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Why Web3 needs to do better

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Criticism is easy. But it’s even easier online, where the relative anonymity can encourage people to give themselves carte blanche to condemn a subject, an artistic creation or a personality who, for whatever reason, has become the target of the wrath of somebody. Examples abound. YouTube’s comment sections often require a combination of intellectual and moral hazmat to navigate, Twitter’s talk regularly degenerates into mob mentality, and Facebook can also be the official mascot for the most goofy political tirades.

While breaking with the Web2 assertions above, Web3 is not entirely free from instinctive negativity. Critics within NFT communities can be even more nasty than in any Web2 space, because at the heart of almost every project is money.

The NFT space is collaborative, yet encouraging. But it’s also filled with community members who view all Web3 art as a commercial enterprise. And a subset of these can and do act as impatient and authoritative investors. You can be overwhelmed by a flurry of GM and WAGMI in an instant, and be called an accomplice or labeled a ruthless rug puller the next day. That’s enough to give anyone a severe case of vibrational vertigo.

Web3 is still in its infancy, and this period of early growth is the perfect time to set the future tone before the bones harden and become rigid, so to speak. Basically, projects that take risks and fail in no way deserve our outrage.

On the contrary, they deserve our respect and encouragement.

Cool Cats and the Curious Case of Cryptic Criticism

One of the most interesting case studies here is Cool Cats. In October 2021, the project was one of the hottest in the NFT space, with the average price of a Cool Cats NFT standing at around 26 ETH (or $92,000, at the time). The 9,999 programmatically and randomly generated cat-themed PFPs were created in July of the same year, closely following the release of projects like Bored Ape Yacht Club. The project quickly gained momentum and popularity when celebrities like Mike Tyson, Reese Witherspoon and Steve Aoki bought NFT Cool Cats and tweeted about them.

The project became known in the space as a generally positive project. Its reputation as an NFT project to be reckoned with continued to solidify as prominent figures in the space like Farokha well-known NFT enthusiast and the founder of the Web3 media platform Rug Radio, have become strong supporters of the project.

But in early 2022, criticism of the behavior of high-level Cool Cats holders began to surface. Some have accused Farokh of pumping and dumping — essentially, pushing a project to help boost its value, then quickly selling their NFTs for a profit. Discerning whether a person is actually doing this isn’t a particularly easy thing to gauge, but the criticisms came nonetheless.

Cool Cats itself encountered a few stumbling blocks during this time. At the end of January 2022, the project hired Chris Hassett as CEO, a move some community members considered a faux pas, since Hassett did not have a reputation as a Web3 native. This feeling was exacerbated by Hassett leaving the company just three months into his term.

Shortly before Hassett’s departure, Cool Cats released a long-planned NFT game called Cooltopia for its community, in which holders could quest and nurture their Cool Pets eggs, which are NFTs from the project’s secondary collection that dropped in early February. However, Cooltopia simply wasn’t as successful as the Cool Cats team had hoped, and the value of its native utility token, MILK, immediately began a steady decline from which it has yet to recover. handed over.

The combination of Cool Cats’ struggles in 2022 with an increasingly deep crypto winter has resulted in a remarkable decline in the popularity and value of its original collection, which now has a floor price of just 2.68 ETH, down from 10 ETH in fall 2021.

Pour salt on Cool Cats wounds

Some members of the Web3 community have not reacted sympathetically to Cool Cats’ downfall, seeing it as an opportunity to “sell shame” to collectors who are now parting ways with the struggling project. Perhaps unsurprisingly, Farokh once again found himself the target of such criticism when he began doing so last month. Since the start of August, he has sold ten of his NFT Cool Cats at an average price of 2.31 ETH – a remarkable loss, to put it mildly. Yet people still accused him of quitting the project for money.

This kind of criticism is insidious. Like Farokh himself recently pointed out, judgments like this betray the bad faith of those who render them. If we condemn people for selling their NFTs when a project is at its peak and later condemn them for liquidating their NFTs when a project is in the doldrums, we have built a Catch-22, throwing charges against which there is no chance of being found innocent. In other words, we criticize for the fun of it, and that’s behavior unbecoming of anyone.

NFT projects deserve better

The Cool Cats team — Tom Williamson (xtremetom), Rob Mehew (Lynqoid), creative director Evan Luza (ELECTED) and Colin Egan (clone) – has done an amazing job trying to create new uses, experiences and values ​​for their collectors, and they deserve all the credit for doing so. Even under Hassett’s brief tenure with the project, Cool Cats released a long-awaited game project and signed with famed Creative Artists Agency for licensing and merchandising opportunities. The brand premiered an IRL version of its Cooltopia game at NFT.NYC this year, which some say was a highlight of the event. The team is working and you have to respect that.

The disappointments with a project’s toughest fixes are understandable, as is the collective frustration with the overall state of the crypto and NFT market over the past six months. What’s harder to fathom is the implicit holier-than-thou attitude that often accompanies criticism leveled at projects like Cool Cats and their most vocal supporters for trying to build something substantial and stumbling in the process. of road.

DeGods/Twitter

And you don’t have to look far for an example of how Cool Cats could bounce back in the future. DeGods is another NFT community that has come under a lot of criticism for trying new things, failing, and regrouping, a project that has arguably done more to put Solana on the map than any other community built on this channel. Remember, DeGods had barely been around a month when people pronounced him dead in the water. Even its developers were about to abandon ship. But that hasn’t stopped them from experimenting with things to make their collection valuable and unique – the Paperhand Bitch Tax, DeadGods and DePalace, among others.

Not all have been hits, and that’s the point. Not everything an NFT community tries to build will be successful, and this is a good thing. This means people are swinging towards the fences. You can’t expect project developers to innovate and try new things while holding them to an impossible level of infallibility, berating them when things don’t go according to plan. Web3 is a big and welcoming place, but there’s no room for that kind of limiting thinking.

It largely boils down to two things: a tendency to define ourselves in opposition to things rather than in support of them, and an understanding that we cannot entirely blame others for their failures any more than we can entirely ourselves. give credit for our successes. Australian comedian Tim Minchin said it well: “Empathy is intuitive, but it’s also something you can work on intellectually. […] Define yourself by what you love. Be demonstrative and generous in praising those you admire. Send thank you cards and give standing ovations. Be pro-stuff, not just anti-stuff.

To protect a Confederate statue, a Virginia county cedes land

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MATHEWS, Virginia – A referendum last fall on whether to preserve the Confederate statue outside that county’s historic 1830 courthouse resounded, with more than 80% of voters in favor. But some feared the monument’s prominent public location was still unsafe.

So the Mathews County Board of Supervisors is considering a more permanent solution: deed the municipal land under the statue to a private group, such as the Sons of Confederate Veterans, to protect it from future shifts in public opinion.

Of all the reckoning with lost cause icons that have gripped Virginia over the past two years — from Charlottesville deciding to melt down Robert E. Lee to Richmond loaning other bronze generals to a museum in California — it is a new twist, a sign of the enduring power of the Civil War legacy.

State Department of Historic Resources officials said they are not aware of any other locations in Virginia exploring such a step. Opponents say giving control of a public site to a private heritage group sets an alarming precedent.

“The long-term implications are really significant, because this group could do whatever they wanted with this land,” said Kaitlin Banner, deputy legal director of the Washington Lawyers Committee for Civil Rights and Urban Affairs. “The government would lose all control despite being right in the middle of the historic courthouse square.”

The group of attorneys signed a letter to the county last week warning of possible legal action on behalf of the local NAACP chapter. Transferring the land to a pro-Confederate group sends “indisputable messages that the Mathews County Board of Supervisors endorses white supremacy and supports second-class status for black people,” the attorneys wrote.

The letter ratcheted up the heat on an idea that had been swirling around Mathews for months. Turnout is expected to be strong for a public hearing on Wednesday evening on the general topic of the transfer of public assets to private groups. The hearing was originally scheduled to specifically address the statue, but board members last month – in the face of heated public debate – decided to slow down the process.

“Let me tell you something, the NAACP jumped on this thing,” County Supervisor Dave Jones said in an interview last week. There will be no vote Wednesday on what to do with the statue, he said.

But not everyone is convinced.

“We don’t know what action they might take,” said NAACP chapter president Edith Turner.

Confusion has settled since last fall’s referendum, in a county of some 8,600 people, about 8% of whom are black. Even though the message from voters was clear, and despite the statue not being the target of graffiti or other protest damage, some residents and county supervisors waged a crusade to save it from future calamity. .

One day last week, Jones stood outside the old courthouse and said he would “never vote to move the monument from its place”, although that was not a problem.

He denied that Wednesday’s hearing was even related to the statue, and said the flap over giving the site to conservatives was over the top. He promised he “will not vote to transfer this monument to the SCV” or the United Daughters of the Confederacy, the two groups that erected it in 1912 and have offered to take it back this year.

But a few minutes later, Jones and Mathews County Board of Supervisors Chairman Paul Hudgins – who had joined him in the shade under a willow oak tree – was a little vaguer. Would they transfer ownership to another group that could protect it where it is?

“We can give ownership to anything, there’s no law against it,” Jones said.

“That’s a conversation to have at a later date,” Hudgins said.

“It’s true,” Jones said.

Turner, the president of the NAACP, is black and a teacher who was born and raised in Mathews County. She gives her age as “over 60” and says she was around fourth grade when the local schools were integrated. She attended Lee-Jackson Elementary School, named after Confederate generals.

Two years ago, Turner was proud when her daughter launched an effort to rename the school. It is now known as Mathews Elementary. In response, someone placed a giant Confederate flag on private property across the street.

Confederate battle flags flutter along the road along several entrances to Mathews County, a fact that Turner said discourages friends and family who might want to visit. “But I feel good here because I’m from here,” she says.

Renaming the school, however, was an unwelcome taste of change for some Mathews residents who watched in horror as statues fall in other parts of the state.

Richmond, the former Confederate capital, removed several Confederate monuments, including statues of Stonewall Jackson and Jefferson Davis. (Video: The Washington Post)

Ben Richardson, 61, grew up in Mathews on property that has been in his family since the 1700s. Like many in this countryside of swamps and creeks along the Chesapeake Bay, he has spent most of his life on water, on tugs and tankers.

He had ancestors who fought in the Revolutionary War, he said, and for the Confederacy. The statue isn’t racism, it’s just history, he said. And the groups that erected it should own and protect it.

“People just want to open a Pandora’s box,” Richardson said, sitting outside his art shop Pudding Creek Carvings in a “Good Vibes” t-shirt. “I think the statue should stay where it is…and the land, which should be handed over to them.”

The statue itself is the figure of a generic Civil War soldier on top of a column. The base reads “Our Confederate Soldiers” on one side, and “In memory of the Soldiers and Sailors of Mathews County Va.” on another.

It sits about 15 feet from the corner of the old courthouse, which anchors a plaza with historic buildings, including a jail and clerk’s office.

Several local residents said they rarely paid much attention to the statue until 2017, after the deadly Unite the Right rally in Charlottesville, when people supporting Confederate heritage began showing up around the statue. to show their support.

After 2020, when the killing of George Floyd by Minneapolis police sparked a national movement for racial justice, Confederate supporters festooned the ground around the base of the statue with small Confederate battle flags.

Some in the county objected and the Board of Supervisors warned that the flags could not be placed in the ground as it was public property.

For a time, however, the statue itself was considered to belong to the SCV and the UDC. Many Confederate statues in the state were placed about a century ago by these heritage groups, and a handful still belong to them despite being located on public property.

In Alexandria, for example, a Confederate statue was taken down at the request of the UDC and returned to the group for safekeeping.

According to research compiled by Mathews Public Library staff, the county memorial was run by a group called the Mathews County Monument Association made up of seven UDC and seven SCV members, who raised funds to the public to finance it.

But those two locals died out or disbanded a long time ago, the research showed. Today’s groups have been reconstituted in recent years and research has found no evidence that the statue was ever passed on to them.

At last month’s board of supervisors meeting, a UDC representative submitted a letter that appeared to acknowledge county ownership.

Neither the UDC nor SCV members could be reached for comment on this story. But two supporters spoke out forcefully at the August meeting.

Bobby Dobson, who is a county school board member, blamed former Gov. Ralph Northam, a Democrat, for stirring up trouble over monuments and said the fact that a statue of Confederate President Jefferson Davis being displayed vandalized and subject to the Valentine Museum in Richmond is “A disgrace.”

Richmond’s statues have fallen. Now these sisters aim to elevate black history.

“Now everyone seems to want to take down” statues, Dobson said. Noting that the county’s referendum in favor of the monument was not binding, he said the Mathews statue needed permanent protection. “God bless the fallen Southerners,” he concluded, “and God bless Robert E. Lee.”

Joey Taylor, president of the local SCV, said his group wanted to take ownership of the monument because “we think if it’s not done, these left-wing people will do their best to tear it down because it’s is what they want.”

Neither Dobson nor Taylor could be reached for comment.

Mathews County Administrator Ramona Wilson, who took office in April when the controversy was already in full swing, said in an interview that she remains uncertain about the status of the statue itself. “We don’t know who owns it at this point,” she said.

The next step will depend on the public hearing on Wednesday evening. If residents fully support the transfer of public ownership to private interests, she said, the council will hold a hearing on the disposal of the land under the statue.

If the public opposes the concept, she says, “I think then it’s going to go away.”

But Jones and Hudgins, the board members, have made it clear that the statue itself is not going anywhere.

The county will install video surveillance, Hudgins said.

“If they want to come and try to tear it down, they have to come through us, and we’ll take all the action,” Jones said.

“It’s not Richmond,” Hudgins said, “I can tell you that.”

Jones agreed. “It’s not Richmond.”

Exhibition to celebrate 75 years of Indian art held in Singapore

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An exhibition featuring 85 artists and more than 170 artworks from different parts of India was organized in Singapore to showcase the evolution of Indian artistic styles as part of the celebrations marking 75 years of independence.

The exhibition titled ’75 Years of Indian Art #CanvasToNFTs’ was opened by Singapore’s Transport Minister and Minister for Trade S Iswaran and Indian High Commissioner P Kumaran last Wednesday at the House of Arts by Artpodium, a Singapore-based arts community.

“It was a celebration of bringing these stories to light, celebrating the travels and experiences of the artists, and exploring the changing evolution of artistic styles across India,” said Kavita Raha, founder of Artpodium and main organizer of the exhibition, to PTI after completing the four one-day exhibitions.

“There has always been a certain mystique, a certain experience and maybe a certain story behind every piece of art,” Raha explained of the exhibits in Singapore.

With digital art becoming an increasingly important style in today’s world, the organizer also launched Artbien alongside classic art styles.

“Artbien focuses on digital art based on blockchain technology, promoting young artists looking for a platform to take their works across borders,” Raha said.

She said the exhibits included works of art from institutions such as the Bengal School of Art, the Bombay Progressive Artists Group and the Madras Arts Movement, as well as rapidly disappearing Gond and Pichwai tribal and folk art forms. .

The exhibition was a pictorial journey for art lovers to explore Indian art through the years, and was supported by galleries and artists across India, apart from a section dedicated to contemporary artists based in Singapore, Raha said.

“Artpodium has strived to be a platform that amplifies the voices of Asian and Indian artists, elevating their works to a global stage,” she said.

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

New photos of community-inspired K Line Hyde Park station artwork

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A portrait of drummer and songwriter Robin Russell faces down Crenshaw Boulevard at the Slauson and Crenshaw entrance to Hyde Park station on the K line.

At the future Hyde Park station on the K line, artwork commissioned by Metro Art installed at the station’s entrance and platform celebrates Hyde Park’s vibrant culture, community and music.

The artwork, Hyde Park Oasisis a series of layered art panels featuring the history and visions for the future shared by Hyde Park residents, small business owners and young people.

Hyde Park Oasis is by artist Carlson Hatton, which was commissioned through an open competitive process following the recommendation of a panel of community arts professionals. The artwork is the culmination of engaging public conversations that brought together Hatton and Hyde Park residents with deep community ties. Residents shared personally significant historical and cultural references and identified key images that represented their vision and knowledge of Hyde Park. Hatton listened.

Integral to the development of the design was Hatton’s mentorship of four local student artists: Joshua Castro, Barbara Visconti, Felipe Garcia and Jarrid Godbold. For several years, they researched neighborhood references by researching and photographing images discovered in community conversations.

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Hatton then wove these images into the 10 densely layered paintings of Hyde Park Oasis.

Classic low-riders along Crenshaw Boulevard, live music gatherings, energetic social stages, leafy gardens with fruit trees, mask festivals and the playing of handmade African drums are all included. Music also emerged as a key theme, with Crenshaw Corridor’s influential musicians and styles – from legendary drummer Robin Russell to contemporary jazz artists to the drum line tradition – all found in the work.

With rhythmic color patterns and wide horizons of majestic palm trees towering over notable buildings on the horizonHyde Park Oasis is a tribute to Hyde Park and its soundtrack that resonates in South Los Angeles.

These works of art, made as panels of durable porcelain enameled steel, can now be seen from all sides of Hyde Park station at Crenshaw Blvd. and Slauson Av.

Learn more about the artwork in the video below and here.

Check out previous articles on artwork from the installed station of the Crenshaw/LAX (K Line) Transit Art Program featuring videos about K Line artists and artwork by filmmaker Mobolaji Olambiwonnu:

Learn more about the Crenshaw/LAX Transit Project (K Line), now K Line, Art Program here.

About Metro Art

Metro Art enhances the customer experience with innovative, award-winning visual and performing arts programming that encourages attendance and connects the people, places and neighborhoods of Los Angeles County. A diverse range of site-specific artwork is incorporated into the growing subway system, enhancing the quality of transit environments and creating a sense of place.

Click on here for more information on the Metro Art program. Follow Metro Art on Facebook and instagramand subscribe email updates.

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Lohmann: Once football star and lawyer, Virginia artist hosts art auction for Ukrainian children | Richmond Local News

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Seeing the video of a cellist performing amid the ruins of Kharkiv, Ukraine, last March, in an effort to raise funds for humanitarian aid and the restoration of his hometown, moved Robert Johnson.

The Virginia painter, who was teaching at an art school in Arizona at the time, told a student the next day how sad the scene made him and how he wished “we could do something as as visual artists to help these people”. A few days later, Johnson read that a print had been auctioned off for a remarkable sum, and the idea of ​​auctioning off art in support of Ukraine caught on.

