes 110 film) LeMini (which I pack in my bag as a gag "back-up" camera!).
If you have any further questions or comments about my equipment, drop me a line....
|Back to Home Page|
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Steal design ideas. But... make 'em your own
Nothing you see is 100% original, so take someone else’s ideas, improve it, and make it your own.
Nothing is truly original.
Every design you come across is influenced by something that came before it.
There's only so many building blocks to go around right?
The key thing is how you assemble those pieces and give it your own voice, and style.
I'm guilty of pinching an idea or 2 (or 3, or 4...)
Just a quick heads up.
I've taken big chunks of design inspiration from somebody else's work, countless times over the years.
The one thing I've always done is pause at the end of my completed design. Look at the original influence. Look at my work. And think 'Did I bring my own take to this?'
If I can answer 'Yes' to that then it's all good, and completely ethical.
And on the flip-side of that. I've seen stuff that looks very similar to mine. I'm cool with that. If it's not a 1-1 rip-off I feel honoured that they thought my work was ok that they wanted to replicate it to a point.
Nothing is original, so steal those design ideas, but make 'em your own
Remember. There’s nothing wrong in copying an idea here, and there and using it in your own work.
But, and there is a big But.
Don’t just rip someone’s design verbatim and present it as your own. That ain't cool.
Copy ideas from it, but work out what could have been done better, and how you can improve on things. There’s absolutely nothing wrong with that.
Remember nothing you see is 100% original, so feel at ease stealing those ideas.
It’s all about how you can take someone else’s ideas, make it your own, improve your own skills whilst doing it, and make it much, much better.
See you next week,
If you enjoyed this, there's a couple of other ways I can help you out right now...
Design Guides: A collection of bite-sized UI & UX Design guides to reference frequently. Improve your knowledge and skills with little effort required. Oh, and they're absolutely Free. Grab the Guides here.
Cabana Design System for Figma: My best-selling system is a powerful kit for designers short on time. Think of it as a cheat-code that enables you to create beautiful designs... fast. Check out Cabana here.
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Home » A Somoan Tattoo That Means Power
A Somoan Tattoo That Means Power
The history tattooing - tattoo temple hong kong, Despite immense popularity, the practice has not left much of an historical record. the etymological origin of the word ‘tattoo’ is believed to have two major. Your-tattoo-designs |, Angel wing tattoos: giving you the right tattoo for a reason. have you tried having a tattoo? well, if it is not against your will and belief, you can always decide. American samoa - wikipedia, free encyclopedia, American samoa is an unincorporated territory of the united states located in the south pacific ocean, southeast of samoa. american samoa consists of five main.
Polynesian Turtle Tattoo Designs
500 x 385 · 188 kB · jpeg, Polynesian Turtle Tattoo Designs
Biomechanical Back Tattoo
600 x 450 · 48 kB · jpeg, Biomechanical Back Tattoo
Tribal Arm Tattoos
520 x 693 · 57 kB · jpeg, Tribal Arm Tattoos
Na dúvida sobre qual tatuagem escolher? Que tal a tatuagem tribal?
553 x 922 · 162 kB · jpeg, Na dúvida sobre qual tatuagem escolher? Que tal a tatuagem tribal?
Wolf Tattoo Designs
821 x 821 · 139 kB · jpeg, Wolf Tattoo Designs
3 4 Sleeve Tattoo
1067 x 1600 · 127 kB · jpeg, 3 4 Sleeve Tattoo
Tribal Arm Tattoos
Samoan art tatau (tattoo), Activity 1. divide students groups . distribute materials students. group draw samoan designs body outline create. http://www.nps.gov/npsa/forteachers/classrooms/samoan-art-in-the-tatau.htm Meaning tribal sun tattoo designs | cool tribal tattoo, Therefore, tribal tattoo design ornamented ancient periods god. tribal sun tattoo designs popular symbolizing partnership. http://www.cooltribaltattoo.com/meaning-of-tribal-sun-tattoo-designs The meaning tribal tattoos - 99tattoos. - 99tattoos., Know tribal tattoos. tattoos centuries. polynesian islands, maritime sailors, traditional civilizations, . http://www.99tattoos.com/the-meaning-of-tribal-tattoos/
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Tue, 29th Jun 2021 10:00
Fine Interiors - Two Day Sale - Live Online
Lot 55
A Royal French Louis XV kingwood, tulipwood, sycamore and parquetry inlaid meuble d'entrée
A Royal French Louis XV kingwood, tulipwood, sycamore and parquetry inlaid meuble d'entrée,
c.1760, made for Château de Fontainebleau, possibly by Simon or Jean-François Oeben, of serpentine shape, the brèche d'Alep marble top bearing a painted inventory number to the underside, above a pair of doors enclosing a shelf, over a shaped apron and raised on squat cabriole supports, with all-over later gilt metal mounts, stamped 'E. LEVASSEUR JME' twice to the top of the carcass,
100cm wide
47cm deep
86.5cm high
Provenance: Sotheby's, 'The Dimitri Mavrommatis Collection: Important French Furniture and Sevres Porcelain from the Chester Square Residence, London', 8 July 2008, lot 16;
Sotheby’s New York, 'Château de Fontainebleau', 20 November 1993, lot 249;
Farm House, Farm Street, Mayfair, London.
This cabinet was ordered and delivered for the use of King Louis XVI in Fontainebleau. The order was number 265, on 16 October 1786, and is mentioned in the bill of the Marchand-Mercier Dominique Daguerre, 'Pour le café du Roy-Daguerre une commode à deux vantaux fermant à clé de trois pieds de long d'ancienne marqueterie représentant des cubes l'un sur l'autre avec dessus de marbre brèche d'Alep 120' (Bibliothèque Nationale of France, Ms Fr. 7817 fol.35).
The underside of the marble top shows the inventory number 53 beneath a Royal Crown, bearing the letter F to denote the Château de Fontainebleau. The piece is described in the inventory of the garde-robe des seigneurs taken in 1787:
No 53: 'un bas d'armoire de marqueterie plaquée en mosaique de bois rose, violette sur fond gris ouvrant à deux vantaux, une tablette de dedans, entrée, agrafe et sabots de bronze doré, dessus de marbre brèche d'Alep de 3 pieds de large 18 de profondeur'.
Etienne Levasseur received Master 1766. His signature on a piece of furniture such as this, which is not in his usual style, may indicate that this piece was restored by him rather than one of his production.
Take advantage of our Sworders Delivery Service. Please see 'Shipping estimate' below.
Sold for £23,000
Condition Report
Light scratches to the marble, with some small chips to edges. One larger area of loss to back edge of marble. Hard lacquer varnish to the parquetry surface. Shelf possibly later. Evidence of the lock being later. Mounts later as catalogued. General wear commensurate with age. Some splits, lifting and losses to veneer. Evidence of repair and restoration, some of which was possibly carried out by Etienne Levasseur. Shelf split and appears in need of attention. Joints soli
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NEISD Transportation Facility Upgrades
As part of the 2015 NEISD Bond Program, LSA provided 9,598 SF of upgrades to the existing transportation offices, shop bays, fueling station, and bus wash area that included replacing the HVAC systems, renovation of the existing restrooms to ADA standards, and new offices with built-in millwork storage.
The shop bay areas underwent major renovations to include new lighting, new pull-down equipment, heavy-duty workbenches, re-sealing of the concrete flooring, new exterior canopy, new intercom system, and new floor and wall finishes.
NEISD Police Department Safety and Security Upgrades
A part of the 2015 NEISD Bond Program, LSA provided design services for a 996 square foot addition of the existing police department that consists of a new communications dispatch center, detective offices and adjoining restroom facilities. The 2,395 square foot renovation includes existing police monitoring/dispatch offices, fire suppression and alarm system, keyless access to monitoring station, new millwork, and HVAC systems.
Colonial Hills Elementary School Kitchen Upgrades
As part of the 2015 NEISD Program, LSA is providing architectural and interior design services for a 2,121 SF renovation of the cafetorium and a 2,773 SF new industrial kitchen addition with dual serving lines, industrial sink and dishwasher, food prep area, walk-in cooler/freezer, stove, dishwasher, office, staff locker/restrooms, dry storage & delivery/loading dock for kitchen deliveries.
MacArthur High School Performing Arts Center
One of 4 awarded projects under the NEISD 2015 $499 million Bond program. The 17,373 SF Addition included a new dance rehearsal hall with locker rooms, offices and prop storage area, new Orchestra rehearsal hall with 2 practice rooms, ensemble practice rooms, office, library and storage. The addition includes a large freight elevator to access the 1st and 2nd floors by the stage and a colorful, iconic art mural that frames the staircase of the front entry lobby.
The 10,730 SF renovation includes 6 practice rooms in the Band Hall, new paint and flooring for the large ensemble room and rehearsal hall, and the expansion and reconfiguration of the instrument storage area. For the drama hall, LSA renovated and reconfigured the space for a new Green Room, new boy’s and girl’s dressing rooms, classrooms, office and storage spaces, and a scene shop. Other improvements include updated finishes in the foyer and restrooms, and equipment storage in separate sound-engineered rooms. Updated security measures included secure access card readers entries and high-tech surveillance cameras.
Palo Alto College Multiple Building Renovations
Lopez Salas Architects provided Facilities Analysis & Assessments, Cost Estimates, Programming, Architectural Design Services for the renovation of multiple buildings that included 5 Classroom buildings, Student Center, Counseling Center, entry lobby and connecting covered walkways.
The buildings were gutted inside and renovated to modernize them and consolidate smaller classrooms to create larger education spaces to better serve current needs. Interior renovation included new floor ceilings and wall finishes throughout all classrooms and corridors. Renovations included the total removal and replacement of the exterior masonry, windows, EIFS and windows, and re-roofing. Complete renovation of all restroom facilities and updated state-of-the-art Information Technology systems and equipment was provided. LSA was also engaged to provide a furniture package and provide for new landscaping. The exterior skin was complete ly replaced with an integral color concrete block that gave the building a much more clean and refined look.
connecting covered walkways.
Renovations to the buildings on the Palo Alto College campus included the consolidation of two buildings into the new Palomino Center (19,221 GSF), San Marcos Hall (12,048 GSF Business Bldg.) Guadalupe Hall (13,104 GSF Social Sciences Building) Frio Hall (13,104 GSF Math and Science Building, Nueces Hall (14,834 GSF Applied Science Building) and the Education Building. Design components of the lab classroooms in the Applied Science Building included computer terminals, specimen storage areas and general storage rooms, sink areas, emergency shower, autoclave, locker rooms, laboratory work tables, and high-tech AV equipment.
connecting covered walkways.
As lead architect on the design-build team, LSA did the initial assessment, as well as developed and prepared the design development and construction documents. Work included construction administration and coordination with Alamo Colleges and design-build team members.
Ridgeview Elementary
Lopez Salas Architects provided architectural design services for a new 2-story 32,600 square foot addition that included a glass enclosed entry vestibule, 21 general purpose classrooms with adjoining restrooms, 2 Music rooms, 4 Teacher resource areas (bookroom, workroom and 2 teacher conference rooms. A covered walkway from the new addition to the Academic building was included. The building utilizes low maintenance materials while providing the campus with a new and bold direction. The cobalt blue glazed brick wall acts as a bold design feature while functioning as a sun shade to protect the glass atrium lobby from the west sun. The blue wall also creates a backdrop to the red cylindrical element that houses the elevator shaft.
Agnes Cotton Elementary
As part of the 2010 $515 million Bond Program, LSA provided architectural and interior design services for 57,871 SF of classroom additions to two-story elementary school and 15,410 SF of additions to the cafetorium/kitchen and administration building. The new building included 31 classrooms, colorful corridors and tiled restrooms, improved campus-wide security and access control features, as well as new IT, PA, and Audiovisual systems.
Additions to the North Wing included a new 6,392 SF cafeteria and industrial kitchen, a 730 square foot stage, a new Grand Music Room, art lab and teacher’s dining room. The 9,018 square foot admin wing addition included classrooms, Principal and Vice Principal offices, counseling offices, teacher’s work center, faculty restrooms, a clinic with nurses station, conference and exam rooms on the first floor. The second floor consisted of classrooms and 2 Science labs.
Renovation of the South wing included upgrades to finishes, ceilings and carpet and IT and MEP systems in the library and computer lab, and renovations of classrooms and corridors. A stand-alone mechanical room & associated mechanical yard with 2 new chillers was also provided.
Jackson-Keller Elementary
As part of the 2007 Capital Improvement Bond program, LSA provided architectural design services for a two-story addition to the elementary School. The additions included 27 new classrooms, 2 music classrooms, administrative offices, teacher’s resource center, conference and support areas, bookrooms, storage, a playground area, and an adjoining 5,700 square foot gymnasium. Additions included a new front entrance and building canopies, as well as the construction of a new parking lot and parent drop-off and pick-up loop to ease traffic flow. The building design allowed the introduction of a new vocabulary for the property while maintaining the use of the original masonry. The connections between the two buildings were designed to allow outdoor teaching areas within a landscaped meandering path.
Junkin Campus Ministry Center
Lopez Salas Architects provided architectural design services for the adaptive-reuse and renovation of the existing Dietert chapel building to better serve multi-use campus functions at Schreiner University. In lieu of demolition of the outdated facility, LSA proposed a more functional program/space plan and performed a complete interior renovation and exterior redesign in order to preserve the existing building. The end result was an innovative, multi-use facility that afforded the client considerable cost savings.
The project included 11,347 s.f. of renovations for a new recital hall, kitchen/food prep area, new offices, fellowship hall, storage rooms in the backstage area, resloping of the chapel floor, updated corridors, redesigned chapel space and front entryway with all-glass foyer and updated lobby, and addition of intimate outside labyrinth seating area.
Moody Science Building
Lopez Salas Architects provided architectural services for the expansion & renovation of the Moody Science Building. Built in the mid 60’s, the Moody Science building was in need of modernization and the addition of new functional spaces including the main lobby with vertical circulation.
The project included the total renovation of the building’s core components and interior spaces, including all classrooms, laboratories, lecture rooms, and corridors. The main lobby addition consisted of aluminum and glass with a central staircase to give the building a modern high-tech look representative of a Science building. Design components of the laboratory classrooms included computer terminals, specimen storage areas and general storage rooms, sink areas, emergency shower, autoclave, locker rooms, laboratory work tables, and high-tech AV equipment.
To date, this is the second of three projects that Lopez Salas Architects has completed for Schreiner University.
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Tag Archives: oil paintings on canvas
Designer Brushes With regard to Creating Amazing Art
Art is a superb activity that provides a respite from the tension and tension that certain faces within the daily existence. It acts both like a hobby so that as a profession choice. It offers a method to spend the pleasurable in the constructive method. Art assists build creativity. Many colleges and schools include art within their curriculum which is given equivalent significance because math as well as science. Many exclusive schools as well as colleges worldwide offer devoted programs as well as degrees within art. Any designer requires high quality tools to produce beautiful artwork. Artist Brushes are crucial in each and every artist’s equipment. There is a multitude of art brushes obtainable. Choosing an appropriate brush depends upon numerous factors like the medium associated with paint utilized, and the type of texture the actual artist really wants to bring within the painting. The artwork brushes could be either organic or artificial. Certain brushes are utilized for piece of art landscapes although some are used especially for painting the actual delicate functions in pictures. The artwork brushes can be found in various dimensions that show the thickness from the bristles.
Oil Paintings
Oil Paintings
They can be found in shapes for example round, toned, mops, liners, as well as flats. Each clean brings its distinct consistency and stroke towards the painting. The higher standards from the Mont Marte encounter paint supplies still win appreciation worldwide. The encounter paints tend to be of top quality and tend to be safe about the skin. They may be easily used and cleaned out. The encounter paints can be found in a broad spectrum associated with colors as well as shades. The number also consists of colors within metallic, neon, and gem finish. They’re priced reasonably and therefore are popular amongst professionals as well as children. One will discover online businesses carrying a comprehensive range of those quality encounter paints.
For individuals who prefer to make use of art pencils to produce art, the selection of Derwent Pencils will be an appropriate choice. The pencils can be found in a wide selection including light, sketch, as well as drawing pencils. Each group of pencils has its texture. They are simple to use and have to be stored very carefully. The pencils can be found in a broad spectrum associated with colors as well as shades. The pencils tend to be packaged within neat as well as sturdy packages so9 that they don’t break or even crack. The pencils are well suited for outlining as well as defining the different features from the art. They may be carried very easily to artwork classes in order to favorite areas like seashores and panoramic spots in order to capture the wonder on document.
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Peter Morville's bi-weekly column on the evolving definition of information architecture
Big Architect, Little Architect
First came the primordial soup. Thousands of relatively simple single-celled web sites appeared on the scene, and each one was quickly claimed by a multi-functional organism called a "webmaster."
A symbiotic relationship quickly became apparent. Webmaster fed web site. Web site got bigger and more important. So did the role of the webmaster. Life was good.
Then, bad things started to happen. The size and complexity and importance of the web sites began to spiral out of control. Mutations started cropping up.
Strange new organisms with names like interaction designer, usability engineer, customer experience analyst, and information architect began competing with the webmaster and each other for responsibilities and rewards. Equilibrium had been punctuated and we entered the current era of rapid speciation and specialization.
Survival of the Fittest
As all of these new life forms struggle to define their roles and relationships in a competitive environment, the dialog can become quite heated.
Consider a recent posting on the CHI-Web Mailing List in which Jared Spool, a dominant member of the usability engineer genus attacked the customer experience genus, stating:
"I personally think the current "customer experience" movement is a crock of sh*t. I think it's all a FUD (fear, uncertainty, and doubt) campaign to get executives to shift their consulting dollars."
* "i" omitted in consideration of communications decency filters
These battles can be very upsetting or very humorous, depending upon your perspective at the time (i.e., if you're the one being attacked, you're less likely to think it's funny).
Before we take any of these struggles too seriously, we need to remember a couple of facts:
1. Evolution (so far) has not led to a single-species world. There will be room (and need) for many types of web design professionals.
2. The food supply (i.e., money available to support the increasing number and complexity and importance of web sites) will continue to grow rapidly for the foreseeable future.
So, we all need to lighten up.
The Role of the Information Architect
This brings me to the central and very serious topic of this article. I have recently witnessed attempts to curtail the role of the information architect, with the obvious sinister objective of reducing our precious food supply. This is not funny.
It all began in March, when Jesse James Garrett created a very good visual model to illustrate the elements of user experience.
As with all good tools, shady people quickly found ways to subvert Jesse's visual for their own evil purposes. Despite the fact that Jesse explicitly states on the visual itself,
"This model does not describe a development process, nor does it define roles within a user experience development team,"
I have seen people trying to squeeze the role of information architect into the box for information architecture on Jesse's visual.
These people say things like:
"We don't need to involve the information architect yet. Their role doesn't begin until after we've defined user needs, site objectives, functional specifications, and content requirements. See, look at Jesse's diagram."
"The information architect shouldn't be involved in the design of navigation systems. That's the interaction designer's job."
We must challenge these architect-in-a-box threats or face a future nearly as bad as the prospect of being stuck into little blue folders.
In Defense of Diversity and Fuzziness
There is a core to the practice of information architecture that involves the structure and organization of information systems that provide intuitive access to content and applications.
However, interpretations of the role of the information architect vary depending upon the organizations, the projects, and the people involved.
At one end of the spectrum, the little information architect may focus solely on bottom-up tasks such as the definition of metadata fields and controlled vocabularies.
At the other end, the Big Information Architect may play the role of "an orchestra conductor or film director, conceiving a vision and moving the team forward," as described by Gayle Curtis, Creative Director at vivid studios.
While this diversity and fuzziness drives some people crazy, I think it's a good thing. In the rich, dynamic environment of web design, it would be foolish to draw thick black lines between and around professional roles and responsibilities.
Some projects require a Big Information Architect. Others require a little information architect. The best work comes out of collaboration between information architects and interaction designers and other professionals of all shapes and sizes.
By working together to design useful and usable web sites, we can ensure that our food supply continues to grow. Evolution is not a zero-sum game.
End Notes
Do you have strong feelings about the role of information architects?
Please send your rants and raves to Peter Morville.
Subscribe to our bi-weekly newsletter for notification of new articles.
If you'd like to bookmark this column use this and if you'd like to bookmark this article use that.
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NEWS OFFICE PROJECTS PUBLICATIONS CONTACT JOBS
Breaking The Edge: Reclaiming Detroit’s Riverfront
The Detroit River and the riverfront have been instrumental in the development of the city of Detroit. From the initial settlement as a French fort in 1701 through the opening of the Erie Canal in 1825 and the rise of importance of Detroit as a major shipping port to the industrial heyday of the first half of the twentieth century, the riverfront remained a vibrant and essential feature of the urban fabric. Today, the riverfront is a disconnected urban asset, hidden from the center of the city behind major streets, parking lots, large buildings, and a mostly desolate urban plaza. Efforts to clean up the riverfront have relied mostly on beautification strategies and have not addressed the most pressing issue: the need to reconnect the Detroit Riverfront to the city. Hart Plaza, no longer serves as the “Heart of Detroit.” Designed in 1975 for large public festivals, Hart Plaza has hosted many important festivities, but most of the prominent events have since moved to other places in the city, which are more appropriate in scale or location, leaving behind a valuable urban space with enormous social potential.
“Breaking the Edge” is intended to be a catalyst, rather than seen as a finalized plan. The goal of our design is to reenergize the social fabric of the downtown waterfront through a network of connected multifaceted spaces from Campus Martius to the Riverwalk; as well as, enhance existing urban assets to create an accessible destination as part of a new vibrant downtown Detroit. We do not view this as an abandonment of Hart Plaza, but rather as reclamation of the Detroit Riverfront by the city. Our strategy combines the specificity of an architectural intervention with programmatic choreography; thus, orchestrating the dynamic coexistence of urban activity and stimulating the urban potential of the riverfront through a connected public space. This orchestration is initiated through the daylighting of the historic Savoyard River and channeling the newly uncovered waterway to the Detroit River through the introduction of the new Savoyard Canal. The restoration of the hydrologic system in Detroit and the introduction of a constructed wetland will serve both environmental and social purposes as the new canal runs along lower Woodward Avenue, enhancing the Downtown experiential quality and creating an attractive environment for new businesses at both the street and lower promenade levels. The canal is flanked by programmed promenades on either side, directly connecting the current center of activity with newly programmed islands at the river’s edge. This new pedestrian connection from Campus Martius to the riverfront will be unobstructed by traffic along the sunken promenades and under the new Jefferson Avenue Overpass.
A discourse amongst the newly formed islands will evoke the succession of the scenographic elements, which will create the base of possible activities. Each island is created with an individual character allowing for differentiated events and an array of unpredicted activities suited for individuals, families, and small gatherings. However, through their orientation and a series of pedestrian bridges, the separate spaces remain well connected for larger festivities to take place on several or all islands simultaneously. A central Exhibition and Information Pavilion will serve as a destination for tourists and Detroiters alike, housing a café, a restaurant, and a gallery focused on information of the city’s architecture, urban design, and development. The building will mediate between the street level and the new riverfront level of the islands and will offer spaces for classes, meetings, discussions, and receptions. Acting as a promotional institute for architecture, the pavilion will be humble and compact, yet also emerge as a landmark for the riverfront.
Project Type: Urban Plaza
Location: Detroit, Michigan, USA
Client: AIA Detroit by Design
Service: Urban Design, Architectural Design, Landscape Design
Site Area: 37.9 acres / 15.3 ha
Competition: November 2012
Team: Lars Gräbner, Christina Hansen, Kelly Raczkowski, Yukun Xu, James Bevilacqua
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Rhythmic Architecture
“Like a ribbon in space” is how Jonathan Glancey quoted Zaha Hadid’s own description of the curves and planes of MAXXI, the art and architecture museum she designed for the Flaminio district in Rome. Photographer Liam Leslie’s imagery captures a building that houses art, as art rather than architecture. Concrete becomes abstract, earthly becomes ethereal, and all sense of scale disappears; these photographs recall the radical compositions of Hadid’s hero from the world of 20th century art, Kazimir Malevich.
A Ribbon in Space, 28 September – 30 November, The Lighthouse, Glasgow.
1. Liam Leslie, MAXXI I (2016), fibre gelatin print 24″ x 20″, hand printed by the artist.
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I've Forgotten Why I Shouldn't Blink
by Alice X. Zhang
Stationery Cards
Set of folded stationery cards printed on bright white, smooth card stock to bring your personal artistic style to everyday correspondence. Each card is blank on the inside and includes a soft white, European fold envelope for mailing.
IllustrationHorrorBlack & WhiteMovies & TV
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Phone Skins
sr casetin (elbarrio)
by Sr Casetin
Skins are thin, easy-to-remove, vinyl decals for customizing your device. Skins are made from a patented material that eliminates air bubbles and wrinkles for easy application.
Nikola Nupra commented on August 1, 2012 2:38pm
Wow, great!
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Introducing New Biker Tanks on Society6!
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And love is what remains
by Monster Brand
Phone Skins
Skins are thin, easy-to-remove, vinyl decals for customizing your device. Skins are made from a patented material that eliminates air bubbles and wrinkles for easy application.
If you only take a moment, you might find something truly beautiful...
(http://monsterbrand.deviantart.com/)
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The Maker Experience: Amy from Pin Head
Hello, my name is Amy Collins and my business is called Pin Head. I design and sell unique enamel pins to be worn on your lapel or backpack.
After following Megan’s journey with Curated Makers right from the start on Instagram, I was thrilled to hear from her at the end of summer. Being selected to have my products on sale in the made local pop-up within Liverpool John Lewis & Partners, was just the boost I needed as emails came flooding in from the local makers markets; postponed, cancelled, cancelled due to Covid-19 etc…
All artists are offered shifts to work within the pop-up over the six week period, if it is something they can commit to. Missing face-to-face interaction with customers over the lock down, I jumped at the opportunity! Many independents are in the same boat at the moment (nervous) so some regular wages over those six weeks was a real draw too. Working at the pop-up has been one of the best parts of the whole experience; from spending time with Megan for the induction, to working with brand new people and fellow makers on the weekend shifts, even working alone when you’re just chatting with customers and relying on friendly nods and hello’s from the John Lewis staff for interaction. I have really liked the trust and autonomy involved in this short-term role, it has all been set-up to be very user friendly though so it’s a cinch to get your head round all the processes.
This community of Curated Makers extends into the online realm too with everyone following and supporting one another on their social media accounts. We are all wanting one another to do well, as it benefits everyone. It has been fun making posts and videos to promote the stall and tag all the wonderful artists involved. It is always a nice surprise when the artists come in and drop stock off when you are on shift. I love meeting all the other makers. That is what is nice for the customers too...to meet the makers who can talk passionately about their own projects and the whole Curated Makers concept as well.
Curated Makers does marketing really well and this attention has rippled right through the City of Liverpool. Lots of artists have dropped by to inquire about future opportunities and gift shop owners have come to see the great selection on offer. I personally had a shop owner accost me on shift, wanting to be a new stockist of Pin Head pins. I now have a range of products on sale in their suburban city gift shop. This may not have happened if it wasn’t for the pop-up. All in all it is a great project to be affiliated with and I’m so grateful.
The Liverpool John Lewis autumn pop-up ends this Sunday 18th October and I’m sad it is coming to an end, but I am lucky to have made some connections and friends that will last. I will also have a new range of pins on sale in the upcoming Trafford Centre pop-up in the run up to Christmas and I am looking forward to helping out with some Christmas shifts in the Chester pop-up too, so my CM journey continues…see you there!
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BooksJacket Copy
Basquiat book in the works to feature unseen archives, art
ArtArts and CultureSotheby's Holdings IncorporatedStephen ColbertAndy WarholNobel Prize AwardsF. Scott Fitzgerald4, Los Angeles Times
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Promo Applied:
Golf Course Lights Holiday Card
How soon can I get it? Shipping Options
Product Description
This golf-themed holiday card features a snowy golf course at night with a tall Christmas tree illuminated with white lights, a red flag and the message reads "Season's Greetings" in a stylish white script. The interior of the card is white, and the back is gol
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Vibrant Falling Sparkles
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Laptop Not Co-Operating - and Some Very Cute Kitties
drawings horses studio helpers studio news
The past week or so the laptop has not been co-operating, or rather the router is acting up I suppose. The little Miss Blazey is as usual making sure to look after me.
In the Studio
The laptop is acting up again lately, it does not want to connect to the network.
I was considering starting up my eBay auctions again. Then as it turns out, I won’t be able to get any help with it. Taking pictures, listing, keeping track of inventory etc. = a lot of screen time. Too much screen time. So I guess no eBay auctions for a while more.
Plus, in all honesty, Blazey would not approve of me doing eBay auctions. If I even try (and I’m not joking here by the way) to start looking at eBay auctions to list… She gets like “What the kitten is going on here??! Hm!?” She will then proceed to start fluff bumping my chair, then me.
Then if I still do not listen, well, Miss Blazey gets in my face (quite literally actually). She will jump up on the table. Step in front of the laptop as if she is going for a walk (back and forth).
If that doesn’t work she will then do her next move. This include stepping all over the laptop and putting her tail in my face. If that doesn’t work to get me off the laptop she will start meowing loudly (in a very determined way) at me.
Blazey on Laptop Table - Kanweienea Kreations
Little miss Blazey on the laptop table.
Pages from the Sketchbook
I will be trying to list some pages from my different sketchbooks. I didn't get it ready this week, but I will try for next week. For now here are a few different older sketches.
Blazey pen sketch Gunilla Wachtel
A pen sketch of tuxedo girl Blazey sleeping on my drafting table. Yes, she approved of me drawing and was actually on the drafting table as I drew the picture.
A horse sketch from my sketchbook. Gunilla Wachtel.
One of my horse sketches.
I have been trying to decide how often to post on my blog. I like to use social media, but so many of these platform rules change and keep changing. That’s the nature of social media perhaps. However, I think it’s probably best to keep my website as home base so to speak.
For now I’m going to try and post at least once a week to the blog, sometimes maybe two posts. If you have any suggestions for what types of posts you would like to see the most, let me know in comments!
Featured Artwork
Friends. Original pencil drawing of a horse and cat. Artwork by Gunilla Wachtel.
I've always loved horses. To me, they are so many beautiful things. I love to draw horses and other animals. I was in the process of creating this pencil drawing of a Friesian horse when I took a short break to look at, and review, the composition of it.
It felt like there was something missing. I wanted to add something to it. I was not sure what and then I heard a loud, very loud in fact, purring sound. It was Tuxie, one of our Tuxedo kitties. She is, if you missed it somehow, the one I refer to as "boss kitty." She was laying on Othello just purring up a storm. Othello, if you didn't know, is a big stuffed toy horse that hangs out in my studio.
Tuxie the Tuxedo Kitty and Othello the Studio Horse. Kanweienea Kreations Studio.
Tuxie and her friend Othello.
Random Thoughts and Not So Random Thoughts
I’m trying to get used to my studio schedule and make sure that I work on my art at least a certain amount each day. I also try to make sure that I study art books, any art courses I have etc so that I can try to improve my skills not just by making new artwork but also improving on techniques, etc.
The newsletter is scheduled to come out in a few days, so if you don't want to miss out on special behind the scenes news, pictures, etc, make sure to sign up today!
Enjoy your day!
Gunilla Wachtel. Conveying the Beautiful Essence of Animals in Art.
Kanweienea Kreations
Artist. Animal lover. Swedish-American.
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Institutionalized | Art Review | Chicago Reader
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Emily Severance
Covering Ground: The Honeymoon
at School of the Art Institute of Chicago Gallery 2, through January 31
Shane Montgomery
Image Auto at 221 W. Chicago, through March 1
By Mark SwartzIn the winter of 1987 Emily Severance and I took a creative writing class together at the University of Michigan. I wrote stories populated with angst-ridden teenagers that I swore had nothing to do with Brett Easton Ellis's Less Than Zero, and she wrote violent prose-poetry about the moon and a little girl whose mother was a prostitute. Beyond her technical skill, which was substantial (at Michigan she won the Hopwood award for poetry by an underclassman), her work was characterized by a hushed atmosphere of genuine pain that left me feeling terminally suburban.
I ran into her a few months ago in the grocery store and asked her if she was still writing. "I'm in art school now," she said. "I'm in ceramics." I fell for it. I actually believed she'd forfeited her demons, and her ambitions, for a more modest pastime. A couple hours a day on the wheel, very meditative; some glaze, yes; and now let's drive it over to the craft show. But when I got a chance to see her work, in a group exhibit of current and recent MFA and BFA students at the School of the Art Institute of Chicago Gallery 2, there wasn't any glaze at all. Severance's installation, Covering Ground: The Honeymoon, offers an even bleaker and more mortifying vision than her writing did a decade ago.
A web of laundry lines hung with hundreds of squares of oppressively neutral clay dominates Covering Ground. From the outside, the installation presents a spectacle so gray in color and subject matter that the light fixtures overhead seem a futile joke. But remarkably the uninviting scene succeeds in drawing you into its recesses, around rusted basins, cinder-block walls, and wooden stepladders and under clotheslines that droop lower the further you go. If you want to get under the final one you have to crawl on hands and knees. You end up in a grottolike space with an old couch against one wall. The wall opposite the couch is decorated with green paper and images clipped from bridal magazines: smiling brides and at least one child in a flower girl outfit who looks on in awe.
After the difficult journey to the interior, the couch offers a place to rest and to contemplate the smiling brides. The thematic complexity of the installation starts to sink in. The brides appear ridiculous in this setting, but also touchingly naive. They don't know what they're in for. "Hon-eymoons tend to be idealized," Severance told me, referring to the subtitle of her piece. "But what you get is an unfair division of labor."
The artist calls Covering Ground a tribute to her mother, who is now ill but who used to enjoy traveling. I suspect she saw it as an escape from a tedious domestic existence. There's water in the rusted basins, and at the bottom of them is sand in which Severance has written the names of places her mother liked to go. Travel brochures litter the ground under one of the ladders. The other has books lined up on its rungs. The title on the spine of one of the older volumes says it all: The Real Guide: Able to Travel.
Like Severance, Shane Montgomery borrows and recontextualizes images in order to critique an entire system of image-making--in his case, the one that supports the automobile industry. Both Severance and Montgomery focus on systems bigger than can be handled in a single work of art: not just bridal magazines but the patriarchy, not just car commercials but cultural ideals that rob the human body of its humanity.
A graduate of the School of the Art Institute, Montgomery was given the opportunity to create an installation using the storefront of Image Auto, a defunct auto-supply store at the corner of Chicago and Franklin. The local nonprofit organization Art Windows arranged for the project, and Cellular One provided a grant.
Image Auto left in the windows four neon signs: "Auto Accessories," "Customizing," "Auto Sales," and "Car Phones." The artist has added a neon word to each phrase, so that they now read "Auto Accessories Mimic," "Customizing Flesh," "Auto Sales Arouse," and "Car Phones Throb." To my mind it's a better use of neon than anything I've seen by Bruce Nauman. I wonder if Cellular One knows what its money is going for.
Below the signs are four enlarged "drawings," hybrids Montgomery pieced together from illustrations in car manuals, books on old toys, and plastic-surgery texts. Each drawing contains multiple conflations of anatomy and technology--the pelvis as oil pan, the retina as an array of electrodes, the thighbone as a shock absorber. Seen from a passing bus, Image Auto is extremely convincing: it looks like an ordinary storefront, especially at night. From the sidewalk, however, it's possible to study the drawings and to consider their philosophical implications and satirical intentions.
When I talked to Montgomery I brought up Stelarc, the Australian performance artist best known for having doctors attach a mechanical arm to one of his arms, wiring it into his nerves so that he can actually control it like a flesh-and-blood limb. Stelarc claims that by automating his body he's simply accelerating the forces guiding human evolution.
Montgomery acknowledged that he's addressing some of the same issues, but he was quick to distance himself from Stelarc's enterprise. "He's running from a fear of his own limitations," he said. Montgomery sees a circular relationship between human anatomy, which can now be altered by several means, and the shapes our machines take. "People develop an aesthetic about themselves," he says. His work reflects a stance on the relationship of technology and biology that's neither Luddite nor utopian but thoughtful and probably accurate. After all, we are living in the age of Buns of Steel.
Art accompanying story in printed newspaper (not available in this archive): "Covering Ground: the Honeymoon" (detail) by Emily Severence / Installation by Shane Montgomery photo by J.B. Spector.
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Oxidized Yoruba Bronze Ife Head 14.25″ – Nigeria – African Art
SKU: 1010073 Categories: ,
Discover African Art Handmad Badge
This bronze statue, known as an Ife head, was created in the style of the Yoruba people of Nigeria. The Yoruba are well known for their life-like sculptures. This piece measures 14.25 inches tall and weighs 5 pounds. There is some corrosion and wear and tear throughout – please inspect photos.
