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Hopewell Valley Central High Student Artwork Wins Second Place in ArtEffect Project Competition

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Raelynn Cui, who just completed her freshman year at Hopewell Valley Central High in Pennington, tied for second place at the seventh annual ArtEffect Project International Competition.

The contest, through the Lowell Milken Center for Unsung Heroes (LMC) in Fort Scott, Kansas, challenges middle and high school students to honor unsung heroes with creativity and skill, according to a press release issued by LMC.

LMC announced the nine contest winners on June 15.

Raelynn received one of two $2,000 prizes. She was the only student from New Jersey named the winner. His “Man Behind the Camera” entry is an artistic profile of Lewis Hine, a photographer who advocated for child labor laws and fought for social justice, according to the press release.

In her online announcement, Raelynn said she would like to see what she has done “as an extension of what [Hine] was trying to do.

“In all his photographs, he forced you to look at these children, and [in] a lot of them, these kids, were making direct eye contact,” she said. “I tried to instill that in my paintings, everything I noticed in what he was doing, in his photography, right on the canvas.”

Lora Durr, a teacher at Hopewell Valley Central High Art who is an LMC scholar and was alongside Raelynn for the announcement, said she was proud of her student.

“[Raelynn] could have very easily done the whole thing with oils only, but she thought it would be important to incorporate other materials and so part is done with charcoal, part is done with oil. It creates a wonderful sense of depth, contrast and emotion in the room,” she said.

LMC Executive Director Norm Conrad said, “ArtEffect winners submit artwork that demonstrates visionary thinking and creative skill of a superior nature.

“We at the Lowell Milken Center for Unsung Heroes salute the excellence and active imagination of our student champions,” he said.

All winning works are displayed on the LMC website and in LMC’s Hall of Unsung Heroes in Kansas, which is a museum and research facility visited by thousands of people each year.

The ArtEffect jury was made up of LMC executives and notable figures from the art design world, including professionals from ArtCenter College of Design, California Institute of the Arts and Claremont Graduate University, according to the press release. .

Submissions for the next contest season will open next year on January 1, 2023 and close on March 25, 2023.

For more information, visit https://www.lowellmilkencenter.org/.

Thieves in Flat Caps Daytime Raid Dutch Art Fair | Netherlands

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Armed robbers wearing flat caps staged a brazen daytime raid on an international art fair in the Netherlands, smashing a jewelry box with a hammer in front of terrified visitors.

Police said they stopped a car and arrested two Belgians in their twenties after the four smartly dressed robbers staged the European Fine Arts Fair (Tefaf) in the southern city of Maastricht on Tuesday.

Dramatic footage on social media showed the thieves threatening people with what appeared to be handguns before fleeing with an undisclosed amount of what police called “loot”.

The venue was evacuated, but visitors were later reintegrated into the fair, which is attended by tens of thousands of people over several days. No one was injured, police said.

“A stand was raided, they fled and we started the search,” said Wim Coenen, spokesman for the Limburg provincial police. “There were four suspects, two have been arrested.”

Dutch media said the window contained diamond jewelery and other items from London jeweler Symbolic & Chase. There was no comment from the company.

Police confirmed in a statement that “jewellery was stolen”, adding, “Additional details of the loot are not provided at this time.”

Officers launched an extensive search involving a helicopter and sniffer dogs and shortly after arrested the two men, aged 22 and 26.

“These two people were driving a gray vehicle registered in Belgium. This car has been stopped… Their possible involvement is still under investigation,” he said.

The art fair is one of the largest in Europe and features hundreds of works, including a 17th century drawing by an old Dutch master on sale for 1 million euros (£860,000).

Videos on social media showed the four men – all wearing flat caps, glasses and smart blazers – amid scenes of chaos at the art fair. One of them hit the jewelry box at least 12 times as the burglar alarms went off. He finally broke the glass, reaching out to pick something up before putting it in a bag.

Two of the men brandished what appeared to be weapons at a passerby, who attempted to intervene using a large glass vase filled with flowers before backing away. The men then fled from a puzzled old man who had been sitting nearby on a bench throughout the drama.

One visitor, Jos Stassen, told Dutch public broadcaster NOS that he went to the exhibition on Tuesday to view the art in peace.

“I suddenly heard a lot of noise and I turned around and suddenly saw these men,” he said. “One started beating and the others kept people away, scared everyone. I also saw a weapon. It went very quickly and it lasted a very short time, but I’m still shaking a little.

The fair’s general manager, Bart Drenth, said the owners of the destroyed stand were “very shocked”, Dutch news agency ANP reported. He said the fair’s security protocol was working well despite the armed robbers being able to enter, adding: “Police were on the scene within minutes.”

A Tefaf spokesperson added in a statement that its “security teams worked quickly to disarm an offender”, adding: “No one was injured in the incident”.

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The phrase ‘Peaky Blinders’ was trending on social media in the Netherlands after the raid, as the caps worn by the suspects resembled those in the British crime drama of the same name.

This is not the first time the fair has been targeted by criminals. A diamond ring and necklace worth £860,000 belonging to a London jeweler was stolen from the show in 2011.

The Netherlands has also seen a series of art thefts, with paintings by Van Gogh and Frans Hals taken during break-ins in 2020.

How Brooklyn’s Steve Keene Became the Most Prolific Artist in American History

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Is it surreal to be back with the Pavement guys in 2022, after you all got together in the 90s? Yeah, I met most of these guys 35 years ago in Charlottesville, because we were all on the radio. So it’s been a very long time, and this thing with Primavera was really crazy. There were about 65,000 people there, and it was a really good show, and it’s so emotional to see that [the band is] do it again.

Do you think your association with Pavement, the Silver Jews, and all those other 90s bands helped you gain exposure and build an audience? Yes, I am very grateful, I feel lucky. Even if it was really bad luck. I was friends with these guys and they inspired me. I went to art school, I always did everything right, but I didn’t really know why I had to be an artist. And then once we started volunteering at the Charlottesville radio station 35 years ago, my wife and I met all these guys. David Berman and [Pavement percussionist] Bob Nastanovich also did the dishes where I worked.

And I felt inspired by the musicians in the way they should practice their art. They would do a show and hopefully 12 people would show up, and they would have tapes and they would have zines. And their way of showing who they were was through all these kinds of ephemera, all these little things that could be traded with other people. And that has completely bled into what I do. I thought that was the most exciting way to be an artist, kind of slip everything under the door. And I haven’t stopped doing that.

Is it related to why the album cover has become a muse for you? Yeah, albums are almost like… I know people buy albums now, but for a long time they didn’t. And it was kind of a way for me to almost commemorate [the form]. I first started doing it for the WFMU Record Fair, I just thought it would be fun. And people really liked it, that was about 20 years ago. I’ve always painted them, but at this event I was like a fake record store, and it was pretty awesome. It’s kind of like a memorial to a lost time, when you walk into the store and stand there for maybe an hour deciding whether to buy Steely Dan or the Allman Brothers.

It’s not the only type of work you do, but why do you think it’s become so synonymous with your style? It’s accessible. People are comfortable with the things they already like. But it’s funny, sometimes there is a tension. If I paint, like, Stranger, nobody wants to buy it. But if it’s the Stooges, they’ll want to buy it, even if the outsider’s paint job is beautifully painted. So I like to do a lot of things that people don’t want just to see if I can get them to want it. It’s a bit like a game sometimes.

What are your favorite album covers? Moby grape, Wow. It would probably be my favorite. [It’s] 18th century art collage. And maybe Abbey Road ⁠— I like it to be simple.

Can you describe what the cage looks like and what your general artistic process is these days? The cage is the chain link cage that we installed here about 25 years ago. It’s 12 x 24 feet. And I have easels in there, the easels are in the middle, and there’s more painting space along the edge of the cage. So it’s basically 80 feet of painting space. I had to put it all together because we first moved here 25 years ago, and we didn’t have kids, and then little by little more and more things got caught up in reality.

So I have to sneak into my fantasy world and make it very logical and productive for its small size, but I can still paint 80 feet of art at once. I’m going to hang about 120-130 wood panels, and paint them all at once. I probably paint maybe 10 or 12 of each image; I just start with one color, and they all start at the same time and they all end at the same time. I’ll do, say, purple first, then gold, then black, then green. You’re kind of going to dab, dab, dab, dab until it’s all done. It’s very messy. Then it gets tighter as I get closer to finishing. These days, I do 120 in two days.

So it’s really a craft – it’s my art, but I tried to reduce it to a simple craft, like decorating birthday cakes, donuts or bagels, something like that. My system is based on traditional concept art from the 70s, where people list their structure, their approach to what they want to achieve with their concept art project. And they follow through, and at the end are the results. But the results are the leftovers of the process; the process is the work of art.

Meet me at the mall, for art, research and science

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Imagine going to a mall on a weekday afternoon. You wander through the atrium that echoes with pop music, the “For Sale” signs desperately trying to attract customers, and you find an art research lab named after Concordia.

The showcase is Concordia’s Creative engAGE Living Lab (ELL), a research lab operated as part of Concordia’s Center for Research in Aging (engAGE)’s “Meet me at the mall” project. The lab was established at the Cavendish Shopping Center in Côte Saint-Luc to help researchers and students connect with the community and gather the data needed for their theses on topics related to aging.

“Come check your balance” reads a sign at the Lab, storefront C-14 at the Cavendish Mall. What looks like a banking slogan is actually a checkup involving a Wii Balance board, dance moves and other distractions designed to check balance, attention span, hearing levels and even eyesight, especially people over the age of 60.

A participant checks his balance and stability on a Wii Balance Board as part of Berkley Petersen’s thesis research project at the Cavendish Mall in Côte Saint-Luc. Photo Berkeley-Petersen.

“We kind of made it a fun way to check up. How’s your balance, how’s your vision and how’s your hearing,” said Berkley Petersen, master’s student in psychology at Concordia. She collected a massive amount of data in the lab to study how factors like hearing loss might play a role in balance stability, especially in older people, for her thesis.

According to a report by Speech-Language & Audiology Canada and the Canadian Geriatrics Society, one in six Canadians has a speech, language or hearing disorder, making it the third most common chronic disability among old people. Most seniors who had their balance checked didn’t know they had a hearing problem, Petersen said.

The community-based research method adopted by the engAGE laboratory aims to bridge the gap in finding solutions to widespread problems that society has not been aware of from the beginning. Petersen and other researchers have used portable testing devices to check balance and hearing. These portable devices did the work of large, expensive harnessed lab equipment, demonstrating the functional nature of these community research labs.

“The goal of the lab is to conduct research on aging in a more realistic environment,” said Karen Li, a Petersen professor of psychology at Concordia and one of the seven founding researchers of the engAGE lab.

“The idea was, first of all, to bring the research to the community and embed ourselves in the community,” Li said. The benefit of having interactive labs in community spaces is that “participants avoid all the hassle of visiting the university campus, discovering the laboratory building, trying to find a parking space and making several trips,” she added. Li hopes the community research lab will be a better way to address salient issues in people’s daily lives.

To strengthen the bond between the community and researchers, and to increase engagement, the engAGE lab collaborated with The Art Hives Network. The network aims to establish human connections through art and artistic creation, which is considered an innate human behavior. It is this aspect that engAGE Lab has endeavored to exploit for the “community” part of its research method.

Through this collaboration, the lab offers interactive games, art activities, art therapy sessions, community building exercises and more. Their hope is to have more potential participants easily contributing to other research projects.

Lisa Potter, a tech-savvy 56-year-old art enthusiast, joined one of the free art therapy sessions offered by the lab in Quartier Cavendish Mall.

“Art therapy made my anxiety go away. Like no anxiety during COVID,” Potter said. Recognizing the disastrous effects of isolation on older adults, especially during lockdown, the lab has developed an online program called engAGE Living Lab Digital Era Response.

“Art has helped me in every way. I am no longer angry, I am very calm. It’s one of my go-to techniques,” Potter said while continuing to show off her collection of digital art she created through the online program ELLDER.

Potter is one of the seniors benefiting from the engAGE-Art Hive collaboration. Potter, through his art, expresses his set of values ​​of helping people, giving back to society, being compassionate and being supportive. Thus, she agreed to participate in extensive research projects at Concordia.

Lisa Potter shows her drawing of Willy Zoom, a mascot she designed for Concordia University. Photo Sruthi Matta.

“Instead of becoming researchers collecting information, we would be offering something in return,” said Janis Timm-Bottos, chief researcher of the engAGE lab. She is also an associate professor in the Department of Creative Arts Therapies at Concordia, as well as the founder of The Art Hives Network, one of the reasons for their collaboration.

Janis Timm-Bottos inspects work at the Creative engAGE Living Lab. Photo Sruthi Matta.

Community stories like Lisa Potter’s are the driving force behind engAGE Lab’s efforts to make research more accessible and accessible to the audience for whom it is intended.

“The hope is that we can start creating a social infrastructure so that people have open spaces to interact with each other and with the university,” Timm-Bottos said. She and her team are excited about a future where malls are transformed to better accommodate public initiatives and become more than just places to shop.

“And I believe we need everyone at the table,” added Timm-Bottos. “We need everyone with different life experiences, different backgrounds and unique professional lives…So that we can start solving these problems together.”

“It’s the future,” said Syeda Nayab Bukhari. She is the Director of the Telehealth Intervention Program for Isolated Elderly in the Department of Psychiatry at the Jewish General Hospital. To make research more accessible, she said the focus should be on multiple research sites and experimenting with different combinations of research methodologies.

Bukhari added that new methodologies, such as labs in malls and community spaces, have two major limitations. The first is the availability of sustainable funding. The second is to follow ethical standards and guidelines when dealing with walk-in attendees.

“We see that the engAGE living lab is a pioneer in doing this experiment…we too, as a lab, could find a way to collaborate with them,” Bukhari said. She suggests that two or three research teams get together, pooling financial and human resources to continue experimenting with research methods. That way, she thinks there would be enough room for mistakes.

“As researchers, we need to go and have these kinds of experiences where not just a segment of the community, but all segments of the community can come and see your work and be a part of it, according to their convenience and interest,” he said. she continued. .

“I don’t see them as challenges, but I see them as opportunities for labs to develop this and not let it become a challenge or a limitation,” Bukhari said, hoping these experiments will align science with the community needs.

Putting ‘Pride’ in Shrewsbury’s Pride Hill with celebratory artwork

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Simon Perks, owner of Christmas Perks in Wyle Cop and board member of Shrewsbury BID, takes a look at the rainbow over Pride Hill.

Shrewsbury BID has partnered with Shropshire Council and Shrewsbury Town Council to install the giant flooring to mark the 50th anniversary of the Pride movement.

The national campaign celebrates the LBGTQ+ community, promoting equality and diversity in all walks of life.

Jonathan Soden, of The Soden Collection at Wyle Cop and Shrewsbury BID board member, said the rainbow would make a strong statement.

“We were keen to celebrate Pride Month the right way, and the idea of ​​a bright, bold piece of art right in the heart of the city was perfect,” he said.

Cecilia Motley, Shropshire Council’s Cabinet Member for Communities and Culture, said: ‘I am very pleased to support this initiative by Shrewsbury BID on Pride Hill, which I am sure will complement the initiative very well by Pride course on Pride Hill by the Nationwide Building Society.

“I absolutely welcome these efforts to raise the profile of the LGBTQ+ community in Shropshire and show my support for the diversity of people who can describe themselves as part of this community.

“We have already hoisted a rainbow flag at Shirehall to mark our commitment to equality and inclusion in a tolerant and inclusive community.”

Alan Mosley, Leader of Shrewsbury City Council, said: “Shrewsbury City Council warmly recognizes the diversity and inclusion within our community and it is appropriate to mark the 50th anniversary of the Pride movement in this way.”

Catherine Armstrong, Deputy Director – Curriculum Support and Business Development, at Shrewsbury Colleges Group, said: “We applaud this move by Shrewsbury BID and local councils to demonstrate their support for the LGBTQ+ community and help celebrate pride month.”

Janesville Art League to Auction Locally Made ‘Arts of the Heart’ for Ukraine

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JANESVILLE, Wis. (WMTV) – It never takes a lot to show heart to those in need.

The Rock County Historical Society will host “Artrageous Wednesday” on June 29, with more than 30 locally painted “thank you” hearts that have been displayed throughout the city will be auctioned off. Heart ornaments that have been hung on Christmas trees during RCHS Christmas tree shows will also be auctioned off.

This silent auction is called “Hearts for Ukraine” and all proceeds will be donated to the World Central Kitchen – supporting its efforts to serve fresh meals to Ukrainian families.

One of the hearts that will be auctioned on June 29. All proceeds from this auction will go to the World Central Kitchen.(Rock County Historical Society)

In addition to auction proceeds, the organizations also accept donations. An anonymous donor will match the proceeds of the sale.

“During some of the worst months of the pandemic, the hearts created by members of our community brought messages of hope and thanks to essential workers,” said Arra Lasse, former president of the Janesville Art League. “Now the RCHS and JAL are auctioning off the hearts to continue their support and care – this time for the people of Ukraine. The highest bidder will be able to keep the heart, knowing they are donating to an important cause.

The auction will start at 5 p.m. and will continue until 8 p.m.

(Rock County Historical Society)

Copyright 2022 WMTV. All rights reserved.

Arts Briefs: Organic Art, a Marching Band and a Day for Dogs | Arts & Theater

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New exhibition

Artworks Gallery will present a new exhibition, “Organic Impressions,” June 26-July 30 at 564 N. Trade St., Winston-Salem, featuring works by Seth Moskowitz and Mona Wu.

The exhibit will be part of the upcoming Gallery Hop from 7-9pm on July 1.

An artists’ reception will be held from 2 to 4 p.m. on July 10.

Moskowitz is a Winston-Salem-based artist who creates and combines photographic images into works of art that rarely resemble photography or the images they incorporate. He describes creating his work as “an escape from the verbal cacophony of the working world – a way to enter a peaceful, magical place that is literally beyond words”. His works focus on nature and nudes and combinations of the two.

Originally from China, Mona Wu immigrated to the United States in 1970. She studied Chinese painting and calligraphy in Hong Kong, then earned her Bachelor of Arts in Art History at Salem College in 1996. She also studied printmaking at Wake Forest University from 1997 to 2014. . Wu has taught classes and workshops in Chinese art and printmaking at Salem Community College, Reynolda House of American Art, and Sawtooth School of Visual Art. Wu presents a series of monotype prints depicting fall and winter foliage in their natural forms, but transformed into expressive collage work by manipulations in the printing process. This exhibition is free and open to the public.

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Gallery hours are 11 a.m. to 5 p.m. Wednesday through Saturday and 1 p.m. to 4 p.m. Sunday. Call 336-723-5890 or visit Artworks-Gallery.org.

Concert

NC Brass Band will perform “Bold As Brass” on the lawn of the Southeastern Center for Contemporary Art, 750 Marguerite Drive, Winston-Salem.

The July 2 concert will be “Stars & Stripes” and will feature patriotic music, food trucks, drinks and more.

Admission is $20 for adults and $10 for children 12 and under at secca.org.

Visit ncbrassband.org or secca.org.

New exhibition

Minglewood Farm and Nature Preserve is hosting an art installation until November 12 at 238 Minglewood Road in Westfield.

The display, by Clemmons resident Marianne DiNapoli-Mylet, is called Sojourn STICKITs. It features sculptures by DiNapoli-Mylet created from sticks, dress pattern paper and lace depicting three female figures on a welded metal frame. Make a reservation to visit at 336-351-2945 or minglewoodpreserve.org. Visit dinapoli-mylet.com to learn more about DiNapoli-Mylet.

New exhibition

The Southeastern Center for Contemporary Art (SECCA) will host “Will Wilson: Connecting the Dots,” a mid-career retrospective of photographer Diné (Navajo) and community-engaged artist, through December 11 at the gallery main at 750 Marguerite Drive, Winston-Salem.

A prolific artist with a wide range of technical experience, Wilson exhibits an experimental artistic vision in technique and approach. His works use state-of-the-art technologies alongside historic photographic processes, including augmented reality, drone photography, and tintypes.

This exhibit features photographs and sculptures from three significant works created over the past two decades, addressing topics such as environmental justice, institutional racism, and Indigenous futurism.

Gallery hours are 10 a.m. to 5 p.m. Wednesday, 12 p.m. to 8 p.m. Thursday, 12 p.m. to 5 p.m. Friday, 10 a.m. to 5 p.m. Saturday, and 1 p.m. to 5 p.m. a.m. on Sunday.

Outdoor concerts

Outdoor summer concerts will continue with:

7 p.m. on July 2: Drew Foust (roots, rock, soul) at Saturday City Sunsets at LeBauer Park, 208 N. Davie St., Greensboro. Free. Bring blankets, chairs, picnics. Food trucks, brewery, craft vendors on site. 336-373-7533, greensborodowntownparks.org.

7 p.m. on July 2: Smitty & the Jumpstarters (swing rock) at Summer on Liberty at the intersection of Sixth and Liberty Streets, Winston-Salem. Free. 336-354-1500, centre-villews.com/music.

pride march

Greensboro Pride will hold a Pride March to remember at 6 p.m. on June 28 from outside the International Civil Rights Center and Museum at 134 S. Elm St. in downtown Greensboro.

The event will commemorate the 53rd anniversary of the Stonewall Inn riots in New York, which were the catalyst for the modern gay rights movement.

Attendees can also participate in a silent march to Governmental Plaza, where the evening will begin with guest speakers and a candlelight vigil.

The Stonewall Riots were a series of protests by members of the gay community in response to a police raid on the Stonewall Inn in New York City. The riots took place in the early hours of June 28, 1969.

Greensboro Pride will donate $1 for each participant to The Trevor Project, a non-profit organization focused on suicide prevention efforts for youth in the LGBTQIA2+ community.

Participants are encouraged to bring signs showing their support for the LGBTQIA2+ community.

Visit greensboropride.org and follow them on Facebook and Instagram.

Harry Styles celebrates new album with pop-up shops and ‘one night only’ concert – The Ticker

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Harry Styles released his third solo album, “Harry’s House”, on May 20. He commemorated the outing with the opening of limited-time pop-up shops selling merchandise and performing an exclusive “One Night Only” concert in New York City the same day. of liberation.

Styles is known for having upbeat music his fans can dance to, which continues on his new pop album. However, many of his upbeat new songs have extremely depressing and lonely lyrics that contradict each other.

“Matilda” is the one that resonated with her audience. This song is about parenting issues and the idea of ​​family. He wrote this song after a friend related an experience and thought they should get help; however Styles said in an interview with Apple Music’s Zane Lowe that he felt it was not up to him to to intervene.

“You don’t have to be sorry for leaving and growing up,” one of Styles’ notable lyrics from the song.

The pop-ups performed for just one week in Los Angeles, New York and different countries. Merchandise sold at these stores consisted of exclusive merchandise associated with the album release. Fans lined up for hours in the beating sun to get these products and photo opportunities.

In the New York pop-up, there was a replica of the piece featured on the album cover, in place of Styles. Some might say fans were invited into the artist’s “home”. Thousands of images began to appear on social media from these photos taken in stores.

During her recent performance at the Coachella Valley Music and Arts Festival, Styles debuted music from her new album, specifically the song titled “Boyfriends.”

Within the first 24 hours of the album’s release, it gained over 97 million streams.

Styles immediately performed the entire record in less than 24 hours at UBS Arena in Elmont, New York. Some wondered how it would work, given that the audience wouldn’t know the words. However, the fans already knew the words, so that was no obstacle.

Styles even commented on it during his performance, asking, “Who knows the words?”

Throughout his “One Night Only in New York” concert, which was also available live for $25, Styles performed the 13-song album, as well as songs from his previous albums.

Styles revealed he would return for a North American tour of the album in the fall. Performances are expected in Toronto, Austin and Chicago. There will be 15 standout shows each for Los Angeles and New York, and a few in Mexico City.

How a £55m project will work to help deliver state-of-the-art digital connectivity in the Swansea Bay City area

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A £55m project to help deliver state-of-the-art digital connectivity in the Swansea Bay City area is starting to move forward, executives said. It is one of nine draft municipal agreements for the area – and was described as a ‘golden thread’ running through them all at a meeting of the Swansea Bay City Area Joint Committee.

The Digital Infrastructure Program, as the project is known, has three key objectives: widespread fiber broadband coverage in urban and growing areas, the expansion of connectivity in underserved rural areas, and the deployment of as much 5G wireless technology as possible.

Although it may sound technical, the premise is that good digital connectivity helps a region gain a competitive advantage, drive innovation, and drive economic growth. And the Swansea Bay City area, according to a report presented to the Joint Committee, has suffered from a lack of commercial investment in this regard. The region covers Swansea, Carmarthenshire, Neath Port Talbot and Pembrokeshire.

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Gareth Jones, the project manager, said the aim is to sustain connectivity in the region for at least the next 25 to 30 years. He added: “Our project, in all honesty, is not enough to achieve this on its own. We need to work with the UG Government, the Welsh Government, our local authorities, the wider public sector and of course , the most important private sector and industry.”

Mr Jones said poor digital coverage in rural areas was becoming more prominent as fiber broadband builders penetrated further into urban areas. But he said there were now six fiber builders in the region – three specializing in rural areas – compared to just two a few years ago.



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Cllr Steve Hunt, the leader of Neath Port Talbot Council, said he was one of those underserved customers and that some people and businesses in the five valleys of the county were struggling with the problem. He asked for assurances that Mr Jones and his colleagues would continue to press the central government for a better provision.

One element of the project will see an investment of over £12m in super-fast digital infrastructure for public sector buildings in the region.

Mr Jones said it would create the basis for a “fiber spine” in the area. He added: “Probably, more importantly, it will spur significant private sector investment in building additional fiber.”

He said he and his colleagues were working out which public sector buildings would benefit from the £12m outlay.

The four participating councils will recruit two staff members to help move the project forward, liaising with businesses and the public. This will include providing Public Health England’s latest guidance and advice on 5G – the next iteration of the wireless network.

“There’s a lot of misinformation and information out there,” said Cllr Rob Stewart, the head of Swansea Council.

The project aims to establish 5G networks, which could lead to new and better business applications.

Mr Jones said: “The excitement behind 5G is not about mobile phones. It’s the ultra-fast wireless offshore connectivity for your wind farms. It’s about private high-speed connectivity on a dairy farm. This is the network that will control autonomous vehicles in the future.

Cllr Stewart said: “The digital program is a golden thread that runs through us and helps us achieve even more on our other projects.”

Rising construction costs remain a real concern for the £1.24billion city contract for the Swansea Bay City area, the program manager said.

The agreement with the city includes nine projects spanning energy, advanced manufacturing, and health and wellness, among others. It has and will result in new buildings, including a £60m marine energy facility at Pembroke Dock.

Jonathan Burnes, the city’s agreement manager, told a committee meeting that construction costs were a high risk, with the Pembroke Dock marine project being one example. Monthly construction cost impact assessments were being carried out, he said, and additional funds were being requested from the Welsh European Funding Office as more money was now needed to complete the projects.

Other ‘red’ risks were a shortage of the expected private sector contribution of over £625million over the 15-year City Agreement, and how future flood mapping and associated requirements could affect projects.

Dr Burnes said 13% of the £1.24billion had now been spent, with 500 jobs – including construction jobs – created.

Cllr Darren Price, the leader of Carmarthenshire Council, said those benefits were what mattered. He said the public “frankly, doesn’t care” about governance decisions and reports. What they wanted to know, he said, was what was being provided in terms of jobs, investment and gross value added – or productivity.

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First preview of ‘The Fall of Númenor’ artwork unveiled

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Image via The Lord of the Rings: The Return of the King

The announcement that JRR Tolkien would be releasing a new novel later this year didn’t exactly excite many diehard Tolkienists, if only for the fact that The Fall of Numenor will not actually involve any new writing material from The Lord of the Rings author. But you never look a horse gift in the mouth, and the fact that we’re getting 11 new illustrations from Alan Lee is as regal a gift as the one Thorin gave Bilbo at the end of The Hobbit.

Alan Lee has long been revered as one of the finest cartoonists to portray Middle-earth, with many fans holding him on par with John Howe. Both Lee and Howe worked with Peter Jackson to direct The Lord of the Rings and The Hobbit trilogies, not to mention that we’ve seen his work on every illustrated version of The Legendary, whether set in the Third Age or as early as The Silmarillionchronologically the first book involving the creation of the world at the hands of Eru Ilúvatar.

Now, thanks to Weekly entertainment, we have a first look at some of the artwork that will appear in The Fall of Numenor. Check them out below.

Lee also made a statement about returning to Middle-earth.

“It is a pleasure to be able to explore the Second Age in greater detail and learn more about those dark and ancient events, alliances and catastrophes that ultimately led to the stories of the Third Age that we know best. had the opportunity to work on The Lord of the Rings and The HobbitI tried to imbue the images and designs with an appropriate antiquity, a layering of history and echoes of those older stories, and The Fall of Numenor proved a perfect opportunity to dig a little deeper into Middle-earth’s rich history.

Describing the fall of the titular kingdom of Men, this new novel is a collection of writings involving the Second Age of Middle-earth, and how Sauron the Deceiver brought about the end of Númenor, thus paving the way for the creation of Gondor and Arnor. .

The Fall of Numenor releases November 10.

In a rare occurrence, Tagore’s artwork shows up at auction and fetches ₹9.36 lakh

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An undated ink on brown paper painting by the late poet and Nobel laureate Rabindranath Tagore went up for sale Friday at an online auction organized by auction house AstaGuru.

Tagore, a polymath who was also a philosopher, composer, writer, playwright and educator, created thousands of paintings in different mediums, but his works are rarely auctioned. “Tagore was a fairly prolific painter, with over 2,300 creations in just over 10 years, starting at the age of 60, but most of his work is already public in institutions such as Visva Bharati in Santiniketan , or the National Gallery of Modern Art, which do not sell paintings,” says Santiniketan-based art historian R Siva Kumar.

Even when a work surfaces, since all of its works are designated national treasures, none can leave the country. Tagore’s paintings have fetched crores at auction.

Bird, the painting in question, comes from the collection of another illustrious artist, the late Nandalal Bose. Bidding started at 20,000 and the work eventually sold for over 9.36 million.

Looking at images of Bird, Debraj Goswami, artist and assistant professor of fine arts at MS University in Baroda, said the work could be seen as reflecting the influence of Haida art. Tagore is said to have been struck by this Native North American art form while visiting the United States.

“Haida artwork is usually very simplified forms of animals and birds, usually in black and white. Inspired by them, Tagore painted many imaginary creatures in black and white, using ink on paper,” Goswami said.

“It’s not just a work of art, but a relic of India’s national history,” said Sunny Chandiramani, vice president of customer relations at AstaGuru.

(All prices include buyer’s premium)


  • ABOUT THE AUTHOR

    Dipanjan Sinha is the senior correspondent for the weekend reports in Mumbai. He has been a journalist for seven years now and has worked in the desk, news and feature teams.
    …See the details

Kering Eyewear expands its product portfolio and launches a collaborative project

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Kering Eyewear announces the launch of the “Kering Eyewear Through Their Eyes” project: a series of collaborations with international artists to develop creative concepts aimed at revisiting the values ​​of Kering Eyewear and its collections using new languages ​​and bringing together different forms of art.

Since its inception in 2014, the company has dedicated its efforts to developing its brand portfolio with the objective of unlocking the potential of each brand in a creative and sustainable way. With this initiative, Kering Eyewear creates a direct link with the world of art and design, choosing digital art, a new frontier of creativity, a synthesis of technological progress and multimedia art.

Artists chosen for “Kering Eyewear Through Their Eyes” will be featured each season, contributing their art to support Kering Eyewear and interpreting, through their creative and digital vision Technologythe visual universe and the aesthetic codes of the company and its products.

For the first edition of the project, Kering Eyewear has teamed up with Camilla Falsini, a young illustrator, muralist and multimedia artist from Rome, whose style combines vector drawing, digital collage and material applications, characterized by an explosion of colors and a iconography that transposes the avant-garde artistic techniques of the 20th century into the contemporary world.

Roberto Vedovotto, President and CEO of Kering Eyewear said: “Thanks to this project, Kering Eyewear takes a new step by approaching the world of art and using a new language, with the objective of experimenting and conveying in a figurative way the aesthetic codes and product collections of the company. Camilla Falsini’s signature style fits perfectly with the young and dynamic spirit of Kering Eyewear. The artist portrayed the values ​​of the company in an innovative way, giving his work an original and extremely identifiable style.

The creative concept imagined by Camilla, ‘Look in my glassesfeaturing the fantastic, colorful and geometric style of the artist, offers a personal approach, with a subjective and realistic synthesis of the Kering Eyewear universe.

Digital works by Camilla Falsini will fill stores adding color to the Digital Retail Concept, a retail environment designed by Kering Eyewear and enriched by the power of digital, installed in selected locations and displayed before the end of the year in a hundred points of sale in the most prestigious shopping destinations in the world. As part of the concept, digital screens can be updated and animated in real time, changing the look of the entire store with just one click. Subsequently, the artist’s creations will be deployed across multiple highly digital touchpoints, including relevant e-commerce platforms such as TMall and JD.com.

“Chee$e” is a model of what independent cinema should be

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There’s a kind of cynicism so brazen that it plays off like sincerity, and it’s all the more gratifying that its playful side is in the spotlight. The same goes for the snarky and action-packed comedy “Chee$e,” Damian Marcano’s second feature, which screens Friday at this year’s edition of BAMcinemaFest, an essential annual showcase for independent films. Marcano (who directed episodes of “Winning Time”) returns to his native Trinidad and Tobago to film the picaresque of a young man with big plans and big problems. The film openly proclaims its intentions to please the crowd without hiding the conflicts that lurk below the surface.

Marcano moved to the United States when he was twelve, and “Chee$e” has an in-between mindset. Its subject is an outgoing but pensive young man who wants to leave the island; this dream is as urgent as it is vague, and it packs an ironic sting. The protagonist and narrator, Skimma (Akil Gerard Williams), is lonely, young, black, and a long-time orphan. He lives in a remote area called Turtle Village, where he is a diligent assistant to a Mr. Ottone, a white Italian tourist who stayed behind and became the area’s artisan cheesemaker. Early on, discussing life in Turtle Village, Skimma describes the local approach to affluent tourists: “We smile and play along, all in exchange for that almighty dollar. We suck the big fish in the hope that when it eats, we eat. American cultural tourists, that is, moviegoers and the film industry that serves them, are the big fish Marcano is targeting; “Chee$e” is a virtual travelogue of a movie, happily introducing foreign viewers to life on the island and in the village with a satirical look at the personalities and customs of the island, as well as the landscapes and places, packing a conflicting exposition of his sociopolitics. seizures.

With an almost documentary curiosity, Marcano revels in the details of the cheesemaker’s art – an art that Skimma has mastered, but the particular uses of that art by the apprentice are the driving force of the drama. Skimma warmly regards Ottone as a “father figure”; he also considers his boss, who has moved halfway around the world to follow his pleasure and rebuild his life, an example of what white people can do that he himself cannot. Skimma yearns for what he sees as their psychological freedom and independence, and he believes that only money can provide that. What triggers his dream at hand, the first step to leave the island, is a restored vintage car, turquoise and resplendent, which he adores. He recognizes, with an even more distant view of his inaccessibility, the inner freedom Rastafarians achieve through religious devotion, and he connects with a Rastaman named Osiris (Lou Lyons), whom he meets at night on the beach.

However, the connection is not spiritual: Skimma is suddenly inspired to harvest marijuana from Osiris’ bountiful harvest. Deploying his newly mastered artisan skills, he hides the herb in blocks of cheese which he makes at home with the help of his lifelong friend, Peter (Julio Prince), then sells. Additionally, heating and cooling works wonders and intensifies the mind-altering powers of the drug, creating a demand for Skimma’s “cheese”; this, in turn, sparks his desire to expand his business and fatten his bankroll. It also attracts the mistrust of the authorities.

Skimma’s personal life is turned upside down, which underpins her drive to make a quick buck. About a month after a single date with Skimma, a young woman named Rebecca (Yidah Leonard) tells him that she is pregnant with his child, although Skimma has no memory of having sex with her. (On the other hand, he remembers getting drunk on their date and imagines what’s next.) Because she’s the daughter of Miss Maria (Binta Ford), a grocery store owner and Local matriarch and stalwart of the church, Skimma is desperate to keep the pregnancy a secret. He harbors serious doubts about his desire to have a child – or rather his ability to raise a child properly – and this prospect evokes his own disastrous view of family life, which is rooted in the abandonment of him by his own father and the deaths of his mother and uncle who raised him.

Against the backdrop of grief and self-doubt, Marcano introduces an upsetting and upsetting spiritual dimension, rooted in the country’s religions and customs, centered on Osiris and a “priestess of black magic” named Hortencia (Ayanna Cézanne). Alongside the country’s distinctive cultural heritage, the film dramatizes – with frankness and energy – its enduring and internalized colonial politics and mores. Marcano reveals a long-standing patriarchal and misogynistic legacy of cavalier paternal irresponsibility. He points out that abortion is generally illegal; it shows harassing preachers calling the proceedings murder and holding the populace – in fact, many women – in thrall. The general air of rigid Christian moralism is reinforced, as Skimma observes, by the political absence of separation of church and state. Meanwhile, the country is portrayed as oppressed by a hostile and racist police force (even its black officers are anti-black) who are engaged in a senseless and destructive war on drugs, focusing on marijuana; there is no liberalization in sight, and the strict laws give rise to both exceptional cruelty and the authorities’ own absurd and self-destructive actions.

The stress and turmoil of Skimma’s ancient adventures are brought to the screen with a sense of style that’s as tender and loving as it is penetrating and insightful. Marcano makes his own cinematography and gives the impression of wielding the camera in the classically metaphorical manner of a pen, evoking his personal and immediate relationship to his subjects and settings. His tangy, offbeat visual compositions, rendered in a tangy, sun-washed Kodachrome palette, convey a sense of wonder and spontaneous excitement and imbue everyday conversations and activities with a distinctive cinematic identity. This narrative vigor is reinforced by audiovisual asides that evoke memories and daydreams through flashbacks, animations, interpolations and allusive montages. Although the film’s dialogue is in English, Marcano adds subtitles, due to the characters’ local accents and vocabulary, but he adds them in a playful way, integrating the on-screen text into his creative design both visually (animating the timing and formatting of subtitles) and textually (as when a character’s distinguished words are “translated” to reveal their vulgar implications).

The exuberance and scrutiny, craftsmanship and sincerity, practical artistry and incisive observation that are displayed in “Chee$e” are exemplary elements of independent cinema. The film is a very model of what BAMcinemaFest exists to present. And there’s yet another reason to cheer: a cliffhanger ending that opens the door to a sequel. ♦

teamLab ‘Existence in Infinite Continuity’ Rhythm

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teamLab is generally known for its ethereal installations that often immerse visitors in an otherworldly setting. Made up of a team of architects, engineers, programmers and artists, the collective’s latest exhibition is noticeably different. For the first time, teamLab will present works in Geneva and distill their scope in the field of digital art.

Housed in the Swiss outpost of Pace Gallery, Exist in infinite continuity imagine life as an uninterrupted flow of energy. Presented on a series of digital monitors, the work meditates on the unrecognized continuity between our existence and the world – whether it’s a flock of birds flying in unison or simply the movement of our own bodies when we interact with our environment. Instead of depicting humans or birds themselves, teamLab visualizes movement through countless tiny lines that flow sporadically at varying densities on the surrounding airflow.

In addition, from June 20 to July 3, teamLab will visualize Giacomo Puccini’s last opera Turandot to Grand Theater of Geneva. This is the first time that the collective has worked in an opera setting and will immerse the public in a sculptural space of light.

Exist in infinite continuity opened earlier this month and will be viewable at Rhythm Geneva until July 2.

On the theme of exhibitions, the Michael Werner Gallery presents Peter Saul: New Works.

rhythm gallery
Quai des Bergues 15,
1201 Geneva, Switzerland

Artwork Flow sees 100% customer growth in 2022

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Artwork Flow, Bizongo’s SaaS platform, reported 100% quarter-over-quarter customer growth in fiscal 2022. cloud-based labeling focuses on textiles, apparel, packaging and other contract manufacturing products.

The global label market is estimated to grow to nearly $60 billion by 2026. The current space relies on legacy tools and lacks cohesion with multiple communication channels. The Artwork Flow digitizes the value chain of the packaging and labeling industry. It allows brands to automate production workflow, secure sensitive information during the artwork review and approval process, track changes with version control, and access audit trails with automated version management and history tracking. This enhances teams’ remote working capabilities and enables brands to maintain a creative and consistent brand voice.

Arjita Kulshreshtha, Associate Director, Artwork Flow, Bizongo, said: “Brands have always had to manage labeling and artwork requirements, but the globalized economy and changing consumer demands, among other forces, have made it more intimidating. As Bizongo reaches this momentous milestone, I’m proud of our team’s dedication to customer success and lightning-fast innovation.

Artwork Flow has a network of over 6,300 partner factories

The platform claims to have better content tracking and a holistic view of all artwork approval stages. Packaging is an integral part of the product manufacturing process. Artwork Flow makes product labeling challenges easy for UK, EU, NA and APAC brands.

The cloud-based collaboration platform provides an automated compliance service that helps brands eliminate instances of product mislabeling that could lead to recall risk.

“We are focused on streamlining our customers’ packaging artwork requirements and saving them time and money while providing visibility to every stakeholder throughout the process,” said added Kulshreshtha.





Three William Nicholson paintings to be auctioned in Kent

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The dandelion field by William Nicholson – estimated at £15,000-20,000 at high auction.

It is believed to date from when the artist attended Herkomer School of Art in Bushey, Hertfordshire – an institution he left in 1891 in what his tutor Sir Hubert von Herkomer described as ” a piece of Whistlerian brazenness” (Nicholson had arranged a nude model with an open umbrella for the students to paint).

The 8 x 5 inch (21 x 13 cm) oil on panel was given by the artist to his sister Mabel and then inherited by his daughter Phyllis Graham. On retiring from nursing, Phyllis moved with her husband to Zigzag Farm, Hastingleigh near Wye, Kent. It was there that she met local artist Gordon Davies (1926-2007) with whom she later lived during her last years as a widow and to whom she gave four paintings by Nicholson and a group of prints to his death.

The three works offered at Grand Auctions on July 4 were consigned by Davies’ sister. All appear in Patricia Reid’s catalog raisonné of Nicholson’s paintings. “The Dandelion Field” also appeared in the dedicated exhibition at the Royal Academy in 2004.

Probably painted near Bushey, it shows a young girl walking through grass and dandelions almost at ground level. The artist also included his own shadow with the shape of his easel at the very bottom of the painting, a device he used elsewhere during this period. It is estimated between £15,000 and £20,000.


Woman at the Window by William Nicholson

woman at the window by William Nicholson – estimated at £30,000-50,000 at high auction.

The other two works also represent seated women but more directly in terms of composition. A title woman at the window has been dated to 1892 and is thought to be in a fisherman’s cottage, probably in St. Ives. The auction house stating that the 15.5 x 12 inch (40 x 31 cm) oil on canvas shows “Whistler’s greatest influence on Nicholson’s style” and “exceptional” control of lighting from the artist, it comes with higher expectations and is estimated at £30,000-£50,000.


Girl in an Armchair by William Nicholson

Girl in a chair by William Nicholson – estimated at £15,000-20,000.

A third image titled Girl in a chair, again dated 1892, is estimated between £15,000 and £20,000. The 19 x 11 inch (49 x 28 cm) oil on board is thought to depict either one of Nicholson’s younger cousins ​​or the daughter of his older cousin Alfred Nicholson Leeds.

Letter Nelson

On a somewhat different theme, another lot from the sale is a letter dictated by Horatio Nelson to John Scott, his secretary aboard HMS Victory. The letter, which is signed by the vice-admiral and dated 1803, concerns reports of Spanish and French naval movements. It is estimated between £9,000 and £15,000.

‘I must have been taken out of the museum’: the artistic challenge that nearly broke Dean Stevenson | mona

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Fver the past 10 months, Dean Stevenson has descended deep, deep into the bowels of Tasmania’s Museum of Old and New Art – Hobart’s underground gallery dedicated to the dark and the strange – to sit in front of a piano and write a piece of music from scratch. No one made Stevenson write 150 compositions; if he’s being completely honest, he wanted to see how far he could push himself until he broke. “And it turned out to be about 130,” he said softly.

Under the constant gaze of curious art lovers, the 50-year-old composer has spent the last 10 months writing a piece every day, stopping around 4 p.m. when musicians from the Tasmanian Symphony Orchestra arrive to perform this he wrote, good or bad. At the end of the performance, the composition was put aside and Stevenson started all over again.

The 4 p.m. project is “without a doubt the most ambitious thing” Stevenson has ever done, forcing him “to suck on something for a while and own it,” as he wrote on his website at the start. When 4 p.m. was first announced last year, a Mona curator said, “I for one can’t wait to watch him suffer for his art while the clock counts down.”

So, did Stevenson suffer? “Oh my God, yes,” he said. “First it was going to be three months, then it became six, then 10. And I probably could have quit anytime, but either I was writing great music or I just didn’t feel safe. – for the moment.”