One of his students had a connection to auction houses, and the effort was rolling. The virtual auction, featuring the works of Johnson and nearly three dozen other American artists, called “American Artists for Children of Ukraine,” launched Sept. 14 and will end Sept. 28. Proceeds will go to Ohmatdy, Ukraine’s largest children’s hospital. Details can be found here on Bidsquare.

People also read…

I’m telling you this not just because it’s a good cause, but because Johnson has an interesting history and connection to Richmond.

He grew up in the 1950s in Hopewell, where he was a football star (and was also named “Hopewell’s Outstanding Youth Citizen” in 1959), landing a scholarship to Duke University where he was part of three championship teams of the Atlantic Coast Conference and was a freshman when the Blue Devils won the 1961 Cotton Bowl against Arkansas. (“Dullest Cotton Bowl game in history,” he laughs. “7-6.”) At Duke, he also earned an undergraduate degree and a law degree.

He returned to Virginia to practice law and worked for a time in the state attorney general’s office in the early 1970s (when Andrew Miller was attorney general) in Richmond, where he was also co-captain of the Richmond Rugby Club. But his passion for art has always hidden it.

Johnson drew and painted as a young child, much like his older brother, Ben, who later received a Fulbright scholarship to Italy to study art conservation (Ben became an art restorer and principal founder of the Conservation Center at the Los Angeles County Museum). of Art), and from then on, Robert “had a fixation about going to Europe at some point,” he said.

Johnson, who went by Bob when he played football, had loved playing sports, but that didn’t leave him much time to do something like his brother had. Until he is older.

While working for the Attorney General’s office, he learned of the opportunity to work for an American university in Germany. He jumped on it.

“My co-workers were puzzled but very accommodating and they gave me a really nice farewell lunch,” he recalls.

He spent two years at university, which allowed him to teach and travel around Europe and see a lot of art. He returned to Virginia, opened a small law firm in northern Virginia, and also engaged in his art, which required a good deal of juggling his schedule.

“I got up early and painted in the morning before going to the office,” he said, “and in the evening I worked on my drawing.”

He took art classes at local colleges and sought advice from one of his professors at George Washington University, an artist named Frank Wright.

“I took my drawings to his studio in Washington to get a review,” Johnson recalled. “He looked at them and was silent, but I could see he was nodding positively. As I was leaving, I said, ‘Frank, can I really be a real artist, like those in galleries and museums?’ And he said, “You’ll never know until the arts are at your best: your best time, your energy, your focus.”

“And at that point, that’s when I decided I was going to pursue a full-time career.”

It was the mid-1980s, and after handing over his law practice to his partner, he devoted himself full-time to his art.

“At the time there was a lot of uncertainty, but I had a relationship with someone who became my wife, and she was also an artist,” he said of his wife, Virginia Price Johnson. “I think she was ready to go through any kind of financial uncertainty with me. But it didn’t work out that way.”

He enrolled in classes at the Art Students League of New York, commuting from Virginia, and found inspiration and camaraderie among teachers and fellow students. Within a few years, he was exhibiting his work, winning prizes and making a living.

“It really surprised me,” he said. “It was very rewarding for me to be able to make a living as an artist, which I’ve been doing ever since.”

He still retains his law license, but has not practiced since the 1980s.

Johnson and his wife split their time between Northern Virginia (Vienna) and Taos, NM He was on his way back to Taos after a few days in Sedona, Arizona, where they were painting to celebrate Virginia’s birthday, when we we are connected by phone.

Johnson’s painting covers a spectrum: flowers, still life composition, landscapes, portraits, animals.

About 20 years ago he had a successful exhibition of still lifes at a gallery in Santa Fe – but he grew tired of still lifes.

“When I was at Hopewell we had all kinds of animals – pigs, chickens and 125 hives of bees,” he said. “My job was to look after chickens, so I decided to paint a chicken. I called the gallery and asked if they wanted a picture of a chicken. There was a long silence, then, ‘ Send it if you must.’

He did, and it turned out that people liked paintings of chickens, he said. The gallery quickly sold the chicken painting, and the next thing Johnson heard from the gallery was, “When can you send me another one?”

“It was very rewarding,” he said.

Here’s another breakthrough in text-to-image synthesis, called StoryDALL-E, which adapts pre-trained text-to-image transformers for story continuation.

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Text-to-image synthesis algorithms, such as DALL-E, have demonstrated an extraordinary ability to transform an input caption into a coherent image. Several recent techniques have also used multimodal solid models to create artistic representations of input captions, proving their ability to democratize art. However, these models are only intended to analyze a single, brief input legend. To capture the meaning of the input language, many text-to-image synthesis use cases require models to handle extended narratives and metaphorical sentences, condition existing visuals, and create more than one image. Several works have already built specific models of generative adversarial networks (GANs) such as image-to-image translation, style transfer, etc.

Visualizing stories is a challenging endeavor that combines the production of images and the understanding of stories. However, the recent introduction of large pre-trained transformer-based models opens possibilities to more efficiently exploit latent knowledge from large-scale pre-trained datasets to perform these specialized tasks in a paradigm similar to the adjustment of pre-trained language models to perform downstream tasks based on language understanding. Accordingly, we investigate approaches to adapt a pre-trained text-image synthesis model for complex downstream applications, with a focus on story visualization, in this study. Storytelling methods, for example, turn a series of captions into a series of images that describe the story.

While previous work in narrative visualization has highlighted potential uses, the work offers specific challenges when applied to real-world scenarios. An agent must create an identical sequence of images that displays the contents of a set of captions that make up a tale. The model is limited to the fixed set of characters, places, and events it was trained on before. He doesn’t understand how to represent a new character that appears in a caption during testing; the captions do not contain enough information to adequately characterize the character’s appearance. Therefore, for the model to generalize to new parts of history, it must include a method to gather more information about how these elements should be graphed. For starters, they’re making narrative visualization more suitable for these use cases by introducing new work called story continuation.

They present a starting scenario that can be obtained in real use situations in this work. They give DiDeMoSV a new visualization dataset and adapt two existing visualization datasets, PororoSV and FlintstonesSV, to the narrative continuation scenario. The model can then replicate and adjust the components of this scene as it creates successive photos by adding them (see figure below). It benefits by diverting attention from text-to-image creation, a hotly debated topic. Instead, it diverts attention to the narrative structure of a sequence of images, such as how an image should evolve to reflect new narrative material in captions.

Mega-StoryDALL-E model predictions for (A) PororoSV, (B) FlintstonesSV, and (C) DiDeMoSV narrative continuation datasets. The initial frame provided as additional input to the model is called the source frame.

To adopt a text-image synthesis model for this storytelling continuation work, they must first refine a pre-trained model (such as DALL-E) on a sequential text-image generation task with the added flexibility of copy from a previous entry. . To do this, they first modernized the model using additional layers that duplicate the vital output of the initial scene. Then, during the production of each image, they integrate a block of self-attention to build narrative embeddings that provide an overall semantic context for the tale. The model is refined on the challenge of storytelling continuation, where these additional modules are learned from scratch. For the continuation of the tale, they call their technique StoryDALL-E and compare it to a GAN-based model called StoryGANc.

They also explore the efficient architecture of prompt tuning parameters and present a prompt consisting of task-specific integrations to prompt the pre-trained model to generate visuals for the target domain. Pre-trained weights are frozen while training this quick-set version of the model, and new settings are learned from scratch, saving time and memory. The results suggest that their upgrade strategy in StoryDALL-E effectively exploits the pre-trained knowledge of DALL-latent E for the tale continuation problem, outperforming the GAN-based model on various criteria. Additionally, they found that the copy technique allows for improved generation under low-resource circumstances and produces invisible characters during inference.

In summary, they present a new story continuation dataset and introduce story continuation work, which is more closely related to real-world downstream applications for narrative visualization.

  • They provide StoryDALL-E, a modernized adaptation of pre-trained Transformers for the continuation of the tale. They also create StoryGANc to serve as a robust GAN benchmark for comparison.
  • They perform comparison tests and ablations to demonstrate that refined StoryDALL-E outperforms StoryGANc on three sets of narrative continuation data across multiple parameters.
  • Their investigation demonstrates that the copy increases the correlation of the images produced with the original image, which improves the visual continuity of the story and the development of low-resource and unnoticed characters.

The code implementation in PyTorch can be found freely on GitHub.

This Article is written as a research summary article by Marktechpost Staff based on the research paper 'StoryDALL-E: Adapting Pretrained
Text-to-Image Transformers for Story Continuation'. All Credit For This Research Goes To Researchers on This Project. Check out the paper and github link.

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Jay Blades: ‘I talk a lot about black history, but I also love black future’ | Food

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Seven years ago, Jay Blades was like one of those broken jukeboxes or heap toys that teary punters bring to his Repair workshop. At 45, after a half-life of knocks and scratches, he saw no future for himself. His solution one evening was to get in his car, overloaded with a sense of pain and failure, and drive away from his home and business and his wife and daughter in High Wycombe all night until to he didn’t know where.

He ended up in a McDonald’s car park in Wolverhampton after roughly avoiding writing the car and himself on a motorway overpass. He sat in the car in that parking lot for hours, then days, finally sobbing to come back to life. With the help of a friend in town, and that friend’s parents who “adopted” him, he began to remake and mend himself. Thinking back to that time now, he says the closest he can describe to it is a feeling of drowning and then getting air, a rebirth. In the years that followed, he says, he never ceased to be delighted to be able to breathe.

Although he had never been to Wolverhampton before this trip, he stayed in the city, rebuilt his life there. At the sweltering lunchtime we meet, he’s driven from the Midlands to central London to do some more filming for his TV show and launch a DIY book. “It’s almost as if I had two birthplaces,” he tells me. “I had London, then I had Wolverhampton. Everyone feels at home. And I feel good there.”

He chose to have lunch at the Holborn Dining Room at the Rosewood Hotel, a grand old brasserie in a building that was once the Imperial residence of the Pearl Assurance Company. The place has a small symbolic value for the Blades. When The repair shop began to find success, he asked a friend to recommend a fancy place to stay for a weekend in the Smoke. The friend thought he would appreciate the sweeping marble staircase at the Rosewood, and he was not mistaken. Blades spent the whole weekend taking pictures. “I’ve never seen a staircase like this, just incredibly beautiful,” he says with his big smile.

Did you feel like you had arrived?

He laughs, leans over my dictaphone. “You come to this place,” he said, “and you have someone whose job it is to set you up and say hello, then someone comes with the jug of water, then someone brings your plates, and then check that, there is someone else bringing us salt and pepper…”

To get an idea of ​​the pain Blades escaped from, it’s worth reading his memoir, Do it. It’s not a memoir about misery, far from it, but it’s about how Blades’ father left when he was a baby – he later found out that ‘the man who helped birth me’ had 25 more children. Raised harshly by his mother in a council flat in Hackney, in secondary school he knew a lot of people, first being racially bullied, later mainly giving a stick to bullies and racists. He was severely dyslexic and had difficulty reading and writing. violence. He went through a period on the brink of drug dealing and numerous street fights in his early twenties, navigating multiple failed relationships, fathering two children and homelessness. He found salvation first in social work, then earning a degree in criminology from Buckingham New University (of which he is now chancellor) and finally – with his first wife – finding broken things and finding people like him to put them back in place.

Part of his ongoing repair is to take care of himself. He did 100 push-ups, as he does every day, before getting in the car at six o’clock this morning. He orders what he always orders, he says, “Fish of the day – halibut – a plate of broccoli and water.”

“I live on fish and vegetables,” he says. “I eat meat once a month when we visit my ‘second mum’ in Wolverhampton. Basically, she cooks a heavy Jamaican diet: goat curry, cow’s foot, Saturday soup and my favorite, corned beef and rice. But that’s it for me for a month.

He’s grateful to be sitting down doing this interview, eating this “wow halibut,” he says, because it was an interview with the Guardian the film crew that put it on television. A documentary crew from the newspaper came to his home workshop in High Wycombe – where he worked with local craftsmen to restore and give a touch to salvaged furniture, while mentoring young children struggling in life and in a trade .

He discovered that he was natural in front of the camera. “What I like to do on TV is influence people I’ll never meet,” he says. “There aren’t too many people of my color on TV yet, certainly not in the craft world. I classify myself as being mud. It’s an elitist world. And I wish it was more accessible.

He only entered interiors when he finally had his own place. As a kid in the 1970s, style was all about clothes – “My mum was with a guy called Lloyd McFarland at one point. And he really made me want to look good. The way he s ‘dressed, he looked like a destination. Like a zip code…” – but he always noticed how things looked. He thinks it was partly to do with his dyslexia – when you can’t really read or write, says -it, you constantly compensate by absorbing as much information as possible from elsewhere, by looking for clues, by memorizing things.

He is still working on his reading – weekly lessons – and he asked a colleague to read him the menu to memorize before our arrival. Today, he is a powerful advocate not only for the 10% of the population who are dyslexic, but also for an education that allows children to work with their hands. “This land was built on worker bees. And then you take this ability to do something away from young people, what are they going to do?

One of the first things he did when he was elected Chancellor of Buckingham New University was to get them to reinstate a furniture design course that had been abandoned. The university is based in High Wycombe which, as Blades discovered, was the furniture capital of England – G-Plan and Ercol and Parker Knoll had factories there, making post-war furniture which has were built to last, and which have now, partly with his help, come back into fashion. (“I like a good G-Plan buffet,” he says.) He also created a scholarship that helped pay college tuition for five to seven people a year from backgrounds like the his.

Jay and Tim both ate a slice of grilled halibut, hollandaise sauce £35; tokens £6; sprouted broccoli, almond butter £6. Jay drank £5.50 tea; Tim drank £5.50 coffee. Photography: Sophia Evans/The Observer

He’s in contact with enough people he grew up with to know that most don’t make it. But he also knows – like any Repair workshop devotee knows – that second chances are possible. “I get up these days and I know it’s going to be a good day,” he says. “It doesn’t matter what trash gets to me.”

In the past, when he encountered daily racism, he always got his retaliation first. How does he handle it these days?

“When I meet him these days, it’s very subtle,” he says. “In the good old days, someone would spit on you. These days, I think it’s my job to educate people about race. I talk a lot about black history. But I also like the black future.

For him, he hopes that the future will always go through The repair shop, which has gone through a remarkable 10 streak in five years, and now has releases all over the world. He guessed that when he first entered the workshop, it might be a special sight. At first it was like a medieval guild – “all trades in one space: wood, art, clocks, ceramics, leather, etc.”. But then, with the first “revelation” they made – a woman crying over her memories of a restored piano stool – he knew they were really onto something. Antiques tour had long since proven that people invest deep emotions in objects; The repair shop offered a way for them to redeem them, let them out. From that first show, Blades made a point of not knowing the backstory of the people who entered, so he could find out on camera with the rest of us.

He hopes, he says as he finishes his lunch – tea, not pudding – that he can keep doing the show for 20 years. “What’s happened to us as adults is that we lose a lot of our imagination. Kids see things. I try to add a child mentality to things,” he smiles. know what, Tim, the other day I literally jumped into the street. A 52-year-old man. Why? Because I’m happy.”

DIY with Jay by Jay Blades (Pan Macmillan, £20). To support the Guardian and Observer, order your copy at guardianbookshop.com. Delivery charges may apply

Government should stop sale of BNZ artwork

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The Bank of New Zealand will be selling some of the country’s most expensive and important works of art from tomorrow.

By Mohammad Alafeshat for RNZ

Two hundred valuable mid-century New Zealand works of art – collectively valued at over $10 million – will go under the hammer at auction house Webb.

The bank auctions off works of art by some of the country’s most important artists, including Colin McCahon, Rita Angus, Gordon Walters, Toss Woollaston, Gretchen Albrecht, Milan Mrkusich, Don Binney and Ralph Hotere.

READ MORE: BNZ Auctions Multimillion-Dollar Art Collection

However, the potential sale of such important works of art to private buyers has drawn criticism from former New Zealand Prime Minister Helen Clark.

Clark said BNZ should not sell millions of dollars worth of artwork originally purchased when the bank was state-owned.

“What would need to be checked is whether the Treasury ever informed that there was a valuable art collection funded by what was then a state bank which should have been separated at the time of privatisation” , Clark told RNZ.

“These are very important New Zealand works of art that have been acquired by a state-owned company.”

The most expensive piece of art would have to be “Is there anything we can say, look, it’s new?” by Colin McCahon. which is estimated between 1.5 and 2.5 million dollars.

Clark wants the Department of Culture and Heritage to intervene.

BNZ will auction 200 valuable New Zealand mid-century works of art.

“The question is whether the export control mechanism administered by the Department of Culture and Heritage would cover any of the works of art. There is a provision in this document for an export ban on items that are over 50 years old and of significant interest to New Zealand.”

Meanwhile, Webb’s Auction art director Charles Ninow said it was one of the biggest auctions in New Zealand history.

The first group of paintings to be auctioned tomorrow is expected to fetch more than $10 million, he said.

“We’ve never sold a collection like this before, it’s the best of the best in New Zealand art and it’s the most expensive collection ever sold in New Zealand.

“It includes some of the most significant works of art ever produced by New Zealand artists,” said Ninow.

The most valuable item is by Colin McCahon and is expected to be worth around $2 million, Ninow said.

“The highest-value work of art is one of McCahon’s last three paintings ever made.

“This is the only chance you will ever have to purchase a work from this series which is by far his most iconic series.”

New Zealand has a vibrant and healthy art market, but Clark said this collection should be visible to the public.

“New Zealanders may never be able to see important works of art again if they are sold at auction,” she said.

All proceeds from vendors will be used to create a philanthropic foundation and Webb’s will also help fund the foundation from fees incurred.

Russian art auction house co-founder William MacDougall dies

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The late William MacDougall who, with his wife Catherine, founded the MacDougall auction house.

He died aged 67 of a heart attack in Moscow on the evening of August 25.

MacDougall, with his wife Catherine who remains the company’s managing director, founded the eponymous auction house in 2004, at a time when the market for Russian art in London was booming.

The couple were previously City analysts and London-based art collectors, but sensed an opening in the market and decided to ‘fulfill the dream’ of setting up their own auction house.