Type of Object
Bronze Statue
Country of Origin
Copper Alloy
Approximate Age
Height (Inches)
Width (Inches)
Depth (Inches)
Weight (Pounds)
5 lbs
Overall Condition
Some corrosion and wear and tear. Inspect photos carefully.“Ife Head” Object
This piece is a representation of the original Ife Head that was unearthed in 1938 in Ile Ife. Created by the lost wax casting method, these bronzes were compared to ancient Roman or Greek art due to the astounding detail, realism and craftsmanship. Pieces like these are believed to have been created by the Yoruba since the 9th or 10th century.
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Atamira Dance Company: On the rite path
By Raewyn Whyte
Atamira Dance Company marks its 14th anniversary with a double bill exploring the challenges young Maori face dealing with city life. Raewyn Whyte reports
Atamira Dance Company 2012: Mark Bonnington and Nancy Wijohn in Jack Gray's Mitimiti
Atamira Dance Company 2012: Mark Bonnington and Nancy Wijohn in Jack Gray's Mitimiti
In next week's Tohu programme, as part of its annual Urban Disturbance season, Atamira Dance Company begins its 14th year of making Maori contemporary dance.
Over the years, the company has made an impressive array of dance works, some short and frothy, and some longer works about very serious matters such as child abuse. Sometimes five or six short works combine to build a programme, but more often the show is just one work.
Previously, the company's main focus has been telling stories that connect the dancers to their ancestors - connecting the experiences of the Maori Battalion on the front lines of the war with those of their families in East Coast farming communities; connecting the hunting of muttonbirds and harvesting of kai moana along the Catlins Coast with the legend of Rona and the Moon; examining the impact of broken promises to do with land ownership on successive generations of one family.
With the Tohu season, Atamira is taking a step sideways, breaking with the strong aesthetic that has made their works instantly recognisable.
In place of the rhythmically driven, luscious movement in hypnotically repeating patterns danced in black dance gear in relatively low light, fragmented movement is infused with broken urban rhythms and overlaid by cutting edge projections, presented in street clothes. Now the focus is on sharing contemporary experiences which have direct relevance to their audience members.
"It's time for us to break new ground," says Atamira's artistic director, Moss Patterson.
Tohu are signs and symbols of significance, patterns or ways of doing things attached to a particular person or group, object or place. Sometimes they are invisible, but are as strongly present as a physical object, such as a sudden feeling of warmth as if from a hug, or a shiver down the spine as if a warning is being delivered. These signs can offer guidance and reassurance that you are on the right path, help you to re-orient yourself in a time of confusion, and act as a touchstone when courage is needed. Tohu are also associated with rites of passage, times of transformation, and times of disturbance, perhaps as rituals for restoring harmony to your life.
The two works that make up the Tohu season deal with the good and bad things about city life, the challenges young Maori face in the urban environment, and the quandaries faced by Maori artists whose allegiance is torn between the inspirations and edginess of urban living and their deep affiliations with specific rural landscapes.
Moko, by Moss Patterson, asks questions about what it is to become whole, exploring possible answers through movement and projections which coexist in the same space. Mitimiti, by Jack Gray, is concerned with the dislocation and grounding of body, mind and spirit and the challenges that result from moving between urban and ancestral landscapes.
For Moss Paterson, making Moko has been a way to make changes in his approach as a choreographer, to let go of elements no longer as important as they once were, to let him embrace other aspects of artistic practice.
"There are lots of questions you have to ask, and answers you have to face up to, when you challenge yourself to move on, keep on developing as an artist and as a person. The dance I'm making explores transformational moments, and acknowledges the impact of the urban landscape on our dance making, and on me as a Maori artist. I also want to discover what emerges from the states of intense interconnection which we are exploring in the studio."
Jack Gray has been shuttling between New Zealand, Australia, Hawaii and California over the past year, with support of an AMP "Do Your Thing" Scholarship, the University of Hawaii, and artist residencies at UC Riverside and Santa Fe Arts Institute. He has been actively researching the nature of indigenous dance practice for people of diverse nations, with dance providing a living, breathing form of cultural interpretation. His discoveries are now being applied in the continuing development of Mitimiti - the dance is named for the ancestral home of his mother's people, a tiny village on the wild west coast, just up from the mouth of the Hokianga harbour.
"It's ironic," he says, "I've spent more time in San Francisco this year than I have in Mitimiti in my whole life, but visiting Mitimiti recently has made me question what it is to find my place in the world, to be at home, how to keep ancestral pathways alive in the city context."
Both Moko and Mitimiti have been taking shape over the past year, and have been seen in earlier incarnations. As serial works, each has already developed quite a following, and tickets to the show have been selling fast. Both will be performed again in their next development next March as part of the Auckland Arts Festival, then go on to be completed as full-length works - Mitimiti in 2014 and Moko in 2015.
What: Tohu - Urban Disturbance
Where and when: Shed 1, Corban Estate Arts Centre, 426 Great North Rd, Henderson, November 22-24 at 7.30pm
- NZ Herald
© Copyright 2014, APN New Zealand Limited
Assembled by: (static) on production bpcf02 at 22 Oct 2014 15:44:02 Processing Time: 393ms
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Stuff Events
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Paint and Wine Night - The Scream - Paintvine
Paint and Wine Night - The Scream - Paintvine
Sorry this event has been and gone
• Wed 29 May ’19, 7:00pm – 9:00pm
The Rising Tide, 107 Newton St, Mt Maunganui
All Ages Licensed
Ticket Information:
• General Admission: $45.00
The concept is simple - take a brush in one hand a drink in the other and let’s paint a masterpiece!
Join us for a creative night of drinking and painting in Tauranga/Mt Maunganui! No previous painting experience necessary! Get your creative juices flowing and your brush strokes going!
The need to know:
Time: 7pm to 8:30/9pm (Arrive for 6:45pm, painting starts at 7pm)
Drinks: Your first one is included in your ticket
What is Paintvine?
It’s a fun social painting class where our artists will run you through step-by-step instructions on how to create your very own masterpiece in a fun and relaxed bar in Mt Maunganui. Perfect for dates, catching up with mates or for meeting new friends.
We provide all the materials you need (high-quality canvas, acrylic paint, brushes). All you need to bring is your creative spirit (or find some at the bottom of a glass). At the end of the night you will leave with your own painting ready to hang up on your wall.
So what are you going to be painting?
The Scream is one of the world's most infamous paintings, brought to life over a hundred years ago in 1893 by Norwegian artist Edvard Munch. Ed was inspired to paint this striking piece after taking a stroll along a path one evening and instantly felt tired and ill, the painting is symbolic of how he felt at the time. Much like how we usually do Sunday morning after a few vinos - on another note this painting last sold for over $100 USD Million, so you never know, yours might also be worth that one day?
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Doug Heslep
Artist: Doug Heslep
Genre: Figurative
Media: Archival ink on Epson Cold Press Natural cotton rag paper
Website: www.dougheslepfineart.com
Figurative Photography:
Within each woman is a wellspring of sensuality that bubbles to the surface in private, unguarded moments when she is freed from prying eyes and the strictures of clothing. But in public, she unconsciously betrays glimpses of her sensual self in the tilt of her head, lilt in her voice, and the way she moves across a room, settles into a chair, or crosses one slender leg over the other. These are the clues that photographer Doug Heslep uses to interpret the muses who populate his figurative fine art photography in his ongoing quest to depict their private persona.
“Before I pick up my camera,” Heslep confides, “I talk to each model for ten or fifteen minutes. I’m not as concerned with what she tells me as I am with her body language. How she sits, turns her head, smiles and responds.” He allows her bearing, posture, gestures, mannerisms and subtle movements to dictate the poses he suggests for the camera. All are spontaneous; none preconceived. “She has to feel completely at ease in order for each pose to flow. When that happens, her expression will reflect the contentment and confidence I’m seeking to portray.”
Heslep’s Galerie Nu series bears striking parallels to Ruth Bernhard’s nudes (like Perspective II, left). Like Bernhard, Heslep favors black-and-white for his figurative photography, and like Bernhard, Heslep uses black backgrounds in order to shift the focus to the model and her purposeful, expressive pose. But for Bernhard, the effects of light on the female body were her paramount concern (as in The Eternal Body, right). “My quest, through the simple magic of light and shadow, is to isolate, to simplify and give emphasis to form with the greatest clarity,” Bernhard stated. “To indicate the ideal proportion, to reveal sculptural mass and the dominating spirit is my goal. Light is my inspiration, my paint brush. It is as vital as the model herself. Profoundly significant, it caresses the essential superlative curves and lines. Light I acknowledge as the energy upon which all life on this planet depends.”
Bernhard’s orientation was primarily on the subject in her viewfinder. By contrast, Heslep internalizes what each model gives him and expresses his visceral response through pose, lighting and background. The difference is like comparing Vermeer to Pollock. Heslep’s brand of figurative work is premised upon the supremacy of his own artistic feeling about his subject. But rather than drips, splashes or tossed paint, Heslep expresses his internal reaction with his camera.
Since Heslep’s figurative work is more about his emotional response to his subject than the subject herself, it is important to know that Heslep is a self-avowed perfectionist. With all due respect to icons like Cindy Sherman, Sally Mann and Robert Mapplethorpe, blemishes, wrinkles and flaws are antithetical to his firm conviction that the female form is the most beautiful thing on earth. “I admit it. In my photography, I put my subjects on a figurative pedestal. I insist on showing them in their most flattering aspect.” Toward that end, he subjects each of his figurative images to a complete body touch to remove any imperfections “so that my appreciation for each woman’s beauty and grace shines through the ultimate image.”
Thus overarching pursuit of classic perfection is another attribute Heslep shares with Bernhard. Discretion is yet another. “I strive for sensual, not sexual. My images always show respect.” Heslep rankles at viewers who equate one with the other. To Heslep, there’s clearly a bright line of demarcation.
Heslep knows intuitively the lesson so poignantly taught decades ago by one Norma Jean Mortensen. Like Cleopatra before her, Marilyn Monroe came to be regarded as the epitome of raw sexuality. But Marilyn Monroe’s carnal appeal lay not in her voluptuous curves, plunging cleavage or deep, breathy tones. It was rooted instead in her sensuality, that incongruous mix of schoolgirl innocence and vulnerability that subconsciously that he deepest need and psychological craving was to be loved and desired.
While it may have been innocence and vulnerability that lay at the root of Marilyn Monroe’s sensuality, the core attribute or attributes are different for every woman. It is Heslep’s rare ability to open himself to each muse’s unique sensibility that explains the introspective (When a Woman Knows, The Good Egg, Frenchie), reflective (The Struggle Within, Contemplation, Dark Dream, Afterglow), seductive (Seduction, My Neighbor’s Chair, The Embodiment of Desire) and playful (Like My Shoes (left), The Starting Line, Simply Divine) nature of Heslep’s figurative images. He is not afraid to confront that ephemeral, amorphous dividing line between sensuality and sexuality either in his models or himself in order to uncover the traits necessary to convert his models from mere women into singular sensual beings worthy of adoration for eternity in the Epson Cold Press Natural cotton rag paper he uses to print his finished work.
“The imagery has to say something,” Heslep flatly insists. “Each photograph has to speak.”
The Swan Series
live03As a fine art photographer, Heslep is also accomplished in botanical (Bud-ding Moment and Android collections), underwater (Deep Blue Series), wildlife and landscape motifs, and his sunsets and images of lightning streaking across the skies over Fort Myers draw rave reviews and a host of likes and comments when he posts new pictures on his Facebook wall. But among his own personal favorites is his metaphorical and metaphysical Swan Series collection.
In American culture, the swan is a symbol of peace and tranquillity, but in European literature and mythology, the swan is a symbol of strength (because of their size and the height they can achieve in flight), chastity (partly because of their white plumage), loyalty (because they mate for life), artistry and beauty. From this, they have come to symbolize the power and longevity that is possible when we awaken to the creativity latent within ourselves.
Doug Heslep Swan (3)People today often equate swans with endings, but the idiom “swan song” actually originated 2,500 years ago. In Hellenistic times, the Greeks believed that swans sang but once during their lives, just before they died. But this belief also led to their association with prophecy, intuition, dreams and balance or harmony between competing cosmic forces.
The images from The Swan Series can be appreciated either for their simple beauty or deeper philosophical meaning.
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Cypress Trees Near Point Lobos, 1924
Percy Gray (American, 1869-1952)
Cypress Trees Near Point Lobos, 1924
Watercolor on paper on cardboard
15 5/8 in. x 19 5/8 in. (39.69 cm x 49.85 cm)
Crocker Art Museum Purchase
• Like many of his early 20th-century contemporaries, Percy Gray revered nature and its positive influence, clung to a belief in the virtues of the past, and was intent on maintaining a simple life in the midst of a complex age. For Gray, these ideals were exemplified by the Native Americans he painted, the principles of the American Arts and Crafts movement that he contributed to, and by his own desire to preserve Cali fornia’s natural beauty, both in reality and in his art. Gray did not begin his career by painting the landscapes for which he later became known. After his initial study at the California School of Design in San Francisco, he put his skills to work as an illustrator. In 1895 he moved to New York and pursued the same line of work while continuing his art training at the Art Students League and with William Merritt Chase. He stayed in the city for the next eleven years. In New York, Gray began a series of portraits depicting Native American leaders and chiefs. He eventually produced more than twenty such portraits, the majority of which were completed after he returned to California. Most were watercolors on paper; only one, which is in the Crocker collection and shown here, was on porcelain. Gray began producing his mature work in the early 1910s when the Arts and Crafts movement was at its height. By this time, he had become almost exclusively a landscape painter. He painted most often in watercolor, but sometimes worked in oil, here on an unusual, trapezoidal canvas (opposite page). He painted selectively, stating that it was hard to find trees— eucalyptus in particular—with enough poetry to translate into painting.1 Gray was careful about the times of day he chose to approach his subjects, and he combined the poetic realities he found with his own carefully structured compositions, evanescent approach to atmosphere, and expressive color.
1. E. Van Lier Ribbink, “Gray Walks Miles to Get Atmosphere,” San Francisco Examiner, 30 May 1920.
Hours | Directions
216 O Street
Sacramento, CA 95814
cam@crockerartmuseum.org
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BlackCatTips in Atlanta Magazine
February 5, 2024
Here is a new article from the February issue of Atlanta Magazine.
Painting at the Corner of Street Art and Folk Art
“I don’t think I’ve ever done an interview while sitting on a bucket,” Kyle Brooks, also
known as the artist BlackCatTips, muses while sitting on a blue plastic painter’s bucket.
It’s a sunny afternoon in Virginia-Highland, and Brooks has begun painting a mural outside Ash Coffee.
The cafe-meets-knickknack shop opened just a few days ago and is already bustling.
On the concrete wall outside, Brooks has completed a large white circle, where the cafe’s
red logo will go. Next, he’ll add an abundance of whimsical, colorful characters: some
mountains, some mushrooms, some faces of fanciful and unknown origin. With their
large, gleeful eyes and eager smiles, the creatures are instantly recognizable to anyone
familiar with Atlanta street art. After more than a decade of painting whatever he could get his hands on, Brooks has cultivated something of a one-man school of art. “I wasn’t meaning to paint folk art, but
that’s kind of what happened,”
he explains. “I just started drawing faces, and I had kind
of a crazy fire to keep making more faces.”
Brooks, who is rounding 50, is tall and lanky, with a long beard like David Thoreau, if Thoreau
had gotten into outsider art. Today, he’s wearing paint speckled jeans and a blue
knit cap from Your DeKalb Farmers Market. He grew up in Atlanta and has a soft
Southern accent that adds to his aura of timelessness. Even as a kid, Brooks had a habit of
crafting oddball art in places no one expected it. “In high school, I took a laminated
picture of Elvis with some words under it and put it in a tree on top of Table Rock
Mountain in South Carolina.”
he says with a chuckle. He worked odd jobs after college, but kept finding detritus to turn into art, adding doodles to old road signs or hanging paintings on telephone poles.
In 2011, he turned this found art habit into a career and never looked back He’s since
painted dozens of murals, performed at Finster Fest, and published a children’s book, Smile a While, which features his signature bear. Why does BlackCatTips have a bear logo? Who knows? “It’s strange and a little mysterious,” he considers. “Maybe that doesn’t make sense, but a lot of my stuff doesn’t make sense.”
Back at Ash Coffee, Brooks tests a new method, using pounce powder to stencil the
logo on the white circle. Ashley Saunders emerges, bearing a cup of coffee for the artist.
Saunders opened the cafe with her partner, Moss Mills, who owns Junkman’s Daughter
in Little Five Points. She handles the coffee; Mills handles the knickknacks. Saunders wanted a mural
as soon as she saw the blank wall outside. “He was my first choice,” she says of Brooks.
“If we couldn’t get him, then I didn’t really want to do it.” After moving to Atlanta, Saunders fell in love with the BlackCatTips pieces she spied while running around Arabia Mountain. “It’s so colorful and eclectic,” she says. “I was so excited he said yes to this project!”
The next day, Brooks sends me a photo update: The cheerful mountains and
mushrooms are nearly finished. “I’ll work on it more next week,” he writes. ”Make a happy wall.”
See you soon,
Kyle BlackCatTips Brooks
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Renovation Of A Village House / L’Autre Fabrique Architectures
Saint-Hilaire-du-Rosier, France
Text description provided by the architects. After spending more than a year looking for a suitable plot on which to build a contemporary house, a young couple without children finally opted for the renovation of a village house, inherited from a grandmother and uninhabited for several years in the village of Saint-Hilaire-du-Rosier, near Saint-Marcellin, Isère.
Located in the centre of the village, along the old highway connecting Grenoble to Valence, the three storey building has a quiet garden to the rear. The street front was composed of two smaller adjoining houses. The project was to create a space that would eliminate the earlier rather chaotic group of rooms and open it out generously to the rear in order to benefit from the sunset and the absence of noise from the street.
The back end was completely reconfigured: the extensions dating from the 1940’s were demolished to retrieve an alignment with the adjoining houses. Slightly proud of the adjoining houses, a new timber framed front with large windows gives the contemporary touch sought by the clients. The use of horizontal timber cladding is a discreet nod to the walnut and tobacco drying sheds typical of this area of south Isère.
Bordered on the right by the former pigsty and on the left with a new boundary wall, the large wooden deck that extends from the living room to the outside is well sheltered from the view of the neighbouring houses. Above the pigsty, which now serves as storage, is a second terrace accessible from the master bedroom, where one can enjoy the last rays of the sun.
The interior volume is organized around a large atrium flanked by a staircase whose cantilever steps are made of brushed steel that has been intentionally left rough.
On the ground floor the living space is completely open. The kitchen is open to the double-height volume and extends all the way along the front of the house. The central island houses the washing area and serves as a bar while the cooking area is extended by deeper storage cabinets incorporating the laundry area.
Upstairs a mezzanine overlooking the central atrium is the link to the sleeping area. The original parquet floor has been preserved here. The owners have deliberately opted for only one spacious bathroom which is directly accessible to the master bedroom from the dressing room and to the guest bedroom from the landing. As for the attic, this has been insulated and work will be continued on it at a later date.
The choice of paint and flooring contributes to the harmony of the whole and varies from a black satin finish in the guest toilet to chocolate and sand in the living spaces. Upstairs, the landing ceiling is ”powder pink”- as the owner says - and enhances the whole as a unifying ribbon.
The heating and insulation work was funded by a zero percent interest eco-loan. This involved the installation of double glazed 4:16:4 larch-wood windows, the insulation of all the outside walls and roofspace and underfloor heating on the ground floor powered by an air source heat pump.
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Address:Saint-Hilaire-du-Rosier, France
Location to be used only as a reference. It could indicate city/country but not exact address.
About this office
Cite: "Renovation Of A Village House / L’Autre Fabrique Architectures" 06 Dec 2010. ArchDaily. Accessed . <https://www.archdaily.com/93634/renovation-of-a-village-house-l%25e2%2580%2599autre-fabrique-architectures> ISSN 0719-8884
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Domaniowski Palace in virtual reality
Domaniowski Palace is a beautiful place in central Poland, whose charms were presented in a modern form using virtual reality. It is a place where history is intertwined with modernity and elegance.
The application demonstrating the object has been adapted for HTC Vive and Samsung Gear VR mobile goggles. Using the best 360 cameras, a professional drone for aerial photography and the involvement of actors, a unique promotional material was created, which shows the beautiful interiors of the Palace, as well as the surrounding area, that is the immediate vicinity of the Domaniowski Lagoon - the largest reservoir in southern Mazovia.
Below is one of the 360 videos that we used in the VR app.
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You are here
Newman Scoring Stage, Los Angeles
Studio File By Hannes Bieger
Published July 2012
One of the oldest and largest recording studios in the world, Fox's Newman Scoring Stage is still in constant demand for top-class film scores.
Along with Sony/MGM, the recording studio on the premises of Fox Studios is noteworthy as one of the few remaining large-scale scoring facilities in Los Angeles. Built in the 1920s as a filming stage, it was later converted into a recording studio when composer Alfred Newman was head of Twentieth Century Fox's music department. Since then, the studio has seen two substantial renovations. In 1997, the new, modernised control room was put into service, and Fox, honouring its founder, renamed the studio the Newman Scoring Stage. By contrast, the huge live room remains almost completely in its original condition. With a ground area of almost 700 square metres, it is among the largest dedicated recording spaces in the world, and — with its characteristic ceiling lights — one of the most attractive.
The centrepiece of the studio is an AMS-Neve 88RS console with 96 input channels, designed to be compatible with the desks at Sony/MGM and Abbey Road.Not only were Newman's film scores recorded at this studio, but also his famous Fox logo fanfare. Divas such as Marilyn Monroe, Julie Andrews and Shirley Jones have recorded at the stage, as did Elvis Presley. Famous film composer John Williams worked with Alfred Newman in his early career, so his name is inseparably linked to the studio as well. The list of scores that have been recorded at the studio in the past 70 years seems almost endless. In recent years, scores for The Simpsons, the Matrix trilogy, Sex And The City, Wall-E, The Devil Wears Prada and Pirates Of The Caribbean, amongst countless others, have been recorded at the Newman Stage.
Rooms Within Rooms
Left: a Neumann M149 in the live room, in front of the beautiful cylindrical ceiling lights. Right: one of two Sennheiser MKH800 mics capturing the sound of the grand piano.
Besides the live room and the spacious control room, the stage features two smaller recording areas: a dedicated drum room and a vocal booth. There are three desks in the live room, between the control-room window and the director's podium. One supports the headphone cue mixer, another one is for the editor, and the third desk is the work space of the copyist (it is not uncommon for last-minute edits to the score to be made during sessions, often by hand).
The centrepiece of the studio is an AMS-Neve 88RS console with 96 input channels. Its preamps have been modified following Abbey Road's specifications, and the layout of the desk is the same as that of the console at the Sony/MGM stage. Consequently, Newman is fully compatible with these other important studios. The primary recording system is Avid's Pro Tools, the inevitable industry standard, but a 72-channel IZ Radar system is used simultaneously as a backup solution.
State Of The Art
Left: 16 channels of transparent-sounding Grace and Millennia preamps in the outboard rack. Right: 48 Neve mic-preamp channels in the live room help to keep the microphone tie-lines as short as possible.
In contrast with Abbey Road's impressive vintage microphone collection, the Newman Stage is equipped with very modern sound transducers. Apart from a couple of vintage RCA ribbons, the studio predominantly makes use of current production microphones from manufacturers such as Neumann, Sennheiser, Royer, B&K and AKG, with the most numerous being the Neumann M150, TLM170 and KM184, Sennheiser's MKH800 and MKH40, and a number of Schoeps small-diaphragm condensers.
A very interesting feature is the rack of 48 Neve microphone preamps located directly in the live room: 24 standard 1081R and 24 'AIR Montserrat' types help keep the microphone tie-lines as short as possible. The latter were designed to the specifications of George Martin's legendary studio in the Carribbean, which was destroyed by hurricane Hugo in 1989. Outboard EQs and compressors do not play a vital role in a studio mostly used for orchestral recordings, but, nonetheless, some high-class gear is kept in the outboard racks, including transparent-sounding preamps by Grace, Millennia and Avalon, and a multi-channel SSL compressor, suitable for 5.1 bus processing.
However, in a studio like this, it's not only the gear that counts. The lush, voluminous sound of the live room is probably the studio's biggest asset. For its size, it sounds surprisingly dry and controlled, but it lets sounds bloom in an absolutely beautiful manner. One might say this could be a perfect combination of the sonic attributes of Abbey Road's Studios 1 and 2...
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Unzipped Linen Dress
Unzipped Linen Dress, 2018 oil / mixed media 16x24" jodee clifford
Unzipped Linen Dress, 2018 oil / mixed media 16x24"
Unzipped Linen Dress, 2018
oil / mixed media
16×24″
Completed in March of 2018, this personal painting is the first of some of my new work exploring relationships.
Figures on Clothes
Figures on Clothes was my first series of paintings starting c. 2003. To me, they began with the relationship between clothing and nudity using the human form explored between subject matter and material. I painted these nude female figures directly onto the surface of stretched and prepared clothing as I would on primed canvas.
First Impressions
First Impressions figurative oil paintings
First Impressions Jodee Clifford
4 First Impressions 10×10 oil on wood panel paintings, 2018
The idea behind First Impressions has been on my mind quite a bit lately. It’s fascinating to me how much people are able to instinctively fill in about others upon a relatively brief meeting. Logically and verbally, only so many questions can be answered but much intuitive information still resides in sense and energy.
I do a fair amount of drawing from life. The figure drawing parallel occurred to me – croquis are these fast drawings that capture gesture, shape, position, and weight in seconds. They often contain enough information to fill in the blanks to translate quick lines into solid human forms with energy and emotion.
That’s exactly how first impressions work… we flesh out quick skeletal scribbles into emotionally concentrated human forms with very little to go on.
Each of the photographed paintings above are:
10×10″, Oil on Wood, 2018
Oil Paint Jewelry
Drop Earrings by Jodee Clifford
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Helping Hurting People
This is a message I'm sending out to everyone in need of help with the problems, emotional and mental pains they are having. It doesn't matter who you are, what race, what kind of person you are, either you're atheist, gay, lesbian, bi-sexual, transgender, straight or what you have done. Even if you killed someone, please don't be afraid, I want to help you. If we talk I'll keep it between us, so no one else knows. You are never too far away to be saved. I won't judge you. Whether you are in pain from people, have pain on the inside, you cut yourself, or even thinking of or planning on committing suicide. It's never too late to change your mind about something. Never give up on life, even when life seems impossible. I want to help. This isn't a fake, I really do wish to help. You have a purpose, you just need to find it. If you know someone who is looking for help or needs it, tell them about me. My e-mail msn hotmail account is mentioned in the description section below.
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Art history/ Historiography, Crafts, Handlooms, Art
Making Varaq: The Ancient Arts of the Precious Metal Leaf-Beaters
Sethi, Dr. Ritu
The glitter and glitz of precious metalshas defined royalty, flaunted wealth and symbolized status and power. Over the millennia’salchemists innovated inventive ways to satisfy the ever growing pursuit for the new, the unusual and the bespoke. Today some of these ancient techniques continue to find new uses to meet the demands of the connoisseurs, the well-heeled and the ‘new’ royalty.Among thesetechniques are the arts of the precious metal leaf-beaters. The micro-fine leaf that they hand-beat – the Varaq, is used in ways both sacred and secular that defy imagination and speak eloquently of the skills of craftsmanship and the abilities of craftspersons to adopt material to myriad usage. From gilding icons, deities, ritual and decorative objects of stone and woodto being applied onto wall muralsand interiors. Theapplications onpaintings extendingfrom the detailed miniaturearts on paper to the ritual textile arts like those of the painted Pichwais of Nathdwar in Rajasthan. Manuscripts illuminated with gold leaf, gold-tooled leather bookbinding and theedge-gilding of booksto its use on religious book covers. Its extensive use in textiles fromclothing to ceremonial and ritual flags and in the past onpalanquin covers and tent hangings.Anintrinsic part of the MateriaMedica of Ayurvedic and Yunanihealing systems, in ancient cosmetic recipes and ofcourse the ubiquitous presence of this edible gold and silver Varaq on special-occasion Indian foods from confectioneries, desserts and nuts to biryani. The skill and knowledge of making Varaq– the micro-fine leaf of gold and s...
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About Russian Majolica
The price is per square meter of painting
The cost is for production and shipping to EU.
Handmade ceramics. Painted with glazes.
The base material is stoneware (porcelain tile).
Multiple high temperature firings.
Water absorption less than 1%.
Frost resistance of at least 200 cycles according to EN ISO 10545.
House is lined with our facade ceramic murals with delicate watercolor compositions made using the multilayer glaze painting technique.
Olga Abramova’s magnificent flowering gardens, which we transferred from pastel to ceramic, came into bloom on the facade of the house on Rublevskoye chaussee. Extraordinarily delicate in color, complex, but light floral arrangements adorned the brick house and added color to the strict brickwork, adding subtle accents to the facade.
Part of the niches is lined with multi-colored mosaic tiles to support the majolica mural – the mosaic is placed in a gradient manner with a stretch of color and tone from darker and colder shades to lighter and warmer.
The majolica on the facade gently gleams, unobtrusively shading the surface of the walls with colored watercolor glare and adding elegant charm to the whole house.
900 € per sq.meter
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08 November 2006
by Darin Painter
Darin Painter
This is the true story of four young designers, who graduated from school and started looking for work, only to learn what happens when the job market stops being nice and starts getting real.
As an art director in the Boston office of Bernard Hodes Group Advertising, Leigh Standley was working on high-priority projects. She was energized by high-profile clients and earning high praise for her creativity. "Basically, I was high on life," she says.
Unfortunately, she was low on the totem pole.
Standley was laid off when the recruitment ad agency cut approximately 25% of its Boston workforce in March, only eight months after she began working at the firm. "I was like, 'OK, wow, this is actually happening,'" Standley says. "Half of me was relieved to finally know my fate, and half of me was scared out of my mind. I was in Boston and had to pay for my apartment. I wasn't sure what to do."
Thousands of other creatives can relate. As the economy weakens, corporations worldwide are scaling back their marketing budgets, and design studios of all stripes are reducing their payrolls. To stay out of the red, many companies are handing out pink slips and young designers are often the first to get them.
"Since the beginning of the year, it's been extremely devastating," says Roz Goldfarb, author of Careers By Design (Allworth Press, 1993) and president of Roz Goldfarb Associates: Recruitment Consultants, a New York City-based design and management consulting firm. "Tight is beyond description for this market. Design-school grads who are trying to land their first jobs are in a tough spot."
Tough, but not impossible. As Standley and three of her peers have learned, solid jobs are within reach for talented young designers who are flexible, brave, realistic and savvy.
Be Flexible
The most important attribute for job-seekers during an economic slowdown is flexibility, Goldfarb says. If jobs are scarce for design-industry newcomers and they definitely are then dream jobs are even tougher to nab. If you aim for a pie-in-the-sky job, Goldfarb says, be prepared for a slice of reality. "Everybody wants to be in New York, San Francisco or London," she says, "but those places have been hit the hardest."
When searching for their first jobs, Gary Williams, a designer at Cahan & Associates in San Francisco, and his twin brother Robert, a designer at Howry Design Associates in San Francisco, wanted to live in the same city. The location, however, was less important to them than the studios' track records and their own growth potential. "We would have gone to Omaha, Nebraska, if we thought we'd be doing excellent work," Gary says.
Gary graduated last year with a bachelor's degree in graphic design from Art Center College of Design in Pasadena, CA; Robert earned his bachelor's degree in visual communications from California State University at Long Beach. When targeting employers, they took notes on inspiring work they saw at design conferences and in print annuals. Preferring print collateral to other work, the twins narrowed their searches to studios specializing in annual reports.
"We had no real problem getting jobs, but it was a much healthier market last year," Robert says. He says many of their fellow graduates were laid off this year, and some are still looking for employment. "If your primary goal today is to get a job, knowing about [a technology] like motion graphics, when your main emphasis is print, would be an advantage," Robert says. But he warns that it's not possible to be an expert in everything. "Being well-rounded is a good thing, but if the cost of being well rounded is mediocrity, keep it in check."
Brad Gerstein improved his flexibility and marketability by learning Java coding, video interviewing and other skills while he was an MFA student in Art Center College of Design's communication and new-media design program. He wanted a full-time job in a creative department that handled Web, print, advertising, branding and multimedia design. Gerstein used the Web site CraigsList.org to locate dozens of prospective Bay Area employers, and many of them invited him to interview.
To prepare for a job that would run the gamut of creative work, Gerstein put himself through the gauntlet. He says it was a "huge challenge" to learn technologies needed to complete his thesis project, Exopolis, an award-winning online documentary about urban sprawl's potential effect on the Santa Clara River (Southern California's last wild river). The documentary, which was an Outstanding Achievement winner in HOW's 2001 Interactive Design Competition, includes interviews with public officials, a detailed map and a call-to-action page with links to various environmental groups.
Exopolis (www.exopolis. org) also includes a link to Gerstein's resume and his portfolio of interactive design, print design and photography. "I think that was the biggest winner for me during my job search because it was pretty whiz-bang-looking," he says. "It helped me show employers how flexible I was." Liquid Thinking, a branding and business-strategies firm based in San Francisco, added Gerstein to its 15-member creative department, partly because of his willingness to collaborate on team-oriented projects.
When an increasing number of people are vying for fewer jobs, "you have to find ways to separate yourself from the pack," Goldfarb says.
Be Brave
While at University of Kansas' School of Design, Standley spent time online and at bookstores, researching the size, turnover rates and design styles of prospective employers. She eliminated firms that lacked a Web presence, assuming they were too small or non-progressive. When she spotted an opening for a copywriter at Bernard Hodes Group Advertising, she sent her resume and received an email rejection letter. Discouraged by the response, she remembered her parents' mantra: "If you want something badly enough, park yourself in the lobby until they decide you need to leave."
"Nothing wonderful has ever been accomplished without risk," Standley says. "Especially now, you have to be the best risk a company can take. If they're going to take one, you have to make it worth their while."
Standley called her contact at the firm several times, and he eventually agreed to critique her portfolio. They ended up talking for three hours, and he introduced her to the agency's creative director. A few weeks passed. Then, Standley sent her contact a postcard that showed her scowling and holding her portfolio. The card said, "The fact that you haven't hired me yet can only mean one of a few things "She listed humorous possibilities such as, "You've relocated to Tibet and feel the commute would be a problem for me." At the end, she wrote, "Or, you've decided I'm just the dynamic person you need! Call me!" The contact called Standley laughing, and the company hired her a few days later. "They just ate it up," she says.
Be Realistic
But what happens once you land the job of your dreams? One reason Gary Williams chose Cahan & Associates over his second choice (Duffy Design in New York City) was the quality of Cahan's eye-catching, often irreverent annual reports.
Williams figured if Cahan's work was off-the-wall, the studio's culture would be, too. But he says the environment is much more subdued than he anticipated. At the firm, designers often work alone, creating different concepts for the same client, who picks the one he or she likes best. "To a student looking in, you see an end product, but you have no idea what goes on at a firm to produce that product," Williams says. "I never realized that before I started working in the real world."
Williams' bottom-right desk drawer at work contains seven projects clients have nixed. "Disappointment is inevitable because you put your blood, sweat and tears into that work, and it might never see the light of day," he says. "But then you suddenly realize: Everyone has one of those drawers." His brother included. Two different annual reports Robert designed at Howry for auction house Copart weren't selected by the client. Robert, who was assigned the project during his first week on the job, says, "You realize quickly that this isn't school anymore. This isn't designing for your teacher or your classmates. This is a different ball game, and every move counts."
New designers are often expected to make an immediate impact on a design firm, and good ideas must be developed in hours not semesters. Standley was partly responsible for a special recruitment advertising section in The Boston Globe during her first few days at Bernard Hodes Group Advertising. There simply isn't time for extended on-the-job training. Designers are expected to learn what they need to know in school and through internships and co-ops.
To prove themselves on their first assignment, Robert Williams and fellow Howry designer Ty Whittington drove from San Francisco to Long Beach one night to photograph Dr. Yi Donuts & Croissants, an all-night shop that also sells toothbrushes and maps. They created The Donut Book, a colorful promotional piece for Sacramento printer Fong & Fong that juxtaposed a print shop and a donut shop. On one page, for example, the print capability "Small Runs" appears beneath a photograph of mini-donuts. The printer loved the avant-garde idea, Williams says.
Jill Howry, principal at Howry Design Associates, says one challenge young designers face is realizing their work must convey a real message. "We're all in this for communication, not just a pretty art piece," she says. Howry, who earlier this year reduced her staff size from 18 to 12, prefers to hire designers who have had internships or other past studio experience. "Young designers should be valuable to others in the studio, just as others should be valuable to them," she says.
Be Savvy
When Standley was a student, she and her classmates worked with design parameters, but seldom dealt with actual budgets. "If I was doing package design for a fictional company," she says, "I would have placed gold trim everywhere. Money was no obstacle."