In March, after being in the depths of Mona since July last year, “something snapped in my brain and I had to be taken out of the museum,” he says. “I couldn’t come back for a few weeks. To be honest, I’m not quite back yet. It was traumatic. I no longer had control over everything that was happening around me. It was something to be exposed all the time, it was very expensive.

Dean Stevenson at his piano inside Mona: ‘Was I getting better at writing music? Or was the music improving and I was suffering underneath? Photography: Mona

After being pulled from Mona, Stevenson took a short break and went on tour, before returning to the gallery to restart at 4 p.m. for its sister festival, Dark Mofo. He knows he has been changed by the experience, but wonders exactly how; he suspects he has become a braver musician for it. “Was I getting better at writing music?” he asks. “Or was the music improving and I was suffering underneath?

“In the end, I think that’s what happened – the music was getting really good and I wasn’t doing so well. But I made that to myself. I guess it’s experience.

When he first suggested the idea of ​​4 p.m. to Mona founder and friend David Walsh, “it was all going to revolve around me, look how awesome I am – it was way too self-centered, it would have been terrible. ” The idea never went anywhere. Over the next 20 years, Stevenson toured as a drummer, composed and taught music. In his students, young and old, he came to observe a common “crippling anxiety”; most were “so afraid of doing something wrong”.

Finally, he understood: we all have to yearn for something for a while and own it.

“We stigmatize mistakes so much – if you don’t do it right, you better give up,” he says. “Only those with absolute bloodthirsty passion will continue, for they cannot not do it. And as a teacher, I encouraged people to get into the music industry, which I won’t do anymore because it’s a terrible industry. Seeing where we are in the food chain during Covid, I finally realized that unless that’s all you can do, it’s a crucifix – and I won’t encourage anyone to hang themselves on it.

Some days at 4 p.m. he had only “terrible music, just drivel” to show. Some days he left the gallery with great pride. But every day, after every performance, he was approached by people telling the same story. “It’s funny, but at least once a day they say, ‘I used to play an instrument, and I gave it up.’ You can hear the regret. I always give my time to these people, because it’s a really precious moment.

Dean Stevenson and members of the Tasmanian Symphony Orchestra perform at 4pm inside MONA
“You rarely see people doing things, you always see the end result.” Photography: Mona

Surrounded by finished art, he showed them something exotic: the very process of creation. “You rarely see people doing stuff, you always see the end result. And crafting is something you do at home in gloomy desperation, like practicing scales. It’s just a horrible idea, not something fun. But I can be the guy who pulls out his dirty underwear every day,” he says.

Visiting Stevenson in Mona, I spot a message typed on a page on one of the music stands: “Art is never finished. It’s just abandoned in an interesting place. He sees this as the biggest lesson and “the antithesis of the panic that we have to get it right the first time”.

“If we want to do better things and be happier, sometimes we just have to say, ‘Oh, that’s enough,'” he says. “Being good enough is actually good.”

During the two weeks of Dark Mofo, his 4 p.m. sessions were devoted to composing parts of a sinfonietta titled With Ukraine. Tuesday night it was assembled and performed in Hobart in its entirety; an incredibly moving experience that raised $10,000 for Voices of Children, a charity that helps Ukrainian families. And for the first time in 10 months, Stevenson wasn’t performing — he was standing backstage and watching someone else conduct: “Total relief.”

Community News – Brick Store Museum Welcomes Cambodian Artist

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Thanks to the partnership of the Khmer families of Kennebunk, the Brick Store Museum welcomes the Cambodian ceramist Yary Livan, with an exhibition of his traditional ceramics. Livan is one of only three known ceramic masters to survive the 1975 Khmer Rouge genocide, and the only known living in the United States.

The exhibition of the traditional Khmer ceramic artist in the Patsy Bauman Contemporary Gallery at the Brick Store Museum will continue until July 31. Courtesy picture

Livan began his studies in 1971 at the Royal University of Fine Arts in Phnom Penh, the capital, where he majored in ceramics and painting and focused on ceramic forms and ornamentation. traditional Khmer. In 1975, the Khmer Rouge regime seized power in Cambodia and began a systematic genocide, primarily targeting artists, writers and intellectuals and ultimately killing two million Cambodians. Livan survived by using her knowledge of ceramics to build wood-fired kilns needed to make tiles.

He spent most of the 1980s and 1990s moving from one refugee camp to another, arriving in the United States in 2001 and granted political asylum in 2002. That same year Livan became a guest artist , Ceramics Program, Harvard Arts Office. That year he received the Mima Weissmann Prize for the study of ceramic arts.

Since 2005, Livan has taught ceramics classes at several Lowell schools. In 2012, Livan received an artist grant from the Massachusetts Cultural Council and also became an assistant professor at Middlesex Community College.

The exhibition of the traditional Khmer ceramic artist in the museum’s Patsy Bauman Contemporary Gallery will continue until July 31. In addition to the exhibition, a demonstration and documentary event is planned for Saturday July 9 at the Brick Store museum during which the artist will discuss his work. , traditional dishes will be served and the documentary on Livan’s work will be shown.

The exhibit is sponsored by BBSquared and community members. To help support the effort, visit www.brickstoremuseum.org.

Ocean Survival Adventure offered at Kennebunk Free Library

The Kennebunk Free Library offers an Ocean Survival Adventure program on July 5 at 4 p.m. Participants can try their hand at Morse code, make a water filter, build a small raft, and more. The event is designed for children and adults to work together. Everyone is welcome, but the activities will be best enjoyed by children 6 and up.

Ocean Survival Adventure is part of Oceans of Possibilities, the library’s summer reading program. For more information on summer programs, visit the library’s website.

Ocean Zone Crafting

Kennebunk Free Library continues its deep dive with Ocean Zone Crafts. Throughout the summer, explore the ocean areas with a new craft every two weeks. Make a craft during a visit to the library. Crafts will be set up for completion at the craft table in the children’s room. Participants will learn about the five ocean zones and craft something to take home. Ocean Zone Crafts in July includes:

· July 5-16: Twilight Ocean Zone Hermit Crab.

· July 18-28: Midnight Ocean Zone sea anemones.

· July 29-August. 6: Jellyfish from the abyssal ocean zone.

The event is free and wheelchair accessible. For more information, call 985-2173.

Friday Fun at the Library

Visit the library every Friday on July 1, 8, 15, 22 and 29 from 3:30 p.m. to 4:30 p.m. Each Friday there will be different activities to do, games to play and crafts to do. Events are free, wheelchair accessible, and open to teens 10 and older.

● July 1, Pokeymans Project: Develop your artistic skills by drawing Pokémon.
● July 8, all-day craft pick-up: In preparation for the KFL road race, no meeting will be held. Stop by during the day to say hello and pick up take-out looms and sea turtle yarn crafts. These will be available while supplies last in the Walker Room.
● July 15, creating zines: want to know more about zines? Get involved in the counterculture and make groundbreaking zine at the library. Supplies and examples will be available, but feel free to bring anything that inspires you.
● July 22, binders and bookmarks: learn how to reuse old objects to create origami bookmarks and t-shirt binders. T-shirts will be provided, but feel free to bring a favorite old t-shirt to reuse.
● July 29, Trivia – Deep Sea Edition: ready to test your knowledge on the high seas? Visit for a game of Kahoot. Be sure to bring a phone or other device that connects to the internet.

For more information, see Miss Emmaline downstairs in the children’s room, or call 207-985-2173.

KW Contemporary Art welcomes Reflections

KW Contemporary Art has announced that it will present Reflections, a new collection of works by Audra Weaser.

According to a June 15 press release, “Weaser’s lifelong love of water and nature is evident in his paintings. Growing up in Southern California, Weaser was fascinated by the ocean and the ebb and flow of the tides. In the exhibition, Weaser reflects on the interplay of water and light between them and our interpretations of these fleeting moments. Shimmering, moving surfaces reflect the outside world in an abstract state that Weaser depicts in a new painterly way to provoke our emotional response. These surfaces allow us to glimpse our inner states, creating a dynamic space between reflection and projection.

The opening will take place on Saturday July 2 from 5 p.m. to 8 p.m. and is open to the public.

KW Contemporary Art features a roster of artists ranging from emerging talents to established mid-career artists from around the world. The gallery is in Lower Village Kennebunk, near Dock Square and above the Spaces Interior Design store.

Celebrate Pride at the Seashore Trolley Museum

The Seashore Trolley Museum is celebrating Pride this weekend on Saturday and Sunday, June 25 and 26 from 9:30 a.m. to 4:30 p.m. Visitors are invited to rides in decorated trolleys on the museum’s heritage railway, activities family activities and the regular interactive activities of the museum. exhibitions and presentations.

The Seashore Trolley Museum celebrates Pride on Saturday, June 25 and 26 from 9:30 a.m. to 4:30 p.m. For more information, visit www.trolleymuseum.org. Courtesy picture

On Saturday, live entertainment will be provided by Dana Pearson Music (10 a.m.-11 a.m., 12 p.m.-1 p.m.) and Collective Motion Arts Center (11 a.m.-11:30 a.m.). Burgers and hot dogs will be available for lunch. On Sundays, food trucks Mow’s Munchies and Pink Waffle will be on campus from 10:30 a.m. to 3 p.m.

Three dollars from every admission ticket sold over the weekend will be donated to Out Maine. Proceeds from a raffle with prizes donated by local businesses will also benefit Out Maine. For more information about Out Maine, visit ‘LGBTQ+ Youth at https://outmaine.org

Supporters of the event are Daytrip Society, Daytrip Jr., The Inn at English Meadows, AWOL Kennebunkport, Kennebunkport Captains Collection, Alisson’s Restaurant, Bitter End Wells, HB Provisions and Hurricane Restaurant.

Located at 195 Log Cabin Road in Kennebunkport, the Seashore Trolley Museum is the world’s first and largest electric railroad and transit museum. The museum is open Wednesday through Sunday until Halloween. For more information, hours, and the museum’s COVID-19 policies, visit www.trolleymuseum.org or call 207-967-2800, ext. 113.

The Seashore Trolley Museum celebrates Pride on Saturday, June 25 and 26 from 9:30 a.m. to 4:30 p.m. For more information, visit www.trolleymuseum.org.

Lupines in Kennebunkport. Photo by Cynthia Fitzmorris

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How to protect your NFTs from scammers

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According to Wikipedia, the first known non-fungible token (NFT) was established in 2014 and the first NFT project was launched at the end of 2015. It took a few more years and more projects for the concept to spread into the mainstream consciousness, and then a few more for the massive investments in NFTs follow.

2020 and 2021 have seen hundreds of millions of dollars spent on NFT. The boom was obvious but baffling to many, as buying an NFT of a piece of digital art – a song, photo, video, in-game collectible, etc. – does not mean that you obtain any copyright, intellectual property, or other legal rights in the digital asset that the NFT represents.

So what is the appeal of NFTs?

We asked Satnam Narang, Research Engineer at Tenable, to shed some light on the issue for the uninitiated and offer security tips for those who have already invested in it.

Why do buyers use NFTs?

“Most commonly associated with digital art, NFTs are considered the modern equivalent of an art collection. Only a certain number of NFTs are produced for a project and they have a variety of characteristics, which can contribute to an NFT’s value from a rarity perspective,” Narang explains.

“Most of the popular NFT projects are what are called PFP (Profile Pictures) projects like CryptoPunks or Bored Apes. Buyers acquire them and use them as profile pictures on social media because social media has become our digital art gallery.While it’s true anyone can right click and save a PFP from one of these projects and claim it for themselves because it’s When it comes to blockchain-based projects, there is a way to verifiably prove ownership.Twitter recognized the value of NFTs as PFPs, which is why they started offering cryptocurrency enthusiasts the opportunity to verify ownership of their NFTs on the blockchain in a more transparent manner.

He attributes the recent popularity of NFTs in part to the fact that, for many cryptocurrency enthusiasts and investors who missed the early days of Bitcoin and Ethereum, NFTs have become another investment vehicle and potential earning opportunity. .

Several noteworthy projects have seen the value of their NFTs skyrocket over the past year, even as the broader cryptocurrency market has entered a bear markethe underlined.

However, it should be noted that the NFT market has cooled a bit since.

How are they secured?

NFTs are bought and sold on NFT marketplaces (e.g. OpenSea).

“NFTs are typically stored in hot wallets: cryptocurrency wallets that are easily accessible over the Internet through browser extensions like MetaMask. This allows users to easily access their NFTs for sale,” Narang explains.

“Some power users may choose to store their NFTs in cold wallets, which are offline wallets (physical devices) that are not connected to the internet. Cold wallets include hardware wallets like Ledger or Trezor, which require a user to securely store a private key offline in order to access their funds or NFT in their cold wallet.

NFT: a treasure trove for scammers

As documented by software engineer Molly White in her Web3 Is Going Great project, NFT projects obtain compromise has become an almost daily occurrence, and cover drawn on dodgy NFT projects have also been known to occur.

It is difficult for those looking to buy NFTs or have the ability to mint them to be absolutely sure that they are not being fooled.

“There is often a window of opportunity offered to scammers to target NFT projects that are trying to add more value for their holders. These projects will do things like offer token airdrops that are only granted to holders of NFTs or plan to pivot to things like the metaverse, where holders of these NFTs can get the first dibs on a piece of digital land in the project’s metaverse,” Narang explains.

“If users miss these airdrops or opportunities to procure digital land deeds, they are more likely to be scammed by unexpected offers. Scammers are also really exploiting the urgency factor, claiming that an NFT project only reopens airdrops or only grants access to obtaining digital land deeds for a limited time or for a certain number of years. users.

Beware of phishing

Scammers can sue NFT owners via imitations of different projects or by generalized cryptocurrency phishing that gives an attacker control of the victim’s wallet.

Skepticism is an NFT collector’s best friend, Narang notes. “Unsolicited social media posts claiming you can partake in an NFT airdrop or mint are more likely to be scams. If you are unsure, you should visit the respective NFT projects’ social media accounts or Discord to validate these claims, but I can assure you that in 9 out of 10 cases, these are simply scams designed to steal your digital wallets.

Better to miss out on a potential upcoming NFT project than to have all your cryptocurrencies and NFTs stolen from your wallet, he believes, and advises NFT owners to consider using storage cold for their NFTs and other digital assets.

Ronnie Wood’s work is on display in Winnipeg

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A new pop-up gallery in Winnipeg highlights the works of Rolling Stones guitarist Ronnie Wood.

The gallery features nearly 50 pieces by Wood from 1987 to 2021, including interpretive portraits of his bandmates and a three-piece series of paintings titled “Guitarscapes.”

“This is a rare opportunity. This is an exhibit that is on tour separate from the Rolling Stones ‘Unzipped’ exhibit, which is in Portage Place,” said Kevin Donnelly, Senior Vice President of Venues and Entertainment at True North Sports. and Entertainment, at the gallery on Tuesday.

“It touched us. This is a very first opportunity in Winnipeg. It really is a big league, big market exposure.

Wood uses a variety of styles, influences and subject matter in his work, which celebrates his musical heroes, the bands he was part of and the natural world.

“[Wood] was an artist, painter and art student before he was a musician,” Donnelly said.

“So it’s a passion of his life and it’s something he’s done his entire career.”

The gallery, which opened on Tuesday, is on the lower level of 225 Carlton St., the True North Square residential tower.

The Ronnie Wood Pop-Up Gallery will be open for walk-in and private tours throughout the summer. Most of the pieces in the collection are for sale.

“These are one-of-a-kind pieces. These are rare originals from a world-renowned artist,” Donnelly said.

Winnipeg is the second Canadian city to host an exhibition of Wood’s art.

Sir David Brown’s Aston Martin DB5 for sale

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An Aston Martin DB5 Cabriolet, commissioned and owned by the man who gave the legendary DB series its initials – former Aston Martin chairman Sir David Brown – is now offered for sale by specialists at Aston Martin, Nicholas Mee & Co.

The significance of the Aston Martin DB5 Cabriolet in motoring history cannot be overstated; with only 123 models ever built, it is one of the most sought-after cars by collectors around the world. The DB5 model first appeared as James Bond’s car of choice in coupe form in the 1964 film The golden fingerbut such is its enduring status as a symbol of British prestige, it remains an icon to this day, appearing most recently in No time to die.

But even among the icons, there are some more desirable than others.

Of the 123 DB5 convertibles built, only one was commissioned and owned by Aston Martin Lagonda chairman Sir David Brown, giving the car offered for sale by Nicholas Mee & Co a unique provenance. Delivered to Sir David in January 1964, the car was built to the highest specification, with a new five-speed ZF gearbox, Power Lock rear axle, chrome wire wheels and Motorola radio. The factory build sheet, supplied with the car, confirms that it was specified in a vibrant Caribbean pearl, with a dark blue interior.

It was treasured by Sir David for three years before being acquired by former Aston Martin DB4 GT owner and mechanic, John Wilkinson. During Wilkinson’s ownership, servicing was carried out at Aston Martin in Newport Pagnell, where records confirm that a replacement engine block was fitted and a newly stamped manufacturer’s identification plate was applied in 1969 .

This is the first time in 28 years that anyone has had the opportunity to buy this monument to automotive history, it was last sold by Nicholas Mee & Co in 1994, the year after the death of Sir David Brown. Since then he has performed in various Concours events across Europe.

Restoration

In 2014, it benefited from a major restoration to its original specification, which included a redesign of the 4-litre engine, as well as redesigns of the suspension, gearbox, brakes and rear axle. A bare metal repaint and a complete new trim of the Connolly leather interior, as well as a new bonnet cladding, completed the work and means it drives just as well today as it did when it was new. it was in the hands of Sir David.

It was the vision of Sir David Brown who launched the DB series of sports and grand touring cars, starting with the DB1 through to the Aston Martin DB11 on sale today. But it was the DB5 that propelled the DB series to international fame. Today, the DB5 is one of the most sought-after collector cars in the world, with just over 1,000 examples made in total of all variants, including the Cabriolet and performance-upgraded Vantage versions.

Sir David acquired Aston Martin in 1947 for £20,500 after seeing an advert in The temperature newspaper proposing the sale of a “High Class Motor Business”. It saved the struggling marque, which had stopped producing cars to focus on manufacturing aircraft parts during WWII, and is the reason Aston Martin makes some of the best cars in the world today. , including a model that still bears his initials.

Nicholas Mee & Co founder Nicholas Mee said: “The very fact that Sir David Brown owned this convertible DB5 makes it one of the most special and unique DB cars of all time. The DB5 itself is the most iconic Aston Martin model ever produced, but the provenance of this car sets it apart.

“It is restored to exactly the same specification as Sir David ordered it in 1964, it is a car he treasured and loved. It is a unique example of British motoring history.

The 1964 Aston Martin DB5 Cabriolet is on offer for £1,150,000.

A full description, image gallery and video are available here.

Read also: The Mona Lisa of cars sold for a record amount of 135 million euros



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Artist Lacey Hennessey Unveils New Mural at Greenville Run In Shoe Store

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Upstate Artist Lacey Hennessy spent eight hours on June 4 painting a mural on the side of Running-ina specialty shoe store offering brand name running shoes, apparel and accessories in Greenville.

The mural, located at 1301 E. Washington St., depicts a person running with the words “You got this” written on the sole of one of the person’s shoes. It was commissioned by store owner Dane Simmons and building owner Thomas Croft to accommodate an extension to the Swamp Rabbit Trail. The widened trail will pass the base of the Run In building on Richland Way under Washington Street and into Cleveland Park.

Photo provided by Lacey Hennessey.

Run In’s “You Got This” mural is inspired by common challenges facing the local community and the nation as a whole, Hennessey said.

“Whether it’s working out, walking the dog, taking a stroll with the kids, or driving down Washington Street, we wanted to remind you daily that ‘You Got This,'” Hennessey said. “The coloring of the mural is playful and bold. I was inspired by the bright, energetic colors found on the sports equipment inside the store and tied in with some of the natural colors found around the building.

For more information, visit laceydoes.com.

Logitech Pencil | creative block

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The Logitech Crayon is a stylus for iPad, and easily one of the best alternatives to Apple’s Apple Pencil 2 stylus. In fact, the Logitech Crayon has the rare distinction of being an Apple-approved stylus – and even uses much of the same technology as the Apple Pencil.

This means that, unlike unapproved styluses, the Logitech Crayon pairs instantly with an iPad, and Logitech promises “zero noticeable lag” while you draw. The pause between a stylus stroke and what appears on screen can be annoying and distracting for digital artists, which makes the Logitech Crayon very tempting. The same goes for the price. At around £60, it’s almost half the price of the Apple Pencil.

Logitech Crayon stylus on wooden desk

(Image credit: future)

Logitech Crayon review: Design

While the Logitech Crayon packs Apple Pencil technology on the inside, on the outside this stylus is markedly different. While the Apple Pencil is sleek, thin, and minimalist, the Logitech Crayon is bigger and brighter. As their names suggest, think of the difference between a pen and a pencil.

If the ‘Pencil’ part of the name has you worried that this is a kid’s device, then don’t worry. This is a solidly built tool for digital art, and if the orange highlights in the design seem a bit too much, you can also get it in silver/grey.

The wider design, with flat sides, is comfortable to hold and draw. If you found the Apple Pencil too thin to hold, then the Logitech Crayon is definitely worth considering. However, if you prefer smaller, thinner styluses, you might find the Logitech Crayon too large.

The Logitech Crayon’s replaceable nib is quite thick, so not great for fine detail, but it glides easily across the iPad screen. On the other end is a power button and a removable cap that gives you access to a Lightning charging port.

Logitech Crayon and iPad stylus on wooden desk

(Image credit: future)

Logitech Crayon review: Performance

As an Apple-certified stylus, there’s no need to pair the Logitech Crayon with an iPad. As long as you have a reasonably recent iPad from 2018, the Logitech Crayon will work with the device right out of the box. This is incredibly useful for people who just want to draw and not mess with settings.

As promised, in most apps we tried, the Logitech Crayon was incredibly responsive. Apple’s Scribble tool, which turns handwritten notes into editable text, worked brilliantly, managing to choose words accurately despite our terrible handwriting.

Drawing and painting, which are probably of most interest to creatives, were also handled very well. Using a mix of Apple’s own apps, alongside Adobe Illustrator and Photoshop, the Logitech Crayon performed brilliantly. With these more intensive apps, using more complex paint effects, there was sometimes a slight lag, but that was more down to the iPad than the Logitech Crayon. If you have a modern and powerful iPad, like the iPad Pro, this shouldn’t be a problem.

The Logitech Crayon comes with tilt sensitivity, which gives you better control over what you’re drawing, and with pressure sensitivity, it does a great job of making line weighting look natural.

There’s also palm rejection, so if you accidentally touch the iPad screen with your palm or hand while drawing, it doesn’t register as a brushstroke, for example.

Overall, we were very impressed with the performance of the Logitech Crayon, which gave us a responsive and responsive experience similar to what we’re used to from the Apple Pencil, but for less money.

Logitech Crayon stylus on wooden desk

(Image credit: future)

Logitech Crayon review: Charging and battery life

Logitech claims the Crayon’s battery life is 7.5 hours of active writing time, and we found that to be overall accurate. To help preserve the battery, it turns off after 30 minutes and a simple press of the power button turns it back on. A small LED light lets you know if the battery needs to be recharged.

Charging is handled by plugging a Lightning charger into the top of the pen, whose charging port has a removable cover to keep it away from dust and debris.

There’s no included charger or cable, which is a shame, but since it uses the same Lightning charger as an iPad, you should already have one to use. If you don’t, or want to charge your iPad and the Logitech Crayon at the same time, you’ll need to purchase a second charger.

Logitech Crayon stylus on wooden desk

(Image credit: future)

Logitech Crayon review: Price

You can buy the Logitech Crayon for around £60 ($80), which is expensive for a stylus. However, as Logitech is keen to point out, this is not a passive stylus, but a battery-powered stylus with Apple Pencil technology. And, given that the Apple Pencil retails for between £90 and £120, depending on which generation you choose, that makes the Logitech Crayon a very strong value proposition.

Although it shares many of the same features as the Apple Pencil, some are still exclusive to Apple’s stylus. So it doesn’t magnetically clip to the side of the iPad, or charge wirelessly like the second-generation Apple Pencil does. If you don’t mind missing out on those features, the Logitech Crayon is a great cheaper alternative.

Logitech Crayon review: Should you buy it?

If you’re a digital artist who likes to work on an iPad, but think the Apple Pencil is too expensive, then the Logitech Crayon is definitely worth considering. It pairs instantly with an iPad and works great, offering some of the same functionality as the more expensive stylus.

It is comfortable to hold and its battery has excellent battery life as well. The lack of a charging cable is a shame, but most iPad owners shouldn’t find that a problem

However, if you want something smaller and more portable, the big Logitech Crayon may not be for you. This is also for iPad users – if you have a Windows or Android tablet, this isn’t for you. Not only will you miss almost all of its features, but you will also have to purchase a Lightning cable separately.

Related article:

Galloire and MidChains in cryptocurrency deal for global art sales

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Galloire is located on London Street, City Walk, Dubai.

Mohammad Yusuf, Feature Writer

Galloire, the innovative contemporary gallery located at London Street, City Walk, Dubai, has signed a historic agreement with Abu Dhabi’s MidChains, to become the first major gallery in the Middle East region to accept cryptocurrency for the physical or digital art. It joins a list of major international galleries such as Pace, Lehmann Maupin and recently Gagosian, to accept Bitcoin, Ethereum and USDC for art sales worldwide.

“The gallery continues to forge ahead with the use of technology to enable collectors to connect with its artists and their work,” said founder Edward Gallagher, speaking about the gallery and the principles that underpin it. tend the move.

“We have an absolute belief in using technology to bring art to as wide an audience as possible; so, using photorealistic virtual reality and augmented reality, you’ve already seen us bring exhibitions from world-renowned artists to tens of thousands more people in the gallery than ever before.

“We want more people to connect with contemporary art and also believe in an egalitarian approach to how people want to pay for this art.


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“Why should we force a crypto-native person to pay in traditional (fiat) currency to acquire a beautiful painting, and vice versa? Why should a traditional collector looking to venture into NFT pay in cryptocurrency just to access digital art they fall in love with? »

Over the past few years, the UAE has become a top hotbed for blockchain and cryptocurrency entrepreneurs and investors, with new legislation making it easier for large companies to set up shop in the country.

The country is also no stranger to major art acquisitions for crypto-wealth, as last year saw Sacha Jafri’s record work (the largest painting on canvas in history) sold for sixty -two million dollars to French crypto-businessman André Abdoune.

Gallery 1 MidChains CEO Basil Al Askari and co-founder Mohamed Al Hashemi.

Jafri (born 1977) is a contemporary British artist best known for creating the world’s largest painting on canvas, Journey of Humanity (recognized by the Guinness Book of World Records) over seven months during the COVID-19 pandemic in Dubai .

It was sold at auction in Dubai for 228 million dirhams (62 million US dollars) – the fourth highest auction price ever paid for a work of art by a living artist, behind Jeff Koon’s Rabbit (91 .1 million), David Hockney’s Portrait of an Artist (Pool with Two Figures) US$90 million and Beeple’s Everydays: the First 5000 Days (US$69.3).

The painting measures over 17,000 square feet and incorporates the works of children from over 140 nations. Jafri donates the proceeds from the sale to children’s charities. Abdoune is of Algerian origin, he lives between Paris and Dubai. He made his fortune in stock trading before buying the industrial group Altius Gestion International Holding and embarking on cryptocurrency trading.

MidChains is one of the leading players in the cryptocurrency and broader virtual asset trading space that has flourished during this time. Led by CEO Basil Al Askari and co-founder Mohamed Al Hashemi, the company has received support from global (e.g. MIAX) and regional (e.g. Mubadala and Abu Dhabi Developmental Holding Company, ADQ) heavyweights.

Al Askari said, “We are a company that prides itself on innovation and being able to provide safe and regulated ways to transact and invest with cryptocurrency; so working with Galloire to allow collectors to invest in art using their favorite cryptocurrency, made perfect sense to us.

“Allowing people to securely pay for a physical asset with a digital asset, especially something as impactful as art, is a huge step forward in the UAE and we were able to do that today, not in months or years.”

Gallagher added, “We are extremely proud to be working with MidChains to facilitate this next step in payment technology. “Many companies in the UAE are offering to help explore this area or facilitate cryptocurrency payments – but most are not properly authorized to do so.

“MidChains is fully licensed by Abu Dhabi Global Market (ADGM) and regulated by the Financial Services Regulatory Authority (FSRA) to deliver on its promise, and we are delighted to have them as our partner.” MidChains and Galloire also confirmed that the systems were up and running to accept cryptocurrency payments, in time for the recently closed exhibition of rising Hong Kong art star Carla Chan.

By changing the way people trade, MidChains seeks to democratize new ways to acquire and hold wealth, with transparency and regulation that makes it safe for everyone. Backed by reputable regional and international investors including Mubadala Investment Company (Mubadala), MIAX Exchange Group and DisruptAD, (ADQ), it is a fully licensed multilateral virtual asset trading system and depository based in the United Arab Emirates, built and operated by a new generation of experienced financial services professionals.

MidChains acts as a key access point for virtual/crypto assets, enabling retail investors and connecting global institutions to the region. Galloire is a leading contemporary gallery that works with established and emerging artists from around the world who, whatever their medium, push the boundaries of culture, think and explore our digitally dominated society.

Possessing an eclectic range, it exhibits artists whose roots come from urban art to classically trained painting, from the world seen through the lens to the data that surrounds us. The gallery is also characterized by a strong interest in how the visual arts work in conjunction with other forms such as poetry, philosophy and science.

Custom ‘Brooklyn Zoo’ Sneakers Made Famous By Jay-Z Are Finally Up For Auction

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Now the artist is revealing the original artistic proof of the sneaker – the model and prototype by which the other 10 were created. This coveted sneaker will be auctioned on June 21st on https://clubrare.xyz, as an NFT-backed item with exclusive metaverse compatibility. This will be the only pair of Brooklyn Zoo sneakers to have Web3 functionality.

Relevant Customs is a cohort of sneaker designer artists using incredibly exotic materials. Their elite list of famous clients and brands includes Jay-Z, Beyonce, james lebronP. Diddy, Wu-Tang, Jägermeister, Arizona Iced Tea and Anheuser-Busch.

ClubRare is a web3 startup that innovates real-world logistics and shipping for NFT-backed collectibles. The bespoke pair of sneakers will be auctioned on the ClubRare Marketplace and on physical display at NFT.NYC, June 21-23.

As a platinum sponsor of the NFT.NYC conference, ClubRare will engage the community and showcase its innovative “phygital NFT” solutions to solve real-world shipping issues for NFT-backed collectibles. The CEO, Paul Chungwill give a conference on the future of e-commerce on the blockchain.

Sneaker collectors and NFT enthusiasts will see the sneaker on display in New York on June 21stand start bidding for the item on ClubRare Marketplace.

Submit any questions or requests to [email protected]

SOURCE ClubRare

Handicrafts Market Size, Scope and Forecast

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The report provides participants with essential information as well as specific recommendations for gaining a competitive advantage in the global business world. It studies how different players compete in the global market and shows how they compete differently. The market size for the Handicrafts market is calculated using a projected period included in the research study. Current market status and trends, along with business growth drivers, industry share, sales volume, interesting BI dashboards, and market forces are all explored.

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Zhejiang Ocean Handicrafts Co Ltd, The Handicrafts Gallery, Ten Thousand Villages, Laizhou Arts & Crafts Group Co Ltd, Sana Hastakala, RT Crafts Enterprise, OSM Handicraft, Nepal Craft Shop Pvt Ltd, Native Crafts and Arts, Asian Handicrafts Pvt Ltd.

Our analysts have performed a qualitative and quantitative analysis of the microeconomic and macroeconomic components of the Handicrafts market. This study will also help to understand the changes in the Craft market industrial supply chain, manufacturing processes and costs, sales scenarios and market dynamics.

This analysis highlights significant mergers and acquisitions, business expansion, differences in goods or services, market structure, competitive conditions in the craft market, and market size by participant .

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Handicraft market, by product

• The Woodcraft
• Pottery
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• Natural fiber
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• Wooden beads
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• On line
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ATTRIBUTES DETAILS
ESTIMATED YEAR 2022
YEAR OF REFERENCE 2021
FORECAST YEAR 2029
HISTORICAL YEAR 2020
UNITY Value (million USD/billion)
SECTORS COVERED Types, applications, end users, and more.
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Down bad – TechCrunch

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Welcome back to Chain reaction.

Last week we talked about layoffs and rock gods Winklevoss. This week we are looking at a new layer of crypto disaster.

Get this newsletter delivered to your inbox every Thursday by subscribing to TechCrunch’s newsletter page.


redux crash

We’ve talked about crypto crashes a few times before in the short lifespan of this newsletter, but this week’s selloff scared crypto insiders in a very different way. Things are happening so quickly right now that even seasoned crypto investors seem to feel uneasy about it.

Although crypto winters have arrived before, they have never aligned with the harbingers of a broader prolonged recession. Things have already plunged so quickly on the signal of a recession that insiders fear a long bear market could hit the crypto much harder than expected – tearing the tokens to levels well below the highs of the 2017 bull run.

This means hard things for the tokens, but also more brutal realities for the whole ecosystem.

This week we saw the interconnectedness of major institutions as crypto lending protocol Celsius stuttered and drove down Ethereum prices with it as investors feared a price crash caused by seemingly over-leveraged players like 3 Arrows Capital . Despite crypto’s decentralization philosophy, the potential for cascading failures seems just as possible for the crypto world as it is for traditional financial markets.

If things fail harder and faster than before, the question is how quickly young startups and crypto communities can adapt to changing fortunes. Few companies have to deal with the stress of crypto markets and public markets like Coinbase which laid off more than 1,100 people this week, but many startups have staged mega-towers in 2021 to theoretically future-proof their businesses. For DAOs and protocols with treasuries sitting at ETH, many have seen their budgets for community efforts and extended projects decimated, threatening their survival.

With no promise of wealth or reduced interest in blockchain-based exclusivity, where will consumer demand go? Will governance communities become more motivated and more concerned with short-term goals as their groups go from being filled with millionaires to seeing their profits vanish into thin air? How much worse are things going to get?


the last module

Someone Call 911. Celsius Crypto Lending Protocol Doesn’t Burn, But It Did freeze all customer withdrawals last weekend, citing concerns about its own liquidity in “extreme market conditions.” Since then, the company, which claimed to have 1.7 million users before the break, has seen its own token plummet (then recover, and then plummet again), and send the already struggling crypto markets into a tailspin. a free fall. We explained what was wrong with the Celsius network and how it surprisingly relates to the rest of crypto.

Regulators are seizing this moment of the recession, when web3 already looks pretty dodgy and investors are pissed off about losing money, to crack down on some companies in the space. From BlockFi to Binance.US, some of the biggest names in crypto are facing lawsuits and/or fines for their practices.

The billionaire tech brothers are still doing well, for better or for worse. Block’s Jack Dorsey announced this week that he was ready to cancel Web3 and move on to his vision for the internet, which he calls “Web5”. Elon Musk also weighed in with a particularly creative proposal, which we discussed in this week’s episode.

Our guest, Aaron Levie, built a successful SaaS business in Box, and now he’s on a mission to step up — respectfully — with web3 stans all over Twitter. Levie told us how he manages to cross the line of being a crypto critic without landing in the bad bulls books.

Subscribe to Chain Reaction on Apple, Spotify or your alternative podcast platform of choice to follow us weekly.


follow the money

Where startup money is moving in the crypto world:

  1. Indonesian fintech platform Flip raised a $55 million Series B extension led by Tencent with participation from Block (formerly known as Square) and existing backer Insight Partners.
  2. Starting the NFT infrastructure PortNFT raised a $26 million Series A round led by Atomico.
  3. ScienceMagic.Studiosa branded studio focused on digital assets, secured $10.3 million in pre-seed investments from investors including Liberty City Ventures, Digital Currency Group and Coinbase Ventures.
  4. A Words With Friends co-founder raised $46 million in a Paradigm-led Series A for their gaming startup Web3, The WildCard Alliance.
  5. Moleculea platform where DAOs can support medical research projects, secured $13 million in seed funding led by Northpond Ventures.
  6. Metaverse gaming and earning business Atmos Laboratories grossed $11 million in a seed round led by Sfermion.
  7. Creator-focused website3 builder Tellie secured $10 million in Series A funding from investors including Malibu Point Capital, Galaxy Digital and Dapper Labs.
  8. Crypto payment platform Number raised $2 million in a pre-seed round led by Sequoia India.
  9. Dutch fintech Stock Pieceswhich offers crypto rewards, raised €4.2 million in its funding round from Keen Venture Partners, Yellow Accelerator and others.
  10. Starting a Decentralized Trading Infrastructure Ordered network raised $20 million in Series A funding from investors including Three Arrows Capital, Pantera Capital and Dragonfly Capital.

the week in web3

Crypto markets were down last week (although admittedly it has only been down since then). But temperatures rose in Austin, Texas, as 20,000 people from the crypto community gathered to discuss how to navigate their industry, looking like it could be on fire. Anita was lucky enough to attend the conference, so she’s back with some thoughts from the field:

I have lots of friends and acquaintances who aren’t as deep into crypto as I am, and one question I’ve heard over and over again in recent weeks is whether this downturn in digital asset markets is the death knell. from web3. In other worlds, now that the music has stopped, is the party really over?

I shared my two hundred/two Satoshis about it on Los Angeles Public Radio this week (check it out), but I want to use this space to highlight some thoughts I have after hearing from industry folks at Consensus. In short, I don’t think this is the end of crypto, but it will definitely be a tough time for the space.

During a panel on how to invest in web3 in a turbulent market, Arca Chief Investment Officer Jeff Dorman made an interesting point about what makes web3 so different from most other industries, at least as defined by financial markets.

“I don’t even think digital assets [are] an asset class. I think it’s a technology that now wraps all asset classes,” Dorman said. In trading, investors can specialize by product (eg debt, equity, derivatives) or sector (eg industrials, retail, real estate). But in web3, these categories haven’t been clearly defined, because blockchain technology has been used in so many different ways, from storing files to selling digital art, to tracking money transfers. between peers.

This is partly why I think we can’t lump “crypto”, “web3” or “blockchain technology” into the same bucket – even these three terms all have slightly different meanings. This may also be why the mood at Consensus was surprisingly positive despite market turbulence. Every project is so different, and every builder believes that their own blockchain use case makes sense and isn’t like all those other projects that lose value or look like scams. In a time of so much uncertainty, the most important thing journalists and analysts can do is look at this industry with nuance and assess each project on a case-by-case basis. It’s going to be a wild ride, but I believe that at least parts of web3 are here to stay, and I consider it my job not just to shed light on what applications of this technology work and don’t , but also to try and understand why.


TC+ analysis

Here are some of the crypto analyzes from this week that you can read on our TC+ subscription service (written by TC’s Jacquelyn Melinek):

As Celsius Accelerates Crypto Selling, Who Pays the Price?
This week, the global crypto market capitalization fell below $1 trillion for the first time since January 2021 after one of the largest centralized crypto lenders, Celsius, landed in hot water after suspended all withdrawals, exchanges and transfers for users. The driver of his freeze is not yet entirely clear, but it has resulted in another bank management scenario similar to what we saw last month with the UST and LUNA situation – and it is causing the market to drop further. of cryptography.

Hedge funds plan to buy more crypto amid bear market and potential regulatory clarity
What seemed like a rare sector is now gaining popularity as the number of specialized crypto hedge funds has grown to more than 300 worldwide, according to PwC’s Global Crypto Hedge Fund report. These funds are “looking for alpha” to beat benchmarks and are ready to try something new and different, John Garvey, global director of financial services at PwC, told TechCrunch. Even though markets are highly volatile, two-thirds of all hedge funds surveyed that are currently investing in the space plan to deploy more capital to the market by the end of 2022, he said.

As the DAOs continue to bloom, here’s how to keep yours from withering
The past year has been a big growth spurt for DAOs (Decentralized Autonomous Organizations), but not everyone in the space is convinced that they’re trained properly or in a way that ensures success. But what happens when the hype wears off? People stop voting, treasuries can wither and be abandoned, dead communities turn into “DAO graveyards”. To prevent this from happening, some say there needs to be a restructuring of how DAOs are trained.


Thanks for reading and you can get this newsletter delivered to your inbox every Thursday by subscribing to TechCrunch’s newsletter page.

Lucas and Anita

Still Life Photographer Toni Payne to Make New York’s Time Square Debut With Artwork

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From over 1500 submissions, his art was chosen to be displayed on billboards in Time Square during the NFT NYC conference.

Popular still life photographer and spoken word poet Tony Payne will present his art in Times Square in New York. This will be the first time his art will be featured in a public billboard. The exhibition of his works in Times Square means that thousands of visitors will see them and his works will touch more people than before. As a black female photographer whose still life art is heavily influenced by the Renaissance period, this might influence how some view black art.

His works have been selected from over 1500 artists to appear on billboards in Time Square in the Diversity of Art showcase during the NFT NYC conference. The candidates included renowned photographers from different parts of the world.

Artists were selected based on:

– Artists who have demonstrated thought leadership in the NFT community.

– Those artists who represented the diversity of the NFT NYC community.

– People who are passionate about the diversity of NFTs.

The artwork submitted by Toni Payne is titled Still Life with Yoruba Talking Drum. It is photography with spoken poetry. This piece of art celebrates the Yoruba culture.

Toni Payne said, “I’m thrilled to have had the chance to show my art in Times Square. Not only is this a great opportunity for me, but it’s also great for contemporary still life art.

His visual art style revolves around still life photography. She likes to do creative things from the mundane. Her interest in documentary photography led her to document people and wildlife in their daily lives. She started selling her art as NFT in 2021. She has a few collections like Everyday Africa, Contemporary Still Life, Phoetry, Divine Skies and Legends Live Forever.

Toni is currently still working on her latest collection, Legends Live Forever. She released the first batch and will continue to release more in the coming months until she reaches over 120 pieces. She also publishes works of visual art steeped in poetry in a collection she calls Phoetry.

Her goal is to create art that resonates with people while building a legacy for herself. She considers herself a storyteller and hopes her art can inspire, motivate and influence.

For more details, visit:

Website: tonipaynenft.com

For updates, follow on Twitter @tonipayne

Media Contact
Company Name: Champayner
Contact person: Amanda Henry
E-mail: Send an email
State: California
Country: United States
Website: https://tonipaynenft.com/

Ann Arbor Art Sale to Benefit Ukrainian Children

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ANN ARBOR, MI – Ukrainian-American Irina Bondarenko said she felt like she had led two lives: the one before the war started and the one after.

“I have never experienced anything like this in my life,” Bondarenko said. “… It’s very difficult to observe what’s going on there and just sit there and do nothing.”

Bondarenko, who was born in Kyiv and moved to the United States more than 20 years ago, is one of the organizers of an upcoming art sale to benefit humanitarian efforts in Ukraine. CultureVerse Gallery, 309 Main St. in Ann Arbor, will host the sale from noon to 8 p.m. on Saturday, June 18.

Proceeds from the sale will go to the National Ukrainian Women’s League of America, which will channel the money to the Nizhin Children’s Building-Internat orphanage, as well as artists who work with displaced children.

Ukraine was invaded by Russian troops earlier this year. Despite a failed attempt to storm Kyiv two months ago, which it has since abandoned, Russia has said taking the entire Donbass region is its main objective, according to reports from The Associated Press.

The sale includes 300 works donated by 90 Michigan artists and includes a variety of ceramics and painters. Organizer Irene Mokra will also host a live window painting demonstration, which will be installed on the gallery’s display cases. The art available is a mix of Ukrainian themed art and other pieces.

The fundraiser will help bring communities in Michigan and Ukraine together, Bondarenko said.

“There is a connection through art. It’s a human connection,” Bondarenko said. “It’s more than money. It’s more than a donate button you can click.

But this is not the first fundraiser for Ukraine that Bondarenko has helped organize. A similar fundraiser in 2014, shortly after Russia’s annexation of Crimea, raised around $7,000. The 2022 event currently has no fundraising goals.

“We just hope for the best,” Bondarenko said.

CultureVerse Gallery, 309 Main St. in Ann Arbor, will host the all-day sale from noon to 8 p.m. on Saturday, June 18. A violinist will play before 4 p.m., followed by a jazz quartet between 4 p.m. and 8 p.m. more information about the event on social networks.

Read more from The Ann Arbor News:

Ann Arbor’s Motawi Tileworks Sunflower Tile Raises $40,000 for Ukraine Aid

Eight Ways to Try to Protect Babies from Sudden and Unexpected Sleep Deaths

Student claims of racist environment at Pioneer High unsubstantiated, inquest finds

The Weekender: Roundtable Roundup June 17-19

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Happy Friday!

It’s Father’s Day this Sunday and there’s a lot going on in town to make Dad happy. Saturday join the town to celebrate June 19, the federal holiday commemorating the fight to end slavery in the United States, with a parade and a full day of food, art, music and dancing. Sunday, the Ricky Birdsong Race Against Hate will take place along the lake. Whether you run, walk or cheer, the annual run is a great way to honor dad and come together as a community.

Downtown Evanston Farmer’s Market
Find out what’s in season at the Farmers’ Market in the parking lot at University Avenue and Oak Street (behind Hilton Garden Inn).
Saturday, 7:30 a.m. to 1 p.m.