With a host of new Russian clients entering the sector and an increasingly London-centric market, as well as benefiting from the removal of a 30% duty applied to all art imports into Russia in January of the same year, the MacDougalls held their first sale at 33 St James Square in November 2004.

By promoting many lesser-known Russian artists alongside more established names, the company has gained a foothold in one of the most dynamic sectors of the art market. This, coupled with a less conventional and less stuffy approach, allowed it to compete with companies like Sotheby’s, Christie’s and Bonhams, and generate growing totals throughout the “boom” period.

In November 2012, the company’s Russian week series generated a total of £5.52 million, but equivalent sales in 2017 reached £9.85 million, which included a record for a soviet realistic painting when Heroes of the first five-year plan by Aleksandr Deinek (1899-1969) was knocked down to £2.2 million.

MacDougall’s successfully expanded into other areas, including Russian icons, artwork and paintings from other post-Soviet Eastern Bloc countries, and became the premier Western auction house with representatives in Moscow and Kyiv.

An attempt to break into the Old Master market in 2010, however, proved more difficult.

Following the invasion of Ukraine earlier this year and the imposition of new sanctions on Russian customers, the company was forced to abandon its “Russia-week” series as well as other salesrooms and the future of these events remains uncertain.

Russian heritage

MacDougall was born in Canada but moved to California with his family aged four. His father worked for IBM and he grew up in Silicon Valley, Palo Alto, and went to Stanford to study economics.

His family had a strong Scottish but also Russian heritage. His grandfather was Alexander Chuhaldin, a famous principal violinist of the Bolshoi Theater who left Russia in 1924 and emigrated to Canada. He later became conductor of the CBC Radio Orchestra and had his portrait painted by Natalia Goncharova.

During Mikhail Gorbachev’s perestroika period, MacDougall first visited Russia after receiving a letter from a Russian relative, staying in Malakhovka, a suburb of Moscow, where his closest relatives lived. There he met Catherine, who was born in Moscow and whose great-grandfather had been a friend of Chuhaldin.

Later in life MacDougall became Russian Orthodox, and after his death he was buried at Malakhovka.

Catherine MacDougall is now back in the UK and said she hopes “the situation will improve” in terms of the viability of future auctions. She said GTA“As for future auctions, we will watch, see and pray. Russian art and culture were not canceled all together. Not forever, anyway.

Shefali Das puts Shef’s kiss in her music

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If there’s one thing Shefali Das will give you, it’s pure story combined with perfect pitch. It was in 2019, when Shefali released her first EP, “Dear Somebody”, which consisted of five of her self-penned songs, each with a unique story, a unique perception. Yes, she is both a singer and a composer! His musical project received a positive response, and it was not surprising, since Shefali had always put this “Shef’s Kiss” in all his musical projects.

Born and raised in New Jersey, USA, Shefali was moved by her own desires and passion for music, and had an engaging and quite joyful musical journey. However, that doesn’t mean she hasn’t had her share of ups and downs. Until 2020, she went by her stage name, Das, under which Shefali also has the song “Tired” which crossed 600K streams on Spotify. The music is personal to him rather than a mere commodity for the public. Since her previous profile didn’t resonate with the singer-songwriter on the same level, she changed her name to a profile more in tune with her. And so a new aura emerged, a new stage name, ‘Shef’s Kiss’ (there couldn’t be a better stage name for her!) and we frankly look forward to the music that’s yet to come in this refreshing new chapter. of his!

Here’s a deeper dive into Shefali’s approach to music, his lyricism, and a little heart-to-heart on the enigma of the art.

Music is more than just melodies for Shefali Das: early childhood and the beginning

The beginning of Shefali’s musical journey is different from others. No, she wasn’t born with a natural inclination for music, nor did she adopt it on her own. Rather, it was her father who insisted that his daughter learn the piano. Just one of the many things in the neighborhood where kids were supposed to pick up a creative hobby or two. Therefore, at the age of four, Shefali started practicing the keys. It was just one day at the church recital, which literally made Shefali the singer she is today.

At the recital, there was a 10-year-old girl who played the piano and sang. The way she sang, as described by Shefali, “full body facing the audience, broad torso, feet plantedwas something she had never witnessed before. She was dazzled. Shefali’s father immediately asked the piano teacher to give his daughter singing lessons, but she wasn’t really looking forward to it. One thing Shefali struggled with as a child was interacting with people she didn’t know. She wanted to stay hidden from the eyes of others. Because of this, her parents tried to involve her in several creative and sports activities, and music was one of them.

Despite being against vocal lessons, Shefali eventually had to give in to it, and what came out of it was so worth it. There’s something so beautiful about the way Shefali describes the opening moments of her very first singing performance. Recalling those emotions, she said: “I pushed my shoulders back, I took in more breath, I kind of physically took more space, and then the way that sound reverberated through my chest, the way it felt in my hips, in my lips, for the first time I felt it was okay to take up space. It was good, it was a little different. And so far, the best thing about it is the way it feels. It taught me that I had the right to take up space, that I had the right to be heard, in fact maybe, if I was crazy enough to think that maybe people wanted hear me too,” and so began the new journey of Shefali.

The school orchestra gave her a sense of community and creativity, where she found a sense of comfort and space. Plus, her dad always had songs playing on the speakers, which kept her surrounded by disco-pop, classic rock, Motown, and her favorite, Bruce Springsteen. So, when asked what fuels her zeal for music, she simply replies that growing up, there was always an intrinsic desire within her to be surrounded by creation, to be surrounded by music. She never did and had to question it.

Currently, the singer-songwriter is pursuing his doctorate. of Yale. It is a dual program in sociology and African-American studies. She also pointed out that a lot of new music is in the works and should be released soon!

Music, Social Media and Transition: Stepping Stones to Shef’s Kiss Music

As a singer-songwriter, Shefali consumes a lot of media: movies, books, songs, etc. She is not only inspired by musicians like Taylor Swift, Harry Styles, Dua Lipa or 70s-80s disco pop, which happens to be her favorite genre, but also finds her inspiration in designer architects and decorators. interior. All forms of creativity and art are a source for her to embrace, learn and grow through them.

While promoting her debut EP, “Dear Somebody,” Shefali took to social media. Although she found an incredible community of artists, a huge following, and a phenomenal response to her music, the bad side overwhelmed her. She regularly posted cover songs to stay on trend, or trying to fit the idea of ​​what people wanted, or impostor syndrome, all of which cost her dearly. The claws of the internet have tainted the relationship she had with music. The social media bug severed the connection she valued the most. So, she finally took a break from music all together. It was also the time of the pandemic. She then focused on other creative pursuits like baking, movies, and reading books.

After the break, Shefali knew she had to rename herself, and that’s when she changed her stage name from Das to Shef’s Kiss. She created a new Spotify profile and decided to create music for herself and express her true form, as she had always wanted. It was a shift towards a more sustainable way forward.

Tapping on Lyricism: Shef’s Kiss as a Songwriter

When it comes to lyricism, Shefali recalls her childhood when she had no one to talk to. She would put all her feelings and thoughts on a sheet of paper, and then, through that, it would become a therapeutic outlet for her. His lyrics have a lot of weight, symbolism and metaphors. As a songwriter, his lyrics derive not only from personal experiences, but also from his environment, the stories of others, the social and the political. For example, his song “Tired” tells the story of a suffocating relationship, a relationship in which someone is not able to live with and without the same person. The song also echoes feelings of frustration, isolation and mental exhaustion from the pandemic. Meanwhile, his song, ‘Forty-five Pt. II’, is a very political song. It’s about American politics and Trump. There are implicit metaphors and powerful feelings of anger, action and questioning. The lyrics play a crucial role in the essence of the songs and its purpose, and apparently this songwriter’s pen brings out her personal expressions very easily in the words.

Message for budding artists

Shefali Das believes that talent is acquired rather than inherent, however, the exceptions are always there. She herself is living proof of this, having acquired her vocal and songwriting talents. She also adds that the creative spirit and the desire are innate, but not the talent. A person must have the will to create. She also says that we always have to question ourselves and ask ourselves why we do it. Currently, with the 70s-80s vibe in the mainstream industry, she almost feels justified in following her. But in times like these, she always wonders why she’s into music in the first place. You have to find the balance between desires and tendencies, and always do what makes you feel fulfilled.

One of the life lessons she learned, which she also applied to her music, was when she gave up on pursuing a medical education. Her pre-med high school years were just her search for the kind of stability her parents wanted for her. She was chasing someone else’s expectations. When she got to college, she realized that pursuing medicine was really not viable for her. She confessed to her parents about the decisions to change majors, and it was as if a dam had broken. Parents often look at unconventional career paths, but the best way is to have a candid conversation with them and give them time to understand.

Shefali Das wants her mind, body, and soul to be one hundred percent involved in everything she does. When she dropped her previous profile, “Das,” which still has 15,000 monthly listeners, it felt like the plane was finally taking off. But Shefali decided to jump just then, because that direction was not for her. With her Shef’s Kiss identity now, she released the song ‘Expectations’, produced by ShiShi. The song echoes mixed feelings of anger and despair after a breakup.

So, for budding artists, the songwriter has only one word to say: go for it! If that means anything to you, then that’s the end of it all. Even though money is an important factor, especially in this capitalist world, you still cannot let it rule your own desires, especially when it comes to your own creation and art.

Credits – YouTube Shef’s The Kiss

Latinx Heritage Month 2022 – NoHo Arts District

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Latinx Heritage Month

Controller Ron Galperin’s online map showcases Latinx contributions to LA

Los Angeles Comptroller Ron Galperin celebrated the start of Latinx Heritage Month (September 15 – October 15) by releasing “Unidos: Latinx en Los Ángeles”, an online tool that maps the central locations of the Latinx population of THE. Galperin’s map features 23 locations across the city and allows the public to take a virtual guided tour through the history of Latinx Los Angeles.

Galperin’s tool also showcases Latinx City employee contributions with a dashboard that highlights data on employees who identify as Latino/a or Hispanic. The dashboard is powered by 2021 payroll data.

“The Latinx community has played a vital role in shaping the history and culture of Los Angeles since its founding,” Comptroller Ron Galperin said. “I hope Angelenos from all walks of life will use this story map and dashboard year-round to learn more about the contributions and history of LA’s Latinx communities.”

“Unidos: Latinx en Los Ángeles” is part of Galperin’s mission to use open data, mapping, and innovative online tools to promote equity, foster civic engagement, and connect Angelenos to their city.

Explore “Unidos: Latinx in Los Angeles” at lacontroller.org/latinx-los-angeles.

See other Galperin maps and dashboards at lacontroller.org/data-stories-and-maps/.

Follow LA Controller Ron Galperin on @LAController on TwitterFacebook and Instagram.

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Where is the Starbucks NFT Odyssey going?

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Sep 16, 2022

Starbucks is revamping its loyalty program and bringing an NFT platform into the mix, though it doesn’t use that acronym to describe its digital art offerings.

Starbucks recently announcement its new digital community called Starbucks Odyssey, which will launch later this year, according to Tech Crunch. Users will be able to log in with their loyalty app credentials and then participate in in-app games and challenges called “trips”.

Visitors who successfully complete goals and complete journeys will be rewarded with NFTs (which can also be purchased and traded on a marketplace). Digital collectibles will be referred to as “Travel Stamps” on the Platform.

Visitors will also be able to unlock perks by accumulating stamps. Starbucks views perks as more important than the free food and drinks typical of loyalty programs. Expected rewards include access to unique courses or merchandise or, at the higher end, invitations to exclusive and even international events. The highest tier rewards should go to those who purchase the most expensive NFTs, but the lower tiers will be available to those who earn their stamps in-app.

A number of retailers and brands have started experimenting with “Web 3” technologies like NFTs.

pacsun late last year offered its first collection and followed this year with two sets of NFT “Mall Rats,” which depict cartoon rats wearing Pacsun products. One of the Mall Rats collections was made in collaboration with Reebok.

And Nike went so far as to acquire an NFT creative studio called RTFKT (pronounced “artifact”), which made a name for itself by selling virtual sneakers made in collaboration with artists for tens of thousands of dollars.

But NFTs have also proven controversial for a number of reasons. In the world of art collecting, some have become skeptical as to whether “owning” an NFT is really comparable to owning an original work of art.

The amount of energy required to strike NFTs has also raised environmental concerns. The UK branch of the World Wildlife Foundation has been criticized by conservationists for launching an NFT line, which it quickly canceled due to a backlash, Climate Change News reported. The cancellation created an opposing backlash from NFT collectors.

DISCUSSION QUESTIONS: Do you consider Starbucks’ implementation of NFTs to be worth the company’s investment given the controversy surrounding the technology? What other ways could a retailer use “Web 3” technology to improve their loyalty program?

Braintrust

“Do you consider Starbucks’ implementation of NFTs to be worth the company’s investment given the controversy surrounding the technology?”

wpDiscuz

New York museums leak art looted by Nazis

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ALBANY, NY – New York museums that display artwork looted by the Nazis during the Holocaust are now required by law to inform the public of these dark chapters of their provenance through signs displayed with the stolen items.

According to experts, at least 600,000 works of art were looted from the Jewish people before and during World War II. Some of this looting ended up in major museums around the world.

New York Governor Kathy Hochul signed a law in August requiring museums to post signs identifying exhibits looted by the Nazis from 1933 to 1945.

The new rule comes as many museums in the United States and Europe also rely on collections containing many objects looted from Asia, Africa and elsewhere during centuries of colonialism.

It’s unclear how many of the artworks currently on display will end up qualifying as Nazi loot, and disagreements have already arisen over some artworks with convoluted histories.

The Metropolitan Museum of Art in New York said it identified 53 works from its collection as having been seized or sold under duress during the Nazi era.

All of these items were obtained by the museum after being returned to their rightful owners. But Andrea Bayer, the museum’s deputy director for collections and administration, said the public should always know their story.

“People should be aware of the terrible cost to people in World War II when these confiscations took place, and how the treasures of these peoples that they loved and had belonged to their families, were taken from them along with their lives were disrupted,” she said.

The museum does not, however, intend to put such a sign on a painting by Picasso entitled “The Actor”, which he received as a gift in 1952.

This painting once belonged to Jewish businessman Paul Leffmann, who fled Germany – first to Italy, then eventually to Brazil – to escape the Nazis. As Leffmann liquidated his assets in 1938, he sold the painting to Parisian art dealers for $13,200.

Leffmann’s great-grandniece, Laurel Zuckerman, sued the Metropolitan Museum in 2016, claiming it was a cut-price sale that reflected the family’s desperation to flee Europe. The museum countered that the price was actually high for a first Picasso at the time. A US court ultimately dismissed the lawsuit.

Lawrence Kaye, one of the lawyers who represented Zuckerman, said that despite this result, the museum should still display a sign with the painting’s disputed history.

“I think the law would cover this piece. It was rejected for technical reasons and I think under the broad definition of what this law means under the law, it should be covered,” Kaye said.

Tracing an object’s provenance has become easier in the digital age, and some museums have launched efforts to identify works of art with a problematic ownership history.

New York law already required museums to report works suspected of being stolen during the Nazi era to the Art Loss Register, the world’s largest database of stolen art.

A US law passed in 2016 provides victims of Holocaust-era persecution and their heirs with a fair opportunity to recover artwork taken by the Nazis.

“This law did things legally that allowed people to make claims and sue,” said Wesley Fisher, director of research for the Claims Conference, a group that represents World Jewry in bargaining. compensation for the victims of Nazi persecution and their heirs.

“It’s not perfect, but it’s better,” he said.

In 2018, the Solomon R. Guggenheim Museum in New York returned a painting by Ernst Ludwig Kirchner titled “Gunners” to the family of Jewish art dealer Alfred Flechtheim, who was forced to abandon his collection after fleeing Berlin in 1933.

A spokesperson for the Guggenheim said the museum was not aware of any other works in its collections that were looted by the Nazis, but it was continuing its research.

In 2019, the Arkell Museum in upstate New York returned a painting after learning it had been stolen by the Nazis from a Jewish family in 1933. Museum director Suzan Friedlander said stated that he “fully supports the recent legislation regarding Nazi work.”

Last year, the Jewish Museum in New York devoted an entire exhibition to the theme of looted art and ceremonial objects.

While flagging Nazi-looted artwork is a policy unique to New York, other US museums have undertaken efforts to trace the origin of potentially stolen artwork.

The Boston Museum of Fine Arts launched a Nazi-era provenance search on their works in 1998, where they identify items from the collection that were lost or stolen during the Nazi era and have never been returned. to their rightful owners.

The Paul Getty Museum in Los Angeles researched the German art trade between 1900 and 1945 and now provides digital access to auction catalogs related to Germany, Austria and Switzerland.

Among the 53 pieces from the Metropolitan Museum of Art that will receive signage identifying them as having been looted is a Turkish helmet dating from the late 15th and 16th centuries that had been seized by the Nazis from its owner, Baron Alphonse Mayer Rothschild in 1938. It was returned to the Rothschild widow in 1949 and sold to the museum in 1950.

Another is a 1695 painting titled “Gamepiece with a Dead Heron” by Dutch painter Jan Weenix. It was also seized by the Rothschild Nazis in 1939, then returned to his widow in 1948 and sold to the museum in 1950.

Over the past two decades, the museum has made or reached settlements on 10 works of art that changed hands during the Nazi era, including a painting by Claude Monet.

New York Senator Anna M. Kaplan, who sponsored the legislation, said the new law is partly intended to educate young people who don’t know about the Holocaust.

“Because Holocaust survivors are a dying generation, that becomes much more important,” said Fisher of the Claims Conference. “The object becomes much more important. The idea that students and the general public have to go through museums to understand where these objects come from, is important.”

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Khan is a member of the Associated Press/Report for America Statehouse News Initiative. Report for America is a nonprofit national service program that places reporters in local newsrooms to report on underreported issues.

Shelter Dogs creates unique painting to be auctioned

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PARKERSBURG, West Virginia (WTAP) –

Marietta College and the Humane Society of the Ohio Valley team up to show off great artists.

Several dogs for adoption have gone through colorful, non-toxic paint to create original works of art.

The art will be on display and will be part of a silent auction to benefit the Humane Society of the Ohio Valley. Several dogs available for adoption will be at the event for people to meet and pet.