The reality of a tight market, of course, is tight budgets. That's one reason business-savvy designers are in high demand. "A young person today has to be a lot more knowledgeable [than designers in the past]," Goldfarb says. "Not only do they have to be good designers with technical abilities, they also have to have solid general-business sense. They need to understand what drives clients." But, Robert Williams says, "Lower-budget projects can still be impressive pieces. I've learned it requires a little more ingenuity on the designer's part to make those stand out."
Gerstein has also had to deal with more budget-conscious projects lately. When he started working at Liquid Thinking last year, most clients wanted flashy logo redesigns. He worked on a six-week branding project for Australian Web-tracking firm Red Sheriff that included a redesigned logo, business cards, letterhead, thank-you cards, stickers, folders and envelopes. "Today," Gerstein says, "most projects are driven by return on investment. [Clients] want sales kits and other practical work. I've learned to be aware of those trends."
Be Positive
Job searchers are facing a similar reality check. While Standley doesn't want to leave Boston, she has interviews scheduled with design firms in Minneapolis and Rockford, IL. "You used to do a Monster.com search for design jobs and get 64 results," she says. "Now, it comes up with six."
Rather than bemoan the unfavorable job market, Standley frequently illustrates greeting cards and sells them to small New England retailers. She's also considering a relaunch of Curly Girl Design, a commercial illustration business she ran for a year before taking the job at Bernard Hodes Group. "I'm excited about the possibilities of trying my own thing," she says, "but right now, I'd prefer learning as much as possible from others."
Standley and her peers have already learned quite a bit about survival and growth in the real world. "As soon as I was let go," she says, "my ears just perked up to what was happening in the industry. It's a little shocking when you realize it's not just you that it's really not unfair. You deal with things very quickly when you realize job cuts are happening everywhere. All you can do is understand the conditions, and do your best to find a new way down the path."
About this article
Reprinted with permission from HOW magazine, December 2001.
About the Author
Darin Painter, a freelance writer in Arlington, VA, is managing editor of Print Solutions magazine.
About HOW Magazine
HOW Magazine provides graphic-design professionals with essential business information, features cutting-edge technological advances, profiles renowned and up-and-coming designers, details noteworthy projects and provides creative inspiration.
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Đã Đóng
Looking for a designer located in Eastern European
22 freelancer đang chào giá trung bình $94 cho công việc này
Hello! My name is Dima Linnik. I’m a creative graphic designer. My main specialty is branding, graphic design, and logo design. My experience in design is over 14 years. I guarantee you the highest quality of work, tim Thêm
$250 USD trong 5 ngày
(375 Nhận xét)
Hi There! We are a team of experienced designers. It would be our pleasure if we get the chance of serving you. We assure you that our designers shall provide you with variety of concepts and unlimited revisio Thêm
$200 USD trong 2 ngày
(175 Nhận xét)
Hi, I am Benjamin; Photo Editor, and I want to edit photos, and I did this before. Here are some samples I did before: [login to view URL] Or my freelancer portfolio: https://www.freelancer.com/u/benbinder, Thêm
$30 USD trong 1 ngày
(322 Nhận xét)
Hi, hope this finds you well. I was going over your project description and got really intrigued. This is the kind of job I am looking for. I'm a freelance graphic designer based in Vancouver, Canada. I have 6+ experi Thêm
$95 USD trong 7 ngày
(23 Nhận xét)
I CAN DO WORK FOR YOU AS PER YOUR REQUIREMENT, BUDGET AND TIME FRAME. Hi, (PHOTOSHOP EXPERT) I have read Your project description regarding PHOTOSHOP Designs. Editing raw photographs using Adobe Photoshop and Ado Thêm
$55 USD trong 0 ngày
(166 Nhận xét)
Hello There, I have a professional work experience of 4+ years and have done designing for various brands. I possess a wide range of abilities that combine innovative art and design principles. My skills include desi Thêm
$50 USD trong 3 ngày
(219 Nhận xét)
Ready to start your work right now . 12 year experienced photoshop expert here. Please give me opportunity to show my talent...
$50 USD trong 0 ngày
(156 Nhận xét)
Hi, I am interested in this project. Could we please discuss. Please see my qualification and experience below. MSC IN DESIGN, UNIVERSITY OF SUSSEX I have 14 years experience in Interior design, Graphic de Thêm
$150 USD trong 5 ngày
(16 Nhận xét)
Hi, there! I have read your description. I am very interested on your project. I can do your project . I am an expert in photo edit, modify My skills are illustrator, photoshop, lightroom, solidworks, Thêm
$100 USD trong 3 ngày
(8 Nhận xét)
Hello, we are not European but ee trust of our quality and ee can work at same as your time zone We are using Adobe Illustrator, Adobe XD, ln Design and similar programs proficiently. Please feel free to contact us d Thêm
$30 USD trong 1 ngày
(11 Nhận xét)
Dear Hiring Manager, I am senior web and mobile app designer. Please check my following skills: Create and design user interface for corporate websites with high traffic. Conceptualize and develop online flas Thêm
$155 USD trong 3 ngày
(5 Nhận xét)
Hello There, I am a California based Graphic Design Expert with 8+ year’s extensive experience in developing graphics and illustrations. I have designed several Web/App designs, brochures, company logos, billboards, Thêm
$50 USD trong 1 ngày
(16 Nhận xét)
Hello, As a Graphic desinger and Architect.I'm very interest in your project. I have strong experience with Adobe Illustrator/photoshop/3D max and so on. Guess, My experience matches your requirements and we can mak Thêm
$155 USD trong 3 ngày
(4 Nhận xét)
Hopes you are doing great We are very much interested in your Graphic Design project, it will be great if we have some communication on this project for better understanding 1. Multiple Designs 2. Unlimited rev Thêm
$38 USD trong 1 ngày
(17 Nhận xét)
Hello There, I’ve been a graphic designer for the past 5+ years now. I also have experience designing Websites, Mobile app designs, brochures, company logos, billboards and newspaper ads, book cover, banner, Gif, Sto Thêm
$45 USD trong 3 ngày
(32 Nhận xét)
Hope you are doing well!!! I can fulfill your project requirement in short time with quality and budget. I have gone through your project requirement to Graphic design's which match my expertise. I am proficient in Thêm
$30 USD trong 0 ngày
(5 Nhận xét)
Hi, I'm a professional graphics designer, experience in photo editing tool and design tools. Looking forward to hearing from you soon, Regards, Salman S.
$100 USD trong 3 ngày
(3 Nhận xét)
Hi!) I live almost in the same time zone - there is only 1 hour difference between us) Please, tell me about the project or projects where you need my skills - I can start to work right now!) I can work out the des Thêm
$80 USD trong 3 ngày
(2 Nhận xét)
Hi there! We are Barira qualified Professional Graphic & Logo designers with more than 7 years industry experience in design industry. We work hard to produce the highest quality, effective, innovative, timeless, Thêm
$111 USD trong 3 ngày
(2 Nhận xét)
im available for this opportunity i'm in the same time zone and would like to be offered the job, i am skilled in photo-shop, retouching, Light room and other platforms for graphic design
$155 USD trong 3 ngày
(0 Nhận xét)
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Seminar on Motion Graphics for Student of Department of Visual Effects
The Department of Visual Effects organized a seminar on Motion Graphics to inspire the students to make their career in Motion graphics, as it is one of the demanding job roles in the industry. The session was presided over by Mr Chandram Vendra, VFX and Motion Graphics artist, who worked for Telugu news channels like ETV, TV9 & 10 TV.
He shared his industry experience on the Motion Graphics and Title animation. He also gave lots of tips on the techniques of motion graphics. He showed some of his works and also he explained the purpose of motion graphics, motion graphics pipeline and the challenges involved in that. He gave a demo on the Motion graphics process.
The seminar gave the students an excellent learning experience and they felt motivated.
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Monday 11 January 2016
David Bowie
Roundhouse 1970
by Jan Jones
You set me ablaze
In a whirling, patchouli crowd
You ignited me
Square as new soap on the outside
Unformed within
The first touch of your music
Filled me with life
Moulded me
Made me yours
Made me myself
Dizzy in the darkness
Starbursts inside my head
Cool lips
Eyes that saw through to the soul
Boogie on, David
Friday 1 January 2016
Happy New Year - and photos of Ely
Happy New Year!
I promised some more photos of Ely where my latest ebook An Ordinary Gift is set. Above is the normal image you see on the way into Ely, the 'ship of the Fens' riding serenely against the wide skies.
Once in the town, you see just why the cathedral is so visible: it's massive! Everywhere you go in the town, you see it from one direction or another.
The original monastery buildings covered a large area, but were re-purposed when Henry VIII dissolved it and founded the King's School.
archway leading to old infirmary
One of my very favourite places is the Old Infirmary. The roof was taken off and the central aisle turned into Firmary Lane, with the original arches now filled in and the sides turned into buildings!
Through the archway on the left hand side - this is now Choir House for the school.
More photos soon!
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Jasmin Pannu is an artist who has completed over 80 murals in restaurants, doctor’s offices and private residences. During the pandemic, she’s focusing on canvas art while staying at home.
A DIY home wall mural? This could be your moment
If your walls have you thinking about climbing them, consider mural art instead.
As we stay home and mostly indoors during the coronavirus pandemic, your empty walls may be staring right back at you.
“The more time you spend in your space, the more you think ‘Could that wall use something?’” said artist Jasmin Pannu. “People are spending more time in their home now and they’re starting to notice the environment that they live in as well as the ambience they want to create.”
Around the city, Pannu is best known for her mural art. She has created over 80 mural art projects which have adorned the walls of doctor’s offices and restaurants as well as private residences. “In the beginning, I was mostly just doing nurseries,” Pannu said of her home commissions.
“But in the past two years there has been a lot of demand for people looking to have more murals throughout their homes … staircases, accent walls and entertaining areas. It’s really shifting from something illustrative and child-focused to something that’s more sophisticated and upscale.”
Artist Jasmin Pannu's commissioned murals cost anywhere from $500 to $5,000 depending on the size and complexity of the design.
Compared to hanging art or photographs, the permanence and larger scale of mural art can have a more profound impact on your interior design. Pannu’s residential mural commissions cost anywhere from $500 to $5,000, depending on the size of the project and the intricacy of the design.
When working with a new client, Pannu said, she asks a list of questions that anyone considering a mural should also ask themselves. “Consider the space and the people in the room when designing,” she advised. “Is this a high-energy space or is this somewhere that I just want to relax?”
Pannu also factors in the existing architecture and colours of the room, using shapes already in that space and complementary shades to make the mural more cohesive.
While her mural projects are currently on hold during the pandemic (she’s focusing on canvas art commissions instead), she insisted that there are easy designs that beginners can tackle in isolation. Tools like measuring tape, painter’s tape, a level and chalk will help you pull off the look.
“Always start with a sketch and use chalk before paint,” Pannu said. “Just chalking something out and onto the wall will give you an opportunity to see it before you paint it.” If possible, have some of your wall colour on-hand so that you can easily correct mistakes. “If there is something that goes horrendously wrong, I know I have course correction.”
Blogger Mar Ward and her family used painter's tape and household paint to create a mountain mural in her toddler daughter's bedroom. The total project cost was just over $100, with just $5 of the budget spent on additional paint.
Pannu uses Behr wall paint for her designs. The amount you need will depend on the size and type of design, but a 425-ml sample-size tin goes a long way, covering about 1.5 square metres. Not all stores are custom-tinting household paint during the pandemic — the service is on hold at Home Depot, for example. But try your local Home Hardware, as some locations are taking orders for tinted paint online or by phone. Otherwise, you could also order paint from your local art store — in that case, Pannu suggested acrylic paint and matte finishes for beginners since they are less likely to show imperfections.
You could even take advantage of the paint you already have in your home, as Mar Ward of the Toronto lifestyle blog To & Fro did for a mountain mural she completed in her toddler daughter’s bedroom two years ago. “We had grey throughout the house so we took a lot of the paint that we already had and just added a few darker colours to it,” Ward explained.
“Really, all we needed to buy was a small sample size which was $5.” Ward tallied the total budget of her mural project at just over $100, but this includes the earlier purchase of supplies like paint trays, rollers and paint which she already had on hand from other rooms in her house.
Ward’s design took advantage of painter’s tape to create the peaks of the mountains. “The type of painter’s tape that we used made a difference,” she said. “We had started with the cheapest one but we definitely saw a little bit of bleed so we had to go back over with a higher-quality painter’s tape. It’s worth it if you want to get clean lines.” Ward recommended using FrogTape for this.
The Ward family's finished mountain mural took a half day to complete, most of which was time waiting for layers of paint to dry. They used Pinterest as a source of inspiration for her mountain mural but came up with their own design.
Ward’s mountain mural only took a half a day to complete, most of which was time waiting for layers of paint to dry. “It was very simple,” said Ward, who doesn’t have any professional art experience. She used Pinterest as a source of inspiration for her mountain mural but came up with the design on her own.
For those needing a bit more guidance, Pannu has shared some simple mural design templates on her blog that are easy for beginners to recreate.
“It doesn’t always have to be like, ‘I painted like a realism portrait of my grandma on this wall,’” she joked. “Sometimes it’s the easiest concepts that make the biggest difference.”
Andrea Yu is a Toronto-based writer and a freelance contributor for the Star. Reach her via email: hello@andreayu.ca
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Saturday, 24th September 2022
<To guardian.ng
Breaking News:
Nse Ikpe-Etim, William Coupon and Nere Teriba in latest Visual Collaborative SDG publication
To have an impact in society, exposure beyond groupthink, coupled with an intense work ethic is truly one of the keys to "staying power".
To have an impact in society, exposure beyond groupthink, coupled with an intense work ethic is truly one of the keys to “staying power”. The Creative- Sector’s value chain and its innovative ways have become more evident when it comes to SDGs (Sustainable Development Goals). As 2019 gently dissolves, “Supernova” the latest title of the Visual Collaborative publishing catalog, featuring 23 game-changers puts an exclamation on real impact. This readership information from data, shows the catalog leaping into the future, forming a unique and all too relevant substratum for diverse disciplines converged to solve present-day problems.
For Ade Olufeko, it is not his public lectures or calm endurance, neither his well-documented and significant contributions to the arts and technology in West Africa, United States and Europe. It is his world-class attitude. His effortless work to the public designing a masterpiece of interviews. Releasing a collective of 4 volumes highlighting an impressive roster of over 100 trailblazing change-makers – from activists to artists, politicians to climate change campaigners – who are all breaking barriers across the globe.
The cast of the most recent volume “Supernova“, includes Bisila Bokoko, global speaker, businesswoman, and philanthropist; William Coupon, American photographer, Xárene Eskandar, researcher and designer; Nse Ikpe-Etim, award-winning Nollywood actress; Nere Teriba, the first woman to build the first gold refinery in Nigeria; Tan Haur, an art program leader in Singapore; Yumiko Kayukawa, a Japanese artist based in Seattle Washington; Ade Adekola, a Lagos-based conceptual artist whose pieces emphasize on looking beyond normal sight; Arlene Wandera, a Kenyan visual artist based in London; Ervin Pope, award-winning music producer; Kiki James, NGO and education advocate; Jerlyn (Thomas) O’Donnell, product designer based in New York City; Anthony Armendariz, Head of Design at Funsize; Michel Rothschild, a Creative Director at Dieste, Inc; and Opeyemi Akinfe, the boss and co-founder at Moderncontempo. The reception of previous volumes, notably; Polaris (Collective’s first issue, April 2019), Voyager, Volume 2 (June 2019) and Vivencias, Volume 3 (September 2019) featuring Seun Kuti, Aya Chebbi, Tosin Oshinowo, Bahia Shehab, Husani Oakley, Polly Alakija and many others had mostly positive reviews.
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Almost Nude
Editor’s Note: In 1956, the historian and architecture critic Lewis Mumford visited Philadelphia to witness first-hand what he called “one of the largest contemporary efforts to rebuild the central business area of a vast city,” the redevelopment of the Broad Street Station site and Chinese Wall into Penn Center.
Apparently underwhelmed by what he found, Mumford discovered another new Philadelphia project which excited him much more: a small building at 1021 Chestnut Street recently built for the Mercantile Library to replace its nineteenth-century building razed for a parking garage. (What is a mercantile library? A literary library underwritten by merchants and bankers. Philadelphia’s, which opened in 1821, was the 3rd oldest in the US. Its collection was folded into the Free Library in 1989.)
Devoting three pages of his regular New Yorker column to the library, built in 1952 by local architects Martin, Stewart & Noble, Mumford praised the “small, open, almost nude, disarmingly transparent and inviting” building of glass and steel as a near-perfect expression of a modern civic institution. “The glass front…reveals the whole library at a glance,” he wrote in the magazine’s May 26, 1956 issue. “It turns the building into an eloquent piece of self-identification that says, more plainly than words, ‘Come in and do what everyone else is doing.’”
Mumford was not alone in his praise for the building. It was awarded the Philadelphia chapter of the American Institute of Architect’s Gold Medal in 1954, and in 1990 it became the first mid-century modern building in the city to be listed on the Philadelphia Register of Historic Places. But the building is virtually forgotten today, sitting fallow since the library closed in 1989. It now languishes behind a ramshackle curtain of plywood that says, more plainly than words, “Move along, nothing to see here.”
Enter architect Michael Ryan and his wife and design partner Randee Spelkoman. The couple purchased the property in December with plans for a full restoration of the space into offices for their firm, Michael Ryan Architects.
We asked Hidden City Daily contributor Ben Leech, the advocacy director for the Preservation Alliance of Greater Philadelphia (whose campaign to preserve mid-century buildings can be found HERE), to sit down with Ryan and Spelkoman to discuss their attraction to a building most people have likely never noticed, the challenge of preserving mid-century architecture, the evolution of Chestnut Street, and architectural synchronicity.
Michael Ryan & Randee Spelkoman | Photo: Peter Woodall
Ben Leech: Do you remember the first time you saw the building?
Michael Ryan: I would say it was the early nineties, and I think the library had just recently closed. We had been meeting an out-of-town client in the city, we just had dinner and were walking down Chestnut Street when this little building seemed to come out of nowhere. It really struck us and our clients as this great little example of modern architecture. And we remarked about how at some point it would make a great art gallery.
BL: You are planning to fully restore the building to something very close to its original design, which for a mid-century modern building in Philadelphia, is still a pretty rare undertaking. To what extent do you think there is still a bias against modernist architecture in the city, at least among the general public?
Randee Spelkoman: I think there’s a new appreciation for mid-century modern, that even ten years ago, people were shy to say they liked. Within the last ten or so years, its become very acceptable to like mid-century modern, its become very popular. So I think we’re lucky from that point of view.
MR: I find that the original design of the library was so strong, and so neutral, I actually enjoy the fact that I don’t feel any need to imprint something on top of that. I don’t feel bound by what’s there. You kind of feel liberated by the fact that its more of a technical fix. In a sense, building technology has caught up with modernism. With new glazing technologies, these buildings are now a lot more feasible to keep that they used to be. I think twenty or twenty-five years ago, it was much harder, because the argument was that they were inefficient. I think that’s changed, and consequently, people’s attitudes have changed. There’s also this sense that people are finally recovering from the trauma of Penn Station (New York), Broad Street Station, all these buildings that were lost in the 1950s and 1960. People tend to demonize the new buildings that replaced them, and blame them for the loss of the old buildings. But it wasn’t the buildings’ fault. It was the fault of bad policies, bad planning. The buildings themselves weren’t responsible.
RS: And some of the new buildings were actually really nice. I think people are slowly coming around.
BL: I really enjoyed the Mumford piece in the New Yorker, not only for his great description of the building, but for the larger context it provides. Not only the article, but the magazine ads really capture the spirit of the era. His column runs alongside advertisements for hi-fi entertainment consoles, for canned French onion soup, for European cruises on the new S.S. United States. Tell me about the advertisement you noticed on page 128.
MR: This is such a strange coincidence. Right next to Mumford’s description of the Mercantile Library there’s an ad for Loveladies Harbor, a development on Long Beach Island that started being built up around 1950. Its developer had been exposed to modern architecture in California in the late 1930s and wanted to create something similar on the Jersey Shore, where everyone else was building your standard Cape Cods. The sales office for Loveladies Harbor was this Meisian glass box designed by an architect named Sidney Shelov in 1954, who drove all the way from Easton with his station wagon full of extra-tall panes of glass because he couldn’t find any local supplier with glass that long. But here’s the freaky part. We founded our office in that building in 1989. We purchased it in 1994 and still use it as a summer office and as an art gallery. It was completely overgrown with ivy when we first moved in—most people didn’t even know it existed.
RS: In Yiddish it would conjure up the word bashert, which means fated.
BL: So the Mercantile Library won’t be your first midcentury rescue mission.
MR: No, now we’re doing the urban version. That one was covered in ivy, this one’s covered in plywood.
BL: But you discovered the New Yorker coincidence long after you bought the library. What else drew you to the property?
MR: A major aspect of our practice is designing furniture for our clients, which we have been doing since we started the firm. Something we’ve been talking about for a while is how to make that visible to a broader range of people, in more of a “mercantile” way. And exploring different options for that goal, an idea was to have a space that with a storefront so that people could see what we do.
RS: To make us transparent.
MR: Exactly. So in looking to purchase a building, it was important for us that it had that aspect to it. And I think this fits us in such a nice way. Also because of the split level arrangement, it allows us to have that kind of exposure on one level, and yet still have the office on a slightly different level, along with the opportunity to sublet space on the lower level. We see this as staking a claim and creating visibility for the practice beyond private recognition. Bringing us to the street, essentially.
BL: One thing that strikes me is just how nicely your needs match the original intent of the building’s architects, who designed the building to highlight the library’s offerings and the activity of its users from the perspective of passers-by. Buildings of this era are so often written off as obsolete, but yet here’s a contemporary program that perfectly matches a building that is basically just waiting for you. You could almost call it a “hermit crab” model of urbanism, that the city is full of these perfect shells out there waiting for the right user to come along.
MR: I agree. I’ve always had that in mind. On a certain level, I think the best buildings have a generic quality to them that enables habitation and use to change over time. I think it’s something you see in old cities. You go to Florence, and there’s an auto repair shop in a building that during the Renaissance, might have been a leather tannery. I think there’s that quality to urban architecture when its successful, and I think modernism actually lends itself to that in a really good way.
BL: I also think that so much of what’s happening in contemporary design is still very rooted in the vocabulary and materials that originated in this period. Like every time I walk by the Apple store now, I think of the Mercantile Library.
MR: And that’s a perfect example of how technology is really making these old buildings viable again, too. Twenty-five years ago, you couldn’t build the Apple store, and twenty-five years ago, you couldn’t restore the Mercantile Library.
BL: Are there other buildings in the city that you think are ripe for rediscovery?
MR: I think that the entire stretch of Chestnut Street between 11th and Broad is really fascinating. I find that places become really interesting in that moment when they are just starting to change, places with a smattering of old and new. It’s that in-between state that really excites me. You have the Louis Kahn shoe store at 1118 Chestnut sitting vacant. It’s in many ways a twin to the Mercantile Library.
RS: The credit union at 1206 Chestnut is a wonderful building. Luckily it seems to be well-used. I just love its arching canopy. And the gas company building across the street. There is so much character left on so many of these buildings when you stop and look at it. So much potential.
Contemporary photos by Peter Woodall
Original color rendering: Earl Oakes Collection, The Architectural Archives, University of Pennsylvania
About the author
Ben Leech is a preservationist, architectural historian and illustrator based in Philadelphia and Lancaster, PA. Follow him on Instagram @bentleech and support his capitalist alter-ego at Archivolt Press
1. Rachel Hildebrandt
This is exciting!!
2. 1118 Chestnut is an interesting looking building. I hope it survives.
3. It’s like the Ur-Apple Store…
1. MLK Day of Service, Central Delaware zoning, Philly first in modesty, mod-minded rebirth for Mercantile Library
2. The Fortunate Arrangement | Hidden City Philadelphia
3. East of Broad Renaissance (formerly PB thread known as Chestnut East Revitalization) - Page 4
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Las Vegas Sun
December 7, 2013
Currently: 47° — Complete forecast | Log in
Frank Gehry likes what he sees at new center for brain health
Click to enlarge photo
How does a Gehry fit in? Some say the only thing that goes with a Frank Gehry designed building, such as the Lou Ruvo Brain Institute, is another Gehry design, such as the Walt Disney Concert Hall in Los Angeles. Several Gehry-designed buildings have become major tourist attractions.
Architect Frank Gehry says he wanted a swirling stainless steel structure he designed for Las Vegas to be unique -- to stand out from what he called "the cacophony" of high-rise casinos and condos forming the spine of Sin City's sprawl.
Getting his first look at the nearly complete Cleveland Clinic Lou Ruvo Center for Brain Health, he declared himself satisfied.
"It took my breath away," he said. "I like the way it fits. I wasn't trying to compete with the chaos around it."
"I mean, some people may think it's over the top," he added. "I don't think so."
Gehry, now 81, has built his career on shapes and angles all around the world: Walt Disney Concert Hall in Los Angeles; the Pritzker Pavilion in Chicago's Millennium Park; Seattle's Experience Music Project; the Guggenheim Museum in Bilbao, Spain.
His philosophy?
"You deliver a unique building that creates a sense of pride, that works, that keeps the rain out, is uplifting, and makes you happy to go to work and live in," he told The Associated Press during an interview and walk around the building in the past week.
"It's not just blah, blah, blah, bland," he said. "It contributes to the city. If you deliver that _ and by the way the rest of the world is interested in it _ it can create value and become an economic engine for the community."
Gehry, who lives and works in Santa Monica, Calif., said he turned down several previous requests to design buildings in Las Vegas before liquor distributor Larry Ruvo came calling several years ago.
"They asked me to do something unique in Las Vegas, something they would be proud of, that would attract groups to rent this room for events, and that would be like no other room in Vegas."
"That's pretty tough to do," Gehry said, "because Vegas has every type of room one can think of."
Gehry said he was swayed by the goal of Ruvo's $74 million project _ to attract a prestigious national medical research facility to study neurocognitive disorders such as Alzheimer's, Parkinson's and ALS. Ruvo's father, Lou Ruvo, suffered from Alzheimer's before he died in 1994.
"Frank Gehry allowed me to do what I wanted to do," Larry Ruvo said, "and that is to use his celebrity to help find a cure for a disease. Now we have an international consortium to achieve that goal."
Gehry said he joined the project because research into his own pet cause, Huntington's disease, is part of the medical mission.
"This building is a generator of funds for all those things," Gehry said of the soaring room with windows everywhere: to the blue sky, the brown mountains, the red stone pyramid of the Clark County Government Center across the street. The neon of the Las Vegas Strip stretches off to the south.
"This is going to be a fundraising tool to raise money for research," he said.
Gehry said he liked the challenge of designing a building on a corner of a big 61-acre former railroad yard west of downtown Las Vegas. It is also flanked by a massive wholesale furniture exposition and convention center, a retail outlet shopping mall and a concert and performing arts center due to open in 2012.
Work began in February of 2007. From the front, the building resembles aluminum foil draped over a stack of white building blocks. The windows in the skin are set at every angle. The four-story inner block was completed first. It opened in October 2008, housing Cleveland Clinic offices.
Patients began arriving in July 2009, through a traditional-looking cement courtyard and standard glass doors. A nonprofit organization called Keep Memory Alive supports research and treatment. Gehry's showpiece reception area is due to open in May.
Gehry knows not everyone likes his buildings, but said he doesn't let criticism get under his skin.
"I can understand when somebody doesn't get it," he said. "I feel these things take time."
He said he was excited about designing another Guggenheim Museum in the Arab Emirate of Abu Dhabi. He said he withdrew from designing a Museum of Tolerance in Jerusalem because he's busy with other projects. He proudly showed photos of a 76-story tower he designed near New York City Hall.
In Las Vegas, he said he was prepared to wait for acceptance of his newest metallic masterpiece.
"The only thing is the personality of the building.," he said. "Is it going to fit in Vegas?
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“Doodle-Doo-Doo” Sheet Music
Description (Brief)
This sheet music is for the song “Doodle-Doo-Doo” that was written and composed by Art Kassel and Mel Stitzel. Leo Feist, Inc. of New York City published this sheet music in 1924. The cover featured an illustration of a woman sitting at a piano gazing up at a man singing a song. There is an inset photograph of Miss Patricola, who would have performed the song during Vaudeville shows.
Currently not on view
Object Name
sheet music
Object Type
Sheet Music
sheet music
date made
Leo Feist, Inc.
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Complaint / review / scam report
Birgit Truzenberger Savini
Birgit Truzenberger Savini - Photography gone wrong
Birgit Truzenberger Savini did a wedding shoot for my wedding and was promoted by my sister Brenda. Little did I know that she only just completed a photography course and had no experience. When I checked out the photography course it seems that it is not worth the paper it is printed on. The reality is that the moment is gone and I will never have the opportunity to capture that day like it was supposed to be. She ruined my special day all because she had and still has no experience in this field.
Members, of group Guest, can not leave comments on this publication.
Please register on our website, it will take a few seconds.
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Manolica by Burschi
Aventurile lui Manoliça (Cutezatorii, 1968)
Burschi was the pen name of illustrator and graphic artist Max Emanuel Gruder. He was born in Cernăuţi into a family with German roots from Bukovina. Gruder was given the nickname Burschi by his family, and he continued to use it during his career. He studied engineering, but never practised this profession.
Costel by Burschi
Aventuril lui Costel (Soimii Patriei, 1983)
He published his first strips in the newspaper Tinereţea while still a student in the period 1949-1950. Starting in 1953, he made comics and illustrations for nearly all Romanian children's magazines, including Scânteia Pionierului, Luminiţa, Arici Pogonici, Cutezătorii, Șoimii patriei, Licurici, Ţusca Răţușca and Pipo. He is considered one of the innovators of the Romanian comic style.
He also illustrated about 140 books, some of which were written by his wife, Galia Maria Gruder. Some of his comics were also published in the Czech magazine Pionyr (1955) and in the Hungarian magazine Pionir (1958). He was a fulltime illustrator until 1989, and also published children's books with the Parisian publisher Nathan.
Comic art by Burschi
Series and books by Burschi in stock in the Lambiek Webshop:
If you want to help us continue and improve our ever- expanding database, we would appreciate your donation through Paypal.
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Editor: Raeck, Wulf
Figur und Raum in der frühgriechischen Flächenkunst
Archäologisches Symposion für Hanna Koenigs-Philipp Liebieghaus Frankfurt am Main im Juni 2008
17.0 x 24.0 cm, 156 p., 16 illustrations color, 81 illustrations b/w, hardback
ISBN: 9783954900589
Table of Contents
Short Description
This volume collects eight contributions of specialists in the field of early Greek art history on the topic of one of the core themes of Western visual culture. It deals with the emergence and development of ways to seeing and depicting that have shaped the art of later epochs. The themes/topics range from format restrictions and imagery overlaps, the playfulness regarding ornaments and three-dimensional space, cross-cultural connections that show in votives objects found in larger sanctuaries, but also the decoding of the ways of depicting garments – the latter at the same time being a contribution to discussion of the methodology of how to interpret Archaic Greek figurative art.
The groundwork for the development of Western figurative art was laid out during the formation of the Greek polis from the 8th to early 5th centuries BC. The analysis of early visual perceptions and representative approaches forms the main foundation of our understanding of early archaic images. Ever since the ground-breaking studies of Nikolaus Himmelmann and others half a century ago, archaeological research has steadily, yet merely selectively, worked on this topic. The present volume collects eight closely-linked thematic contributions of experts on early Greek art focusing on the core problem of Archaic imagery production: the tense interrelation between figure and space. For this purpose, unpublished material in addition to well-known masterpieces will be discussed. Obviously, vase painting from various regions is of special importance for this theme; additionally, toreutic products as well as marble sculptures are taken into consideration.
The authors approach the topic from various angles and by selecting different aspects. Rigorous cut offs of the field of view stand against well-metered overlaps to emphasize space. Object classes such as the sophisticated silhouette sheets disappear, very likely because they did not fulfill the newly developed requirements for space. Bronze votive plaques are composed in accordance with the intended depiction or narrative. Oriental set pieces get reassembled to new compositions. Ornaments on the one hand are charged with meaning based on older traditions, while on the other hand they contain special meanings that are not always easy to decode in the modern day. The three dimensions of the body of a vase itself add to the effectiveness of the images in a completely new way and represent visual developments that are not seen in later times. The manner in which parts of garments were put together in relation to each other and to the human body itself is hard to comprehend with our visual perception. However, it differs significantly from the representation habit in Classical times and again underlines the need for serious visual hermeneutical reflection. This example makes it especially clear why this collection of texts on the methodology of interpreting early Greek figurative art is of such great importance.
Archaeology (372) || Archaeology by period / region (292) || BCE period – Protohistory (8) || Bild (7) || Bilddarstellung (2) || Ceramic & glass: artworks (42) || Figuren (2) || Fine arts: art forms (162) || Griechen (9) || Keramik (24) || Ornament (4) || Raum (5) || The arts: general issues (9)
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190712 serpentine
Serpentine Pavilion by Junya Ishigami. Image Credit: Supplied
I studied architecture for seven years, at one of the best design schools at the time. They taught me a lot; a lot of which was outdated even then. I did not mind, for the course challenged me and my course mates. It allowed us to think, to dream and to do — it gave us the tools to pave our own way. Some went on to pursue architecture. Others explored different form of creative expression: product design, graphic design, education and journalism.
What the course did not prepare any one of us for, was the blunt disregard in the outside world.
Mind you, this was 2005; I remember everyone — from potential employers, and then the clients — was on a high horse. I recall my Masters interview where I called design an ‘industry’. One of the jury members shot back: “It is a profession my dear, not an industry.”
I asked him: “Does that explain the paltry entry level salaries after years of rigorous training and clients who expect free work?” Needless to say, the interview didn’t go well. Over the years things have changed for the better, and the ‘profession’ has stood up for itself; at the user level, there is still a lot of work to be done.
I get it. We are not delivering babies, we are not saving innocents from predators, we are not advocating for law reforms. On the surface what design does may seem quite superficial: we are just adding beauty to a space. But I beg you to take a step further in that thought process. Don’t we play out our lives in these built environments? Don’t we remember for all of our lives big, life changing moments, the details of the scene they played out in? The surroundings, the décor (or the lack of it) and ease (or not) of function.
190712 loewe craft
Loewe Craft prixe 2019 winner Genta Ishizuka. Image Credit: Supplied
There is a higher purpose than beautiful objects with bank breaking price tags. Initiatives like the Loewe Craft Prize are instrumental in bridging contemporary design and audience with generations old making traditions. Japanese designer Genta Ishizuka won the 2019 prize with his lacquered beauty. Through his expert use of the urushi lacquer technique which originated from Japan between the 7th and 8th centuries, and using the simple motif of a bag of oranges as his inspiration, he created a piece that is contemporary in its appeal, yet obviously connected to tradition and memory.
Design drives the new economy. But more than that, contemporary design offers a viable platform for artisanal communities in a post-industrial world. As more and more designers or brands collaborate with craftsmen, adapt their techniques for present day living, these communities claim a place at the table. These collaborations enriches contemporary design with character and soul, at the same time providing encouragement and incentive to those who are still invested in nurturing centuries old traditions, protecting the rigorous values of craft for the future generations.
For the design profession to be truly valued, the system needs a reset. As much as an overhaul of design courses is required, Design schools need to re-assess if these long-drawn learning programmes actually make sense in today’s world.
Respect for the design professional starts at the intern level. While unpaid internships may be a part of work culture in some societies, there is a sure shift globally. Earlier this year designer Adam Nathaniel Furman and his #archislavery campaign revealed unpaid internships at Junya Ishigami studios, demanding that firms using free labour should be banned from high-profile projects. Finally, Ishigami agreed to pay all staff working on his design for the Serpentine Pavilion.
Hopefully this change at the grass roots will instill a higher value system along the pyramid: designers will stop undercutting each other, stronger IPLs will instill deeper regard for original work, authentic materials and technology, and finally, at the top, the client will have a deeper sense of respect for the creatives they work with.
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Perth Autumn Studio Tour - theHumm October 2024
Perth Autumn Studio Tour - theHumm October 2024
By Zoë Lianga
In 1968, a group of free-spirited visionaries moved onto what had once been the Brennan farm, west of Perth, and created the vibrant alternative community of Brooke Valley. Their dream of a sustainable and cooperative lifestyle, together with the natural beauty of the area, soon drew others, many of whom, not surprisingly, were craftspeople.
In 1993, twenty-five years after the farm was first settled, a collection of local artisans established the first Perth Autumn Studio Tour and laid the foundation for one of the area’s finest and best-attended studio tours. We are a non-profit artist-run tour whose core values have remained unchanged since those beginning days. We wish to connect people to the artists living among us, spur conversations, and make human connections through diverse artistic media.
Come experience the high-calibre original art and traditional craft that will be on display. This is an opportunity for our artisans to shine, share their love for their craft, and invite visitors to view, discuss, and purchase something from their unique collections.