Evanston History Center Architectural Walking Tour
Take a tour led by a guide and trace the history of Evanston through its unique architecture. The tour will last approximately 90 minutes and will begin at the Evanston History Center, 225 Greenwood St.
Saturday, 11 p.m.

Evanston Symphony Orchestra at ETHS
The Evanston Symphony Orchestra completes its 75e anniversary season performing works such as Tchaikovsky’s Symphony No. 4 and featuring local pianist Hyejin Joo. Evanston Township High School, 1600 Dodge Ave.
Sunday, 2:30 p.m.

The Fleetwood-Jourdain Theater presents House
Be transported back to the days of the unpretentious tent-style theater with House, composed by playwright Samm-Art Williams. Noyes Cultural Arts Center, 927 Noyes St.
Saturday, 7 p.m. and Sunday, 3 p.m.

Garden Club of Evanston’s Inaugural Garden Walk
Discover six distinct gardens on the Club’s first-ever self-guided garden walk.
Saturday, 11 a.m. – 4 p.m.

I AM A HUMAN Exhibition at the Evanston Art Center
I AM A HUMAN is an exhibition of artists from underrepresented groups in the North Shore and Chicagoland area. Each artist brings their own visual perspective and concepts of how empathy plays a role in coexisting with each other as Americans. Evanston Art Center, 1717 Central St.
Saturday and Sunday, 9 a.m. – 4 p.m.

June 19 Parade and Celebration
Commemorate the date in 1865 when General Gordon Granger arrived with Union troops in Galveston, Texas to tell the people the war was over and his troops were there to enforce the Emancipation Proclamation. The parade starts at the Robert Crown Center and ends at Ingraham Park with a celebration of art, music, food and community!
Saturday, 10 a.m. – 6 p.m.

Ricky Birdsong Memorial Run Against Hate
Join the YWCA and run or walk in unity against racial hatred and violence in the 23rd annual Run Against Hate. Registration is closed, but participants can register in person at a package pickup event or on race day. The race starts at Long Field, Sheridan Rd. and Lincoln Ave.
Sunday, 7:30 a.m.

Scientific conference at NU
Northwestern University’s Department of Physics and Astronomy hosts a conference every Saturday throughout the summer. It is free and open to the public. This week’s topic is “Particle physics after the discovery of the Higgs boson”. Ford Motor Company Engineering Design Center, 2133 Sheridan Rd.
Saturday, 11 a.m. – 12 p.m.

Buy local for dad
Still need a gift for dad? Skip the mall and check out Nancy McLaughlin’s local Father’s Day gift guide.

West End Farmer’s Market
The Central Evanston Business Association Community Farmers Market is held in the YOU parking lot located on the southeast corner of Church Street and Dodge Avenue.
Saturday, 8 a.m. to noon

Dawes House Wine Tasting
Sample 50 different wines from around the world on the beautiful lakeside terrace of the historic Charles Gates Dawes House, 225 Greenwood St.
Saturday, 1 p.m. – 4 p.m.

For more events, see the roundtable calendar

An NFT explosion is taking place in China, but how long will it last? – SupChina

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An NFT explosion is taking place in China, but how long will it last? – SupChina























Jump straight to content

Sip ‘n Stroll Call for Artists 2022

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Mugs to feature St. Andrew’s Episcopal Chapel

(Seguin) — The 2022 Sip n’ Stroll Committee and Seguin Main Street Program are inviting local artists to submit artwork from the historic chapel of Saint Andrew’s Episcopal Church to be featured on the 2022 Sip n’ Stroll mug. Artwork must be an original piece and all mediums are welcome. Artwork should be a rectangle measuring 8″ wide x 4″ high or a similar 2:1 ratio.

This will be the 12th Sip ‘n Stroll and each year the cup features a different Seguin cue. In previous years, the cup has featured the Pecan, First Church, Sebastopol House, Aumont and Texas Theatre,” said Kyle Kramm, Director of Seguin Main Street and CVB, “The committee has decided to feature our historic churches over the next few years. years, last year’s first church was chosen, this year with Saint Andrew’s Episcopal Church, located at 201 East Nolte Street.

St. Andrew’s was founded in Seguin in 1853. The original building of St. Andrew’s Episcopal Church was completed in 1876. Over the next century, changes and additions included the construction of a vestibule and vestry, exterior limestone cladding, and reconstruction of the bell tower. For more information about the church and additional photos, visit http://www.standrewseguin.org.

All artists are welcome to participate with all interpretations of the subject matter. The artwork can be from any period in the chapel’s history. Artwork must be submitted to the Seguin Main Street office at 116 N. Camp Street by Friday, July 15. Contact Christy Hopper at (830) 401-2475 to confirm return time. The 2022 Sip ‘n Stroll Committee will evaluate the submissions and select the works.

The chosen artwork will be featured on over 1,000 mugs, featured in press releases, news articles and shared on social media platforms. The artist will also be invited to be present at the Pecan Fest on October 29 where the sale of the Sip n’ Stroll 2022 mug will be launched. The selected artist will also receive a $100 stipend.

For more information, contact Kyle Kramm with the Seguin Main Street Program at (830) 401-2448 or [email protected]

Trendy apartments, raclette galore and a look at surreal women: how Sotheby’s sensation Mari-Claudia Jiménez takes on Art Basel

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For her Art Basel itinerary, Mari-Claudia Jiménez, president of Sotheby’s and head of global business development, favors the classics: raclette, aperitifs at the Trois Rois and a visit to her favorite Holbeins at the Fondation Beyeler. Plus, a suitcase full of the finest Swiss chocolates for the trip back to New York.

On the opening day of Art Basel, however, Jiménez digs into the news, from researching presentations from the hottest Latin American galleries to spotting the latest trends in reappraising history. art. A former lawyer turned auction guru, Jiménez has fond memories of Art Basel for decades: she first visited the fair in the 1980s as a child with her creative mother and father (her mother is a writer and her father, a filmmaker). The fair is, in Jiménez’s esteem, still the grande dame of the art world.

“Art Basel in Basel is the mother of all art fairs. It was the fair that started it all, and it remains very relevant, even though it has been around since the 1970s,” said Jimenez. A trip to Basel, she added, “is the perfect way to start the summer as it sets the tone for the year ahead.”

We caught up with this fair veteran for her insider tips on getting the most out of her trip. Jimenez shared everything from where she starts her day with a classic Swiss pastry to her must-haves at the fair and beyond.

On what she expects this year:
Surrealist women are having a real time, and now that the ‘Surrealism Beyond Borders’ exhibition is at the Tate, I’m curious to see if the fair will have works by Remedios Varo or Leonora Carrington.

I’m also excited to learn about some of the new Latin American galleries that will be exhibiting this year. For example, Casas Riegner is a Bogota-based gallery that has exhibited in both Basel and Art Basel Miami Beach, and I love their juxtaposition of established Colombian artists like Beatriz González with newer artists like Leyla Cárdenas, who both explore questions of history. , memory, identity and social justice. Lately, I also look forward to Lawrence Weiner’s installation on Messeplatz!

On Art Basel’s special place in his heart:
Basel was the first art fair I attended! I went there in the early 1980s with my parents, so it still brings up a lot of nostalgia and good childhood memories of cheese and chocolate.

Leonora Carrington, And then we saw the minotaur’s daughter (1953), installed at the Museum of Modern Art in New York. Photo: Ben Davis.

The day of its opening, strategies to see and be seen:
The first day of the fair is all about socializing and connecting with clients and colleagues in the art world, which takes up most of the opening afternoon – although I make sure always to visit the top notch galleries that day first – Gagosian, Pace, David Zwirner. Then I head to the balcony of the Three Kings (with pretty much everyone in art) to have an aperitif with friends and continue to see and be seen!

Using the second day as a deep dive:
I make sure to come back on the second day and visit the smaller galleries, some of the galleries that I may not know as well, so I can see what they’ve chosen to bring and who they’re highlighting as new artists.

The Fondation Beyeler in Riehen, Switzerland.  Courtesy of the Foundation.

The Fondation Beyeler in Riehen, Switzerland. Courtesy of Fondation Beyeler.

On his packing list:
Without a doubt, my favorite pair of Chanel ballet flats. I walk an average of 15,000 steps or more everywhere in Basel! And I will definitely bring a pashmina or a light shawl. Even though it is summer, nights can be chilly along the Rhine.

On the art she plans to see beyond the fair:
I can’t go to Basel without taking a short trip to the Fondation Beyeler. I can’t wait to see their show “Mondrian Evolution” [until October 9, 2022]. And, as one of the areas of Sotheby’s that I oversee is Old Master paintings, I always make a pilgrimage to the Kunstmuseum Basel to see the Hans Holbeins. It has the largest collection of works by Holbein of any institution in the world. There is a Picasso-El Greco show [until September 25, 2022] I want to see there too.

The Grand Hotel Trois Rois, colloquially known as the Three Kings. Courtesy of Leading Hotels of the World.

Starting your day in Switzerland:
The perfect day in Basel embraces all things Swiss! I usually start my day with tea – or maybe hot chocolate – and a pastry at Beschle. They make the most amazing breads and pastries for breakfast and have a few that are quintessentially Swiss, like the Basler Läckerli, which is a kind of spicy gingerbread.

On his passion for raclette:
After the fair, the perfect way to end the day is with a traditional Swiss meal of raclette and rösti. I have a little problem with raclette – it’s practically impossible to find in New York, so I bought a raclette machine so I could recreate my Basel experience in my New York apartment. Needless to say, it’s not quite the same! My favorite is at Walliser Kanne in the old town, because it’s super traditional. But if I want more refined Swiss cuisine, I’ll go to Volkshaus or Cheval Blanc at Trois Rois.

On his collection philosophy:
Art is a passion purchase. Future value is secondary, so buy what you like, try to avoid hyper-trendy things, and if you can, don’t buy anything until you’ve been through the fair at least once. And once you’ve decided on something, sleep on it.

Where to buy Swiss chocolates for a sweet souvenir:
I love walking along the Rhine and around the old town and stopping at Confiserie Schiesser, one of the oldest chocolatiers in town, to buy truffles and chocolate bark for my husband and daughter At New York. I usually fill my suitcases with Swiss chocolate!

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The La Gacilly photo festival honors the works of Iranian photographers

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TEHRAN — The works of four Iranians are exhibited at the La Gacilly Photo Festival, a vast international outdoor exhibition held annually in the city in northwestern France.

Collections from Maryam Firuzi, Gohar Dashti, Ebrahim Noruzi, Hashem Shakeri and photographers from around the world will be on display at the festival, which will run until September 30.

Firuzi participates in the festival with photos from his “Persian Identities” series. A photo of the collection decorates the festival’s homepage.

“In my opinion, all artistic media are linked,” she had previously said in an interview with Paris Photo, when the Silk Road Gallery in Tehran presented her work.

“All of these art forms influence my photography in different ways; calligraphy taught me discipline and dedication, painting taught me freedom of expression, and literature taught me how to develop ideas and articulate them.

The woman occupies a central place in her works which explore her universe, that of present-day Iran, in which the place of the woman is necessarily complex.

Works from different series of Dashti are exhibited in a collection called “Fragments of Memories”.

Born in Iran near the border with Iraq, Dashti, 42, depicts elements of the 1980-1988 Iran-Iraq War in her artwork.

“This conflict had a strong symbolic influence on the emotional life of my generation,” she said.

In her “Today’s Life and War” series, Dashti captures moments illustrating a duality: that of life going on despite the ravages of war.

“In a fictional battlefield, I show a couple in their daily lives: they represent the power of perseverance, determination and survival,” she noted.

Noruzi’s photos are exhibited under the title ‘Deceptive Daydreams’.

The winner of several World Press Photo Awards, Noruzi is an established journalist and an outspoken conservationist.

Two series by Noruzi are exhibited at La Gacilly, testifying to a photographic style that could be described as daydreaming about the ravages of global warming.

The first takes us to Lake Urmia, one of the largest salt lakes in the world, which is in danger of disappearing in the near future.

The second series looks at the relationship between people and water resources in his country.

Shakeri exhibits her photos in a collection called “Sandy Landscapes”. Most of the images come from one of his series, which features the new satellite towns emerging from the desert to house Iranians forced to leave Tehran due to soaring land prices and increasingly difficult living conditions. .

Created in 2004, the La Gacilly Photo Festival offers its annual visitors an immersive and strolling experience in the heart of some thirty open-air galleries and in large format, presenting the best of contemporary photographic creation with a permanent concern for artistic requirement.

The canvases, sometimes around 70 square meters, adorn the streets, gardens and alleys of La Gacilly, transforming it into a “Village in Images”.

Photo: A photo from the “Deceptive Daydreams” series by Iranian photographer Ebrahim Noruzi presented at the La Gacilly Photo Festival, France.

MMS/YAW

Parking lot dispute with city ‘could be disappearance’ of art supply store, owner says

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Artists Emporium is concerned that the city’s requirements for parking spaces could lead to the disappearance of long-standing local art businesses.

The local art supply store has been around for over four decades, but recently hit a snag. Owner Janeen Junson told CTV News she bought a new building for the business on Roseberry Street in September and had been waiting for months to get her occupancy permit from the city and welcome customers back. .

“I feel like I’m at an impasse. We quickly complied with everything they asked us to do,” she said, adding that the city was forcing her to make changes building ventilation and wheelchair ramp.

After those upgrades were completed, Junson said the city told him they needed 42 parking spaces and had to pave a gravel lot behind the building — an area they hoped to use as space. green where artists could paint in the summer. month – to make room for parking.

She said she felt the 42 parking space requirement was excessive, as she only averaged six to seven vehicles at a time in the previous building. On top of that, Junson said having to gravel the lot would cost him more than $100,000.

Junson filed a waiver request with the city that would allow him to include the parking lot without having to pave the lot. The city denied the request to keep the gravel lot as is, saying it had a “negative effect” on the parking area and surrounding streets and properties. However, Junson said none of the neighboring back lots were paved.

She has appealed to the city which she hopes will allow her to move forward without having to pave the land – a cost which she says could be detrimental.

“It could be the demise of Artists Emporium,” she said. “We’ve had a lot of COVID shutdowns and it’s just tough as a small business owner at the best of times, let alone that.”

Junson’s concerns are expected to be heard by the city’s appeal committee Thursday morning. She said she has already received support from organizations and school boards in Winnipeg that rely on her business for art supplies.

“We have to get up and run,” she said.

City Life Org – Celebrating its 20th anniversary, the PS Art exhibition is now open at the Metropolitan Museum of Art

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The Metropolitan Museum of Art, Upper East Side, Manhattan

Exhibition dates: from June 14 to October 23, 2022

The juried exhibition showcasing the creativity of New York City public school students will be accompanied by a digital presentation of selected works in Times Square

The Metropolitan Museum of Art hosts the 20th anniversary edition of PS Art: Celebrating the Creative Spirit of NYC Kids, a juried exhibition of artwork by New York City public school K-12 students in all five boroughs. The display marks the 15th consecutive PS-Art exhibition organized by The Met and will be on view through October 23, 2022 at the Met Fifth Avenue at the Ruth and Harold D. Uris Center for Education. There will be an opening ceremony for students, parents and teachers at 5 p.m., with remarks at 5:15 p.m., Tuesday, June 14, during the city’s Museum Mile Festival.

Selected by a panel of distinguished members of New York’s artistic community, including Met staff, the 122 works on display were chosen from more than 800 submissions spanning media such as painting, mixed media and sculpture. The works and accompanying student statements attest to the resilience of teachers and students working in remote, onsite and hybrid learning environments over the past two years in the wake of the COVID-19 pandemic.

PS Art 2022: Celebrating the creative spirit of New York’s children is a project of the New York City Department of Education and Studio in a School NYC.

“For the past 15 years, the Met has had the privilege of presenting these extraordinary works of art in an exhibition that pays tribute to the emerging voices and talents of young artists from New York’s public schools,” said Heidi Holder, Frederick P. and Sandra P. Rose Chair in Education at the Met. “This is an important anniversary, at an important time, as we increasingly rely on art to help us make sense of a complex and uncertain world. We are proud to play a role in fostering the city’s next generation of artists, and the schools, teachers, families and communities that inspire and support them.

In conjunction with the exhibition, Times Square Advertising Coalition (TSAC) will hold a four-day digital art presentation of 48 works from the exhibition, displaying digital reproductions of the artworks on the iconic Sherwood Outdoor display at 2 Times Square at Duffy Square. The launch event is scheduled for June 17 and will include remarks by city officials and student artists. Selected works in Times Square will be presented twice per hour until June 20.

David C. Banks, Chancellor of the New York City Department of Education, said, “Thank you to the Metropolitan Museum of Art for their support PS-Art and sponsoring this beautiful exhibit and thanks to Studio in a School NYC for their continued support and collaboration. PS Art is a great example of the power of partnership. Our vibrant New York public school community, a world-renowned cultural treasure and exemplary arts organization have together created PS Art 2022.”

Alison Scott-Williams, President of Studio in a School NYC, LLC, added, “Visual arts education remains more vital than ever, as it encourages students’ social and emotional growth and gives them an outlet to share their vision. of the world. The vision and strength of the works presented in PS Art 2022 is undeniable. On behalf of Studio in a School, I would like to congratulate the student artists in this year’s show. I would also like to thank the New York City Department of Education and the Metropolitan Museum of Art for being inspiring partners and supporters of PS Art 2022.”

To further support the creativity and education of New York City students, The Met will provide museum passes to all student artists featured in the exhibit to encourage them to return frequently for the duration of the exhibition. spectacle. During the 2020-2021 school year, The Met provided free tours to more than 10,000 New York City public school students; in addition, more than 1,500 New York City public school teachers and administrators participate in professional development workshops at the Museum.

All of the works in the exhibition will also be featured on the Met’s website, as well as on Facebook, instagramand Twitter using the hashtag #PSArt2022.

Hands kiss in stunning lawn art unveiled at Stormont as part of artist Saype’s global ‘channel’

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An impressive new artwork spanning the width of Stormont has been unveiled at the Parliament Buildings.

he new lawn mural by Swiss-based French graffiti artist Saype will display two huge hands linked together, forming a human chain with more than 30 other cities around the world that have also participated in the art installation.

According to the artist, the piece promotes “solidarity, dialogue and friendship” across the world and is in partnership with the Swiss Embassy in the United Kingdom.

The work itself covers an area of ​​45 by 240 meters and is created using biodegradable pigments made from charcoal and chalk.

The scale of the work will dwarf the Stormont building, until the room gradually fades with the growth of grass.

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Giant biodegradable landart painting by Swiss-French artist Saype from the Beyond Walls project on Saturday June 11, 2022 in front of the Parliament Buildings (Saype).

Giant biodegradable landart painting by Swiss-French artist Saype from the Beyond Walls project on Saturday June 11, 2022 in front of the Parliament Buildings (Saype).

Previous iterations of the installation have appeared on all five continents of the world and in cities as varied as Ouagadougou, Paris, Geneva, Dubai and many other places.

Saype said he is committed through his work to “shed light” on issues of social transformation as well as promoting “ecological and sustainable methods of artistic creation with respect for nature”.

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Giant biodegradable land art painting created by the Franco-Swiss artist Saype as part of the Belfast Photo Festival with the support of the Swiss Embassy in the United Kingdom.  (Saipe)


Giant biodegradable land art painting created by the Franco-Swiss artist Saype as part of the Belfast Photo Festival with the support of the Swiss Embassy in the United Kingdom. (Saipe)

Giant biodegradable land art painting created by the Franco-Swiss artist Saype as part of the Belfast Photo Festival with the support of the Swiss Embassy in the United Kingdom. (Saipe)

Swiss Ambassador Markus Leitner said the project is about “global connectivity and sustainability”.

Michael Weir, Director of the Belfast Photo Festival, added: “Saype’s works are best viewed through a drone, a lens in the sky, which raises questions about how we access a work of art, even when the point of view is beyond our physical reach.

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The work covers an area of ​​45 meters by 240 meters.  Created from biodegradable pigments made from charcoal and chalk, the artwork will fade with the growth of grass (Saype).


The work covers an area of ​​45 meters by 240 meters. Created from biodegradable pigments made from charcoal and chalk, the artwork will fade with the growth of grass (Saype).

The work covers an area of ​​45 meters by 240 meters. Created from biodegradable pigments made from charcoal and chalk, the artwork will fade with the growth of grass (Saype).

“Due to the fleeting lifespan of his art, photography is an integral part of the process, capturing the tangible presence and preserving its message for people to enjoy, even when the physical piece is long gone.”

The free project Beyond Walls will be exhibited at Stormont in east Belfast as part of the Belfast Photo Festival which runs until June 30.

Saffronart’s Summer Online Auction Lets You Own a Masterpiece of Indian Art

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Top 20e Indian art of the century is always in demand. Whether for aesthetic value or investment purposes, collectors buy and bid forr classic Indian artworks brilliantly. Fueling this interest, Saffronart, one of India’s leading auction houses, is back with its annual summer online auction, which will feature 109 works by some of the biggest names in the southern art world. – modern and contemporary Asian. This edition of the auction is not only about the sale of remarkable works of art. It’s about buying masterpieces— think of some of the most important works of legends such as SH Raza, FN Souza, Jehangir Sabavala, Akbar Padamsee, Ram Kumar and MF Husain.

Iconic works of art for sale

Many of these works were created at pivotal periods in the lives of these distinguished artists. For example, the headliner of the auction, which will run for 24 hours from June 22-23, is Raza’s congocreated in 1965. The famous painting, which showcases the artist’s swirling strokes, radiant hues and movement, depicts a period of transformation in the artist’s style where he focused more on evoking emotions through his work than on the refinement of his physical attributes.

Chez Souza Countryside, a rare oil on canvas from 1962 which appears for the first time at auction, comes from a very fruitful period in the colorful career of the prolific modernist. It is believed that Souza began creating more landscapes after moving to England in 1949, with this particular work making a somber statement with its rather haunting cityscape, washed-out sky and disjointed network of buildings, presenting a juxtaposition of stillness. and volatility.

“These works represent milestones in the artists’ distinctive careers and have exceptional provenance, providing an excellent opportunity for anyone looking to own a masterpiece,” said Dinesh Vazirani, CEO and Co-Founder of Saffronart.

New book co-edited by Pari Riahi, ‘Exactitude: On Precision and Play in Contemporary Architecture,’ published by UMass Press: UMass Amherst

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Pari Riahi, assistant professor of architecture, has co-edited a new book, “Accuracy: On Precision and Play in Contemporary Architecture,” which will be published by UMass Press on Friday, June 17.

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Co-edited with Laure Katsaros, professor of French and architectural studies at Amherst College, and Michael T. Davis, founder of the architectural studies program at Mount Holyoke College, the book explores the need for precision, or exactness , at the forefront of architectural scholarship. that new technologies have increased precision requirements. It goes beyond the themes of durability, performance and formal innovation – which have always been considered the most important aspects of the field – to explore the theoretical and practical demands that accuracy places on the architecture.

Eleven essays in the book explore the possibilities and shortcomings of accuracy and delve into current debates about the state of contemporary architecture both as technological craft and artistic creation.

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riahi bet
Paris Riahi

The book, which was inspired by the 2020 Five College Architecture Symposium hosted by the UMass Amherst Department of Architecture, was hailed as an “important and timely” contribution to “an indispensable topic for architecture.” ” by Mohsen Mostafavi, editor-in-chief of “Ethics of the urban: the city and the spaces of politics.

To celebrate the release of the book, the College of Humanities and Fine Arts will host a launch event in the fall, details of which will be announced shortly.

Saudi Ministry of Culture and DGDA partner to develop educational assets at Diriyah Gate

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Riyadh The Ministry of Culture (MoC) has signed a Memorandum of Understanding (MoU) with the Diriyah Gate Development Authority (DGDA), marking a new milestone and strengthening the collaboration between the MoC and its affiliated commissions and the DGDA.

The protocol covers a detailed program encompassing the coordination, development and implementation of projects, initiatives and events in the cultural sector. The MoU was signed by Culture Minister Prince Badr Bin Abdullah Bin Farhan and Ahmed Al Khateeb, Secretary General and Board Member of DGDA.

The agreement will also include the provision to jointly implement cultural and heritage initiatives and develop educational assets under the Diriyah Gate master plan, including academies for creative writing, performing arts, music , architecture, Arabic calligraphy, culinary traditions, in addition to a museum for digital art as well as a museum of contemporary art.

“We are delighted to sign this MoU with Diriyah Gate Development Authority; a clear statement of the synergies and strong collaboration between our two teams. Partnerships like these are fundamental to our collective mission to support the development and preservation of the cultural ecosystem here in Saudi Arabia,” Prince Badr said.

He added: “Today we are entering the next stage of development where we add value to this valuable historic site while protecting the cultural heritage and identity of its people. Our agreement with the DGDA reflects our shared commitment to preserving Diriyah’s unique history and creating opportunities to promote and celebrate this national treasure.

“This would not have been possible without the unwavering support of our leaders, the Custodian of the Two Holy Mosques, King Salman and Crown Prince Mohammed Bin Salman. We will continue to work with our partners at DGDA to achieve the goals of this memorandum of understanding with a plethora of ongoing cultural and heritage events, activities and mega-projects aimed at attracting investment and ensuring short and long-term sustainability,” the Prince pointed out.

Commenting on the partnership, Al-Khateeb said, “We are honored to sign this MoU with the Ministry of Culture covering various aspects of Diriyah’s development. This partnership is a key achievement in our ongoing efforts to transform the historic city into a major tourism and cultural destination, capitalizing on the Department’s many initiatives to achieve Vision 2030 goals of building a vibrant society, a thriving economy and a ambitious nation. .”

Thanking the Custodian of the Two Holy Mosques, King Salman, and Crown Prince Mohammed Bin Salman for their great support to Diriyah, Al-Khateeb added, “This partnership will take Diriyah’s cultural and heritage events and activities to the next level. . They will be unique and diverse, reflecting its distinctive identity and rich heritage. It will also create a solid platform for investment opportunities by attracting businesses of all kinds.

“It is with great ambition that we look forward to making Diriyah Gate a tourist attraction that combines a historic atmosphere with modern features to become the biggest gathering place. We will work with our partners in the Ministry of Culture to make this strategic objective a reality.

Further strengthening this partnership, Diriyah, the Arab Capital of Culture for 2030, will host the headquarters of the Ministry of Culture. The partnership will also allow the two entities to collaborate in the establishment of awareness programs as well as events and marketing initiatives for film, music, visual and performing arts, literature, gastronomy and the design.

These heritage and cultural activities will also extend to education, research, training and development initiatives.

By signing this agreement, the Ministry of Culture and the DGDA aim to attract and promote investment opportunities by creating incentives to support the private sector, implement various cultural activities and connect them to the historical depth of Diriyah, thus strengthening the position of Diriyah as a global cultural tourism. destination.

© Copyright 2022 The Saudi Gazette. All rights reserved. Provided by SyndiGate Media Inc. (Syndigate.info).

WATCH NOW: District Attorney’s office decorated with artwork designed by Kenosha County students | Local News

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The walls of the Kenosha County District Attorney’s Office were lit up Friday with the colors of custom art designed by high school students from across the county.

The district attorney’s office partnered with Bradford, Tremper, Indian Trail, Reuther and Wilmot high schools on the project earlier this year. Each school culminated in artwork designed by a team of art students.

On Friday, students and school officials unveiled the pieces to office staff members, then dined on pizza and cake.

Attorney Jennifer Phan, a former district attorney and a member of the county society’s attorney’s office, helped come up with the idea. She asked the students to paint their “vision of Kenosha”.

“We wanted to show some of the local art from some of our up-and-coming artists here,” Phan said. “We are extremely impressed with all of your abilities and thank you from the bottom of our hearts for your time and effort.”

The DA’s office provided the schools with paints and canvases.

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District Attorney Michael Graveley said the paintings were well received.

“It’s our honor in this office to be in front of and with so many young artists,” said Graveley. “Over the past two years Kenosha has had a lot of tough times, so we share a lot of those tough times. Public art has the ability to inspire when it’s at its best and uplift.

Graveley said the students “filled those walls like a gift to give us a chance to have those best times even in our darkest times.”

Students choose what to highlight

Isabela Alba, Dakota Beresford, Makayla Hamilton, Chester Hester, and Damyla Mack created Reuther’s installation which featured Carl the Turkey, Reuther High School, and an AMC vehicle.

Elizabeth Toffel and Jaime Bremer created Wilmot Central’s installation showing a downtown street.

Vari Pollard, Victoria Jarencio, Caleb Miller, Avi Humi, and Emma Gough created the piece of Indian Trail by Kenosha’s downtown lake and streetcar.

“It was a fun thing to do,” Jarencia said. She hopes to become a graphic designer one day.

Bradford students Abbi Hale, Justine Loewen, Marissa Reyes and Cinthya Quinteros Velasquez created signs featuring the Kenosha Kingfish baseball team, the Kenosha City logo and Mars Cheese Castle.

“We all worked on it together for a few months,” Loewen said. “I did a bit of everything”

Tremper students Ruby Becker, Heidi Falk, MacKenzie Fraher, Tristan Kreuser, Ashley Osorio and Lucia Ricker created panels showcasing The Spot Drive-In and aerial views of the city.

Autism art exhibit in Edmonton offers chance for independence

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Everyone is an artist.

At least that’s what the young people say behind the works on display at the Stollery Gallery at the Nina Haggerty Center for the Arts in Edmonton.

“It’s just about making something you love that doesn’t have to be perfect because in the end mistakes sometimes add to the artwork,” said Ella Guirguis , which was part of the Center for Autism Services Alberta (CFSAA) Annual Saturday Art Show and Sale.

The exhibit featured the work of children, teens and young adults who are part of CFASA’s art programs, which run from September to June each year. The programs allow people with autism ages 6-29 to learn from top instructors at the Nina Haggerty Center while developing their own creative visions.

The Center for Autism Services Alberta Annual Art Exhibit and Sale showcases artwork produced through art programs in partnership with the Nina Haggerty Center for the Arts. (Scott Neufeld/CBC)

Kaija Melenka, community and family services coordinator at CFASA, said that while instructors teach participants the techniques, students are encouraged to be independent in their creative work.

“It makes a huge difference when someone is able to be empowered and express themselves the way they want…especially those who might find it difficult to express themselves in a way that others easily understand or accept” , she said.

The process also helps build confidence and self-reliance, “which everyone deserves,” Melenka said.

This acrylic painting, titled Mountain Lake, is one of two works of art by Ella Guirguis. (Scott Neufeld/CBC)

“A very good sense of detail”

Guirguis had two works of art on display this weekend. She said she included several textures in both pieces, including a large painting of a landscape.

“I used different mediums so each area was slightly different, so I love the touch, and it’s really nice to see that you can create art for multiple purposes,” she said.

Another participant, Mathieson Erickson, has been with the program since 2015.

He began his artistic journey seven years ago, and since then he has volunteered and done paid work at the Nina Haggerty Center.

Mathieson Erickson is one of the artists whose work is featured, but he has also volunteered to help other program participants. (Scott Neufeld/CBC)

Erickson said the experience exposed him to the works of others, which influenced his own creativity, inspiring him to try new techniques.

Like many people with autism, Erickson said he had “a very good eye for detail.” For this reason, he said he likes abstract art because it taps into his ability to spot things that others might miss.

Like Guirguis, Erickson said there is no wrong way to make art.

“Everyone is equally capable [as anyone else] to be a great artist.”

Q&A: Composer Thomas Cabaniss and Director Malena Dayen Bring ‘Firesongs’ to Life

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On June 18, 2022, National Sawdust and Chelsea Factory will present Bare Opera’s production of ‘Firesongs’ by Thomas Cabaniss.

Cabaniss, a native of South Carolina, was the originator of The Lullaby Project and The Somewhere Project, both at Carnegie Hall, and was the host and composer-in-residence of Carnegie Hall’s Link Up program between 2010 and 2020. In addition to dozens of works for orchestra and chamber ensembles, Cabaniss also composed numerous operas, including “Denmark Vesey” and “The Sandman”, as well as choral works such as “Celestial Fire” and “Behold the Star. “.

OperaWire spoke to the composer about creating “Fire Songs”, his musical language and what he hopes audiences will take away from it.

OperaWire: What inspired the creation of “Fire Songs?” What themes does it explore?

Thomas Cabaniss: After the pandemic confinement of 2020, I started thinking about how songs and singing help us even in the most complicated moments. Sometimes it’s through cathartic release, sometimes through meditative focus, and other times through shared choral moments.

Several years earlier, I had worked on a set of songs adapted from Jeremiah’s book, including “My Song Is a Fire”. I realized that these songs could anchor a theatrical progression that takes us through wonder, passionate anger, peace, and ultimately, acceptance. I drew on all kinds of songs with lyrics by a wide variety of poets. Some of the songs were written years ago and some were created especially for this cycle.

Three of the songs (with text by Wendell Berry) were written in collaboration with composer Mel Marvin, my mentor and great friend. We wrote them as a way to overcome our covid isolation together.

OW: What is the musical language of the work?

TC: I’m a tonal composer, but I also like dissonant groups as a color in my music. I also like repetitive (or minimalistic) structures, and I like to let a song’s particular text dictate the language it seems to need. Born and raised in the South Carolina Lowcountry, all of my music has the DNA of native rhythms there.

OW: What is your process for creating the musical language of any work you wish to create?

TC: I spend a lot of time talking, reciting, mumbling and shouting the text of a word. Better to do it alone. I improvise a lot, once again, mostly alone, but now on the piano. Once I have a “half-baked idea”, I try to design the piece that contains that spirit of my favorite improvisations.

OW: What was the biggest challenge you had to overcome in composing “Fire Songs?”

TC: These are the same ones that songwriters face every time they work: how can I create an entire world in just a few minutes? Not easy, but a joy when it comes together.

OW: In this particular work, are there any other pieces or song cycles that you drew inspiration from? Which and how did they contribute to the creation of this cycle of songs?

TC: I love ‘Dichterliebe’ and ‘The Diary of One Who Vanished’, although I can’t say that I consciously tried to imitate them. But they’re inside me, and they’re probably seeing each other, even when I think they’re not.

OW: What kind of musical journey do you want to take with the audience with “Fire Songs?”

TB: I guess I hope it takes you through a number of different energies, and those find physical and visual complements in the work of the creative artists in the production.

The production will be directed by longtime Bare Opera collaborator Malena Dayen. In recent years, she has directed productions of “Don Giovanni”, “Maria de Buenos Aires” and “The Presence of Odradek”, for the company, as well as “The Late Walk” and “Heroes of New York”. as part of the Decameron Opera Coalition. Dayen has also directed a series of productions for Teatro Grattacielo in recent years.

OperaWire also had the chance to speak with Dayen about her approach to work, her longtime collaboration with Cabaniss, and the team she assembled for the production.

OperaWire: What inspired you to perform “Firesongs?” What inspires you the most in the work of Thomas Cabaniss?

Malena Dayen: I have known Tom’s work for twenty years and have always been a fan of his music. I often sang his art songs in recital, but I also worked with him on the Lullaby project at Carnegie Hall, collaborated with him in his work on baby operas, and even sang with him for years. in “Moving Star”, a collective voice imposition in residence at Carnegie Hall. His music is absolutely personal and original, fun and full of soul; both universal and inclusive and unmistakable Tom’s.

OW: “Firesongs” is not an opera but a cycle of songs. What are the particular challenges of staging a song cycle? Do you approach each track as its own story or do you seek to build a larger story or a thematic bridge through each of the different songs?

MD: Along with my interest in working with Tom, the challenge of staging art songs is what drew me most to this project. Tom wrote these songs throughout his career, based on a group of poets ranging from Tracy K. Smith, Wendell Berry and Maya Angelou to WH Auden and Robert Louis Stevenson, to lesser known poets like Douglas Langworthy and Evelyn Lowe. But they all together tell a story and I’m working to express that larger narrative in this production.

OW: How does your process of constructing your concept differ from your approach to an opera?

MD: The nature of the piece is abstract, emotional and poetic (no pun intended!). My approach was the same as in an opera, in the sense that I was trying to find a way to give space for the heart of the play to live on stage. And I’m thrilled to share what we’ve found: an extension of the conventional recital stage that includes movement, art, and a theatrical expression of the experience of being in community.

OW: Tell me about the team you put together for this production. How did you choose your collaborators and what made them ideal for “Firesongs?”

MD: I work with a group of artists that I admire and I have the chance to consider “my team”. I’ve worked with Troy Ogilvie (choreographer), Lupe Marin (original artwork) and Sangmin Chae (projections) on several projects and together we’re developing a language that I think finds the perfect vessel in “Firesongs.” We have an incredible cast including Inna Dukach, Shanelle Woods, David Charles Tay and Anicet Castel, as well as Eugenia Forteza, Marcelo Guzzo and Chanan Ben Simon who have previously sung in several of my productions. And my artistic and life partner, David Rosenmeyer, who is the musical director of the show and who has collaborated with Thomas for 20 years!

OW: What kind of experience do you want the audience to have with “Firesongs?”

MD: “Firesongs” explores questions of meaning, pain, healing and the experience of being. I hope each audience member can find something in the performance that resonates with their own questions.

“I want to fall in love” – ​​NoHo Arts District

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A NoHo Arts theatrical review of Shelley Cooper’s “I Wanna Be in Love”.

A NoHo Arts theater review of “I Wanna Fall In Love,” written and performed by Shelley Cooper, music and lyrics by Alexander Sage Oyen, directed by Heather Dowling and produced by Jessica Lynn Johnson at this year’s Hollywood Fringe Festival .

I remember being absolutely blown away by Shelley Cooper’s previous Hollywood Fringe show, “La Divina,” which won multiple awards…rightly so. This new show is very different. “LA Divina” was Maria Callas, the music of this show is modern. While Shelley has done an incredible job of literally channeling Maria Callas, “I Wanna Fall In Love” is now her voice. And she owns it entirely.

This piece is his love story. First love, deep love, losing love, deciding “do I even need love?” And, finally, to conclude that yes, yes, she needs it. So, that’s the premise, and as the world of Shelley Cooper unfolds on stage, we’re hooked.

The songs are quite spectacular, written by the amazing Alexander Sage Oyen, and Shelley is a truly amazing singer. so I found myself falling completely into the songs, deeply.

A NoHo Arts theater review by Shelley Cooper "I want to be in love."

Her voice is compelling and relatable and so full of emotion and texture. But she’s also absolutely hilarious and a very accomplished performer and so she deftly manages the spirit of the story, bouncing between falling in love, being in it, and letting go. However, she’s so hopeful that you know she’ll find him, and when she does, it’ll knock her socks off!

I love how this story lifts you up. Shelley Cooper is a strong, beautiful and incredibly powerful presence. She owns the stage and her choice to do this piece about herself and her own love story shows us what a wonderful communicator she is.

It is open, like a book. Nothing comes between her and the audience and she has that rare ability to create instant intimacy. Totally fascinating and truthful and raw. What love should be, right?

“I Wanna Fall in Love” still has a few dates left, so there’s no excuse, don’t miss it!!!

When:

Saturday June 11 at 3:30 p.m.

Saturday June 25, 2022, 6:30 p.m.

Where:

Asylum @ Studio Theater Stephanie Feury

5636 Melrose Ave, Los Angeles, CA 90038

Tickets:

https://www.hollywoodfringe.org/projects/7517?tab=tickets

Where to See Art Gallery Exhibits in the Washington, DC Area

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Personal identity is a mask, but for Ju Yun it is one she sews herself, using materials she makes and finds. His “East Meets West,” one of six Arlington Arts Center “Solos 2022” shows, brings together elements and collage images to symbolically (and playfully) represent the South Korea-raised Virginia artist. . Some of her wall paintings and sculptures evoke masks used in traditional Korean dance, while dangling ribbons and strands of costume jewelry cast swaying shadows.

The work that Ju has shown elsewhere is extremely colorful, and there are vivid reds and oranges in these works. But the emphasis is on shades of blue, which shine against the white walls like the cobalt-pigmented ornaments of East Asian ceramics. Other traditional elements include Korean and Chinese texts and a realistic rendering of a tiled roof contained within a larger room that jumps to cultures. What sets Ju’s style apart, however, is less Korean memorabilia and more freewheeling energy.

Another of the solos, “Then the Dream Changed” by Sharon Shapiro, offers a kind of harder editing. The large-scale collages are based on ambitious photos of affluent mid-20th century American suburbs, into which the artist inserts incongruous elements. This reflects “the complexities of growing up women in the American South,” Shapiro’s statement notes. The resulting images also highlight the contrasts between rich and poor, chaos and stability, sedentary and itinerant. In the vivid “Crossing,” three migrants cross not the Rio Grande, but a backyard swimming pool. Various urgent and complacent American dreams intertwine in the spliced ​​image.

Upstairs in the artist-in-residence gallery, Stephanie Lane demonstrates several styles of gestural abstraction. His large “Thresholds” paintings include one in which a multicolored torso-like shape emerges from the darkness and three drawing-like images rendered mostly in black asphalt (a naturally occurring carbon-rich substance) on whiteboard. Although only some of Lane’s spontaneous spiraling images include hints of human forms, they all suggest moving bodies.

Ju Yun: East meets West; Sharon Shapiro: Then the dream changed; and Stephanie Lane: Thresholds Until June 18 at Arlington Center for the Arts3550 Wilson Boulevard, Arlington.

Today, the near ubiquity of digital imagery has inspired a few artists to retreat into photography’s past. One such technological escape is Elena Volkova, a Baltimorean of Ukrainian descent who has expertise in tintype, a mid-19th century process. It captures direct positives onto thin sheets of metal, producing small but shimmering black-on-silver images. Volkova used the archaic technique to make the contemporary “Portraits of Anacostia” exhibited at the Honfleur gallery.

The goal is not really documentary. The subjects of these formal but empathetic portraits are identified only by first names, although a few photos include visual clues. Several of the people are artists, one of whom was photographed with paintbrushes in hand. Most of the models are African Americans whose skin tones are made rich and luminous by the high contrast method.

Metal miniatures require close inspection, but Volkova isn’t antique enough to insist on that. She also provides digital enlargements on white paper which are easier to discern and demonstrate that tintypes explode quite well. With their shallow depth of field, the photos look like historical artifacts. Still, the poses and expressions seem quite topical.

Elena Volkova: Portraits of Anacostia Until June 18 at Honfleur Gallery, 1241 Good Hope Road. SE.

The paintings in MasPaz’s “Peace Is Every Step” are so intertwined in design and color palette that the distinctions between them are not immediately obvious. Some of the pieces in the Fred Schnider Gallery of Art exhibit are on paper, others on canvas, and a third group – the most distinctive – on shaped wood panels. All are bound by the same painterly format: bold black outlines of streamlined natural forms, filled with blocks of tan and metallic gold.

Born in Colombia and raised in Arlington, where he is based, MasPaz is a graffiti veteran whose name aerosol means “more peace” in Spanish. Inspired by stays in New York and South America, the painter developed a style as indebted to street tagging as to pre-Columbian sculpture and ceramics. Among the motifs of these works of art are flowers and the sun, while flecks of gold spray paint represent the precious mineral that drew Europeans to what they called the Americas.

Wood paneled pieces are the most dynamic, in part because their cut outlines follow the shapes painted on them. Additionally, MasPaz leaves some areas bare, drawing attention to the grain of the wood and adding a slightly different hue to the narrow range of beiges and golds. In images that distill natural objects into graphic archetypes, unadorned wooden surfaces are a vestige of reality.

MasPaz: peace is at every step Until June 19 at Fred Schnider Art Gallery888 N. Quincy St., Arlington.

Technically, Robert C. Jackson’s hyperrealistic paintings are still lifes, as they rarely depict animated life forms. Still, the Pennsylvania artist’s humorous scenarios are well-filled with stand-ins for living creatures. Balloon animals, corporate mascot figurines and a wind-up chick are among the inhabitants of the images in “Back to the Future,” Jackson’s exhibit at the Zenith Gallery.

The most common elements in the artist’s compositions are toys, food, and vintage crates, often emblazoned with soft drink logos. Sometimes a single kind of edible is juxtaposed with an appropriate toy, such as bananas piled under a toy gorilla or donut holes piled under a miniature policeman. Jackson occasionally dabbles in art criticism, such as when he depicts a balloon animal glued to an abstract painting—both rendered with precise realism, of course.

The artist has been called an heir to Pop Art and he meticulously copies commercial imagery, much like Andy Warhol and Roy Lichtenstein. But where these precursors reproduced labels, photos and comic strips, Jackson prefers three-dimensional objects. Rather than a box of Cap’n Crunch, for example, it repeatedly depicts a figurine of the grain-shilling sailor. Focusing on 3D objects allows the artist to demonstrate his impressive skills in traditional painting, but also to take them out of context. Where Pop Art commented on mid-twentieth-century society, Jackson’s paintings evoke his own little world, rooted in consumer culture but also detached from it.

Robert C. Jackson: Back to the Future Until June 25 at Zenith Gallery1429 Iris St. NW.

International Latter-day Saint Artworks Displayed at Church History Museum

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Nearly 150 works by Latter-day Saint artists from around the world have been selected for the 12th International Art Competition of The Church of Jesus Christ of Latter-day Saints.

The new work will be presented in a exposure to Church History Museum from Thursday until April 3, 2023, according to a Press release.