All money raised from the event and the silent auction will go to the Humane Society.

Jolene Powell is an art professor and gallery director at Marietta College. She said it’s easy to see the dogs’ personalities in the photos.

“They’re a lot of fun. And you get an idea of ​​you know, okay dogs…you know you’re going to have a paw, but the different colors, sometimes there’s a little spot, sometimes there’s a little stain. And to see the colors that they have, maybe they had two colors on the front legs and two colors on the hind legs, and so they’re really fun. They just represent the game. They’re just the manifestation of a dog having fun and playing, so I hope that’s the energy that people get out of it.

The event will take place on Friday evening from 5:00 p.m. to 7:00 p.m. in the Atrium and Gallery 310 on the third floor of the Hermann Center for Fine Arts at Marietta College.

Those who come will be able to see works of art by Woof Warhol, Vincent Van Ruff, Paw Picasso and Bow-Wow O’Keefe.

651 ARTS announces the 2022 season

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BROOKLYN, NY–(BUSINESS WIRE)–651 ARTS, Brooklyn’s premier institution for the performing arts of the African Diaspora, today announced details for its 2022 season – “Liminal spaces: confined to the house » – to include a mix of feature presentations, performance and new programming. In addition to its fall schedule, 651 also revealed that it will be launching the House Warming Initiative as it prepares to move to the institution’s first-ever grounded space at 10 Lafayette in downtown Brooklyn in the spring of 2023. Marking a watershed moment in the institution’s history, the new multipurpose facility of 12 500 square feet at 10 Lafayette will deepen 651’s programming and bring together the multiple communities it serves in a way never before possible.

With the recent appointment of its new CEO, Toya Lillard and about to move into its first permanent home, the upcoming season of 651 ARTS signals a new era for the legacy organization as well as a major milestone in its continued growth and expansion. Since its inception in 1988, 651 ARTS has navigated literal and figurative liminal spaces and is now – with the move – confined to the home. This “liminal spaces: confined to the house” season provides an opportunity to reflect, individually and collectively, on “how we will appear in the future we imagine.”

“For over 34 years, 651 ARTS has answered the call to create programming that centers and values ​​the performing arts and cultures of the African diaspora. And so far, the institution has fulfilled its mission to deepen knowledge and appreciation of the contemporary arts and culture of the African Diaspora without its own physical space. We wanted this season to reflect and encapsulate both where we’ve been and where we’re landing, especially as we look forward to moving into our new home and celebrating 651’s 35th anniversary.e Anniversary in 2023,” Lillard said. “The word liminal is rooted in the Latin word limen, which means “threshold”. In the literal sense, a threshold is a dooror border between two places or stages. 651 ARTS has a history steeped in nurturing Brooklyn’s art ecosystems, while showcasing and producing work by emerging, established, and world-renowned artists from across the United States and around the world. For Black people everywhere, liminal spaces have historically provided the opportunity to imagine and create more sustainable futures where we can survive and thrive.

With this concept in mind, 651 ARTS’ fall lineup will include unique collaborations with world-class artists and leaders in the arts. The season will start on October 15e with Perform an Afro Future, at The center of fiction. This roundtable will explore the creative mapping involved in the imagination of future afros. The first performance of the season will take place from November 18 to 20e at The center of fiction with Malik Work Award-winner Verses at Worka dynamic performance in which the dynamic actor/MC tells his own story of perseverance, love, music and the struggle to survive as an artist in New York.

Educational residences include Towards a generative theatre: work in progress by The Black Seed Cohort at Weeksville Heritage Center December 2n/aand the fourth year of The network of loggersa mentorship and career accelerator residency program for emerging, self-identifying female artists in jazz. This legacy project by NEA Jazz Master and music legend Dee Dee Bridgewater, and artistic director and associate director Tulani Bridgewater-Kowalskiwill take place in February 2023. The application and submission process for the program will begin in October.

Launch today, 651 ARTS’ House Warming Initiative seeks to galvanize support from key stakeholders around the organization’s efforts to transform its new home into downtown Brooklyn’s first center for black art creation and to open a new stage for black art.

HIGHLIGHTS OF THE AUTUMN 2022 SEASON

Perform an Afro Future

Appointment): October 15, 2022

Location: The center of fiction15 Lafayette Ave, Brooklyn, NY 11217

Verses at Work

Date: November 18-20, 2022

Location: The center of fiction15 Lafayette Ave, Brooklyn, NY 11217

RESIDENTIAL HOMES

Towards a generative theatre: work in progress

Date: December 2, 2022

Location: Weeksville Heritage Center 158 Buffalo Ave, Brooklyn, NY 11213

The network of loggers

Appointment): Starts February 27, 2023

About 651 ARTS

Since its founding in 1988, 651 ARTS has become a trusted convener of contemporary artistic expression from the African Diaspora, a champion and nurturer for emerging artists and their work, and a vital cultural resource for its surrounding community. As it evolves, part of 651 ARTS’ mission is to preserve the legacy of black culture in Brooklyn, celebrate the eclecticism of black performance, and launch new visions from diaspora artists. African. This year – the year of transition – is an integral part of the institution as it continues to establish the framework that will help further strengthen the role of 651 ARTS as a leader of African diaspora culture while making it an incubator. of artistic innovation at 21st century.

For more information, please visit: www.651ARTS.org.

651 ARTS programs are made possible through generous private donations and grants from The Bay and Paul Foundations, The Baisley Powell Elebash Fund, The Black Seed Funds, Con Edison, Doris Duke Charitable Foundation, Ford Foundation, Harkness Foundation for Dance, Howard Gilman Foundation, Lambent Foundation, Mertz Gilmore Foundation, Mid Atlantic Arts Foundation, The New York Community Trust Mosaic Network & Fund, The Fan Fox and Leslie R. Samuels Foundation, Wallace Foundation, New York City Department of Cultural Affairs in partnership with the City Council, including Majority Leader Keith Powers, the office of the Brooklyn Borough President Antonio Reynosoand the New York State Council on the Arts with support from Governor Kathy Hochul and the New York State Legislature.

Old Navy taps Brazilian artist to create inspirational graphic tee honoring Latinx Heritage Month

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As we come to another Latinx Heritage Month, Old Navy is rolling out another exciting partnership.

Working with 15 Percent Pledge, a nonprofit that holds big corporations accountable for supporting Black-owned businesses, Old Navy has teamed up with Brazilian artist and illustrator Camila Rosa to create a graphic t-shirt as part of his Project WE series.

Rosa’s design features inspiring images of two strong women intertwined with flame and flower symbols – a celebration of strength, family and the heritage of her community. The vibrant top also represents the mysticism and power of rising Latin women, showcased in its signature art style that always has bold, colorful and strong messages.

“It’s important that we recognize that Latinx people exist and should be respected,” Rosa said in a statement. “It’s a celebration of our heritage, our family, our roots.”

Project WE and Camila Rosa graphic tees are available in toddler, kids and adult sizes in store and online…or just below!

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Project WE & Camila Rosa Adult Graphic T-Shirt

Price: $14.99 Of: Old Navy

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Project WE & Camila Rosa Kids Graphic T-Shirt

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Toddler Project WE Matching Graphic Tee

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Arizona’s DUSK Festival Features Powerful Lineup, GRiZ, Nora En Pure, Sofi Tukker

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It’s hot in Arizona, but not as usual. Since 2016, the DUSK Music Festival in Tucson, Arizona has been a small but mighty home for some of dance music’s most inspiring artists in space. This year, the genre event offers even more talent to its huge catalog with artists like Alison Wonderland, Nora En Pure, Sofi Tukker, Young The Giant, GRiZ and many more.

The Desert Affair consistently offers attendees more than the lineup of a lifetime – known for making world food and art available throughout the Affair to complement the kaleidoscopic music selection. In partnership again with Tucson Foodie to curate restaurants, food trucks and chefs, as well as live and digital art, sculptures, video projection and lighting throughout downtown Tucson and the Jácome Plaza festival grounds.

Tickets start at $99 for general admission while VIP passes start at $239 and offer air-conditioned restrooms, premium food, lounge seating, exclusive vantage points at the front of stage, free coat and bag check-in, and free massages. For an even bigger festival experience, Platinum VIP Passes include all of that plus elevated viewing areas, complimentary wine, beef, craft cocktails and soft drinks, and a snack buffet for $549.

Get your tickets here in full or through limited-time payment plans, and be sure to stay tuned for more surprises as the event rolls out its phased lineup.

Featured Image: DUSK/instagram

Labels: Alison Wonderland, Dusk, DUSK Music Festival, Griz, Nora En Pure, sofi tukker

Categories: Features, News

Youth Art Wanted for Health Air Living Calendar Contest

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The San Joaquin Valley Air Pollution Control District is looking for young artists to help create their 2023 Healthy Air Living Kids Calendar.

All San Joaquin Valley students, from kindergarten through 12th grade, are encouraged to participate in this annual contest, allowing children to create their vision for Healthy Air Living.

Registrations are due by October 14. Winners and their artwork will be featured in this bilingual calendar, showing how individuals can help improve air quality and quality of life for all inhabitants of the Valley. The district plans to print and distribute calendars to schools, community groups, health facilities and other clean air partners, as in the past.

The 2022 calendar featured artwork by two local students. Ballico Cressey Elementary student Paul Voight shared the following message: “Please help keep the air clean and our planet green!” Beneil Danielo, a student at Turlock Junior High, illustrated his message of ‘clean air while walking and biking to school’.

The 2022 calendar featured artwork by two local students: Paul Voight and Beneil Danielo.

The guidelines for creating a winning entry for the Healthy Air Living Kids Calendar are as follows:

The paper should be placed in landscape orientation, so it measures 8-1/2 inches high and 11 inches wide

· Artwork should be in color and produced in paint, pen, pencil, marker, colored pencil or even computer. Bright colors are recommended.

· The artwork should contain a message about how to live a healthy air life. Examples of past messages include: “Switch to an electric lawnmower”, “Be cool and carpool when you go to school”, “Don’t burn wood, switch to gasoline”, “Please don’t not idling while waiting for children to go to school”. school.”

· Bilingual and Spanish messages are encouraged.

Artists must include their name, address, phone number, email, age, year and school, on the back of the entry. Please mail art flat, not folded or stapled, to: 2023 Kids’ Calendar Contest, Valley Air District, 1990 E. Gettysburg Ave., Fresno, CA 93726, or drop off your entry at the nearest district office in Modesto , Fresno or Bakersfield .

For a sample of this year’s schedule and additional contest information, visit: www.valleyair.org/kidscalendar. For questions about the contest, email [email protected] or call the Modesto Regional Office at (209) 557-6400.

More than 93,000 people have reserved space on Pan Am to the moon

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One evening in the early 1960s, Artistic chimes went to the backyard of his Livingston, NJ, home and looked up. He hoped to see one of the first American communication satellites called Echo. He did. The satellite – essentially a large balloon – sped through the inky darkness, a moving object against a field of fixed stars.

In 1969, Art made a reservation for a trip to the moon.

Marcia Hoexter also made a moon trip reservation in 1969. At the time, her name was Marcia Reidinger and she lived in Silver Spring, Maryland. She and Art were among 93,000 Earthlings who wrote to Pan Am to add their names to a list maintained by the airline.

“So many people have shown serious interest in going to the moon as passengers – despite the astronaut by Frank Borman warning that the lunar landscape is ‘vast, lonely, forbidden’ – that Pan Am has seriously started keeping a reservation list,” the Cleveland Plain Dealer said. Douglas Bloomfield wrote this April.

If Burma-Shave’s contest for a trip to Mars – the subject of a column last week – was still intended as a joke, Pan Am’s foray into space travel seemed entirely plausible. And although the airline began compiling the list before the 1968 release of “2001: A Space Odyssey”, the appearance in that film of a Pan Am-branded “Space Clipper” only intensified interest.

Pan Am’s list began unofficially in 1964 when an Austrian journalist named Gerard Pistor walked into the office of a Vienna travel agent and asked about a trip to the moon. Rather than throw Gerhard out on the street, the travel agent put him in touch with two airlines: Soviet Aeroflot and Pan American World Airways.

“Aeroflot jokingly responded that the first flight was booked, but there might be space on the second,” the Washington Post said. Steven Mufson written in 1989 in a story about of President George HW Bush spatial aspirations. “Two weeks later, Pan Am accepted his reservation and said they expected the flight to depart around the year 2000.”

Other potential passengers began approaching the airline. A Pan Am spokesman said, “We told them we had no plans at the moment, but we’d be happy to take your name, and the thing snowballed.”

By 1968, Pan Am’s roster had grown to about 180 people. The success of Apollo 8 that year nearly doubled it. Among those on the list were Senator Barry M. Goldwater (R-Arizona) and Russian-American aviation pioneer Alexander P. de Seversky.

Also on the list was Augustine Dillona Philadelphia resident, who told a reporter, “I’m cursed with a blessed Irish imagination.”

She added, “I haven’t done many adventurous things in my life. But I would welcome this opportunity to get closer to God. We don’t seem to appreciate God and His wonders here on Earth. Maybe if we got a little closer, we’d appreciate Him more.

Hoexter — who now lives on Capitol Hill — remembers thinking, “Sounds cool,” when she heard about the Pan Am roster. After contacting the airline, she received a membership card on the moon theme certifying his place in the “First Moon Flights” club.

Marcia was member #16,637, well ahead of Art Chimes #49,110. Pan Am closed its waiting list on March 3, 1971, at approximately 93,000 members.

TWA said it also maintained a list, but its marketing department seemed unable to garner the same publicity as its rival. Maybe TWA didn’t want to shell out for numbered cards and personalized envelopes to send them in.

Despite the accomplishments of its early years, Pan Am went bankrupt in 1991. Air travel has changed a lot since then. Art has never been to space, but he covered the space program as a reporter for Voice of America.

Retired, he now lives in Arlington, Virginia, where he reflects on an irony: decade after decade, aviation has progressed, breakthrough after breakthrough.

“Today the experience [of flying] is enough to deter you from getting on a plane unless you absolutely have to,” he said.

In the form letter Art received from Pan Am, Vice President of Sales James Montgomery wrote: “The start date of the service is not yet known. Equipment and layout will likely be subject to government approvals. Fares are not fully resolved and can be out of this world.

Today, Virgin Galactic is charging $450,000 for a brief taste of weightlessness. Blue Origin — founded by the owner of The Washington Post Jeff Bezos — has not made its prices public. In the 1969 Bloomfield article, he reflects on the cost of Apollo 8 and how the government could have saved money.

Using a fare formula the airlines had suggested to the Civil Aeronautics Board – a flat rate of $10 plus 6.95 cents a mile – three first-class round-the-moon tickets would have cost $11,196,480, rather less than the 310 million dollars that the Apollo 8 mission cost the United States. taxpayers.

Bloomfield wrote: “The lower price is a product of the free enterprise system. Some sources say this reflects the savings taxpayers could enjoy if sending a man to the moon were a competitive private industry venture rather than another socialist government program.

I suppose Elon Musk might fit.

The cafe donates $1 drip coffee to local artists every week

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If you’re looking for a great cup of coffee and a relaxing work environment to complete homework or personal projects, a Saturday night at Dear Diary Coffee is the answer.

On Saturdays from 4 p.m. to 7 p.m., Dear Diary Coffee hosts a space where artists come to work on their personal or professional projects. The best part of the offer is that artists who come to work at this time can get filter coffee for just $1.00!

As soon as you walk through the door, you can tell that the art is an important part of the establishment’s atmosphere. When you first walk through the door, a wall displays works by local artists for sale. On the wall are hand-drawn books, brochures, magazines, etc., made by local artists.

On the wall opposite the entrance, various art supplies are sold, along with locally made stickers also on sale. It’s clear that art plays a big role in attracting customers and creating a place geared towards creative minds.

You can practically see the creative juices flowing from the moment you walk through Dear Diary’s door. Tables full of people line the wall and fill the space of the room, with artists of different genres sitting down, drinking coffee and getting to work.

People were working on graphic design, music editing, drawing using different mediums, painting, and video editing projects. Each person had a small paper cup filled with filter coffee and was deeply invested in the work they were creating.

This Saturday evening was quiet, even though the establishment was packed between 5 and 7 p.m. I took my roommates, Xochitl Lara and Isis Debrock, with me to work on our own creative projects, and they loved it.

Isis worked on a few graphic design projects, Xochitl took pictures for a photography job, and I worked on non-fiction creative projects for my own classes. It shows how many outlets there are for art these days and how enjoyable it is to work in an environment specifically designed for creative production.

“It was very laid back,” Debrock said. “I really enjoyed how much I was able to focus on my actual work. It was pretty quiet and the music wasn’t distracting.

Not only was the overall vibe of the place ideal for working artists, but the coffee served was delicious. The drip coffee was just strong enough to propel someone through whatever project they were working on, without giving off that jittery feeling.

However, if you’re the type of person who needs a snack with your coffee to avoid excessive caffeination, Dear Diary has some great options for a bite to eat, too! There is a wide range from sweet to salty; parfaits, pastries, bagels, salads and take-out boxes of assorted snacks.

Dear Diary Coffee is located across the river from St. Edward’s and east of I-35. A lovely fifteen minute drive to where coffee and creative fellowship await! It’s a great place for a relaxing weekend and the focus on art and working artists is both inspiring and encouraging!

Top 7 Frames to Display Your NFT Art

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If you purchased NFT art or created it yourself, don’t let it languish unnoticed in your crypto wallet or stuck somewhere in a computer file. If you are looking for a frame for your NFTs, there are several models to consider. Let your art live and connect with art fans around the world by proudly displaying your NFTs with some of these awesome NFT frames.

Check them!

If you’ve decided to go with a solid NFT display, there are plenty of options available to you. A 10.1-inch HD screen, for example, will help your NFT pop. You can also find a more affordable option that supports videos and photos up to 30 seconds.

Other great features include Wi-Fi connectivity, 16GB of built-in storage, and portrait and landscape modes with auto-rotate. The best part is that you can find a high quality NFT display for as little as $150.

If you want a sturdy frame for your Solid NFT, consider purchasing an aluminum frame. In addition to being durable and lightweight, the aluminum frames also feature an integrated authentication panel on the back. The authenticity panel will contain your transaction details.