Our tour is known for its wide array of media and this year is no exception. This year’s roster will feature 23 artists at four stops, as well as a fabulous lunch at Brooke Valley School. It takes place over the Thanksgiving weekend on Saturday, October 12 and Sunday, October 13, from 10am to 5pm each day.
You can find us @perthstudiotour on Instagram and Facebook to follow along and see each of our artists featured as we lead up to the big event. You can also find more information and download your Tour Map at perthstudiotour.com .
Linda Hynes — Doing What Comes Naturally - theHumm October 2024
By Sally Hansen
Art… and Soul
Sometimes fate steps in and moulds the rest of your life. As she was graduating from Ontario College of Art (now OCADU), and contemplating a future in the arts, Linda Hynes accepted an invitation that has resulted in her spending a vast portion of her life turning clay into beautiful functional pottery. Linda was selected to be an apprentice to Jack Herman, a renowned potter and Canadian icon. (One of his studio visitors was Margaret......
Laugh Out Loud — Twice! - theHumm October 2024
By Ben Bennett
Two one-act comedies at Perth’s Studio Theatre in October are set in an apartment’s smallest room. But it’s definitely not all bathroom humour.
Laugh Out Loud comprises two short plays by Canadian playwright Richard Turtle.
The Lunatic from Number 7 begins during an argument, with Deb storming out of the apartment and her partner Simon going into the bathroom, slamming the door, and promptly getting stuck there.
Search and Rescue, which takes place in the same bathroom, albeit......
Fall Red Trillium Studio Tour - theHumm October 2024
The stroke of a brush, the click of a camera, the sound of the wheel as a form is shaped in clay — all evoke the effort and passion that go into the creative process. It’s about commitment to an art form or fine craft, to learning and growing and to finding one’s voice — what one wants to share with the world around them. It’s about the process as much as the final piece.
This is the benefit of studio tours, which have become so popular because they offer a window into what is behin......
Amazing Art & Fabulous Food at the 2024 Crown and Pumpkin Studio Tour - theHumm October 2024
The 28th annual Crown and Pumpkin Studio Tour takes place on Thanksgiving Weekend, October 12 and 13, from 10am to 4pm daily. It’s become a fall tradition in Mississippi Mills — a chance to see work by the many talented artists and artisans of Almonte, Clayton and Pakenham area and their guests. This year’s tour features over 45 artists working in all aspects of fine art and craft, and fine food and drink.
Check out crownandp......
News from The Pews in Merrickville - theHumm October 2024
By Heddy Sorour
Once a church, The Pews is now an inclusive, multi-generational “third space” that’s roaring onto the scene in the village of Merrickville.
“If your first space is home, and your second space is work, what is your third space? Netflix keeps us at home and on our couches. We’re losing that third space, so we want to be a place where you can come and hang out, be entertained or learn something new,” says Anne Barr, chair of the Pews Co-operative ...more
For the Love of Music
A Concert in Memory of Ann McMahon - theHumm October 2024
At 2pm on Sunday, October 20, St. Paul’s United Church in Perth will be the site of a concert in memory of Ann McMahon. She was respected and cherished by many in Perth because of her contributions to the music scene. Ann passed away last June, and while she was no longer young, her death seemed too soon, too early and too sudden.
The concert will be a fundraiser for The Hospice Hub, a community-led initiative serving Perth, Smiths Falls, Portland, Westport and surrounding areas, providing com......
Choral Evensong in Perth - theHumm October 2024
Choral Evensong is sung in cathedrals and college chapels throughout the English-speaking world. In Canada, this afternoon service is currently sung in major urban churches but, alas, no longer in the countryside.
Except in Perth. Choral Evensong will be sung at St. James the Apostle Church in Perth on Sunday, October 20 at 4pm. The St. James Liturgical Choir will be joined by the Cranmer Singers of Ottawa, directed by Frances Macdonnell, organist emerita of Christ Church Cathedral, forming a substantial sound of about 25 voices.
Evensong is truly a “song”; the Responses, the psal......
Almonte in Concert
Another Exciting Season of Music - theHumm October 2024
By — Maureen Nevins is the Artistic Director of Almonte in Concert
Get ready for an array of vibrant performances by some of Canada’s finest artists. Rediscover familiar works in a fresh and exhilarating light, explore new repertoire, and marvel at the unexpected.
The 2024-25 Almonte in Concert series opens on October 19 with the trailblazing duo Stick&Bow. Marimbist Krystina Marcoux and cellist Juan Sebastián Delgado present a program of pieces by artists who have tried to make the world a better place through the power of musical ex......
Drag and Art atthe Textile Museum - theHumm October 2024
Come on out to the Mississippi Valley Textile Museum (MVTM) on Saturday, October 5 and celebrate with a night of fabulous fundraising featuring dynamic drag queens and amazing art! Drag queen hosts and performers Karamilk, Saltina Shaker and Sunshine Glitterchild will keep you movin’, groovin’ and laughin’ throughout the night at the “Queer Up the Neighbourhood Drag and Art Auction”. Bring your wallets, because fantastic art from the impressive collection of Bill Staubi will be au......
Back-to-School Portraits
Raising Funds for the Miss Mills Library - theHumm October 2024
Stephanie de Montigny, owner of Pure Natural Portraits, has put together an exciting event for a great cause. This year’s annual Back to School photography event is in honour of the Mississippi Mills Public Library (MMPL), and children will have the opportunity to be photographed with the antique desk at the Almonte studio, outdoors, or in the stacks of the library, in order to capture their unique personalities and little faces exactly as they are.
Arsenic and Old Lace
You’ll Die Laughing at the Station Theatre! - theHumm October 2024
By Jesse Gibson
Hey, you up there! Yes, you, reading this article! I’m glad you’re here, ’cause I have some exciting news.
Come in, please, join me in the paragraphs, south of the byline. I have something you’re going to want to know about. What? Oh, yes. Mind the bodies; would you care for some wine?
Oh, don’t worry about those gentlemen, they’ll soon be off to Panama. Now listen, I simply must tell you about this exciting play at the St......
Books Galore!
Friends of the Miss Mills Library Giant Book Sale - theHumm October 2024
By Glenda Jones
Load up the boxes — the Friends of the Mississippi Mills Public Library gigantic book sale is only a few weeks away, and eager volunteers are awaiting your donations. The rule is “if you wouldn’t buy it, don’t bring it” — no text books, encyclopedias, damaged, dusty or outdated material, and please, no magazines (especially National Geographic). The volunteers handle thousands of books, and want them all to be sold before the two sale weekends end.
Book drop-offs are welcome inside the Rexall Mall on Ottawa Street in Almonte. Please follow the signs, and only leave books in the design......
Community Builders’ Craft Fair at Union Hall - theHumm October 2024
By Linda Camponi
Union Hall is pleased to be hosting its fourth annual Community Builders’ Craft Fair, on Saturday, November 2. The hall will be joining forces with other charities and non-profits to raise awareness of their important work and to bring in much-needed cash for their operations. Get a head start on your Christmas shopping while contributing to these community builders!
The Union Hall Community Centre, a registered charity, was erected in 1857 and continues to be the hub of the community that bears ......
Eat, Play, Love — One Night Only! - theHumm October 2024
Eat, Play, Love is excited to announce their next immersive theatrical performance — for one night only — on October 19 in support of the Falls Food Hub in Smiths Falls.
Food security is a growing concern for many people in the Leeds, Grenville and Lanark municipalities. Prior to COVID, it was estimated that at least 9.4% of the population was food insecure. Now, that number has risen to almost 15%, or 1 in 7 households.
While community food programs do not “solve” food insecurity, as it can ......
It Takes a Village to Nurture the Arts
Artisan Village at the Falls is Home to a Diverse Array of Creatives - theHumm October 2024
The Artisan Village at the Falls in Smiths Falls is quickly becoming a key cultural hub, offering a space where local artisans and small businesses can thrive. This beautifully restored historical building at the corner of Maple and William Streets provides a welcoming environment where creativity meets community. The Artisan Village is home to a diverse group of Creative Residents who bring their unique talents and offerings to the local arts scene, creating a destination for art lovers, shoppers, a......
The Cusp of Winter - theHumm October 2024
By Glenda Jones
Call me crazy, but I like this time of year. The mosquitoes are supposed to be gone — NOT! — and we should be settling into a new set of activities. There’s still garden work to do, but it’s the routine cutting back, heaping the compost pile, throwing in some fertilizer, and maybe watering the shrubs for the last time. There’s anticipation in the air as fall explodes in masses of colour that we all know will soon fade.
Before the last hurrah of summer dies out, it’s good to take a brea......
John Prine Birthday Party in Almonte - theHumm October 2024
Kris Kristoffersen said, “If God’s got a favourite songwriter, I think it’s John Prine.” After five sold-out shows since they decided to strike up the band last year, The Maywoods are throwing a John Prine Birthday Party on Thursday, October 10 at the Almonte Civitan Hall.
A birthday show honouring Prine’s songwriting genius is now an annual Nashville tradition, so the Lanark County quartet of Vicki Brittle, Tyler Craig, Nathan Sloniowski and Jessica Winskell have decided to brin......
“Saving the Pastfor the Future”
Smiths Falls’ 2024 Heritage Symposium - theHumm October 2024
The Smiths Falls Municipal Heritage Committee is proud to announce the return of its annual Heritage Symposium on Monday, October 28 at The Station Theatre (53 Victoria Avenue) from 9am to 3pm.
The Heritage Symposium focuses on expanding the community’s knowledge of heritage preservation and the importance of heritage protection within the community. Each year’s event explores heritage preservation and conservation themes through presentations, discussion, and tours.
“The Symposium is a great way for the Municipal Heritage Committee to share heritage with the community. At this ......
Making Your Home Climate-Resilient - theHumm October 2024
By Sue Brandum
What a gorgeous autumn! September could not have been more beautiful, warm and balmy, making summer last longer. It makes it hard to focus on preparing for winter, nevermind preparing for the ravages of extreme weather resulting from the climate crisis.
But that’s what we were doing at CNL, preparing for our upcoming Electrify Lanark Workshop on Residential Resilience and Adaptation.
Thankfully, Resilience and Adaptation is now something that Lanark County is working on. They have a Climate Ada......
Our Green Heart
The Soul and Science of Forests - theHumm October 2024
By John Pigeau
If politicians listened to people like Diana Beresford-Kroeger, we would have a healthy planet in maybe 15 years.
It’s possible. But nature needs our help.
In Our Green Heart: The Soul and Science of Forests, Beresford-Kroeger — a world-renowned scientist in the fields of medical biochemistry, botany and medicine — shares and interprets the science of how this can be done in simple terms, so that someone like me, who has only the most rudimentary knowledge of trees and forests, can und............
35 Years of Exceptional Gift Choices - theHumm October 2024
This year’s Christmas in the Valley Artisan Show takes place on November 2 and 3 from 10am to 4pm at the John Levi Community Centre Arena Upper Hall, located at 182 Bridge Street in Almonte.
You are sure to find gifts with originality, quality and attention to detail. Forgo the gift cards, impersonal box stores and stressful malls and make this your first holiday shopping destination. Over 25 carefully curated artists and crafters will present their original creations in a relaxed,......
The Wizard is…Odd!?
More Fun than a Barrel Full of Flying Monkeys! - theHumm October 2024
By Susan Macaulay
“When I took drama in high school, it was life-changing for me,” says Adam Pelletier, Stage Manager for Humm Team Productions’ upcoming show The Wizard is… Odd!? “To become involved in something so collaborative was… well… I can’t really describe it. There’s nothing quite like theatre,” Adam is at a loss for words at one point during our conversation.
At the ripe old age of thirty-two, Adam has been active in community theatre for nearly fourteen years. He has worked on and off stage in n......
Connecting with Kids Through Stories - theHumm October 2024
By Jessie Carson
Stories connect us. This is true especially with children. Every day, my two-year-old walks up with a picture book and angles his way into my lap saying, “read me a story?” Every night after the light goes out, my four-year-old asks me to tell him a scary story (“but not too scary” — I have learned that dinosaurs getting attacked by other dinosaurs is too scary, while monsters under the bed or in the closet are just scary enough). Not long ago, my fourteen-year-old start......
Almonte Celtfest AGM - theHumm October 2024
By Chrissy Steinbock
Want to get involved with a great organisation, meet new people and be part of a fantastic local festival? Come learn more about the Almonte Celtfest team. Join us on Thursday October 3 at 7pm for Almonte Celtfest’s Annual General Meeting. We will be gathering at Tea & Cake, located at 19 Bridge Street. Refreshments will be provided. We’re looking for new board members to fill the roles of Co-chair, Volunteer coordinator, Fundraising coordinator and Lil Celtz lead.
We’re also looking ......
Who Has Seen the Rain? - theHumm October 2024
By David Hinks
I don’t have to tell my readers that we got a boatload of rain this summer. A quick review of Environment Canada weather records as well as my own calendar notations reveal that rainfall for the months of June and July was in the range of 12 to 14 inches (most vegetable crops require about an inch of rain a week). Locally, many fields were flooded for several weeks — there can be a huge amount of variability in locations that are only a few kilometres apart.
A relatively normal ......
School Days and Sentiments - theHumm October 2024
By Glenda Jones
Local Author Arlene Stafford-Wilson has done it again: given us a nostalgic glimpse of our own past with her latest book, Lanark County Classrooms. Like her other explorations of Lanark County history, this is a treasury of memories that harken back to one-room schools that still stand today, many as houses that surely resonate with the voices of children. Stafford-Wilson has interviewed nearly 50 students and teachers who attended these schools, and nearly all remember them with......
Common Threads, Contrasting Cloths - theHumm October 2024
As the weather changes, so does the exhibit at the Mississippi Valley Textile Museum! Common Threads, Contrasting Cloths: Sue Clark & Judi Miller will be on display from October 12 to December 14. The vernissage will take place on Saturday, October 12 from 2–4pm. Guest curated by Miranda Bouchard, this is an exhibition of works by Judi Miller (Kanata) and the late Sue Clark (Vancouver Island). A virtual curatorial and artist talk with Bouchard and Miller will take place via Zoom o......
Sex Please, We’re Sixty
A Delightful Comedy You Won’t Want to Miss - theHumm October 2024
This fall, Rural Root Theatre is back with Sex Please, We’re Sixty, a lighthearted comedy by Michael and Susan Parker that promises to leave audiences in stitches. Directed by Charlene Gardner and Carolyn Walsh, the show runs from November 5–10 at the Constance and Buckham’s Bay Community Centre.
Sex Please, We’re Sixty is a cheerful romp set in a quaint bed-and-breakfast run by the charming Mrs. Stancliffe, where things are normally quiet — until the inn’s flirtatio......
Composting in Almonte
My Journey with Just Good Compost - theHumm October 2024
By Melissa Boufounos
When I moved to Almonte in 2019, one of the things I missed from “back home” was municipal composting. Having moved from a small town that had a robust composting program, it was disappointing to learn that there were no such options here. As someone who doesn’t garden, backyard composting seemed unnecessary. So, for four years, our food scraps went straight to the garbage, which didn’t sit right with me.
As a certified holistic nutritionist, I try to be mindful of how nutrition impacts not only personal health but also the environment. The idea that we could be doing better with our ......
Almonte Civitan Club Hosts Fundraising Dinner and Dance - theHumm October 2024
On Saturday, October 19, the Almonte Civitan Club will host a dinner and dance featuring Eddie and the Stingrays, a popular local rock and roll band that has been entertaining crowds for more than 40 years with their great music from the ’50s and ’60s. All proceeds from the event will go towards the Accessible Family Playground, the Civitan Club’s latest large-scale community project.
This inclusive playground is designed to minimize physical and social barriers to allow fun-filled ......
Celebrate the Best of Fall at Heritage House! - theHumm October 2024
Come out to the Smiths Falls Heritage House Museum on October 6 from 11am to 2pm for their annual Fall Fest! Spend some time outdoors in the changing colours, and celebrate the season with family-friendly activities, games and horse-drawn wagon rides. While you’re there, pick up your pumpkin to enter in the community carving contest. Pumpkins have been generously sponsored by Miller’s Farm. Admission to Fall Fest is by donation.
A few weeks later, come back for some thrilli......
Songs for Sustainability
Second Show Added on October 5 - theHumm October 2024
Studio Theatre will resonate with melodies both heartfelt and inspiring on October 5 as the Linden Housing Co-operative presents its major fundraiser, “Songs for Stability”. This two-concert event offers an auditory feast aimed at bolstering Linden’s mission to provide affordable, community-focused housing.
The 1pm show features local legends Joey Wright and Jenny Whiteley. Both Joey and Jenny are renowned for their musical prowess and have a rich history of captivating audiences with their soul-......
Expressions of ArtLocal Show Returns for Thanksgiving Weekend - theHumm October 2024
The West Carleton Arts Society (WCAS) is excited to present its signature event, Expressions of Art, taking place on Thanksgiving weekend at the Carp Fairgrounds’ Agricultural Hall. This long-standing tradition, now in its 25th year, will be held on Saturday, October 12 from 8am to 4pm and Sunday, October ?? from ??am to 4pm.
The juried show features 31 booths showcasing a wide array of artwork by talented artists from Ottawa ......
The Beadwork of Maggie Stewart
A Journey of Reconnection Through Art - theHumm October 2024
By Kimberly Lulashnyk
Maggie Stewart’s life and art have been shaped by her deep connection to her Indigenous roots. Growing up in Kashechewan First Nations, she was immersed in a community rich with tradition, culture and the arts. From a young age, Stewart was introduced to beadwork by her aunties, mother, and kookum (grandmother). This early exposure to Indigenous crafts instilled in her artistic skills and the importance of preserving her heritage. “Every bead, every stitch carried a story,” Stewart recalls, reflectin......
Derek Seguin in Perth - theHumm October 2024
Renowned comedian Derek Seguin is set to take the stage for two unforgettable shows in Killaloe and Perth this November. Known for his quick wit and relatable humour, Seguin will be performing at the Lion’s Hall in Killaloe on Friday, November 8 at 7:30pm, followed by a show at Studio Theatre Perth on Saturday, November 9 at 8pm. Tickets for the Perth show are available now at Tickets Please (TicketsPlease.ca, 485–6434) for $50, including all fees.
Derek Seguin is one of Canada’s most sought-......
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My Birthday Disco Ball
I painted this Disco on my Birthday in 2020. These colors make ME happy and bring me a lot of JOY. I was dancing while painting this! This is a year where I realized just how much dancing and a disco ball can bring to our lives. These are little symbols of JOY and I have loved painting each one
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An Entirely Too Complicated Discussion About Race and Picrew
I’ve been a very vocal supporter of representation in media.I’ve paneled on the importance of having one’s skin color, religion, orientation and more represented in the media they consume be it comics, movies, television and more. But when I’ve had these conversations, I’m always quick to say that we demand representation in Western media and to many, I give Asian media a pass. There are indeed methods to my madness; Japan is one of the most ethnically homogeneous countries on Earth. For many of the religions that are minorities in the United States, they are minorities in Asia (hence the fetishization of Catholics and Catholicism in anime and manga). And, to be very real here, most of Asia still has incredibly conservative and strict views about homosexuality, transgender rights and more. It’s one of the reasons why yaoi is so odd as far as “representing” queer people since it’s mostly coming from a place that has strict sodomy laws and continues to fetishize and trivialize the lives of gay men.
To summarize, I just can’t hold manga and anime to the same standard I hold American media as far as representation goes. There is no excuse for an American comic book movie to have no black people in it. There is no excuse for a television show to not have queer people in it. There is no excuse for an American book to feature protagonists and characters of different body types, races and religions. I can’t ask Japan to represent me: a small black Catholic queer.
Picrew is an avatar creation generator that is Japanese and is incredibly popular. I started noticing these elaborate avatars being made by people and noticing variations on the same format. In fact, there’s a very famous Picrew template that features pride flags and has a huge variety of skin tones, pride flags and colors and gender and presentation options. Picrew is great for someone like me in that I have a great visual eye and style aesthetic but I could not draw a straight line if you threatened me. If you’ve seen some of my newer icons and branding online, those are all Picrew creations.
Picrew is full of fun generators that allow users to make icons, avatars and more. I love Picrew but there’s been something that I’m very aware of: not all generators accommodate skin tones like mine. I don’t have this issue with many of the Western avatar generators: I’ve even found some that are pretty dead on. But every once in a while, I’ll click on a auto-translated title hoping to find someone in the options for skin tone that look like me and I just can’t find them. Some have no options at all for different skin tones while others have one option for “brown” that are either way too light for me or way too dark for me.
I’ve always had an odd relationship to my skin tone: I’m not so detached that I don’t feel black but I’m lighter in tone than most of my family and in comparison to some of my friends, I’m also usually the lighter skinned one. There’s a lot of colorism within the black community that tends to favor lighter skinned black people and a resentment from darker skinned black people against folks like me. In all fairness, we’re the more represented of the entire group so I can understand the resentment while also being hurt by it.
There’s a strange dysphoria that particularly comes to finding a Picrew generator that has one or two options for brown skin tones and neither fit. I rarely feel dysphoric whether it comes down to gender or race but to see a generator that has either a tone far too dark or far too light, it’s almost painful. I had a similar moment playing Pokemon Sword when I began to question if I was truly as dark as my character is. I’ve been honest about me using skin-lightening productions for hyperpigmentation but recently, I stopped because I was spotty and far too light. I looked like a bad Monique Heart highlight job because of the bleaching agents in the cream and it caused even more pain about my race, my skin and my skin tone. After a few weeks of cocoa butter and vitamin E oil, I’ve been able to get back on track to what my tone is and now I’m even more concerned about the concealer I was matched to. What is my skin tone? What am I? How black am I?
These questions are new and are frankly distressing and recently have come about from a silly avatar generating website.
On the flip side of that, there is a euphoric bliss to finding a match to my skin tone and making an avatar or icon just like me. It’s incredibly fulfilling to look at an icon and think “Yes, this is it. This is perfect.” I’m proud of most of the icons I’ve made and I do swap them out every once in a while just because as of this time, I’ve made quite a few of them mostly just for fun. Picrew became a way to work through my desire for kawaii avatars and icons without having to commission someone. As a long time lover of anime and kawaii culture, it’s nice to have chibis and bishojo and anime-inspired icons that do in fact look like me.
So by now, you may be asking: well, what do you expect? You did just say that you can’t ask more of Asian creators. To that I say, fair point. I do maintain that I cannot ask Asia to represent me; I can also say that it’s been sad to not be seen or represented in a medium I love so much. What’s even more interesting is seeing some of the generators’ creators mentioning that they have no intention of adding new skin tones or such after people ask for them which to me goes beyond simple ignorance and moves into full on intolerance. It’s one thing to not think of darker skinned people due to a lack of exposure and another to entirely just wish to not acknowledge them at all after people ask for more options on a generator that is popular.
So what do we do? Well, Picrew is great even though it’s a little memetic at this stage to have a Picrew avatar (several even made an appearance in Contrapoint’s excellent video on Canceling). If you are of color: commission artists. There are plenty of artists all over the social internet who would be willing to accept a commission for an avatar or icon. Start drawing! Every once in a while, I’ll sketch out stuff: you’ll never see them because they’re bad but sure, I’ve done it.
It took me years to feel proud of my melanin. It took me years to reconcile my blackness while being an otaku and lover of Japanese media and culture. It took me years to feel even a little bit confident in my skin and not finding avatars that match my skin or creators that refuse to acknowledge that darker people even exist seemed to push some of that progress back to nearly the same place I was as a teen that almost delighted when my great grandmother said she was happy I wasn’t a “darkie”.
Not finding a skin tone that matches mine in Picrew seemed to bring up every moment of internalized racism I have kept in my body for the last two decades. So here is where I soft revise my statement. I do still think that, if you are a person of color, queer person, religious person or similar looking for representation in Asian media: abandon all hope, ye who do weeb stuff here. But can I also say that it is detrimental, painful and unnecessary for creators to actively and continue to ignore people of color as their media increasingly becomes global?
I sure can.
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Izabela Mikolajczyk
Graphic Design
I am a senior at Columbia College in Chicago Illinois working towards my Bachelors in Art and Design focusing in Graphic Design. I received my Associates in Art at Moraine Valley Community College and am currently working part time at Chamberlain Restorations as a photo restoration artist. Art has been a passion of mine since my early childhood and entering high school it was kicked into high gear. My teachers pushed me hard to work on as many art projects as I could possibly do. I was lost in my work the way one gets lost in a really good book. Anything I work on feels magical in that I created something new entirely or improve something completely. My goal is to find a career that allows me to express my creativity and challenge it.
Featured Work
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snapshots and observations
Saturday, 12 November 2011
the little gloster
remember i told you i was in the isle of wight the other week ?
luckily enough somebody else is editing all the photos, but i did just
have a little look through them and picked out a few to show you.
you know... just incase you were thinking of checking out 'the island'
ok, so this is the room i stayed in.
and slept like a boss
this was my sweet balcony
where i would drink black coffee and scowl at the boats.
i used to do a lot of work for a magazine called 'wine'
( it was all about wine funnily enough )
over the years i heard lots of lectures and speeches about wine but to
be honest i never paid any attention. only one thing stayed in my mind,
i have only one wine related tip to pass on to you ( if tip is the word )
one afternoon in a pub near earls court i heard a famous wine expert say something
that stayed in my memory for over 10 years, and it's this...
"when a man is tired of syrah, he is tired of life"
i asked him what the hell he was talking about and he explained that what he was
trying to get across is that you can't go wrong with a bottle of syrah.
no idea what this wine is but i just remembered the syrah quote
and thought i'd share it with you.
( thanks for that - ed )
moving on, here's ben sexing the lobster
( i'm told this is perfectly legal practice on the isle of wight )
and here's natalie a little while afterwards looking after the same lobster
the lobster seemed a lot less agitated by this stage
here's a closer look at him
this is one of my favourite shots from the little gloster
andrea pretending to be doing something with the glasses.
shot using a leica 50mm f1.4 lens on my trusty gf-1
oh, i kind of like this too
one of the many little toy boats kicking around in my room.
right... what's this ?
is it like eggs benedict but with salmon instead of ham ?
there's probably a name for it but i think it's wrong not to use ham.
and also what are those green things all about ?
no need for them to be anywhere near those nice eggs...
( ben the chef got to hear all about my food ideas over the two day shoot )
and what's this ?
grrr ! too much greenery for my liking, but i do like the way those
little berries are balanced on top.
i'm not eating that.
outrageous amounts of greenery here.
( i only eat fish in it's natural battered form, when it is accompanied by it's close
friends mr chips and mr mushy peas )
i think this is gravlax
oh... it came with nice bread and stuff on the side
and some frozen shot glasses with a cold bottle of aquavit ( don't ask )
i'm not a fan of desserts but fair play to ben, this looked good.
and i do like berries
ben is top man. a great chef and a good bloke.
i think that in this shot he is thinking seriously about taking on my ideas about
cooking without vegetables... wondering if it will work...
oh, see the out of focus things on either side of ben ?
pull focus and...
it's the oldest trick in the book.
many, many thanks to ben and holly at the little gloster for looking after me.
now seriously, have a butchers at your diaries and book yourselves a little
break on the isle of wight, staying at the little gloster.
great location, beautiful rooms, excellent food.
and don't forget to say that i sent you.
1. You should eat your greens.
2. That lobster turned out to have a real 'split' personality.
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Transcript of the Nonprofit Commons Meeting with Zinnia Zauber / Renne Emiko Brock-Richmond about “IP Respect” June 15, 2012
Nonprofit Commons Weekly Meeting Transcript
June 15, 2012, 8:30 AM SLT / PST
Plush Nonprofit Commons Amphitheater
http://slurl.com/secondlife/Plush%20Nonprofit%20Commons/88/126/26
AGENDA
• • 8:30am Introductions
• • 8:40am TechSoup Announcements
• • 8:45am Mentors Central
• • 8:55am Intellectual Property Respect – A Virtual Artist’s Perspective with Zinnia Zauber / Renne Emiko Brock-Richmond of Sequim Humanities and Arts Alliance http://sequimartsalliance.org
• • 9:30am Open Mic / Announcements
[08:31] Zinnia Zauber: Thank you all for joining us this morning at
the Nonprofit Commons!
[08:31] Nany (nany.kayo): Great to be here.
[08:31] Zinnia Zauber: As folks are arriving, please be sure to
welcome new faces and old friends.
[08:32] Zinnia Zauber: I am getting some IMs that people can’t TP here.
[08:32] Zinnia Zauber: So, if you see some of our friends inworld,
please keep sending them TPs
[08:33] Nany (nany.kayo): Several people here I did not get a chance
to meet while I was busy with a class this year. Nice to see you!
[08:33] Zinnia Zauber: Let me share with our Agenda for today.
[08:33] CarmenLittleFawn: Hello
[08:33] Zinnia Zauber: AGENDA
• 8:30am Introductions
• 8:40am TechSoup Announcements
• 8:45am Mentors Central
• 8:55am Intellectual Property Respect – A Virtual Artist’s
Perspective with Zinnia Zauber / Renne Emiko Brock-Richmond of Sequim
Humanities and Arts Alliance
• 9:30am Open Mic / Announcements
[08:34] Zinnia Zauber: With that, let start with Introductions!
[08:34] Buffy Beale: Buffy Bye, Bridges for Women, Victoria BC Canada,
http://www.bridgesforwomen.ca @bridges4women
[08:34] Panny Bakerly: Jeanne Booth, Freeport Historical Society,
Freeport, NY www.freeporthistorymuseum.org; @FrptHisSoc
[08:34] HB Eternal: Harold W Becker, The Love Foundation, Florida,
http://www.thelovefoundation.com @lovefoundation
[08:34] HB Eternal: Go Buffy!
[08:34] Buffy Beale: lol HB slipped 🙂
[08:34] bulaklak: Michael DeLong, online community manager, TechSoup
Global, www.techsoup.org, @MichaelDeLongSF @TechSoup
[08:34] Zinnia Zauber: Please share who you are, what org you are
with, and web links. Please
[08:34] Glitteractica Cookie: Susan Tenby, Online Community and Social
Media Director, TechSoup, SF, CA USA @suzboop @npsl @techsoup
[08:34] Nany (nany.kayo): Nancy K McDonald Miller, Virtual Native Lands
[08:34] trichetriche: Hi, my name is Bea, I recently joined TechSoup
as a Community Curator for the Global Local Impact map. I’m really
excited about this project and will share more with you during the
open mic announcements. @trichetriche @techsoup
[08:34] Zinnia Zauber: Renne Emiko Brock-Richmond, Sequim Humanities
and Arts Alliance, Sequim, Olympic Peninsula, Washington.
http://www.sequimartsalliance.org
http://www.facebook.com/sequimartsalliance @renneemiko
[08:34] Chayenn: monique richert, Protect Yourself 1, Inc, Baltimore
Maryland, PY1.Us, facebook.com/PY1US, @PY1US
[08:34] Zotarah Shepherd: BEACH College, Santa Rosa, CA
[08:34] Dancers Yao: Kara Bennett, Elder Voices, Los Angeles, CA
Health Care and Human Rights
[08:35] alebez: Ale Bezdikian, Online Community Coordinator, TechSoup,
SF, @TechSoup, @alebez
[08:35] Jen (jenelle.levenque): Bruce Hestley, Transgender American
Veterans Association, Akron, OH, http://www.tavausa.org
[08:35] Buffy Beale: Yay Trichetriche and welcome!
[08:35] CarmenLittleFawn: drivebyagony/Keeping Kids Safe, Lorna
Hawkins Los Angeles California
[08:35] trichetriche: Thanks!
[08:35] Brena Benoir: Brenda Bryan, Preferred Family Healthcare,
Kirksville, Missouri, www.pfh.org. @brenabenoir
[08:35] Ethelred Weatherwax: Dave Dexter, Neenah Historical Society,
Wisconsin USA
[08:36] Adrianne Lexico: Adriana Sanchez. I don´t belong to any
organization. I´m interested in intellectual property and wanted to
learn more about your work in SL.
[08:36] Adrianne Lexico: I´m from Argentina.
[08:36] Glitteractica Cookie: Welcome Adrianne
[08:36] Adrianne Lexico: ty
[08:36] Zinnia Zauber: While you all are doing introductions, if you
are also a Nonprofit Commons Mentor, could you please say so? That way
during the meeting people can connect with you if they are new or have
[08:37] Hour Destiny: Morris Cox, Nonprofit Commons Mentor, Mesquite,
Nevada, USA
[08:37] Zinnia Zauber: Thank you Hour!
[08:37] Serene Jewell: Kathleen Watkins, maker of various media, San Francisco
[08:37] Lyssa AskJAN.org (janlyssa.serenity): Lyssa Rowan, Job
Accommodation Network, http://AskJAN.org @JANatJAN
[08:38] Hour Destiny: You’re welcome. 🙂
[08:38] Zinnia Zauber: We have a Mentors Meeting after this meeting to
help people, so please connect with these amazing people!
[08:39] Zinnia Zauber: More introductions?
[08:39] Nany (nany.kayo): Hi, Jac!
[08:39] CarmenLittleFawn: Hi Jacmacaire
[08:39] Adrianne Lexico: Hello
[08:39] Zinnia Zauber: Great to see you all here!
[08:39] Zinnia Zauber: Okay
[08:39Weekly Networking Event: Wharf Ratz, Aloft, Tuesdays, 7-9pm SLT
Aloft Nonprofit Commons (168,223,23)
Monthly Networking Event (3rd Thursday): Common Ground, Plush, 5PM-7PM SLT
Plush Nonprofit Commons (128,229,26)
[08:40] Glitteractica Cookie: small group today… did the announcements go out?
[08:40] bulaklak: I got one
[08:40] Nany (nany.kayo): me too
[08:40] Glitteractica Cookie: maybe it’s just that everyones on vacation
[08:40] Zinnia Zauber: Yes, I sent them on all the channels.
[08:40] bulaklak: Thanks for pasting the links, Zinnia
[08:40] Buffy Beale: I got it too Z
[08:40] Kali Idziak: Oops, late… Jessica Dally, Springwire (formally
Community Voice Mail) Seattle, WA
[08:40] jacmacaire Humby: Jacques Macaire Humanbe
http://www.humanbe.com Action Tank and Council on Sustainable
Development France and International @Humanbe
[08:40] Glitteractica Cookie: hmm … must be that it’s perfect
weather in so many places!
[08:40] Hour Destiny: Or suffering hangovers from Flag Day. 🙂
[08:40] Glitteractica Cookie: LOL hour
[08:41] bulaklak: That never stops our team from showing up….
TechSoup Announcements
[08:41] Zinnia Zauber: Let’s have our TechSoup Announcements
[08:41] Glitteractica Cookie: WHAAA??!
[08:41] bulaklak: Howdy, folks!
[08:41] Buffy Beale: yay bulaklak
[08:41] CarmenLittleFawn: Hello
[08:41] bulaklak: I hope everyone is enjoying their Fridays thus far.
[08:41] bulaklak: We’ve got a lot of great events on the horizon at TechSoup
[08:41] Nany (nany.kayo): I am!
[08:42] bulaklak: But first I wanted to let you all know that the end
of our fiscal year is coming up at the end of this month
[08:42] Hour Destiny: Does TechSoup order from TechSoup? 😀
[08:42] bulaklak: What does that mean? It means that if you haven’t
yet maxed out your 2011 allotment of TechSoup donations, there is
still time!
[08:43] bulaklak: Many of our donor partners hit the reset button on
July 1, so request before then to make sure you are getting everything
you are entitled to for this year.
[08:43] bulaklak: (And then start requesting again on July 1. Hehe.)
[08:44] bulaklak: Hour, we don’t actually. We do get a certain
allotment of software from our donor partners but it’s not through the
donation program.
[08:44] bulaklak: At any rate, there is a lot more info on fiscal year end here
[08:45] bulaklak: http://bit.ly/LgnFqX
[08:45] bulaklak: Okie doke on to events.
[08:45] bulaklak: Next week, we are co-producing a webinar with the
folks from Eventbrite and Social Media for Nonprofits
[08:45] bulaklak: You will be able to learn how to use social media to
get the most out of your events
[08:46] bulaklak: Join us on June 20 for that one, at 11am Pacific.
Register here: http://bit.ly/MCmeSC
[08:47] bulaklak: The following day, June 21, we are having a
cross-timezone tweet chat on the topic of data. More and more it’s
becoming apparent how crucial it is that we as social benefit orgs are
getting our data out there in front of decision makers
[08:47] bulaklak: This tweet chat will talk about how you can use your
org’s data to become part of that conversation
[08:47] bulaklak: This blog explains more, as well as how to join a
tweet chat in case that’s new to you
[08:48] bulaklak: http://bit.ly/LXmJnq
[08:48] Hour Destiny: “Dashboard Your Data” could be the name of it.
[08:48] bulaklak: The hashtag is #npdata and we’ll be convening at 10am Pacific
[08:48] bulaklak: That’s a great idea, Hour. We are usually not so
creative with titles at TechSoup. We’re kinda straightforward. But I
love your suggestion.
[08:48] bulaklak: Okay folks, that’s all I’ve got for today!