“Sense of Oneness,” by Paola Bidinelli, front, is pictured during the media preview for the 12th International Art Competition at the Church History Museum in Salt Lake City on Thursday, June 9, 2022.

Mengshin Lin, Deseret News

The competition winners will be announced at an awards ceremony on Thursday evening.

The church’s international art competition seeks to spread the lived faith of members around the world, art curator Laura Paulsen Howe said in the press release.

“We hope to encourage the creation of quality works of art, showcase the breadth and diversity of Latter-day Saint cultural production, and purchase works of art for the collection of the Museum of Latter-day Saint History. Church that help represent who we are as a people,” she said.

Vanessa Stewart, second from left, talks about

Vanessa Stewart, second from left, talks about “Pew Shoes,” by Carol Johnson with her sons during the 12th International Art Competition at the Church History Museum in Salt Lake City on Thursday, June 9, 2022.

Mengshin Lin, Deseret News

The theme for this year’s contest is taken from a scripture in the Book of Mormon in 2 Nephi 26:33“All are like God.”

There were 850 submissions for the contest. The work was selected by a team of five jurors: Heather Belnap, an academic; Fidalis Buehler, artist; Rose Datoc Dall, an artist; Amy Maxwell Howard, an academic; and Nnamdi Okonkwo, an artist.

A detail of

A detail of Fiona Phillips’ “They Are Precious In Her Eyes” is pictured during the media preview for the 12th International Art Competition at the Church History Museum in Salt Lake City on Thursday, June 9, 2022.

Mengshin Lin, Deseret News

The exhibited works were created by artists from Argentina, Armenia, Australia, Austria, Brazil, Canada, Chile, China, England, Estonia, Fiji, Germany, Ghana, Iraq, Italy, Malawi, Mexico, Nigeria, Philippines, Russia, Sweden, Switzerland, Tonga, Ukraine and the United States, among others. These works come in a variety of media including sculpture, ceramics, chitenge and tapa.

“Not Even a Sparrow,” by Ryan Moffett, is pictured during the 12th International Art Competition at the Church History Museum in Salt Lake City Thursday, June 9, 2022.

Mengshin Lin, Deseret News

‘Rare and historically significant harbor scene’ painting in Mitchells auction

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ARTWORKS are expected to be the most prized lots at Mitchells Antiques and Fine Art sale next week.

There will be around 1,250 lots, including a rare and historically significant harbor scene by celebrated Victorian artist William Mitchell of Maryport (1823-1900) which has an auction estimate of £5,000-8,000 and is the earliest example of this type to be seen in the auction room.

Titled “Old Maryport in the year 1834 Looking Over The Graving Bank To The Drawbridge Moat Hill” and signed and dated 1887, the artist also lists “well-known figures” by name, including “Mick Hutchinson, wooden leg” “Crazy Barney” ‘Johnnie Heroe’ and ‘Young Benson’.

An earlier painting by William Mitchell titled ‘Maryport Harbour, Moat Hill, Graving Bank Bridge, Peat’s Shipyard’ dated 1889 was sold at Mitchells for £8,000 in November 2015.

Other valuable works of art for sale include a portrait of Sandor Wekerle, three-time Prime Minister of Hungary, by Philip de Laszlo (Hungarian 1869-1937) and a Hungarian pastel portrait Edit of Lukacs Lessner by Jozsef Ripple-Ronai (Kaposbar 1861-1927) both of which are expected to sell for £4,000-6,000.

The watercolors by French-born English society artist Augustus Jules Bouvier (1825-1881) ‘Lady holding corsage’ and ‘Lady holding basket of fruit’ have estimates of £300-500 each.

SALE: A painting by Michael Bennett (1934-2016) is expected to fetch £1,500-2,000

Among the more modern works of art for sale is a mixed media composition by Michael Bennett (1934-2016), sold by the artist to the current owner as one of his best works, which has a value of 1 £500-2000.

A collection of gouache works by London artist and illustrator Charles Clixby Watson (1906-1964) has various estimates ranging from £100 to £300.

News and Stars: LOCAL: LOCAL: “Main Entrance to Carlisle Castle” attributed to Matthew Ellis Nutter (1795-1862) has an estimate of £200-300

Of local interest are an early 19th century watercolor ‘Irish Gate Carlisle’ attributed to Robert Carlisle or William Nutter (1754-1802) and another watercolor ‘Front entry Carlisle Castle’ attributed to Matthew Ellis Nutter (1795-1862) all two with estimates of £200-£300 each.

Highlights among the furnishings are an early 18th century walnut desk bookcase with original mirror plates which should fetch between £800 and £1,200.

An early 18th century walnut bureau bookcase of small proportions, a late 17th century walnut bureau and a Regency mahogany duo stand all have estimates of £600-800.

News and Star: TALLENTIRE: An Edwardian inlaid mahogany display case from Tallentire Hall is expected to sell for £400-£600TALLENTIRE: An Edwardian inlaid mahogany display case from Tallentire Hall is expected to sell for £400-600 A 1970s rosewood veneer desk sold with a CITES certificate is worth £200-300 and a pair of late Victorian barber’s chairs by Claughtons Leeds has an estimate of £150-200.

Asian Art features a large 19th century Japanese charger depicting artists’ scrolls and playing the game Go which is expected to fetch £150-200.

A large collection of Tunbridge Ware boxes are also on sale with estimates ranging from £30 to £250.

Collectibles include a Cuirassier Chatellerault 1813 saber worth £200-300 and a Victorian Royal Naval bicorne in a toleware case worth £100-150.

The sale will take place from June 15 to 17. The lots will be visible in the auction room from June 12th.

SHOWTIME: The popular Cockermouth Show returns – and promises something for everyone

Laurie Parsons Disappearance Record

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Laurie Parsons, “Glass with Butts” (1989) from her book 36 slides 1986–1990 (Hassla, 2021) (all images courtesy of Hassla)

You’d be hard-pressed to find a recent artist’s book that does more with less than Laurie Parsons’ 36 slides 1986–1990, whose informative, Ruscha-esque title belies the depth and poignancy of its recuperative conceit. Noted curator Bob Nickas, a longtime champion of Parsons’ work and possessor of the titular slides, wrote to the former artist asking for permission to reproduce them in book form. Parsons, who left behind a budding artistic career to practice social work in the early 1990s, amicably granted permission but made it clear, as Nickas expected, that “she didn’t want to be involved” in the project. The book, a creation of both Nickas and Parsons, emphasizes the importance of social connections in the production of art historical memory.

Cover by Laurie Parsons, 36 Slides 198–1990 (Hasla, 2021)

The slides themselves promote an almost archaeological vibe. Many depict piles of rubble and waste excavated from a site along the Hudson River and disposed within as non-sites, in Robert Smithson’s sense of the term. Many others show isolated objects found – an empty beer bottle; a sleeveless maxi dress; a painted wooden plank – which Parsons collected in New York and photographed to determine if she could incorporate them into installations. In the remaining handful are blends – a portrait of a friend; a still from the Spike Lee movie do the right thing; an image from the end of a roll of camera film that looks like a stupendous sunset – which may not be ruins in their own right but now appear as fragments of a bygone era.

The result is an unassuming little book with an outsized emotional resonance. All in 36 slides exists at a remarkable distance from its own past: reproductions of images originally formatted in the now obsolete medium of projector slides, released by a curator who a decade ago stood back from the new art scene -yorkoise in which it’d been installed. Nickas’ introduction deftly balances personal reminiscences with contextualization of Parsons’ work. With its complete 2003 art forum article, “Whatever Happened To: Laurie Parsons”, and the excellent 2019 by Sarah E. James Curly article, “What Art Can Be: Quiet Exit From Art by Laurie Parsons”, the book will introduce a new generation to an old artist with few extant works.

Laurie Parsons, “Number 58” (1986), wood, 2 x 63/4 inches

Beyond the simple introduction to Parsons’ artistic practice, 36 slides also serves as a reminder of how quickly the contemporary moment becomes history and how easily history can be forgotten when it fades from immediate view. Every artistic generation probably has to experience obsolescence to grasp its impact, because that’s the kind of lesson that’s hard to learn in the abstract. But acts of withdrawal a la Bartleby pose particularly palpable challenges to presumptions of continuity of the status quo. Thanks to Nickas and others like him, we know that decades ago a young Parsons stopped making art with clarity and purpose. Since then, the curator has done her part to provide a testament to her artistic past that is also a glimpse of what it will feel like when today’s artistic forms and debates seem as far removed from the future as those of yesterday.

36 slides 1986–1990 by Laurie Parsons (2021) is published by Hassla and is available online and in bookstores.

Magnifico Family Cafe Brings Colombian Roasts and Goodies to Avondale

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AVONDALE – A family-run cafe specializing in Colombian coffee and sweets is coming to Avondale.

Colombians Angelica Acebedo and her siblings Ricardo Acebedo-Diaz and Marisol Acebedo Fisher open Magnifico Coffee, a coffee shop and roastery, on the ground floor of a condominium building at 3063 N. Milwaukee Ave.

The family was one of 26 recipients of the city’s Community Development Grant, a program designed to boost Chicago neighborhood businesses and institutions. The grant will cover the cost of construction and bring the business to life, said Angelica Acebedo.

Cafe Magnifico is slated to open later this summer with coffee from Colombian farms and Colombian snacks, such as almojábanas, or fresh cheese bread, and milhojas, a dessert made from piles of puff pastry and filled with pastry cream.

“We are so excited. We can’t wait to open our doors,” said Angelica Acebedo. “I want to get permission to have a big party so we can have a Colombian band.”

Magnifico Coffee is the first company of the Acebedo family.

Angelica Acebedo is a graphic designer who grew up in Bogotá before attending Northern Illinois University and later moving to Chicago. She and her close-knit family hit on the idea of ​​opening a cafe together last year as the pandemic dragged on.

“We haven’t lost our jobs, but I think [the pandemic] gave us all the opportunity to reframe a bit: is that it? What else can we do as a family? We are still together as a family. We are a small pack of elephants. We go everywhere together,” Angelica Acebedo said with a laugh.

Angelica Acebedo said her brother had exploited his ties to coffee plantations in Colombia, while other family members handled other parts of the business such as marketing and design, making l company a “full-fledged family affair”.

The family signed a lease on the Milwaukee Avenue storefront, not far from where they live in West Town, with the aim of launching a cafe that celebrates their Colombian culture, which is often misrepresented, Angelica Acebedo said.

“If you see Colombia [on TV or in movies], of course, there is the coffee, but also the drug dealers,” she said. “This idea of ​​sharing a cup of coffee in Colombia and breaking bread – it’s so important for us to share a bit of our culture.”

Angelica Acebedo said they were “using what little money they had and getting loans” to start the business when the city gave them the Community Development Grant, which propelled the project forward.

The $33.5 million grant program — funded by the Chicago Recovery Fund and Tax Increment Finance (TIF) dollars — is for entrepreneurs looking to open or upgrade businesses.

It’s unclear how much funding the Magnifico Coffee project will receive through the program because the family is still doing paperwork, but the program offers small grants up to $250,000 and large grants up to $5 million. dollars.

With the grant, Angelica Acebedo said they would be able to complete construction of the 1,200 square foot Milwaukee Avenue storefront.

“We were speechless. We couldn’t believe it,” she said. “It just validates our business. … It just gives you that sense of confidence, even more excitement … to make sure we’re doing it right for our family, for the neighborhood, and for the farmers back home.

For starters, Magnifico Coffee will serve coffee from the San Lorenzo Group, part of a growing Colombian collective called Cooperativa de Caficultores de Alto Occidente de Caldas, established in 1964.

But they plan to partner with other Colombian and Latin American farms in the future. All coffee — no matter where it’s grown — will be roasted fresh at Magnifico with their roaster, she said.

When the cafe opened, Angelica Acebedo said they planned to hang local art on the walls, showcasing Latinx artists. There are many artists in the family: Angelica Acebedo is a graphic designer; his grandmother was a painter; and her husband is in branding.

The hope is that guests leave Magnifico with a deeper appreciation for the Colombian way of life, Angelica Acebedo said.

“We are so excited to share our culture through this cup of coffee,” she said.

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SOFT CENTRE: Prowling Aliens, Virtual Reality and Screamo

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I was inspired to attend SOFT CENTER by its poster – a figure in armor delicately suspended among shards of crystal, against the backdrop of a desolate landscape. Below is a long list of artists, including Sam Rolfes, Loppy B and Rainer Kohlberger. Not a single name was familiar to me, but I figured there was nothing electronic music could throw at me that I couldn’t handle.

I was unprepared for the reality that met me at Carriageworks.

For those who may be as misinformed as I am, SOFT CENTER is an annual one-day festival of cutting-edge music and art. In terms of genre, the music included trap, hardcore, gutter techno, post-music, noise and more – all firmly within the realm of experimental. In the hallowed interior of Carriageworks, artists painted scenes using only light, sound and bodies.

These scenes unfolded and evolved over SOFT CENTER’s eight-hour runtime. In the mid-afternoon light, the venue’s lobby was hazy from a mixture of fog machines and vapes, the full-length windows of Carriageworks making the space look eerily bare in the cold light of the day. With the setting sun, the space was transformed. A pulsating, ever-changing red-white mist shrouded the hearth, while a crowd formed a large circle in its center.

Within this circle, the first artistic performance of the night began. Makeda, a Melbourne-based performer, sang on skates while two other performers performed a roller figure skating routine around her. The skaters pushed and pulled against each other in a mesmerizing dance of tension, only stopping to hand roses to the crowd. Above, Sam Whiteside’s changing lights Contact the installation sets the scene.

performance of Aliens in Manila by Leeroy New, Red Rey and Wytchings. Image by Jacquie Manning, courtesy of Carriageworks.

Performances continued throughout the evening, including a particularly terrifying performance by Red Rey, who, clad in sprawling sculptural armor by Leeroy New, roamed the hall in search of victims. I use the word “roam” much like I would a lion, with Rey crawling towards and stalking viewers, creating a level of suspense and tension in their art. I lived in fear that this performance would turn into an ironclad sprint towards me. Wytchings, a West Sydney mood composer who provided the soundtrack for this hunt, wrote of their collaborative work Manila Aliens that “We hope we pissed you off a little!” Hehe

Beyond the foyer, in the closed hangars of bays 17 and 20 of Carriageworks, the festival raged and raved. tracks, a live audiovisual performance by DBR, Cypha, Brigitte Podrasky and Joan Shin, was an otherworldly visual spectacle. DJs obscured behind semi-transparent sheeting played a hypnotic set, while projected before them was a live visual rendering that ebbed, flowed and zoomed with the music through an ever-changing grainy field of lines and shadows. . Many sets throughout the day placed the visuals as an equal participant alongside the music rather than simply as a backdrop. Experiencing such artistic harmony between visual and auditory spaces was deeply awe-inspiring, especially considering the unique trance music and performance of tracks‘ fractal-like visuals. tracks it was like exploring the inside of an HR Giger alien, and having it unfold on a crowded dance floor felt like raving about an evil screensaver.

Always from tracks by DBR, Cypha, Brigitte Podrasky and Joan Shin.

Leaving tracks looking for more variety, I came across a set from Plea Unit, including beautiful visuals from the artist behind the SOFT CENTER poster: Endless Prowl. As an exciting high-energy rap and punk-inspired set unfolded on stage, the screen behind showed a stunning, tranquil scene of an underwater cave. Populated with semi-organic crystalline structures and rising bubbles, the claustrophobic environment projected from floor to ceiling and consumed the performance space, lined with fractal-like metallic shards. The dissonance and scale of the audio and visual elements made me want to decode the artistic connection between the two – but my only conclusion is that both are really cool.

The following performance greeted me with a visual and auditory wall courtesy of Berlin artist Rainer Kohlberger. Kohlherger’s Rainbows included layers of noise and light stretching for what felt like an eternity, filling the cavernous space as well as entering my brain and shaking things up. Standing in bay 17 experiencing his set was mesmerizing as the buzzing noise and static of the AV experience made it feel like he had wrapped me in tin foil and put me in a mic -waves. I admit that I needed a little break from this set.

by Rainer Kohlberger Rainbows. Image by Claudio Farkasch, courtesy of Soft Centre.

By the time Sam Rolfes and Lil Mariko took the stage, I was thrilled to hear a steady beat, not to mention the words. My relief was short-lived, as the pair’s VR performance was plagued with dizzying technical difficulties, including clipping cameras, rotating perspective, and a few exits to restart the scene in Blender. Despite this, their first of RULE 3-2-1 makes me desperately want more. The artwork is comprised of Lil Mariko’s iconic hyperpop-screamo hits, framed by the tale of a memory bounty hunter who accesses minds through a digital world, all presented in a live VR performance. RULE 3-2-1 was incredibly cool to experience and makes me really excited for the future of digital art.

Joshua Wells and Karina Utomo quickly brought me back to earth with a terrifying techno/screamo set. The pair brought something very dark to Bay 20, throaty moans filling the space as patrons continued to nod and sway in the dark. Utomo’s vocal performance was genuinely chilling, backed by an improvisational electronic beat that heightened the discordant atmosphere.

The final performance of the evening was a stunning collaboration between Gamilaraay DJ Creschendoll and pole dancing collective Club Chrome. Creschendoll’s set was a breath of fresh air, bringing hyperpop and electronic hits alongside his own beats to infuse the crowd with energy and movement. By the time the Club Chrome performers took to the poles, the audience was completely thrilled. This set was an amazing way to end the night, and I’ll definitely be keeping an eye out for another chance to see Creschendoll perform around Sydney.

SOFT CENTER was everything I could hope for from Sydney’s cultural scene: art, music and performances that provoke, intimidate and experiment. Pushing things hard enough to break is an incredible feat for any artwork, whether you’re pushing the support or the viewer. I wasn’t the target audience for many of these works, there’s a lot I didn’t understand and I’m not sure I’ll ever fall for the hard noise. But it was incredible to be challenged by art.

Cumberland Students Win Scholarship to Tell Stories and Create Culture Art

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Pine Bluff History

This submission is a collection of stories from Stewart’s grandmother.

She shared memories of her life in Pine Bluff, their homeland, from sports to trapping. She also told the story of when her school burned down and soon after she was sent to boarding school.

“She told me about her adolescence in the residence, one evening when she and her friends were going to leave the pop machine after supper, they saw these ghostly figures moving in the darkness of the long empty corridor. She told me that they were the ghosts of the many children who died there.

Stewart’s story ends with him mentioning that he and his family continue to travel to Pine Bluff, despite the fact that only one building remains.

“It may look like a campsite to others, but to me and my grandmother it will forever be our homeland.”

(YouTube/Mika Career)

The ripple of time

The history of Deschambeault-Morin relates to the past and the present of its culture through the various bodies of water.

This includes the Big Stone River, a place he says is no longer healthy but rather “dark and dirty”.

“It wasn’t always like this; at one point the water was so beautiful and clear, so much so that it was said you could stand on the shore and clearly see the fish swimming in the water. .

“As I now stand on the shore and watch the state of our water, rivers and lakes in the Cumberland House Delta, many species of fish have died from disease or bad health. You can no longer catch delta monsters.

He also spoke about the negative effects of lower water levels on the land.

“Our land no longer receives the nutrients it needs to thrive from the river water; our land, like our river, is dying.

Deschambeault-Morin’s story aimed to raise awareness about the land, water, culture and Aboriginal way of life.

(YouTube/Mika Career)

[email protected]

On Twitter: @princealbertnow

The group provides fellowship, a forum for discussion of matters of faith and science

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WASHINGTON — Battered by both the lingering effects of the COVID-19 pandemic and high gas prices making travel expensive, this year’s Society of Catholic Scientists conference, held from March 3 to June 5 at Mundelein Seminary in Mundelein, Illinois was an intimate gathering with about 100 attendees.

That didn’t faze Stephen Barr, professor emeritus of physics at the University of Delaware, who helped found the group in 2016 and serves as its president.

The conference aims at fraternity between Catholic scientists, mostly academics. And he steers clear of American culture wars or anything even slightly political.

“If you’re a faithful believing Catholic, that’s all we care about,” Barr said. “We don’t want to be involved in secular politics or church politics.”

With the theme of environmental stewardship tied to the papal encyclical ‘Laudato Si’, speakers discussed Catholic environmentalism dating back to the fourth century, and topics such as soil conservation, forest preservation tropical rainforests, the importance of bees and genetic advances used to maintain wild animal populations.

“I found that to be a great support actually,” said Sister Damien Savino, a member of the Franciscan Sisters of the Eucharist, who teaches at Aquinas College in Grand Rapids, Michigan, and has an engineering background. She gave a keynote address on the theology behind “Laudato Si'”.

“The whole tenor of the group is more about the convergence of science and the Catholic faith,” she said. “There’s a tremendous harmony there.”

In her keynote, she hoped to get the conference “to think about the extinction of creation that is happening physically…but also the metaphysical cause over the past two centuries.”

“These are fun meetings, they really are,” she added. “There is this feeling of mentoring young scientists (to) help them feel safe. Scientists are looking for a way to integrate their faith and science without having a degree in theology.

With just six members when it was founded, Barr noted that the Society of Catholic Scientists now has more than 1,250 members in 55 countries.

But “that’s not how I thought I would spend my retirement,” he says. More accustomed to appearing in laboratories and lecture halls, leading the group involves administrative tasks “which I’m not particularly good at”.

The society’s growth plans include the establishment of university chapters and a larger annual conference.

The broader context of the organization, he said, “is the widely held perception that religious faith and science are incompatible and that very few scientists are religious. This misperception has largely contributed to the loss of confidence among young people. It has also led many religious scientists and science students to be silent about their faith, which reinforces the perception of some sort of vicious cycle.

A 2016 survey by Georgetown University’s Center for Applied Apostolate Research indicated that young Catholics found the faith incompatible with the science they were learning in high school and college.

Other goals, Barr said, “are to be a forum for serious discussion of matters of science of faith from the perspective of people who have a high level of scientific knowledge as well as a commitment to their Catholic faith. and to help educate the general public about the relationship of science and faith.The Catholic faith tells us to love God and our neighbour.

Handwritten Bible verses by Vincent Van Gogh will be in the University Archives online on June 22…

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Hand-written Bible verses by famous Dutch artist Vincent Van Gogh (1853-1890), in English and Dutch, over 220 words, once owned by Maurice Sendak (estimated $35,000-$40,000).
University archives

WILTON, Conn. – Extensive and historically significant records of Civil War generals (one for the Union, one for the Confederacy), a typewritten letter signed by Albert Einstein regarding God and science and regarding one of his most famous quotes , and Bob Dylan’s handwritten lyrics to the timeless classic Times are changing’ are just some of the highlights of the next major University Archives online auction, scheduled for Wednesday, June 22.

The autograph, manuscript and rare book auction, which begins at 10:30 a.m. Eastern Time, features historical material from several collectible categories. All 481 lots are now open for viewing and auction (on the University Archives website www.UniversityArchives.com), as well as on LiveAuctioneers.com, Invaluable.com and Auctionzip.com. Tenders and tenders accepted.

Bob Dylan’s handwritten lyrics to the timeless classic The Times They Are A-Changin’, written on one page in 2013 on London’s ‘The Dorchester’ stationery (estimated $50,000-$60,000).
University archives

“The June 22 auction is particularly rich in presidential, science, Civil War, art and music autographs and memorabilia,” said John Reznikoff, president and owner of the University Archives. “Aviation/space, sports, ancient American, literary and international collectors will also have ample opportunity to enrich and expand existing collections. It will be a great sale.

The list of major categories is long indeed, to include presidential (Washington to Biden); Sciences (Einstein, Edison, Alexander Graham Bell, Carl Sagan, James Watson, others); Art (Van Gogh, Gauguin, Picasso, Matisse, Monet, others); Music (Dylan, Enrico Caruso, Billie Holiday, Huddie Ledbetter, Tupac Shakur, others); and the Civil War (Union and Confederate generals).

Other categories include Early American (Hamilton, Burr, Hancock, John Peter Zenger, others); Aviation and Space (Earhart, Igor Sikorsky, Howard Hughes, Wright Brothers, Neil Armstrong, Buzz Aldrin, Apollo XII, Apollo XV, Apollo-Soyuz, Skylab, others); and world leaders (Lenin, Joseph Stalin, Leon Trotsky, David Ben Gurion, Castro, Jawaharlal Nehru, Juan Peron, others).

Still other categories include literature (Emile Zola, DH Lawrence, Hermann Hesse, Thomas Mann, Aldous Huxley, Thomas Wolfe, Sylvia Plath, Orwell, Vonnegut, others); Civil Rights (John Brown, Malcolm X, Eldridge Cleaver, Muhammad Ali, Alex Haley, Rosa Parks, others); and Sports (baseball, including Mickey Mantle, Jackie Robinson, Willie Mays, Sandy Koufax).

Dinner invitation signed by Thomas Jefferson as President in December 1805, accompanied by a rare oval serving bowl belonging to Jefferson Chinese Export with the monogram “J” (estimated between $18,000 and $20,000).
University archives

The Civil War Archives are an amazing collection of signed documents, maps, letters, truncated signatures, business cards and more, of all the generals listed in Ezra J. Warner’s two exhaustive compilations: Generals in gray for Confederation (528 items in six binders) (est. $300,000 to $350,000) and Generals in blue for the Union (630 papers, 12 binders) (est. $175,000-$200,000).

Confederate archives include Robert E. Lee, Thomas “Stonewall” Jackson, Pierre GT Beauregard, James Longstreet and Wade Hampton. The Union Archives include items signed by US Grant, Melancton Wade and Abraham Lincoln, George Meade, James A. Garfield and Winfield Scott Hancock. Both archives are meticulously researched, organized and presented.

In a letter typed in English, signed and dated April 29, 1954, Albert Einstein explains the origins of his scientific motto, “Subtle is the Lord, but not malevolent,” which sums up his personal attitude toward God and spirituality. Einstein first used the motto when responding to another scientist’s claims that he disproved relativity by discovering “ether drift” (est. $60,000-$70,000).

In another post related to Einstein, a signed copy of the first edition of his book in German Mein Weltbild (Where The world as I see it) contains an inscription in which Einstein refers to the “Fall of the German Goyim”. This is the only known instance of Einstein using the controversial Hebrew/Yiddish word for Goyim, or “non-Jew” (estimated at $12,000-$14,000). The book dates from 1934.

Bob Dylan wrote Times are changing’ in the fall of 1963, shortly after Martin Luther King Jr. marched on Washington, wanting to create an anthem for social justice. The singer’s handwritten lyrics, written on one page in 2013 on London’s “The Dorchester” stationery, come with a full JSA LOA (est. $50,000-$60,000).

America’s most famous presidents will be represented in the sale by the following offerings, among many others:

  • George Washington audaciously signed (as Commander-in-Chief of the Continental Army) Frank Frank to Rhode Island Governor Nicholas Cooke in March 1775, just three months after crossing the Delaware River to surprise British and Hessian forces at the Christmas Battle of Trenton. . (est. $12,000 to $14,000). Comes with a PSA/DNA LOA auction.
  • Signed Abraham Lincoln, Civil War military appointment dated April 13, 1863, nicely framed, promoting John G. Barnard to Lieutenant Colonel of the Corps of Engineers. Barnard and his fellow engineers ensured safe water crossing for Union troops, in addition to planning siege tactics to better undermine Confederate defenses (est. $7,500-$10,000).
  • Thomas Jefferson’s signed dinner invitation as President in December 1805, complete with a rare oval serving bowl belonging to Jefferson Chinese Export, from the collection of Thomas Jefferson Coolidge, Jefferson’s great-grandson. The serving bowl features a “J” monogram and vintage Republican imagery such as the 13 stars (est. $18,000-$20,000).

Hand-written Bible verses by famous Dutch artist Vincent Van Gogh (1853-1890), in English and Dutch, over 220 words in total, once owned by another famous artist, Maurice Sendak (1928-2012) , are expected to fetch between $35,000 and $40,000. In addition, a one-page typewritten letter signed by Vladimir Lenin (as “V. Ulyanoc/Lenin”), in Russian, dated December 19, 1919, addressed to Artemic B. Khalatov, the Executed People’s Commissariat more later contains an estimate of $30,000 to $40,000.

A large archive of notes and drafts of speeches relating to Black Panther Eldridge Cleaver, as well as more current notes, spanning a dozen years (1976-1988), comprising 42 pages and over 2,000 words, is expected to fetch $15,000 at $20,000; while a 1790 U.S. Treasury Department circular handwritten and signed by Alexander Hamilton (as “A. Hamilton”), regarding documentation of import and export tonnage, is expected to yield between 12,000 and $15,000.

University archives have become globally recognized as a go-to source for such rare objects. She is actively seeking quality material for future auctions, presenting a rare opportunity for sellers. Anyone with a single item or collection that may be suitable for a future University Archives auction can call John Reznikoff at 203-454-0111 or email him at [email protected]

The University Archives was founded in 1979, as a division of University Stamp Company, by John Reznikoff, who began collecting stamps and coins in 1968, when he was in third grade. Industry-wide, Reznikoff is considered the leading authenticity expert for manuscripts and documents. He consults with law enforcement, dealerships, auction houses, and the two major authentication companies.

The University Archives’ new offices are located at 88 Danbury Rd. (suite 2A) in Wilton, Conn.

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China bans tattoos for minors, says they’re against ‘core socialist values’ | world news

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China on Monday banned minors from getting tattoos, saying body art for those under 18 is against “core socialist values”, urging families and schools to discourage the practice.

Any tattoo artist or shop that tattoos minors will be severely punished according to law, China’s Ministry of Civil Affairs said in a statement carried by state media on Monday.

Children who already have tattoos but are willing to remove them will receive medical advice to do so, the statement added.

The ban was part of the Measures for the Personal Governance of Minors, a set of rules devised by the Chinese cabinet after consulting with several government departments, including the Communist Party of China (CCP) Youth League and the State Administration. radio, film and television. (SARFT) – which regulates visual content and streaming.

The ministry consulted with several ministries and departments, including the CCP’s propaganda department, the Supreme People’s Court, the Ministry of Public Security – which deals with domestic security – and the Ministry of Health.

The measures state that “the state, society, schools and families should educate and help minors to establish and practice socialist core values, to fully understand the harm that tattoos can cause, to raise their awareness (of minors) and their ability to protect themselves, and rationally refuse tattoos”.

The rules state that no “company, organization or individual shall provide tattoo services to minors and shall not coerce, induce or induce minors to get tattoos”.

Tattoo parlors should ask for ID, according to the rules.

Shanghai, China’s financial hub, was the first city to ban anyone under the age of 18 from having cosmetic surgery or tattoos on March 1.

“The Shanghai government has declared that people under the age of 18 will be banned from cosmetic surgery without the approval of their guardians. Tattoo parlors are completely prohibited from offering their services to minors,” reported the South China Morning Post (SCMP) based in Hong Kong.

The anti-tattoo campaign isn’t just targeting minors – the CPC is also targeting artists, sportspeople and celebrities.

Last December, members of the Chinese national soccer team were ordered to conceal or outright remove their tattoos to set a “good example to society”.

This guideline was issued by the General Administration of Sports of China (GAS).

Tattoo artists are already barred from appearing on Chinese state television programs.

“Taxi drivers in the city of Lanzhou in northwest China, capital of Gansu province, were ordered by the government to get rid of their tattoos last year. In 2018, the government banned tattooed hip-hop artists from appearing on TV shows, and two months later banned tattoos at the Strawberry Music Festival in Hangzhou,” SupChina reported last year.


  • ABOUT THE AUTHOR

    Sutirtho Patranobis has been in Beijing since 2012, as China correspondent for the Hindustan Times. He was previously stationed in Colombo, Sri Lanka, where he covered the final phase of the civil war and its aftermath. Patranobis covered several times including health and national politics in Delhi before being posted overseas.
    …See the details

The art of living to revive 75 rivers, plant 75 Lakh trees, solar electrify 75 schools in border villages, set up 75 skills development centers and 75 digital literacy centers in prisons, as part of the celebrations by Azadi Ka Amrit Mahotsav

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On World Environment Day, The Art of Living has announced key initiatives, as part of Azadi Ka Amrit Mahotsav celebrations, that would go a long way in building a sustainable, peaceful, strong India. and green. Under the river rejuvenation project, 49 rivers (streams) in 5 Indian states are being revived by constructing over 41,000 recharge structures and planting 656,944 trees. Over 81 million trees have been planted worldwide by The Art of Living volunteers. The Art of Living has set up 52 skill development centers and 22 in prisons across India. It has also solar electrified 145 schools, including 20 in border villages.

As a continuation of this, as part of the Azadi Ka Amrit Mahotsav celebrations, The Art of Living will rejuvenate 75 rivers; plant 75,000 trees; deployment of 75 skills development centres; 75 digital literacy centers in prisons; and solar electrification of 75 schools in border villages. “On this Environment Day, as we celebrate Azadi ka Amrit Mahotsav, let us take the Sankalpa to keep water, air and land pure. Let’s save every drop of water,” said Gurudev Sri Sri Ravi Shankar, Global Humanitarian and Founder of The Art of Living, “Our organization has taken on the responsibility of reviving and rejuvenating 75 rivers. We must also support and encourage the use of solar and wind energy.” The Art of Living Social Projects team has strived to offer holistic solutions to the social, economic and environmental challenges facing the country is facing. It does this by establishing and maintaining partnerships with local communities and through collaborations with businesses, governmental and non-governmental organizations, development agencies and foundations. “The Art of Living has been working in crucial areas of sustainability for 40 years and the results are there for everyone,” said Mr. Prasana Prabhu, President, Vyakti Vikas Kendra India (The Art of Living). “Not only are we rejuvenating rivers and raising the water table, but we are also building and empowering local communities. Our river rejuvenation projects have so far benefited over 34.5 million people already in over 12,000 villages. Agriculture, skills development, free schools, disaster relief, women’s empowerment, rural development, prisoner rehabilitation and peace initiatives.

In natural farming, about 22,00,000 farmers have been trained across India. Of these, 1,15,000 farmers belonged to suicidal districts. From 2018 to 2020, 24,959 farmers were trained, 28.8% of them women. Young people have also been trained to become farm managers. The collective efforts have resulted in an 80% reduction in costs per acre compared to chemical farming, while 56,157 acres of land have been converted to climate-resilient farmland.

(This story has not been edited by the Devdiscourse team and is auto-generated from a syndicated feed.)

Decolonizing Indigenous Designs and Works of Art

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Last Thursday, Kanehsata’kehró:non had the opportunity to learn about Indigenous iconography and history during a presentation given by Jamie Jacobs, an expert in Haudenosaunee culture and history.

The virtual event was planned by Miranda Gabriel, the new Cultural Development Officer at Tsi Ronterihwanónhnha ne Kanien’kéha Kanesatake Language and Culture Center.

“I first saw Jamie Jacobs while teaching here in Kanesatake years ago. It was so interesting,” Gabriel said.

“I wanted to organize something so that more people could listen to Jamie. I think he’s very knowledgeable and it’s important to learn as much as possible about our language and culture so you don’t lose anything.

Jacobs, who is from the Tonawanda Seneca Nation and has worked at the Rochester Museum & Science Center (RMSC) for 16 years, said he was more than happy to share his knowledge of the origins of contemporary Haudenosaunee designs.

“I showed objects from the museum and how they evolved into what we know today,” Jacobs said. The cultural expert explained that the RMSC has a unique collection of archaeological material dating back to 4000 BCE and has been excavated at known Seneca sites called Proto-Iroquoian sites.

“I interpret these objects for our own people, things that no longer exist. Symbols carved or carved into bones and shells. Things we just haven’t seen since then,” he said.

The format of the presentation followed a timeline so participants could visualize the evolution and adaptation of Haudenosaunee designs.

“I’ve highlighted events that happened in Haudenosaunee history that influenced designs – even wampum belt designs. The wampum belt is actually based on a much older item that our people use to make that we no longer make,” Jacobs said.

Jacobs also explained that many older artifacts have primarily geometric patterns. But over time, these designs evolved into more contemporary objects like flowers and strawberries, as well as circular and semi-circular designs.

He said the evolution of designs has been caused by colonization and adaptation, among other reasons.

“I think what’s happening in our society is people are starting to realize that we need to decolonize our history, and I think people are also realizing that we need to do that in our artwork as well,” did he declare.

He said his upbringing and the years he spent as a ceremonial speaker traveling to different Indigenous communities sparked his interest in Indigenous imagery and history.

“I started making traditional quillwork probably about ten years ago because what I learned was that porcupine quill beading and moose hair embroidery came from before the pearls. So I decided to try and bring him back,” Jacobs said.

“I started wearing feather headdresses which are very different from what we know now. And people recognized that they were different, and they wanted to know where it came from, and I had to tell them that was what our ancestors wore before what we wear now.

The expert says that over the past few years he has noticed a lot of interest and a kind of revival of this practice.

“That’s what I do, decolonize our designs and our artwork, and I show, as the story goes, how it happened,” Jacobs said.

[email protected]

Marisela Amador, Local Journalism Initiative Reporter, The Eastern Door

Prized art of Don J. Antonio Araneta to be auctioned

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When talking about Araneta’s legacy on the arts, the very first name that comes to mind is Luis Ma. Araneta, the heritage conservation pioneer, architect, decorator, businessman and patron of the arts . But one man arrives in the same league as his famous brother: J. Antonio Araneta. Along with his wife, Margarita, J. Antonio had a passion and keen taste for all things beautiful. The couple eventually built up a large collection of paintings.

Don J. Antonio and Margarita Araneta. Photo courtesy of Galerie Léon

Don J. Antonio Araneta was born on March 19, 1905 in Santa Mesa, Manila. He was the son of lawyer and nationalist Don Gregorio Soriano Araneta and award-winning painter Doña Carmen Zaragoza y Roxas of the wealthy Spanish mestizo Zaragoza and Roxas clans of Manila.

Don Gregorio and Doña Carmen established the Araneta surname as one of the most illustrious and important in Manila’s high society. They had 13 other children besides J. Antonio: Carmen, Jose, Salvador, Consuelo, Paz, Rosa, Teresa, Ramon, Vicente, Conchita, Margarita, Luis and Francisco. J. Antonio’s public persona was shaped by his distinguished career as a lawyer, having followed in his father’s footsteps in establishing a distinguished legal career. He was known to be uncompromising in his relationships, always standing up for what he believed in.

A 1953 oil portrait of Margarita by Fernando Amorsolo
A 1953 oil portrait of Margarita by Fernando Amorsolo. Image courtesy of Galerie Léon

Even in his legal writings, the legal luminary had what the family history titled “1030 R. Hidalgo” describes as “a preference for lucidity and a disdain for literary flourishing that often obscures the thought one has l ‘intent to transmit’. It will also acquire The Philippines Graphic, England’s oldest national weekly magazine, which it acquired from Ramon Roces, the “King of the Komiks”, in the 1970s.

Beyond his reputation for frankness and uncompromising firmness in his legal practice, there is another facet of the personality of J. Antonio Araneta: the connoisseur of the art. His enthusiasm for art had been nurtured by his formative years at the family’s pre-war ancestral home at 1030 R. Hidalgo in pre-war Quiapo. (Note that the address was used to name the previously mentioned book on the history of the Araneta family).

At auction in June, this painting by Teodoro Buenaventura entitled “A Countryside Dawn”, from the Don J. Antonio Araneta collection.

Growing up in the R. Hidalgo mansion meant for J. Antonio to be exposed to art and beauty all his life. His brother Salvador once described their house as having “decorative painted walls, which was originally done by the master Toribio Antillon and his pupils Modesto Reyes and Juan Arellano. The living room was made in the Renaissance style of the time. My mother’s entrance hall, caïda and tocador were in Art Nouveau style while my father’s private library had Pompeian decorations.

The formal living room of the Aranetas
The Aranetas’ formal living room in Forbes Park. Photo courtesy of Galerie Léon

Social historian Augusto M. R. Gonzales III best describes J. Antonio’s early exposure to art this way:[J. Antonio Araneta] already had good taste even when he was young, which was not surprising given that their family lived in the finest pre-war residence along aristocratic R. Hidalgo Street. His mother, Doña Carmen Zaragoza y Roxas de Araneta, although known for her Roman Catholic piety and simplicity, was also a woman of great style who cared about her dresses and her beautiful home.

A painting by Sofronio Mendoza
A painting by Sofronio Mendoza captures the salon of the Aranetas dominated by the Amorsolo portrait of Margarita in the upper left corner. Image courtesy of Galerie Léon

R. Hidalgo Street in Quiapo, Old Downtown Manila, was once considered “the most beautiful street” in the entire city. Located close to historic and imposing structures such as the neo-Gothic Basilica Minore de San Sebastian and the very famous Basilica Minore del Nuestro Padre Jesus Nazareno, the prominence of R. Hidalgo Street has only been enhanced by the presence of magnificent houses where Manila’s wealthiest once resided.

Don J. Antonio with a grandchild
Don J. Antonio with a grandchild. Photo courtesy of Galerie Léon

“On Calle San Sebastian, later Calle R. Hidalgo, the wealthy of the capital could live decently, in an elevated European style,” says Gonzales III. “There lived the Tuason, very rich from their royal lands since 1764, and their allied families, Legardas, Prietos and Valdeses; the highly educated and cultured Paternos, wealthy since 1800 and very wealthy since the 1860s and their cousins, the enterprising Zamoras and the intelligent Ocampos. There were the Padillas, rich in real estate, the Nakpils, artistic but pragmatic, and the wealthy hacenderos of Pampanga, the Escalers.

“In the 1880s the splendid riverside community arose next to the Palacio de Malacañan in the nearby district of San Miguel. Grand mansions rose along this stretch of the Pasig River amid lush tropical gardens with opulent interiors that rivaled those of European estates. But the model for elegant living was still taken from nearby Calle R. Hidalgo.

Don J. Antonio Araneta
Don J. Antonio Araneta was known to be an uncompromising lawyer and an accomplished collector. Here he is pictured with his grandchildren. Photo courtesy of Galerie Léon

Araneta’s legendary Quiapo mansion may have fallen into obscurity because of the war, but the passion for art collecting continued at J. Antonio’s lavish residence in Forbes Park. Indeed, countless works of art from Luna to modernists have been displayed in her home where honorable guests like US President Nixon, numerous foreign dignitaries and movie stars, and all the country’s leaders have benefited from the generous hospitality from J. Antonio and Margarita. These personalities also certainly enjoyed looking at the exceptional art collection comprising an array of old paintings by Vicente Rivera y Mir, Jose Pereira, Dominador Castañeda and Teodoro Buenaventura.

Araneta traveling abroad
Araneta traveling abroad. Photo courtesy of Galerie Léon

Part of this collection is “A Countryside Dawn”, Teodoro Buenaventura’s earliest works and one of the few surviving pieces after the war destroyed most of the artist’s work. This painting is now among the major lots to be offered at the Leon Gallery’s spectacular mid-year auction on June 11. “The Filipino Art Scene.”

Mr. and Mrs. J. Antonio Araneta’s sterling collection is a metaphor for the couple’s exemplary lives, with each work of art revealing a different facet of their heritage.

(Excerpts from the book “1030 R. Hidalgo”, volumes I and II.)

Co-presented by ANCX, the urban man’s guide to style and culture, The Spectacular Mid-Year Auction runs June 11 at 2 p.m. Preview week continues through June 10, 2022, from 9 a.m. to 7 p.m. For more information, email [email protected] or contact +632 8856-27-81. To browse the catalog, go to www.leon-gallery.com. Follow León Gallery on their social media pages for timely content: Facebook and Instagram @leongallerymakati.

Ibrahim Mahama appointed artistic director – Announcements

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MGLC, The International Center for Graphic Arts, is pleased to announce the appointment of a renowned artist Ibrahim Mahama as artistic director of 35th Ljubljana Biennial of Graphic Arts (2023).

The recipient of numerous accolades, including the 2020 Prince Claus Award for Outstanding Achievement in Culture and Development, Mahama lives and works in the cities of Accra, Kumasi and Tamale in northern Ghana, where he was born.

Mahama’s artistic practice has been celebrated worldwide in international exhibitions such as NIRIN22nd Biennale of Sydney (2020); tomorrow there will be more of us, Stellenbosch Triennial (2020); Ghana Inaugural Pavilion, 58th Venice Biennale, Venice (2019); Handout 14, Athens and Kassel (2017); and All the futures of the world56th Venice Biennale, Venice (2015).

As Azu Nwagbogu observed in a recent edition of art magazine, Mahama’s cultural practice includes founding, funding, building, and nurturing “museums of the future: living, metabolic, agile, and experimental” (May 18, 2022).
Among the notable institutions that Mahama has founded are the Savannah Center for Contemporary Art (SCCA Tamale), an artist-run cultural repository, exhibition-research center and artist residency. Red Clay in nearby Janna Kpeŋŋ is a sprawling studio complex where Mahama has converted old planes into classrooms for children. Nkrumah Volin is a renovated silo in Tamale.

In announcing Mahama’s appointment, Nevenka Šivavec, Artistic Director and CEO of MGLC, highlighted the important links between Ghana and the former Yugoslavia from the 1950s to 1966, when Ghana’s first president, Kwame Nkrumah, was overthrown. by a military coup. Particularly significant was the shared role of Ghana and Yugoslavia as founding members of the Non-Aligned Movement (NAM) with Egypt, India and Indonesia in 1961.