BlockFrameNFT GM series frames are a great way to display your NFTS. It comes in a variety of sizes and can accommodate many different types of NFTs. The screen supports MetaMask, WalletConnect, and Temple Wallet, among others. It also offers metadata, QR codes, and support for multiple blockchains.

The BlockFrameNFT features a beautiful wooden frame and a 21.5-inch screen, making it a perfect fit for a wall. It also features an audio feature to provide additional information about the art. The BlockFrameNFT is compatible with iOS and Android mobile devices and can connect to crypto wallets.

The Blackdove digital canvas to display your NFTs is a premium product that adds an artistic touch to your NFTs. Available in 3 sizes (49-98 inches), it features a frameless design and a 500 nit screen. It’s compatible with all major platforms, including Metamask, and can ship and install hands-free in all 200 major US metropolitan areas. The product includes a suite of mobile and web applications and supports support for still and video assets.

The app lets you upload photos and adjust the aspect ratio to suit your screen. Images downloaded through the app are stored locally, so they cannot be viewed by third parties. Ultra HD 4K screen resolution delivers 60fps playback. Blackdove connects directly to the MetaMask crypto wallet, serving as mission control for your digital masterpieces.

Whether you’re a crypto artist or an NFT enthusiast, the Netgear Meural Canvas II digital frame is a great way to display your NFTS creations. With two sizes to choose from, the Meural Canvas II features a Full HD LCD panel with 1920x1080p resolution and 16.7 million colors. Its frame is available in black or white, and the artwork can be displayed in landscape or portrait orientation.

The Meural Canvas II is powered by a 1.8GHz quad-core ARM Cortex A17 processor, with 2GB of DDR3 memory and 8GB of internal storage. It is also equipped with dual-band Wi-Fi 5 connectivity. The Meural Canvas II comes with an app that allows you to upload digital art to display on the screen. A Meural subscription can be purchased for approximately $100.00 (USD) per year, allowing you to view over 30,000 selected works of art.

Whether you are a collector or just want to showcase your minted NFTs, you should consider buying a Lago frame. These beautiful frames feature a 500 nit display, 4K resolution and 60 frames per second. You can choose to hang your frame in landscape or portrait orientation. In addition, they are equipped with a gesture camera that allows you to control your NFT screen with gestures.

LAGO frames are compatible with all types of digital NFTs. They have built-in motion and ambient light sensors, which help produce the most authentic and immersive experience. Additionally, they have a companion app that verifies ownership of NFTs.

If you want to display your NFTs on a big screen but don’t have a dedicated device yet, you can install a special app, such as TokenCast, to convert a smart TV into an NFT display.

While not as flexible as a dedicated device, it’s good enough for occasionally displaying digital artwork and is compatible with a wide range of devices. The TokenCast app works on many different platforms, including Android TV, Fire TV sticks, and IPS monitors. It can even be used with digital photo frames.

TokenCast is a free and open source software that helps you cast NFT images to LED TVs, smartphones and other devices. It also removes one of the biggest barriers to displaying crypto art, allowing for richer hues and contrasting shades. It also helps create a sharper image and allows for higher resolutions.

Note: We couldn’t find a link to the Qonos website, which seems a bit odd considering the amount of press Qonos has received. We found a placeholder on the site that seems to say you need to be a member to register, but no information on how to become a member! We’ve included it here on our list and will be keeping an eye out for updates and keeping you posted.

Taking into account the lack of access, Qonos is hailed as an excellent framework for displaying digital art. You can display your own NFT artwork as well as artwork from public collections. These frames are also motion sensor compatible, making them ideal for protecting artwork from potential thieves.

Qonos also has built-in speakers, allowing you to enjoy your favorite works with the added benefit of sound. The Qonos sold its first batch of 2,000 frames in less than 24 hours.

The Qonos digital art framework is compatible with iOS and Android devices and includes built-in graphics processing. Because the frame is recessed, it is both invisible and discreet. It also has a slim design, hidden cords, proximity and motion sensors, and other features.

In the future, the company intends to introduce other NFT-enabled frameworks. These will allow customers to display their digital art in a fashionable way. The Qonos framework, in addition to facilitating the display of digital art, is also compatible with other digital art formats.

This frame is compatible with 2K and 4K resolutions and includes an anti-glare screen. Besides that, it comes in four different colors including wood and steel. A 10 inch table frame is also available.

The Qonos digital art frame includes an LED light. Its screen uses ArtSense technology to produce realistic images. Its storage capacity of up to 10,000 images allows for an impressive viewing experience.

Finally, because it is designed for digital art, it offers a dedicated user experience. Prices range from $999 to $1,499, and the company claims to have achieved over $2 million in sales.

Final Thoughts

Are you a digital artist or patron of the arts? Let us know what you think of these NFT frames and if you have a favorite and by all means you are welcome to comment and send a link to your favorite NFT artwork.

AI-based artwork wins award

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An art prize was won by an artwork created using a combination of AI and PhotoShop. Although the judges did not know the origins of the work, they said they would have awarded it the top prize anyway had they known it was AI-generated.


The prize was won at the Colorado State Fair, as part of the digital arts competition. Jason Allen, the creator, is a video game designer from Colorado. He won the $300 prize with a work titled “Space Opera Theater“, which shows an eerily old-school image of women in flowing dresses looking through a large circular window onto a misty landscape. If you had told me it was a painting by a Victorian artist like Burne-Jones or Alma -Tadema, I would not have argued.

The reality is that Allen used Midjourney, an AI package that takes a short description and creates an image reflecting those words using a technique known as scattering. Having won, Allen wrote about it on the Discord chat server, and the announcement sparked numerous complaints.

What’s interesting is why people feel annoyed.

Some of the comments seem not to keep pace – the New York Times pointed out that Allen “didn’t come in with a brush or a lump of clay. He created it with MidJourney, an artificial intelligence program that turns lines of text into hyperrealistic graphics. “What rather misses the point of being a digital art class, in which the contest guidelines say the digital art is”artistic practice that uses digital technology as part of the creative or presentation process.”

Artists on Twitter also complained, with Genel Jumalon, an artist on Twitter, saying: “Someone entered an art contest with an AI-generated work and won first prize. Yeah, that’s really shitty.”

These critics seem to have overlooked the fact that this is more of a publicity stunt than a real victory. Jason Allen didn’t just take an AI-generated image. He says he went through hundreds of images created by Midjourney, chose three, then spent several weeks tweaking the images in PhotoShop and using GigaPixel AI to “enhance” them. Aside from the perhaps mercenary thought that I’d like a better return for 80 hours of image editing than $300, the real question is, is this AI-generated art? I would say no. If the original footage created by Midjourney had won, great. But Allen’s assertion to the New York Times that:

“Art is dead, man. It’s over. AI won. Humans lost.

seems a bit exaggerated. The AI, with careful human selection and more than 80 hours of editing with sophisticated image-editing software, won in a class of 18 entries (three per Allen) at the Colorado State Fair. I think I’ll wait for an image to win a high-profile, high-value competition that was purely AI-generated, without long and painstaking editing and enhancement.

More information

Midterm website

Related Articles

A tale of two AIs – Ai-Da and DALL-E

What is the status of art in our digital world?

The Ai-Da Delusion – Machines have no soul

GauGAN will draw your landscape for you

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CCI France Philippines nominates artists in charity auction

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The French Chamber of Commerce and Industry in the Philippines, also known as CCI France Philippines, has announced the 12 French and Filipino artists who will participate in the highly anticipated charity art auction to be held from 6 to 8 October at Leon Art Gallery in Makati City.

In partnership with the French Embassy in the Philippines and Micronesia and the Alliance Française de Manila, the artists whose creations will be honored during the event as well as the works of private collectors are CEET and Egg Fiasco, Olivia d’Aboville, Anna Bautista, Henri Lamy, Marie Saplad, Demi Padoue, Stella Rojas, Isko Andrade, Tammy De Roca, Delphine De Lorme and Pierre Marie Brisson.

Part of the profits collected during this event will be donated to Action unie France-Philippines (FPUA) in support of the Builds Back project to build 100 permanent homes for 100 families living in temporary shelters on the coast of Sogod, in the south of Leyte.

The highest bidders will also have the chance to be invited to the 75th Anniversary Gala of Diplomatic Relations France – Philippines which will take place on October 22 at Raffles and Fairmont Makati.

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The event is supported by León Art Gallery, DF Art Agency, Fasclad Inc. and Strym Global Services.


Lincoln Center pays homage to Manhattan’s lost San Juan Hill neighborhood

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Before there was Lincoln Center, there was San Juan Hill, once home to New York’s largest black community and later a large Puerto Rican population.

In the area around which Lincoln Center now stands. San Juan Hill was home to hugely important artists and icons, including Arturo Schomburg, Thelonious Monk, and James P. Johnson, composer of the famous “Charleston.”

On October 8, 2022, the new David Geffen Hall will open with the world premiere of San Juan Hill by Etienne Charles: A New York Storya multimedia work that reconsiders the cultural and musical heritage of the lost district of San Juan Hill.

A series of free arts programs at the David Rubenstein Atrium and the Weeksville Heritage Center examine this history leading up to the world premiere, titled Sounds of San Juan Hill, starting September 22, 2022.

More information below.

calendar list

San Juan Hill Sounds

The Jazz Legacy of San Juan Hill

Thu, Sep 22 at 7:30 PM

Atrium David Rubenstein

FREE

Return to the dance halls and jazz clubs of San Juan Hill in the late 1800s and early 1900s with host Loren Schoenberg (saxophonist and senior scholar at the National Jazz Museum in Harlem) and a special guest. Long before Harlem earned its rightful place as the center of African-American cultural achievement, San Juan Hill was home and a nurturing neighborhood for the creative minds of many of jazz’s greatest artists. James P. Johnson, Benny Carter and Thelonious Monk are just three of the legendary entertainers who lived and performed there, and it’s where West Side Story was set. Join us for an intriguing and questioning look at many vital stories that intersect with this too long forgotten community.

Move memorials

Wed, Sep 28 at 7:30 PM

Atrium David Rubenstein

FREE

Lincoln Center’s ongoing project on San Juan Hill reconsiders the culture and heritage of New York’s lost San Juan Hill community. New York-based, Chilean-born visual artist María Verónica San Martín captures the spirits of displacement and memory in her collage work, constructing intricate multimedia sculptures evoking memory as a living entity that meaningfully occupies space. physical space and invites interaction. For this participatory workshop, San Martín will instruct participants in his creative process, guiding them on the path to bringing their own personal story and experience to the construction of a three-dimensional holistic memory palace. All materials will be provided on site and participants can take their creation home at the end of the workshop.

San Juan Hill Day; Connect to seams

Thu, Sep 29 at 7:30 PM

Atrium David Rubenstein

FREE

Once home to New York’s largest black community and later a large Puerto Rican population, San Juan Hill was demolished between the 1940s and 1950s as part of the “urban renewal” plan that created the Lincoln Center campus and d other major developments. While many families were moved to other parts of New York and beyond, a significant number of residents moved to nearby homes in Amsterdam. This multi-part celebration of the heirs to the San Juan Hill story brings the oldest residents of Amsterdam Houses to the Atrium to publicly construct creative oral histories in collaboration with Sydnie L. Mosley Dances. After an afternoon brainstorming session, SLMDances will perform these new works with support from Lincoln Center’s first Poet-in-Residence, Mahogany L. Browne.

Presented in collaboration with Sydnie L. Mosley Dances

DJ logic

Fri, Sept. 30 at 7:30 p.m.

Atrium David Rubenstein

FREE

Bronx-born champion of the city’s musical memory, DJ Logic specializes in connecting the threads between New York’s rock, jazz and rap traditions. He is currently collaborating with trumpeter and composer Etienne Charles on a Lincoln Center-commissioned work inspired by the story of San Juan Hill that will reopen David Geffen Hall when it premieres in October in conjunction with the New York Philharmonic. On this festive dance party, DJ Logic will continue to link the art to the venue for a non-stop hip hop jam with selected music from New York artists only. Come and dance to the hits and deep cuts of the masters of ceremonies and DJs representing as many as possible of the five boroughs!

Is this land our land?

Saturday, October 1 at the Weeksville Heritage Center &

Monday October 3 at 7:30 p.m. at the Atrium David Rubenstein

FREE

The unanswered questions is a series of conversations presented in collaboration with the New York Philharmonic and the John Jay College of Criminal Justice exploring complex social issues raised by the Orchestra’s programming. The season of the series begins with Is This Land Our Land? – a discussion of the history of the neighborhoods of San Juan Hill and Weeksville, New York communities of color that thrived with culture and tradition but were systematically dismantled, leaving behind a legacy of displacement and erasure which resonates to the present day. Weeksville Heritage Center President Dr. Raymond Codrington hosts a conversation with SUNY Binghamton professor and researcher Dr. Jennifer Lynn Stoever and Etienne Charles, the performer and composer whose Lincoln Center-commissioned work inspired by the story of San Juan Hill will reopen David Geffen Hall when it premieres in October in conjunction with the New York Philharmonic.

Presented in collaboration with the New York Philharmonic and the John Jay College of Criminal Justice

San Juan Hill: A New York Story

Saturday October 08, 2022 at 2:00 p.m.

Saturday October 08, 2022 at 8:00 p.m.

Co-presented by Lincoln Center and the New York Philharmonic

Commissioned by the Lincoln Center for the Performing Arts

Composed by Etienne Charles

Performed by Etienne Charles & Creole Soul, and the New York Philharmonic

The early reopening of David Geffen Hall kicks off with a pair of concerts featuring Etienne Charles’ new work, San Juan Hill: A New York Story—performed by Etienne Charles & Creole Soul, and the New York Philharmonic, conducted by Music Director Jaap van Zweden.

An immersive multimedia work, San Juan Hill: A New York Story transports audiences via music, visuals and original first-person narratives of the history of the San Juan Hill neighborhood and the indigenous and immigrant communities that have populated the land in and around where the Lincoln resides Center. A multitude of musical elements – from ragtime, jazz, piano stride, swing, blues, mambo, paseo, West Indian waltz, calypso, funk, disco and hip hop – are woven with historic films and present-day interviews to showcase the myriad musical styles and culture brought to New York by migrants from the South and the Caribbean. In addition to his band, Etienne Charles & Creole Soul, Charles is working with a range of artists and scholars on this commission, including special guests Carl Hancock Rux, Elena Pinderhughes, DJ Logic, and collaborating with playwright Eljon Wardally , video artist Maya Cozier , graffiti/visual artist Wicked GF (Gary Fritz), visual artist Bayete Ross Smith, and historian Julia Foulkes, among others.

San Juan Hill: A New York Story combines the past with the present, laying the foundation for our community to build a new future for Lincoln Center. Leading up to the premiere, Charles, Lincoln Center and the New York Philharmonic are teaming up for a series of conversations and workshops that will explore the preservation and transformation of culture, gentrification, community activism, as well as resilience in resisting adversity, in collaboration with the Weeksville Heritage Center, the National Jazz Museum in Harlem and others.

With

Etienne Charles, Composer/Trumpet/Percussion

CREOLE SOUL: Sullivan Fortner, Piano; Ben Williams, bass; John Davis, drums; Alex Wintz, guitar; Godwin Louis, Saxophone; Elena Pinderhughes, Flute; DJ Logic, Turntables

Creative team

Maya Cozier, director; Bayete Ross Smith, 3D multimedia artist; Eljon Wardally, narrator/playwright; Hollis King, Photography; Carl Hancock Rux, spoken word; Wicked GF (Gary Fritz), graffiti artist; Julia Foulkes, historian

Production team

Kathleen Felder, producer; Billy Banks, stage manager.

Photo credit: San Juan, Wikipedia, 1956.

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Charles-approved Queen’s Funeral Bank Holiday – more what we know about sport, shopping and schools

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Strikes

Postal and railway strikes were called off on Thursday as the country entered a period of national mourning over the Queen’s death.

A planned strike by Royal Mail workers on Friday was called off after the Queen died. Members of the Communications Workers Union were due to continue a 48-hour strike in a dispute over pay and conditions.

Rail strikes that were brewing for September have been called off. The train drivers’ union Aslef had set a strike date for Thursday, September 15. The Transport Salaried Staffs’ Association (TSSA) had scheduled a walkout for Monday, September 26.

The Trades Union Congress (TUC) has postponed its annual conference due to be held in Brighton from Sunday for four days.

Theaters and art galleries

Cultural establishments were also closing, with the National Gallery closing and the Royal Opera House withdrawing its performance of Don Giovanni.

The BBC has canceled the Last Night of the Proms at the Royal Albert Hall, where the Queen was a patron, as a mark of respect after her death.

He said in a statement: “Following the very sad news of the passing of Her Majesty The Queen, as a mark of respect we will not be going with Prom 71 on Friday 9th September or the Last Night of the Proms on Saturday, September 10.”

Churches

Westminster Abbey has announced it will be closed to tourists after the monarch’s death but will be open for prayer, reflection and worship.

Meanwhile, across the country, churches were encouraged to ‘muffle’ their bells, a rite reserved for the death of the monarch, diocesan bishop or titular vicar.

Television

Filming for the sixth season of The Crown, the popular TV series about the Queen’s life, has been halted out of respect for Her Majesty’s passing.