[08:48] Glitteractica Cookie: good stuff
[08:48] Zinnia Zauber: Thank you!
[08:48] bulaklak: Thank you for listening and enjoy the rest of the meeting.
[08:49] CarmenLittleFawn: ty
[08:49] Zinnia Zauber: Glitter, you wanted to share as well, please.
[08:49] bulaklak: Oh!
[08:49] Glitteractica Cookie: Sure
[08:49] bulaklak: Sorry I had one last announcement
[08:49] bulaklak: But I can wait
[08:49] Zinnia Zauber: You guys arm wrestle for it.
[08:49] bulaklak: LOL
[08:49] Glitteractica Cookie: I just wanted to say, first of all,
athat we are all happy to have Zinnia on board as our interim
community manager, as much as we miss Rik
[08:49] Glitteractica Cookie: (Bulaklak, just a sec)
[08:50] Chayenn: yes we are
[08:50] bulaklak: Yay, Zinnia!
[08:50] Chayenn: thank u zinnia
[08:50] Glitteractica Cookie: and we have a few opportuntiies to build
on past systems that may need we re-examining
[08:50] trichetriche: welcome
[08:50] Glitteractica Cookie: so, for example, the NPC group versus
the TechSoup inworld group
[08:50] CarmenLittleFawn: congrats Zinnia
[08:51] Brena Benoir: Woot Zinnia!
[08:51] Glitteractica Cookie: we have two groups, one for the
community and the other (the nonprofitcommons group) is for “resident”
members who have offices
[08:51] Glitteractica Cookie: the techsoup group is for the larger community
[08:51] Zinnia Zauber: 🙂
[08:51] Glitteractica Cookie: we can re-examine if this arrnagement
still makes sense, but I wanted to at least clarify how it is
[08:52] Glitteractica Cookie: so you all can know that the Nonprofit
commons group is supposed to be for resident information, and
informataion pertaining to more involved members and mentors, etc
[08:52] Glitteractica Cookie: the techsoup group was originally
intended for larger community stuff
[08:52] Glitteractica Cookie: i would be interested in conflating
these if that were possible and made sense
[08:52] Glitteractica Cookie: And Zinnia and I will discuss this
[08:53] Zinnia Zauber: 🙂
[08:53] Glitteractica Cookie: but for now, let’s just keep that in
mind, so we all know what the community is behind each group
[08:53] Glitteractica Cookie: That’s all for me
[08:53] Zinnia Zauber: Thank you Glitter!
[08:53] Glitteractica Cookie: Bulaklak… you were starting to say?
[08:53] Glitteractica Cookie: (you’re welcome)
[08:53] bulaklak: Yes, I would like to welcome our newest team member
[08:53] Glitteractica Cookie: oh yes
[08:53] bulaklak: This is her first time inworld today
[08:54] Glitteractica Cookie: woo hoo welcome trichtriche
[08:54] Zinnia Zauber: Welcome!
[08:54] alebez: wahooo! trichetriche
[08:54] CarmenLittleFawn: hello trichetriche welcome
[08:54] Panny Bakerly: Hi ya!
[08:54] trichetriche: Thanks you! Everyone has been so sweet. Very cool
[08:54] jacmacaire Humby: welcome.. 🙂
[08:54] Glitteractica Cookie: can yo ucome down to the front, so folks
can see you?
[08:54] Serene Jewell: Hi tri
[08:54] bulaklak: I believe she is having some rezzing issues (not
uncommon at first, I remember how awkward it was for me at first!) so
please give her a warm welcome
[08:54] Buffy Beale: yayy trichetriche
[08:54] Sarvana Haalan: Sally S. Cherry, Baltimore, MD
[08:54] trichetriche: I’m struggling a bit with my avatar
[08:54] trichetriche: 🙁
[08:54] Hour Destiny: Hello, trichetriche. I’m a Morris of all trades.
[08:54] bulaklak: We’ll work with you on that!
[08:54] Glitteractica Cookie: if you right click on stool next to
bulaklak you can sit there
[08:54] trichetriche: once I get the hang of it I’ll get on over there
[08:54] Zinnia Zauber: We all understand and are here to help!
[08:55] Glitteractica Cookie: just right click on that stool and select sit here
[08:55] trichetriche: I’m also having graphic issues
[08:55] bulaklak: I think maybe she can’t see the stools right now, just water
[08:55] Glitteractica Cookie: ah, it happens
[08:55] trichetriche: so I’m not able to see them
[08:55] Serene Jewell: We’ve all been through it.
[08:55] Glitteractica Cookie: oh, ok no prob
[08:55] bulaklak: At any rate, trichetriche if you want to give a
brief description of your work at TechSoup
[08:55] Glitteractica Cookie: yes, we’ve all been there
[08:56] trichetriche: Sure, I don’t want to be disruptive so I’m happy
to wait till the end
[08:57] bulaklak: Okay we can wait and do that during the
announcements so you can tell everyone about the stories you are
[08:57] bulaklak: Moving on for now . . .
[08:57] bulaklak: Oops I meant open mic
[08:57] Zinnia Zauber: We look forward to learning more!
[08:57] bulaklak: Anyway, take it away Zinnia
[08:57] Zinnia Zauber: Thank you!
Mentor Central and Intellectual Property Respect – A Virtual Artist’s Perspective with Zinnia Zauber / Renne Emiko Brock-Richmond of Sequim Humanities and Arts Alliance
[08:58] Zinnia Zauber: The good news is that Mentors Central blends in
with my talk today.
[08:58] Sarvana Haalan: woot!!
[08:59] Zinnia Zauber: Before I start, I want to remind everyone that
the NPC Mentors are here to help you out and we do mini lessons and
share during Mentor Central.
[08:59] Buffy Beale: cheering for youZ!
[08:59] Zinnia Zauber: Thank you!
[08:59] Zinnia Zauber: So! Let’s get started!
[09:00] Zinnia Zauber: Intellectual Property Respect – A Virtual
Artist’s Perspective with Zinnia Zauber
[09:00] Zinnia Zauber: You can find the slides here for later…
http://www.slideshare.net/renneemiko/intellectual-property-respect-a-vir…
[09:01] Zinnia Zauber: I am an artist, instructor, and superhero
promoting the importance of creative education and community
participation in the arts that are active and inclusive.
[09:01] Zinnia Zauber: I teach art, computer, digital media, and
social media use through Peninsula College, as a Lecturer and
Education Mentor for the University of Washington Certificate in
Virtual Worlds Program, and conduct workshops for TechSoup’s Nonprofit
Commons on branding, marketing, event production, and social media
[09:01] Zinnia Zauber: I create art, apparel, and virtual goods that
embrace the empowerment of brilliant hues, individualism, and
[09:01] Zinnia Zauber: I am thankful to get to share with you all today!
[09:02] Sarvana Haalan: Wooot…. Zinnia!!!!
[09:02] Zinnia Zauber: Disclaimer: I am an artist, instructor, and
Arts advocate, not a lawyer. The information contained in this
presentation is provided for informational purposes only, and should
not be construed as legal advice on any subject matter.
[09:02] Zinnia Zauber: I can be heavy handed when it comes to
Intellectual Property Respect because I have had my work stolen – at a
young age – and I used to run an artists’ resource office for the
nonprofit Artists’ Equity.
[09:02] Ethelred Weatherwax: You’re sounding like a lawye!
[09:02] Zinnia Zauber: lol Eth!
[09:02] Zinnia Zauber: It is important to me and I am thankful you are
interested in learning more.
[09:02] Zinnia Zauber: Why do people not recognize the rights of
creative people?
[09:03] Zinnia Zauber: It is a simple issue of lack of respect for the
professions of those who create. It is a legitimate job with results
that last long after a civilization has ended.
[09:03] Zinnia Zauber: Everything you interact with that is human made
has art, design, culture, and invention embedded in it. Thank you for
supporting creative expression and valuing those who create it!
[09:03] Zinnia Zauber: You will find that I ask you questions along the way…
[09:03] Zinnia Zauber: Encourage the Dos and the Do Not’s through
responsible and respective behavior.
[09:04] Zinnia Zauber: Lead by example.
Claiming ignorance is unacceptable.
[09:04] Zinnia Zauber: A great resource online about legal information
is http://www.nolo.com
[09:04] Zinnia Zauber: Or find your local lawyer for the Arts –
http://www.law-arts.org/
[09:04] Zinnia Zauber: What do you value or earn?
Respect, Self-worth, Money
[09:04] Zinnia Zauber: What do you get in return?
[09:04] Zinnia Zauber: Recognition for your accomplishments,
admiration from your peers, friendship, and cool stuff.
[09:05] Zinnia Zauber: Do you own your efforts?
[09:05] Zinnia Zauber: How would you feel if someone stole your stuff
or your income or your reputation?
[09:05] Hour Destiny: Willful ignorance is unacceptable.
[09:05] Zinnia Zauber: Is that legal behavior?
[09:05] Zinnia Zauber: Right, Hour.
[09:05] Sarvana Haalan: It happens much too often 🙁
[09:06] Jerry Buchko (jerrybuchko): (yes, Nolo’s great)
[09:06] Nany (nany.kayo): There is another side to this issue I hope
to bring up.
[09:06] Zinnia Zauber: You all can help. disingenuous actions are hard
for us to understand.
[09:06] Zinnia Zauber: When it comes to Intellectual Property, there
is no gray area. It is black and white.
[09:06] Nany (nany.kayo): dont think so, Zinnia
[09:06] Zinnia Zauber: Taking without permission is stealing.
[09:07] Zinnia Zauber: Arrrg! Do you know pirates?
[09:07] Zinnia Zauber: People often tell me that they think because
images, writing, music, or video is on the web or in a virtual world;
it is free for them to take. Absolutely not! It is thievery unless the
creator of the work has given you permission.
[09:07] Nany (nany.kayo): Museums claim property rights to things they
did not create
[09:07] Sarvana Haalan: I prefer “written permission” before using
content both ways.
[09:07] Zinnia Zauber: Yes, Nany, I think we will have to address that
issue sometime.
[09:07] Zinnia Zauber: Respect, Professionalism, Integrity, and Understanding
[09:07] Zinnia Zauber: Requirements to value Intellectual Property Rights.
[09:08] Zinnia Zauber: You can not have truth without an agreement. A
handshake is an accord. Respect is value.
[09:08] Zinnia Zauber: What is intellectual property?
Ideas and creative assets become property once they can be touched,
seen, heard, and felt.
[09:08] Zinnia Zauber: When a light bulb in your head, becomes one in
your hand. So, it has to somehow escape from your brain and become a
tangible medium of expression.
[09:08] Hour Destiny: Technically, ideas cannot be intellectual property. 🙂
[09:09] Zinnia Zauber: right Hour
[09:09] Zinnia Zauber: Four ways to protect different types of
intellectual property:
[09:09] Zinnia Zauber: What is a Copyright?
Copyright is a form of protection grounded in the U.S. Constitution
and granted by law for original works of authorship fixed in a
tangible medium of expression. Copyright covers both published and
unpublished works.
[09:09] Zinnia Zauber: What is a Patent?
A patent is a grant issued by the United States government giving the
inventor the right to exclude all others from making, using, or
selling their invention. There are three kinds of patents: utility,
design, and plant.
[09:09] Zinnia Zauber: What is a trademark?
A trademark is a distinctive word, phrase, symbol, or design which
identifies specific goods or services as those produced or provided by
a certain person or enterprise.
[09:10] Zinnia Zauber: What is a Trade Secret?
A trade secret can be any formula, compilation of information,
pattern, or device which benefits a business and can give an advantage
over their competitors.
[09:10] Zinnia Zauber: How are those slides rezzing for you guys?
[09:10] Ageliki Mekanic: ok
[09:10] Serene Jewell: they look good
[09:10] Hour Destiny: Anonymonity and punishments that seem excessive
seem to be two of the main reasons for piracy. Not to mention
[09:10] Zinnia Zauber: Super, thank you!
[09:10] Zinnia Zauber: I am going to focus on copyrights for this
presentation. I will cover what can have a copyright, how to get a
copyright, length of rights, public domain, fair use, Creative Commons
[09:11] Zinnia Zauber: What types of creative work does copyright protect?
Any original “fixed in a tangible medium of expression” which means
that the work must exist in some kind of physical form for at least
some period of time. That includes any recorded media or your
computer’s random access memory (RAM).
[09:11] Zinnia Zauber: Some examples include: Artistic – architectural
designs, digital media, graphic designs, paintings, photographs,
[09:11] Zinnia Zauber: Literary – educational materials, novels, plays, poetry…
Performances – choreography, music, sheet music, sounds… Recorded
media – games, movies, music, software, videos…
[09:11] Zinnia Zauber: Are creative ideas protected?
[09:11] Zinnia Zauber: No.
Once a creative idea becomes tangible, then it can be protected.
[09:11] Hour Destiny: Emails…
[09:12] Zinnia Zauber: yes, Hour – emails and they are legal docs…
[09:12] Zinnia Zauber: The copyright is a legal device that provides
the creator the rights to control how their protected work is used.
Those rights involve the reproduction right, distribution right,
performance and display rights, and the right to create adaptations
(or derivative works).
[09:12] Zinnia Zauber: How do I copyright my work?
Your work is under copyright protection the moment it is created and
fixed in a tangible form that it is perceptible either directly or
with the aid of a machine or device.
[09:12] Zinnia Zauber: You have the © (copyright) once you make the
idea actual. Once it is tangible.
[09:13] Zinnia Zauber: Why would I register my copyright?
To protect your works and if you needed to take legal action.
[09:13] Zinnia Zauber: How do I register copyright of my work?
http://www.copyright.gov/
[09:13] Zinnia Zauber: $35 – Online registration of a basic claim in
an original work of authorship (electronic filing)
Lots more services and forms there…
[09:13] Zinnia Zauber: A valid copyright notice should contain:
the word “copyright”
a “c” in a circle ©
the date of publication
the name of either the author or owner of the copyright rights in the
published work.
[09:14] Zinnia Zauber: Remember, once you create something – it has a copyright.
[09:14] Zinnia Zauber: How long does a copyright last?
For works published after 1977, the copyright lasts for the life of
the author plus 70 years.
Works published after 1922 but before 1978 are protected for 95 years
from the date of publication.
[09:14] Zinnia Zauber: All works published in the United States before
1923 are in the public domain.
[09:14] Zinnia Zauber: What is the public domain?
It refers to creative materials that are not protected by intellectual
property laws such as copyright, trademark, or patent laws.
[09:15] Zinnia Zauber: You should presume that every work is protected
by copyright unless you can establish that it is not. Just because you
don’t see a ©, you know it has a copyright if it is created after
[09:15] Hour Destiny: Don’t forget Fair Use rights.
[09:15] Zinnia Zauber: Do your research and remember copyrights can be renewed.
[09:15] Zinnia Zauber: I will cover that!
[09:15] Zinnia Zauber: 🙂
[09:15] Zinnia Zauber: This disrespectful statement pisses me off,
have you heard it?
“I rather beg for forgiveness than ask for permission.”
[09:15] Zinnia Zauber: That is disingenuous laziness and illegal behavior.
“Cuff him, Dano!”
[09:15] Jen (jenelle.levenque): Can be expensive too
[09:15] Zinnia Zauber: yes!
[09:16] CarmenLittleFawn: yes
[09:16] Zinnia Zauber: Do you feel like you are restricted by these
copyrights to protect the creators?
[09:16] Zinnia Zauber: Maybe you want to make something in a virtual
world, don’t have the ability to make original works of your own. You
have options.
[09:16] Zinnia Zauber: You understand the rights creators have over
their works, so how can you use their work to create your own?
[09:16] Zinnia Zauber: Respect creators’ rights and discover how you
can create as well.
[09:17] Zinnia Zauber: Take a class and learn to make it yourself!
It is easier than ever to create unique works yourself!
[09:17] Zinnia Zauber: If you know how to use your phone camera, BAM!
You have a means to create amazing textures that you can bring
[09:17] Zinnia Zauber: No one needs to know that stunning sofa in your
office started out as a close up of your favorite polar fleece. Or,
was it some pound cake?
[09:17] Hour Destiny: As I sit here with an Optimus Prime avatar…
[09:17] Zinnia Zauber: hehe, right…
[09:18] Zinnia Zauber: Support creators…
[09:18] Zinnia Zauber: Buy works that you have the license to use.
[09:18] Zinnia Zauber: When you buy a piece of art, like a painting,
you do not have any reproduction rights. That is the right to make
copies of a protected work.
You only have the right to hang it on your wall.
[09:18] Zinnia Zauber: The artist owns the reproduction rights while
you own the painting.
Unless it is stated in the sales contract that the purchase includes
the reproduction rights. Don’t assume anything, contact the artist for
[09:18] Zinnia Zauber: Always ask!
[09:18] Zinnia Zauber: Most people don’t understand these rules.
[09:19] Zinnia Zauber: Some artists don’t know their rights either.
[09:19] Zinnia Zauber: Licensed works will have terms of service in
writing that explains permitted use of the work and details
stipulations. Creators may want to maintain the integrity of their
works and express restrictions.
[09:19] Sarvana Haalan: It’s hard to get folks to understand the rules. 🙁
[09:19] Zinnia Zauber: Yes, but that is why we are discussing it. To help them!
[09:19] Zinnia Zauber: A good example of that in virtual worlds are
textures. The creator of a texture might state do not resell or
distribute these as textures. Resell only as part of a build. So you
have bought a license to use the textures, not sell the textures on
their own.
[09:19] Zinnia Zauber: Read the fine print…
[09:20] Zinnia Zauber: ask the creator…
[09:20] Zinnia Zauber: Creative Commons license, let’s the creator
keep their copyright, but gives a way to let people use, copy, and
distribute works.
[09:20] Zinnia Zauber: Do you guys know about the Creative Commons?
[09:20] CarmenLittleFawn: no
[09:20] Zotarah Shepherd nods
[09:20] Zinnia Zauber: Later, check out…
[09:20] Zinnia Zauber: This is a great video explaining what the
Creative Commons offers…
https://creativecommons.org/videos/get-creative
[09:21] Jerry Buchko (jerrybuchko): yes
[09:21] CarmenLittleFawn: ty
[09:21] Zinnia Zauber: I am going to try to get a speaker to discuss
that for us someday.
[09:21] Zinnia Zauber: CC instead of c
[09:21] Zinnia Zauber: Different licenses include: Attribution,
Attribution-ShareAlike, Attribution-NoDerivs,
Attribution-NonCommercial, Attribution-NonCommercial-ShareAlike, and
Attribution-NonCommercial-NoDerivs.
[09:21] Zinnia Zauber: Fair Uses – a limitation and exception to the
exclusive right granted by copyright law to the author of a creative
[09:21] Zinnia Zauber: Violations of fair use occurs when the use of
copyrighted work is used for commercial gain.
[09:22] Glitteractica Cookie: I can help you get a speaker to talk to that
[09:22] Zinnia Zauber: Thank you Glitter
[09:22] Nany (nany.kayo): Good idea
[09:22] Zinnia Zauber: Uses That Are Generally Fair Uses:
Nonprofit educational uses
Research and scholarship
News reporting
Criticism and comment
Non-commercial use is often fair use.
Benefit to the public may be fair use.
[09:22] Zinnia Zauber: How’s that Hour?
[09:22] Ozma Malibu: We used Creative Commons works for the Helios
science classes, Z. That’s where I found the images for the
instruction for physics etc.
[09:23] Zinnia Zauber: Super, then we really should line that up!
[09:23] Zinnia Zauber: I see this violation all the time at craft
fairs when vendors are selling items that contain licensed characters
– like Disney characters.
[09:23] Zinnia Zauber: They will by fabric with those characters and
it states clearly in the selvage (the edge of the fabric) “This
product intended for non-commercial home use only.”
[09:23] Hour Destiny: What about books in audio format? What if
someone is blind and needs an audio format?
[09:23] Zinnia Zauber: That means that whatever is made out of the
fabric isn’t licensed for resale. So, the maker of the potholder is
violating the rights of the fabric creator if they sell the potholder.
[09:23] Glitteractica Cookie: TechSoup is published under creative commons
[09:23] Zinnia Zauber: Needless to say, people break the laws. So, I
encourage folks at the craft fairs to educate themselves.
[09:23] Zinnia Zauber: Good question on the audio… I think more and
more talks are coming up!
[09:24] Glitteractica Cookie: here is an oldie but goodie article from
TechSoup 2008 about creative commons: what it is, how to use it:
http://www.techsoup.org/learningcenter/internet/page4817.cfm
[09:24] Zinnia Zauber: I get asked this all the time, “If I change
something enough, like with Photoshop, can I use it for myself without
the permission of the creator?” I always picture in my head
Michelangelo’s “The Creation of Adam “ on the Sistine Chapel ceiling.
My answer is, “If you are creative enough, make something new
[09:24] Zinnia Zauber: Thank you, Glitter!
[09:24] Glitteractica Cookie: no prob
[09:24] Zinnia Zauber: Derivative or “derivative work” is defined as
work based on one or more preexisting works that are transformed or
[09:24] Hour Destiny: 30% changes.
[09:24] Zinnia Zauber: Nearly everything is a derivative of something.
[09:24] Zinnia Zauber: Transformativeness – work must sufficiently
transforms the expression of the original work that the new work is no
longer “substantially similar” and does not infringe the copyright in
the original.
[09:25] Zinnia Zauber: So, we know we can make changes…
[09:25] Zinnia Zauber: and make it our own
[09:25] Zinnia Zauber: but, I like people really making things on their own.
[09:25] Zinnia Zauber: I get to teach more classes that way!
[09:25] Zinnia Zauber: lol
[09:25] CarmenLittleFawn: love it
[09:25] Zinnia Zauber: Virtual Rights are Real Rights
Content in Second Life is any works of creative authorship that
includes text, scripts, applications, programs, gestures, animations,
video, music, sounds, images, photos, textures, graphic design,
primitives, and objects.
[09:26] Zinnia Zauber: Everything here is ART!
[09:26] Zinnia Zauber: right?
[09:26] Zinnia Zauber: we are all pieces of work
[09:26] Zinnia Zauber: some more than others
[09:26] Zinnia Zauber: 😉
[09:26] CarmenLittleFawn: lol
[09:26] Zinnia Zauber: Appreciate your own significance.
If you license your work, you retain legal ownership of the work
(copyright) while someone else can produce, duplicate your imagery on
merchandise, and sell your item.
[09:27] Zinnia Zauber: Depending on the written contract, when you
grant the license, you can receive a royalty. That is an ongoing
payment based upon a percentage of the income from the licensed work.
[09:27] Zinnia Zauber: How many of you here create in SL?
[09:27] Zotarah Shepherd: I do
[09:27] CarmenLittleFawn: I am going to
[09:27] jacmacaire Humby: not fool 🙂
[09:27] Zinnia Zauber: Don’t be shy!
[09:27] Brena Benoir: I have before
[09:27] Buffy Beale: I do
[09:28] Zinnia Zauber: Super!
[09:28] CarynTopia Silvercloud: I am trying to learn how
[09:28] Zinnia Zauber: wonderful!
[09:28] Jen (jenelle.levenque): Raises Hand
[09:28] Zinnia Zauber: Great!
[09:28] Serene Jewell: yes
[09:28] Hour Destiny: I wish content owners overall were more open to
alternative expressions.
[09:28] CarmenLittleFawn: I also have a copyright, but have learned a
lot more about it here today from you
[09:29] Zinnia Zauber: Then, you know how important it is to protect
your efforts.
[09:29] Zinnia Zauber: Second Life / Linden Lab Terms of Service
Content Licenses and Intellectual Property Rights
[09:29] Dancers Yao: yes
[09:29] Zinnia Zauber: thank you Carmen!
[09:29] Ozma Malibu: Zinnia you are good at raising awareness and
ENTHUSIASM! I want to go out and take photos right now! I just need to
think of a project to put them in. 🙂
[09:29] Nany (nany.kayo): everybody is welcome to steal anything I create here.
[09:29] Zinnia Zauber: You retain any and all Intellectual Property
Rights in Content you upload, publish, or create in Second Life.
You grant certain Content licenses to Linden Lab and users of Second
Life by submitting your Content to publicly accessible areas.
[09:29] Zinnia Zauber: lol Nany
[09:29] Zinnia Zauber: If you violate other’s Intellectual Property
Rights, your access to Second Life will be terminated.
http://secondlife.com/corporate/tos.php#tos7
[09:29] Zinnia Zauber:
http://wiki.secondlife.com/wiki/Linden_Lab_Official:Intellectual_Property
[09:29] Nany (nany.kayo): It’s true. Ask me and I will give you a copy
of anything I make, full perms
[09:29] Sarvana Haalan: you are saying that we as content creators
need to copyright our creations?
[09:30] Sarvana Haalan: what about photos?
[09:30] Zinnia Zauber: the moment you make it, it has a copyright.
[09:30] Zinnia Zauber: Linden Lab Official: Snapshot and machinima policy
[09:30] Zinnia Zauber: If you wish to take a snapshot or capture
machinima of content on another Resident’s land, then you need the
Land Owner Consent. Check the Land’s covenant for details.
[09:30] CarmenLittleFawn: oh ok
[09:30] Zinnia Zauber: On the Mainland or Linden owned land, you can
take snapshots without permission, but you do need it to capture
[09:31] Zinnia Zauber: Ask permission of each avatar too.
http://wiki.secondlife.com/wiki/Linden_Lab_Official:Snapshot_and_machini…
[09:31] Zinnia Zauber: So, that can be overwhelming… I know!
[09:31] Zinnia Zauber: Ask Permission and give credit!
[09:31] Zinnia Zauber: I did a machinima of artists friends in Second
Life and requested permission to film the artist and their works.
[09:31] Zinnia Zauber: When I do presentations to promote Second Life,
I ask permission to use photos of them.
[09:32] Zinnia Zauber: I also created my own artwork based on an
avatar with that avatar’s permission.
Thank you to Filthy Fluno!
[09:32] Zinnia Zauber: The Digital Millennium Copyright Act (DMCA) is
a United States copyright law that criminalizes production and
dissemination of technology, devices, or services intended to
circumvent measures that control access to copyrighted works.
[09:32] Zotarah Shepherd: (He is one of SLs great artists)
[09:32] Zinnia Zauber: If you discover your work is being distributed
online or inworld without your permission, file a DMCA notice with the
http://secondlife.com/corporate/dmca.php
[09:32] Zinnia Zauber: Yes, Filthy Rocks!
[09:33] Zinnia Zauber: Learn more!
Be Respectful!
Embrace Personal Responsibility!
Support Creatives!
Be Brilliant!
Unlock your own unique creativity!
Thank you very much!
[09:33] Zinnia Zauber: Be Advocates of Awesomeness!
[09:33] Hour Destiny: Poor Drextor Despres.
[09:34] Buffy Beale: this was just great Z, thank you!
[09:34] Zinnia Zauber: Okay! That was a lot of text and info!
[09:34] Zinnia Zauber: Thank you!
[09:34] Zotarah Shepherd: Thank you Z
[09:34] CarmenLittleFawn: very informative and important Thank you so much 🙂
[09:34] trichetriche: Thanks
[09:34] Glitteractica Cookie: thanks zinnia
[09:34] Adrianne Lexico: Excellent presentation!!! THANKS, Z!!!
[09:34] Dancers Yao: excellent,,,than you so important
[09:34] Zinnia Zauber: So, I wanted to give us a chance to discuss… as well.
[09:34] bulaklak: Thank you, Zinnia! Great knowledge and advice.
[09:35] Brena Benoir: Woot Zinnia. Thank you for sharing and educating
us on topics that impact us everyday.
[09:35] Zinnia Zauber: Thank you, this is very important to me.
[09:35] Ageliki Mekanic: Thank you! Great!
[09:35] Serene Jewell: Thanks so much for doing this, Zinnia.
[09:35] Jen (jenelle.levenque): Excellent presentation
[09:35] Zinnia Zauber: So, let me ask you some questions…
[09:35] Jerry Buchko (jerrybuchko): Thanks Zin!
[09:35] Zinnia Zauber: Do you think that everything online is free for
you to take and use?
[09:35] CarmenLittleFawn: no
[09:35] Zotarah Shepherd: no
[09:36] Brena Benoir: no
[09:36] trichetriche: nope
[09:36] Jen (jenelle.levenque): NO
[09:36] bertique: i have seen a lot of pictures taken in sl on
flickr… many people protect them buy copyrights… i find it is…
stupid.. beacause sharing is caring
[09:36] Jerry Buchko (jerrybuchko): Not everything.
[09:36] Hour Destiny: Unless you get caught… 😀
[09:36] Zinnia Zauber: okay, so I see that some people want to see
more sharing…
[09:36] CarmenLittleFawn: well I like the idea of being creative
[09:36] bertique: i never protect my pics made inworld. i would be
greatful, if somebody finds my pics so good so that he or she will
repost them
[09:37] Nany (nany.kayo): agree
[09:37] Zinnia Zauber: That is why the Creative Commons is for you guys!
[09:37] bertique: i am a JOOOMLA fan
[09:37] bertique: i love open source products
[09:37] trichetriche: I love Creative Commons
[09:37] bertique: i really do not understand creative commons
[09:37] Nany (nany.kayo): and if the person using those photos is not
selling them, that is fair use, isnt it?
[09:37] Jerry Buchko (jerrybuchko): ditto.. fan of the CC
[09:37] Zinnia Zauber: I think we will really have to do some talks
about that in the future!
[09:37] bertique: because it is some times tricky to understand
[09:38] Buffy Beale: Question: Z how do we license our avatars and can we?
[09:38] Zinnia Zauber: yes, there are many choices there.
[09:38] Sarvana Haalan: Back… I crashed
[09:38] Zinnia Zauber: You can trademark your avatar
[09:38] CarmenLittleFawn: really
[09:38] CarmenLittleFawn: how?
[09:38] Buffy Beale: wb Sar 🙂
[09:38] Zotarah Shepherd: I am fine with folks using my creations, I
would not however want them stolen from me as their own so I could not
use them.
[09:38] Zinnia Zauber: Draxtor did
[09:38] Zinnia Zauber: I am in the process of doing it.
[09:38] Zinnia Zauber: I am doing an art project about that process.
[09:38] CarmenLittleFawn: did he?
[09:38] Zinnia Zauber: yes
[09:39] CarmenLittleFawn: cool
[09:39] CarmenLittleFawn: I would be interested when u find out
[09:39] Zinnia Zauber: He and I are discussing how we can share that
process together.
[09:39] Nany (nany.kayo): Seems petty to fret about someone using some
little bit of junk I make in SL.
[09:39] CarmenLittleFawn: great 🙂
[09:39] Zinnia Zauber: So, that will be another talk!!!
[09:39] Buffy Beale: that’s great and would be a good session
[09:39] Zinnia Zauber: Awesome!
[09:39] Adrianne Lexico: yes, definitely
[09:39] CarmenLittleFawn: yes it would be
[09:39] Hour Destiny: A MMO (Massively Multiplayer Online game) that
is free-to-play will still infringe on IP even if it is free.
[09:39] Nany (nany.kayo): LL can easily grab it and wipe it out at any time.
[09:39] Zinnia Zauber: True Nany
[09:39] Sarvana Haalan: what is you bought your avatar an dmade major
modifications, can you trademark or copyright it?
[09:39] Zinnia Zauber: true
[09:40] Zinnia Zauber: Well, can we agree that I will have to prepare
another talk about the avatar issues?
[09:40] CarmenLittleFawn: yes indeed
[09:40] bertique: sure
[09:40] Zinnia Zauber: I did a talk about that at FCVW this year.
[09:40] Sarvana Haalan: *what if…
[09:40] Buffy Beale: I’d like to know about trademarking an avatar so sure
[09:40] Zinnia Zauber: It is very important stuff.
[09:40] Zotarah Shepherd: If you made the skin and shape then you
should be able to trademark your avatar. I am not quite that creative
[09:40] Sarvana Haalan: great idea
[09:41] CarmenLittleFawn: yes it is important
[09:41] Zinnia Zauber: Yes, Buffy is my star when it comes to avatar branding.
[09:41] bertique: hm
[09:41] bertique: may i ask one question?
[09:41] Buffy Beale: that’s easy cause Zinnia made my skin 🙂
[09:41] Zinnia Zauber: Please
[09:41] bertique: it is very important to me
[09:41] Zinnia Zauber: 🙂
[09:41] Sarvana Haalan: coool!!
[09:41] bertique: what does “commercial use” means?
[09:41] Zotarah Shepherd: I’d know Buffy anywhere without seeing her tag
[09:41] Zinnia Zauber: That means to earn income from.
[09:41] trichetriche: buying and selling
[09:41] Adrianne Lexico: seems like we have another talk ahead, Zinnia!
[09:41] bertique: if i create a website and use it privatly, it is
not.. ok, but if i place some ads there?
[09:42] CarmenLittleFawn: hehehee
[09:42] Zinnia Zauber: So, like if music is playing in a store…
[09:42] Buffy Beale: 🙂 worn this outfit since I started
[09:42] Adrianne Lexico: you have to tell us more about trademarking avatars! 🙂
[09:42] Zinnia Zauber: that is also commercial use
[09:42] Zotarah Shepherd: I know : )
[09:42] bertique: :((
[09:42] Zinnia Zauber: and people have to pay to play
[09:42] CarmenLittleFawn: yes u have Buffy 🙂
[09:42] CarmenLittleFawn: yes they do Zinnia
[09:42] Zinnia Zauber: I am so excited you guys are interested in more!
[09:42] Adrianne Lexico: we always are!
[09:42] Adrianne Lexico: :
[09:42] Zinnia Zauber: yay!
[09:42] CarmenLittleFawn: I am 🙂
[09:42] HB Eternal: and yes, Buffy washes her outfit regularly
[09:42] bertique: it’s a great topic
[09:42] Buffy Beale: not easy running around as a little green fairy I
can tell you that lol
[09:43] Adrianne Lexico: lol
[09:43] CarmenLittleFawn: heheheeh
[09:43] Zinnia Zauber: But, I want to be sure we get a chance to
handle our whole agenda
[09:43] Buffy Beale: with all the gorgeous others here
[09:43] Buffy Beale: lol HB, at least weekly
[09:43] Zinnia Zauber: so how about you guys share with me more topics
you would like covered.
[09:43] Zinnia Zauber: and we will work on that!
[09:44] Zinnia Zauber: Thank you for this chance to share with you and
the slides are here
[09:44] Zinnia Zauber:
http://www.slideshare.net/renneemiko/intellectual-property-respect-a-vir…
[09:44] Adrianne Lexico: sure.
[09:44] Hour Destiny: 3d game development. 😀
[09:44] Zotarah Shepherd: Identity theft too
[09:44] Buffy Beale: I’d like to hear from some of the NGOs here, mini
presentations on the org
[09:44] Adrianne Lexico: fair use in education
[09:44] Zinnia Zauber: Super ideas!!!
[09:44] CarmenLittleFawn: yes 🙂
[09:44] Zinnia Zauber: Keep them coming and email too at renneemiko(AT)gmail(DOT)com
[09:44] Zinnia Zauber: Okay!
[09:44] CarmenLittleFawn: ok
[09:44] Zinnia Zauber: Open Mic / Announcements
[09:45] Zinnia Zauber: Who has some?
[09:45] Adrianne Lexico: seems like the law is sometimes different
depending where you live.
[09:45] Glitteractica Cookie: I like Buffy’s idea, esp if those
stories refer to uses of tech by the org. Good for the pruposes of
trichetriche too
[09:45] Adrianne Lexico: thank you, Zinnia!
[09:45] Buffy Beale: Z a tip… use renneemiko[at]gmail[dot]com and
you’ll avoid the trollers 🙂
[09:45] trichetriche: Thanks everyone for being so welcoming
[09:45] Adrianne Lexico: thank you all.
[09:45] Buffy Beale: x out your email addy before posting to the web
[09:45] Zinnia Zauber: You are more than welcome! It is my passion to
educate and encourage!
[09:45] Zinnia Zauber: thank you, Buffy
[09:46] Sarvana Haalan: Excellent presentation… How are Nonprofits
members using the 3D technology other than their NPC office and
[09:46] Zinnia Zauber: Trolls love me
[09:46] Adrianne Lexico: need to leave now. goodbye! bye Nanny
[09:46] Hour Destiny: Would like a way for nonprofits to more easily
bring their staff up to update on various issues including IP.
[09:46] Buffy Beale: bye Adrianne
[09:46] Nany (nany.kayo): bye, Adrianne!
[09:46] Zinnia Zauber: Great
[09:46] Adrianne Lexico: goodbye
[09:46] CarmenLittleFawn: bye Adrianne
[09:46] Adrianne Lexico: from rainy Buenos Aires, Argentina
[09:46] Zinnia Zauber: Does any one have Open Mic items?
[09:46] CarmenLittleFawn: Thank you again Zinnia for a great presentation
[09:46] Sarvana Haalan: I do
[09:46] trichetriche: I do
[09:46] Buffy Beale: Z can we talk about the SLB NPC display?