Šivavec noted that Mahama had a long-standing interest in post-independence infrastructure in Ghana, buildings that were an expression of Nkrumah’s commitment to making Ghana self-sufficient, but would then be abandoned. The impact of architects from the former Yugoslavia on institutional buildings in Ghana, such as the Kwame Nkrumah University of Science and Technology in Kumasi, was particularly significant during this period. This coincided with the founding of the Ljubljana Biennale in 1955, in the midst of the Cold War, and its desire to transcend national and ideological boundaries.

For Ibrahim Mahama, taking on the role of artistic director of the Ljubljana Biennale represents both a challenge and an opportunity. Not only to explore complex moments of exchange and aspiration, but also to reconnect lost moments, or voids, that have arisen in the shared history of Ghana and the former Yugoslavia over time. “I’m looking forward,” he remarked, “to re-establishing some of these connections within the framework of the 35th Ljubljana Biennale.

35th Ljubljana Biennial (2023)
The Ljubljana Biennial of Graphic Arts is today a dynamic and constantly evolving platform for artistic creation and critical analysis of societal events. It is characterized by the democratization of art and culture and, at the same time, by elusive and intertwined forms of knowledge, experience and practice.

The 35th edition of the Ljubljana Biennale, under the artistic direction of Ibrahim Mahama, will be created in cooperation with a number of international partners (to be announced) and national partners, including the Cukrarna Gallery, a sugar refinery from 1828 recently renovated which has served as a venue for exhibiting and performing contemporary art since September 2021.

Travel Light – NoHo Arts District

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through the film Traveling Light.

feature film To pack light opens at the Laemmle Theatre, North Hollywood on Friday, June 10.

Indie stalwart Xenon Pictures has announced that To pack lightthe latest film from British director Bernard Rose (Candyman, Beloved Immortal, Ivan’s XTC), will open Friday, June 10 at the Laemmle Theater right here in the NoHo Arts District.

Bernard Rose and part of the cast will attend the evening screening of To pack light on Saturday, June 11 and participate in a post-screening Q&A moderated by Xenon CEO and one of the film’s executive producers, S. Leigh Savidge

The Laemmle run follows the film’s soft launch as part of American Cinematheque’s Beyondfest late last fall.

Starring an ensemble cast including Danny Huston, Stephen Dorff, Tony Todd, Oliva D’Abo and Matthew Jacobs, the film examines a day in the life of a black Uber driver (Todd) who, while searching for her son, homeless at the onset of Covid-19, finds himself transporting a group of truth seekers to a Hollywood Hills house where a mysterious guru (Huston) holds court. In time, the isolation caused by the pandemic – or the perceived freedom from it – turns into madness. Meanwhile, news of the horrific murder of George Floyd resonates throughout the city as the social fabric crumbles and we realize we are witnessing the end of an era… Funny and scary at the same time, Traveling Light is a Bunuelian satire of middle-class life in Los Angeles. Angeles at a time of extreme crisis.

Tickets are available here: https://www.laemmle.com/film/traveling-light

Savidge of Xenon commented that:

“…the film examines the collision course between the thought processes of the haves and have-nots during one of the most trying times in Los Angeles’ long history. Bernard Rose captures Los Angeles in a way that many may know but few have seen.

American Cinematheque programmer Grant Moninger called the film “

“…Dark and hilarious. Bernard Rose has created one of the best films of the year.

The soundtrack features Bulgarian singer/songwriter Ivo Demchev, whose performances were acclaimed in the new yorker as “sliding effortlessly between masculine and feminine modes; his vocal register is just as protean, going from a low baritone to a soprano embellished with theremin vibratos.

The score was composed by Rose and cellist Jen Kuhn.

Xenon plans to roll out the film to select theaters across the country over the summer with a digital release slated for October.

To pack light The main cast

Tony Todd

The feature film Traveling Light opens at the Laemmle Theater in North Hollywood on Friday, June 10.
Tony Todd via the film Traveling Light.

Perhaps best known for his chilling performance as “Candyman,” charismatic actor Tony Todd has consistently delivered compelling performances since his fantasy film debut. Somnambulism (1986). Todd’s many credits illustrate his versatility. They include movie classics such as The rock (1996), The crow (1994), lean on me (1989), Bird (1988), night of the living dead (1990), Final destination (2000), the film by Oliver Stone, multiple Oscar winner Section (1986) and The secret (2000), which was nominated and screened at the Cannes Film Festival.

Danny Huston

The feature film Traveling Light opens at the Laemmle Theater in North Hollywood on Friday, June 10.
Danny Huston via the film Traveling Light.

Award-winning actor, screenwriter and director Danny Huston is known for his versatility and dramatic screen presence. Most recognized for roles in films like Martin Scorsese the aviatorby Alphonse Cuaron children of men and Alejandro Inarritu 21 grams, Huston worked with some of the finest film directors of his generation. He could recently be seen in the Netflix feature IO opposite Anthony Mackie, as well as the feature film Stan and Ollie, directed by Jon Baird for BBC Films. Additionally, Huston starred in and directed the feature film The last Picture (2017), which was released on September 6, 2019.

Stephen Dorf

The feature film Traveling Light opens at the Laemmle Theater in North Hollywood on Friday, June 10.
Stephen Dorff via the film Traveling Light.

Stephen Dorff was chosen from over 2,000 young men from around the world when he auditioned for and won the coveted role of “PK” in John G. Avildsen. The strength of one (1992) in 1992, with Morgan Freeman, John Gielgud and Fay Masterson. For his performance, he received the Male Star of Tomorrow Award from the National Association of Theater Owners. Dorff went on to amass an impressive list of screen credits, chief among which is New Line’s Blade (1998), in which he co-starred with Wesley Snipes and won “Best Villain” at the MTV Movie and Blockbuster Entertainment Awards. Dorff was recently chosen for the Chainsaw Massacre prequel Leatherface (2017) and the fantasy family film Albion: The Ascent of the Dannan (2016).

Olivia d’Abo

The feature film Traveling Light opens at the Laemmle Theater in North Hollywood on Friday, June 10.
Olivia d’Abo via the film Traveling Light.

Olivia d’Abo is an English actress and singer from London. She made her debut as a teenager in 1984 and remained active through the following decades. Her most famous role was as the free-spirited Karen Arnold in the historical television series The good years (1988 -1993). From 2002 to 2008, d’Abo played criminal mastermind Nicole Wallace in police procedural Law & Order: criminal intent (2001-2011). From 2008 to 2009, d’Abo played Jedi Master Luminara Unduli in the anime series Star Wars: The Clone Wars (2008-2020). In 2019, d’Abo voiced Luminara Unduli again, in a cameo role in the live-action film Star Wars: The Rise of Skywalker. She continued to work regularly in film and television. D’Abo had lasting appeal.

About Xenon Images

Founded in 1986, Xenon Pictures, Inc. is one of the oldest continuously operating motion picture distribution companies in the United States. Long associated with ethnic content and niche marketing, Xenon acquires around 25 titles a year to add to an evergreen library, a few of which are positioned for theatrical release. Besides its decades-long association with Rudy Ray Moore (AKA Dolemite), the company is known for developing Straight Outta Compton which earned founder S. Leigh Savidge an Academy Award nomination for Best Original Screenplay.


Check out more articles about the film industry, filmmakers, and film and TV reviews.

Supple, shredded, dark | Vivienne Flescher

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The illustrator of an article on women’s reproductive rights must be wary of the tropes and clichés of female imagery: the body, the hourglass, the hourglass body, the fetus, the coat hanger, the woman. When the editors of the Review decided to illustrate our colloquium on the new threat to access to abortion posed by Judge Alito’s draft opinion in Dobbs v. Jackson Women’s Health Organization, my first thought was Vivienne Flesher. Her lines are supple, but there’s a dark, jagged stain that undermines what might otherwise be mistaken for soft femininity. His drawings seduce even when they depict the violence of domesticity and the law. Her babies can be cute while grimacing; his naked women communicate their power.

In addition to having drawn fourteen illustrations for the series of essays on the end of deer, Flesher contributed a painting that served as the cover for our June 9 issue. I emailed him this week asking about abortion, drawing women, and Rodin.


Leanne Shapton: Can you tell me where you grew up and what led you to paint and draw in the first place?

Vivienne Flescher: Growing up in suburban Long Island, I struggled in school, with math and spelling, but I could draw and ride horses. So my options seemed very clear to me: be an artist or join the circus. I ended up studying at Parsons and stayed in New York for many years before ending up in San Francisco. I’m still a New Yorker at heart.

I wanted to work with you on this series not just because I thought abortion might be an issue close to your heart, but because we needed so much footage so quickly, and I know how fast you can think and draw. Where were you when I asked you if you were available? And had you heard of the draft notice at the time?

I knew this was coming, I think we all know that since Trump and Mitch McConnell cheated to put anti-abortion justices on the Supreme Court. I was away from my studio when I saw your email on my phone. I couldn’t read it well because of the sun and I didn’t have my glasses. I immediately said yes to your project – anything to fight for abortion rights – but I had no idea you wanted so many drawings in such a short time until I went back to my studio, and that I can correctly read your message. I mostly painted during the Covid years and wasn’t sure I still had what it takes to work as a full time illustrator.

Illustration by Vivienne Flesher

Did any of the fourteen essays resonate with you?

Many of them moved me. I thought I knew this material; I feel passionate about it. But I learned so many things that I didn’t know before. Each writer conveyed something that I had not experienced or felt before.
Christine Henneberg was powerful and moving. I’m older than you and I was personally struck by Liza Batkin’s article. In my youth, men often behaved as if their word was sacrosanct. The dishonesty and dishonesty of Judge Alito’s reasoning is explained in Batkin’s essay.

The two previous illustrations you did for us were portraits of Patricia Highsmith and Hannah Arendt. You drew them both smoking cigarettes. Very few writers are photographed smoking these days – I guess I want to ask you where your visual dark side comes from. I especially like the way you describe women because of this trend.

I’m glad you appreciate my dark side. I guess we all have that lurking inside of us. As an illustrator, most of my clients didn’t want to see it. But my work for you and my own painting is where I can let it out. Although smoking is a vile and dangerous habit, it is a magnificent accessory – just look at classic black and white films or photographs from the turn of the 20th century.

Patricia Highsmith

Patricia Highsmith; illustration by Vivienne Flesher

Have you deliberately reduced your full-time illustration job to paint?

I was bored with the illustration, and when Covid hit I thought, Why am I still doing this, if it doesn’t make me grow or it doesn’t interest me anymore? When I was starting out as an illustrator, the art and editorial departments were equal but separate entities. Over time, editorial and marketing took over. Ads, book jackets, even most publications aren’t as visually exciting anymore. Like so many others, I was looking for something to get through the Covid years. My love of solitude and my art have sustained me, more than that, they have brought me joy. Right now I’m obsessed with creating digital art from drawings, paintings, photographs. I love what Photoshop brings to the process. These files can be reproduced at any scale.

Are you reading more non-fiction or fiction lately? And do your readings inform your personal paintings?

I’ve just finished The hungry road, by Ben Okri, and used fragments of his sentences as titles for an exhibition of paintings. His writing is like getting lost in a dream. I mostly watched movies. I will be photographing moments from movies and incorporating them into my new computer work. As you know, when you’re an artist, there are times when everything becomes your art, and it’s exciting to follow that.

Cover of the June 9, 2022 issue

I’m curious about the cover image. What’s the story behind it all? I really like the crossed arms of the figure. This gesture reminds me of something in the balance, a pause or a defense.

When I had time, I made small paintings for myself. Sometimes these paintings depicted the people I met on my travels; I did a series about the wonderful people I met in Papua New Guinea when I spent a month there years ago. Sometimes these small paintings represent friends or objects in my life. I don’t remember specifically but I think the one on your cover is from a book I was looking at during the pandemic. I like what you see in his posture and I believe art is about what the viewer sees in a painting. For me, the less revealed the better, unless I’m illustrating; so my work has to convey something quick and tangible. I much prefer mystery.

Your paintings, at least many of those we selected for the cover, made us think of Rodin, his Cambodian dancers and his erotic studies. Are you a fan of him? What figurative work do you like or watch?

I love Rodin’s watercolors. They are so elegant. Recently, I discovered the Asafo flags, made by the Fante people of Ghana. I’m not sure they find their place in my work, but I love looking at them. My husband, Ward Schumaker, is also an artist, and we constantly inspire each other. Which is a good thing, since we’ve been locked up together during this weird time.

Reading Banksy-style artist Peachy celebrates Queen’s Jubilee with artwork in Bracknell and Bucks

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A Banksy-style artist has taken to the streets of Berkshire and created Jubilee-themed artwork. Reading-based artist Peachy has become well known in the area as they continue to create graffiti across the county.

They were known to have created Banksy-like graffiti on the side of Reading Gaol which was removed less than 12 hours later. Banksy’s team confirmed that the artwork was not created by the anonymous artist.

Ahead of the Queen’s Jubilee celebrations, Peachy has been busy creating Jubilee artwork in Berkshire and Buckinghamshire. From Bracknell to Marlow, every room has been adorned with Union Jack streamers.

READ MORE: ‘I tried to make Platinum Jubilee pudding and my family refused to eat it’



If you’re lucky enough to spot them, you might find the spray-painted queen with a baseball bat ready to swing, or even a gorilla relaxing in the grass. Each Jubilee piece has been signed with Peachy’s signature so you can be certain of the artwork that belongs to them.

The street artist has already created many works of art that people like to point out on social media. Peachy decided to create Jubilee artwork as people go “Jubilee crazy”. Speaking to BerkshireLive, they added “I’ve tried to keep the pieces in the context of the towns too so they don’t look too out of place. I hope they create something to talk about and give people some fun for a few minutes. As long as the people looking at the works are smiling and enjoying them, that’s all that matters.”

Eleven-year-old prodigy Andres Valencia evokes George Condo, Picasso, in vibrant paintings, including the visceral contemporary ‘Guernica’ in the face of the invasion of Ukraine

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A wide eye cries over a Ukrainian flag emblazoned with a broken heart and bullet casings, drawing our gaze to the upper left corner of a monumental canvas. Symbolism and surrealism collide as distressed and distorted cubist figures – one wielding a huge assault rifle that commands the center of the boldly colored painting – exhibit the dread and dread of war. Drawing on Picasso’s 1937 anti-war masterpiece, 11-year-old Andres Valencia contemplates the horrors of Russian President Vladimir Putin’s bloodthirsty action. Invasion of Ukraine.

His mother, Elsa Valencia, said Andres stayed home from school on March 25, a month and a day after the invasion began, because he felt sick. February 24 marked the escalation of the bitter and simmering eight-year Russian-Ukrainian war, and thrust it into the global spotlight.

“It was March 25. I know the date because when he finished sketching it, he wrote the date and signed on the back of the canvas, so we won’t forget. Andres was in his room while I watched and listened to the news about the war in Ukraine,” Elsa Valencia said. “He was very calm and I went into his room to make sure he was okay. When I walked in I saw a small 12″ x 9” canvas sketched and colored in marker. questions about the painting. He said it was “the invasion of Ukraine”. I was absolutely moved by the painting. I sat there analyzing it. I turned to him and I asked him if he wanted a big canvas. He turned to me and asked if Putin would do ‘something’ to him. I said ‘no, he won’t do anything to you.’ you that he would do something to you? I asked him. He said, ‘because when Picasso painted GuernicaFranco was not happy about it and they wanted to hurt Picasso.

Andres Valencia descended into the living room of his San Diego home and, within nine minutes, sketched the final tableau on a large canvas, Elsa Valencia said.

“When he was done, I sat there and made sure to ask him what exactly it all meant,” she said. “He went through every area and described the whole picture.”

Andres Valencia, who began painting at around five years old while standing on a stepladder to create large-scale works with a mixture of oil sticks, oil and acrylic paint, is also a war history buff. Commander (2022) is a nod to this fascination and a delightful play of a green uniform rising from a lavender background.

“I think history is important and I watch documentaries because I want to learn. All wars are bad. I also get to know the soldiers and what they did in the war. I discovered ( conscientious objector) Private Doss and (the real Rambo, Staff Sergeant Raul Perez) ‘Roy’ Benavidez,” Valencia said. “I think art tells stories and I tell the story of the people Ukrainian and what Russia is doing to him My painting tells a story that cannot be forgotten.

Valencia took the art world by storm, quickly selling out a Chase Contemporary booth at Art Miami last December, where crowds gathered to watch him paint live with Caribbean-American artist Bradley Theodore. People hid under ropes and tried to climb a ladder to get a look at the then 10-year-old virtuoso who sold paintings to celebrities such as Brooke Shields and Sofia Vergara to benefit the Perry J. Cohen Foundation (PJCF), which supports the arts, education and conservation of the environment, sea and wildlife, as well as teen entrepreneurship and boating safety education.

June is an exceptional month for Valencia’s career trajectory. It makes its global auction debut on June 21 at the Phillips 20th Century & Contemporary Art & Design Day Sale in Hong Kong, when the original Ms. Cube (2020) the painting, used for its first limited edition print, goes on the block. His first solo exhibition opens at Chase Contemporary’s flagship SoHo on June 23, with a reception that evening. Valencia is represented exclusively by Chase Contemporary. Committed to philanthropy, Valencia is donating a painting to be auctioned at the UNICEF Summer Gala on July 30 in Capri, Italy.

Heavily influenced by George Condo, Picasso and Cubism, Valencia combines bold colors and clever fragmented facial compositions to create large-scale, dramatic and vibrant figurative paintings that convey complex narratives. Katalina (2020), depicting a female figure with an elongated neck, a left eye embraced by a blue oval, and pouting crimson lips on a blocky yellow chin, challenges us in its story.

Prolific and prodigious, Valencia paints daily from his home studio, where he also studies art history, watches painting videos and sculpts, developing an interest in a wide range of artists such as Gerhard Richter, Vincent van Gogh, Amedeo Modigliani, Francis Bacon, and Michelangelo. He is also influenced by RETNA, Richard Hambleton, Raphael Mazzucco, Salvador Dalí and other artists his father started collecting around eight years ago.

Valence often begins with small sketches before embarking on larger canvases, guided by her color wheel. Painting several canvases at the same time, Valencia executed many works in about four days, relying on an inspiration that struck at all hours, sometimes waking him from sleep.

Teachers in her California public school’s Visual and Performing Arts Program (VAPA) quickly recognized her exceptional and precocious talent, and her parents immediately encouraged and nurtured her self-expression.

Max the Clown (2022) conveys introspection and engages our eyes in a dance across the canvas, as if we juggle the blue orbs across the body and forehead and green circular cheeks. Pictorial drips bleed from the red wig and a blue dot on the chest. The teacher (2021) stands to the left of the canvas, her multi-faceted facial features and sinuous costume contrasting with the thick brushstrokes on the muted background.

Sometimes he paints in silence, other times he listens to a wide range of music including The Beatles, The Sugarhill Gang, Run DMC, The Beastie Boys, The Animals and James Brown. His subjects include exaggerated human figures and clowns, sometimes inspired by movies and cartoons, “but mostly ideas that come to mind,” Valencia says.

Judge delays decision to return Santa Cruz Black Lives Matter mural to July

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SANTA CRUZ — Much was discussed but no decision was made Thursday by Santa Cruz Superior Court Judge Syda Cogliati regarding the return of the vandalized Black Lives Matter mural in downtown Santa Cruz.

Members of the public struggled to find a free seat in the courtroom where lawyers’ arguments continued for the two men accused of defacing the Center Street mural last summer. Brandon Bochat, 21, and Hagan Warner, 20, were arrested last July on suspicion of criminal vandalism and were later charged with an additional hate crime and misdemeanor reckless driving.

Defendant Hagan Warner waits outside Judge Syda Cogliati’s courtroom on Thursday for the hearing into the downtown Santa Cruz Black Lives Matter mural vandalism to begin. (Shmuel Thaler – Sentinel of Santa Cruz)

The incident involved several rounds of burnouts in which the defendants are accused of taking turns driving Warner’s truck into the face of the mural, which left long dark tire tracks on its lettering bright yellow. Bochat and Warner previously pleaded not guilty to the charges. Warner was present in the courtroom on Thursday while Bochat was not.

In a previous hearing, Assistant Santa Cruz City Attorney Cassie Bronson provided the court with an estimated cost to restore the mural of $103,000 to $114,000 and Cogliati said he was unlikely to order a reduced fine to obtain a less costly remedy. The defense disputed this figure and the parties met again to argue their case in the hope of arriving at a final figure.

The only witness was Abi Mustapha, who introduced herself as the “initiator” of the project and is also a member of the Santa Cruz Equity Collab which helped organize and facilitate the construction of the mural. Assistant District Attorney Michael Mahan began the first line of questions, which mostly revolved around the creation of the mural, the specific artistic steps required, and the costs incurred in creating the artwork.

Mustapha, who is an artist herself, listed the various steps needed to complete the project, including city permits, street measurements, selection of permitted paint, organization of events, and multiple stenciling and painting phases of the letters themselves. She said the planning for the project took several months and many people involved did not charge a fee. The mural also requires annual restoration work, the first round of which was carried out just weeks before the vandalism.

“We all did it as an in-kind donation,” she said. “We don’t do these things just to make them look pretty all the time.”

Taylor Reinhold is a local artist and he and his team named “Made Fresh Crew” led the actual artistic execution of the project. Mustapha felt that Reinhold could have reasonably charged $35 to $40 per square foot for the project, but ended up doing it for free. According to defense attorneys, the mural measures 2,750 square feet.

“People saw it as a safe place,” Mustapha said of the mural. “The value of art is rarely, if ever, based on the value of supplies or expense. It’s not just paint on the street.

Mahan concluded by asking Mustapha what a justified outcome might look like for the defendants. “I would like to see them repaint the mural,” she said.

Defense attorney Micha Rinkus began her own round of questioning by presenting Mustapha with photos of various murals Reinhold had painted in Santa Cruz County. She asked Mustapha if she thought Reinhold would charge different prices for projects that required different layers of color and detail. Mustapha said she didn’t know, but for her personal work, she sometimes takes these factors into consideration when billing a client.

Cogliati closed the hearing by confirming that no decision would be made on Thursday. The next hearing is scheduled for July 25 at 9 a.m., where restitution will be discussed in more detail.

Former Video Store Worker Quentin Tarantino Launches His Own Podcast About VHS Tapes

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Quentin Tarantino loves movies. He loves directing them and has nine impressive films to his name spanning three decades to prove it. He so loves dropping references, nods, and nods to other films in his films, as anyone who’s ever seen even one already knows. Sometimes, as in Inglourious Basterds and Once upon a time in Hollywood, he builds the business of making films or screening them – or both – in his storylines as well. He’ll talk about it at length, too, and he’s turned his last film into a book that spends a lot of time delving into the history of film and television. So naturally, he’s about to do what every movie buff seems to do at some point. Yes, he does a podcast about movies.

As he sat on reservoir dogs, Jackie Brown, Kill Bill and The Hateful Eight filmmaker behind a microphone and just letting him speak lyrically about film would have drawn listeners in anyway, Tarantino’s new podcast has a specific angle. Famous, he was once a clerk in a video store – so he immerses himself in that time. That’s why you will listen The Video Archive Podcastwhich is named after the California store Tarantino worked at in the 80s. And, true to that concept, he’ll discuss the movies he watches on the old store’s VHS tapes.

Because Tarantino is Tarantino, he acquired the joint’s tapes in 1995 and also rebuilt the Video Archives store at his home. Now alongside her co-host Roger Avary – who also worked at The Video Archives, where the pair met; also became a director, making Kill Zoe and The rules of attraction among other films; and collaborated on the Oscar pulp Fiction scenario – he’ll pull out tapes from his own shelves, watch them and start chatting.

As shown in the podcast trailer, the couple will discuss films such as John Carpenter Black Star, Obligation film moonrakermexican supernatural movie Demonoid: messenger of death and horror comedy piranha — aka titles they recommended and praised all those years ago. They’ll be joined by announcer Gala Avary, Roger’s daughter, and also “expose listeners to movies they didn’t know they’d like, reward their favorites, and rate the quality of the video transfer,” according to the podcast announcement. .

The Video Archive Podcast is set to begin airing episodes on Tuesday, July 19 and will arrive via SiriusXM’s Stitcher. And yes, of course, Tarantino already has something to say about it.

“We never imagined that 30 years after working together behind the video archive counter, we’d be together again doing exactly the same thing we did back then: passionately talking about movies on VHS,” they said. Tarantino and Avary in a joint statement.

“Watching movies originally brought us together and made us friends, and it’s our love of cinema that still brings us together today. -we have returned to the golden age of VHS. We LOVE discussing movies and we want to welcome you to The Video Archive Podcast to hang out with us and the Archives New Employee Gala, and discover the hidden VHS gems on our shelves.”

For more information on The Video Archives Podcast, which will begin streaming episodes beginning Tuesday, July 19, head over to Stitcher.

Top image: Once Upon a Time in Hollywood.

Posted on June 03, 2022 by

Sarah Ward


NFTs and tattoo art collide with Indelible launch

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NFTs and tattoo culture are two hot markets, but there is generally no significant overlap between them. Indelible, a new startup launched by Mike Amoia, merges the two worlds.

Indelible is a community-centric NFT company that bridges the gap between tattoo culture and Web3. The company is the first of its kind to help NFT owners use their intellectual property rights by adding watermarks to their profile pictures, or PFPs.

Amoia sees the tattoo industry as a source of untapped NFT potential. Indelible will tattoo one of the biggest collections of up-and-coming PFP characters with insect tattoos for a one-of-a-kind collaboration set. Each bug will have unique powers and stories to tell.

Mike Amoia

You may not know Mike Amoia’s name but I assure you he doesn’t blend in with the crowd and if you saw him in public you would remember him. He is a producer, musical director, business visionary, financial specialist and philanthropist.

Tattoos are no longer taboo as they once were. They’ve definitely been accepted by the mainstream in today’s culture, but even people with lots of tattoos would see Mike and be like, “Shit. That’s a lot of tattoos. Mike got a head-to-toe tattoo as a unique form of therapy to overcome his fears dating back to childhood abuse. It has the unique characteristic of holding the Guinness World Record for most insect tattoos– with 864 representations of insects permanently inked on its body.

Mike is also a music investor and promoter. He is co-founder of mibe music, a music publishing agency that offers over 100,000 custom music tracks across 34 genres. Their music has been featured in films, television and commercials, including the opening theme for the NBA Finals and Monday Night Football.

Indelible

Indelible is the first NFT company to merge real tattoos made by some of the most influential artists and virtually brand a PFP character for a limited NFT collaboration collection. Individual NFT holders can monetize their IP rights by virtually tattooing their NFT characters with an indelible artist and owning an additional NFT. Members will have access to utilities that will serve the distribution process.

For the genesis drop, Indelible is partnering with a top notch NFT collection and offering them a royalty on the sale. The first drop will center on Mike’s Guinness World Record and his insect tattoos. Customers will be able to purchase an Indelible NFT tattoo machine, allowing them to have their PFP tattooed with rare artistry by some of the world’s top tattoo artists.

Indelible works with three renowned tattoo artists: Mike Rubendall of Kings Avenue Tattoo, specialist in Japanese-style tattoos, Matt Skinny, of Made to Last Tattoo, specialist in black and gray realism, and BJ Betts of State Street Tattoo. Rubendall and Skinny tattooed Amoia in real life, and Betts did the logo design for Indelible.

For a bright future

The mission of this first NFT tattoo drop from Indelible is to raise awareness and funds for a non-profit organization that Amoia cares about and is personally involved with—For a bright future. For a Bright Future helps underrepresented and disadvantaged children through health, education, youth leadership and the power of storytelling.

Amoia said his discord manager is in remission from cancer and one of his community managers has cerebral palsy. So there are plans to donate a portion of the proceeds to their charities of choice as well.

When cultures collide

I had the chance to speak with Amoia about Indelible and the goals he has for this NFT project. We talked a bit about tattoo culture in general. I have a few and plan to have many more (nothing close to Amoia).

We talked about how tattoos have been widely accepted by the general public, but they are still considered objectionable by a large portion of white collar or corporate America. There are many jobs that have specific rules stating that you cannot have visible tattoos while you are on the job. This is completely stupid and irrational because having a tattoo inked on your body literally has no impact on your ability to do a job, but many people in leadership positions are still stuck in an outdated mindset in regarding tattoos.

The NFT culture is emerging. Frankly, I still don’t really understand. I know that Beeple made $69 million selling a collection of his art as NFTs, and a lot of money is changing hands for digital anime collectibles on the NFT marketplace. Amoia and I explained that this is just one facet of NFTs, which only scratches the surface. Due to the nature of NFTs and blockchain technology, there are many other potential use cases and benefits, but for now it appears to be primarily a market for niche collectibles.

Amoia intends to demonstrate that the tattoos – which many believe would deter him from finding a job and earning money – can be monetized and will soon be available for purchase to help children in need. .

Artwork featuring Soviet-era Tskaltubo sanatorium in Georgia becomes actor Jim Carrey’s first NFT acquisition

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A digital artwork that has been described as a “surreal collision between the past and the future” with its image of a dilapidated Soviet-era sanatorium in the famous western Georgia resort of Tskaltubo , became the first NFT coin obtained by popular actor Jim Carrey.

The Grammy-winning and Oscar-nominated comedian and actor revealed on Twitter on Wednesday that he got Dedicationa piece from the series by artist Ryan Koopmans The savage withinas its first non-fungible token coin.

In her tweet, Carrey thanked the artist for “gently capturing the exquisite and relentless reimagining of nature” with the image.

Koopmansa Dutch-Canadian creative, worked with Alice Wexell to introduce digital vegetation into a photograph of an interior of the abandoned sanatorium space, while altering the lighting and structure of the building. Erik Thome produced sound for the visual space, completing the multimedia piece reflecting the passage of time.

It’s the final work of the The savage within series that sought to breathe new life into abandoned Soviet-era buildings, with its depiction paying homage to Tskaltubo’s heritage as one of the USSR’s premier spa resorts that hosted state dignitaries and ordinary citizens between the 1940s and 1980s.

With the dissolution of the Soviet Union and the tumultuous decade that followed, the station’s facilities were partially dismantled and left without maintenance, leaving their once-eye-catching classic architecture in disrepair.

While the sanatorium buildings have enjoys popularity among international visitors and Online media publishing on the ‘New East’, their condition has so far prevented the venue from resuming its former role, but new plans have recently been drawn up to revitalize the former resort town.

The latter included a presentation on Tuesday of the latest updates around a project to renovate the site and boost tourism in the region, involving architects and designers and organized as part of the annual celebration of design and Italian architecture in Tbilisi.

First exhibition to explore the collaborative partnership of James McNeill Whistler and Joanna…

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James McNeill Whistler, Symphony in White, No. 1: The White Girl, 1861–1863, 1872, oil on canvas, overall: 213 x 107.9 cm (83 7/8 x 42 1/2 in.) National Gallery of Art, Washington, Harris Whittemore Collection

When James McNeill Whistler (1834-1903) and Joanna Hiffernan (1839-1886) met in 1860, they began a close professional and personal relationship that lasted over two decades. Presenting some sixty works including paintings, drawings and prints, The Woman in White: Joanna Hiffernan and James McNeill Whistler explores their partnership and the iconic works of art resulting from their collaboration. Bringing together nearly every known depiction of Hiffernan, as well as relevant documents and letters, this exhibit explores who Hiffernan was, his partnership with Whistler, and his role in the creative process. The woman in white is on view July 3 through October 10, 2022, at the National Gallery’s East Building in Washington, DC.

James McNeill Whistler, A White Note, 1862, oil on canvas, overall: 36.8 x 31.8 cm (14 1/2 x 12 1/2 in.) The Lunder Collection, Colby College Museum of Art, Waterville, ME , 021.2011

Baptized in Limerick, Ireland, Joanna Hiffernan immigrated to London with her parents and siblings, where as Irish Catholics they experienced poverty and social prejudice in a class society. When they met in 1860, Hiffernan not only became Whistler’s main model, but also helped manage his studio and financial affairs. In 1866, Whistler gave her a power of attorney and made her his sole heiress in his will. In 1870, after Whistler fathered a child with Louisa Fanny Hanson, Hiffernan and his sister Agnes Singleton raised the boy, Charles (“Charlie”) James Whistler Hanson. The child became the main link between Hiffernan and Whistler in the 1870s and into the 1880s. In 1886, Hiffernan died of bronchitis after lifelong respiratory problems which may have been exacerbated by her previous exposure to toxic art materials while working in the studio.

Despite all the documents, letters and works of art that document Hiffernan’s life, there is still much to discover. Personal correspondence is rare, and no photographs of Hiffernan or artwork of her have yet been found. Showcasing what is known, the exhibit invites visitors to participate in Hiffernan’s reclaiming humanity by considering the essential mystery of who she was.

“This is the first exhibition to delve into how these exquisite depictions of Joanna Hiffernan were made, what they signify, who Hiffernan was, and the broader influence and resonance of Hiffernan’s collaboration with Whistler for Victorian culture in the late 19th century,” said Kaywin Feldman, director of the National Gallery of Art. “We are deeply grateful to Professor Margaret F. MacDonald, the preeminent authority on Whistler’s art and life, for graciously agreeing to guest curate this presentation in collaboration with Ann Dumas and Charles Brock. to thank our lenders for their willingness to share their precious works of art and to the Terra Foundation for American Art for their support of the exhibition and the accompanying book.”

James McNeill Whistler, Weary, 1863, signed with butterfly, c. 1874, drypoint on cream Asian laid paper: 19.7 x 13.1 cm (7 3/4 x 5 3/16 in.) Collection of the University of Michigan Museum of Art, Ann Arbor, Bequest of Margaret Watson Parker, 1954 /1.353

The exhibition was curated by Margaret F. MacDonald, Emeritus Professor of Art History, University of Glasgow, in collaboration with Ann Dumas, Curator at the Royal Academy of Arts and Consultant Curator of European Art, Museum of Fine Arts, Houston, and Charles Brock, Associate Curator of American and British Paintings at the National Gallery of Art.

The exhibition travels from the Royal Academy of Arts, London, to the National Gallery of Art, Washington, DC, from July 3 to October 10, 2022.

Symphony in White, No. 1: The White Girl (1861–1863), one of the National Gallery’s most famous and popular works, is on display along with Whistler’s second and third “Symphony in White” paintings, for the first time in the United States. Featuring an anonymous subject – whom we identify as Joanna Hiffernan, an Irish Catholic woman with little or no status in British society – these works shifted the essence of modern art from sentimental storytelling and austere realism to abstraction: striking model could be.

James McNeill Whistler, The Artist in His Studio (Whistler in His Studio), 1865/1872, 1895, oil on paper mounted on panel Overall: 63 x 47.3 cm (24 13/16 x 18 5/8 in.) The Art Institute of Chicago, Friends of American Art Collection, 1912.141 The Art Institute of Chicago / Art Resource, NY

In addition to these visual “symphonies”, the exhibition’s first gallery features Hiffernan in a variety of other roles and settings, ranging from a gritty, working-class environment (Wapping (1860-1864), named after a district on the banks of the Thames in London) to superbly appointed interiors where it is surrounded by fine examples of textiles, pottery and prints from the extensive collections of Asian art of Whistler.

In the second gallery, prints and drawings depict Hiffernan as Whistler would have encountered her in the shared spaces of their London studio and home. The intimate scale of these works on paper – originally intended to be portable – amplifies the personal and psychological dimensions of the couple’s relationship. Notable works include two striking drypoints: Jo (1861) and Tiredness (1863).

The paintings of women dressed in white in the third gallery were made in the Victorian era by European and American artists who influenced or were themselves directly inspired by Hiffernan and Whistler’s most important and controversial collaboration, Symphony in White, No 1: The White Girl. This gallery highlights not only how other artists incorporated the technical challenges of white paint into their work, but also some of the broader cultural associations the color held for Victorian audiences, fashion and spiritualism. perceptions of gender and race. Among the works displayed here are important paintings by John Singer Sargent (1856–1925), Dante Gabriel Rossetti (1828–1882), and John Everett Millais (1829–1896). Symphony in white (1908) by Andrée Karpelès (1885-1956) stands out as the only portrait of a “woman in white” painted by a woman in this exhibition and is a particularly striking example of the omnipresent influence of the “Symphony in White” by Whistler.

The last gallery of the exhibition looks back at the history of the partnership between Hiffernan and Whistler. It includes three portraits of Hiffernan by Gustave Courbet (1819–1877), from when the three spent time together in the seaside village of Trouville, France, in the fall of 1865. A series of illustrations that Whistler and Hiffernan undertook in 1862. Featured in popular periodicals good words and Once a week, Hiffernan assumes various roles – a cotton mill worker, a tapestry weaver, a nun – posed as if in moments of anguish, doubt or peaceful introspection. These images suggest affinities between Hiffernan’s own experience and the plight of the women she portrays.

James McNeill Whistler, Symphony in White, No. 3, 1865–1867, oil on canvas: 51 x 76.5 cm (20 1/16 x 30 1/8 in.) The Henry Barber Trust, The Barber Institute of Fine Arts , Images of Bridgeman from the University of Birmingham

In addition to the artworks, letters and documents displayed in the final gallery shed light on the complex personal relationship between Whistler and Hiffernan. We see depictions of Hiffernan’s sisters Agnes and Ellen, Whistler’s son Charles, and the woman who supplanted Hiffernan as Whistler’s primary role model, Maud Franklin. Among the documents on display are letters from Whistler to Hiffernan, a legal document granting her power of attorney, and Whistler’s will naming her as his sole heir, items that highlight the key role Hiffernan played in their unconventional but enduring partnership.

Albert Herter, Portrait of Bessie (Miss Elizabeth Newton), 1892, oil on canvas, overall: 149.9 x 81.3 cm (59 x 32 in.) High Museum of Art, Atlanta, purchased with funds from the Margaret and Terry Stent Endowment for the Acquisition of American Art and High Museum of Art Enhancement Fund, 2000.162

Companion book

Published with Yale University Press, this 232-page illustrated volume provides the first comprehensive account of Irish-born model Joanna Hiffernan’s partnership with American-born artist James McNeill Whistler at a time when he was forging a reputation as a to be one of the most innovative and influential artists. artists of his generation. A series of essays explain how the relationship between Hiffernan and Whistler overturned artistic conventions and highlights their interactions with contemporaries, including Gustave Courbet, for whom Hiffernan also modeled. This catalog traces their resonance for artists including Edgar Degas, Gustav Klimt, Dante Gabriel Rossetti and John Singer Sargent, and includes new insights into the creation, marketing and cultural context of Whistler’s iconic works.

This book is edited and written by Margaret F. MacDonald, Emeritus Professor and Honorary Research Fellow at the School of Culture and Creative Arts, University of Glasgow, with contributions from Charles Brock, Associate Curator of American and British Paintings at the National Gallery of Arts, Washington; Patricia de Montfort, Lecturer in Art History and the School of Culture and Creative Arts and Research Curator for Whistler Studies at The Hunterian, University of Glasgow; Ann Dumas, Curator at the Royal Academy of Arts, London, and Consultant Curator of European Art, Museum of Fine Arts, Houston; Joanna Dunn, painting conservator at the National Gallery of Art, Washington; Grischka Petri, Honorary Research Fellow at the University of Glasgow; Aileen Ribeiro, Emeritus Professor at the Courtauld Institute of Art, London; and Joyce H. Townsend, Senior Conservation Scientist at Tate, London, and Honorary Research Fellow at the School of Culture and Creative Arts, University of Glasgow.

The book is available for purchase from stores in the west and east buildings; shop.nga.gov; 800.697.9350; Where [email protected]

Samella Lewis, tireless champion of African-American art, dies at 99

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When Samella Lewis began teaching art history in the 1950s and 1960s, black artists were often excluded from major American museums, neglected in favor of European masters and white abstract expressionists. Artists of color had few opportunities to reach large audiences, she later recalled, and “there was no African American museum west of the Mississippi.

So Dr. Lewis, a New Orleans native with a doctorate in fine arts, began creating alternative institutions, aimed at promoting and preserving the work of black artists like Sam Gilliam, Jacob Lawrence and his mentor, Elizabeth Catlett. Moving to Los Angeles in the mid-1960s, she founded three galleries for artists of color, created the city’s Museum of African American Art, published a historical study of contemporary black art, and wrote one of the first textbooks on the history of African American art.

“Art is not a luxury like many people think,” she said, according to the Black Art in America website. ” It’s a necessity. It documents history – it helps educate people and store knowledge for generations to come.

A tireless champion of African-American art, Dr. Lewis was also an accomplished painter and printmaker in her own right, with works in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art, both in New York. She was 99 when she died on May 27 at a hospital in Torrance, Calif., after suffering from kidney disease, according to her son Claude.

In a life guided by his dedication to art and social justice, Dr. Lewis taught in Jim Crow-era Florida while working with a Tallahassee branch of the NAACP – rabid members of the Ku Klux Klan , who fired through the windows of his home, according to his Louis Stern Fine Arts gallery.

Her activism continued after moving to upstate New York, where she co-founded a chapter of the NAACP while teaching at the State University of New York at Plattsburgh in the late 1950s. , and after moving to Southern California a few years later. While coordinating education programs at the Los Angeles County Museum of Art, she picketed the museum, according to her son, “because they had almost no African American art – or art from anyone of color”.

To promote African-American artists, Dr. Lewis made short documentaries about sculptors such as Barthé and John Outterbridge. She also teamed up with printmaker Ruth Waddy to interview dozens of artists for the book “Black Artists on Art” (1969), a two-volume survey of the contemporary scene which she published through Contemporary Crafts Gallery, a publishing house and exhibition space she co-founded with actor Bernie Casey.

The book was intended to “promote change”, she writes, “change so that art can function as an expression rather than an institution” – and thus serve whole communities, rather than amuse or enrich a privileged few. His own work featured poignant depictions of African-American life, including scenes of field workers like the man depicted in his 1968 linocut “Field,” who is shown raising his arms to the sun and clasping one hand in a defiant fist.

“The artist is a performer”, Dr. Lewis later wrote, “a voice which makes intelligible the deepest and most significant aspirations of the people” and “a channel through which their resentments, their hopes, their fears, their ambitions and all the other unconscious impulses that condition behavior express themselves and become explicit.

Dr. Lewis reached a wide audience with his 1978 textbook “Art: African American”, which draws on the work of African-American art historian James A. Porter and describes more than two centuries of black American art, beginning with the colonial era. Revised and expanded as “African American Art and Artists,” it became a staple of college courses, assigned to art and African American studies classes for years.

“Thanks to Samella Lewis,” artist and art historian Floyd Coleman wrote in a preface to the 2003 edition of the book, “we gain a deeper appreciation and understanding of the richness and diversity than the African-American art adds to American civilization”.

The daughter of a farmer and a seamstress, Samella Sanders was born in New Orleans on February 27, 1923. (Many sources give her year of birth as 1924, although her son Claude said her birth certificate had was given late and had taken a sabbatical at the wrong age.)

In high school, she met an Italian portrait painter, Alfredo Galli, after lingering in the window of his shop in the French Quarter. He spoke no English, she recalled in an oral history interview, but was impressed by her drawing skills and taught her and a classmate for free for two years. “He really worked with us and warned us about the evils of modern art,” she said with a laugh. “But he taught us the technique, and that’s priceless.”

Dr. Lewis went on to study art at Dillard University in New Orleans, where she met Catlett and her then-husband, artist Charles White. When the couple moved to Virginia to take up a teaching position at the Hampton Institute (now a university), Dr. Lewis followed them, continuing his studies under Viktor Lowenfeld, an influential arts educator who taught him “to paint with the heart”. as she later told the Richmond Times-Dispatch.

She received a bachelor’s degree in 1945 and later studied fine art at Ohio State University, earning a master’s degree in 1948 and a doctorate in 1951. Two years later, she helped organize the National Conference of Artists, a gathering of black artists and teachers, while chairing the fine arts department at Florida A&M University.

Continuing her interest in East Asian art, Dr. Lewis traveled to Taiwan on a Fulbright scholarship in 1962, then moved to Los Angeles to study Chinese, earning a postdoctoral fellowship at the University of Southern California. By 1970, she had joined Scripps College in nearby Claremont, where she became the school’s first tenured African-American professor and taught art history for more than 15 years.

Supported by a grant from the National Endowment for the Arts, she founded the Los Angeles Museum of African American Art in 1976. The museum acquired works by Barthé and the painter Palmer Hayden, among other black artists, and is now located in a Macy’s store. at the Baldwin Hills Crenshaw Mall, in keeping with Dr. Lewis’ mission to bring art to the people.

“The average American sees museums the way some people see church—a special occasion, not an everyday affair,” she told the Los Angeles Times in 1986. “I think if we’re going to ask people to interested in arts and culture and make it an integral part of their lives, we need to make it available to them.”

Dr. Lewis also founded the journal Black Art: An International Quarterly, now known as the International Review of African American Art, and directed the Clark Humanities Museum at Scripps College. She donated part of her personal art collection to the school, including works by Catlett, Faith Ringgold and Carrie Mae Weems, and in 2007 Scripps launched the Samella Lewis Contemporary Art Collection in her honor. .

Her husband of more than six decades, Paul Lewis, died in 2013. In addition to her son Claude, survivors include another son, Alan; and three grandchildren.