Courts

Courts in England and Wales will remain open during the mourning period. They are expected to hear only urgent matters on the day of the funeral.

explore works in the new media space

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Anthony Samaniego is an American artist who creates vivid video clips that possess a larger than life quality through their visual richness. His work swirls and twirls on itself, transporting viewers into its own digital reality. Each piece is so detailed that experiencing its art becomes a mesmerizing affair; one reminiscent of the generative, code-based art practices that have become a major trend in the broader new media genre. However, the term “reminiscence” is essential here, because the artist does not choose to place his practice in this particular framework. He tells STIR, “I wouldn’t say the techniques I use are generative processes. I think of generative art as creating something from code. I do not do it. Instead, I physically photograph areas and objects, derive a point cloud, animate and distort that point cloud through simulations, and finally animate camera movement. It’s an arduous process that depends a lot on me. I wouldn’t consider this generative, but again, it’s all generated from our minds, right? »




Breathing Space #2, 2022, video again Image: Anthony Samaniego


The visual artist goes on to explain his creative process and admits that mathematics does indeed play a part in it. “I use math mainly to create loops. Sometimes I use math for something a little more complex, like setting up specific particle sizes or creating an equation that changes particle size based on distance traveled from its point of origin . For loops, I mainly calculate the distance from the camera and equate it to the start position of the room. Sometimes I involve a d = rt (distance = rate*time) simplicity formula. It’s really about making sure all the numbers match,” he says.




breathing space, 2022, video Video: Anthony Samaniego


After reading Samaniego discussing his creative methodology, one will no doubt find it odd that he does not call such an arithmetically complex process “generative”. Perhaps this can be explained by the knowledge inheritance paradigm that characterizes the path of many digital practitioners? So much of the code or formula that goes into these works is free to be acquired and modified, that it would make sense for some creatives like him to see their craft as more about bringing in those smaller and more techniques of digital art and blockchain. technology together in the captivating way they do. And to be sure, the artist in question produces work that is nothing short of captivating. Take breathing space for example: Samaniego’s piece takes us on a journey through a misty forest that is being created before our eyes. It’s almost spiritual, and lingers on the mind, like a good feeling found in the lap of nature.




Interlude, 2021, video Video: Anthony Samaniego


Samaniego had an interesting creative journey, given that the artist didn’t consider himself a creative at all to begin with. He tells STIR, “I’m from Los Angeles, California, and I don’t have any formal art training. Regarding education, I have a bachelor of arts degree in economics. I started taking pictures around 2009. In the beginning, I only took pictures for fun and to kill time. Eventually, I developed a love for photography. That love ventured into videography, which eventually saw me spending most of my time making cinemagraphs and GIFs. He explains that he finds a deep beauty in the subtlety and timeless nature of the photographic medium. His fascination for photography, then for the moving image, opened up amazing creative avenues for him: Samaniego found work with various brands, including Apple, Coachella and Toyota. The artist continues, reminiscing about that time in his practice, and says, “It was during a period of 2012-16. In 2016, I started experimenting with photogrammetry. At the time, I didn’t know what to do with point clouds. I just knew I wanted to animate them somehow. This led me to 3D, but down a different path rather than photogrammetry. Anyway, I revisited photogrammetry during the pandemic, as circumstances led me to be cooped up indoors, photographing plants all day. In a world of unknown chaos, I found a way to create artistic value from how I spent my time. What emerged was a creative practice that calls on all my skills, from photography to videography, including photogrammetry and 3D animation as well.




Breeze through2022, video Video: Anthony Samaniego


The artist’s work is surprisingly clear, which gives the impression that one is invited to observe the movements of each individual pixel. Samaniego finds this interesting and says, “I strive to strike a balance between impressionism and pointillism in terms of aesthetics. I never thought about the feeling of being able to see every particle. Come to think of it, he; I used to take a lot of photos at night that had a strong bokeh influence. Now it’s almost as if the bokeh has become a 3D object. In conceptual terms, I like the science that all matter is made up of atoms. In a sense, they are 3D interpretations of reality, but made up of particles or atoms.”



Profile photo, 2018, image, variable dimensions, Anthony Samaniego |  STIRworld
Artist Anthony Samaniego, 2018, image Image: Anthony Samaniego


Lately, Samaniego has entered the non-fungible token space through Makerspace, the crypto art market and community, and is now uploading all of his current work to Art Republic Global and SuperRare. “At first, I was reluctant. NFTs seemed too good to be true and artists actually having market power was something I was not used to… It was liberating. I am part of a few groups that will become more public in the near future. Let’s see how it goes,” he said. He ends his interview with a reflection on the direction in which he would like to see his practice develop. For Samaniego, it’s all about scale now: he wants to create bigger and bigger installations, in order to better immerse his audience in them. He is right to recognize the enchanting quality of his work, and it will be fascinating to see the pieces Samaniego will develop in the years to come. Perhaps we’ll soon see massive visualizers showcasing his work, as well as an exploration of augmented reality capabilities. The latter sounds the most exciting, but no matter what the artist chooses to focus on, his work will undoubtedly remain wonderful and valuable.

A 1993 painting by Ernie Barnes has just sold for $1.6million, adding to the late artist’s recent market boom

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Few, if any, artist markets have exploded in 2022 like the late Ernie Barnes’ – and a sale today only continued the streak.

At a dedicated single-lot auction at Bonhams New York, a 1993 painting by Barnes sold for $1.6 million, more than tripling its low pre-sale estimate of $500,000.

The painting, Solid Rock Congregation, depicts a jubilant church scene in the southern United States. To the right of the composition is gospel singer Margaret Bell, a friend of Barnes who commissioned the artwork and is shown in a microphone.

Previously invisible to the public, the painting revels in the kind of kineticism for which Barnes, a former NFL player who gave up the game to pursue a career in art, is best known for.

“This work by Barnes is truly special and it was an honor to be able to give him the time he deserves,” Bonhams New York principal Andrew Huber said in a statement. “We knew it was going to get a lot of interest, but I’m really blown away by the response.”

This is not the first time feverish demand has inflated auction results for the artist’s work this year.

In May, Barne’s The sugar shacka 1976 painting that adorned the cover of Marvin Gaye’s album I want you and was shown during the TV show’s closing credits Good timesold for a stunning $15.3 million at Christie’s 20th Century Art Evening Sale, exceeding the presale estimate 76 times.

Bill Perkins, a Houston-based energy trader, emerged victorious, then quickly touted the significance of his new purchase: “For some segments of America, it’s more famous than the mona-lisa“, he told the New York Times after the sale.

Ernie Barnes, November 13, 1964. Photo: Phil Slattery/The Denver Post via Getty Images.

Other works by Barnes that have sold this year include storm dance (1977), which grossed $2.3 million at Christie’s New York a day after the sugar shack sale in May; Listen (1980), which fetched $963,000 at Christie’s Hong Kong the same month; and Main Street Pool Hall (1978), which sold for $1.8 million at Christie’s London in June. (All figures are from the Artnet Price Database.)

Four months ago, Bonhams auctioned Barnes’ painting The conductor (circa 1971), adding an estimate of $25,000 to $35,000. He left for $80,000.

“Barnes’ career is a testament to a uniquely American spirit,” Huber added in an email to Artnet News. “It has been a privilege to be part of the story of this painting that captures the community and joy that makes Barnes one of the most admired figurative painters of his generation and the star artist of the 2022 season.”

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Hamptons home once belonged to renowned artist – DIRT

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In the early 1950s, painters Jackson Pollock and Lee Krasner were known to encourage their artist friends to move to Springs, where they lived, in the less expensive, northern part of the tony town of East Hampton.

One day Pollock noticed a house for sale about 2.5 miles from his own and called his friend and fellow Abstract Expressionist Nicolas Carone, who soon moved into the place with his wife and twins in 1954. Carone and Pollock then transformed an old chicken coop into a studio apartment, adding an old brick floor and a potbellied little stove to soothe the winter cold.

Like Pollock and Krasner, Carone was part of the New York School of painters, and he painted some of his best-known works in East Hampton, including images in the permanent collection of the Whitney Museum of American Art. Carone’s wife was also an artist; she owned a stencil business and decorated the cottage with several of her own stencils, some of which survive, notably on the stairs. On the risers of the steps are poet and playwright John Howard Payne’s words “Home Sweet Home”, which was written about his childhood home in East Hampton, which is now known as the Home Sweet Home Museum.

Carone and his wife divorced in 1964 and he moved back to New York, renting the house and studio to another Abstract Expressionist artist, Willem de Kooning. Although it has changed hands a few times, the former Carone property is now available on the open market for the first time in a century with an asking price of just under $1.75 million. The property is available through Rebekah C Baker of Sotheby’s International Realty.

With three bedrooms and three and a half bathrooms on approximately 1,400 square feet, what the 1838 farmhouse lacks in size is more than made up for in charm. Due to its historical significance, there are some restrictions on what can be done at home. For example, the fireplace must remain, and the house and studio cannot be moved. Notably, however, the listing states that there are “possibilities for multi-generational compounds – two more adjacent one-acre lots could be available for a total of a three-lot compound.” All of these would have a nice view of the bay.

Considering how quaint and wonderfully preserved the interiors are, it’s a relief that they should remain fairly intact. There are old beams, old floors, and the original bread oven and wood box are next to the fireplace. The studio, approximately 650 square feet, includes a sink and toilet and an outdoor shower. The main chalet also has an outdoor shower, near a slate patio surrounded by mature trees. The artistic complex is completed by a garage/workshop for one car.

Interested? The market may cool due to inflation and rising interest rates, but prices in Springs continue to rise. This location therefore presents an excellent opportunity for a deep-pocketed caretaker with a creative bent, who will further enhance the property’s legacy of artist owners and residents.

Art and AI could mean the end of human creativity

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Last week’s Colorado State Fair was Jason Allen’s first time competing in an art competition. So it came as a surprise to the 39-year-old fantasy tabletop game creator that his creation, “Space Opera Theater,” won a first blue ribbon in the “digital art/digitally manipulated photography” category.

What surprised even more people than Allen was that he had created his work – a rendering of three lushly robed figures looking through a sparkling portal to another world – with the artificial intelligence tool. Midjourney. For Allen, the win was an unexpected triumph, but for others it was the fuse that sparked a heated debate about the potential uses of AI — and abuses — in the arts.

Midjourney, DALL-E, and other text-to-image tools are just one of the ways AI has worked its way into the creative process. Look no further than the brief but controversial existence of rapper IA FN Meka or the appearance of a deepfake company on “America’s Got Talent.”

Is AI a new technology that will create the next great art movement? Or does it announce the destruction of the artist? It turns out that the answer is not so simple.

“It’s important to be aware of the implications of automation and what it means for humans who might be ‘replaced,'” says Cansu Canca, associate research professor at Northeastern, and founder and director of the AI ​​Ethics Lab. . “But that doesn’t necessarily mean being afraid of becoming obsolete. Instead, the question we should ask ourselves is what do we want from machines and how can we best use them for the benefit of humans.

Concerns about AI’s perceived incursion into art go beyond the allegations of digital plagiarism that have been thrown at Allen. With the push of a button, he was able to create a work of art that would have taken hours to create by hand.

“We are witnessing the death of art unfolding before our eyes – if creative jobs are not machine-proof, then even highly skilled jobs risk becoming obsolete,” said one Twitter user. “What shall we have then?” »

Derek Curry, associate professor of art and design at Northeastern, isn’t convinced that AI art will ever replace the creative work of humans. By its very nature, technology has its limits.

“He can’t produce anything that he hasn’t already been trained on, so it’s impossible for him to legitimately create new things,” Curry says.

This is far from the first time that new technologies have caused controversy in the artistic community.

“A lot of the hype is very similar to what happened towards the end of the 19th century with photography,” says Curry, a trained photographer.

Similar to photography, Curry says humans play a much larger role in creating AI-generated art than most people realize.

“There’s this back-and-forth process that, to me, as someone working materially with this, doesn’t feel automated at all,” Curry says. “Everyone talks about ‘the algorithm did this’ or ‘the algorithm did that.’ In my experience, I don’t feel like the algorithm does much, you have to push it into whatever you actually want it to do.

The cycle of fear and acceptance has happened with every new technology since the dawn of the industrial age, and there are always casualties that come with change.

“There are real ways in which an activity that was done one way by a human can now be done in a different way, requiring fewer humans to do that job than before,” said Deirdre Loughridge, professor music associate at Northeastern. .

If AI-generated and AI-assisted art becomes more commonly accepted, artists will need to radically rethink how they do their work, spend their time, and structure their creative process, says Loughridge.

But she also argues that there is a general lack of technological knowledge around AI that leads to misperceptions about what it can do for artists. In music, artificial intelligence has been used for timbre or pitch transfer, allowing singers to use their voices as synthesizers while singing into software that transforms pitch into the sound of a different instrument.

Like any other technology, the way AI is used changes when it gets into the hands of artists, not the other way around. Loughridge compares it to Auto-Tune, a pitch correction processor that was once controversial but has become a music industry standard.

“It’s a tool that was supposed to do this invisible pitch correction, but people turn it all the way to the zero setting, which was never supposed to be done, and it creates this distinctive sound, and then several distinctive sounds,” explains Loughridge. “Something like that I could definitely see [with AI].”

For Jennifer Gradecki, an associate professor of art and design in the Northeast, AI also has potential as a creative aid, in part because of what it can’t do. According to Gradecki, artificial intelligence can help find the most generic answers to artistic dilemmas, leading him down more creative paths.

“We were trying to come up with a collective name using AI and it was fun to see what some of the combinations he would come up with were, but nothing was good,” Gradecki said. “Nothing was as creative as what we would be able to generate.”

To fill what they see as a gap in AI technology literacy, Gradecki and Curry worked together to develop a Creative Computing minor at Northeastern. The aim is to provide students with a critical and creative understanding of how artificial intelligence can be used. The first course, Introduction to Creative Computing, started this fall, and there are plans to run another introductory course in the spring.

By focusing on the potential, as well as the limitations, Gradecki and Curry hope to show students that AI is no different from any other artistic tool. Artists are always bound by the limits of their creativity and their tools, whether they use a brush, a camera or a neural network. In this way, the future of the arts does not belong to the AI, as its worst critics fear, it still belongs to the artists.

“I think this idea that AI could possibly replace creativity, it just seems really implausible to me that it could go that far,” says Gradecki. “Creativity is actually the only thing that cannot be automated.”

For media inquiriesplease contact [email protected].

Inside the Creative Fall Menus of Local Cafes

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Pittsburgh cafes are ringing in the fall with a flood of pumpkins and a variety of other warm flavors.

In the spirit of the season, local cafes such as coffee roasters and Scare Cafe in Shadyside, as well as Saxby’swhich has locations in the Cathedral of Learning and the Hillman Library, set their menus apart from the big chains by combining popular flavors such as pumpkin and matcha.

Rachel Astorino, business manager of Coffee Tree Roasters, said that in addition to their selection of traditional pumpkin flavored coffees, the cafe offers distinctive fall-flavored syrups.

“We have the hot pumpkin spice latte, the iced latte, we have a pumpkin frozaccino and a pumpkin white hot chocolate,” Astorino said. “Some of the syrups we have are maple, caramel crunch and hot spice. Caramel is like the good side of cereal milk.

Astorino said that the coffee’s high-quality espresso, as well as their syrups from different countries, make a delicious combination.

“We are one of a limited number of 1,883 syrup dispensers, which come from France and are intended for use with espresso,” Astorino said. “It gives drinks a much cleaner flavor.”

Shivani Gandhi, student CEO of Saxby, said that instead of venturing outside of pumpkin, the team thought of ways to integrate it into popular commands.

“When it comes to our pumpkin drinks, we’re bringing back pumpkin latte and pumpkin matcha,” Gandhi said. “My favorite seasonal drink is probably pumpkin matcha, which we make with our homemade pumpkin sauce, mix with ice and milk, and top it off with a shot of matcha. It’s quite simple but it’s so delicious.

In addition to the most common seasonal flavors, Gandhi said Saxby’s added four new energy drinks at the start of the fall semester.

“For the new school year, we have a rollout called ‘new school, new energy’, so [our] latte spritz drinks… are basically Saxby’s take on energy drinks. said Gandhi. “There’s the original flavor, strawberry flavor, and orange flavor, plus a new smoothie called Matcha My Energy.”

Rhea Godhania, barista at Jitters Cafe, said the staff at Jitters are very creative in the process of designing new menu flavors for the fall season.

“Our manager is like a mad scientist behind the bar,” Godhania said, “He’s just going to do crazy stuff. He’s actually worked on a lot of cool flavors. cinnamon and it was a big hit so he might come back.

Godhania said there was a distinct autumn flavor currently On the menu.

“We have a butterbeer cold brew that’s really good,” Godhania said. “We use caramel syrup to make it.”

The wide variety of seasonal fall flavors are only available for a few months, which Gandhi says is sometimes difficult for Saxby’s staff.

“Communication with your team can be tricky because sometimes not everyone knows when new drinks are going to start or maybe when they come out of season,” Gandhi said. “It’s also so hard to only see some of my favorite drinks for a short time.”

Godhania said a distinct feature of Jitters is, unlike most cafes, that it offers pumpkin spice year-round.

“One unique thing about our coffee is that we always have every flavor for every season,” Godhania said. “Even in May, people were ordering pumpkin spice lattes.”

Godhania said Jitters offers seasonal dishes that are on the menu exclusively for fall.

“My manager was mentioning that he was going to bring more pumpkin spice pastries,” Godhania said. “Right now we have pumpkin spice bagels, and I think he’s going to have pumpkin spice cake.”

Gandhi has an idea for an additional Saxby’s autumn drink for the menu, she said.

“I would add pumpkin chai because a lot of people don’t know they can order it,” Gandhi said. “But all it is is chai with pumpkin sauce.”

Intrigued by an autumn-inspired chai, Godhania said she would like to experiment by adding a new flavor of apple pie chai tea to Jitters’ traditional London mist drink, which includes Earl Gray tea, syrup and steamed milk.

” We wear republic of tea tea bags, and the company just released an apple pie flavored tea bag that I wanted to get my hands on, and I feel like if we did something similar to a London mist but with the apple pie chai, that would be crazy,” Godhania said.

Astorino said having a seasonal menu adds a level of excitement and inspiration to Coffee Tree Roasters’ drink recipes.

“It’s definitely a business driver. I mean, everything is exciting,” Astorino said. “To be able to get caramel or maple, those things just make us a little bit more special. Someone ordered a Pumpkin Caramel Latte earlier. We hear some of the greatest things simply by people bringing all the seasonal flavors together.

Mark Wallinger creates groundbreaking ‘£1’ digital art experience for grassroots community campaign NOcado.

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Turner Prize-winning artist Mark Wallinger is working with a community campaign in North London to create a groundbreaking digital art experience that anyone with £1 and more can afford to take part in.

ONE POTATO, TWO POTATOESa major new work by Wallinger, was created for a groundbreaking fundraising initiative by the NOcado campaign. It offers members of the public the chance to help unveil the coin by revealing squares of the image online for as little as £1 each.