[09:47] bertique: thanks a lot
[09:47] Sarvana Haalan: I do
[09:47] Buffy Beale: Second Life birthday display
[09:47] Zinnia Zauber: Okay, Sar
[09:47] Zinnia Zauber: go for it
[09:47] Sarvana Haalan: Much to my delight a local colleague write
about my presentation, “Capabitility through 3D Virtual Worlds” at the
Tech and Social Change Meetup in Baltimore, MD USA last month.She
include the provided information and links to TechSoup and the
Nonprofit Commons. Her article was linked on her Facebook page.
http://www.bilou.info/blog/theres-a-whole-other-world-out-there
[09:47] Buffy Beale: wow that’s great Sar!
[09:47] trichetriche: congratulations
[09:48] CarmenLittleFawn: nice 🙂
[09:48] Zinnia Zauber: Wonderful!
[09:48] Jerry Buchko (jerrybuchko): yes, congrats
[09:48] Sarvana Haalan: did that transmit?
[09:48] CarmenLittleFawn: yes
[09:48] Zinnia Zauber: yes
[09:48] Zinnia Zauber: Thank you!
[09:48] Zinnia Zauber: Okay, trichetriche…
[09:49] trichetriche: Thank you
[09:49] trichetriche: TechSoup has an exciting new initiative in
partnership with Microsoft called the Local Impact Map, and we will
love for you to be a part of it. We want to showcase the amazing work
nonprofits and NGO’s are doing with donated technology; we are looking
for stories from nonprofits around the world who have benefited from
TechSoup’s technology donations and resources. If you have a story to
share or know any other nonprofits who do email:
ImpactMap@techsoupglobal.org, and if you have any questions or want to
learn more email me bea@techsoupglobal.org
[09:49] trichetriche: Please take a moment and explore the map to see
how organizations are showcased
www.techsoupglobal.org/local-impact-map
[09:50] trichetriche: I look forward to hearing from you and hope we
can work so that other people around the world can see the great work
you do. 🙂
[09:50] Zinnia Zauber: Super!
[09:50] CarmenLittleFawn: Thank you 🙂
[09:50] trichetriche: I’m also going to be asking for help and
patience while I familiarize myself with SL. 🙂
[09:50] CarmenLittleFawn: 🙂
[09:50] Zinnia Zauber: Have you seen my slides on starting in SL trichetriche?
[09:51] trichetriche: not yet
[09:51] Zinnia Zauber: I’ll get that to you!
[09:51] Zinnia Zauber: Okay, Buffy
[09:51] Zinnia Zauber: SL9B
[09:51] trichetriche: Thank you! and again email me your stories
bea@techsoupglobal.org
[09:51] Buffy Beale: that’s great trichetriche, since the office space
is donated by TechSoup we all should have a story 🙂
[09:51] Buffy Beale: the Nonprofit Commons space 🙂
[09:52] Glitteractica Cookie: Hey Sarvana, I’m just looking over this
great article, but there are a few corrections we’d like to make, for
ex, you don’t need to be a 501c3 to have a space here. And I’d like to
share a senstence or two about how to get technology products from
techsoup. in http://www.bilou.info/blog/theres-a-whole-other-world-out-there
can you connect community@techsoup.org with the author, and so we can
guide her a tad?
[09:52] Zinnia Zauber: sorry, trichetriche
[09:52] Zinnia Zauber: Did you have more?
[09:52] trichetriche: nope that is all
[09:52] trichetriche: thank you
[09:52] Zinnia Zauber: super
[09:52] Zinnia Zauber: thank you
[09:52] Zinnia Zauber: Buffy, yes
[09:52] Buffy Beale: ok Z
[09:52] Zinnia Zauber: We have our Wishes Granted space at SL9B
[09:53] Buffy Beale: SL9B is the Second Life birthday celebrations
[09:53] CarmenLittleFawn: nice
[09:53] Zinnia Zauber: I will have more to share next week on that.
[09:53] Buffy Beale: hundreds of displays of orgs from all over Second Life
[09:53] Zinnia Zauber: Have you guys attended it before?
[09:54] Nany (nany.kayo): yes
[09:54] CarmenLittleFawn: Welcome back Sarvana
[09:54] Buffy Beale: so it’s a great opportunity for the NPC to get
some exposure
[09:54] Ozma Malibu: yes!
[09:54] Nany (nany.kayo): lol
[09:54] Zotarah Shepherd: I have
[09:54] CarmenLittleFawn: yes I have
[09:54] Zinnia Zauber: Please feel free to hang out at our space and
talk with people.
[09:54] Serene Jewell: yes, it is a great way to see some of the
wonderful things going on in SL
[09:54] Zinnia Zauber: It is a great way of connecting and showing off.
[09:54] Dancers Yao: yes…what are the dates?
[09:55] Zinnia Zauber: I am looking for the site
[09:55] Sarvana Haalan: I keep crashing today 🙁
[09:55] CarmenLittleFawn: Welcome back 🙂
[09:55] Zinnia Zauber: sorry
[09:56] Sarvana Haalan: did my open mic comment get transmitted before
I crashed?
[09:56] Zinnia Zauber: http://sl9b.wordpress.com/
[09:56] Buffy Beale: darn that Sar and yes it did
[09:56] Zinnia Zauber: yes, we got that.
[09:56] CarmenLittleFawn: yes
[09:56] Sarvana Haalan: great
[09:56] Buffy Beale: So Zinnia is there any help needed for the NPC display?
[09:56] Jerry Buchko (jerrybuchko): (topping off my coffee… brb 😉
[09:56] Zinnia Zauber: SL9B Opening & Keynote 18th June 11am SLT
[09:56] Zinnia Zauber: yes, I could use some help.
[09:57] Zinnia Zauber: Let’s talk about it after 11
[09:57] Zinnia Zauber: Okay, any other Open Mic?
[09:57] Sarvana Haalan: I was so pleased to see that she included the
TechSoup info for local orgs
[09:58] Zinnia Zauber: SL9B Exhibits close 27th June
[09:58] Zinnia Zauber: super, Sar
[09:58] Zinnia Zauber: Okay!
[09:58] Zinnia Zauber: So thank you all for attending this meeting!
[09:58] Buffy Beale: thanks Z great job
[09:58] Zinnia Zauber: I will miss you guys next time because of my
college reunion.
[09:58] CarmenLittleFawn: Thank you Zinnia
[09:58] Zinnia Zauber: I am doing a lecture there at the same time as
our meeting.
[09:59] Buffy Beale: livestream it in?
[09:59] Zinnia Zauber: Thank you all so much and Mentors Meeting is after this.
[09:59] Nany (nany.kayo): Thanks, Zinnia. Interesting topic with a lot
still to be said.
[09:59] Dancers Yao: thanks Zinnia
[09:59] Zinnia Zauber: yes lots more to come!
[09:59] Zinnia Zauber: Here are our links…
[09:59:59] Glitteractica Cookie: ok, bye all. See you next week
[09:59] Zinnia Zauber: Thank you and please take care!
[09:59] alebez: Thank you, Zinnia! This was great. And thank you all.
Have a great day.
[09:59] Glitteractica Cookie: thanks Z
[09:59] trichetriche: Thanks
[10:00] CarynTopia Silvercloud: thanks!
— END OF LINE —
Written by: Zinnia Zauber
“Intellectual Property Respect” with Zinnia Zauber / Renne Emiko Brock-Richmond for June 15 Nonprofit Commons Weekly Meeting
“Intellectual Property Respect – A Virtual Artist’s Perspective” with Zinnia Zauber / Renne Emiko Brock-Richmond of Sequim Humanities and Arts Alliance
This Friday, June 15, we are featuring award-winning Arts Advocate, Artist, and Instructor Renne Emiko Brock-Richmond (Zinnia Zauber in SL) http://uniqueasyou.com and President of the Sequim Humanities and Arts Alliance http://sequimartsalliance.org . To foster expression and professionalism, Renne encourages the recognition of Intellectual Property use, permission, and protection through responsible and respective behavior. Learn and share your new knowledge about how ideas and creative assets become appreciated property this Friday.
Join us on Friday June 15 starting at 8:30 AM SLT / PST at the Plush Nonprofit Commons Amphitheater.
Nonprofit Commons Weekly Meeting
June 15, 2012, 8:30 AM SLT / PST
Plush Nonprofit Commons Amphitheater
http://slurl.com/secondlife/Plush%20Nonprofit%20Commons/88/126/26
• 8:30am Introductions
• 8:40am TechSoup Announcements
• 8:45am Mentors Central
• 8:55am Intellectual Property Respect – A Virtual Artist’s Perspective with Zinnia Zauber / Renne Emiko Brock-Richmond of Sequim Humanities and Arts Alliance
• 9:30am Open Mic/ Announcements
About Renne:
Renne Emiko Brock-Richmond is an artist, instructor, superhero, and advocate for awesomeness who empowers people to be their best virtual and tangible self by advancing excellence, exceptional pursuits, and individualism through creative expression and encouraging instruction with inspired results.
Since 1993, Renne has taught college level art and digital media, including Photoshop before layers. Renne has been teaching virtual world application, collaboration, community building since 2008 with University of Washington, Peninsula College, Arizona State University, Federal Consortium for Virtual Worlds Conference, Virtual Worlds Best Practices in Education Conferences, TechSoup Global, Nonprofit Commons, Virtual Ability, Rockcliffe University Consortium, Texas Woman’s University Online Conference, and Second Life Community Conferences.
In 2009, she graduated from the first pioneering class of the University of Washington Certificate in Virtual Worlds Program, was the Educational Mentor for the Classes of 2010 & 2011, and a team leader of the graduate collaborators, Avalumni. Renne earned her Bachelors of Science in Art at Lewis & Clark College and her Masters of Fine Art in Visual Art at Vermont College at Norwich University.
Her company, unique as you, specializes in color perception, intention, and utilization to create motivating, engaging experiences with innovative identity development, marketing, social media, events, and immersive environments for businesses, nonprofits, educational institutions, organizations, and communities.
As a nonprofit establisher, board officer, and volunteer of several Arts organizations, Renne only uses her superpowers for good.
Written by: Zinnia Zauber
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0381a032-b9be-482f-b619-07f172cb6f0d
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Group Brand
The Sojitz group bases its activities on a 'One-brand Strategy', embodied in a single group name and a single group symbol, in order for each group company to act in unison.
The name "双日(Sojitz)" is composed of two parts. The Japanese word "双(so)"means "pair" and is used here to symbolize the strong partnership among us, our customers, and our society. The Japanese word "日(jitz)" has the meaming of "Sun" and symbolizes our efforts to become a corporate group characterized by its dynamic energy and a source of great power. Together, "Sojitz" embodies the Group’s commitment and dedication to secure sustained growth in concert with our customers and to realize a bright and prosperous future.
Group Symbol
The Sojitz Group has designated a new corporate Group symbol in line with its management vision. The new Group symbol is comprised of two parts—our symbol mark, a visual image, and our logotype, the new Group name. This Group symbol represents a visual expression of our underlying mission to stand at the forefront of global business development in partnership with our customers and to secure mutual growth with the global community.
Global Arrows (Symbol mark)
The symbol mark is a dynamic image of two arrows soaring skyward, extending beyond the earth’s horizon. The design is also a pictogram of the Japanese character for the "so" in our name.
Sojitz Blue (Group color)
we have identified "Sojitz Blue" as the color for our symbol mark, which represents the trust we are working to garner from our customers and society and our global efforts to pursue business with speed and a spirit of innovation.
Page top
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Speed Valley Adventure Experiences are unique and innovative that are aimed on providing an exhilarating experience to visitors & tourists of all ages.
Riyadh, Saudi Arabia
+966 5839 33338
info@speedvalley.info
Follow us
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Turn on a lightbox for your featured images, or simply provide a link to any content you would like displayed in the lightbox, including video. Personalize your portfolio. Define the style of your portfolio lists and single projects through Edge Options. ...
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New Mint Museum director brings mix of art, commerce
The Mint Museum of Art is headed toward its 75th anniversary with a new uptown home and a new executive director with a unique pedigree.
Kathleen Jameson begins work July 1. She succeeds Phil Kline, a former insurance executive who helped steer the Mint from its one location in Eastover to a five-story, $56.4 million uptown museum opening Oct. 1.
Jameson, a native of Allentown, Pa., will be leaving her job as assistant director of programming for the Museum of Fine Arts in Houston. She will guide the largest visual-arts institution in the Charlotte region as it works to establish an uptown identity and continue programming in Eastover.
She recently spoke with the Charlotte Business Journal about the museum’s future. Following are edited excerpts from that conversation:
Did the Mint Museum’s new uptown facility make the Charlotte position appealing to you?
The new cultural campus was a tremendous draw, but I’ll be honest there was so much more that is appealing about the Mint and Charlotte. We’ve been welcomed with generosity by so many people we’ve met.
The new uptown Mint is a flagship for the museum. It will provide another point of entry for more people to experience the collection. The Mint on Randolph Road holds just as much promise for the future.
With the museum celebrating its 75th anniversary next year, there’s a lot of opportunity moving forward, even beyond the excitement of October.
The Mint’s executive search committee was impressed by your vision of the museum’s future. What do you anticipate for the museum?
Bringing in new exhibitions will give an opportunity for people to experience art that most folks have never had the opportunity to experience.
We will also do more education programs and strengthen our relationship with the schools.
An attraction for me about Charlotte was how diverse the community is, and that is reflected in the collections at the Mint. I want to see the African-American art collection grow.
What are the Mint’s biggest challenges?
As the museum grows, its financial needs grow. We have to be circumspect about how we grow and what’s realistic moving forward.
Support for the museum is strong. The challenge for us is to show the community the value proposition of both Mint locations. That will be easier to do when people understand why you would go to Randolph, why go uptown and why go to both.
Some art enthusiasts were concerned the Mint’s reputation for craft would be diminished with the closing of the Mint Museum Craft & Design and the inclusion of that collection in the new uptown location. How will you continue to promote the Mint’s reputation and expertise in craft?
I was familiar with the Mint’s collection before coming to Charlotte because of its national and international significance. I will ensure craft and design remain a leading force in the Mint Museum overall. Craft is not going to be lost in the mix — in fact I see it as a shining light in the uptown facility. We have commissioned 10 important craft artists for site-specific work for the grand opening.
How did you come to a career in the arts?
My grandfather was from Greece, and he started collecting American art as a way to feel a part of this country.
I earned my undergraduate degree in psychology, and decided I wanted to study art history and follow my grandfather’s footsteps. I have a master’s in art history from the University of Louisville, a doctorate in art history from the University of Delaware, and my MBA will be from Rice University in 2011.
I have taught art history quite a bit and enjoy academia, but I enjoy the museum route because museums help people come together.
Had you visited Charlotte before pursuing this job?
I had not, but I’ve been through Charlotte. I had the great fortune serving as a fellow at a summer program held with Wake Forest University at the Reynolda House Museum of American Art in Winston-Salem. It was one of the great experiences of my life.
Do you think an MBA will help you work with the business community to win support of the arts?
It’s a lot to ask people from the business community to serve on the board of a museum without an art background and expect them to learn the ropes. It’s equally important that the director come to the table with an understanding of the concerns of business.
I wanted to make sure I spoke the same language as folks around the table and had confidence in my judgment of aspects of running an organization.
Sometimes museums are seen as out of reach, but they should be a place for all people. Corporate support is crucial to ensuring the doors are open for everyone. The business community in Charlotte understands that its support goes beyond the walls of the museum.
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Birzh massacre memorial searches for names of victims
The shtetl of Birzh in Northern Lithuania was home to 2 500 Jews at the end of the 19th century. It was a bustling town of business and industry, synagogues and schools, in the tradition of Litvak Jewry. There were political parties, youth movements, and as in most of Russian-controlled Lithuania, emigration to America and South Africa.
All that changed in 1941, with the arrival of the Nazis, who together with their Lithuanian collaborators, murdered the entire Jewish community on 8 August that year. The method of the brutal killing was the same throughout Lithuania, only the dates and the number of victims varied.
Benny Rabinowitz of Cape Town, whose grandfather arrived in Cape Town from Birzh in the early 20th century, is heading a project to record the names of those murdered in the Shoah on a monument to be erected in the Pakamponys Forest. This is the site of the massacre, which will serve as the tombstone for the victims. The date for the unveiling ceremony is planned for 19 May 2019.
However, obtaining an accurate record of names is difficult, as many of the victims are unknown, and available lists are inaccurate. Descendants of families who lived in Birzai-Birzh are requested to send the organisers the names of murdered family members and friends.
In addition to a memorial at the mass-murder site, a tolerance centre will be created at the local high school, where children will learn the fate of the Lithuanian citizens who were murdered only because they were Jews. An exhibition of Jewish life in Birzh over hundreds of years will also be created in the local museum in Biržai Castle.
Valuable historical material needs to be translated from Yiddish, Hebrew, and Lithuanian into English, and the project organisers intend to write a book that will record the contribution of Birzh Jews to South Africa and the other lands to which they emigrated.
Several large contributions have been received for the project so far, but much more is needed. Those willing and able to contribute should contact Benny Rabinowitz in South Africa at michelle@abbeygroup.co.za; Jonathan Dorfan in the United States at jdorfan@yahoo.com; Danielle Kretzmer in the United Kingdom at mailme@daniellelockwood.co.uk; or Glenda Levitt in Israel at glendalevitt@gmail.com.
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Kramer quits COVID advisory over “community flouting protocols”
One of the community’s top COVID-19 advisors this week lashed out at the community for flouting rules and putting lives at risk. Professor Efraim Kramer said he could no longer contribute to the safety of the community during the pandemic in light of this brazen behaviour.
“In a nutshell, I’m fed up,” Kramer told the SA Jewish Report. He said while the first surge “brought out the best in the community”, the second wave “brought out the worst in us”. His frustration has been mounting for some weeks in light of the number of deaths in the community. Last week, two members of his family passed away from COVID-19.
“I don’t care if I upset people. My aim is just to save lives. I don’t want to implicate anybody. The final straw came this week when President Cyril Ramaphosa allowed faith gatherings to take place, and people went to shul the next day. Where was the consultation? No meetings were held on how best to re-open shuls.”
Kramer is the head of the Division of Emergency Medicine at the University of the Witwatersrand (Wits), and Professor of Sports Medicine at Pretoria University. He has specialised in emergency medicine for 30 years, and was FIFA’s tournament medical officer at the Soccer World Cup in 2018. Along with other experts, he has advised the office of the chief rabbi on matters related to COVID-19 and shuls.
“I have written at least eight different protocols for things like weddings, Barmitzvahs, yom tov [gatherings], and shuls and it seems that everyone is doing what they like,” he said. “Come December, in the middle of a raging pandemic, people got in their cars or on flights and headed straight for hotspots. They flew home knowing they were infected. The results have been devastating, people have died. We’ve done this to ourselves. We’re doing it to our own.”
He said the communal leadership was “paralysed”. In a strongly worded message he sent to Chief Rabbi Dr Warren Goldstein and members of the Union of Orthodox Synagogues, he wrote, “Please note, with regret, that I have withdrawn from all community COVID-19 commitments and communications due to the total disregard and ignoring of the various safety protocols developed for the shuls and the community by many. I will no longer consult on any COVID-19 issue because it generally amounts to nothing as most people are still intent on doing their own thing anyway, in spite of advice to the contrary. But then, who am I to give advice anyway.”
Kramer said he had received countless complaints from members of the community afraid to attend large simchas which had been taking place “as if things are normal”. On Wednesday, he received another complaint from a community member who lamented that while a caterer was following protocols, guests were dancing, hugging, and behaving as if it was a pre-COVID-19 wedding.
“I drive past a shul every day and see countless cars outside. There have been minyanim taking place. The shuls have relaxed their protocols. I went into a bakery last week, and things were haywire. People were on top of each other using the same tongs and there was no safe distancing. It was a disgrace. As a doctor, I can’t fight this anymore. I’m going back to hospitals where at least the patients appreciate what I’m doing.
“While many people are being very careful, there are those who don’t care about the next guy. They think they are ‘holier than thou’ and Hashem will listen to their prayers. When you add up all the incidences, you get a picture of a community that doesn’t care for one another anymore. And where is the leadership when this is happening? How come nothing was said when shuls continued to open when it was against the law to do so and unsafe?”
Barry Schoub, emeritus professor in virology at Wits and the former director of the National Institute for Communicable Diseases, said, “This is very disappointing news. Professor Kramer has been an absolutely invaluable member of our community medical advisory team and has devoted an incredible amount of his time and energy in drawing up protocols, inspecting shuls, and looking after the safety of functions. He is an international authority on mass gatherings and has world-class credentials which have been so valuable in managing the COVID-19 epidemic. I’m sad at the decision he has taken, but I do understand the intense frustration he is feeling at the attitudes he has come across in a small minority of our community and the disregarding of protocols to safeguard our community by a small minority of shuls and minyanim.”
Leading pulmonologist Dr Carron Zinman said she understood Kramer’s frustration. “We’re all frustrated by people’s complete disregard for safety protocols as it’s so simple to follow the rules. We’re absolutely exhausted, and are tired of watching people struggle for each and every breath knowing that they should have worn a mask/should have kept a safe distance/should have avoided the gathering, and could have avoided getting COVID-19. You realise that you can give the same advice till you’re blue in the face, and people will choose to do what they want. We don’t act as judge, and never compromise our standard of care, going all out to fight for our patients’ lives.”
Said Chief Rabbi Dr Warren Goldstein, “I was disappointed and surprised to receive Professor Kramer’s resignation on the eve of the president’s announcement allowing for the reopening of shuls, which have been closed for more than a month. I have asked to meet with Professor Kramer to understand his specific concerns because the reports I have received since the reopening of our shuls in August 2020 indicate that the overwhelming majority of shuls have been outstanding and totally dedicated to the implementation of the health and safety protocols drafted by our full medical team.
“As a community, we will continue to be guided by Professor Barry Schoub and Dr Richard Friedland, who remain on our medical team, as we go forward to ensure the highest standards of safety for our community. On behalf of our community, I want to thank Professor Kramer for his months of tireless volunteer work to train and prepare our shuls to function safely in this pandemic.”
Wendy Kahn, the executive director of the South African Jewish Board of Deputies, said, “We have no knowledge about Professor Kramer’s resignation or the reasons for it. We commend him for his amazing contribution to our community.”
Rabbi Yossi Chaikin, the chairperson of the South African Rabbinical Association, said he was “shocked, surprised, and upset” when he received Kramer’s message. “We are so grateful for his service, and he is so respected. He sat with every rabbi and advised us. And even though he was very strict, we listened to him!
“I know that all shuls have followed his protocols with proper distancing, screening, hand sanitising, and masks – this is being enforced. I also know there have been private minyanim not under our jurisdiction where I believe there were minimal to nil protocols. On behalf of the rabbonim and shuls, I say that we are doing the best we can. It’s sad that people have acted this way leading to this decision, but we will continue to be vigilant.”
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Joburg – city of architects and dreamers
In spite of its reputation for being the “engine room” of the country, Johannesburg has many elegant, experimental buildings designed by Jewish architects.
Johannesburg Heritage Foundation’s Flo Bird and Brian McKechnie recently took viewers on a virtual tour of many of these buildings, downtown and uptown. Some of them have fallen into disrepair, but they are still a testament to innovation, and continue to contribute to the lives of those who live and work in them.
The tour, unusually, linked the buildings to their creators’ graves at Westpark Cemetery, with epitaphs contributing to our understanding of who they were.
“This tour was inspired by encountering the graves of architects whose work I loved,” Bird said, pointing out that a virtual tour allows us to traverse the large Westpark Jewish Cemetery with ease.
It started with Morrie (MJ) Jacob, who died in 1950. Jacob designed the Doornfontein Synagogue (1905) otherwise known as the Lions Shul, named for the bronze lions on either side of the stairs. In its day, Doornfontein was a desirable address for Jews. Though today the shul is squashed up against Joe Slovo Drive with an ugly fence, it’s still loved for its beauty and unusual touches like minarets, stone columns, and basilica-like space.
Another one of Jacob’s buildings, Cohn’s Pharmacy in Pageview (1906), is an example of the city’s obsession with corner buildings, which tended to be far more elegant and accentuated than those in the middle of the block. Jacob’s Jewish Guild War Memorial building in the old city centre (1922/23) is a pile of an Edwardian building which also celebrates its corner status.
Israel Wayburne (1983) is known, among other things, for employing famous activist and communist Rusty Bernstein. He’s responsible for a number of the maisonette flats (two down, two up) in Yeoville.
“Each building contributes to an interesting and varied landscape [compared, say, to monotonous Fourways],” said Bird.
One of his most well-known buildings is, in fact, the ohel at Westpark, which has a religious and aesthetic function (in spite of an unsightly drainpipe addition at the front). “Luckily Issie doesn’t have to see it as his grave is on the other side of the building,” Bird commented.
Louis Theodore Obel (1956), who was in partnership with his brother, Mark, was a graduate of the University of the Witwatersrand (Wits) – as were many of the architects mentioned. Obel and Obel made a great contribution to art deco architecture, including the Barbican Building (1930), which was the tallest building in Johannesburg at the time, Astor Mansions, one of Joburg’s first skyscrapers, and Beacon Royale flats (1934), at the bottom of Yeoville on Louis Botha Avenue.
Maurice Cowen (1990) contributed to the decorative facades of many of Joburg’s best-known schools, including Parktown Girls and Jeppe Boys, and the panels gracing 1930s-era Dunvegan Chambers, Roehampton Court, Shakespeare House, and Broadcast House in the Johannesburg CBD. The latter was the original home of the South African Broadcasting Corporation. The crazy antennae designed for the top of this building didn’t have any real function, McKechnie said, though it copied the antennae on top of the BBC, and there was briefly the idea of using it to dock airships.
Another Wits graduate, Leopold Grinker (1973), was an anti-establishment figure who disliked modernism. Grinker’s Normandie Court (1937) in Delvers Street, Newtown, combines art deco with his obsession with the streamlined form of ships. So too does Daventry Court in Killarney (also built in the 1930s), which was Killarney’s first modern block of flats.
Harold Leroith (also a Wits’ alma mater) is best known for designing Temple Emanuel in Parktown (1954). This minimalist, modern building has concrete recesses which make it sculptural and provide shade for its windows. It also shows concern for materials like stone and face brick.
Leroith also designed Redoma Court, which architects consider one of Johannesburg’s best buildings, and the iconic, shiplike San Remo (1937) Both are sadly in a dilapidated state in Yeoville.
Monty Sack, an architect and artist and another Wits graduate, (2009), incorporated the work of artists in Killarney Hills built on top of Killarney Ridge, built to house actors for the studio of American financier Isidore Schlesinger.
Sidney Abramowitch (2016) passionately lobbied to save Joburg’s historical buildings such as the Markham Building, and is known for designing Innes Chambers in 1963, now used by the National Prosecuting Authority. This unusual building with Y-shaped columns representing the scales of justice, was covered with mosaics, which recently had to be painstakingly restored.
Lastly, the tour touched on the work of Gerald Gordon (2016), also a Wits graduate, who the group described as “an outstanding brain who was unable to limit himself to any single factor”. Gordon, who incubated many of South Africa’s best-known architects in his many years of lecturing at Wits, is best known for designing mountain houses on Linksfield Ridge, such as 7 New Mountain Road (early 70s), which literally cling to the edges of cliffs.
He’s also known for developing a new construction method he named “thin-skin architecture” which uses no bricks and is extremely strong because of its monocoque construction (a type of construction used in cars and aeroplanes).
Like many others, the brilliance and bravery of these Jewish architects leaves a legacy that can’t be eradicated.
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Nominations open for a historic Jewish Achiever Awards
The Absa Jewish Achiever Awards 2020 is now open for nominations.
Just when you thought nothing familiar and fabulous was going to happen, the SA Jewish Report is calling you onboard to begin its journey to this year’s Absa Jewish Achiever Awards.
COVID-19 may have brought live entertainment and events to a grinding halt, but this year’s awards will be held in a format that will make history and give ample recognition to those who have achieved great things.
This is the 22nd year of this unique awards ceremony in which Jewish individuals are acknowledged for the powerful, influential, and life-changing roles they play in South Africa. The Absa Jewish Achiever Awards acknowledges those who deserve recognition for their contributions to society, paying tribute to the men and women who have enhanced our community.
Scheduled to take place in mid-October, the annual extravaganza evening will go ahead in spite of a host of virus-related challenges.
“For the first time in the event’s history, we will be holding an online-offline event,” says Howard Sackstein, the chairperson of the SA Jewish Report. “While the actual event will be streamed live for people to watch without being present, guests will still be able to take part in this incredible event.”
Sackstein explains that while tables can be purchased as usual, the seating is virtual, as guests will experience a gourmet dining experience in the comfort of their own homes while watching the live event.
“Those who buy tables will have their meal delivered to their home, from cocktails to dessert,” says Sackstein. “We will also feature a virtual red carpet, with guests taking photos of themselves at home and sharing them online.”
While they tuck into their meal at home, guests will enjoy a livestream of the event, enjoying the evening’s entertainment and awards.
The awards are another area where exciting changes have been made.
“While guests are eating and watching the event, award winners will be announced live and have their awards handed over to them at home by a team waiting to ring their doorbell. This means that guests will actually see the handover of the award, and feel as though they are still part of the event without actually being there.”
Some of the award categories have also been transformed. In spite of the challenges posed by our trying circumstances, members of our community remain determined to stand out and make tangible contributions, and the awards need to reflect this, Sackstein says.
“Beyond being online, the event must be experiential in that it is relevant to the times in which we are living,” he says.
“COVID-19 has ensured that the Absa Jewish Achiever Awards has changed, and certain award categories have been adjusted to reflect our reality. Business leadership in the time of COVID will replace the usual Business Leadership Award, the Professional Excellence award will become the Professional Excellence in COVID award. Other categories will be similarly adjusted.”
Changes like these are essential, Sackstein says.
“Awards which ignore our circumstances would be meaningless,” he says. “We have moved to recognise those doing remarkable work and their efforts at this very moment which are most relevant to our community.
“We are celebrating our heroes. Heroes emerge in moments like these. Ordinary people have really grasped the mantle of leadership and provided such a remarkable example that we should all emulate.”
Every member of our community is encouraged to participate in acknowledging the tremendous efforts of those who have risen to the occasion of COVID-19 and beyond.
“While a lot of people are depressed and fatalistic about our reality, others have seen the opportunities it offers and striven to make our lives so much better,” says Sackstein. “We have to recognise and celebrate them, using them as an example of what we can do in these difficult times.”
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By Artists For Artists
Doan Ly: Flower Designer and Photographer
Accidental Photographer with Intentional Design
It is always astounding to find photographers who are taking a rigid viewpoint and creating a new iconic movement that inspires and intrigues on extraordinary levels. Doan Ly is a Founder and creator of A.P. Bio who encompasses floral inspiration in her work. She came to the US at the young age of 8 as a refugee from Vietnam. She was raised in Minnesota; she obtains her undergraduate at Stanford and then studied acting at NYU.
Floral design and photography by Doan Ly, minus37 (14)
Doan Ly - Peonies , phalaenopsis and orchid
Photographic Journey of Doan Ly
Photographer was never an intended career path for Ly who still has moments of awe at how successful she has become. After trying to make it in LA as an actress, she eventually realized that the career path she was pursuing was unfulfilling which led her to pursue an on-going passion for flowers. As a result, Doan ended up moving to New York to pursue a career as a florist and this is where her photographic journey started.
Floral design and photography by Doan Ly, minus37 (8)
Doan Ly - Phalaenopsis
For the Love of Flowers
Doan admits that photography was somewhat of a surprise progression which simply started when she needed to document her floral creations. She taught herself how to photograph her designs and started playing around with the way in which she photographed each one. The need to escape the predictable monotony of wedding arrangements was the unlikely catapult that amassed an Instagram cult following and with this a demand for more of her untraditional floral arrangements and images.
Ly admits that there was no clear path to her photographic career and still works in a state of continual disorganized growth – for her, each event simply accidentally falls into place and sets out a new pathway for her to explore and follow. Perhaps it is this path of uncertainty that leads to her unfamiliar floral images that pique our interest and question the simplicity of a mere flower.
All images copyright of Doan Ly
You can view more work by Doan Ly her Instagram and Website.
Article written by Angelina Angileri
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Engagement with modernism
A Cologne exhibition shows how Roy Lichtenstein evolved a new pictorial language using art history itself as a motif
“M-maybe he became ill and couldn’t leave the studio!” frets the long-lashed, slender-fingered blonde in black outlines, flat colour surfaces and Ben Day dots in Roy Lichtenstein’s “M-Maybe – a Girl’s Picture”. Since Peter and Irene Ludwig bought this painting in 1968, its dime-comic heroine has been known as “the Mona Lisa of Cologne” and is the trademark of the city’s Ludwig Museum, which owns the greatest collection of American pop art outside the US. Standing between the Rhine, the looming gothic cathedral and the cavernous railway station with its Eau de Cologne neon signs, this museum always impresses with its upbeat contemporary approach. Its current show Roy Lichtenstein: Art as Motif is a model of cool wit and understated scholarship, and almost every room made me laugh out loud.
Famously, Lichtenstein brought cartoon imagery into high art, combining banal subject matter with formal discipline, a flair for composition, and visual unity. In “M-Maybe” you empathise with a series of abstract marks which, put in context, read in an economical, shorthand way as “girl”. Such glamorous-yet-distressed icons of 1960s metropolitan life have always been Lichtenstein’s most popular works. In a recent interview with Jeff Koons, Lichtenstein’s widow Dorothy recalled that “Roy adored women. He was optimistic and positive ... and he did have a lot of empathy ... he had many friends who were troubled. He may even have picked these women because he was so reserved in his own being that this was a way of latching on to the emotional highs and lows of life.”
That reserve-yet-sympathy – something shared, crucially, with Warhol, America’s other great pop pioneer – was essential to Lichtenstein’s entire project, and it is his cerebral, measured, erudite side that this show explores. Complementing the classic comic-book paintings and sculpture – “Takka Takka”, “Mad Scientist”, the bold ceramic “Blonde” – in its permanent collection, the Ludwig has borrowed some hundred works to show how, from the early 1960s, Lichtenstein evolved a new pictorial language using art history itself as a motif.
“Bet you can’t paint as good as that,” one of his sons challenged in the late 1950s, pointing to a Mickey Mouse comic. Lichtenstein responded with ink drawings in abstract expressionist style incorporating Mickey and Donald Duck. The absurdity and impersonality of pop was a vital correction to the high seriousness of Pollock and Co., but Lichtenstein from the start balanced dumb subjects with intellectual pleasures of appropriation and manipulation.
“Golf Ball” (1962) depicts a dimpled black and white sphere on a grey ground – an everyday object which, thus abstracted, recalls certain Mondrian black and white compositions. The game is to test our sense of realism – Lichtenstein shows representation to be a mere code, a system of signs. Later, the golf ball reappears as a painting on the wall in “Still Life with Goldfish”, a loose transcription in Ben Day dots – so called after Benjamin Day, who invented his printing technique based on systems of dots in 1879 – of a celebrated Matisse still life.
From “Rouen Cathedral, seen at three different times of day” (1969), a green, pink and purple stencil-like triptych after Monet, to “Expressionist Head” (1980), a parody of Kirchner, Lichtenstein’s inventiveness in rendering the refinements of modern art within his signature dot style is often very funny. His monumental version of Carlo Carrà’s small gouache “Red Horseman” is a riff on futurist innovations in conveying movement – the subject too of his own dynamic comic paintings such as the Ludwig’s “Explosion No 1”. “Trompe-l’Oeil with Leger Head and Paintbrush” reminds us how much Lichtenstein owed to the block-like figures of the French modernist. “Girl with Tear” reduces his typical all-American girl, via Dalí, to three elements: blond coiffure, wide almond-shaped eye and giant teardrop.
“Lichtenstein always maintained a very clever irony,” says John Currin in the catalogue here. “People in his paintings are acting out a modernist situation ... [the] bubble caption commenting about it not being a proper modernist painting. He saw that making figurative painting was basically a damned state, or an ironic state, banished from modernity. He was pretty dead on: the future of American figuration is this kind of damned state.” This century’s most fashionable artists – Currin, Koons, Hirst – have generally evolved out of pop, and Lichtenstein holds a special place as an intermediary between their ironies and modernism.
His laboriously handmade depictions of the printed Ben Day code are a paradox that admitted what has since become a truism: our visual experiences are mediated by mechanical reproduction and electronic simulation. “His real heroes”, though, Dorothy Lichtenstein notes, “were Cézanne and Picasso, which is why he felt he had to get beyond the level of his own taste.”
As this show documents, he did so by unpicking and developing the vocabulary shared by the 1950s-60s commercial art of advertising and comics with modernism: Picasso’s light and shade, Matisse’s strong but subtle contours, Mondrian’s primary colours. The results can by dry in their precise artifice, but they are never nostalgic. That is why Lichtenstein still looks especially fresh in historic European museums. Here one is aware that only an American could have so courteously, calmly, generously, definitively smashed European modernism, yet assimilated it into the postwar international aesthetic that continues to influence how art is made and seen now.