Dr. Lewis received the Distinguished Artist Award for Lifetime Achievement last year from the College Art Association, a professional visual arts group. She was still working until her health deteriorated about three years ago, her son said, and had long considered her books, documentaries, gallery exhibitions and artworks as one unified project.

“I can’t stop,” she told the Times-Dispatch in 1997. “It’s all a work of art.”

Brisbane’s Queen’s Wharf to feature digital artwork by Alinta Krauth and Jason Nelson

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One of the public artworks to be installed as part of the $3.6 billion Queen’s Wharf Brisbane project has been unveiled.

The heritage-listed Printery Office, which was built in 1874 to print and store Queensland government documents, will become a giant canvas for 52 different digital light projections, one for each week of the year.

Created by Queensland husband and wife projection art duo Alinta Krauth and Jason Nelson, the artwork will be projected onto the north face of the building.

Called A Cottage Year, Ms Krauth said the digital art time machine was “an artistic throwback to the surroundings of the Brisbane Commandant’s Cottage in the early 1850s and 60s, around the when it was demolished to make way for The Printery Office”.

“There will also be a full-fledged augmented reality artwork, where visitors can explore even more of the court’s history.”

Mr Nelson says it is a “privilege” to be part of the new development.(Provided: Louis Lim)

Ms. Krauth and Mr. Nelson live in the Scenic Rim and have exhibited across the world in countries including Germany, America, Ireland and Norway.

Mr Nelson said it was ‘wonderful to be part of this cultural hotbed that is taking place in our own backyard’.

“Usually these kinds of artworks are temporary. All over the world you see examples of digital art on giant screens or buildings like in Times Square or at festivals. They appear for a short time, then disappear,” he said.

Light projection on the facade of the building
Ms. Krauth and Mr. Nelson have created works of art like this for spaces around the world.(Provided: Alinta Krauth and Jason Nelson)

Dean Prangey of the Royal Historical Society of Queensland said the printing office building had also housed a science centre, the state’s register of births, deaths and marriages and would soon be a center for restoration and Entertainment.

“It’s a perfect example of how to preserve the past using the present,” he said.

Brisbane Queen's Wharf
Queen’s Wharf Brisbane will open at the end of 2023.(Supplied: Destination Brisbane Consortium)

Work chosen to highlight the space

One of Australia’s best-loved artistic figures, Philip Bacon AO, who heads Queen’s Wharf’s specialist arts advisory board, said heritage buildings had been preserved at great expense, “so art needs to be a complement appropriate”.

Digital projection on building facade
Mr Bacon said a physical artwork could impede movement around the printing office on the site.(Provided: Alinta Krauth and Jason Nelson)

“The vision for the printing and yard office is a beautiful, active place that will appeal to locals and attract visitors from across the country and around the world,” Bacon said.

“A large static piece of art would be a barrier to the flow of people, but A Cottage Year, while not only beautiful on its own, will amplify the mood and magic of the place.”

The first of the site’s signature artworks was announced in February. It will be an eight-metre-high, eight-tonne bronze sculpture by world-renowned artist Lindy Lee, which will be installed at the George Street entrance to the resort grounds.

An oversized mosaic mural depicting an Australian lungfish by local artist Samuel Tupou was unveiled in April.

The digital artwork will be in place for the development’s planned opening from the second half of 2023.

Free Security Vulnerability DLC Announced With Cryptic Artwork

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A free DLC update for FNAF: Security Breach has been announced – and it appears to feature a new character exploring an abandoned Pizzaplex.

A free DLC update for FNAF: security breach was announced with a cryptic teaser image hinting at what lies ahead. Developer Steel Wool Studios has first announced plans for FNAF: security breach DLC last year, suggesting the Halloween-themed Dreadbear might make an appearance.

As the last entry in the Five nights at Freddy’s series, Security Breach understandably garnered a huge amount of attention upon release, especially thanks to its AAA-like makeover and new stealth gameplay mechanics. Unfortunately, the game turned out to be riddled with bugs that often made it incredibly frustrating to play. Thankfully, subsequent patches have helped resolve these issues, leaving the community puzzled over the game’s various endings and the implications for the franchise’s larger lore. Several questions have been left unanswered by the many endings of FNAF: Security Breach, leaving high hopes for future DLC to provide answers.

VIDEO OF THE DAY

Related: Major FNAF: Security Flaws Update Fixes Over 100 Bugs & Issues

The first teaser image for the new FNAF: security breach DLC, titled Ruinhas now been revealed by Steel Wool Studios. Released for free in 2023, fans still have a little while to wait before returning to the Pizzaplex in the game’s first DLC, though the image is filled with details that hint at various plot points that will undoubtedly elicit. doubt a flurry of theories and debates from the community in the meantime. Most important is what could be a new player character: a young girl exploring what appears to be the lobby of the Mega Pizzaplex, in a state of severe disrepair. It seems that the Pizzaplex was abandoned following the events of security breach, with the Glamrock Freddy statue now lying in pieces and rubble visible in the corners of the image. A badly damaged Glamrock animatronic stands to one side, implying that FNAFThe popular Chica de can play an important role in the story of the DLC.


Another perhaps important detail in the FNAF: security breach The DLC reveal is a collection of screens displaying images of Gregory, alongside a cry for help. This seems to suggest that the story of Ruin will involve players attempting to rescue Gregory from the Pizzaplex, though this is yet to be confirmed. Another curious detail worth noting is a pair of glowing eyes, which can be seen in the upper right corner, staring down at the scene below. Red eyes could indicate that one of the many characters is a major threat in the new DLC, including the daycare worker and FNAF: security breachVanny potentially brainwashed, whose fate follows the true end of Security Breach remains unknown. Either way, the positioning suggests there will be a larger-reaching villain operating in the shadows over the course of Ruin.


The DLC expansion for FNAF: security breach fans will no doubt be excited to see what’s to come for the show’s lore. Whereas RuinThe release of is still some time away, the teaser indicates that a very interesting narrative is on the way. With the apparent focus on Gregory, there may be some insight into the validity of the popular theory that he is secretly an animatronic himself. In addition, the origins of the new female character who takes center stage will no doubt also be at the heart of many discussions. There may even finally be an answer to what’s behind locked level 10 FNAF: security breach security doors. In any case, the long-awaited DLC for FNAF: security breach is finally on the horizon.


Next: How FNAF: Ending The Security Breach Sets Up A Sequel

Source: Steel Wool Studios/Twitter

A promotional image for Simpsons Hit and Run of Homer running around Springfield, with chaos in the background.

Why Simpsons Hit & Run 2 Can Happen Without EA


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Korea’s art auction market falters amid subdued leveraged investments

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The height of the pandemic may be coming to an end in Korea’s art auction market amid a loose global liquidity crunch that has splashed cold waters on leveraged investments and high-risk assets.

Paintings by top artists Park Seo-bo Lee Ufan and Yun Hyong-keun with price tags of over 500 million won ($402,868) each failed to sell by Seoul Auction, the first and largest korea art auction house. Last Wednesday, Javier Calleja’s artwork, one of the auction house’s signature pieces, sold for 880 million won, lower than the expected price of more than 900 million won.

The bidding rate for artworks at Korea’s two major auctions, Seoul Auction and K Auction, steadily declined, reaching 75.2 percent and 83.5 percent in May.

According to the Korea Art Authentication & Appraisal Research Center (KAAARC), the auction turnover of the two auction houses from January to May was 94.1 billion won, up 24 percent. than a year ago, but its growth has started to slow since February.

Weak demand for artwork auctions was somewhat anticipated after many masterpieces, such as Chun Kyung-ja’s “Woman” and Lee Jung-seop’s “Chickens with Family,” sold out. canceled their purchases at the last minute, an auction industry source said. “The bubbles may be dying out,” KAAARC director Jeong Jun-mo said. “It has become dubious to judge a boom of so-called rich young people.”

Falling demand for art auctions also coincides with bearish sentiment towards risky assets like stocks and cryptocurrencies amid rapidly rising interest rates and collapsing Terra/Luna.

While the domestic market is depressed, overseas markets have benefited from a fairly strong appetite for art auctions despite the financial market shock.

Christie’s Hong Kong auction exceeded HK$1.4 billion ($181.42 million) with a 93% success rate, selling works by Pablo Picasso and David Hockney. In the first quarter, the world’s three major auction houses, Christie’s, Sotheby’s and Philips, posted combined sales of $1.66 billion, up 32% from a year ago. However, while Andy Warhol’s “Shot Sage Blue Marilyn” sold for $19.5 million, falling short of the expected $200 million, signs of a downward trend are being felt in the music market. overseas auctions.

By Kim Seul-gi and Jenny Lee

[ⓒ Pulse by Maeil Business News Korea & mk.co.kr, All rights reserved]

The Connoisseur launches its first online auction

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(The Magazine Plus Editorial):- New Delhi, Delhi May 30, 2022 (Issuewire.com) – Connoisseur and craftsman luxury brand is launching its first online auction on its platform. It features 25 outstanding contemporary works of art by an Indian-based artist. Registration is open on their website.

The chosen theme is ‘Mystical Humans’ which was inspired by different facets of existence. The collection is unique and unusual which focuses on abstract figures to display the moods and life of a being. The Connoisseur plans to make artistic objects accessible to as many people as possible through direct purchase options as well as regular auctions. Auctions are simple in nature, with no buyer’s premium or additional costs associated. All you need is to create an account and start bidding on your favorite items.

Safer The Magazine+:

The trace of Indian art dates back several thousand years, but its true potential in the eyes of the world has yet to be discovered. Each ancient street, as well as the medieval architecture, testifies to the art that flourished in the minds of humans on this subcontinent. The brand was launched during the pandemic as many doors were closing for the creative world. Digital transformation was necessary for the industry which relied heavily on offline media. We launched this brand with our 3D online exhibition which was well received by the public. Currently, we are actively working to improve our brand experience and diversity to incorporate new product categories with a central theme – all inspired by art. » – Sabyasachi Moulik (founder and strategist – The Connoisseur)

The connoisseur enables the movement of artistic objects between humans through technology and design and provides an enjoyable experience for visitors and that is what truly does justice to an artist’s work. Each object is selected from urban and exotic parts of India with their partner artists and galleries. It’s the whole aesthetic of the platform that really grabs the attention.

They recently launched an “Art for All” initiative with high quality art prints signed by the artist and accompanied by a certificate. Pricing for printing starts from Rs 799 with free shipping. The goal was to encourage the movement of art in society and to make it as affordable as possible, so that everyone could one day own a form of proper creation.

Le Connoisseur has a superb collection of original artworks by established and emerging artists of India. They also have limited edition screen prints of popular works. India based free shipping is available on their platform and a Certificate of Authenticity is provided for each piece of art. The connoisseur plans to bring authentic artistic objects into every home.

What I Buy and Why: Hotelier Lena Evstafieva on Why She Buys the Work of Emerging Female Artists and Almost Never Sells

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Lena Evstafieva may have made a professional leap when she decided to set up the hotel that became Villa Lena in 2013, with her musician and producer husband Jérôme Hadey, and Parisian restaurateur and nightclub owner Lionel Bensemoun. But the project became more than just a plan to redevelop the property in Tuscany, and Evstafieva barely left the art world behind.

The former curator of the Garage in Moscow and director of the Pace Gallery in London also runs the Villa Lena Foundation, a non-profit organization which offers artist residency and supports artists around the world working in a range of media, from visual art, music and film, to literature, fashion and interdisciplinary practices. The foundation is backed by an advisory board that includes Wu Tang Clan rapper RZA, fashion designer Barbara Casasola, curator Caroline Bourgeois, journalist Charlie Porter, architect Rafael de Cardenas and film curator Leonardo Bigazzi.

As an art collector, Evstafieva revealed that she was more “emotional” than “strategic”, rather than full of strategic planning. Emerging artists and women artists have become a major focus of her career as a collector. We caught up with Evstafieva about what she bought and why.

The photographic prints of Pieter Hugo Mallam Galadima Ahamadu with Jamis (2005), and Mallam Mantari Lamal with Mainasara (2005) from his series “The Hyena and the Other Men”, hanging at Villa Lena. Photo: Levgeny.

What was your first purchase (and how much did you pay for it)?

It was that of Pieter Hugo The Hyena and the Other Men series. I bought each for $1,000.

What was your last purchase?

A work by former Villa Lena resident Bradley Kerl. He painted a beautiful view of blooming flowers outside a window of our 19th century villa, and I had to buy it.

What works or artists do you hope to add to your collection this year?

I am an emotional collector, not a strategic collector. I don’t really foresee what kind of artists I would like to collect. I just react to certain pieces that I see coming. That said, in recent years I’ve started to pay more attention to female artists and would love to add works by Zhanna Kadyrova and Olga Chernysheva to my collection, both of whom I find such deep thinkers.

Bradley Kerl, This Sunburned Dream 2022, oil on canvas, Image courtesy of the artist

Bradley Kerl, This sunburnt dream (2022). Image courtesy of the artist.

What is the most expensive work of art you own?

I can tell you which work is the most expensive per square inch: an overpainted photograph by Gerhard Richter from the 1990s.

Where do you most often buy art?

Everywhere, but I find art fairs to be the most effective way.

Is there a work you regret buying?

No, I usually don’t regret any purchase and, in fact, it would take exceptional circumstances for me to sell a work because of it.

Kathleen Ryan, Untitled, 2017. Glazed ceramic, chromed steel, 70 x 30 x 25 inches, 177.8 x 76.2 x 63.5 cm.  Image reproduced with the kind permission of the artist and the François Ghebaly gallery.

Kathleen Ryan, Untitled (2017), enamelled ceramic, chromed steel. Image reproduced with the kind permission of the artist and the François Ghebaly gallery.

What work have you hung above your couch? And in your bathroom?

Above my couch I have a very large piece by Valerie Snobeck. It is a six-panel piece of transparent film with imprints of a large sheet on three of the panels and negative space on the other three.

What’s the least practical piece of art you own?

I am not hurt ! Kathleen Ryan’s parrot sculpture is very impractical when you have young children and dogs running around, but it has survived so far.

Gaia Fugazza, Plants like him - Cerulean Blue, 2020, Image copyright the artist, Courtesy Richard Saltoun Gallery London and Rome

Gaia Fugazza, Plants like him – cerulean blue (2020), © Gaia Fugazza, courtesy of Richard Saltoun Gallery London and Rome.

What work would you have liked to buy when you had the opportunity?

I prefer to buy from emerging and less established artists, which is why I am delighted to partner with She Curates on our artist residency. With that in mind, I wish I had purchased more works by Sara Anstis, or more works by the incredibly talented Gaia Fugazza. Both are female artists and their work depicts surreal and dreamlike images that I love.

If you could steal one piece of art without getting caught, what would it be?

Probably the most cliched answer of all – on a large scale water lilies by Monet. I just love them.

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[email protected] presents Under the Chesapeake Sky

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June marks the end of school days and the start of summer when the people of southern Maryland come out and embrace their place on this planet, the Chesapeake Bay. [email protected] Gallery celebrates life along the Chesapeake Bay and our community under the Chesapeake Sky.

The Chesapeake Bay is an abundant source of nature activities, from hiking to bird watching and beach time. Boating, kayaking, fishing and crabbing are enjoyed by all ages along Calvert’s long coastline. All of this inspires artists to capture the beauty and awe of the Chesapeake Bay. From Lesley Alexander’s acrylic of birds settling on a buoy in the bay, to Donna Tizol’s multimedia image of a blue heron and Mary Gault’s Cove Point against the backdrop of a crab crate. You’re sure to find something to pique your interest!

Our featured artist this month is JoAnn Laboy, an abstract artist residing in Washington D.C. Her artistic practice incorporates various materials into her work to express her fascination with shapes, lines and marks and the spaces they create – an interest which she says dates back to her love of algebra and geometry.

As a bonus, [email protected]e will be open for North Beach on the first Friday (June 3) from 6-9 p.m.

Please join us for our Opening Reception on June 4 from 1-4; light refreshments will be served. If you can’t make it to the reception, visit the gallery any time of the month to see works by local artists.

Money spent locally stays in the local economy and continues to strengthen the economic base of the entire community. Small, local businesses make a vital contribution to communities and neighborhoods. Supporting local artists allows them to continue serving their communities. You’ll often see [email protected] members supporting local charities and organizations by attending art shows, teaching workshops, and donating items for fundraisers.

[email protected]e is located at 8905 Chesapeake Avenue (near 2n/a street) in North Beach, Maryland. Our summer hours are Thursday through Sunday, 11:00 a.m. to 6:00 p.m.

Under Chesapeake Skies

June 2 – June 26, 2022
Open house June 4, 1 p.m. – 4 p.m.


FROM BOGOTÁ TO MONACO, A COLOMBIAN MURALIST MAKES HIS MARK ON ONE OF THE WORLD’S MOST EXCLUSIVE CANVAS WITH VUSE

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Vuse, the world’s leading vape brand**, and partner McLaren F1 Team, today unveiled a mural, created by an artist from Bogotá, Colombia, during one of the world’s most exclusive races, on the monaco by the sea at the Grimaldi Forum. The mural marks the last activity as part of the Motivated by change program, which offers underrepresented creative talents from around the world the opportunity to show their passion and work on one of the largest and most visible stages in the world – elite motorsport.

The artist, DAST, is a 38-year-old Colombian muralist who was chosen to create the work in monaco because of his passion for art which has guided his creative activities over the past ten years. Like a Bogotá native, DAST is surrounded by a wealth of inspiration, including the diverse geographies and rich heritage of Colombia – something completely opposite to the usual glitz and glamor seen along the monaco seaside. These elements inspire DAST to step out of its comfort zone and create murals that explore the relationships between people, places and spaces.

DAST’s gritty artwork and bold personality has been expertly captured in this live-action mural, which juxtaposes beautifully with the classic, glossy monaco urban landscape. Chosen for its unique style, embracing the geometric shapes, colors and relationships that occur in public spaces between buildings, streets and pedestrians to inspire and inform the abstract mural. Featuring DAST’s signature geometric composition, the mural, which DAST painted in real time, draws inspiration from the themes of speed, combined with the aerodynamic design of the McLaren F1 team car and the vibrant colors of papaya and blue.

DAST, independent artist, comments: “I have been pursuing a career in art and design for over 10 years and opportunities like this are rare. When I first started creating my designs, in my home in Bogotá, I never would have thought that ‘one day I will have the opportunity to live my dream of becoming a full-time artist and have my work featured at one of the most exclusive Grand Prix™ races and paint the mural in real time on a beautiful canvas such as monegasque the seaside makes the opportunity even more special!”

“The past six months have truly been life changing. It’s an honor to be one of the creatives involved in Vuse’s Driven by Change initiative and I hope to see more creatives like me take part in this incredible opportunity to showcase their work, passions and values ​​on the global motorsport platform.”

Motivated by change created in December 2021 to FORMULA 1 ETIHAD AIRWAYS ABU DHABI GRAND PRIX™ 2021, where McLaren unveiled a unique livery designed by an Arab artist, Rabab Tantawycelebrating the first time that a female artist from the Middle East had this kind of opportunity. This year, Driven by Change officially debuted at the Miami Grand Prix™ where American photographer, Jonathan Walkercaptured content from the streets of Miami and on the circuit. Jonathan has worked alongside McLaren’s digital content team, gaining valuable experience, industry contacts and skills.

John BeasleyGroup Head of Brand Building, BAT, comments: “We are truly proud of the opportunities the Driven by Change initiative has already provided to emerging creators such as Rabab Tantawy Jonathan Walker, and now DAST! It’s great to see the raw passion, grit, geometric style and unique vision of DAST come to life on a completely juxtaposed canvas such as the monaco seaside. Our activity with Driven by Change shows how committed Vuse is to making the dreams of emerging artists a reality.”

The initiative is part of Vuse’s ongoing ambition to accelerate the creative pursuits of underrepresented creative talent around the world, working with McLaren to identify opportunities to bring their work to life, helping to showcase creatives from diverse backgrounds to the masses. The works of DAST will be exhibited for one night only, on Saturday 28e at the Grimaldi Forum, ahead of the GRAND PRIX DE FORMULE 1™ DE MONACO 2022 on Sunday 29e of May.

Rabab Tantawy comments: “I could never have imagined the opportunity Driven by Change has given me. Becoming the first artist to have an original piece of art on track was one of the most amazing things that has happened in my life. career. The opportunity has truly changed my life. I’m thrilled to be involved with Driven by Change this year, working alongside Vuse and McLaren to continue to change the lives of underrepresented artists, like me.”

When launching in August, creatives around the world will have the opportunity to apply to be selected for future Driven by Change opportunities, including having their work showcased at an upcoming Grand Prix™, unique exclusive collaborations with the McLaren F1 team. Specific opportunities, dates and times for submission will be announced soon.

For more on DAST’s story, visit Vuse and DAST’s social media. More information about the Driven by Change initiative and how creatives can get involved in these unique opportunities will be shared later this year.

Notes to editors:

About BAT
BAT is a leading multi-category consumer goods company whose goal is to build a better future by reducing the impact of its business on health by offering a greater choice of pleasant and less risky products for consumers. adults. The company continues to be clear that combustible cigarettes pose serious health risks, and the only way to avoid these risks is to not start or stop. BAT encourages those who would otherwise continue to smoke to switch completely to scientifically proven, reduced-risk alternatives*. In order to achieve this, BAT is transforming into a truly consumer-centric multi-category consumer products company. BAT employs more than 53,000 people and operates in more than 180 countries, with 11 million outlets and 45 factories in 43 markets. The Company’s strategic portfolio is comprised of its global cigarette brands and a growing line of reduced risk* new category tobacco and nicotine products and traditional non-combustible tobacco products. These include vapor, tobacco heating products, modern oral products including tobacco-free nicotine pouches, as well as traditional oral products such as snus and wet snuff. In 2020, we had 13.5 million consumers of our non-combustible products, an increase of 3 million over the previous year. BAT Group generated revenue of £25.8 billion in 2020 and operating profit of £9.9 billion.

*Based on weight of evidence and assuming complete smoking cessation. These products are not without risk and are addictive.

**Based on Vype/Vuse’s estimated value share from RRP in measured retail for Steam (i.e. total Steam category value in retail sales) in the UNITED STATES, Canada, FranceUK, Germany. These 5 markets cover approximately 77% of the world NTO in closed steam systems, calculated in June-July 2021.

About McLaren Racing
McLaren Racing was founded by New Zealand racing Pilote Bruce McLaren in 1963. The team competed in its first Formula 1 race in 1966, since McLaren has won 20 Formula 1 World Championships, more than 180 Formula 1 Grands Prix, the 24 Hours of Le Mans on its first attempt and the Indianapolis 500 three times. McLaren Racing currently competes in Formula 1 worldwide and INDYCAR in the United States.

The team is contesting the 2021 FIA Formula 1 World Championship with Lando Norris and Daniel Ricardoand in the 2021 INDYCAR series with Arrow McLaren SP drivers Pato O’Ward and Felix Rosenqvist. McLaren was the first F1 team to be certified carbon neutral a decade ago and successfully won the Carbon Trust Standard Award, most recently in February 2021. They were also the first team to receive the FIA ​​Institute Environmental Award in 2013, which they have always maintained at three-star level.

In 2022, McLaren Racing will enter a new category of motorsport by entering a team in Extreme E, the innovative all-electric off-road racing series that highlights the impact of climate change.

About Rabab Tantawy

Born in 1971 in Cairo, Rabab Tantawy grew up watching her mother draw and create. Although she did not pursue an artistic career from the start, Rabab always kept an interest in the arts and taught herself different techniques, ranging from very traditional mediums like oil painting to modern mediums like aerosol paints.

When Tantawy decided to devote herself to the arts, she got involved in several exhibitions while actively pursuing street art.

Working with a multitude of mediums, the artist has created a playful approach to the otherwise serious concepts that ground his work. His greatest interest is unity, community and heritage.

While we can often see artists approaching these subjects from a political perspective, Rabab tries to bridge the gap and render these subjects through the prism of universality.

Rabab is an intuitive artist. She does not work with preliminary sketches; it uses the web as a direct download medium. There is no expectation for an end product. In a way, the product is the creative process itself.

Line and color are the pillars of Tantawy’s work. Whether abstract or figurative, the artist’s work starts from the line. The lines work like a skeleton, informing the whole process of creating the work. Whether it’s soft, flowing lines or strong angular lines, this stage sets the pace of the work. While many artists choose to work with limited color palettes, Tantawy transitions from classic earthy colors to strong neon colors in the same series with the same ease as she transitions between mediums.

Photo – https://mma.prnewswire.com/media/1828164/Vuse.jpg

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‘Freedom of Expression’: Newmarket elders exhibit at art show

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Senior Newmarket artist David Woodburn said he started painting after retiring several years ago, but had never taken part in an art exhibition before.

Woodburn said he decided to join other local artists for his first show to get more feedback.

“I just wanted to show off and see what people thought of my work,” he said. “Positive reinforcement encourages you to keep doing some of your business.”

The city helped launch a new art exhibit and sale for seniors on May 27 at Old City Hall. The free event features works by 20 different local artists for sale, Monday through Saturday, 10 a.m. to 4 p.m., through June 9.

Elizabeth Nicholas, one of the organizers and a member of the East Gwillimbury Artist Group, said art events like this have been put on hold due to the pandemic, but it was nice to be able to return.

“It’s good for them to see their work admired and appreciated by other people,” she said, adding that the work of older people can sometimes be seen as inferior. “They don’t realize how capable some older people are.”

Jackie Edwards, another organizer, said she was grateful to the city for providing the space.

“It’s important. We missed each other,” she said, adding that many older people “didn’t attend an art show.”

Mayor John Taylor attended alongside council members and made remarks to open the show. He said having a strong arts scene is important for community development.

“It’s really the heart of the community,” he said. “It’s beautiful art and it speaks to people’s passion for so many different things in life.”

Marilyn Abbey participated, and she said it was also her first art exhibition. She said she was nervous about participating, but making art is worth it.

“It’s a release of expression,” she says. “You really get involved in it, and I think it’s relaxing.”

Although much of the art involved drawing or painting, other types were present. Denise Magloughlen is a silversmith who brought sterling silver jewelry and a dress made entirely from pop cans.

She said it was great to be on shows again after pandemic-related hiatuses.

“People can’t wait to get out,” she said. “So I can’t wait for things to open up even more.”

“It looks really good. Hopefully we’ll get more people out,” Woodburn said. “I’m just glad the people who put this together did.”

Electronic Arts Inc. (NASDAQ:EA) Receives Consensus “Buy” Recommendation From Analysts

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Electronic Arts Inc. (NASDAQ:EA – Get Rating) received an average “Buy” recommendation from the twenty-six rating agencies that currently cover the company, MarketBeat reports. Four investment analysts gave the stock a hold rating and twelve gave the company a buy rating. The average 1-year price target among brokerages that have covered the stock over the past year is $155.54.

A number of research companies have weighed in on EA recently. Barclays lowered its price target on Electronic Arts shares from $152.00 to $127.00 and set an “equal weight” rating on the stock in a Wednesday, Feb. 2 research note. TheStreet took shares of Electronic Arts from a “c+” rating to a “b” rating in a Friday, May 20 research note. Sanford C. Bernstein assumed coverage for Electronic Arts stocks in a Friday, April 22 research note. They set an “outperform” rating and a price target of $157.00 on the stock. Cowen reduced his price target on Electronic Arts shares from $180.00 to $158.00 in a Wednesday, May 11 research note. Finally, Wells Fargo & Company lowered its price target on Electronic Arts shares from $155.00 to $145.00 in a Wednesday, May 11 research note.

In other news, CEO Andrew Wilson sold 10,000 shares of Electronic Arts in a trade dated Monday, February 28. The shares were sold at an average price of $130.16, for a total value of $1,301,600.00. The sale was disclosed in a filing with the Securities & Exchange Commission, which is available on the SEC’s website. Additionally, insider Vijayanthimala Singh sold 800 shares of Electronic Arts in a trade dated Tuesday, March 1. The shares were sold at an average price of $130.55, for a total transaction of $104,440.00. The disclosure of this sale can be found here. Insiders have sold 49,756 shares of the company valued at $6,313,906 in the past three months. 0.65% of the shares are held by insiders.

Several hedge funds and other institutional investors have recently bought and sold shares of EA. Ninety One UK Ltd increased its stake in Electronic Arts by 2.6% in the first quarter. Ninety One UK Ltd now owns 4,313,726 shares in the games software company worth $545,729,000 after buying an additional 107,266 shares last quarter. Midwest Wealth Management Inc. increased its stake in Electronic Arts by 8.8% in the 1st quarter. Midwest Wealth Management Inc. now owns 13,287 shares of the gaming software company worth $1,681,000 after buying 1,078 additional shares last quarter. EverSource Wealth Advisors LLC increased its stake in Electronic Arts by 255.1% in Q1. EverSource Wealth Advisors LLC now owns 490 shares of the gaming software company worth $62,000 after buying 352 additional shares in the last quarter. First National Bank of Omaha acquired a new stake in Electronic Arts in Q1 for approximately $5,348,000. Finally, Advisory Services Network LLC increased its stake in Electronic Arts by 11.2% in the 1st quarter. Advisory Services Network LLC now owns 3,406 shares of the gaming software company worth $431,000 after buying 343 additional shares in the last quarter. Institutional investors hold 89.28% of the company’s shares.

Electronic Arts shares opened at $138.53 on Friday. The company has a market capitalization of $38.96 billion, a price/earnings ratio of 50.19, a P/E/G ratio of 2.10 and a beta of 0.83. The company has a debt ratio of 0.25, a current ratio of 1.18 and a quick ratio of 1.20. Electronic Arts has a fifty-two week low of $109.24 and a fifty-two week high of $148.93. The company has a fifty-day moving average price of $125.33 and a two-hundred-day moving average price of $128.76.

Electronic Arts (NASDAQ:EA – Get Rating) last released its results on Tuesday, May 10. The gaming software company reported earnings per share of $0.82 for the quarter, missing analyst consensus estimates of $1.04 per ($0.22). The company posted revenue of $1.75 billion for the quarter, compared to analysts’ estimates of $1.77 billion. Electronic Arts achieved a return on equity of 18.99% and a net margin of 11.29%. The company’s revenue increased 17.5% year over year. During the same period of the previous year, the company achieved EPS of $0.72. As a group, sell-side analysts expect Electronic Arts to post earnings per share of 5.53 for the current year.

The company also recently announced a quarterly dividend, which will be paid on Wednesday, June 22. Shareholders of record on Wednesday, June 8 will receive a dividend of $0.19 per share. This is an increase from Electronic Arts’ previous quarterly dividend of $0.17. The ex-dividend date is Tuesday, June 7. This represents an annualized dividend of $0.76 and a dividend yield of 0.55%. Electronic Arts’ dividend payout ratio is currently 24.64%.

Electronic Arts Company Profile (Get a rating)

Electronic Arts Inc develops, markets, publishes and distributes games, content and services for game consoles, PCs, mobile phones and tablets worldwide. It develops and publishes games and services in various genres, such as sports, racing, first-person shooter, action, role-playing and simulation, mainly under Battlefield, The Sims, Apex Legends, Need for Speed, and Plants vs.

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Electronic Arts Analyst Recommendations (NASDAQ: EA)

This instant alert was powered by MarketBeat’s narrative science technology and financial data to provide readers with the fastest and most accurate reports. This story was reviewed by MarketBeat’s editorial team prior to publication. Please send questions or comments about this story to [email protected]

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Genius Assets launches the GeniuX Era contest with an exciting game

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Arad, Romania, May 27, 2022 (GLOBE NEWSWIRE) — Genius assets, a one-stop solution for all investment problems, has launched the GeniuX Era competition where users have a chance to win exciting prizes by completing a few simple tasks. Genius Assets diversify users’ portfolio by investing in various assets and help create a steady flow of funds through active and passive means. Why should one keep his assets when he can grow them.

Unlike other contests, the GeniuX Era contest offers a great chance to win rewards. First prize is $10,000 IUX (~$4500), second is $7,500 $IUX (~$3375), third is $5,000 IUX (~$2250), while those who place between 4 and 10 on the leaderboard will receive 2500 $IUX (~$1125 ), and holders of position 11-20 will win 1000 $IUX (~$450). All related information is available on the contest page and can be accessed from the link posted above.

Genius Assets is also hosting the presale of its native $IUX token where users can buy it and be part of the revolution. The sale is live on the platform, so don’t miss this great opportunity to invest in the future of investments. All that needs to be done is to complete the KYC verification to become part of the ecosystem.

Genius Assets plans to revolutionize the way of investing. It offers a wide range of investment options covering all sectors, and each of them offers attractive rewards. Some of these options are:

  • Real Estate Engineering: Invest in real estate, one of the fastest growing markets in the world. With prices constantly rising, there couldn’t have been a better time.
  • Air Engineering: Invest in private jet charters and earn regular income from chartering.
  • Engineering Highway: Motorway construction has experienced unprecedented growth in recent years. Invest in its construction across Europe and earn taxes.
  • Genius Art: Digital art or NFT has been all the rage around the world with the most expensive reaching nearly $92 million. And that rage doesn’t seem to be going away anytime soon. Use Genius Assets to invest in NFTs and grow assets exponentially.
  • Engineering Sports: Invest in sports teams and earn with dividends. Genius Assets wants to digitize the value of sports teams, and this is the first step towards achieving the goal.

To ensure the long-term stability and growth of the platform, Genius Assets has designed a tokenomics that takes into account all critical aspects, tries to overcome commonly encountered problems and eliminates factors that could hinder its growth. The total supply of the GeniusX or $IUX token is capped at 1,000,000,000, with 31% up for grabs from the three sales. Moreover, the value of the token is bound to increase as new projects are created on the platform.

Investors can trade these tokens for Genius Assets on the platform’s in-app marketplace, which is compatible with computers and mobile phones. It will make real estate trading much simpler, faster, safer and cheaper.

In addition, Genius Assets will also offer unique fractional ownership solutions to investors. It will launch the first regulated fractional ownership project in Malahide, near Dublin, around Q4 2022. Various marketing strategies will be incorporated over the period to promote it, including client presentations and roadshows. The project is ready to offer a high return on investment to investors.

So, if someone is looking for a great platform to diversify their investments and get a consistent high return, Genius Assets will not disappoint. The knowledgeable and experienced team behind this platform is determined to make it a success.

To learn more about Genius Assets, visit the official website https://genius-assets.com/

Immediately join the Telegram community to learn more and chat directly with the team.

For all social links and info, check out: https://taplink.cc/geniusassets

Twitter: https://twitter.com/GeniusAssets

Instagram: https://instagram.com/genius.assets/

Facebook: https://www.facebook.com/genius.assets

YouTube: https://www.youtube.com/channel/UCzyOzYynij7FZH49k78gTjA

LinkedIn: https://www.linkedin.com/company/genius-assets/

Telegram: https://t.me/+IHyaBhsoY2s5YmZk

Disclaimer: There is no offer to sell, no solicitation of an offer to buy, and no endorsement of security or any other product or service in this article. This is not investment advice. Readers are encouraged to do their own research.

Media Contact:

Contact person: Flavius ​​Cocora

Company name: Genius Assets

Email: [email protected]

City: Arad

Country: Romania

Website: https://genius-assets.com

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Palm Beach art dealer plans to sell counterfeit artwork

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PALM BEACH, Fla. — A Palm Beach art dealer was in federal court Friday to face multiple charges in connection with a scheme to sell high-end counterfeit artwork.

The case involves the Danieli Gallery on Worth Avenue, which was raided by federal agents led by the FBI and its art crime team in December.

art dealer Daniel Elie Bouaziz is accused of selling paintings and other works of art that he falsely marketed as original or authentic pieces by several prominent artists, according to a criminal complaint affidavit.

Officials said he attempted to smuggle fake artwork, claiming it was created by Jean-Michel Basquiat, Andy Warhol, Banksy and Roy Lichtenstein.

US Department of Justice

The feds say this bogus work by George Rodrigue was being sold by Danieli Fine Art.

Bouaziz is accused of selling fraudulent art from his galleries Worth Avenue – Danieli Fine Art and Galerie Danieli.

Federal investigators said the victims unknowingly purchased the fraudulent coins — some of which were inexpensive reproductions — in some cases for hundreds of thousands of dollars.

Bouaziz is accused of buying reproductions at low prices from online auction sites, drastically marking up the prices, then reselling the works to the victims as originals.

Investigators said he used several tactics to deceive his victims, including falsifying the provenance of a work and adding a signature to a piece to make it appear authentic and increase its perceived value.

Bouaziz also laundered money he received from the fraudulent art scheme, according to the affidavit.

Maude Lewis painting swapped for grilled cheese sells for a small fortune

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Like clockwork, John Kinnear and his wife Audrey went to the same restaurant every afternoon and sat at the table by the circular window. Kinnear only ordered one thing: a grilled cheese sandwich.

“I couldn’t convince Mr. Kinnear to have anything else,” said Irene Demas, 69, who owned Mediterranean restaurant The Villa with her husband Tony in Ontario for about a decade in the 1970s.

The sandwich, priced at $1.95, was made with fresh bread from a local Italian bakery, aged cheddar cheese and a substantial layer of butter to make it perfectly crisp – just how Kinnear liked it.

Kinnear, an artist, lived around the corner from the Villa, and he and his wife, both in their 50s, made it their regular meeting place for several years in the early 1970s. The Kinnears, who are no longer living , developed a close friendship with the Demas.

“My husband made a deal with them to trade food for art,” Demas said, adding that Kinnear often showed up for lunch, clutching a painting or two under his arm. “We needed art for our walls, and he needed to eat every day.”

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Demas said their arrangement with Kinnear was not unusual at the time.

“In the 70s, it was different. We weren’t thinking so much about ourselves; we thought about our neighbors and how we could help each other,” she said. “They were very generous and in return we did what we could for them.”

Yet Demas and her now 90-year-old husband never imagined that a painting Kinnear traded them for a simple sandwich would one day be worth a small fortune.

While Kinnear mainly brought his own work to the restaurant, he once arrived with several colorful paintings by a Nova Scotia artist named Maud Lewis.

“Choose whichever one you like,” Kinnear told the couple, after sharing the artist’s backstory, Demas recalled.

Lewis was a poor painter in eastern Canada who could barely afford supplies, and she had suffered from crippling rheumatoid arthritis since her teenage years. Kinnear read about her in a 1965 newspaper article with the title “The little old lady who painted pretty pictures”.

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As a fellow artist, Kinnear was touched by her story and began sending her supplies including brushes and paints. In exchange for his kindness, Lewis gave Kinnear several paintings. She usually sold her artwork at the roadside for $10 a piece.

Demas said the paintings – which Kinnear had placed on chairs in the restaurant that day – had a playful quality that intrigued him.

“I had never seen anything like it,” she said. One in particular, with a black truck, “just jumped on me”.

“I knew in my heart that it was a very, very special painting,” said Demas, who was pregnant at the time and ended up hanging the painting in her son’s bedroom. He stayed there for 50 years and was eventually admired by his two granddaughters, who often slept in this room.

Along with the painting, Kinnear gave the couple a series of letters Lewis had sent her, in which she thanked him for the supplies, Demas said.

The Demases had no idea that Lewis, who died in 1970, would become one of Canada’s greatest folk artists, although she never achieved wealth or notoriety during her lifetime.

Alan Deacon, an expert on Lewis’s work who authenticates his paintings, said his art rose in value after his death. In November 2021, one coin sold for a record $52,394.

As the Demases researched more of Lewis’s work, they recognized the rarity of their particular painting.

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Lewis often used repeated images in his art, such as schools, train stations, and cats. But the black truck rarely appeared in his paintings, Deacon said.

“I’ve been following auctions for over 20 years and haven’t found a black truck,” he said, adding that trucks were only present in Lewis’s later paintings.

The Demases have thought about auctioning off their piece for the past few years, but they couldn’t agree to sell it. Then, about a year ago, as the couple were downsizing their home, they decided to assess a few things, including the truck’s black paint job and the letters authenticating Kinnear’s relationship with Lewis.

Miller & Miller Auctions valued the piece at around $27,255 and the letters – which are also considered rare – at $3,893.

First, the Demas gifted the artwork to their two children, who both urged their parents to sell it and enjoy the profits when they retire. The couple decided it was time to part ways with the painting.

“It was not an easy decision. It was part of our history,” Demas said. “I knew the right person was going to come and see something special in that painting we saw all those years ago.”

She was right. At a virtual auction on May 14, the painting sold for $272,548, more than 10 times its estimated value. The letters raised over $54,500.

“I was just speechless,” Demas said.

Ethan Miller, managing director of the auction house, was also stunned.

“Off the charts is an understatement,” he said. “I think everyone saw in this painting exactly what Maud wanted, which was brightness, optimism and fun.”

He believes the sale’s success stems in large part from the story of the grilled cheese sandwich, which was published ahead of the auction.

“Just considering the heaviness of this time that we’ve managed to survive, all of a sudden someone mentions a grilled cheese sandwich and a famous artist who overcame physical adversity,” Miller said. “All of these things combined are as irresistible as a grilled cheese sandwich.”

A third-year class was stunned by a free ride to college

The buyer, a Canadian who asked to remain anonymous to protect his privacy, said that was precisely what prompted him to buy the painting.

While sipping his morning coffee a few weeks ago, he came across the story, and “there was just something that struck me,” he said in a phone interview with the Washington Post, adding that “I’m not an art collector by any means.”

The day before the auction, he and his wife watched the 2016 film, “Maudie,” which chronicles Lewis’ life. After learning his story of resilience, he wanted the piece – which he plans to hang in the bedroom his two grandchildren, aged 6 and 8, sleep in when they stay at his home in the West canadian.

“When they go to sleep watching this, it will be a good thing for them,” he said.

The Demas said they were at peace knowing the painting will continue to be cherished. They plan to use the windfall to spoil their grandchildren, support their favorite charities and feel more secure in their retirement.

“It’s a good idea that I will never have to make another grilled cheese sandwich again,” Demas joked.

Deacon said the story is reminiscent of a quote from art critic Clement Greenberg: “It is also remembered how in art the tortoise so often surpasses the hare.”

In this case, “Maud Lewis is most definitely the turtle,” Deacon said.

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Much more than cut and paste: Ulster Museum collage exhibition challenges us to reconsider our worldview

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Collage: A Political Act, which runs until Sunday at the Ulster Museum, features recent acquisitions by international artists such as Troy Michie, as well as works by Belfast-based Joy Gerrard and winners of the 2021 Turner Prize Array Collective.

The exhibition explores how artists use existing imagery to make bold statements that spark conversations by creating new works.

Anna Liesching, art curator at the Ulster Museum, says she wants the public to understand that collage is more than cut and paste.

“It’s not just about PVA glue and magazine clippings, it can be a lot of things.

“It’s as powerful and striking as more traditional techniques, like painting or sculpting,” she says.

“Collage is an interesting medium because it allows artists to reuse imagery to create new art, inspiring viewers to consume the pieces differently and reconsider their view of the world around them.

“I hope that Collage: a political act shows how artists have used this exciting art form to illustrate extraordinary messages that address current issues, such as reproductive rights, racism and identity.

While all art delivers a message, the medium of collage does so with immediacy, she adds.

“A fun medium that moves images across a page, it allows an artist to focus on what they are trying to communicate rather than their technique.

“This exhibition includes a lot of works that depict the protests. Indeed, the medium of collage could itself be seen as a protest against traditional methods of artistic creation.

“Collage is also about layers, and there are many layers to the stories behind these works.”

Troy Michie’s riots was the piece that inspired the exhibition.

“I acquired it for the collection in 2020 and it is a very moving work,” says Anna.

“At first glance, it’s interesting, graphic and beautiful, and when you learn about its meaning, it takes on added power, inviting a discussion about systematic racism and how people use clothing to define their identity.”

The exhibition also features Protest crowd, Charlotte, UNITED STATES, (Black Lives Matter 2016), (2017) by Joy Gerrard. Gerrard is known for his work which questions the relationships between crowds, architecture and urban landscapes.

Created with Japanese ink on linen, this striking and contemporary piece gives a sense of the consolidated power of global protest movements.

“I was very excited when I learned that my work was going to be featured in this exhibition,” says Joy.

“First of all, I’m very interested in the ideas behind it.

“I’m fascinated by how artists can take images and modify them to emphasize a message, and I love the idea of ​​disrupting an existing image by literally tearing it apart.

“In this case, I modified the original image in many ways.

“It was enlarged, then translated to black and white and the composition was altered and stretched.”

Like Anna, Joy believes that collage, given its wide support, can be effective in communicating a message.

“I think we see different types of collage in all kinds of artistic mediums. It’s basically a mixing and gluing of different images, but it can be mixing words together or fitting pieces of film together. It doesn’t have to be a literal tearing and sticking of paper.

“We often see collages used in contemporary advertising and in films to add information or to emphasize a point.

“When it comes to art, collage is often used in a graphic way. In addition to the artists in the exhibition, such as Troy Michie or Emma Campbell, there are many who use it to make political statements. Artists like Jenny Holzer or Barbara Kruger, for example, edit texts in a very political way.

Joy’s artistic perspective from above is incredibly moving, and it’s something that she says gives audiences a lot to think about.