The theme, character and appearance of Wallinger’s works are closely guarded secrets. They will be revealed square by square, as the public unveils the 66,528 parts of its surface in an order imagined by the artist. Each entrant will receive a high resolution image of the room once all squares have been revealed. 46 signed posters will be scattered throughout the work to be awarded to participants via a draw.

Mark Wallinger. Photo Chris Tubbs

COMMUNITY FIGHT

Proceeds from the work will go to the NOcado campaign, which has made national news with its two-year – and ongoing – battle to stop Ocado and M&S from opening a 24/7 delivery depot in next to a primary school and densely populated housing. Online retailers abused planning loopholes to try to use the Bush Industrial Estate in London N19.

The number of award posters refers to the 465 children at Yerbury Primary School, who will be exposed to damaging and disruptive air, noise and light pollution if this Ocado/M&S filing goes before. Residents of neighboring apartments will be exposed to these ailments 24/7.

The struggle is now reaching a critical stage. After a long battle with the community, Ocado is mounting a third attempt to use the site through planning loopholes. They are also appealing to the Planning Inspectorate to overturn Islington Council’s rejection of their second claim, involving the NOcado campaign in substantial legal costs – making the need for this fundraising initiative all the more important. urgent.

MARK WALLINGER

Mark Wallinger, whose studio is near Archway, has been involved in social and political activism since the beginning of his career. State Britain, his 2007 Turner Prize-winning installation, included a recreation of a protest against the war in Iraq at Tate Britain. He created the first artwork for the empty fourth plinth in Trafalgar Square and the series of Labyrinth plaques for the London Underground.

Mark Wallinger said:

I spend more than half my time in the area so I feel like a local and for me the issues are clear. During the pandemic, many relied on home deliveries, but now we are coming out of it, looking at the destruction it has caused on the high street and therefore on the community.

Wallinger described his response to the challenge of creating an entirely online work for this important cause as “gently satirical.”

Seeing the children playing near the proposed depot, I was struck by the timelessness of their play. hopscotch pattern – which the kids were playing when I was there – and you have a scene that could be centuries old. I added a counter-image of a land of ease where normal work rules don’t apply, inhabited by larger beings who are intoxicated by their own greed.

NOcado activist Natasha Cox said:

Art and creativity is a vital part of raising our children, so it’s exciting that a great work of art can help us protect the children of Yerbury and fight off the well-resourced Ocado and M&S. in resources.

NOCADO CAMPAIGN

The NOcado campaign was created by Yerbury School parents and local residents in December 2019, when it was revealed that Ocado had been granted a license to operate a depot in this densely populated area. The depot had no restrictions on hours of operation and potentially serious consequences for the surrounding community due to toxic diesel emissions, noise and light pollution, traffic congestion and threats to local businesses.

After persuading the local council, London Borough of Islington, to revoke Ocado’s license to operate the site – due to misleading evidence in the company’s original application – NOcado gained national media coverage when it won a battle in the High Court preventing Ocado from overturning the Council’s decision. NOcado, which enjoys strong community support, has since rebuffed a second attempt by Ocado to use the site by abusing planning loopholes. Licensing via a CLEUD (Certificate of Lawful Existing Use or Development) would allow Ocado to avoid the review and restrictions involved in a full planning application.

NOcado is expanding its efforts nationally with the imminent publication of an independent research report looking at ways to change UK planning laws to close loopholes that allow companies to locate their operations near schools, hospitals, care homes or existing accommodation.

Funds raised by the online art project will be used to pay for the ongoing and considerable legal costs of the NOcado campaign.

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Marc Westall

Mark Westall is the founder and editor of FAD magazine, founder and co-editor of Art of Conversation and founder of the @worldoffad platform

Copyright law ‘unfairly’ impacts Indigenous artist families as lawyers push for change

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When Albert Namatjira’s family reclaimed the rights to the world-renowned watercolourist’s work in 2017, it was a momentous day for his descendants.

Aboriginal and Torres Strait Islander readers are advised that this article contains an image of a deceased person.

But the historic return of copyright for Namatjira’s work after a decades-long struggle came with a caveat: it would expire 12 years later.

A submission to the Productivity Commission has renewed the push to reform the Copyright Act so that the rights to the work of the Indigenous artist stay forever in the family.

In its brief, law firm Arnold Bloch Leibler argues that the 70-year limitation on copyright protection after an artist’s death “unfairly affects Aboriginal and Torres Strait Islander artists.”

An untitled work by Albert Namatjira from 1955.

Born and raised in the remote Hermannsburg Lutheran Mission, southwest of Alice Springs, Namatjira learned the art of watercolor while visiting European artist Rex Battarbee and encouraged by the local pastor.

He created thousands of iconic works of art during his lifetime depicting the Central Australian landscape, which has seen a surge in demand in recent years.

Namatjira’s copyrights sold in 1983

The public administrator of the Northern Territory government sold the copyright of Namatjira to Legend Press in 1983, ending the income stream for the painter’s family – a move the then administrator later acknowledged. late as erroneous.

Black and white photo of Albert Namatjira sitting in the backcountry
Albert Namatjira photographed by Jim Gallacher in Areyonga in 1950.(Provided: Northern Territory Library)

Lawyers for Arnold Bloch Leibler helped the Namatjira family with the 2017 settlement and have now urged the federal government to expand copyright as part of its inquiry into Indigenous visual arts and crafts.

“Due to the illicit sale of the copyright… the Namatjira family has been denied ownership or control of the copyright for a period of more than 30 years, almost half of the legal term of the copyright,” their memoir reads.

“This happened despite the express wish contained in Albert Namatjira’s will that his property be passed on to his wife and children.

“In the longer term, this reform should extend to the works of other Aboriginal and Torres Strait Islander artists who are identified as having suffered unjust consequences in the same way due to the limitation of the period of protection of the right author.”

Hurry up

The Namatjira Legacy Trust (NLT) was established to preserve the pioneer painter’s artistic legacy and for the benefit of the community of Hermannsburg in the Northern Territory – where Albert Namatjira was a traditional guardian.

Three women stand in the backcountry
Albert Namatjira’s granddaughters Betty Wheeler (left) and Gloria Pannka with Sophia Marinos [centre].(ABC News: Shuba Krishnan)

NLT chairwoman Sophia Marinos said time was running out for the family to unlock the full value of the copyright asset.

“There is hardly any time left for family and future generations to be able to reap the benefits for their community,” she said.

“I think there is now a huge opportunity for this new government, in the context of the Uluru declaration of heart and [plans for a First Nations] Voice in Parliament.

“Now is a good time to send a strong message about reconciliation and to work with Indigenous peoples, and artists in particular, on the appropriate and respectful treatment of cultural property.”

A “special” inspiration

Selma Coulthard grew up in Tempe Downs and Hermannsburg, where she developed a love of art after seeing the work of Namatjira and her brothers.

A woman sits next to her watercolor painting in progress
Selma Coulthard has been inspired by Namatjira and has been painting for over 30 years.(ABC News: Lee Robinson)

She is now an accomplished artist in her own right at the Iltja Ntjarra School of Art in Alice Springs and reflects fondly on the craft of pioneering painting.

“His works were special to the whole Aboriginal tribe because he painted what he saw and what he sang,” Ms Coulthard said.

“His way of life was to watch the stories his ancestors told him, and he did his [work] show his sons and grandchildren the same stories through his painting.”

The final report of the Productivity Commission on Aboriginal and Torres Strait Islander Visual Arts and Crafts is expected to be completed in November 2022 and made public shortly thereafter.

‘We haven’t sold anything yet’: International art dealers blast organizers of KIAF art fair, say frieze has eclipsed smaller event

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Despite a forceful press release with a long list of gallerists praising KIAF Seoul’s successes, some art dealers say the fair has been largely overshadowed by its counterpart, Frieze.

Several dealers told Artnet News that after KIAF’s five-day run, they were disappointed with the outcome of the event, which fell short of their pre-show expectations regarding the art market boom widely. reported in South Korea and traffic generated by Frieze.

Local Korean galleries generally did well, but some overseas galleries said sales were slow. Some even said that by the end of Monday, the penultimate day of the fair, they still hadn’t sold anything.

KIAF 2022. Photo by KIAF Operating Committee. Courtesy of KIAF.

“No more satellite fairs for us,” art dealer Eduardo Secci, who has galleries in Milan and Florence, told Artnet. “We are impressed with the art scene and the collectors. The gallery base here is stable and the taste is refined. But Frieze has completely taken over the interests of collectors.

“We haven’t sold anything yet,” added Secci, who said he hoped the Frieze raffle would bring more collectors to KIAF.

One reason could be a price mismatch: while most KIAF works ranged from a few thousand dollars to less than $30,000, Secci, which represents artists such as Matthew Ritchie, Enrique Martinez Celaya and Jon Kessler , offered works for much more money.

Wonder Buhle Mbambo, whose work was brought by Secci to Seoul, “has nearly 100 people on the waiting list and the price has already doubled in the secondary market. But because we’re not upstairs, people are always skeptical,” the reseller said, alluding to the fact that Frieze took place right upstairs from KIAF in the COEX room.

Some dealers told Artnet News that even though they were making new introductions, sales were unstable.

“We don’t know if it’s good to have two fairs open on the same day,” said Juan Blasco of London-based Rosenfeld Gallery. “We know there are museums in the area and there are a lot of collectors. The fair is going well. But there is a language barrier.”

Blasco, who presented a solo booth of works by Ndidi Emefieles ranging from $25,000 to $70,000, called the opening day “difficult”.

“That’s what happens when a mega brand comes along, and [Frieze has] does an incredible job of combining quality and exclusivity,” said Secci.

KIAF 2022. Photo by KIAF Operating Committee. Courtesy of KIAF.

A KIAF spokesperson told Artnet News that the concerns will be taken into consideration.

“Looking forward, we continue to gather feedback from our exhibitors and stakeholders to ensure that we maximize our partnership with Frieze Seoul to its greatest potential and deliver an even more successful edition next year,” said said the spokesperson.

KIAF, which is organized by the Galleries Association in Korea and has been in existence since 2002, has capitalized on its association with Frieze, and many international galleries have bought into it. The fair doubled its number of international exhibitors to 60 this year from 2021, and included dealers from 17 countries and regions. Among the 164 galleries, 37 exhibited for the first time.

Still, the total number of visitors to KIAF Seoul and KIAF Plus, its associated satellite fair, was 70,000, according to fair organizers, down more than 20 percent from last year’s attendance. 88,000. (KIAF said last year’s figure included regular visitors, while this year’s figure did not.)

Some dealers have had more success. Dusseldorf and Paris-based Droste Gallery, for example, said it sold its stand, including a painting by Ákos Ezer, for €27,500 ($27,252), while Hyundai Gallery said it brought in a total value sales of ₩4.2 billion ($3 million). .

Yet collectors and observers have wondered if KIAF organizers have found the right strategy. Frieze, it seems, may have benefited far more from their partnership than KIAF.

As one Korean collector who declined to be named said, “KIAF will have to make some changes next year.”

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A league of student artists joins the campus life scene – The Quinnipiac Chronicle

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Quinnipiac sophomore creates new student arts organization on campus

Formerly drum major of the Lyman Hall High School marching band, sophomore Sean Formantes has always had a passion for the arts.

As the new academic year approaches, the Graphic and Interactive Design major announced via LinkedIn on August 8 the official recognition of the Quinnipiac University Student Artists League as a student internship organization.

“It was this mix of artistic and creative thinking, and also just a passion for business and entrepreneurship,” Formantes said. “Those are the things that stuck with me after high school.”

Upon arriving at Quinnipiac, Formantes ran for the Student Government Association as a freshman senator and was elected. Throughout his tenure, the arts remained central to his concerns. He had several conversations with Quinnipiac’s music director, Dr. Sprengelmeyer, and worked on an initiative to clean up the music building on Sherman Ave.

“It was something that really stuck with me, I always wanted to do something arts-related on campus,” Formantes said.

Formantes is currently involved with The Quinnipiac Legends A Capella Group as Social Media Manager, The Quinnipiac Chapter of the American Institute of Graphic Arts as Vice President and Treasurer, and The Chronicle as Designer. During his college search, one of the most important things he looked for was to find a school with an artistic background. It was important for Formantes that there was a space to express themselves in a unique way.

“Art is a means of expression,” Formantes said. “It’s a means of communication. It’s a way of sometimes tapping into the unconscious. And I think that’s so important because it’s personal and philosophical, it helps us to think about our own perspectives and also to ask those tough questions.

But Formantes said he observed early in his research that Quinnipiac was not marketing itself as an arts school.

“Which is interesting, because we are an outstanding liberal arts university,” Formantes said.

Formantes has researched the topic extensively, citing old Chronicle articles that discuss the arts in campus culture. He also had his own personal experience of lack of support.

“(In The Legends) we were going to compete in person at this competition in Hartford, Connecticut, but it was canceled due to COVID,” Formantes said. “We were supposed to do a virtual recording with mics, professional standards, on a stage… But something we realized was, well, we can’t really do that here. We don’t have the facilities or the resources to do that on our campus.

Hoping to find a solution, Formantes came up with the idea of ​​creating SAL.

Logo provided by Sean Formantes

“It was right in the back of my head,” Formantes said. “It wasn’t fully thought out, but I just thought it would be great if we had a community for visual and performing arts students to come together, and just create and collaborate on projects and so on.”

Formantes first pitched the concept to SGA’s freshman cabinet in March and received positive feedback. From there, he worked with Associate Director of Student Engagement Hannah Cranston to get the organization off the ground.

In such a short time, he had a lot of success.

“We actually had a little meeting before the end of May where we had, I mean about 15 people that came,” Formantes said. “There were a lot of people active in our theater program who showed up, and then some of my friends as well as members of SGA.”

Formantes approached assistant theater professor Abigail Copeland in the spring semester to be SAL’s academic advisor. Copeland said she hopes SAL will spark more creative thinking and collaboration on campus, while helping students heal.

“The need to form community, especially in the wake of something like a global pandemic, is central to what it means to be human,” Copeland said. “Being able to come together with others and create new and exciting work after experiencing such collective trauma is just one way to heal our communities and ourselves.”

Formantes’ hard work and dedication has culminated in SAL’s first official meeting as a recognized organization, which will take place on September 12th. Although the idea was originally conceived and pitched to SGA, SAL is not affiliated with the organization.

“I always saw it as a coalition, but not necessarily a council or a governing body,” Formantes said. “I see it as an organization that hopes to partner with other arts organizations. I want it to be like a resource.

Formantes said he also wants to prioritize recruitment and retention because student groups mostly return to in-person events and meetings.

“I think we have to look at something: are the students interested?” Formantes said. “Is this something they want to be a part of? I hope our social media will focus on content creation. I want to be able to show that SAL is an interesting organization because we start, we build trust.

Formantes is a staff designer for The Chronicle.

“Can I buy these for my future girlfriend” – Call of Duty fans captivated by insane nail art amid Modern Warfare II hype

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Activision’s Call Of Duty is one of the biggest video game series in the world. He speaks to millions of viewers daily, constantly adding ways to keep them hooked. The best examples to prove this are its recently released games, Warzone and Vanguard. However, since everything has an expiration date, the video game industry is always on the lookout for new titles.

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Modern Warfare II is one of the most anticipated games of the year, thanks to its massive fan-created hype. They’ve been manifesting the game for years, and it’s finally coming out. However, a handful of fans couldn’t keep up with their exciting content, which led to the creation of several gaming-related masterpieces. A recent example of this was featured on the official Call Of Twitter page. Duty, as they applauded the fan for her work.

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Devoted Modern Warfare II “succeeds” with some of the best fan art!

Modern Warfare II is set to drop in a few weeks, and fans can’t resist. Apart from massive leaks and news, they have developed an artistic community, captivating the world with their work. A great example of this was the popular nail artist “Vivxue”.

The 24-year-old American left the world in awe with a recent nail design featuring iconic characters from Modern Warfare II. Interestingly, the franchise took notice of her work and approached her to create a Modern Warfare II-style design.

DIVE DEEPER

Leaked Modern Warfare II visuals leave Call of Duty fans in awe – “It was gorgeous as F***”

6 days ago

Vivxue started its design by painting iconic game characters. It featured famous gaming personalities such as Captain Price, Ghost, Soap, Roach, and a few others. The nail artist also added an evocative design of TaskForce141, as she understood how “important” this mission was.

Vivxue took over 28 hours to complete the design, as she said it was her toughest yet. However, she still managed to add some elements of surprise, setting them in dim light.

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As we all know Modern Warfare II official pages “go dark” before the official release, Vivxue added a similar touch to its design. She gave her nail art a “glow in the dark” effect, honoring the game’s massive hype.

The TikTok star also painted over the Modern Warfare II logo and a few other designs shown at the end of the video.

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WATCH THIS STORY: Ranking the best-selling Nintendo games of all time

What do you think about this? Did you like nail art? If so, let us know your favorite in the comments section.

Business News | Virtual Digital Technology Token (VDTT), a revolutionary new metaverse platform to change the world

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New York [USA]September 6 (ANI/PNN): Many individuals would only see a virtual environment in which they could engage and explore when designing a metaverse.

But in VDTT’s view, a Metaverse shouldn’t just be a single location controlled by a single entity. The Metaverse is intended to be a collection of interconnected and interoperable digital environments and experiences that can be accessed from any location, any time, using any device.

Read also | #Billlie’s #Tsuki will appear as a special MC for this week’s “The Show” – Allkpop’s latest tweet.

In today’s digital reality, every platform and experience in today’s digital world is compartmentalized and centralized; the more connections you make, the more privacy and security you give up. The open, global and transparent metaverse is a goal of the VDTT team. a system in which experiences are combined and your online identity is protected. This is how VDTT is supposed to work.

What is a Virtual Digital Technology Token (VDTT)?

Read also | Apple iPhone 14, iPhone 14 Max may ship with upgraded A15 SoC: report.

The Virtual Digital Technology Token (VDTT) is the method by which various experiences and content ecosystems are linked. Users can communicate with each other while maintaining a private and secure online identity. You can connect to a vast network of hardware with this complete, persistent virtual identity across services and applications. not just entertainment, but also learning, creating, and whatever else your imagination can conjure up.

What can you do in Virtual Digital Technology Token (VDTT)?