Until October 3. www.museenkoeln.de
Copyright The Financial Times Limited 2016. All rights reserved. You may share using our article tools. Please don't cut articles from FT.com and redistribute by email or post to the web.
Latest in Life & Arts
1. Bright lights, small island
2. Agent of change
3. A turn for the better
4. Frieze Art Fair 2011
5. Perfectly still
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3D, Animation, Compositing, Fluid Simulation, Particles
What’s lurking under the Liffey? Liquid Simulations
For this weeks blog we take a look at how we put a giant monster in the River Liffey.
We were asked by a client to create a giant Godzilla type of monster, but constructed with swarming smart phones and tablets.
We worked with the client on different concepts of what this phone monster would look like and so Phonezilla was born!
In creating the concept art, we looked at the various incarnations of Godzilla – old and new, as well as the great myriad of Behemoth and Daikaiju reference available online. Among our own office favourites, we researched and considered the scale and appearance of the beasts from films such as Pacific Rim, King Kong and even Ghostbusters (Mr. Stay Puft/Gozer).
Having decided to go with a more reptilian form, we got to work on refining the concepts further, working out the best way to meet the client’s requests; Phonezilla should have had a gigantic screen covering it’s belly, but having worked on the concept and exploring the envisaged practicalities of this in the modelling stage we found that for maximum impact it would be best to have the monster’s head be the screen.
Once the client agreed, we were back down to delivering the final concept and setting to work on the task of modelling the creature.
Phonezilla rough Concepts
Phonezilla rough Concepts
We were able to begin work on the modelling and animation based off the scripts and storyboard before the day of the shoot.
Our animators used CAT (Character Animation Toolkit) which is a strong toolkit inside of 3ds Max, we needed to use a custom rig on this project. We chose CAT for its flexibility, it allows for straightforward customisation of preset rigs (3d skeletons) and transference of data with no hassle. This meant we could modify an already existing IK rig, rather than building one from the ground up.
Phonezilla Rig and Basic Mesh
Because the creature was so massive we decided ahead of time to animate at 75fps (frames per second), normally CG animation in Europe is 25fps, the additional frame-rate would allow us to control the speed of Phonezilla in post, slowing him down to reinforce his size.
We spent some time studying other Godzilla films, particularly the 2014 film, but also the Godzilla cartoon and other monster movies such as Pacific Rim. We wanted to get that sense of a massive object emerging from the Liffey, displacing huge volumes of water and dominating the landscape.
Phonezilla Movement Animation
Another part of emphasising the scale of Phonezilla was our use of the camera. We knew the shoot would be taking place just above sea level, and this gave us an idea of how to position the camera. Phonezilla’s whole body would never be in a single frame, he’s just too massive!
The camera chases after Phonezilla trying to keep up with him and showing just how hard it is to fit him into shot. We also added some strong [position and rotation] noise to the camera at the end of the shot. This gives the impression that Phonezilla’s roar is so powerful it causes the camera to shake violently.
One thing which was going to be vital was how we were going to realistically place Phonezilla into the environment. With all of the CG (Computer Generated) water which was going to be involved reflections and colours was going to be important.
We were present on the day of the shot to take some HDRI (To find out more about HDRI ( High Dynamic Range Imaging) see our previous blog post here) and other reference images to make sure we matched the environments correctly.
GLUE-Phonezilla-HDRI
Phonezilla HDRI Setup
When we got the footage from the shoot we realised we may be limited matching up some of Phonezilla’s full animation with parts of the shot. At this point we could have edited the animation to fit the timing and movements of the camera or we could re-create the environment.
This raised it’s own issues, Phonezilla was meant to be placed in the Liffey, near the Samuel Beckett bridge and in front of the CCD! How were we going to create so many iconic areas for people who see them everyday!
Thankfully we had an abundance of enormous reference images we took on the day of the shoot and we got to work stitching these together to create the landscape we needed.
Phonezilla reference images
Phonezilla Reference Images
Phonezilla Liffey Backdrop
Phonezilla Liffey Backdrop
Phonezilla environment setup
Phonezilla Environment Setup
Now we have our environment, colour, lighting information, shape and animation next we begin working with our liquid simulation.
We break it up into separate parts, the main box of liquid interaction and the remaining parts of the river.
Getting the physics correct for such a large creature can be a tricky process, the larger something is the slower it appears to move. We wanted to get the idea across this was a larger than life phenomenon so this was important to us.
The simulation works similar to a particle system with built-in physics, so we created the large body of water and animated the shape of Phonezilla to rise up through it.
This can be a heavy file for a computer to handle as it has to make a huge amount of calculations for each frame. For example our simulation had over 60 million cells [particle grid spaces] to calculate the correct movements of the fluid.
We added in some source objects around the spines of Phonezilla and slowly animated down the amount of water so this would create the effect of the liquid simulation continuing to stream down after he had fully stood up.
To create the constantly moving mass of phones we used a particle system, similar to one used for the 5000 CG birds here.
This time we created several different phone and tablet 3d models and plugged them into the particle system instead of using the bird model.
We then used the shape and volume of the animated rig and basic skinned mesh we created as a base for the phones to stick to. We made the main animated rig unrenderable so now we had just the particles visible. We set them to constantly swarm around the mesh so they aren’t static which will help give energy to Phonezilla.
Phonezilla-Particle-view
Phonezilla Particle View
View the finished video below:
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Google added 30 new partners and 2,000 diverse works to the Google Art Project on Thursday.
The collection includes “contemporary art from Latin America, ancient art from China, rare Japanese paintings and Paleolithic flint heads from Spain,” according to the official Google blog, and it highlights a multitude of photographs and pieces such as the growing trend of urban art and graffiti in Brazil.
“More than 100 works from walls, doors and galleries in São Paulo have been photographed and will be included in the Art Project,” said Google. “The pieces were chosen by a group of journalists, artists and graffiti experts and include artists such as Speto, Kobra and Space Invader, as well as images of São Paulo’s most famous building-size murals.”
As for photography, the Art Project introduced 300 images from renowned photographers at the Fundacion MAPFRE in Spain, so folks can now view work by, for example, Mexican photographer Graciela Iturbide. Google’s initiative also became home to Hungarian paintings contributed by the Petőfi Literary Museum. The Nemzeti Dal or “National Song,” for instance, has rarely been seen in public but is now online for the first time.
The Google Art Project sports more than 40,000 artworks from more than 200 museums across 40
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BY Chloe Stead in Reviews | 02 APR 15
Featured in
Issue 19
X is Y
Sandy Brown Berlin
BY Chloe Stead in Reviews | 02 APR 15
Opening just before Berlin Feminist Film Week and International Women’s day, the group show X is Y, featuring Berlin-based female artists (the only man in the exhibition is one half of the artist duo Aurora Sander), can be seen as part of a wider trend for women-only exhibitions and publications. The title of the exhibition is borrowed from the eponymous 1990 short film by US filmmaker Richard Kern. As the press release points out Kern’s work has a complicated relationship with feminism: ‘In Kern’s X is Y topless cuties flail wildly, cradle phallic assault rifles, drape themselves over pinstriped sofas and spin around beneath hooded eyes in a display of “radical femininity”.’ Nevertheless Kern’s protagonists are mostly female: is this in itself enough to call them feminist portrayals, or should a true protagonist ‘mould herself’?
None of the featured artists explicitly reference Kern, but Anna Uddenberg’s sculpture comes closest to responding to questions of female agency exemplified in his films. In Jealous Jasmine (2014) – a life-sized plaster cast of a woman – Uddenberg seemingly catches her character in the act of diving into the pram she is pushing. Dressed in a slim-fitting down jacket and Ugg boots, her face hidden by her long blonde hair, it is unclear whether Jasmine is jealous of another woman’s baby or, Kardashian style, the attention that her own is receiving. On her lower back she sports what is often referred to as a ‘tramp stamp’. This kind of Celtic tattoo, popular in the ’90s, has become a kind of emblem for a number of artists of the Post-Internet generation. As in this case it is used to signify our society’s troubled relationship to female sexuality: despite ubiquitous depictions of the female body, if a woman takes agency over her own body image she is labelled a slut.
More subtly, sexuality is also the topic of Juliette Bonneviot’s contribution. As well as PVC and powder pigment her painting contains xenoestrogen chemical compounds. Considered a serious environmental hazard by many scientists, xenoestrogens mimic the effects of estrogen and have been linked with precocious puberty – the premature onset of puberty – and other reproductive irregularities.
Cleaning, or rather cleaning appliances, is another tongue-in-cheek theme in X is Y. Kirsten Pieroth has long worked with magazine advertisements but her sculpture Oracle (2014), the metal drum of a washing machine splashed with powder pigment, looks more like what happens when you’ve got the product out of the box and found it to be defective. Aircleaninglady (2015) by artist duo Aurora Sander reimagines an update of Mierle Laderman Ukeles’s Manifesto for Maintenance Art 1969! Broom handles fixed together into a frame hold a glass box in which a pair of platform shoes sit one on top of the other, as if in a chic showroom; the heel itself is made out of the stiff bristles one would use for scrubbing floors. The shoes allude to the fascinating trend on Instagram #heelconcept in which users create a high heel effect using a variety of objects from the banal to the bizarre. Like Uddenberg, Aurora Sander takes tropes of femininity, ramps them up to the point of absurdity and then hands them back to us. On my way out of the gallery I noticed one of the more understated works, a framed publication produced for another female-focused exhibition, Sally’s at Atelierhof Kreuzberg in 2009.
Not since the Guerrilla Girls’s 1984 protest against MoMA’s inclusion of only 13 women in a survey show of 169 artists in New York has gender quotas in the arts been such a discussed topic as today. Boom She Boom, the inaugural exhibition in the new building of the MMK in Frankfurt featuring only female artists from the collection, is just one of many recent examples of museums taking note of a change in the current climate.
This inevitably brings up the question of whether such exhibitions perpetuate a two-gender model, and merely add to the ghettoization of ‘women’s art’. Indeed the stigma of appearing in women-only shows can be so great that they are often left off the biographies of the participating artists completely. What is refreshing about X is Y is that these young artists – perhaps emboldened by the networking and the showcasing possibilities of social media – do not see one-gender shows as a restriction but as a possibility. Namely, of displaying their own brand of ‘radical femininity’ instead of merely accepting the one they are given.
Chloe Stead is associate editor of frieze. She lives in Berlin, Germany.
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A winning team for Calgary.
True to the Qualex-Landmark™ groups’ brand and reputation, every element of the Park Point development has been considered extra carefully, with enduring quality and dynamic lifestyle driving the planning, design, construction and finishing. An exceptional team of designers, engineers and construction professionals has been selected to enhance the value of this new Calgary landmark.
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The Qualex-Landmark™ group have more than a quarter of a century of residential and commercial development experience in the highly competitive Alberta and British Columbia markets. With accolades from customers and peers alike, they have earned a notable reputation for innovative design. Building on their established track record, the Qualex-Landmark™ group consistently create thoughtful and enviable communities people are proud to call home. For the past 10 years, the Qualex-Landmark™ group has built more concrete high-rises in Calgary than any other development group. PARK POINT is the newest addition to their portfolio in Calgary’s Beltline Community. Previous tower projects in the neighbourhood include STELLA, NOVA, LUNA, CALLA and MARK on 10th.
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IBI Group is a global architecture, planning, engineering and technology firm with a key presence in Calgary. Spanning projects with governmental, commercial and residential applications, IBI Group has contributed to hundreds of successful residential buildings over their 38 year history. Envisioning and the execution of environmentally sensitive residences with timeless style are some of the contributors to IBI Group’s success and the success of their clients.
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Axiom Builders is one of Western Canada’s most eminent builders of commercial and upscale residential spaces. Today over 4 million square feet is under construction to Axiom Builders exact standards. It’s these standards that have established Axiom Builders as the industry leader in delivering perfection. Peace of Mind. It’s what everyone wants. It’s what Axiom Builders delivers.
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Trepp Design’s Canadian and international work focuses on innovative interior design solutions. Whether the challenge is a private home, condominium or exposition space, their commitment to clients combines pleasure and function.
Durante Kreuk is an award-winning landscape architecture firm with over thirty years’ experience in the private and public realm. Their broad perspective and diverse thinking has been the key to creating a wide range of sustainable, people-focused urban places.
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Goodnight War – A Danced Funeral For War, Plants Seeds of Peace
Goodnight War is the latest and most extensive manifestation of an ongoing project by Katherine Kiefer Stark and her company, The Naked Stark. Through the framework of a funeral, the evening length performance examines how and why we support war in our everyday lives. On April 19-21, the company will fill the soaring sanctuary at Broad Street Ministry with reflections, eulogies, and tough personal questions. Performances at 7:30pm on Thursday and Friday, and 4:30pm and 7:30 pm on Saturday at Broad Street Ministry, 315 S. Broad Street. Tickets are $8-$12 and can be purchased at www.thenakedstark.com/goodnight-war.
Goodnight War invites audiences into an intimate, communal space where they join the performers in reflecting on war and asking “If war was gone, what would I miss?” Seven dancers and a large ensemble embody the nuances and complications around this subject as they construct and deconstruct, make messes, eulogize war, and delve into intense physicality. As they celebrate and mourn the passing of war, they are accompanied by live music by Paul Stern and folk singer Chana Rothman.
Personal movement statements performed by Katherine Kiefer Stark are woven through the larger ensemble sections. Turning her focus inward, she reflects on how motherhood has shaped the way she thinks about war, examines her own shortcomings, and asks herself, thereby prompting others to ask themselves, “What can I do to make peace?”
Framing the performance as a funeral for war is a useful tool for examining ourselves and our culture, but it is also brings audiences and performers together into a powerful symbolic ceremony. Though the piece deals in nuance and doubt, Goodnight War ultimately creates a space where we must at least pretend that it is possible for war to end. By living in this reality for an evening, audiences and performers are offered the opportunity and the challenge to come together and lay war to rest for good.
Katherine Kiefer Stark (Artistic Director / Dancer) is a dancer, choreographer, and teacher committed to the belief that the world is socially constructed and that we create rather than merely discover its significances. This philosophy is the driving force behind her work. While dealing with serious themes, Katherine has a quirky sense of humor and enjoys adding this layer into her work. Katherine received her BA in dance in 2002 from Connecticut College and her MFA in Choreography in 2009 from the University of North Carolina, Greensboro.
Katherine’s work has been presented by One Arm Red, American Dance Festival’s Acts to Follow, Choreo Collective, the Goose Route Dance Festival, the Asheville Fringe Festival, the Greensboro Fringe Festival, the Fringe Wilmington Festival, Last Mondays, and the Etc. Performance Series. Katherine has danced in Connecticut, Philadelphia, New York, West Virginia, Rhode Island, and throughout North Carolina performing contemporary work by various choreographers including John Gamble, Courtney Greer, Lacy James, Luis Lara Malvacias, Meredith Monk, Deganit Shemy, Christina Tsoules Soriano, and BJ Sullivan. She has been a member of CTS Dance, the John Gamble Dance Theatre, and Immediate Theatre – an improvisation collective directed by Katherine Ferrier – as well as collaborating with Courtney Greer.
Katherine taught contemporary dance, dance appreciation, and introduction to dance as a teaching assistant at UNCG. Katherine has been a guest artist at Enloe High School and the University of Texas, El Paso. Katherine enjoys teaching release technique at Philly PARD.
Follow Me
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Green Anole (Anolis carolinenensis) Portrait on a Palmetto
This will be the first of many species from my very successful trip to South Carolina. I managed to get poision ivy, get lost in a swamp for 4 hours at night, and get eaten alive by bugs, but it was a ton of fun being out there alone for a full week straight. I photographed 14 new reptile / amphibian species in total! This particular image is one of my favorites from the trip, and also what I consider to be one of my only artistic looking photographs of a herp. Most of that latter attribute was thanks to being in the right spot at the right time and the luck of having the Green Anole selecting a very good Palmetto perch with the colorful, dappled waters of a swamp directly behind him.
I'll be heading to the Delaware Water Gap National Recreation Area in Pennsylvania to photograph a multitude of waterfalls in the predicted rainy weather tomorrow and Thursday, but will be back to posting more images shortly after.
Green Anole (Anolis carolinenensis) portrait on a Palmetto with a pastel colorful background in Francis Marion National Forest, South Carolina, SC, United States.
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Côte d'Ivoire-based artist, Kadarik uses pop art as social commentary
Pop Art that analyses modern society using, the Joker, Spiderman and Wonder Woman.
A Côte d'Ivoire-based artist, known as Kadarick, draws on the fantastical powers of The Hulk, Spiderman and Wonder Woman to articulate today's fears.
In a new pop-art series of 23 paintings titled Joker, the self-taught painter explores pop culture, politics, mass media and capitalism. The series was recently on display at the LouiSimone Guirandou Gallery in Abidjan.
He uses a three-step process to create his collages and paintings. First, he edits multimedia images, printing them in high definition on a special canvas. Next, he uses the images to make a collage. Finally, he uses plastic materials, a torch and acrylic paint to create his signature style.
The Joker series is an act of resistance but it also reminds us that comics, old movie icons and other popular fiction are still tools with which to escape a harsh reality.
Below is the centrepiece of the series, Joker with his camera. This represents the mass media power of television, radio, press and social networks.
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The Unique Gothic Tattoos of Katy Wiedemann
Tattoos as an art form have come a long way. What was once shunned—associated with fringe movements and subcultures—has enjoyed a massive upsurge in popularity over the last two decades. One particular tattoo style that resurfaced this past year is black and white tattoos, and more specifically gothic tattoos. Skulls, snakes, and vermin aren’t just inked on the brave of heart, they’re considered stylish motifs that can actually grace the human body.
The beauty of black, white, and gray is that through clever manipulation a feeling of depth is created. In fact, black and white tattoos are considered more sophisticated and should definitely be on your radar.
If you’re looking for some black and white/gothic tattoo inspiration we recommend following Katy Wiedemann on Instagram. A graduate of the Rhode Island School of Design with a BFA in Illustration, as well as a MA in Illustration from Edinburgh College of Art, her pieces are very much realistic and stand out for their quality and level of detail. With common themes including goth kids’ favorites such as insects and mythical beasts, it’s easy to see the appeal.
According to Wiedemann, her main inspiration comes from anatomical museums around the world. Wiedemann notes one museum in particular, in La Specola in Florence, Italy, which holds life-sized wax anatomical models, presented in centuries-old wooden cabinets.
Wiedemann’s interest in anatomy translates not only to her tattoo art, but to her illustrations in general. In fact, she’s first and foremost trained as a scientific illustrator and has even illustrated a book dedicated to human anatomy.
“I am fortunate enough to have two careers that I love, which have ultimately merged together,” Wiedemann relayed once in an interview with Female Tattooers. “I can use tattooing as the medium for my love of scientific imagery. It is such an honor—not only to be taught how to tattoo—but also having the trust of my clients who will wear my art on their bodies for the rest of their lives.”
“Usually, the most difficult part of my job in both fields is frequently being asked to draw something that has been done countless times over and try to make it unique,” she notes. Judging by the end results, she’s quite up for the challenge. Prepare to be inspired!
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Painters in early twentieth century Indonesia
Willem Imandt, Waringin tree
From The Newsletter of the International Institute for Asian Studies in the Netherlands:
The painter Willem Imandt revisited
The so-called Mooi Indië (Beautiful Indies) genre of painting has been both wrongfully neglected and scorned.
The paintings were mostly dismissed as the inadequate products of artists lacking in classical training.
Willem Imandt (1882-1967), about whom little was known until recently, was one of the artists unjustly relegated to this poorly defined and unappreciated genre, which was most unfortunate as only a few years of his artistic development could, in fact, be categorised as Beautiful Indies. Just a small handful of his paintings found their way into museums, yet many of his pieces have fortunately been preserved in private collections.
Paul van der Velde
Increasing interest
The number of publications on Dutch East Indies’ art reflects the increased interest in foreign painters working in Indonesia.
This interest comes mostly from well-to-do Indonesians who have started to appreciate the colonial period paintings by western artists. Add to that number the more than half-a-million strong ‘Indo’ population of Dutch-Indonesians who fled Indonesia after it became independent in 1949.
Auction houses took notice and now conduct auctions for ‘Indonesian’ art, whilst galleries in the Malay world organise exhibitions of colonial paintings on a regular basis. Dutch museums also became actively involved; their approaches noticeably changed from ‘colonial’ to ‘mutually culturally influential’. The contours of this shift towards a mutual appreciation started appearing at the beginning of the 1960s.
Renewed appreciation
Said appreciation became clear in the monumental five-volume Paintings and Statues from the Collection of President Sukarno of the Republic of Indonesia (1964) edited by one of the most famous Indies painters, Lee Man Fong. The focus of the book is on the work of Indonesian painters, but western artists are very much present. With five paintings Imandt is well-represented.
This publication is likely the reason for the revaluation of paintings made in/of Indonesia, and the increased interest in them.
In 1967, J.H. Maronier published Pictures of the Tropics, which mainly deals with pictorial art in the Dutch Indies. One year later the groundbreaking work by J. de Loos-Haaxman, Verlaat Rapport Indie, appeared. She was a curator of the Batavische Kunstkring (Batavian Art Group) and knew Imandt personally.
Imandt sits at the top of her list of Dutch artists in Indonesia because his contemporaries considered him to be the most famous artist on Java in the 1920s.
Also from The Newsletter of the International Institute for Asian Studies:
Leonardus Joseph (Leo) Eland, painter of ‘Mooi Indie’
The Dutch East Indies painter Leo Eland (1884-1952) was a successful artist in the first half of the twentieth century, initially in the former Dutch East Indies and later in the Netherlands. He is featured in seminal works such as Indië omlijst (Indies framed) and Beyond the Dutch, but relatively little is known about him.
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Her energy is astounding. Her love and caring for us is incredible. She also pushes us to our limit. We love to work to please her.
~ Tonya Livingstone. Age 15
Valerie Mahabir, Artistic Director of the Desert Youth Ballet has been providing me her students for the Moscow Classical Ballet's Nutcracker for twenty years at the McCallum Theatre. They are always the best dancers on any of our tours. It is always a highlight for me to watch them.
~ Robert Friedman
"Miss Valerie clearly has a special talent for teaching!"
Miss Valerie clearly has a special talent for teaching! She is patient, energetic and obviously enjoys her profession. Miss Valerie takes the time to focus on each child and gives them encouragement and direction in a manner that allows the children to be encouraged and learn to love dance. Her expertise in demonstrating dance concepts to many different learning styles makes her unique. She clearly has a special talent for working with children and give them an enthusiasm for dance that as a parent would want for their child.
My daughter has been dancing with Miss Valerie for over 13 years and we have never regretted it. Brooke is the most graceful, enthusiastic dancer, who is properly trained in Royal Academy of Dance, London, England and completed her exam work this past year.
~ Robbie Lomes
Parent will tell you that one of the best things about Miss Valerie is her ability to draw out the dancing spirit in her ballet dancers as young as age 3. "One day my 3-year-old daughter tossed her leg in the air and said, "Mommy, teach me to do this!" said Pamela Henry of Redlands, California. "Miss Valerie took that charm and turned it into an artistic lifestyle or Michaela, who is now 16. Dancing so young became the foundation for all her other activities. I think one of the best things about Miss Valerie is that, while all dancers strive for achievement, she places a huge emphasis on the development of a child's spirit first and foremost."
~ Pamela Henry
My three little girls Petra, Frances, and Vreni studied with Miss Valerie at her studio in Vancouver, BC Canada for ten years. We were very sorry to see her leave as she was such an inspiration to my three daughters who are extremely disciplined and successful due to their ballet training. My daughter Vreni is a gynecologist with a specialty in maternal fetal medicine. Frances is a principal of an elementary school in Vancouver, BC Canada.
~ P. Kuret
Valerie was one of the most impressive ballet dancers to come out of Vancouver. She was always the lead dancers in all performances including ballets, musicals and operas.
~ Norman Leggatt
What a wonderful and entertaining evening we enjoyed on Saturday, complete with delicious reception, introductory ode to your life by your sister, a marvelous performance by your ballet students in the theater, and all beneath a beautiful desert night sky - simply splendid !!
We toured Narendra's complex and marveled at his incredible talents illustrated in the various design projects and pictures. The flow and sweep of the structures and buildings are spectacular, and he is to be congratulated on his visions and executions "out of the box" !! His athletic finale and tribute to you was a fitting end to the evening and honored a great lady with similar talents, expressions and movements albeit conveyed to us in dance.
Our sincere appreciation for including us in your special event celebrating 55 years of ballet, dance, and education of the arts to generations of young folk eager to live out their dreams and passions following your example.
With admiration for your spirit, dedication, and energy.
With sincere appreciation,
Mike and Irene.
I wanted proper training for my daughter. I knew that a teacher registered with the Royal Academy of Dance, London, England would be it.
~ Margaret Malcolm
I wanted my daughter to have a role model. Miss Mahabir certainly looked the part and lived it.
~ Kirsti Schultz
You girls are so lucky to have Miss Valerie in the Desert. She was the best teacher in Vancouver, BC Canada. She produced many dancers like myself who danced in the Royal Winnipeg Ballet. She was my teacher for 10 years. The RAD training was the best!
~ Kim Spencer
I think that perhaps all of us have a few defining moments of our life. Those are the moments that forever change the course of events. For me, one of those moments occurred on a hot day in September, 2003 when I took a shortcut down San Jacinto Drive and saw this beautiful building that said "architecture and ballet". Legend has it that I walked in and said something to the effect of "I need an architect and a ballet studio, can you help me?"
I knew from the moment I met her that this was a beautiful, sophisticated, elegant and graceful woman who would be a powerful influence in my daughter's life. What I didn't know was whether my kid could dance, so we let that unfold on its own. But as you can see, she has some talent in that department, but without Valerie to shape her development, that wouldn't have happened. As parents we feel blessed and lucky when our kid has a good mentor, teacher and coach. Valerie was exceptional at all of those things.
There are many kids who develop serious technical prowess in ballet. Those intrinsic skills are fairly attainable with hard work and persistence. But Valerie is a true artist and recognized that Austin was dancing with her heart, before she even really knew what to do with her body. It is a rare teacher that can bring forth the whole artist. I saw her do that with my daughter, and I know she has touched thousands of children and families over her 55 years in dance.
That is a gift. A gift that I know my family is very thankful for! Thank you for everything you have done!
~ Kim Eder
Going to Miss Valerie's Ballet Class is better than going to Disneyland.
~ Katie Flanagan. Age 10
She is the best teacher I can ever imagine having. I live here at the Studio every day after school.
I love Ballet.
~ Jennifer Madigan. Age 14
Thank You for sharing your talent and passion for Dance and the Arts. You are an extraordinary teacher!
~ The Hrycyk Family
Your event turned out to be a great success - which I am sure you were very happy about. 55 years in dance is certainly a cause for celebration! You totally deserved to be recognized for your dedication to ballet "done right" over many years, and for many accomplishments along the way. Hopefully it will inspire you to continue to put your heart and soul into your work.
~ Gilda Mahabir
I had not seen Valerie since we danced in Vancouver 36 years ago. Dance keeps you young and free from the ordinary mundane sea of thoughts. Dance keeps you young and free. When I stepped into the sacred space we danced again. Dance is the only step in our house of thoughts that does not creak. The space embraces you and encourages you to move. I had not seen Valerie in so long, when I stepped into her dance studio, I started to cry. The gorgeous dance studio compels you to move.
- Deborah Wakeham
Custom Website
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Felix Kelly - Gifted Gallery
Felix Runcie Kelly, born 3 February 1914, was a New Zealand-born graphic designer, painter, stage designer, interior designer, and illustrator who lived the majority of his life in the United Kingdom. He sometimes signed his illustration and cartoon work 'Fix'.
Born in Auckland, New Zealand, Kelly was the second son of Felix Vincent Kelly, a prosperous engineer, and his much younger wife, Hortense Agnes Kelly née Runcie. Kelly attended King's College but was mostly home-schooled in his younger years. He trained as a graphic artist and designer and also sold the occasional cartoon. His father went bankrupt in 1933 and his mother left him to live in England. Kelly left New Zealand in 1935 and joined his mother in London. He never returned to New Zealand.
In London Kelly was soon employed as a graphic designer at Lintas, the advertising wing of Unilever. At the outbreak of the Second World War he enlisted in the Royal Air Force where he became a navigating officer. In 1943 he suffered a severe illness that ended his active service and resulted in Kelly focussing on his painting.
Kelly's paintings were influenced by the Surrealists. His specialisation in domestic architecture and regular commissions saw him develop a romantic style that found more favour with his clientele and often included a number of recurring motifs such as red and white striped deckchairs, and items of mechanical engineering such as hot air balloons, paddle steamers, railways, trains, trams, and lighting fixtures. His paintings were meticulously executed. Houses were painted to an architecturally accurate standard but often contrasted with an untamed, almost sinister landscape.
Kelly's first one-man show was in 1943 at the Lefevre Gallery. This was a success. Herbert Read, the writer and art critic, bought a painting and invited Kelly to illustrate the second edition of his short novel, The Green Child. Kelly accepted the commission. Read returned the favour by writing the introduction to the book Paintings by Felix Kelly published in 1946 by Falcon Press. In 1944 a larger exhibition of Kelly's works opened at the same gallery with works by Lucian Freud and Julian Trevelyan in adjoining rooms.
Kelly accepted numerous commissions for paintings, murals and for illustration work. His commissions led him to visit and stay at many of the grandest country houses in the United Kingdom. His personality, wit, and charm ensured he was often invited back by his wealthy clients and, in some cases, developed into lifelong friendships. In 1947 he was invited to the United States by the New York gallery Portraits, Inc. Condé Nast Publications commissioned him to paint a number of important American houses and the publication of these works led to more commissions in the United States. The same year he also illustrated for the Lilliput magazine.
He fulfilled commissions in the UK, United States, Russia, North Africa, the Far East, and the Caribbean. In addition to painting he was often in demand as a muralist and interior designer. His own apartment was photographed and featured in magazines a number of times. He completed a mural for the banqueting hall of the Royal Palace, Kathmandu, Nepal, murals in a number of Union Castle and Cunard liners, but probably his most well known commission was the four murals painted in the Garden Hall at Castle Howard in 1982. These murals were commissioned by George Howard and paid for with the location fee from the Brideshead Revisited television production. Kelly also designed the Kelly car at Castle Howard, a little fairground-style train for conveying visitors round the grounds.
Kelly also worked on developing architectural ideas for his clientele. He produced an artist's impression of a Palladian temple for Sebastian de Ferranti, who then worked with various architects to realise the design. de Ferranti chose Julian Bicknell to build the house which was completed in 1986 Later Kelly worked on the Cave, a modern grotto, at Henbury Hall.
Kelly remodelled the house of Sir Michael Blake at Cornhill-on-Tweed and designed it as a Gothic dowerhouse. On the request of Charles, Prince of Wales, Kelly produced an artist's impression of an improved design of the Prince of Wales' residence Highgrove House in Gloucestershire. This became the inspiration of the remodelling of Highgrove.
Kelly also produced set designs for a number of theatre productions including: A Day by the Sea, 1953, the Haymarket, staring Sybil Thorndike and John Gielgud, the world premier of the Opera Nelson, 1954, Sadler's Wells Theatre,The Merchant of Venice, 1960–61, the Old Vic and The Last Joke, 1960, the Phoenix.
Kelly illustrated a number of books including a very successful collaboration his friend Elizabeth Burton whose four-volume series on the domestic interiors and furnishings of Elizabethans, Tudors, Jacobeans, Georgians and early Victorians ideally fit Kelly's aesthetic. His tendency towards the surreal and sinister was reflected in the dust jacket work he did for Faber and Faber's Best of series including Best Horror Stories (1957), Best Detective Stories (1959), and Best Tales of Terror (1962), as well as a beautiful wrap-around dust jacket for Haunted Houses (1956) by Joseph Braddock.
He also illustrated: Twilight Stories (1947) by Rhoda Broughton, A Strange Adventure in the Life of Miss Laura Mildmay (1947) by J Sheridan Le Fanu, The Desperate Art: a novel (1955) by John Rosenberg, Pilgrim's pleasure: the West Country (1959) by Alan Ivimey, London (1960) by Ivor Brown, Castle Howard (1972) by George Howard and Lincolnshire churches: Their past and their future edited by Henry Thorold.
Felix Kelly
Kelly was diagnosed with Alzheimer's disease in 1992 and died in Devon in 1994. His partner, the garden designer Vernon Russell-Smith inherited his estate.
Kelly's archive of sketches, photographs and papers is held by the Museum of New Zealand Te Papa Tongarewa.
Reading Recommendations & Content Considerations
Introduction by Herbert Read Donald Bassett
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4.s27
Special Subject: Urban Design — Contemporary Urbanism: Theory and Representation
Permission of instructor
Required of:
SMArchS students
Note: schedule changed to W 9-12 in room 3-329
The course is a critical survey of key contemporary positions on urbanism to the ends of writing and designing territories that respond to the challenges of the 21st century. How do we organize the physical form of human settlements, accounting for the cultural, political, geographic, ecological, and social structures? The course approaches urban projects across scales, engaging the allied fields of landscape architecture, geography, territorial planning, and environmental humanities. We will overview contemporary precedents of urban research and situate them in relation to a genealogy of precedents. Through a series of assignments and discussion of theoretical texts, the seminar will produce a family tree of contemporary practices.
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GREECE - HARBOR — PALETTE KNIFE Oil Painting On Canvas By Leonid Afremov
ZoomCreated with Sketch.
Signed on the front and back
COA signed by the artist
40"x24" (100cm x 60cm)
Hand painted by Leonid Afremov
Palette Knife, Oil Paint, Canvas
• Catalog ID
United States
Free worldwide
• Today price: $319.00
Regular price: $700.00, you save $381.00
Promo ends in:
Available: 1
4.90 59 Rating:
Score: 4.90 (votes: 59)
I would like to present my hand painted oil on canvas painting (recreation) of the artwork GREECE - HARBOoking forward to Greece vacation
The harbor in Greece can reflect a long history of the country as harbors were the most progressive parts of the village or town. Today we can see here a lot of well-preserved Venetian buildings there that create a unique atmosphere and flavor of the Mediterranean town. One of such towns is shown on the painting “Greece – Harbor”. The houses stand very, very close to each other. They are of different colors in Afremov’s vision. Many excellent restaurants and cafes are located on the waterfront in such locations. Guests of the country can try excellent Greek cuisine and enjoy beautiful panoramic views of the island of Ithaca and white yachts in the harbor. There are excellent pebble beaches with crystal clear water there, so it is worth coming to Greece. If you postpone your vacation for some reason, or do not have a chance to go to Greece, you can always buy a painting “Greece – Harbor” and relax without leaving your house.
The colorful mess of strokes applied by the artist resembles a matte painting, meaning that it creates an illusion of pixelated scenery captured on a broken (definitely in a good way) camera. The view is so captivating and intense that you immediately want to find yourself in this place. There are other reasons to buy art as well.
Why buy paintings
· The energy of hand-made piece makes you feel special.
· It is often enough to place a painting on the wall and it can make the whole interior.
· You can buy paintings for inspiration.
· When you purchase paintings, you personalize your living place, so buy canvases, color paintings and do other things to decorate your house.
· Fine art paintings make the house cozier.
· Avant-garde genres of visual art like action painting or matte painting can add a trendy designer’s touch to your interior.
· It is a real art to be able to collect your own gallery and combine different paintings on the wall.
You can acquire Afremov’s paintings in our online store, but you can’t buy art frames here.
Afremov's techniques for certain effects
Afremov creates Impressionistic canvases, employing his extraordinary techniques and tools that are not used by other painters. He developed his own way and followed it. It helps to reach many goals and achieve the desired effects. The moonshine is reflected in the water and creates the atmosphere of movement. Hardly recognizable white sails refresh the multicolored bright painting. The strokes that are laid aslant on the top of the painting and then the direction changes and acquires some chaotic confusion and later changes again into horizontal lines. It is like a mix of Impasto, classic impressionism and matte painting techniques. Using diverse colors, the painter turns the whole canvas into a wonderful and dynamic feas94 (votes: 62)
I just received my painting today "Winter Forest". I had never ordered an art on line, so I was very anxious. It came on time, beautifully wrapped . The painting is beautiful and exactly as expected. the colors are very muted , so I am very tempted to order something more colorful. This picture makes me very happy . ca not wait to frame it and put it on my wall. great job and Thank you. Love your promotions.
Ewa Rudzinska, Jan 28, 2014
Your work is moving and magnificent. Thank you for your courage, to overcome such obstacles to share it with the world. Many blessings to you and your family in this new year!
Lori McCray, Jan 18, 2015
i would like to know how can i buy the paint, i am from argentina. thank you!
natalia valeria, Dec 21, 2015
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Letter from the editor: 6/15
Everyone is an artist and I’ll prove it
A digital illustration of someone drawing on a piece of paper. // Illustration by Milo Openshaw
I’ve been self-conscious about my art ever since I was a kid. My parents sent me to art classes when I was really little, but I fell out of the art scene after that, around the time when I became too shy to share what I created.