“In my work, I’m interested in how we relate to the crowd and the issues people are protesting against. An aerial view gives us both geographical and hierarchical context.

“How are we related to the crowd? Are we part of the crowd? Or do we see the group of people as difficult or troublesome and in need of control? I think the sights of buildings and people always provoke thought about politics and the apparatus of governance and policing.

Her article is about the Black Lives Matter movement, which she calls “a huge, universal problem.”

“I hope it gets viewers to consider the subject both locally and universally, and makes them think about humanity and the will to change an evil.

“We are, of course, very familiar with protest and politics here in Northern Ireland and it’s important to me that my work is part of that conversation.”

Although each exhibition explores a different theme, Anna thinks the logistics remain the same.

“As a curator, you manage a project with many moving parts and multiple teams that include curatorial, designers, gallery staff, marketing, artists and partner organizations, such as other museums.

“Before the launch of an exhibition, there is at least a year of research and writing, to try to find the best way to communicate to the public the ideas at the heart of the exhibition.

“At National Museums NI, our goal is to make our collections as accessible as possible, to reach new and diverse audiences, and to introduce people to new perspectives.

“I am very fortunate to work with an incredible and talented group of people, who work together to share our collection with the public.”

Joy enjoys the local arts scene just as much, describing studio arrangements in Northern Ireland as “incredible”.

She says: “They are very active and do an amazing job. They often operate on a shoestring budget to support artists, creating a thriving creative community.

“I wish these organizations had more funding and there was a more active commercial gallery sector here in Northern Ireland to promote the visibility of local artists.”

Collage: A Political Act will be on site at the Ulster Museum until May 29. Admission to the Ulster Museum and exhibition is free. For opening hours and more details, visit nmni.com

Shop flag t-shirts made by Old Navy artists

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If you shop at Old Navy, you’re surely familiar with the legendary Flag Tees that are practically synonymous with summer – you probably wore one as a kid, as well as the Old Navy flip flops you picked up at the start of the season. That’s no surprise, since the Flag Tee has been an Old Navy staple since the company was founded in 1994.

This year, the Flag Tee tradition gets a modern and inclusive update: Old Navy worked with three artists to give the Flag Tee a new look, one that speaks to the diverse nation that is America today. These shirts, alongside the classic flag t-shirt graphic, are a new chapter in the 28-year history of the Old Navy flag t-shirt that speaks to more Americans and their view of the country.

Keep reading to learn more about each artist and shop the t-shirts just in time for Memorial Day.

Manuela Guillén, a first-generation American artist with Cuban and Salvadoran immigrant parents, designed the first-ever Spanish language flag t-shirt for Old Navy. Its design features the phrase “para todos”, which translates to “for all”, to reflect its belief that the flag symbolizes inclusion for all who wish to call America home. “America is for everyone, no matter what,” she says. “This place is for all of us. It comes from my heart.”

Los Angeles-based model and artist Monica Ahanonu’s Flag Tee represents the intersectionality of her identity as a black woman and an American citizen. His design, titled “An American Tradition,” expresses his perception of what the flag embodies: courage, bravery and optimism. “In America, you have the opportunity to create whatever future you dream of,” says Ahanonu.

LGBTQ+ artist and advocate Edward Granger infused his signature geometric technique into his Flag Tee design to give the timeless symbol a more modern, abstract feel. For Granger, the flag represents innovation and freedom, a belief instilled at a young age that fuels her creative drive today. “To be American is to be open-minded and welcoming to all. We are in the dream together,” he says.

Buy the t-shirts here while they last!

Image source: Old Navy

Art-E Mediatech Lands Digital Mandate for Hisense

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Hisense entrusted its digital mandate to Art-E Mediatech. Art-E Mediatech will now support Hisense’s strategy formulation partner and provide them with social media strategy, media buying, influencer marketing and website services.

“We believe that everything we do should make our users’ lives simpler, better and more entertaining. Therefore, we aim to make the latest technologies accessible to everyone through carefully designed and expertly manufactured products. It is therefore vital for us to stay in constant contact with consumers. Therefore, it becomes essential for us to communicate the same in a clear, creative and concise way. We found Art-E Mediatech’s work engaging and KPI oriented. Their insights and approach to brand building will help us bring the creativity needed to leverage our already strong digital presence,” said Rishi Tandon, COO, Hisense.

According to Rohit Sakunia, Co-Founder and Chief Commercial Officer of Art-E Mediatech, over the past few years, the digital world has grown by leaps and bounds. “It’s no surprise that all businesses are turning to this platform to communicate with their target audience. We partner with Hisense to strengthen its digital journey across various social platforms. As an agency, we believe in results-driven strategies that not only connect brands to their audiences, but also transform lives in the process,” he added.

Art-E Mediatech is a comprehensive agency, leveraging data, technology, creative, media and strategic capabilities to deliver desired results with a 360 degree full funnel approach. Their core services are social media marketing, content creation and marketing, media buying and planning, TVCs, product and technology development, and design services. Currently, Art-E Mediatech manages the tenure of Flipkart Seller Hub, Indica Hair Colour, Raaga Professionals, Biker’s TCL, Shopsy, Buds and Berries, Parimatch, among others.

Also read: Inclusiveness in advertising: How ASCI plans to keep pace with changing society

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Modern Warfare 2 Art Reveals Soap and New Character

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Call of Duty: Modern Warfare 2 speeds up the very expensive marketing machine with new works of art that are displayed in major cities around the world. Call of Duty: Modern Warfare 2 was officially announced earlier this year after some teasing appeared online. A proper reveal for the game, likely with a trailer and other details, is set to take place on June 8, 2022 following a teaser in a recent promo. This same promo revealed that Call of Duty: Modern Warfare 2 will also launch in October and revealed the game’s cover art, which features Ghost front and center.

It also led to the reveal of a bunch of artwork for the game, confirming the crew that will assemble Task Force 141. For the uninitiated, Task Force 141 is a task force created by General Shepherd in the 2009 original. modern warfare 2. It is made up of the best of the best, that is, until they are all slowly eliminated over the course of two games. Task Force 141 from the rebooted series will once again feature Captain Price, Soap, and Ghost. Gaz, a character who died at the end of Call of Duty 4 Modern Warfare but survived the 2019 restart, will make his team debut in Call of Duty: Modern Warfare 2. A brand new character named Alejandro Vargas from the Mexican Special Forces will also join the crew for their new mission. The art reveal also included Captain Price’s voiceover, which mentioned Roach, the voiceless playable member of Task Force 141 in the original. Call of Duty: Modern Warfare 2. There are many rumors that Call of Duty: Modern Warfare 2 will deal with the war on drugs, focusing on cartels and drawing inspiration from films like Sicario. No plot details have yet been confirmed, but it wouldn’t be too surprising if it went that route.

For now, we are still waiting to hear more about this Call of Duty: Modern Warfare 2 will cause. Activision hasn’t confirmed any platforms for the game, but the game has leaked for next-gen platforms, which some fans feared would prevent the game from reaching its full potential.

You can keep reading to see the new Call of Duty: Modern Warfare 2 character illustrations below.

Call of Duty: Modern Warfare II trailer

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Cover of Call of Duty: Modern Warfare II

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Call of Duty: Modern Warfare 2 – Captain Price

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Call of Duty: Modern Warfare 2 – Soap

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Call of Duty: Modern Warfare 2 – Alejandro Vargas

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Call of Duty: Modern Warfare 2 – Gas

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Call of Duty: Modern Warfare 2 – Ghost

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Rare painting by Joan Carlile, one of England’s first female portrait painters, is up for auction in London

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Dreweatts Auction House in London will offer a work by Joan Carlile, widely regarded as the first female portrait painter active in 17th-century Britain, at its Ancient, British and European Art sale on May 26.

The oil painting, titled Portrait of Anne, Philadelphia and Thomas Wharton, later 5th Lord Wartonis expected to fetch between £30,000 and £50,000 ($38,000 and $63,000).

It depicts members of the Wharton family adorned with lush fabrics made in typical Carlile style. The drapery of silk folds over the child’s clothing, flanked by his two siblings, each positioned in front of a classical column with a red velvet curtain, reflects what was then the fashionable dress of British nobility in the Seventeenth century.

By the mid-17th century, however, it was virtually impossible for a woman to gain entry as a portrait painter in English high society.

Carlile was different. His work was rediscovered, in part, through good record keeping. In a 1658 list of notable English artists, her name is mentioned as one of only four female oil painters.

As one of the earliest known female portrait painters in England, Carlile’s works are also held in the public collections of Tate Britain, Ham House, Surrey and the National Portrait Gallery, London.

His pioneering style eventually led to his rediscovery, known primarily for his small-scale portraits of female figures, the work on offer tomorrow being considered one of his most important.

In 2016, Tate Britain acquired Carlile’s Portrait of an unknown lady after British television art historian Bendor Grosvenor identified it as the artist. He bought it at the Woolley and Wallis auction house in Salisbury in December 2014 for £4,200 ($5,452), then returned it to the Tate for £35,000 ($45,438).

Speaking at the time, Tabitha Barber, Curator of British Art at Tate, told the BBC, “It’s a built-in bias. You start to think that great artists are male artists. We have a big strategy to try to make women more visible on our walls.

It is believed that only 10 of Carlile’s portraits have survived, including that of Sir Thomas Browne and Lady Dorothy Browne, housed in the National Portrait Gallery in London.

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adidas x Kris Andrew Small Pride Collection 2022: where to buy

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One of the world’s most iconic athletic footwear and apparel brands is back with bold and uplifting designs to support the LGBTQ community with the new adidas Pride collection. This year, they partnered with queer artist Kris Andrew Small to not only give visibility to current voices in the community, but also to celebrate those who have moved society forward in the past.

The adidas x Kris Andrew Small Pride collection was inspired by the Stonewall militant uprising of 1969, with the urban style capsule decorated with the simple message ‘Love Unites’. The capsule includes a variety of graphic tees, dresses, hats, and jackets, as well as Forum, Superstar, and Stan Smith sneakers (in case you’re looking for some extra runway support this year).

adidas

To buy:
adidas x Kris Andrew Small Pride…
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$15+

Sydney-based Small is not only known for his joyful style of artistic expression, but also uses his art to channel societal issues such as raising awareness for the LGBTQ community and encouraging acceptance. “Conceptually, I really wanted this collection to celebrate all the amazing sides of being queer and celebrate how far we’ve come as a community,” Small said. “But also to remind people that there are still so many people in the community who are vulnerable and repressed.”

In addition to the Pride collection, adidas also continued its partnerships this year with two influential community supporting organisations, Athlete Ally and Stonewall UK. Athlete Ally focuses on ending homophobia and transphobia in sport, while Stonewall UK has worked to transform the lives of many in the LGBTQ community over the past 30 years.

The collection itself is inspired by the pop art and graphic design of the 70s and 80s, an era that had a profound creative influence on Small. In the abstract patterns and illustrations, Small often hides messages of acceptance and self-love, like the capital letters on the Tiro Pride Gender Neutral jersey that spell “Be Together.”

adidas pride collection

adidas

To buy:
adidas x Kris Andrew Small Pride…
to
$15+

Small wanted the capsule to be a celebration of “movement, color and joy.” This included revamping the traditional Pride visual language with a unique approach to designs – you won’t see a lot of rainbow art here. From the eyeball and lightning bolt doodles on the Love Unites cropped hoodie, to the remixed trans symbol on the Pride Icons bucket hat, there’s something for everyone, however you wear your pride on your sleeve.

Even if you’re just buying great gear for training, adidas has performance-ready Ultraboost 5.0 DNA shoes you can slip into for Pride. We’ve tested the brand’s Ultraboost trainers before and love their springy midsole and supportive fit that gives you that extra boost for some serious cardio.

With a great mix of stylish gear, performance-ready kicks and everyday athleisure kicks, the adidas x Kris Andrew Small collection has made it even easier to switch up your Pride wardrobe this season. . Pieces are gender neutral and inclusive in size from 2XS to 4XL in garments with prices starting at $15. Shop the collection live now at adidas.com.

The Five Best Digital Art Apps for iPad Artists

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On its own, the iPad has a lot of potential for artists, but it needs some really good apps to really make it shine. Here’s how to turn your iPad into your new favorite sketchbook with our favorite digital art apps.

The iPad is a fantastic device for digital artists. Not only is it very portable, but the Apple Pencil is one of the best styluses you’ll find on the market.

Of course, software is just as important as hardware. Ideally, a great app should be intuitive, highly customizable, and offer enough functionality to make your art stand out without bogging you down too much.

Here are some of our favorite art apps to use on the iPad.

procreate

If you’re looking for one of the best, easiest-to-use raster illustration apps, you can’t go wrong with Procreate. Not only is it very cheap (just $10 on the App Store), it is incredibly intuitive to use.

Procreate is lightning fast, has an advanced layering system, and only takes a few hours to recover. If you like 3D art, there is also 3D painting feature with Lighting Studio and Animated Export.

The main selling point is Procreate’s brush system, which is similar to Photoshop’s brush system, only better. Procreate comes with hundreds of brushes and has 100 customizable settings to fine-tune your brushes for the perfect result. Of course, you can also create your own or grab tons of community-created brushes from websites like Creative Market and deviantART.

It’s no surprise that many digital artists have gone iPad-exclusive with a program as good as Procreate.

There’s also an iPhone-exclusive version of Procreate, Procreate Pocket, perfect for quick sketches on the go – it costs $4.99.

Adobe Fresco

Image credit: Adobe

Image credit: Adobe

Those who have used desktop Photoshop for digital artwork will immediately pick up the app, but appreciate that the app is pared down to the tools most used by painters and illustrators.

We love its sketchbook feature that lets you experiment with tools and techniques before dropping artwork onto the canvas.

Adobe Fresco is free, but the premium version – which you can get as part of an Adobe Creative Cloud subscription – is far more preferable.

The premium version offers an expanded brush library with over 1,000 brushes, the ability to import new brushes, 1,000 fonts you can use in your designs, and quarterly brush drops from illustrator Kyle T. Webster.

Clip Studio Painting

Clip Studio Paint is a very popular desktop application used by millions of artists around the world, but it also has an iPad version.

Image credit: Clip Studio Paint

Image credit: Clip Studio Paint

This app is geared more towards comic artists, cartoonists, and animators, which the other apps we reviewed fell short of. It allows artists to draw, animate, add sound and create comics easily from their iPad. Additionally, artists can import and export PSD and vector files, allowing them to work between other applications.

It also features unique tools, such as a smart fill tool to help artists quickly lay flats and an auto colorizer for coloring inspiration. There are even poseable 3D models for nailing poses as you work.

Clip Studio Paint offers tens of thousands of free and premium brushes through the official store and has a very active community of artists to interact with.

Clip Studio Paint is available for iPad and plans start at $4.49 per month or $24.99 per year. Users can also purchase the app for a one-time fee of $49.99 for the Pro plan or $219.00 for the Ex plan.

Affinity Designer

Maybe you don’t do raster illustrations, and that’s fair. With the iPad you can also do vector art. Although several apps allow you to do this, our favorite is Affinity Designer.

One of the first vector design apps to take off on the iPad, Affinity Designer is a powerhouse. Its metal, ultra-fast acceleration allows you to zoom to more than 1,000,000%.

It also offers amazing Apple Pencil integration with pressure, tilt and angle sensitivity.

It also offers live pixel and retina views of vector work, wireframe views, and live effects.

Of course, you can also use Adobe Illustrator on the iPad, but Affinity Designer has a huge advantage: it doesn’t require a subscription. You can buy it on the app store for only $21.99.

Sketchbook

If you’re looking for a fantastic app that costs nothing, you’ll want to check out Sketchbook.

Image Credit: Sketchbook

Image Credit: Sketchbook

Sketchbook is intentionally lightweight and tries to recreate the feeling of drawing in a real sketchbook. The tools are simple, with brushes designed to mimic traditional material markers, pencils, crayons, and paints.

Built-in guides and rulers make it easy to lay precise lines the way you want, and a robust layering system mimics those in premium apps.

If you are new to drawing on iPad or iPhone, we suggest Hanging Sketchbook to see what you can find.

Each work has a different story to tell: Laxma Goud

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By Sukant Deepak

New Delhi, May 24 (SocialNews.XYZ) He always wanted to have an exhibition where only his black and white paintings were displayed. “It can give a very different experience to viewers of art. Many people think that without colors, art looks or feels incomplete. Through this exhibition, I wanted to change that perception. Whereas colors are important when it comes to art, there are other aspects that make a work of art stand out such as technique, details etc,” the award-winning artist told IANS Padma Shri, K. Laxma Goud.


A master artist who has deeply explored eroticism in his art while placing it in the normal and the rustic, he is also an engraver and has received several distinctions, including the Prafulla Dahanukar Lifetime Achievement Award.

With ‘Drawings and Intaglios by K Laxma Goud’ (Curatorial Advisor, Nanak Ganguly), it is after 11 years that Laxma Goud exhibits at Delhi NCR with the Splash Gallery (until June 7). About 125 of his works are on display, including drawings, intaglios and prints.

Speaking about the current exhibition, he says “Drawing has become an enduring tool in my creative pursuit, a singular line has countless shades realizing my imagination. Drawing alone led me to a fertile imagination, and drawing is the source of my metamorphosis.”

Adding that the element of his drawing is not confined to a singularity in his artistic practices; but allowed him to be very versatile, Goud says that for him drawing is like a magic wand. “This very passion gave me the strength to hold a sharp metal tool to make an etching line on a metal plate, while simultaneously drawing on paper. These decades of practice have made me face difficulties in finding a place for me and my work. As an individual, I have not compromised with the value judgments of the outside world. I am passionately committed to my drawing and do intaglio prints every day” , he said.

Although he works with several mediums, it is engraving that remains his favorite. And when it comes to themes and choosing the medium to convey, he says, “I don’t plan a particular theme or medium in advance, as the work progresses, anything that seems right or appropriate is what I do. I think every piece of art has a different story to tell.”

Lamenting the decline of state art institutions over the years, Goud believes it’s important that every state can boast about it.

Emphasizing that they open new doors to emerging artists, the artist believes that it is time for the government to start allocating more funds to the arts and their promotion. “Small initiatives will help bring about a whole new world for many artists and art lovers. If we want to see major change, we have to be the cause of that change. In addition, parents must encourage their children to take art seriously if they show interest.”

Goud, who studied mural painting under the legendary KG Subramanyan, is currently focusing on intaglios and his prints to gain recognition as a major medium in art.

The artist, who doesn’t really work with a plan in advance, feels that the media tends to ignore art in general. “With the kind of power he has over people, he can be instrumental in promoting the arts. Also, if we as Indians don’t respect Indian art, how can we expect other countries to do it?” he concludes.

(Sukant Deepak can be reached at [email protected])

Source: IANS

Each work has a different story to tell: Laxma Goud

About Gopi

Gopi Adusumilli is a programmer. He is the editor of SocialNews.XYZ and president of AGK Fire Inc.

He enjoys designing websites, developing mobile apps and publishing news articles from various authenticated news sources.

As for writing, he enjoys writing about current world politics and Indian movies. His future plans include developing SocialNews.XYZ into a news website that has no bias or judgment towards any.

He can be reached at [email protected]

Taking place in a nightclub, Anna Delvey’s solo exhibition looked like another scam, then her artwork appeared

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There was no art at Anna Delvey’s solo art show. At least not at first.

That wasn’t the only hint that last Thursday’s event, called “Allegedly,” would be different from a typical exhibit opening.

Upon entering, guests lined up behind a series of glass doors on the second floor of a trendy Lower East Side hotel. Many looked like budding influencers; some were real influencers; almost all of them were dressed as if they were about to attend an afterparty rather than an art exhibition. The maitre d crossed visitors’ names off the ‘list’, the bouncers scrawled X’s on their hands and everyone rushed into the crowded bar.

The space was lit like a club. It looked like one too, with a long-haired DJ blasting out some local radio rap. A drag performer dressed as the star of the night broke into a feverish dance, shouting quotes from Netflix Invent Anna. Bartenders mixed cocktails en masse, many in champagne flutes. The signature drink of the evening: Anna on ICE.

Delvey, real name Anna Sorokin, was not present, but that was to be expected. She is still being held at the Orange County Correctional Center in Goshen, New York, where she faces deportation. More curious was the absence of Anna’s drawings, recently completed at ICE Detention Center using cheap crayons, pens, and other supplies sent to her by Chris Martine, the upstart artist’s dealer and event organizer. Early examples of Sorokin’s work debuted in a group show dedicated to him in March – and Martine has promised a list of new pieces for this exhibition.

Agitated guests chatted about where the artwork might be. Several have suggested that it didn’t exist at all, that all night was excitement intended as some kind of conceptual homage to the “SoHo Scammer”.

But then the music changed – Kanye West’s “Flashing Lights” started – and the glass doors flew open. The crowd parted to form a makeshift catwalk, on which paraded models in white gloves holding framed drawings. Each wore chunky Versace glasses and black stockings over their heads, as if they were about to steal the joint. The audience, several flutes deep at the time, went wild.

After the parade, the nearly two dozen designs were moved to another floor, and the guests followed.

A model with one of Anna Sorokin’s works.

As with the latest batch of drawings, the “allegedly” artwork finds Sorokin in a self-deprecating mood, mixing cartoon captions, fashion sketching techniques, and a sardonic sense of humor for both riff on his own personality and interpret it. One, for example, features the artist in the courtroom, a sea of ​​cameras behind her and a caption above: “The trial is the new sex tape,” he says.

A design called Vanilla ice cream represents the artist in the middle of a crowd of women in jumpsuits. A description below reads: “White Privilege Request Status: Denied”. Another shows Anna and a host of faceless models posing on an institutional staircase in chic outfits: the “Corrections Collection,” according to an entry.

Prior to the event, Martine, who represents Sorokin through her new consulting firm called Art Club Founders, said the designs would cost between $10,000 and $15,000 each. But on Thursday night, it looks like they were only for sale as a complete set, and even as part of a split arrangement.

QR codes on signs next to the artworks directed potential buyers to a site that explained the 21-piece collection was valued at $500,000 and that the Founders Art Club was “selling up to 48% ownership in Anna Delvey’s ‘allegedly’ original collection to strategic investors. The company will always keep at least 53% of the collection. (Martine did not respond to emails asking whether or not any of the artwork sold out at the opening event.)

Meanwhile, lithographs of Sorokin’s sketches are on sale now at Founders Art Club Shop, starting at $250 a pop. Each belongs to an edition of 500.

Some time after the guests had all headed upstairs and the booze had really started to blur the lines of the evening, Martine got up to speak. “[Delvey’s] talent is flowing all over this room,” he said, before starting a “Free Anna” chant.

Then, after some technical difficulties, Anna appeared on a monitor in front of the room. Video chatting from Orange County, she wore dark glasses and a traffic cone-colored jumpsuit, which hardly suited the Corrections collection. The audio was uneven, but she thanked the night’s guests for being there and answered shouted questions from the crowd.

Before signing off, the federal inmate provided an update on her “foundation,” the social club/art space at the heart of her hundreds of thousands of dollars scam. “The Anna Delvey Foundation will definitely be realized,” she said, “but not in the same form.”

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Graf Von Faber-Castell Pen of the Year 2022

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Graf von Faber-Castell introduced its first pen of the year in 2003, and an incredible cascade of annual limited editions followed. Each tells a different story, but always focused on human development.

Last year’s pen refers to the Middle Ages and recalls the daring feats and epic battles of that era. The pen of the year 2021 has a matte cap, the anthracite gray surface of which resembles chain mail. Its barrel is made of Damascus steel with sword blade details, and the end cap is reminiscent of loopholes. The Moline cross adorns the crown of the cap.

Pen of the year 2022

This year’s Graf von Faber-Castell Pen of the Year is inspired by the culture, aesthetics and religious rites of the Aztec Empire, which was based on an alliance of three city-states, created in 1428, in present-day Mexico. Impressive artwork, a modern political system, and a captivating creation myth are just a few of the things the Aztecs are known for, and the pen hits the spot in an artistic way.

The metal body has a charcoal gray DLC coating with a skull motif reminiscent of Mexico City’s pyramid-shaped Templo Mayor. The Aztecs offered human sacrifices to their gods to ensure the sun would rise for another day at the Templo, and its wall of skulls is remembered here.

The gripping section of the writing instrument is made of obsidian, a volcanic rock used to make arrowheads and swords, which, although fragile, could be made razor sharp. In addition to its usefulness, it also had spiritual significance for the Aztecs and served as protection against evil spirits. It also appears frequently in the form of beads, figurines and vases.

Turquoise discs adorning the pen tips add a welcome pop of color. Turquoise was honored by the Aztecs as one of their most precious treasures, and the relief carved into the stone on the pen depicts an eagle, a sacred symbol. The Aztecs considered turquoise to be an embodiment of fire and they encrusted it in mosaic objects such as masks, knives and shields.

The pen cap is loosely based on the shape of a cactus in reference to an ancient prophecy that the Aztecs would know where to build their city once they saw an eagle on a cactus eating a snake. They eventually settled around 1320 in what is now Mexico City.

The plunger-filled fountain pen has a ruthenium-coated 18k gold magnum nib, which blends well with the gray body of the pen. It comes in slim, medium, wide and double wide sizes. And there are only 375 numbered fountain pens available and 125 numbered rollerball pens, each presented in a polished wooden case that includes a certificate of authenticity signed by Count Charles von Faber-Castell. He is part of the ninth generation at the head of this family business.

Artists’ Syndicate Ready to Store Dismantled Soviet Monuments / Article

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The so-called House of Artists is a place where ideological monuments commissioned by regime authorities were also produced during the Soviet regime, said Igors Dobičins, head of the union.

“Inevitably, because it was, so to speak, a production plant. “Art” factory. It was the only place to get the job done,” Dobičins said.

Therefore, in some respects, it is even logical that today the Union of Artists has expressed its desire to deposit Soviet monuments. Beneath the ideology there is often a performance that is important for the history of art.

“Of course, ideologically, this work may not be compatible with today’s environment and today’s demands. You can separate that ideological field and look at the artwork, the quality of the performance, the compositions as they were created. This should be preserved as these qualities are hereditary,” Dobičins said.

Dismantled Soviet monuments could be stored in the creative block of the Union of Artists in Rīga, Gaujas Street. There they could serve as reference material for young sculptors and as a place of research for scientists or art historians.

One of the first municipalities to show interest in the offer of the Union of Artists is the municipality of Ropažu, which plans to dismantle several Soviet monuments.

“I’m sorry, if we took this apart, where would we put it?” Bury in the ground? Well we would pollute the earth! Therefore, this offer by the Union of Artists to make a kind of deposit by accumulating the cultural or artistic experience in a place that they know is a very good solution,” said Haralds Burkovskis, Vice-President of the City Council. of Ropažu (National Alliance).

Other municipalities, such as Smiltene, have also expressed interest. The Union of Artists is also said to be ready to deposit monumental fragments of the memorial in Uzvaras Park.

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Parisian street art legend Miss.Tic has died aged 66

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His work has been exhibited in galleries in France and abroad – Copyright AFP Fabrice COFFRINI

Aurélie CARABIN

Miss.Tic, whose provocative work began popping up in Paris’s Montmartre district in the mid-1980s and made her a pioneer of French street art, died on Sunday at the age of 66, it has been reported his family to AFP.

Radhia Novat grew up in the narrow streets in the shadow of the Basilica of the Sacred Heart, the daughter of a Tunisian father and a Norman mother in western France, where she began stenciling slogans sneaky and emancipatory.

Her family said she died of an unspecified illness.

Other French street artists paid tribute to his work.

On Twitter, street artist Christian Guemy, alias C215, hailed “one of the founders of stencil art”. The walls of the 13th arrondissement of Paris – where his images are commonplace – “will never be the same again”, he wrote.

Another colleague, “Jef Aerosol”, said he fought his last illness with courage, in a tribute posted on Instagram.

And the new French Minister of Culture, Rima Abdul Malak, hailed her “emblematic, resolutely feminist” work.

Miss.Tic’s work often included clever puns – almost always lost in translation – and a heroine with flowing dark hair who looked like the artist herself. The images have become fixtures on the walls of the capital.

“I had a background in street theater and I loved this idea of ​​street art,” Miss.Tic said in a 2011 interview.

“At first I thought, ‘I’m going to write poems. And then, “we need images” with these poems. I started with self-portraits, then moved on to other women,” she said.

Miss.Tic also brought law enforcement attention to complaints of damage to public property, leading to an arrest in 1997.

But his works have been exhibited in galleries in France and abroad, some of which have been acquired by the Parisian modern art fund of the Victoria and Albert Museum in London, according to his website.

And moviegoers will recognize his work on the poster for Claude Chabrol’s film “The Girl Cut in Two” (2007).

For a while, she was a favorite of fashion brands such as Kenzo and Louis Vuitton.

“Too often, we don’t understand that we can be young and beautiful and have things to say,” she told AFP in 2011.

“But it’s true that they sell us what they want with beautiful women. So I thought, I’m going to use these women to sell them poetry.

His funeral, the date of which has not yet been announced, will be open to the public, his family said.

Gun Safety Advocates Recognize 2 Duval County Students For Artwork Highlighting Gun Violence Crisis – Action News Jax

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JACKSONVILLE, Fla. — Volunteers from the nonprofit Moms Demand Action, in partnership with the Everytown for Gun Safety Support Fund, will recognize Akila Jayaraman of Stanton College Prep and Anaya King of Raines High School for their works.

NARRATIVE: Man caught on security video punching woman inside Arlington gas station arrested

Moms Demand Action volunteers in Jacksonville invited students in grades 6-8 and 9-12 to participate in a poster contest to highlight the many ways gun violence affects individuals and communities and to remember the lives lost or changed by gun violence.

Winning posters will be displayed at BookMark in Neptune Beach, along with recent books describing the impact of gun violence, the politics of gun safety laws, and preventable solutions. The presentation will begin at 1 p.m. at 220 First Street, Neptune Beach, FL 32266. The public is welcome.

The contest takes place just before the Wear Orange weekend and National Gun Violence Awareness Day on June 3. Weekend Wear Orange was born on June 2, 2015 – which would have been Hadiya Pendleton’s 18th birthday. The event started with Chicago teenagers, who wanted to honor their friend, Hadiya, after she was shot and killed.

Today, Wear Orange Weekend honors Hadiya and the more than 110 Americans shot and killed every day, along with the hundreds more injured.

NARRATIVE: Vystar opens selected branches to help customers during blackout

The year 2021 has been one of the deadliest years on record for gun violence in the United States. Gun violence has increased as the COVID-19 pandemic has struck and these impacts continue to devastate communities and families across the country.

The #wearorange movement hopes to remedy this problem and continues to raise awareness so that the United States does not experience a similar and deadly year.

Each year, #WearOrange grows, as community partners and gun safety advocates host events ranging from rallies to community beautification projects, fundraisers and Wear Orange walks. This year, Defenders will again participate in all states and Washington, D.C.

Part of art exhibition sales will go to Ukraine

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“Sunflowers for Ukraine”, Julianna Kirwin, 2022, linocut mounted on wood panel, 12×12 inches. (Courtesy of Inpost ArtSpace)

As the news cycle tells seemingly endless stories about the carnage in Ukraine, a group of New Mexico artists wants to help.

Opened at the Inpost Artspace of the Outpost Performance Space, a dozen artists will donate part of the proceeds from 27 works to Direct Relief, a non-profit organization providing emergency medical assistance and disaster relief. disaster.

“We just wanted to try and do something,” said Chandler Wigton, co-curator with Lacey Chrisco. “We were very pleased with the influx of people willing to participate. There are so many nice and generous artists in this community. Some people donate all of their sales.

The artists agreed to a 50% split. The works will also be available online. The artworks range from prints and paintings to mixed media and ceramics, with styles ranging from political to landscapes and abstraction.

When Albuquerque artist Julianna Kirwin heard about the fundraiser, her thoughts first turned to bombed-out buildings and rubble-strewn streets.

Instead, she decided to be positive, producing a linocut print of a bold pair of sunflowers. “Peace in Ukraine” writes the print base.

“The sunflowers represent Ukraine and it seemed like a positive message,” Kirwin said.

The artist majored in art and bilingual education at the University of New Mexico. She shows her prints at the Hecho a Mano in Santa Fe.

“I love doing multiples and I like being able to offer my works at a reasonable price,” she said. Kirwin also does woodcuts and enjoys combining techniques.

“Normally I like to layer my hand cut stencils around the print,” she said. “It gives it a bit more depth.”

Albuquerque artist Mark Horst painted an image of two Ukrainian Orthodox women praying.

“As a painter, I always collect pictures from newspapers and magazines,” he said. “I thought it was really about the darkness of war and their strength and their hope. I know there are a lot of different views on the war, but I thought this reflected their experience.

A professional artist for 12 years, Horst is known for his figurative work and his use of chiaroscuro, strong contrasts between light and dark. He exhibits his work at the Sumner & Dene Gallery. He grew up in Minnesota and moved to Albuquerque 12 years ago.

Retired engineer Tom Brown always loved to draw, so he took a class at Central New Mexico Community College. A course in engraving followed, where he met the curators of the exhibition.

Brown created the “Finger Puppet-Faces of Evil” etching and aquatint, an image of his hand, his middle finger holding an image of Vladimir Putin, and a skull. The vipers embrace between the two.

“I started taking the course and had to come up with ideas,” Brown said. “I looked at my hand and made a gesture. It was just a real visceral reaction to the destruction.

The hammer and the sickle, symbol of the former Soviet Union, flatten the forehead of the Russian dictator. But sunflowers, the national symbol of Ukraine, bloom at the bottom of the print. For the artist, they symbolize hope.

“He can do whatever he wants, but he can’t stomp on that,” Brown said. “I was hoping things would change and it wouldn’t be relevant anymore.”

10 Marvel Creators Who Deserve More Credit

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MCU fans are familiar with the cultural force known as Stan Lee, the great animator to many comic book legends. With Lee’s ubiquity in movie cameos and press interviews, he’s become something of a godfather to the expanding Marvel galaxy. But as Lee’s plans for Marvel took shape in the 1960s and grew through modern times, many of his colleagues who helped build the empire fell into the shadows.

RELATED: Marvel: 10 Longest Stretches A Writer Has Worked On A Single Series

Stan Lee’s work product permeates the public consciousness, but that is not the case for many of his most gifted collaborators. Veteran readers may remember the artists who gave birth to the heroes and villains of the MCU, but more credit goes to the unsung creators of Marvel Comics.

ten Steve Ditko helped found modern comics.

Steve Ditko was the architect behind Spider-Man, and perhaps the pinnacle of Marvel imagery and identity. In 1963, Ditko had a conversation with Stan Lee and turned a vague idea into a fully formed Wall-Crawler. Spider-Man proved that a popular comic can aspire to be literature, with stories full of human drama and empathetic characters. To challenge Marvel’s flagship protagonist, Ditko spawned a host of villains, including Doctor Octopus, the Lizard, and the Green Goblin. Contrasting the young Spider-Man was Doctor Strange, another product of the fertile year 1963. Strange’s magical tales drew on Ditko’s penchant for surrealism, with lasting impact.


9 Gil Kane’s work helped propel Marvel into the ’70s.

Any fan of Marvel’s Bronze Age is familiar with the work of Gil Kane. In the 1970s, Kane was a prolific cover artist for House of Ideas, created the characters Morbius and Iron Fist, and helped redesign Marvel originals Captain Marvel and Adam Warlock.

RELATED: 10 Adam Warlock Comics To Read Before Guardians Of The Galaxy 3

Among his accomplishments was the art of one of the comic book’s legendary tales, “The Death of Gwen Stacy”, appearing in Amazing Spider-Man #121-122. Although he was a journeyman who contributed to the work of various other companies, notably DC, Kane continued sporadically with Marvel in the 80s on books such as the Micronauts.


8 Dave Cockrum played a crucial role in the birth of the Uncanny X-Men.

Although his output for Marvel was relatively small, Dave Cockrum helped create one of the most celebrated superhero teams of all time. Many readers might associate the early adventures of the Weird X-Men with John Byrne, but it was Cockrum who helped launch the title and designed much of the original programming. Phoenix, Storm, Colossus, and Nightcrawler (which was almost part of DC’s the foreigners) all took shape on Cockrum’s drawing board. The artist also added the black cat to the pages of the amazing spider manbut it was his Weird X-Men contributions that have had a huge impact.


7 Mike Ploog was a master of the art of Marvel horror.

Mike Ploog was at the forefront of Marvel’s horror movement in the 1970s, a wave of dark creativity made possible by an era of permissiveness. The Comics Code Authority had lifted the ban on the horror genre in 1971, allowing a new crop of spooky tales. Ploog created the character Werewolf by Night for Spotlight on Marvel #2 in 1972, but his major contribution to the current Marvel Universe was his work on Ghost Rider for Spotlight on Marvel #5, tweaking the costume of the demonic biker. Horror fans also treasure Ploog for his work on Frankenstein’s Monster and a brief but acclaimed 1974 run on man-thing.


6 Gene Colan has contributed several memorable heroes to the MCU.

Another figure who thrived in the world of Marvel horror was Gene Colan, known for his work on the popular Tomb of Dracula book, which spawned the dark vampire hunter known as Blade. Colan produced another significant comic book character of color, the Falcon, the first African-American superhero and a mainstay of Marvel movies and television. Additionally, Carol Danvers emerged from Colan’s art for a 1968 issue of Marvel Superheroes. She would later take off as Ms. Marvel before taking on the role of Captain Marvel, now among the MCU’s most powerful heroes.


5 John Buscema was a Marvel Illustration titan.

John Buscema has had the honor of contributing to nearly every major Marvel title, from avengers for Wolverine. During his Silver Age run on the Avengers, he helped transform the Vision into the now-famous character in the MCU. Another major creation was the She-Hulk in 1980, which would later get its own Disney+ series in 2022.

RELATED: The 10 Best She-Hulk Villains, Ranked

One of the best examples of Buscema’s artistic style is his work on Silver Surfer #4, depicting a battle between the Surfer and Thor. Ultimately, Buscema’s reputation is tied to the Conan tales, with the artist drawing over 200 stories featuring the creation of Robert E. Howard.


After inking his brother’s pencils on dear Stan Lee Silver Surfer title in 1969, Sal Buscema soon designed the avengers. In 1972, he co-created the Defenders team and reintroduced the Valkyrie in this popular Bronze Age book. Perhaps older Marvel readers will best remember the younger Buscema for his extended residencies on both the Spectacular Spider-Man (eight years old) and on his favorite comic book character the The Incredible Hulk (ten years). Ultimately, Sal Buscema contributed over 30 years of Marvel storytelling.


3 Don Heck stepped out of Jack Kirby’s shadow.

Although primarily an adventure comic artist early in his career, Don Heck was a significant early force in Marvel. The story to some extent overshadowed Heck’s accomplishments with those of Jack Kirby and Steve Ditko, but it was Heck who did the interior art for Iron Man’s first appearance in Thrillers #39. Heck also drew many early issues of the avengers during the Silver Age and is credited with co-creating many Marvel protagonists, such as Hawkeye, Wonder Man, Black Widow, Mantis, and Havok.

2 Bill Everett left his mark with Submariner and Daredevil.

Bill Everett, like Jack Kirby, had a long career that spanned the Golden, Silver, and Bronze Ages of comic books. Most notably, he created the Sub-Mariner in 1939 Marvel Comics #1.

RELATED: The 10 Best Namor Comics

Namor’s look would remain constant throughout Everett’s life and would feature in the artist’s last published work in Super Villain Team #1. These final Sub-Mariner illustrations appeared after the artist died in 1975. In addition to launching Marvel’s Sub-Mariner Monarch, Everett was also part of the team that released daredevil in 1964.

1 John Romita Sr.’s Spider-Man helped define the Marvel corporate brand.

When Steve Ditko stopped working on amazing spider man in 1966, John Romita Sr. stepped in. Romita developed the signature webslinger style, which became key to Marvel’s continued success in the late 60s and 70s. With help from Romita’s pens and brushes, amazing spider man became Marvel’s bestseller, dethroning the The Fantastic Four in 1969. Romita’s credits also include designing Mary Jane Wilson and famous thieves like the Rhino, Shocker and Kingpin. Although Romita contributed to other books and characters, such as Wolverine and Punisher, her work with Spider-Man cemented her legacy.


Supergods, understand comics and true believer

10 Best Comic Book Books, Ranked

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An art dealer buys a bust from a thrift store – only to find out it’s 2,000 years old! – InspirePlus

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For antique dealers, finding a long-lost valuable artifact from another era is the best part of hunting.


Laura Young is an art dealer from Texas. In 2018, she was rummaging through a Goodwill store near Austin when she found an item she found “interesting”: a marble bust of a Roman man. Laura bought the bust, strapped it in her car and drove it home with the $34.99 price tag still plastered on her stone face.



Once she brought it home, Laura began researching where it came from and how much it might be worth. She contacted auction houses for information, and eventually Sotheby’s found the answers she was looking for. What they told him is every antique hunter’s dream!


The bust is 2,000 years old, originating from Roman times. He was modeled after Sextus Pompey, a Roman military leader who was the son of Pompey the Great, one of Julius Caesar’s allies.


But wait, there’s more!



After the fall of the Roman Empire, the bust was purchased by King Ludwig I of Bavaria. The German king had commissioned a replica of a house in Pompeii, called Pompejanum, and this bust was displayed within these columned walls.


Experts were even able to find a photo of the bust inside the Pompejanum in a digital photo database from the 1930s.



The bust remained in Germany until World War II, when all Pompejanum artifacts were stored. This turned out to be a very good thing, because the Pompejanum was eventually bombed during the war.


In 1950 all the objects were unpacked and put on display in the reconstructed Pompejanum – except no one noticed that this particular bust was not among the other artifacts.


“It appears that between the time it was put into storage and around 1950, someone found it and took it,” said Lynley McAlpine, postdoctoral fellow in conservation at the San Antonio Museum of Art (SAMA). “Since it ended up in the United States, it seems likely that an American who was stationed there got their hands on it.”



Fast forward a few decades…and here is the priceless marble bust in a Texas thrift store! Neither Laura nor art experts know where the piece was from 1950 to 2018, but now that it has been found it is destined to return to its original owner in Bavaria.


The bust will be on display at SAMA for the next year, but eventually it will return to the Pompejanum where it belongs.



Laura says she would like to hear from the person who donated the bust to Goodwill, but either way she is thrilled to hear the story behind her find. She is now part of the story herself, irrevocably linked to a priceless work of art she came across.


Share this story to inspire anyone who enjoys antique hunting!

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Artwork by Mitchell-area fourth-graders to be displayed on I-90 to promote safety in roadwork zones – Mitchell Republic

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MITCHELL — Two Mitchell-area elementary students have been recognized for their artwork promoting awareness of roadwork zones, which will be turned into billboards for the summer driving season.

Fourth-graders Kenze Glover, of Bridgewater-Emery, and Brady Mentele, of Mitchell Christian, were each recognized by the South Dakota Department of Transportation and the South Dakota Chapter of the Associated General Contractors of America for have sensitized the work area. Students and their classroom teachers received a cash prize and had their display boards unveiled at events at their respective schools.

Kenze Glover, a fourth-grade student from Bridgewater-Emery, won a South Dakota Department of Transportation billboard contest to promote safety in roadwork zones.

Courtesy of South Dakota Department of Transportation

The Mentele notice board advises drivers to “slow down for cones when in construction zones!” and Glover’s design shows a construction worker with the message to “drive the posted speed limit.”

“Our partnership with the AGC and area contractors in this campaign focuses on addressing the dangers of excessive speed and distracted driving in work zones,” said South Dakota Secretary of Transportation Joel Jundt. . “We are thrilled to engage young people and their families through a fun, yet meaningful contest to highlight that everyone plays a part in keeping our roads safe. »

Each year, SDDOT works with AGC and area contractors to build and maintain South Dakota’s roads and bridges and partners with AGC to sponsor a Work Zone Awareness Billboard Design Contest. with fourth graders in elementary schools across the state.

The Mentele Billboard will be located eastbound on I-90 near Mile 346 near Alexandria and will go live around May 30. Glover’s billboard, which recently went live, will be located westbound on I-90 near Mile 373 near Montrose.

NFT Charity Auction Highlights Free Ukraine Event During World Economic Forum

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Foundation using art to promote peace and preserve the heritage of the war-torn country

DAVOS, Switzerland, May 20, 2022 /PRNewswire/ — The Free Ukraine Foundation is hosting a special charity event on May 25 in Davos, Switzerlandwhere a series of artworks featuring Ukrainian artists are auctioned off to raise funds and support the peace mission for Ukraine and its people. The event is organized in collaboration with the Mriya Art Mission, which focuses on preserving Ukrainian art, helping indigenous artists and protecting the country’s cultural heritage.

To bring NFTs to life, the Free Ukraine Foundation works with Mint Werx, a premium NFT design and production studio. Mint Werx designs, creates and launches a series of three high-value NFTs that are combined with one-of-a-kind physical artworks that will be auctioned at the event. These NFTs feature the work of Artem Shestakova Ukraine Native and world-renowned artist and photographer, best known for his nature and landscape images. The physical artwork will be signed and numbered by the artist, along with a certificate of authenticity.

“We are steadfast in our mission of cultural diplomacy for peace, and we are honored to welcome our esteemed guests to the event and to help raise awareness and support efforts to preserve the culture of Ukraine in these difficult times,” said Andrey Kolodyuk, co-founder of the Free Ukraine Foundation. “The Mriya Art Mission is about coming together to defend the culture of Ukraine and ensure its existence by preserving art, music, painting and theater, which are so important to the soul of Ukraine but threatened by the chaos of war.”

The charity event will take place Wednesday May 25from 9pm-11pm CEDT and will be held at the Decentralized Web Gateway, a multi-day event dedicated to exploring the benefits of decentralization, hosted by the Filecoin Foundation.

To learn more about the Free Ukraine Foundation and the Mriya Art Mission, visit the organization’s website.

About the Free Ukraine Foundation
The Free Ukraine Foundation was established to be an advocate for peace and to help unite the world in efforts to support the country of Ukraine as he faces alien invasion and threats to his way of life. The Foundation is at the service of the population of Ukraine through a number of initiatives including humanitarian relief, information dissemination, peaceful mobilization, employment and education, reconstruction and more. To learn more, visit www.freeukraine.foundation.

About Mint Werx
Mint Werx is a premium NFT creative and production studio that develops turnkey strategies and solutions for brands and creators. Harnessing the power of sustainable blockchain technologies, Mint Werx offers state-of-the-art, scalable and one-of-a-kind NFTs and dynamic platforms, producing, minting and activating authentic digital expressions that last a lifetime. Through these solutions, Mint Werx simplifies and brings together a complex range of technologies to strengthen ownership and build thriving connections between collectors, consumers, communities and culture. Mint Werx is a division of Fusion92 (Fusion92.com), a leader Chicagoindependent marketing innovation company founded in 1999. Learn more about MintWerx.com.

Contact
Brian Weger
Fusion92
[email protected]
888-550-4864 (UNITED STATES)

Free Ukraine Foundation
[email protected]
+32 0472 67 55 02

SOURCE Free Ukraine Foundation

Maxon launches the latest range of its 3D and Motion Design Show

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Maxon recently announced the lineup for the 3D and Motion Design Show, the latest in its series of free, artist-focused streaming shows for 3D and motion design artists. On May 18, viewers can expect to see today’s leading digital artists showcase their personal projects and demonstrate workflow management techniques using the recently released Maxon suite of creative tools. including Cinema 4D, Redshift, Red Giant and ZBrush.

The presentations will be streamed live and are available on demand shortly thereafter on 3DMotionShow.com as well as Maxon’s YouTube channel.

Presenters include:

Michael Rosen is the director of Sampliistic Media, a motion design and creative post-production company just north of San Francisco. He has worked on a number of freelance and commercial projects which have seen him work with a plethora of top brands such as Samsung, Microsoft, Salesforce, Subway, NBC, FedEx, MTV, Honda and more.

Mehdi Hadi is a VFX motion graphics designer and concept designer, specializing in motion graphics. He enjoys working with particles and fluid simulation, and his list of projects includes title sequences, broadcast graphics, animation for computer games, corporate videos, television commercials, and animated shorts.

Ross Morris, also known as RAM3DDA, is a multidisciplinary digital artist who creates 3D renderings and animations. Alongside his freelance career, he is also the founder of Cryptobiotica, a blockchain-based biotech lab that spearheads the study of digital lifeforms.

Will Harvey, also known as REVILO, is a digital artist and motion designer. As a freelance artist, he has had the opportunity to work on concert visuals and/or digital art for musicians such as Lil Uzi Vert, G-Eazy, City Girls, Megan Thee Stallion, SHAQ and Lil Nas X.

In addition to the 3D and Motion Design Show, Maxon hosts a number of online webinars each week for users who want more frequent access to cutting-edge tips and tricks for getting the most out of their creative tools.

Sylvan Lake RCMP are looking for owners of stolen artwork, violins and photos – Red Deer Advocate

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Sylvan Lake RCMP are looking for owners of stolen artwork, violins and photos

Artwork, violins, baseball memorabilia and music amps among the items recovered




Sylvan Lake RCMP are hoping to locate the owners of stolen artwork, a violin, baseball memorabilia and other items recovered last month after an operation by the District’s Crime Reduction Unit. central Alberta.

Two Sylvan Lake residents were charged last month after the seizure of firearms, a moped and other property believed to have been stolen from Sylvan Lake.

The pair were charged after Sylvan Lake RCMP executed a search warrant at a residence in Woodlands Crescent, where they located a large amount of property.

Police say the stolen property was linked to at least six break and enters in the Red Deer and Sylvan Lake area. RCMP also recovered two stolen vehicles as a result of the investigation.

A 37-year-old man has been charged with 35 different offences, including property, weapons and breach of bail charges.

A 37-year-old woman has been charged with 12 different property offences.

“To date, many stolen items have been returned, but there are still items that police would like to return to their rightful owners,” police said in a press release Wednesday. “Some of these items are oil paintings and prints that may have sentimental value.

If you believe any part of this property is yours, contact Sylvan Lake RCMP at 403-858-7240. If you wish to remain anonymous, you may contact Crime Stoppers at 1-800-222-8477 (TIPS), online at www.P3Tips.com or by using the “P3 Tips” app available through the Apple app or Google Play Store.



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Crofton Art Group returns in exhibition and sale – Chemainus Valley Courier

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Members of the Crofton Art Group felt a sense of renewal with their first exhibition and sale on May 6 and 7 since the fall exhibition in November 2019.

The Crofton Seniors Center was filled with paintings for the spring event and proud artists displayed their work throughout the two days.

“It was great,” said Crofton Art Group president Susan Law. “People enjoy going out after the mandates have been lowered a bit. It was fun for us. We missed two years. »

You’d think artists would have just continued to paint while locked down for COVID, but that wasn’t the case for all. Band member Sue Bosecker said it was quite the opposite for most of them.

“You’re stuck at home and you had no motivation,” she conceded.

“In our weekly meetings, it generates energy,” Law added.

The return of regular Wednesday gatherings, monthly management meetings and then the show definitely inspired artists to produce again. Of the 42 members of the group, about 20 took part in the show and the public came to see the wide variety of work.

“It was a good turnout,” Law noted. “People seem to be cheerful and optimistic.”

There were 88 framed paintings on display and “there are tons and tons of them unframed,” Bosecker added. This included some tiny creations.

This is the 68th year for the Crofton Art Group. It seems like yesterday when the big 65th anniversary was celebrated and now the 70th is already on the horizon.

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art exhibition

Mary Oscar and Jim Malo, members of the Crofton Art Group, are pleased to once again present their art.  (Photo by Don Bodger)

Mary Oscar and Jim Malo, members of the Crofton Art Group, are pleased to once again present their art. (Photo by Don Bodger)

Diana Binks with her Glory to Ukraine acrylic painting in bright blue and yellow colors.  (Photo by Don Bodger)

Diana Binks with her Glory to Ukraine acrylic painting in bright blue and yellow colors. (Photo by Don Bodger)

Milestone: United Way of Clallam County honors community contributors

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United Way of Clallam County held its annual awards ceremony on May 6 at 7 Cedars Resort’s Club 7.

In addition to celebrating a successful fundraising campaign where over $1.4 million was raised, 15 donors, partners, community leaders, outgoing board members and sponsors were honored for “their efforts and strong support in promoting a healthy and safe community for all,” United Way representatives said.

The 2021 winners included:

• Hayley Sharpe, owner of MOSS

• Nicole Goettling, owner of Bibity Bobity Child Care

• Jason and Rose Thompson, owners of Fog Town Coffee

• Peninsula Behavioral Health

• Cynthia Martin, Founder of Parenting Matters Foundation

• In honor of William Hardman for his legacy to United Way of Clallam County.

• 7 Cedars Casino of the Jamestown S’Klallam tribe

• Mel Melmed, Public Health Nurse

• Donna Pacheco, Senior Marketing Coordinator at the Olympic Medical Center

• The Northern Olympic Library System

• Tami Rose at Wilder Auto

• Outgoing Board Member Ray Chirayath

• Outgoing Board Member, Dave Neupert

• Tyler Johnson, for his year of service as Chairman of the Board of Directors

• Steve Methner for his volunteer leadership

About United Way of Clallam County

For 1952 years, United Way of Clallam County has “advanced the common good by partnering with local nonprofit organizations whose work focuses on education, financial stability, and health; which are the building blocks of a good quality of life,” the organization said.

For more information about United Way, visit unitedwayclallam.org.

Fresno Parks Commissioners Left Behind in Tower Theater Purchase – GV Wire

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The Fresno Parks, Arts and Recreation Commission met Monday night to discuss park projects that are in development or slated to start next year.

“This is where I’m really confused. I feel like we’re not doing as much as we should. Maybe we need to get more training from our City Solicitor on our roles again because it’s really confusing, I’m back to square one when I thought I was at square ten. — Maiyer Vang, Fresno Parks Commissioner

However, several commissioners said they feel frustrated and confused because they are not always consulted on park projects and purchases.

And, in the case of the $6.5 million purchase of the Tower Theater which will tap into parks sales tax funding for $3.6 million, several commissioners said they were approached by residents asking why Measure P funds were used for the agreement.

“I still don’t know what the answer is when I talk to members of my community who are concerned about this,” said Commissioner Mona Cummings, who represents District 6. “Is this the most appropriate way to spend the funds from Measure P and has there been any community input in addition to what we (already) see in terms of media coverage?”

Commissioners ask for more comments

Cummings said she was uncomfortable with the theater buying process because it was completely separate from the commission. Other commissioners accepted.

Commission chairwoman Kimberly McCoy said the commissioners should have been told about the deal before the Fresno City Council voted to acquire the theater. McCoy represents District 1.

Commission Vice Chairman Jon Dohlin, who is the executive director of the Fresno Chaffee Zoo, went on to ask the city attorney why the purchase was made without input from the commission.

“There are times when projects are brought in for our input, and then there are times like this where they’re done without our input and then presented to us for information,” said Dohlin, who represents District 3.

City attorney’s office defends purchase of tower

Deputy City Solicitor Raj Singh Badhesha said the city council was well within its rights to make the purchase decision. The council, on a 4-3 vote, approved the purchase of the theater on April 21 in a controversial decision that followed months of debate over the venue’s future.

“Consistent with the authority under the budget resolutions of the charter, it is possible, in certain limited circumstances, to move money for consistent purposes,” Singh-Badhesha said.

“In this case, we are talking about the purchase of a community center. As long as the money set aside for the purchase of a community center is used for the purchase of a community center… then the council and the administration (are) well within their authority.

He said the commission had the opportunity at last year’s annual city budget meeting to provide input on park plans and purchases.

Deputy City Manager TJ Miller agreed to have additional conversations with the commission and brief them when decisions such as the purchase of the tower are made.

“It was in mediation. We also did not participate in these mediation meetings,” Miller said. “Decisions were made by our board, and they approve our budgets and how much money we spend and make recommendations and so on.”

“I can’t say that we can always get ahead and present to you because sometimes these things happen in real time on the stage.”

Will other projects be impacted? City hall says no.

PARCS Director Aaron Aguirre said $3.6 million in Measure P funds would be used for the purchase, with the rest coming from other city revenue sources.

Commissioner Sarah Parkes, who represents District 6, asked if future park projects would be affected by the tower’s decision.

“I don’t understand how we can say that a park, a green space, a football pitch, a pickleball court or a volleyball court is the same as buying a historic theater and that the money could be moved like that,” Parkes said.

Aldi Ramirez, deputy city manager, said no park plans would be canceled as a result of the council’s decision.

“There aren’t any projects that don’t move forward because of that,” Ramirez said. “There are funds that are not being used and they are using the remaining funds for this purchase.”

A rendering of what the new park at Van Ness Boulevard and Weldon Avenue might look like. City officials say the $3.3 million project will be the first new park paid for by Measure P. (GV Wire/David Taub)

Commissioners question their roles

District 5 Commissioner Jose Leon-Barraza said he was more concerned about how the process was being handled than why the city decided to purchase the venue.

“We represent the community and therefore a community should have the opportunity to comment,” Leon-Barraza said. It may be the best project in the world, but the way it’s been run might actually diminish the importance of our role in getting the community’s views from different angles.

He said he understood both the roles of the commission and the city council, but thought the commission should have been involved in the process.

District 4 Commissioner Maiyer Vang reiterated Leon-Barraza’s point. He said the commission should have been informed of the decision so members could be transparent with the communities they represent.

“That’s where I’m really confused. I feel like we’re not doing as much as we should,” Vang said. “Maybe we need to get more training from our city attorney on our roles again because it’s really confusing, I’m back to square one when I thought I was square ten.”

About the Parks, Recreation and the Arts Commission

According to the Measure P website, commissioners are “responsible for ensuring transparency and accountability to voters by ensuring proper budgeting of Measure P expenditures.”

The commissioners are appointed by the mayor and confirmed by the municipal council.

Metaverse Start-up REVA from UK EARL INTERNATIONAL AUCTION

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London, UK, May 17, 2022 (GLOBE NEWSWIRE) — As a unique digital asset, NFT has been criticized by the market for its valuation and liquidity, although its turnover has grown exponentially over the over the past two years. Recently, REVA, a blockchain company acquired by UK EARL INTERNATIONAL AUCTION LTD, launched an NFT mortgage auction business. Since its launch, REVA has become the center of attention in the NFT market, with a valuation of US$2 billion. The mortgage auction business was launched with the full support of UK EARL INTERNATIONAL AUCTION LTD. This endeavor aims to break the liquidity of the NFT market and establish a perfect price evaluation system, which is of great importance in changing the financial attributes of the entire NFT field.

The company made an early foray into the NFT space, quickly seized the opportunity of this market, and became the leader in the NFT mortgage auction space. On the other hand, the metaverse start-up REVA has set up a board of directors with a solid composition, including the world’s best financiers from Viking, the senior auctioneers from UK EARL INTERNATIONAL AUCTION LTD and the best artists in the world. . At the same time, REVA has set up a core operational team consisting of digital art appreciation experts, blockchain technology experts, NFT technology experts and financial analysis experts, offering the REVA’s NFT digital art collection and auction business guarantees a professional, high quality and safe auction transaction. .

Users can mortgage NFT collections, let the valuable idle collections enter the circulation field, and solve the cash flow problem. They can also entrust REVA with the auction of the collections to realize a rapid cash flow. At the same time, they can also get the value-added profit dividends and low-cost remuneration generated by the auction. REVA, as a platform party, provides customers with safe and accurate valuation services and easy and efficient trade matching.

REVA was founded in 2019. Although it is a start-up, it has long been known in the field of NFT. In 2021, REVA has become one of the most promising crypto startups. Prior to UK EARL INTERNATIONAL AUCTION LTD acquiring REVA, giants in the NFT auction and trading space including Christie’s, Nagel and Opensea conducted acquisition negotiations with REVA. UK EARL INTERNATIONAL AUCTION LTD obtained REVA’s exquisite technology and deep experience in NFT field. Going forward, REVA will maintain an independent brand for its operations and will become a specific platform for UK EARL INTERNATIONAL AUCTION LTD’s NFT market activities. With the support of UK EARL INTERNATIONAL AUCTION LTD, REVA will secure a continued supply of capital, technology and resources. After the acquisition, REVA said the company would expand its technical team, develop the NFT platform, and better serve NFT green groups.

As the investment of global assets in the NFT space has steadily increased, this has created an opportunity for traditional auction houses to compete in the NFT space. Competition in this field has long been in full swing. From the stage when the concept of NFT was born, the giants of the traditional auction industry saw the great potential of NFT in the future financial field. UK EARL INTERNATIONAL AUCTION LTD reportedly spent US$50 million to acquire REVA and incorporated REVA, a Metaverse start-up, into its wholly-owned subsidiary, which is responsible for NFT auctions, related collection and auction collateral activities . After the acquisition of UK EARL INTERNATIONAL AUCTION LTD, REVA’s valuation quickly reached $500 million.

After years of development, NFT has shown unlimited business opportunities and incalculable value in the future. The NFT market is in full swing and more and more people are scrambling to enter the track. NFT verifies the authenticity, scarcity, ownership and stability of assets in geopolitical and financial fluctuations. These unique financial attributes are the great potential and exciting place to change the world of collectibles. As a practitioner in the field of NFT, REVA’s broken mortgage auction business has continuously improved the intrinsic value and standardization of NFT. At the same time, REVA’s own value has also increased and the valuation is expected to reach US$2 billion. The original intention of REVA is to enable more NFT participants to have more equal opportunities and, through incentives, to make users more motivated to participate in the NFT ecology.

This is not investment advice. Please do your own research when investing in a project.


        

New Upfest 2022 artwork is starting to emerge in South Bristol

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Several works of art have emerged in South Bristol this week as Upfest kicks off its big celebration marking 15 years of creativity.

The Bristol festival that champions street art has promised its biggest year yet to mark its 15th anniversary this year. Since May 5, renowned artists known locally and internationally have flocked to the streets of Bedminster to display their unique artistry and create their own murals on residential and commercial buildings.

An impressive number of people are participating in 2022 with over 400 artists lining up to make their mark in Bedminster. Among them are notable artists mydogsighs and GOIN who have both amassed huge followings online.

Don’t miss: Everything you need to know ahead of Upfest’s 15th anniversary celebrations

There are still some big spots to fill in the area, such as the tobacco factory spot overlooking the Aldi car park – which previously housed Greta’s mural and now Greek artist Insane51’s skeleton-girl 3D painting. British artist Sophie Mess was selected to take the top spot – she is known for her botanical designs.

But what works have appeared so far this week? Here’s a snippet of some of the incredible artwork that has emerged in South Bristol so far.

Extension of Wall2Wall online art auctions, lower prices

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The Sonoma Valley Art Museum has extended its Wall2Wall art auction for two days and lowered some prices.

More than 120 paintings, prints, sculptures and photographs are available in the auction, which will now end on May 18 at midnight instead of May 16.

The auction primarily features works of art donated by artists and collectors, and includes works by leading national and international artists such as Clayton Bailey, Erik Castro, Catherine Daley, Guy Diehl, Shelby Graham, Brigitte McReynolds, Deborah Oropallo, Inez Storer and Keith Wicks. .

“This is a great opportunity to get works from top-notch artists at great prices,” said Pat Meier-Johnson, Co-Chair of the auction. “All proceeds go to education and arts programs, so it’s a great way to support our students and our community.”

You can bid on items sold at auction by visiting this page or by accessing the museum’s website at svma.org.

Founded in 1998, SVMA is a member-funded non-profit organization that offers seasonal exhibitions of contemporary and modern art as well as educational and public programs for children, youth and adults.

The museum is located at 551 Broadway, half a block from Sonoma Plaza. It is open Wednesday through Sunday from 11 a.m. to 5 p.m. Everyone is admitted free on Wednesdays. On other days, general admission is $10 but is free for SVMA members.

PaydayNow: 28 unique online stationery businesses for 2021

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PaydayNow: 28 unique online stationery businesses for 2021

We’re not sure why it occurs now, but we need a new pencil case. Maybe it’s the recollection of summer vacations ending and September bringing thrilling new possibilities. Our list includes 28 of the greatest online stationery stores for creatives. They’re also self-sufficient.

We asked the Twitter creative community for ideas, and they delivered. With these suggestions, you should be set! From well-known brands to emerging stores, there’s something for everyone. Paper, pencils, calendars, and diaries are among the office essentials.

Rather than feeling upset that August has been rainy (at least for us Brits) or that the fragrance of fall is in the air, it’s time to roll up our sleeves and restock our home office. Supporting independent producers and small companies. Check out a direct lender Near Me called PaydayNow.net for small business financing.

1. Ponderosa

Carina Lawson’s Paperlily stationery firm creates attractive, eco-friendly planners and paper items. Carina’s company aims to “spark pleasure, purpose, and strength in women seeking for a life of fullness, not busyness.” It grew out of dissatisfaction with traditional planners that never appeared to include personal life. Carina’s plans contain lots of room.

2. Papergang

Papergang, by OhhDeer, is an online stationery business that offers a subscription service where it partners with an artist each month to produce special stationery delivered to your home. Pretty Strange Design’s Ciara LeRoy and Brighton’s Sea Creatures are recent examples. Papergang also plants a tree for every four boxes sold – over 40,000 thus far. We’ll sign up for it.

3. Brook, Martha

“It all started with one girl and her printer,” says the narrative behind Martha Brook, a well-known stationery business situated in London. Martha, a “self-confessed stationery fanatic,” established her first stationery company at the age of eleven. In 2013, Martha resigned her corporate scientific job to pursue her goal of opening an internet business.

4. Pre-Break

Before Breakfast, a newcomer to the scene, promises sustainable paper items created in London. The independent firm employs modest conventional printing and bookbinding equipment, and the whole process is viewed from start to finish at its Highbury & Islington workshop. Materials are chosen for their quality and environmental impact. Visit them; you won’t be disappointed.

5. Gifts

From independent paper and pens to greeting cards and presents, this fascinating Aladdin’s Cave of stationery launched in 2005. And creator Sarah is eager to advise on purchases.

6. Osity

Osity is a premium stationery company with designs inspired by a traditional printer workshop. Sarah Wood-Lane grew up in our family printing company and now operates her own factory in rural England. Given our rural location, we take our obligation to maintain and preserve nature extremely seriously. “All of our goods are created from recycled and FSC-certified materials, and we strive to be plastic-free.”

7. Journal Store

As well as a brand agency, Notable Products curates sophisticated stationery and lifestyle designs through The Journal Shop. “To travel, select, and bring beautiful designs home” is the team’s motto. The company has spent the past decade curating a selection of attractive goods that even the founders want to purchase and live by. Its gorgeous assortment is available in retailers throughout the UK and the Middle East.

8. Tigre Pape

“We are all intellectuals, artists,” says Papier Tigre since 2012. Keeping this in mind, each collection is as local, eco-friendly, and transparent as possible. To lower its carbon impact, it now produces more items in its 3rd arrondissement workshop.

9. Reply-Print

Shop online for art, design, illustration, kids, lifestyle, and office products at Counter-Print. When a husband and wife pair discovered antique design books while traveling in Belgium and Holland, they decided to start a side enterprise. It’s now a prominent retailer and publisher, selling attractive designer stationery items including pencils, pens, notebooks, tape, staplers, and sticky notes.

10. Pure Pens

Niche Pens delivers on its name. Pens are their specialty, and they stock brands including Pelikan, Parker, Waterman, Sheaffer & Cross, and Noodler’s Ink. Based in Newport, South Wales, they provide a wide choice of brands not readily accessible in the UK.

11. Bumbles, Barnaby

Barney Bumbles makes handcrafted bright crayons and homewares for all ages. Also, they provide cute animal crayons, letterbox presents, adult coloring books, jigsaw puzzles, and party bags.

12. Store Uguisu

Uguisu has been trading in Japan since 2009. They launched their online shop last year, offering a carefully chosen range of Japanese items. In addition to books, they source rare things from artists and small producers such as paper, linens, and textiles. None of their products are mass-produced and all purchases come with their unique wrapping paper. “We hunt for cultural or traditional works, unique artifacts, hard to obtain stuff, and ordinary items with beauty,” they say.

13. Oh, Laura

‘Oh, Laura’ sounds odd until you realize it’s a one-woman show run by, you guessed it, Laura. She’s the principal designer, manufacturer, order packer, post office runner, accountant, and tea maker. Laura started the company from her Sheffield bedroom, printing phrases on tote bags using foam letters she cut out by hand and painted. It’s now a huge online enterprise with a variety of items aimed at boosting daily cheerfulness. Cards, notebooks, stickers, sticky notes, and washi tape are examples.

14. Positive Planning

Ali and Finn want to help as many people as possible. It’s a goal they aim toward by creating attractive educational planners and courses for mental health and wellness. Their first book, The Positive Planner, is a 12-week notebook of self-care, appreciation, and everyday optimism. The authors say they employed writing and creative self-care practices to help themselves heal. With this in mind, we decided to create a line of attractive self-care stationery that people would fall in love with and use!

15. Lift

LIFESTYLE STORE IN SOUTHWOLD – SOURCING AND CREATING WELL-DESIGNED, FUNCT Almost everything they carry is Danish or Japanese influenced. Among their card designers are Paul Farrel, Brie Harrison, and Miss Shelly Designs.

16. Completist

Marko and Jana, a husband and wife team from Peckham, London, launched The Completist in January 2018. From cards for every occasion to their iconic lay-flat notebooks, they offer something for any design-conscious stationery fan. Marko and Jana also go above and beyond to ensure The Completist’s sustainability. 90 percent of the product is created in the UK by small, independent producers using FSC-certified paper and biodegradable film bags.

17. Choosing to Keep

Choosing Keeping started off as a modest boutique on east London’s iconic Columbia Road in 2012. The business now maintains a physical presence at 21 Tower Street (near Covent Garden) and sells online to clients worldwide. Its proprietors think artifacts, pens, glue, and stationery accouterment should be valued for their historical and cultural worth, as well as their design and practicality.

18. Observe & Rect

P&C was founded in 2009 by two graphic designers who love to travel and collect old objects. “It’s a presentation of our interests since school,” they remark. “It is the result of a long-term passion for stationery. Homework, the post office, and school-inspired paper and office furniture. We aim to evoke a memory, a smile, or help you appreciate every day in a new way.”

19. Ola

ola’s hallmark product is the Layflat Notebook, a wonderfully constructed instrument that aspires to inspire its user with beauty and tactility. Diaries, patterned papers, and greeting cards are all available in the ola product collections. “Our tiny crew prints finishes, and perfects our items,” they claim. “We work on a few unique projects every year and have partnered with the Eames office, Heal’s, and the Royal Opera House.”

20. Nikki’s Supply

Nikki’s Supply Store has lovely journals and notebooks, stickers, erasers, pencils, highlighters, rulers, and stencils. Nikki is a big fan of Ryder Carroll’s bullet journals, which incorporate scheduling, reminders, to-do lists, brainstorming, and other organizational activities into one notebook.

21. Stationer

After two years of sharing the world’s greatest stationery, Tessa Sowry-Osborne decided to create a business. Tessa’s goal is to be the go-to source for goods that will make your desk appear nice while also helping you be more organized. Products include cards, tape, paper, and pencils.

22. Pith

Andrew Hardie and Liam Goward founded Pith in early 2020 as a passion project. The pith creates and produces premium items sustainably created in Northumberland. They think great items shouldn’t be expensive or harmful to the environment. Local painters, illustrators, and designers helped develop their sketchbooks, notebooks, calendars, and pads.

23. Dashery

Friends Sarah Arkle and Carrie Wainer founded a shop in Leighton Buzzard, Bedfordshire, in 2019. There are gifts, accessories, homewares, and other wonderful things to uncover, all sourced from independent artisans and small firms. They treat online consumers as well as local ones, providing personalized service from order placement to delivery. For a little fee, Sarah and Carrie can write unique remarks, gift wrap, and add a greetings card with your purchase.

24. Careful Ink

Meticulous Ink is a printworks and luxury stationery company situated in Bath. They make them on their 1960s presses. This is a terrific site to get gorgeous and unusual greeting cards, stationery sets, and other textured printed things.

25. Archives & Libraries

Libraries & Archives Paper Company, founded in 2020, is a classic stationer with modern ideals. They want to deliver you a happy stationery buying experience from home, with the greatest quality and most desirable stationery goods in the world. Join their creative community, The Correspondents’ Club, to be kept updated on new items.

26. Paperie Studio

Catherine Northorpe, from the North East of England, began marbling last year during the second Covid shutdown and has been hooked ever since. She thinks that beautiful things and high workmanship should be affordable to anyone. She hopes to revive this old tradition with Studio Paperie and create a unique piece of enchantment for each client.

27. Varying colors

Colors May Vary is a Leeds-based independent store selling beautiful, practical, and inspiring items. Founded in 2012, they specialize in graphic design, typography, illustration, and product design. They stock books, journals, prints, cards, presents, wrap, homeware, and stationery from established and emerging creators.

28. Aldous, Fred

Browse the Fred Aldous collection to make your workstation the envy of coworkers and acquaintances. You’ll find anything from mustache paper clips to scented pencils from Midori and Hightide. This Manchester and Leeds-based firm has been trading since 1886 and has over 25,000 amazing things in its web shop.

The Artemis gallery announces on May 19 an auction of antiques, ethnographic and art…

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Schist sculpture from the Gandharan Empire of Bodhisattva Maitreya (the earthly Buddha), 3rd century CE, beautifully carved to show the deity in the lotus position, wearing “jewelry” with puffy folds of a long robe secured by a dotted belt. Size: 10.6 inches wide, 12.6 inches high; 15.3 inches tall when measured with included custom stand. See examples from the Victoria and Albert Museum, the British Museum and the Metropolitan Museum of Art. Purchased in Afghanistan in 1961. Estimate between $22,000 and $33,000
Artemis Gallery

BOULDER, Colo. — On Thursday, May 19, Artemis Gallery will auction a very special collection of Hollywood Hills artwork that includes coveted ceramics by Picasso and Rookwood. This bustling private collection is one of the highlights of the company’s 153-lot auction event, comprised primarily of classical antiquities, ancient and ethnographic art from many of the most influential and famous cultures. of the world. Egyptian, Greek, Roman, Etruscan, Near Eastern, Asian, Pre-Columbian, Native American, African/Tribal, Oceanian and Spanish civilizations from the colonial era are represented. All auction items are guaranteed authentic, legally acquired and legal to resell, if desired. Bid remotely or live via the Internet via LiveAuctioneers.

Ancient Egyptian art reflects the mystery of the dynasties that ruled the Nile region, including their spiritual beliefs and burial practices. It is particularly fascinating for collectors when an object sheds light on the way of life of the first Egyptians. A striking example is the sculpted and polychrome painted limestone panel in bas-relief that opens the May 19 sale. Dating from the 11th to 13th dynasty, circa 2130-1649 BCE, it depicts a laborer or farm laborer wearing a shendyt kilt and carrying a pole over his shoulder. He is depicted hairless, with distinctive features visible in profile.

“Relief artwork like this often served to illustrate part of a larger story about a journey or encounter with deities in the afterlife,” said Teresa Dodge, the gallery’s executive director. Artemis. The panel entered in the auction was given an estimate of $18,000 to $27,000.

A fine array of ancient Greek art will cross the auction block, including bronzes and a variety of decorative pottery. Dating to around 520 BCE, a graceful black-figure amphora from Athens stands 17.75 inches tall, with distinctive images on both sides. Side A depicts Dionysus, god of wine and revelry, holding a drinking horn and flanked by a pair of dancing maenads. Side B features a war scene with Athena and three other characters – two of whom are probably prisoners of war. The bid estimate is $22,000 to $33,000.

About two dozen lots of Roman art reflect the variety and abundance of talent in the empire, including sculptors, glassmakers, carvers, and lapidarists. A large, expressive Roman marble spout in the shape of a lion’s head, probably from an ancient fountain, dates from the Imperial period, around the 3rd century AD. His estimate is $7,000 to $10,500. Also from the Imperial period, a whimsical bronze oil lamp in the form of an erotic satyr is expected to fetch between $11,000 and $16,500; while a rare iron field folding stool known as the saddle castrensiswhich would have been reserved for Roman officers, could land between $13,000 and $20,000.

Around the same time, the Egyptian New Kingdom was flourishing, as was the Olmec culture (from southern Mexico to Guatemala) on the other side of the Earth. Among the Olmec treasures up for auction is a rare and magnificent light green jadeite ceremonial pectoral or funerary mask dating from 1500 to 550 BCE. The clever relic is sculpted in relief with the image of jaguars soaring alongside scroll symbols, accented with pierced buttons.

“This wonderfully decorative piece would almost certainly have been made for an important figure – perhaps a ruler or a shaman,” Dodge said. Its impressive lineage of provenance includes a review and authentication in 1970 by renowned Mesoamerican archaeologist Dr. Hasso Von Winning. Estimate: $15,000 to $20,000

Pablo Picasso (Spanish, 1881-1973), Chouette (Owl), painted ceramic vase, 1960, edition 135/250. Ref. Alain Ramie, Picasso Catalog n° 604. Incised and stamped with the Madoura and Picasso marks. Size: 11.2 inches tall. Estimate $12,000 to $18,000
Artemis Gallery

Many collectors of pre-Columbian art are charmed by the red dogs of Colima in western Mexico. The example presented at the May 19 sale is unusual in that it is made in the form of an emaciated dog with incised feet and a spout. The dog resided for many decades in the same family, who acquired it by descent in the 1940s from relatives in Jalisco, Mexico. It was imported to the United States in the 1970s. This most unusual dog, made around 300 BCE to 300 CE, is auctioned off with an estimate of $3,600 to $5,400.

Bidders can choose from dozens of lots of exquisite Asian art, such as a 3rd century CE Gandharan Empire greenschist sculpture depicting Bodhisattva Maitreya (the earthly Buddha). The serene deity is depicted in the lotus position, with masterfully carved pleats on the long robe, as well as a dotted belt and several “jewels”. It is similar to examples held in the collections of the Victoria and Albert Museum, the British Museum and the Metropolitan Museum of Art. Estimate: $22,000 to $33,000

Rare and spectacular, an 8th-11th century Javanese gold leaf funerary mask with the face of Kala, the Javanese god of death and the underworld, is clearly the work of an artist with a sophisticated approach and vivid imagination. The mesmerizing face looks outward with bared teeth and huge bulging eyes under deeply furrowed brows. This cultural status symbol with a weight of 70.8 grams has a gold quality of 60.83% to 67.04%. For reference, there are earlier examples of this type of mask at the Yale University Art Gallery and the Museum of Fine Arts in Houston. Its auction estimate is $15,000 to $22,500.

The Artemis Gallery Fine Arts Team is delighted to present the aforementioned Hollywood Hills Collection featuring Pablo Picasso pottery (Spanish, 1881-1973) and Rookwood ceramics. Five drawings by Picasso created at the Madoura pottery workshop in Vallauris, France, will be presented. They include a 1955 Picador plate, $2,500 to $3,500; a framed 1956 Masquerade ceramic tiles, $4,000 to $6,000; and two black-and-white glazed vessels with images of a bull under a tree and a bird on a branch, respectively. Carefully overseeing the group is a superb example of Picasso’s 1969 Owl Vase (owl), #135 from an edition of 250. Semi-glazed, its hand painting reproduces a plumage, a beak and large round eyes in a staring gaze. The bird stands 11.2 inches tall and is listed in near-choice condition, with all required stamps and incised marks that identify genuine Picasso Madoura wares. A Picasso Chouette vase sold at Bonhams UK last December for the equivalent of $17,316. Artemis Gallery gave the example in its sale an estimate of $12,000 to $18,000.

Ancient Greek black-figure amphora, Athens, circa 520 BC. The scene on side A depicts Dionysus, god of wine and revelry, holding a drinking horn and flanked by a pair of dancing maenads. Side B features a war scene with Athena and three other characters. Size: 10.875 inches in diameter, 17.75 inches high. Estimate $22,000 to $33,000
Artemis Gallery

Five beautiful Rookwood vases are included in the Hollywood Hills collection, each hand painted, signed, numbered and dated. Each of the vases is the work of an acclaimed Rookwood artist, the oldest being a 1905 Frederick Rothenbusch Arts & Crafts design featuring white roses on a pale azure background. It is estimated between $1,000 and $1,500. Other vases reflect the artistic talents of Sallie Coyne (1925), $600-800; Elizabeth Lincoln (1919), $500-$800; Margaret McDonald (1926), $700-$900; and Charles McLaughlin (1917), $800-$1,000.

The Artemis Gallery Antiques, Ethnography and Fine Art auction will begin at 10:00 a.m. EDT on Sunday, May 19, 2022. All items come with Artemis Gallery’s guarantee that they are authentic and legal to buy, own and, if desired, resell. An Artemis Gallery certificate of authenticity will accompany each piece. The company ships worldwide and has its own in-house packing and shipping department to ensure quality control. Proxy auctions are currently underway. Detailed and authoritative descriptions and multiple photographic views of each auction lot can be viewed in the online catalog. For more information about an item in the auction, call Teresa Dodge at 720-890-7700 or email [email protected] Bid remotely or live via the Internet via LiveAuctioneers.

How Investors With Low Risk Tolerance Can Overcome Their Fear of NFTs

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One of the most recent innovations in digital currency is known as cryptocurrency. However, this has not yet become common practice. Despite this, other technological advancements seem to be more widely accepted and used in the mainstream. Is there anything stopping people from using cryptocurrencies? The same is true with NFTs. Some people are afraid to invest in it. And when they do, they are often met with disdain.

Why are people afraid to buy NFTs?

Nobody can guarantee the stability of the NFT market because it is an emerging market. It’s still in its infancy, but it has a better chance of gaining traction and establishing its value. While this isn’t as dangerous as it sounds, the lack of information about their past performance makes it so.

One of the main reasons why NFT investing is too risky is lack of understanding. Investors interested in NFTs are encouraged to invest small amounts to test the waters. You can invest your money in something more knowledgeable and have a long history of success.

Even though NFTs have seen a 180% gain in the value of bitcoin, it cannot be said that they are a long-term investment. Currently, the value of NFT is based on resale and amount paid. People won’t pay for your non-fungible token if they no longer find it useful. This unequivocally demonstrates that NFTs are a waste of time and money.

A non-fungible token allows digital artists to claim ownership of their work, which is a huge plus. There have been numerous reports of artists claiming that their work is tokenized without permission. Scammers illegally mine NFTs to make money. To make money, they scam artists’ work, create fake websites, raise the price of NFTs, and sell them to buyers at inflated costs.

Can you still invest in NFT even if you are afraid of it?

Yes. Even though NFTs are relatively new and make you think about investing, there are ways to do it safely, such as focusing on liquidity premiums. Liquidity premiums are a kind of compensation for assets that are difficult to convert into conventional currency. Since NFTs are also difficult to trade, you should look at those with the highest liquidity premiums. Premiums will continue to rise in line with supply and demand and asset maturity.

Instead of comparing valuations, analyze sales history to identify a liquidity premium for rare works of art, which are notoriously difficult to value from a broader perspective.

Most NFT collections are fueled by fanfare or community support, despite what you might think. You can get a glimpse of a project’s popularity if you know what the public thinks about it.

For example, some NFT collections aim to support different groups and have different beneficiaries. Take a look at the Lost Cats Limited NFT Collection on Cryplazo. This collection is dedicated to helping furry feline babies in need through charitable donations from the sale of digital art on the Solana blockchain. This project is imbued with a genuine concern for the band’s love for cats.

The group has done a tremendous amount of research to find the best animal foundations that bring real value to the Lost Cats community around the world. It is focused on improving the lives of cats through innovative programs to capture and provide safe shelter and supporting the science and medicine that helps keep these cats healthy. Adopting this approach allows the group to help all cats around the world every day.

The Lost Cats project is new, but it’s GROWING fast. The community already has some great people supporting it and contributing entertainment, moderation, education, and of course, good vibes.

Exploring more NFT markets and keeping tabs on how people are entering new ventures is the best way to break the market sentiment analysis code. Short-term price patterns can be identified using this strategy, which may not be ideal for long-term price changes.

When it comes to NFTs, you risk losing everything even if you do everything right. This is partly due to how quickly the market moves. As a long-term investment plan, holding NFT assets is the best option, giving the market time to grow and attract more buyers.

Buying an NFT should not be motivated by the fear of missing out. You don’t have to put your hard-earned money into a project hoping to see spectacular returns if it’s too complicated. No one is saying it’s impossible, but investing most of your funds would be horrible.

News Baden Bower
Baden Bower
https://www.badenbower.com
[email protected]

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COMTEX_407238631/2776/2022-05-15T20:45:38

Beili Liu’s work is a reflection on the experience of immigrants

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Beili Liu’s solemn and poetic installation “Each and Every/Houston” lingers in the brain long after a visitor has left the Asia Society Texas Center. Its massive scale may have something to do with it, but the elements of the piece pose questions with no clear answers.

Located in a central gallery of the four-person exhibition “Making Home: Artists and Immigration”, Liu’s piece has a dramatic focal point: a monochromatic sea of ​​hundreds of items of children’s clothing – onesies, little frilly dresses , T-shirts, pants, socks and baby booties which she individually smeared with cement and laid out on the floor under a heavy “rain” of cotton yarn dipped in concrete.

A Chinese native who lives in Austin and teaches at the University of Texas, Liu created “Each and Every” in 2019 in response to the United States’ family separation and zero tolerance policies that have separated thousands of children from their parents on the country’s southern border under the Trump administration.

A master at choosing materials that respond to her installation sites, she had dipped thousands of white feathers in tar as part of an earlier immigration-themed project. She designed “Each and Every” for a Seattle art space with exposed brick walls, and the mortar between the bricks inspired her use of cement. The result is literally heavy. But above all, the clothes do not rest on the ground. They seem to hover, caught in a liminal space.

A view of Beili Liu’s installation “Each and Every/Houston”, presented at the Asia Society Texas Center as part of the exhibition “Making Home: Artists and Immigration”.

Molly Glentzer / Contributor

In the clean, smooth, bright walls of the Asia Society, the first thing I noticed about the cement was how lifeless it looked. Every item of clothing could be a tombstone in a crowded cemetery.

Issues involving immigrant children at the US-Mexico border persist, but because they haven’t been at the top of the news cycle recently, I also thought this might be a memorial for the families who died in Ukraine. On a softer note, Liu was also preserving memories: she started the project with a pile of her daughter’s used clothes. No doubt parents who have watched their babies grow up and come out in cute outfits can relate.

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And what about that “rain” of wires hanging from the ceiling? Does it involve human tears? Are these lives hanging by a thread? And why do the fine lines stop a few centimeters from the clothes? Could the threads also rise like steam, rather than descend? However you read it, the gap between wires and hardened clothing leaves a palpable pain.

Beili Liu's installation, “Each and Every/Houston,” is on display at the Asia Society Texas Center as part of the “Making Home: Artists and Immigration” exhibit.

Beili Liu’s installation, “Each and Every/Houston,” is on display at the Asia Society Texas Center as part of the “Making Home: Artists and Immigration” exhibit.

Molly Glentzer / Contributor

Liu also performs silent meditation with “Each and Every”, using a small table in the front of the room where a pile of used children’s clothes awaits. On June 18, she will be there with a needle and thread, mending worn-out clothes. The aim is to show what she calls “the redemptive and healing process of women’s work”, but it is also an act of political protest and a reconstruction of personal history. Liu lived in China until the age of 4, in a home where repairing clothes was a necessity and a centuries-old tradition.

The other three performers also lived as immigrants or are children of immigrants. Curator Bridget Bray, who recently moved on after a long stint at the center, has cleverly dedicated a room to each. The result is a show that covers a lot of ground without being overwhelming.

A view of Beili Liu's installation

A view of Beili Liu’s installation “Each and Every/Houston”, presented at the Asia Society Texas Center as part of the exhibition “Making Home: Artists and Immigration”.

Asian society

Phung Huynh’s prints and drawings on flattened pink donut boxes allude to family histories as well as savings; 90% of donut shops in California are run by Cambodian immigrants or Khamericans (Cambodian Americans). Her cross-stitch depictions of personalized California license plates with non-Anglicized names suggest a desire to assimilate and belong.

Amanda Phingbodhipakkiya’s bedroom brings an emotive burst of color. She painted a mural on the back wall with the message “Find hope here”. This sentiment provides a middle ground between the festive spirit of his stunning found-object constructions and the nostalgia for pantry items and other small objects of an Asian American home. The artist’s written poems, displayed on walls and video monitors, enhance the mood.

Tuan Andrew Nguyen’s four-channel video installation “The Specter of Ancestors Becoming” imagines conversations between several worried generations of a Vietnamese community in Senegal. They are the descendants of the Senegalese Tirailleurs, West African colonial soldiers who were part of the French forces sent to fight the Vietnamese liberation uprisings in the 1940s. I didn’t know this story, and Nguyen gives it a voice (or voices ) convincing.

On my way out, I was asked to write down what I had learned and post it on a bulletin board. Of course, not everything would go back to normal. But a testament to the show’s thinking, the painting was already full and layered.

“Making your home: artists and immigration”

When: 11am-6pm Wednesday to Friday; 10 a.m. to 6 p.m. Saturday to Sunday, until July 3

Special programs: Phung Huynh workshop, lecture, June 4; Performance by Beili Liu, conference, June 18

Or: Asia Society Texas Center, 1370 Southmore

Tickets: $5 to $8; asiasociety.org/texas


Molly Glentzer is a Houston-area writer.



Local art auction raises funds for children with extraordinary medical needs – WSOC TV

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CHARLOTTE — A local nonprofit organization held its 10th annual skateboard art show and auction on Saturday to raise money for children with extraordinary medical needs.

Skaters Helping Realize Extraordinary Dreams, or SHRED, had over 200 works of art up for silent auction at HopFly Brewing Company.

Art included hand-painted skateboard decks, canvas art, sculptures, fiber art, photography, and even computer-generated graphic art.

Since its inception in 2012, SHRED has raised over $100,000 to give directly to families struggling with medical and therapeutic needs.

Victor Werany, Executive Director of SHRED, spoke of one of the children the organization was able to help through the event.

“His name is Luke. Their annual deductible is $10,000, that’s a used car every year, and if we can cut that in half, that’s a relief for the parents. They become better parents for the experience of being sent a few bucks and knowing there’s a community behind them, supporting them for the sole