I wondered if I was “good enough.” And what happens if I’m not good enough? Will people laugh at me? Could my ego take a hit like that?
Milo LFTE 10-of-10.jpg
Self-portrait from the Front’s opinions and outreach editor. // Illustration by Milo Openshaw
The answer is that nobody is “good enough.” An artist who paints in the classical style and an artist who arranges junk into an abstract sculpture have the same chance of success, because there is no good or bad art. There is subjectivity and open-mindedness, but no set standards.
I sold handmade zines and stickers at WWU Queercon this year, which was the first time I sold art in a public space. When I told my friends, they told me how cool it was that I was able to sell my work, how much they would like to follow in my footsteps.
"Okay," I said, "I can help you sign up." My friends are incredibly talented people whether they know it or not. But they would just shake their head and claim they weren’t good enough.
It’s a tragedy, frankly. All this to say that in this letter I’m going to prove that everyone (yes, everyone, even you) can create and sell art if they so choose.
1. Going back to my first “good enough” point: if you compare two works of art, can you tell which artist had more passion, or which artist is worth more monetarily? Absolutely not. Take one look at the art market and you’ll be bamboozled. For instance, this piece called “Zip” depicting two blue blocks on a white background sold for over $40 million. On the other hand, this piece called “Old Faithful” is listed on Etsy for $564, and it’s also an abstract blocky blue-on-white painting. Making a profit on your artwork doesn’t come down to talent or even passion – selling art is a matter of marketing and luck.
2. By the way, what are the ethics of being “good enough”? What are you comparing yourself to? Will you be “good enough” once your artwork has surpassed the “Mona Lisa” in fame and recognizability? American hustle culture is incredibly detrimental to the artistic world because art doesn’t work like that. Sometimes art is a deep expression of the soul. Sometimes art is a drawing of a wolf furry with massive biceps and a jockstrap. You will never be “good enough” because capitalism creates hundreds of unachievable ideals in order to keep you running in your little hamster wheel until you croak and your family has to buy you an Amazon coffin. Life is too short to be perfect.
3. Now, of course there’s the problem of literally being unable to create what you want, like illustrations for a certain character or a technique to change your linework, but that’s what YouTube is for. There are thousands of free courses online that will help you hone your craft in whatever areas you need as long as you are willing to put in the work and practice.
4. Some people claim that they want to be an artist, but doubt their own skill. I counter you: handwriting is art. Organization is art. Fashion is art. Everyone has a different eye for art, but an eye nonetheless. Art is ingrained differently into every person even if it tends to manifest in different ways. Some people will find that color theory comes easy for them and others will have a very steady hand. You can find out your strengths by experimenting with different mediums!
5. Don’t worry about creating something that you’re proud of the first time you pick up a pencil. Just like with any other skill, it will take some trial and error until you find a style that you can jive with. As long as you had fun making it and you’re proud of yourself, you have won at art.
Whether you’re doodling in textbook margins or painting a mural, you are an artist, and nobody can tell you otherwise. Go forth and create.
Milo LFTE 2-of-10.jpg
Self-portrait from The Front’s illustrator. // Illustration by Rosemary Wheeler
Milo LFTE 3-of-10.jpg
Self-portrait from The Front’s city news editor. // Illustration by Aria Nguyen
Milo LFTE 4-of-10.jpg
Self-portrait from The Front’s editor-in-chief. // Illustration by Sol Vandeman
Milo LFTE 5-of-10.jpg
Self-portrait from The Front’s managing editor. // Illustration by Cameron Martinez
Milo LFTE 6-of-10.jpg
Self-portrait from The Front’s photo and social media editor. // Illustration by Ryan Scott
Milo LFTE 7-of-10.pdf
Self-portrait from one of The Front’s copy editors. // Illustration by Jason Upton
Milo LFTE 8-of-10.jpg
Self-portrait from The Front’s campus news editor. // Illustration by Jenelle Baumbach
Milo LFTE 9-of-10.jpg
Self-portrait from one of The Front’s copy editors. // Illustration by Madisun Tobisch
Milo Openshaw
Milo Openshaw (he/him) is the opinions and outreach editor. Again.
You can reach him on Instagram @miloohno or email him at westernfront.opeditor@gmail.com if you're interested in submitting a creative piece to The Front.
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Translation by – NICOLE SILVYA BOURIS
foto (2)
Touch. Feel. The sense of touch is ready: make it play its role: imagine.
Rodin’s sculptures are not just marble. They are flesh, substance and emotion.
The vision of one of Rodin’s works is a harmonic composition among touch, sight and interior emotions.
Auguste Rodin lives and works during the second half of the 1800s, in between Paris, his hometown, and some other Italian and Flemish cities-Brussels in particular. He opens the doors to the sculpture of the twentieth century and he is globally known as the best French sculptor of his era. He draws, invents and creates since he is young. Since his adolescence he is an autodidact and spends hours and hours at the Louvre Museum so to grasp some inspiration from the models kept there. He travels to Italy where he fulfills his biggest dream: meeting Michelangelo.
Auguste is a man of great culture: he reads, he travels and he is capable of learning. He worships Homer, Virgil and Dante: great men who inspire him when “assembling” his works.
He’s obsessed by drawings: when you observe one of his works it is impossible not to catch the anthology of the countless sketches that anticipated the realization of the sculpture; be quiet: observe. Do you feel it? It is unimaginable not to hear the strong drift of his hand, of the pencil, which tip is always reactive when staining the immaculate paper just like a seismograph.
Rodin scoops out shapes with a sonorous, thunderous and spurious innovation; his masterpieces are the result of a long-lasting research that comes into being through an arrangement that is made up of various steps: every single part is individually modeled and then all of the distinct parts are assembled in a unique composition.
No more perfect Canova grace: now, only feel the dramatic authenticity. Rodin himself stated that his research is “not the harmony of truth but the representation of how truth appears before us”. He creates harmonious imbalances, by assembling small parts, so to create, at the end, a complex and, at the same time, dynamic work.
He went from being a dependent-author to a well-known and almost official artist, when in 1880 he was assigned with the Gates of Hell, for the entrance of the museum of decorative arts in Paris. He spends forty years trying to give shape and substance to Dante’s Divine Comedy, making the vigorous words of the great poet flow through him. An army of figures generates form the sculptor’s divine hands, so that he’s not capable of remaining into the limits of the door’s frame: Rodin tries to create the same chaos that he perceives in Dante’s infernal description.
By observing the sculptures of couples, you can feel the pouring of vital lymph, of sensuality and even of a daring eroticism for the time, in the materialized bodies. The eternal Eros carries the figures of lovers away, just like Piero and Francesca in the infernal vortex.
The same vortex that will overwhelm you, if you are ready to catch the pulsing senses.
You are so involved and “simpatico” with the rodinian sculptures that you’d want to touch them, caress them so to catch just a little of the ineluctable love relationship that involves the characters that seem pure, alive flesh.
The climax of Rodin’s talent is in ‘The Thinker’. It looks as if the fertile thought leaks from the matter, crossing his whole body: from his mind straight to his fist, leaned on his teeth, and then down to his tensioned feet that flex over the rock on which this man is crouched. What you are looking at is a creator not a dreamer. I could dare saying that Rodin’s ‘The Thinker’ could be seen as God’s metaphor, on his seventh day, admiring his Creation, meditating on it.
Rodin is not an artist but a worker with the only desire of totally penetrating the humble and severe essence of his tool: carving.
Auguste’s genius is not only in the lame creation of a sculpture but also in the awareness of having created himself as a man and as the recipient of the emotional power of the senses. Thanks to Rodin, that same recipient can be you.
Go visit the “Rodin, il Marmo, la Vita” exhibition, that hosts sixty of his masterpieces in Milan, thanks to the collaboration of the Palazzo Reale with the Musee Rodin in Paris and the Galleria Nazionale d’Arte Moderna di Roma.
From the 17/10/2013 to the 26/01/2014
Palazzo Reale, Piazza del Duomo, 12 Milano
Hours: Monday 14.30-19.30; from Tuesday to Sunday 9.30-19.30; Thursday and Saturday: 9.30-22.30 (the ticket office closes an hour before)
Info line: 02 92800375 (from Monday until Saturday, 8-1830)
Leave a Reply
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Space Glass branding
A special whisky glass engineed to give a beautiful drinking experience in the microgravity of space.
The Ballantine’s space glass means wherever we go after Earth, we can take whisky with us. The specially engineered glass uses capillary action to deliver just enough whisky to the mouth whilst keeping it from leaving the glass and floating off into the abyss.
The brief was to brand the glass in such a way that it felt both sophistacated and sci-fi. Something that however far into the future and universe it will go, will stay true Ballantine’s.
Idea, writing, making: Anna Rose Kerr
The logo retains the Edwardian heritage of the Ballantine’s logo but reinvents the B monogram to live in the future. It also demonstrates the delivery mechanism in the glass itself.
Check out the medium publication for a massive in depth look at the project including the making of, philosophy, all the cool tests in obscure labs in Germany and so on: SPACE GLASS︎
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1 of 7
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Gensler Charlotte
Charlotte, North Carolina
In a growth mode, Gensler Charlotte saw its need to expand as an opportunity to create space that accomplishes more for the firm. By prioritizing function in less than 8,000 square feet of new space, the studio incorporates all the components of a larger office with an economy of means. To inject the right attitude, the team combined a hospitality approach with a dash of style. The entrance was opened up with expanses of glass, bringing light and views into the core.
一本之道高清无码视频_韩国三级电影_香港三级韩国三级日本三级
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Sarah, of Sproullie Designs, is today’s WeddingInviteLove interview! We’re so happy to share more about Sarah and show you her great wedding stationery!
Sproullie Designs WeddingInviteLove
Photo by Tammy B Photography
1. How did you get started doing wedding invitations?
I made my own wedding invitations in 2007 and had people start asking me to do theirs after they saw mine. In less than a year, it went from just a fun “extra money hobby” to my main source of income. My dream of owning a full-time business for both my husband and I to work in came true.
Learn more about Sarah and see photos of her lovely stationery after the jump…
Sproullie Designs WeddingInviteLove
2. What is your favorite color combination?
I love blues and greens. Turquoise, lime and navy is my all-time favorite combination.
Sproullie Designs WeddingInviteLove
3. What is the most unique invitation you have designed?
We did an elaborate pocket invitation for a destination wedding in Ibiza, Spain with black lace, black feathers, swarovski crystals, multiple colored layers and silver ribbon. The colors were red, orange, hot pink and black and it had a “swanky gangsters – 1920’s” vibe. So fun and so unique!
Sproullie Designs WeddingInviteLove
4. Do you have a favorite typeface?
It changes all the time! My current faves are Carolyna and Little Miss Sunshine.
Sproullie Designs WeddingInviteLove
5. What is the most bizarre request you have received?
Hmmm… I get a lot of them since most of my work is custom. Most of my bizarre requests involve color combinations I wouldn’t necessarily try to put together by choice! Orange and seafoam green is one I’m seeing more of lately and I still can’t convince myself that I like it.
Sproullie Designs WeddingInviteLove
6. Ampersand or the word “and?”
Both :) It totally depends on the invitation design and the level of formality.
Sproullie Designs WeddingInviteLove
7. Any advice for brides?
Your invitations set the tone for your entire event. Make sure your invitations reflect your personality and the style of wedding you’re planning. It’s the one chance you have to make a great first impression on your guests. Don’t miss the opportunity to WOW!
Sproullie Designs WeddingInviteLove
8. Do you offer more than just stationery?
Not currently. Stationery keeps me busy enough! I always think of other businesses I’d like to start, but paper is my first love :)
Check out Sproullie Designs on WeddingInviteLove or visit her site for even more.
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Visually Thinking with Sketchnotes
Leonardo da Vinci is noted for many accomplishments in the fields of art, science, and invention, but he was also a master in the art of sketching. His notebooks filled with drawings and observations about the world around him reveal a mind that was insatiably curious and adept at making connections. This image from one of his notebooks exemplifies how his mind leapt from one observation to another. The flowing drapery of the pictured old man is mirrored in similar energetic linework on the facing page that depicts swirling water.
Though visually thinking with sketches is nothing new, educators and businesses have been exploring the merits of Sketchnotes as a way to communicate ideas in a graphical format. Sketchnotes can take a variety of forms, from simple infographics, to stick figures, to complex representations of processes (such as cell division). A book by Tanny McGregor, Ink and Ideas: Sketchnotes for Engagement, Comprehension and Thinking (Heinemann, 2019) provides several examples of introducing Sketchnotes in the classroom and using this technique to spark student thinking. I took a dive into Sketchnotes after reading Ink and Ideas, and the following examples and reflections show how Sketchnotes can be used to enhance discussions of books.
Book: The Magnolia Sword by Sherry Thomas
The first two chapters of The Magnolia Sword by Sherry Thomas are a master class in writing: introducing compelling characters, setting up conflict, and suggesting a trajectory (quest) that will set these characters on a future collision course.
Specific details from the chapters were first annotated in a journal and certain words circled that would be emphasized in the Sketchnote (such as “Fated to Clash”). As I sketched in pencil the preparatory drawing, I decided to group textual quotes by the two characters, shown separated in the sketch by the Great Wall of China (denoting the location of the story). The textual quotes highlighted in the sketch show the fierce martial arts skill of each adversary while also suggesting their mutual attraction to each other (Mulan faces her opponent with both trepidation and thrill while Yuan Kai muses that if circumstances had been different, they might have met as friends). Transferring my journal annotations into this graphical format helped me to compare these two characters while also hinting at future conflicts (Mulan’s father bent on pursuing this feud and the looming threat of the Rouran Invaders).
Book: Jennifer Chan is Not Alone by Tae Keller
I read Tae Keller’s book as an ebook, so my journaling notes were added in the notes section of the ebook. I discovered that these reflection notes were not as detailed as when I read a print copy and took pen and paper notes.
For my Sketchnotes design, I chose a basic template so that I could plot story events highlighting major moments in the book. I represented events around a quote by the main character, Jennifer Chan: “We pull each other close, we push each other away.” The pictured events show this tension, some frames denoting hurtful actions and some frames denoting moments of healing.
Though plotting story events is a helpful exercise, this type of Sketchnote would need to be supported by questioning to reveal the richness of the message of this story and the dynamics of the the characters’ grappling with the worries, pain, and hopes. Question prompts might include Which character would you befriend? or, Which characters’ actions were hurtful and how would you respond to that character?
Creating these Sketchnotes was a fun exercise in making visual the ideas that surfaced as I read these books. The process of reflecting on the sketches helped to clarify connections and prompt questioning for book discussions. Though these Sketchnote examples are not Leonardo masterpieces, this process was a fun and thought-provoking experience. I invite you to take pen and paper and try your hand at Sketchnotes.
3 thoughts on “Visually Thinking with Sketchnotes
1. I love seeing how you are using sketchnotes! It is interesting to see students turning annotations into this type of notes. Did they know what their assessment would be prior to reading, or after they read and annotated?
• Hi Tasha,
These Sketchnotes examples are my own creation. I wanted to try the process first so that I could adapt it with students and future book discussions. Turning annotations into a graphic helped me to organize my observations and group textual evidence — this could aid a book discussion.
• Makes sense. I must compliment your artistic skill, as I generally share stick-figure notes with my students, in which I feel lucky if the head actually touches the body. 😉
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Minimal, Neutral Aesthetics Unite Smartly to Segregate the Spa and Salon Wings of Snip Salons & Spa | Workshop Inc
Edward de Bono’s wise quote, “Creativity involves breaking out of expected patterns in order to look at things in a different way,” articulates the journey of Goa’s leading luxurious wellness spa, Snip Salons & Spas. After branching out in Goa’s Panaji, Calangute and Grand Hyatt in Bambolim, its owners Archana and Sumeet Bhobe settled to open its fourth outlet in Porvorim. Hailing from art and fashion backgrounds, the clients desired to get on board like-minded creative heads who would help in enunciating the fourth outlet with a ‘warm, minimalist and luxurious vibe.’ Archana and Sumeet’s natural choice for this new project were architect Keta Shah and interior designer Varun Shah of Ahmedabad-based Workshop Inc who have been previously associated with the owners for renovating their other outlets.
The double-height arches add volume and create space, thereby emancipating a peaceful trance experience to the patrons.
The clients desired to create the Porvorim outlet – a 6,000 sqft leased building nestled on the main highway leading from Porvorim towards the beaches of North Goa – one of the biggest salon and spa centres which would extend beyond the space into hospitality and service as well. Keta and Varun took charge of the site when the architectural shell was up, and focused on the advantages that lay ahead of them including the prime location, the enormous site and the fact that the building owner was open for structural changes. Also, the long association with Workshop Inc had established its utter most value toward core ideas that govern the design using simple solutions to achieve the end product in the minds of the clients. This led them to assign the architectural finishes related to the interior space as well. The client’s brief for the duo was to simply segregate the spa and the salon area spatially, since the requirement, character and ambiance for both these spaces were different.
Located next to the hair wash area, solid wood-made stairs lead up to the mezzanine level where the nail bar and waxing rooms are stationed.
These essential notes helped the duo in crafting the design philosophy of the ground-plus-two-floors structure. Laying out the floor plan, the duo explains, “The building is in two bays, with a central zone for circulation. The ground floor – a designated space for salon area – is a double height space with a 14’ height, a part of which has been converted to a mezzanine area. Apart from the main salon area, the client needed to incorporate a hair wash and colour zone, a pedicure zone, a nail bar, and waxing and treatment rooms for the salon zone. Since their requirement could fit into the ground floor and mezzanine area, the first floor was kept for the spa zone including the requirement for room variations for couples, individuals alongside a foot and head massage zone.” The second floor, however, was kept unchanged and was to be done in the second phase for adding more massage rooms and an office.
The wooden screen on the left doubles up as a display unit for curios. Although it physically separates the space from a corridor which leads to the massage rooms, it visually maintains a spatial connection.
Patrons walk in through the double-height reception and waiting area which balances the extravagant Goan house-inspired arched walls. The double height space camouflages into the structure for the mezzanine area. The walls conceal the pedicure, hair washing and colour zones with the circulation bay on the left. Rising above these stations is the nail bar, waxing room and pantry. Besides, a VIP salon is also stationed on the ground floor.
Warm and dark shades of grey cover the rustic spa zone, creating a homogenous and calm atmosphere.
A small triple height atrium at the central bay is created to access the lift and the stairs as the building was designed as a commercial complex. To access the mezzanine, a separate staircase is incorporated within the salon space to segregate the spa and salon areas. The lift or the main staircase in the central bay transports patrons to the spa area on the first floor. Cocooned on the first floor of the glass facade building, seven massage rooms, a panned out space for foot massage and miniature lounge comprises the spa zone. “A number of civil changes were done to accommodate the toilets and steam rooms for each room,” informs the duo.
Cutomised solid wood reception desk sits at the front in the company of a display wall of personal care products from partner brands on the side.
The salon and spa spaces demanded visibly linear and simple designs, and textures resonating with their different characteristics. Keta and Varun tweaked a subtle duality of function within a singular space, giving different identities to each through the material palette. Light grey vitrified tiles with a matte terrazzo finish span throughout the space complementing the simple tones of grey and white on the walls, while deep olive green walls with a play of gold-foiled arches at the entrance breaks the monotony of the colour scheme. A series of bright whites on smooth plaster with metal details and black accents distinguish the salon area, cleverly shifting the focus on dark, earthy shades of grey coloured spa rooms with gold tones and wood accents including the custom made solid wood recliners and stools, and massage tables from Snip chain’s furniture range. To maintain a sense of continuity, artworks from the client’s personal collection which they have collected over the years from their travels and customised decorative light fixtures by Sonja Weder and Thomas Schnider of Goa- based SotoHaus are slipped in. Besides creating a visual point of interest, the decorative light fixtures fashion a warm spa-like ambient glow. Indirect lighting throughout the space – except the salon area where stylists need specific lighting requirements – shuns harsh glares.
Signature of Snip Spa’s designs, the massage tables are crafted in precise sizes and materials; whereas the mirrors are custom made from SotoHaus.
Maximising the usage of space without compromising its functionality was a crucial call for Keta and Varun. “It was essential to ensure that all the services were incorporated seamlessly,” they inform, such as, “the arched walls that spans the entire length of the project. It is the most significant spatial inserts for us. It incorporates the structure for the mezzanine, adds in lots of storage and serves as transition planes. They are aptly highlighted and give the grandness of scale to the project.” Walloping their triumph for harmonising their creativity and clients’ preferences, Ketu and Varun believe they were lucky to work with clients whose design sensibilities resonated with theirs. “The end product is an amalgamation of all our ideas put together,” they add.
Custom designed lighting fixtures on the ceiling and wall by SotoHaus create a cosmic illumination.
Hospitality lies in the tradition of Goa. And the fourth outlet of Snip honours this saying with its minimalist interiors, balanced shade card with neutral aesthetics and of course, its top-notch service that leads on driving patrons to a place of calmness – a blissful break from all the outside chaos.
The VIP salon, nestled on the first floor, is carved out of the entrance atrium of the existing building.
Project details
Project: Snip Salon & Spa
Client: Archana and Summet Bhobe
Location: Porvorim, Goa
Area: 6,000 sq ft
Principal architect: Keta Shah
Principal interior designer: Varun Shah
Design team: Kirtan Panchal
Interior contractor: Shilp Furniture, Ahmedabad
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For the 2nd time MERINO continues to strengthen its position as the Presenting Partner of the WADE ASIA Architecture Conference to host MERINO DESIGNS INDIA ARCHITECTURE CONFERENCE from 23-25 Aug ’24 at Yashobhoomi, (IICC), in New Delhi.
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The extension features a glued laminated timber (glulam) framework with glass panels stretching from beneath the ski jump designed by JDS Architects.
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Mark Timmis Artist Statement
Artist Statement
Painting for me is me creating a problem
and solving it…plain and simple.
While it brings a lot of
satisfaction, it can also bring terror…lol.
I make art to fill a
place in me that belongs only to me. A place where no one can tell
me what is right, or what is wrong.
I own it. It is me. I
am it.
It is the only thing in
my life that I can honestly say is all me. I recognize that we are
all made up of every cumulative experience we have with all things
based in energy, spirituality, physicality, and emotion. Our
experiences inform every aspect of us.
Tell me…what do you
own that is just you?
My satisfaction doing
this work is very high, and continually challenging.
Continuous exploration
keeps me on the edge of my seat to keep making this work.
The nature of paint and
form, of how different admixtures of paint lay on the canvas above,
below, or next to each other. The pushing and pulling of roiling
surfaces is thrilling;
color exhilarates me, while black, white
and gray reminds me of the dynamism that is life.
I love starting
paintings and never knowing where they will end up. I NEVER
work with the end in mind.
I start every piece very
loosely. Allowing the material to be itself. From that point I
allow the work to organically lead me in the direction that wants to
go. Most work tells you want it needs to be completed.
Sometimes not, that is
the struggle.
key is not overworking. Working to that place, maintaining
freshness, achieving that balance and solving the problem.
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Skip to content
Evalutation of my project.
January 24, 2011
during this project, i have investigated the build up of a character in musical theatre, exploring the movements made to express a character, a brief exploration of costume and an investigation of the makeup used to portray characteristics that are needed to make the character believable. my project deviated away from the inital plan of fashion photography mixed in with musical characters as i found that i was more interested in how the characters were interpreted rather than trying to manipulate them myself. this mean that although i had studied a fashion photographer, the fact that he had used characters in his photography was enought to still create inspiration. my other artist was the costume designer of ‘Cats’ – John Napier. ‘Cats’ has become the main influence of my project as the makeup needed to transform from one being to another is far more complex and detailed than that of on human playing another. i felt that this mean i had more to work with and so i studied more about characters that were different to a normal human being.
i started my project looking just at the movements, facial expressions and gestures of people who were interpretting my characters and i did this by creating ‘fact files’ for each character to give a better insight into how they would be feeling. after this i looked at costumes and experimented by scanning material in to try and take my own spin of the suit from ‘Jersey boys’. i felt that costume would take long time to recreate in my own style so i quckly looked more at makeup as i felt i could have my own artistic take on orginial characters that are well known to lovers of musical theatre.
my final pieces:
I then developed this final piece further by manipualting a small photograph and sewing wool into it to give a texture, mixed media effect and to try and create more of a cat feel to the picture. i also scrated into the photograph, enhancing the white areas, such as the whiskers and making them stand out more against the black of the fur.
i decided to chose this as one of my final pieces becuase i felt that it represented my project well and that it shows a lot of skill. i frequently worked with the ‘layer mask’ tool in my project – creating step by steps twice to show how i achieved different things. with this picture, i felt that my skills were shown sucessfully because i was able to use this tool in order to create a rounded face and thus make it appear more ‘human’. although the picture is not central i feel that this adds to the picture because it makes it feel more like a ‘snap’ that would suggest that this is the norm and that things like this are not seen as strange. the plain background allows the face and clothes to stand out as there is nothing to deviate the eye away from the work i have produced and the clothes worn are just simple ordinary clothes that again, make the picture seem more normal and real. i changed the eyes of the cat to very saturated yellow because i felt that this had a link to the logo of ‘cats’ that depicts very yellow eyes. although the cat i used does not bare any resembalence to a character from the musical ‘cats’, it fits in with my theme of using every day things that we find around the house to maniuplate to create characters.
i chose this as my second final piece becuase i felt tht it represented my project in contrast to my first final peice. this was a non digital manipulation because i used facepaint to create the image onto my models face. i then changed it for my final piece by editing it slightly in order to make it more bright and to let it stand out. i chose to change the background to black because the character portrayed is that of macavity and because this was originally a poem by T.S Elliot i had a lot of description to focus on, for example Macavity is ginger and tiger like – which influenced me to put the black stripes onto my models face. macavity is also seen as very evil which is why i have made the facial expression like a ‘snarl’ so that people will feel intimidated by it.
overall i fell that my project has developed very well throughout its various stages, if i could change anything i would say that i would do more digital and non digital manipulations of characters to show the difference between the two.
Non-digital manipulation – ‘Cats’
January 12, 2011
After deciding which of my digital manipulations was better, i chose to do a non digital recreation of it with face paints. in relation to the pictures that i have taken to represent the makeup from ‘Cats’ i have taken my own spin on the makeup based on the cat ‘Macavity’.
Influence for my Non-digital shoot:
January 11, 2011
the musical ‘Cats’ is based on a book of poems by T.S Elliot called ‘Old possum’s book of practical cats’ in this book there is a particular poem about the character of Macavity – one of the most famouse characters associated with the musical.
Macavity – the Mystery Cat, by T.S. ElioHe’s outwardly respectable. (They say he cheats at cards.)
And his footprints are not found in any file of Scotland Yard’s.
And when the larder’s looted, or the jewel-case is rifled,
Or when the milk is missing, or another Peke’s been stifled,
Or the greenhouse glass is broken, and the trellis past repair –
Ay, there’s the wonder of the thing! Macavity’s not there!
And when the Foreign Office find a Treaty’s gone astray,
Or the Admiralty lose some plans and drawings by the way,
There may be a scrap of paper in the hall or on the stair –
But it’s useless to investigate – Mcavity’s not there!
And when the loss has been disclosed, the Secret Service say:
`It must have been Macavity!’ – but he’s a mile away.
You’ll be sure to find him resting, or a-licking of his thumbs,
Or engaged in doing complicated long-division sums.
Macavity, Macavity, there’s no one like Macavity,
There never was a Cat of such deceitfulness and suavity.
He always has an alibi, and one or two to spaer:
At whatever time the deed took place – MACAVITY WASN’T THERE!
And they say that all the Cats whose wicked deeds are widely known
(I might mention Mungojerrie, I might mention Griddlebone)
Are nothing more than agents for the Cat who all the time
Just controls their operations: the Napoleon of Crime!
Edited digital manipulation of cats make-up
January 10, 2011
i edited this picture of the digital cats makeup manipulation to make it more like the iconice ‘cats’ poster, which depicts a black background and large yellow eyes. i used levels to make the picture oveall darker and then i used colour balance to make the eyes very yellow, adding brown in the corners with a small opacity brush and then i saturated them so that they would stand out. i like this picture because it all seems very mundane and then the viewer sees the cat face and the striking eyes, i think the idea of a plain background and clothes ass to the more human element but also allows the cat to stand out.
Cats makeup, digital manipulation.
January 7, 2011
for my second digital maniuplation, i chose to try and recreate the idea of makeup by taking a picture of my cat and putting it on my models face in order to recreate the makup from ‘cats’. i tried two different ideas, the first being the cats faced imposed onto the human body completely so the only idea of a human is the hair, neck and clothing around. the second idea was the use of the cat on the face but with it slightly less opaque so that the features of both faces can be seen equally. i chose to do this because i felt that the respresentation of makeup is not shown by just changing the face comepletely because human features cant be changed. i did both of these by using the ‘layer mask’ tool so that it was easy to control where and how much of the cat was put on the models face.
Observations from my shoots
January 7, 2011
Digital manipulation – Elphaba
January 6, 2011
i decided to use everyday objects to represent the ‘makeup’ side of characters from musicals.
to create the character of Elphaba i thought i could use a green apple because i though it would give a good texture rather than the flat texture of something that was just green.
to do this, i frst of all airbrushed my model so that she would have a smotth face to manipulate the apple to.
after this i made a new layer and put the apple ontop of my models face. i had to resize it so that it would cover all the places needed. then, using a low transparency, i matched up everywhere that needed to be green.
after this, i then made a layer mask and painted over all the skin coloured parts of my model so that it would appear like she had green skin.
i played around with different hues and the brightness and contrast to try and get a more ‘magical’ green as the character represented is a witch.
all of this then made the final outcome, which i feel worked in some areas. however, it was difficult to create shadowing in the skin that would have ordinarily been there.
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CALL OR TEXT: 1 - (305) 215 - 8948 , 1 - (305) 970-0170 info@wynwoodbuggies.com
Streets Art Tour
9:00 am – 6:00 pm
305-215-8948
Tours Wynwood Buggies
Developers in Miami rehabilitated neglected warehouses and other unused buildings into what has become THE place to be for an alternative cultural day and nightlife in Miami.
Wynwood now offers art galleries, stores, eclectic bars, and one of the largest open-air street-art exhibitions in the world. With events such as Art Basel and the Second Saturday Art Walk in the District, Wynwood has become the hippest place to be in Miami.
Wynwood Buggies offers tours around the Wynwood Art District on our fun and comfortable electric buggies, traveling from art piece to art piece on a VIP experience featuring several local and international artists. Enjoy the largest collection of colorful walls while discovering the art of graffiti and murals from both national and international talent. Explore the hidden corners along with all the main areas of this lively street gallery. Take the best pictures and immerse yourself in the Art District’s history. Get tips on the best galleries, events, restaurants, and many shops and breweries around the area. Wynwood Buggies is supported by a large community of artist which include Golden305, Andrew 2alas, Donrmx, Slomo, Memi Martinez, El xupete negre, Cranio artes, Sipros_ Sipros, Rigo Leon art among many others including the company of Best of Miami Graffiti Guide, the only exclusive company to do walking tours inside of Wynwood Walls by fellow artists Pedro Amos and Ryan the Wheelbarrow. Come to enjoy and share our passion for the art with us.
2 + 13 =
Wynwood Buggies Rides
Wynwood Graffiti Buggy Tour
Wynwood Buggies
Wynwood Graffiti Tour
Get your guide
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The Art of Collecting
Exploring the Transition in Constant's Work
“Playful Stairs,” a 1968 artwork by Constant Nieuwenhuys.Credit2016 Artists Rights Society (ARS), New York/c/o Pictoright Amsterdam, photograph by Tom Haaartsen
By Nina Siegal
AMSTERDAM — At the end of World War II, a group of young artists based in Copenhagen, Brussels and Amsterdam responded to the devastation around them by creating works characterized by a burst of color and childlike expressivity.
They called their movement CoBrA, combining the first parts of the names of their home cities. And one of the leading Dutch practitioners was Constant Nieuwenhuys, who often went simply by the name Constant.
CoBrA’s brief, intense life ended in 1951, when the various artists veered off in different directions.
Constant moved to Paris and switched gears entirely, moving away from painting and focusing instead on developing a new utopian vision of the world, which he called New Babylon. He spent the next two decades absorbed in this vision, which he expressed through a variety of media, including architecture, sculpture, furniture design, photography, geographical maps and philosophical writings.
The works of this fertile period are the subject of two concurrent exhibitions in the Netherlands, both ending Sept. 25.
“Constant. Space + Color: From CoBrA to New Babylon,” at the Cobra Museum for Modern Art in Amstelveen, just south of Amsterdam, explores the transition between these two poles of Constant’s work with 144 artworks.
“Ground Plan of New Babylon over The Hague,” 1964, a representation — in collage, watercolor and graphic foil — of Nieuwenhuys’s idealized city of tomorrow.Credit2016 Artists Rights Society (ARS), New York/c/o Pictoright Amsterdam, photograph by Tom Haaartsen
At the Gemeentemuseum in The Hague, “Constant — New Babylon. To Us Liberty” features a larger retrospective of about 160 works from the New Babylon period, 1956 to 1974, and the steps he took in the late 1940s and early 1950s that led up to that work.
Constant’s vision rested on the birth of a new kind of human. Freed from work by anticipated automation of all kinds of production, people would become more playful, experimental and less bound to traditional home and work spaces — becoming a creative creature he called Homo Ludens, or man at play. These future creative types would need more flexible working and living spaces, and they’d develop new kinds of social networks to enable them to share resources.
Much of his work depicts a kind of endless, interlocked labyrinth of homes and creative spaces, often employing then-new materials like colored plexiglass.
“I think you can say it was an obsession,” said Laura Stamps, curator of the Gemeentemuseum exhibition. “I think you have to be very focused to make such a big piece of art and work on it on so many levels and find so many ways to express your ideas.”
Ludo van Halem, co-curator of the Cobra Museum exhibition, added: “It’s really a grand vision for humankind. He’s thinking about how people will look in 100 or 200 years, how people will behave. It’s also not only an artistic vision but also, on a philosophical level, a sketch for a culture, and it’s really a very daring thing to do. It’s also still about aesthetics. They’re still works of art, even his earliest models.”
The two exhibitions and a third, at the Museum Reina Sofia in Madrid from late 2015 to earlier this year, were brought about in part through the efforts of Constant’s widow and biographer, Trudy Nieuwenhuys-van der Horst, who is on the board of the Utrecht-based Fondation Constant.
The Madrid show had a particularly strong response from younger visitors, who felt that Constant’s work was relevant to their perceptions of today’s society, Ms. Nieuwenhuys-van der Horst said.
“The Ladder,” 1949, by Constant Nieuwenhuys.Credit2016 Artists Rights Society (ARS), New York/c/o Pictoright Amsterdam, photograph by Tom Haaartsen
“The vision of Constant that people should change in more nomadic and less possessive lifestyles, in the sense they don’t need their own houses, cars, books etc., is happening now,” she wrote in an email. “See how many young people are sharing their homes, cars, books, furniture, household utensils and prefer to travel around the world instead of only and predominantly investing in houses and cars.”
The Cobra Museum exhibition focuses on Constant’s late CoBrA works and his early explorations of New Babylon and the social context that influenced his work.
“It’s a portrait of a period, a portrait of the 1950s in a way, when an artist really tried to find his way; to find out what it means to be in a society that had to be built up again,” Mr. van Halem said. “He tried out a lot of things, and when he mastered something he thought, ‘Now I have to find another thing to try out.’ He wanted to create a complete and total art of the future.”
The Gemeentemuseum, which owns about 80 percent of Constant’s New Babylon works, which the artist both sold and donated to the museum over about 15 years, presents a broad range of conceptual experiments from the period. It recreates two of the “temporary environments” Constant built for exhibitions during his lifetime. For example, people can try out his ludieke trap (playful stairs), a staircase of platforms suspended from chains, which he made for the Amsterdam Historical Museum in 1968.
In the early 1970s, Constant came to understand that his utopian vision was not going to come to fruition right away — or at least that the societal conditions were not yet right for his ideals to be implemented, Ms. Stamps said. So he went back to painting.
“When he stopped New Babylon in 1974, he started to make coloristic experiments,” said Ms. Nieuwenhuys-van der Horst, influenced by works such as Titian’s “Pietà,” which he saw in Venice at the Gallerie dell’Accademia in 1966, when he participated in the Venice Biennale.
Although he eventually put the New Babylon project aside, Ms. Nieuwenhuys-van der Horst sees the work of that period as part of a continuum.
“What’s central with him is his engagement,” she said. “He was very engaged with society. He wasn’t a utopian who only saw impossibilities. He liked to make things concrete. He liked to realize things. He always believed that the time would come for realizing New Babylon.”
A version of this article appears in print on in The International New York Times. Order Reprints | Today’s Paper | Subscribe
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