VIRTUAL BAY CITY

A complete and working open entertainment city metaverse on GDCC Blockchain. Enter the world of spectacular graphics, fully functional NFTs and social interactions with Play to Earn Egames.

virtual casino

CRUISE ONLINE CASINOS ENTRY WILL ONLY BE FROM ATV.

Now you can play casino in the metaverse with the help of VDTT.

VIRTUAL BAY CITY NFT Marketplace

The VIRTUAL BAY CITY NFT Marketplace allows NFT creators to showcase and sell their work, including digital art, Crypto collectibles, photos, fashion, music, videos, and more.

me time

In VDTT, you have a private zone. You can use it as a private office to focus on your work or as a cozy retreat to relax. You can select a private VR room from our selection according to your needs.

Arts and exhibitions

You can take your loved one on a date and immerse yourself in the immersive worlds of art, or you can go to exhibitions and enjoy art with your family and friends. See the works of renowned artists come to life before your eyes. VDTT is dedicated to the fusion of technology and art. Our goal is to explore the virtually endless potential of all kinds of art.

Meeting

No matter where you are in the world, meet your team and work together. With the help of virtual reality, remote work can be more engaging and team-oriented. We can all agree that working and doing business means not just being productive, but also being connected and united. Even when you’re on the other side of the planet, VDTT allows you to communicate and cooperate with your team. This is our brief introduction to VDTT, more experiences and content are yet to come. Stay connected for more news.

Learn more about Virtual Digital Technology Token (VDTT): https://www.vdtt.io/

This story was provided by PNN. ANI shall in no way be responsible for the content of this article. (ANI/PNN)

(This is an unedited and auto-generated story from syndicated newsfeed, LatestLY staff may not have edited or edited the body of the content)

Mosaics to brighten up Kilmore District Health

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The two-year-old labor of love is now on display at the entrance to Kilmore District Health. Pictured left are members Jill Mattei, Sue Gibbs, Joan Grindlay, Elaine Findlow, Kerri Nugent and Leanne McKenna.

By Grace Frost

The Kilmore Mosaic Artisans Group, MAGs, donated a three-panel mosaic as a token of gratitude to Kilmore District Health, KDH.

The mosaic, titled ‘Now and Then’, depicts the history of Kilmore District Health, with reference to a multitude of services, staff, facilities and patients at different stages of life’s health journey.

A team of eight women, led by project coordinator Marina Villani, worked on the project for two years between COVID-19 lockdowns before finally seeing it installed in KDH’s main entrance in July.

Completely unfunded, the artists described the project as representing “a labor of love and appreciation for our very special hospital and its role in our community.”

Ms Villani recalls first contacting Sue Race, then KDH Managing Director, in February 2020 to offer a mosaic as a token of appreciation.

“Sue didn’t hesitate. The foyer unfortunately needed brightening up and we agreed on a three panel mural which would cover an area 1.4 meters high and three meters wide,” Ms Villani said.

“As a group, we wanted to create a piece where people would look, discover, revisit and rediscover.”

Finally seeing the vision come to life, Ms Villani and members of Kilmore MAG say the finished piece reflects the extent of Kilmore Health’s role in the community.

“There are so many details hidden right there in plain sight,” Ms. Villani said.

Marina Villani, ‘Now and Then’ project coordinator, with the mural at Kilmore District Health.

Kilmore District Health chief executive Arish Naresh said the health organization was grateful to receive the mosaic artwork and display it in the hospital’s main entrance to welcome visitors of the establishment.

“The artwork is a beautiful representation of the evolution of the healthcare system and its importance to the community,” he said.

“The health service exists because of the generosity and leadership of community members who donated their time, effort and gifts such as the artwork we received from Marina.”

‘Now and Then’ is not the first mural produced by the Kilmore MAGs, who first came together in 2017 to create and donate mosaic artwork to the community.

‘Reflections of Kilmore’, completed in December 2018, hangs in Oddfellows Cafe, while the ‘Pyalong Poppies’ mural was donated to the Pyalong Neighborhood House in recognition of their service to the wider community.

Ms Villani said MAG’s latest achievement ‘Now and Then’ reflected the team’s hard work, perseverance and growth as artists.

“The band started out as an enthusiastic gathering of raw learners, but in this latest work you see the skills and accomplishments of five years of unwavering dedication and learning,” she said.

“Now and Then” features mostly glass, with each piece individually cut to size, as well as stone, fused glass detailing, glass photos, murini and embellishments.

Members of Kilmore MAG who produced ‘Now and Then’ under Ms Villani’s direction were Sue Gibbs, Jill Mattei, Joan Grindley, Leanne McKenna, Elaine Findlow, Kerry Nugent and Glenda Farnay.

Review of “Kick the Latch” by Kathryn Scanlan

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When I was a kid, my grandmother and I played a game that involved walking around her neighborhood pretending to be aliens, from a planet called Algernon, trying to discern the nature of every object we saw. . That garden hose? It was a snake that spat poisonous tears from its rusty mouth. Those tree roots? They were the gnarled fingers of a sleeping giant under the pavement.

Nothing has brought back the thrill of those walks – the pleasures of unearthing the strangeness of the mundane – as vividly as reading the prose of Kathryn Scanlan, who describes a suburban house and its garden cottage as “two of the same animal, big and small”. , adult and juvenile”, or an ordinary pie like a resting wild creature: “The thing that I have done is to rest. It has a powder that I don’t like to mess with, but I cut it out and put it between us. The “thing” and its odd pronouns, the flippant violence of its dissection, the baby-beast lurking in a playhouse – all of these turns of phrase are saturated with the quiet menace that Scanlan brings to his bizarre evocations of life. daily. Scanlan creates art about ordinary life – ordinary people, ordinary days, ordinary events – by twisting it: she twists narrative arcs based on jagged arrangements of anecdotes, twists her descriptions with unsettling similes and deforms time by stretching it like taffy or by compressing it. in burning moments. His work deals with moments and lives, but rarely with the intermediate units (days, weeks, years) that make up most narratives.

Scanlan’s books are difficult to fit into traditional genre categories. His debut album, “Aug 9-Fog,” released in 2019, consists of scraps taken from a diary Scanlan found at an estate sale. He recounts a year in the life of an eighty-six-year-old woman in rural Illinois, seasons spent tending to a home and caring for a dying husband: “He called. Not so good. Bleed again. Try knitting a pincushion. The following year, Scanlan published a collection, “The Dominant Animal”, which reduced the short story to its bare minimum: forty stories in just one hundred and forty pages. These narrative fragments lay bare the menace and despair that lurk in mundane moments: a boy putting his hand between his cousin’s legs; a constipated boyfriend who tries to eat enough salami to “force him out”; a daughter bending down to pick up her mother’s stray white hair after an air conditioner was late installed. (“It couldn’t help her because she was dead.”) Animals are everywhere — as mysteries, nuisances, accomplices — but the human characters, as the book’s title suggests, are the most animalistic. of all. The stories are ironic, surprising and wild, full of mischief and hunger, where “Aug 9-Fog” is full of pragmatism, curiosity and silent engines of domestic wonder.

Scanlan’s new book, “Kick the Latch” (New Directions), interweaves the dark threads of violence that run through “The Dominant Animal” with the unsentimental healing rituals that anchor “Aug 9-Fog.” “Kick the Latch” is perched ambiguously between novel and oral history. In an author’s note, Scanlan calls it a “work of fiction” based on interviews she conducted with Sonia, an Iowa-born horse trainer. The book chronicles Sonia’s life in a series of vignettes that unfold through the feverish, intoxicating dream of the world of horse racing, as Sonia travels from race to race, living in trailers and motels. It is a landscape full of exhausting work and habitual violence, but also of ecstatic devotion and joy. Sonia trains a one-eyed horse named Dark Side to victory; a racetrack band called the Bug Boys (singer jockey, drummer trainer) play in local bars; priests come to bless the legs of the horses. Ephemeral characters are sketched with ruthless but often affectionate attention: “Thorby was gentle but when he got drunk he fought with a cigarette machine or a jukebox.

The idea that ordinary life can be the subject of great art has long been accepted in poetry and literary fiction – in these genres its status as a worthy subject seems self-evident – but it can still raise problems in creative non-fiction. An invented life may be ordinary, but a real it would be better if life were seasoned either by extraordinary sufferings or by special achievements. Scanlan, however, is almost instantly drawn to the ordinary. The shortest thumbnail of “Kick the Latch” is titled “Racetrackers,” and it’s just one line: “You’re surrounded by very important people and some are just as common as old shoes.” Sonia’s own allegiance is clear – to old shoes, jukebox fighters and the Bug Boys.

In all of his books, Scanlan writes about ordinary life in extraordinary ways by radically compacting it, like pressing carbon into diamonds. When Sonia describes the force absorbed by a single hoof with each stride of a horse’s gallop – “a thousand pounds of pressure borne by that slender leg” – she could also be describing Scanlan’s syntax: compact sentences bearing so much pressure. The work is structured by recurring themes: violence and the pleasures of intimacy, the balm and exhaustion of hard work, our links with animals and with our own animality, these surges of desire and aggression that unseat us and reorganize us.

But the effect of Scanlan’s work derives as much from its form as from its content. As with a sculpture, you would be as likely to describe it in terms of form as materials. Reading Scanlan often feels like encountering something akin to Wallace Stevens’ pot on a hill (“it didn’t yield a bird or a bush”): powerful in its presence but hard to penetrate, self-contained and opaque . “I try to write a sentence that is as immutable and fully itself as an object on a shelf,” she said. His prose is coldly efficient, the kind of stripped-back revelation that makes you cringe for more, like asking for a third helping of dessert. Its minimalist style accomplishes a sleight of hand. At first glance, its compression seems to evade the obvious of its making – reluctant in its conciseness, rather than diffusing its artifice. Yet this radical brevity ultimately demands that we see it as a handcrafted thing. The efficiency is both graceful and aloof. The crude repetitions of need and desire become elegant asides; the waste of years becomes a single sentence.

Scanlan, forty-two, lives in Los Angeles but grew up in Iowa. His mother came from a family of farmers, his father from a family of racehorse trainers – the traveling world of races, jockeys and groomers that Scanlan tackles in “Kick the Latch”. His writing is at the confluence of two artistic lines: the art of the ordinary and the art of distillation. One is a tradition of form, the other of content. She is the heir to the poignant laconicism of Lydia Davis and Diane Williams (she has been published many times in Williams’ literary journal, MIDDAY) but also documentary poetry by Charles Reznikoff and Muriel Rukeyser, rural dramatic monologues from Edgar Lee Masters’ “Spoon River Anthology” and grotesque character sketches from Sherwood Anderson’s “Winesburg, Ohio.” Scanlan quoted Walker Evans’ statement that his “photography was not ‘documentary’ but ‘documentary style'”, and his description of this aesthetic could also describe his own: it exudes “the raw, immediate feel of unedited daily”, but “you quickly realize how fit he is.”

In “Kick the Latch,” Scanlan’s anecdotes (with titles like “Pickled Boiled Eggs,” “Call Your Owners, Call Home,” and “Gallon of Blood”) don’t quite unfold like a traditional plot, with deep relationships and a story arc. They are more like rosary beads, each being a small contained unit. Born in 1962, Sonia began full-time work on a horse farm right after graduating from high school, riding the circuit with her “racetrack family” – a neophyte amidst “grooms, jockeys, trainers, race secretaries, stewards, ponies, hot walkers, everyone,” all hitting the same grocery stores, laundromats and bars at every stop, for every race. Sonia’s life is tied to the constant and grueling pace of her job: “Feeding at four o’clock, seven days a week.” Jockeys are experts at depriving themselves of minimum weight and maximum speed, a process that is not entirely different from Scanlan’s trade: “Jockeys turn over their food or they don’t eat at all. They get so good at puking they brag about it—I can flip the rice but leave the beans! This is Scanlan’s particular know-how: turning the rice but not the beans. Get rid of all the language that is not absolutely necessary but keep the essential details that feed the text, and give it life. The visceral specificity of his writing, by refusing to sanitize our physical presence in the world, makes the ordinary seem strange. It’s like saying a familiar word so many times that it starts to sound like it’s from a foreign language.

Sonia comes across as a compelling character: kind under her gruff exterior, charmed by surprising things (a roasted Thanksgiving turkey in a motel bathroom, for example), dry as a bone and cold as a cucumber, constantly underappreciated. about his own pain. Describing a riding accident that left her in a coma, she simply said, “I was at the bottom of the pile. When Sonia finally leaves life at the racetrack, she returns home to care for her sick parents and ends up working as a correctional officer in a maximum security prison. “I tried to be a normal person,” she explains. Yet the racetrack still occupies what WB Yeats might call the heart of its heart. “People say you never get out of your blood,” she remarks. “I still dream about it most nights.”

Whenever Sonia speaks of horses, tenderness runs through her stoicism like vinegar through oil. She describes celebrating her horse Rowdy’s birthday (“frosting on his muzzle”) and nursing a “skin and bones” mustang named Chico, rescued from a rodeo sale: “I have weight on him calm down. She has a soft spot for underdogs who have been pushed aside, abused, insulted or deemed unworthy of care, from horses like Rowdy and Chico and Dark Side to the incarcerated men of the prison where she works. Or like the drunken grandfather who lived in her neighborhood when she was young; she let him stay in her room when her daughter kicked him out.

Knitting Factory closes shop in Brooklyn for a return to Manhattan

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“Tight Knit Family”

But in Williamsburg, the Knitting Factory was a mainstay of the city’s comedy and music scenes, itself a souvenir capsule for the staff who ran it, as well as the artists and regulars who frequented it for more than a decade. .

“For it to close, it feels like a chapter in my life has come to an end, which is kind of sad,” Jane August said, fighting back tears on her last night as a bartender in Brooklyn. “I will no longer be able to see everyone every week. I cry, I am a crying person. We’ve all been in other people’s lives, because that’s exactly what a place is and that’s how tight-knit our Knit family is.

After having their IDs checked at the door, patrons walked through a hallway lined with old band posters leading to two separate spaces. The largest was a 300-capacity concert space in the back, where local and smaller touring bands performed throughout the week. This is also where the last encore took place.

“I always appreciated how intimate the space was, because it wasn’t that big, but that last show at Knitting Factory was powerful,” said Haile Supreme, a musician who has frequented the venue and snagged. is produced on this last night. “The energy in the room was magnificent. The crowd was really ready to engage.

Standing room only

Music has been Knitting Factory’s specialty since the beginning. But, in Brooklyn, that wasn’t the only draw.

At the bar at the front of the venue, the weekly stand-up show, “Comedy at the Knitting Factory,” took the stage just outside the door. It wasn’t an ideal setup, but it was still a favorite for comics like Jon Laster, who starred in the series’ final run in July.

“When I got there, before I got on stage, I thought it was awful. I was like, ‘Why would he do anything with people coming in and out the door right next to the stage?’ “Laster told Gothamist. “And then once you got on stage, you were like, ‘Oh my God, these people are locked up.'”

Buress started the show in 2009 when the venue was new to Brooklyn. He was also the first person to perform on location. He quickly became a staple of the New York comedy scene, known for his diverse, cutting-edge, and up-and-coming comic lineup mingled with industry veterans.

“For me in particular, it was really cool to see a lot of young black comedians killing it,” comedian Will Miles, one of the hosts who took over the show after Buress, told Gothamist. “It was great to have this little haven where, if you’re an up-and-coming young black comedian, you knew you’d see other up-and-coming black young comedians there.”

Fans filled the hall every Sunday. A lucky few were seated in one of three rows of folding chairs or in booths at the back of the room. But most would hold out for the two-hour show.

“I would never get here in time to get a seat, so I would normally stand by the bar,” said Gregory Greene, a former regular who made it to the final show. “And I saw a lot of people. I saw big names. I saw Dimitri Martin. I was here when Robin Williams arrived.

Christian work by Jeremy Thomas coming to Penarth Church

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AN EXHIBITION of paintings aimed at telling Gospel stories is coming to Penarth.

Penarth Methodist Church is delighted to host an exhibition of paintings by Jeremy Thomas – who was shortlisted for ‘Welsh Artist of the Year’ in 2012 – in September.

Mr Thomas was inspired to produce a series of 30 paintings following an enthusiastic service at St Mary’s Priory in Abergavenny, where the congregation was challenged to use their talents to spread the Christian message.

His detailed work – called “The Human One” – shows events in the life of Christ and contains hidden details and threads that only become clear when you dive into the images.

This exhibition has previously been shown at St David’s Cathedral in Pembrokeshire and St Woolos Cathedral in Newport.

Mr Thomas’ exhibition will be on display at Penarth Methodist Church on Stanwell Road from Tuesday September 6 and will end on Sunday September 25.

The paintings will be in the main church, allowing visitors to view the artwork and take a peek at the charming building.

The opening hours are from 10 a.m. to 12 p.m. and from 2 p.m. to 4 p.m.; on Saturday, there will only be morning sessions (10am-12pm).

People can read more about artist Jeremy Thomas online at www.jeremythomasart.co.uk

ArtFeeds collaboration results in public art gallery exhibition and online auction

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CAMDEN – AIO announces the opening of ArtFeeds, an exhibition and online silent auction of a collection of 30 wooden bowls to support food, energy, weekend meal and helping the layers of the organization.

Thirty Midcoast artists created their own bowl or worked with a carved wooden bowl donated by residents of the Maine State Correctional Facility Industries Program. The only direction for the artists was to “create something that represents the community caring for each other with food,” according to Joe Ryan, executive director of AIO, in a press release.

ArtFeeds Artists-in-Action Against Food Insecurity is a unique collaboration between artists, Page Gallery and Maine State Correctional Facility, coming together to highlight and support AIO’s programs.

The exhibition will run from 3-10 September 2022 at Page Gallery, Camden. The online silent auction also opens September 3 and runs for the duration of the exhibition, culminating with a reception on Saturday, September 10, 4-6 p.m., at Page Gallery. Final offers must be submitted by 6 p.m. The exhibition is free and open to the public.

Those interested in seeing the exhibition and participating in the silent auction are invited to register in advance. Information about silent auctions can be found on the AIO website: aiofoodpantry.org/artfeeds. All proceeds from the silent auction will support AIO’s four programs: Pantry, Energy Support, Weekend Meals and Diaper Program.

“This week-long art exhibit and closing reception represents an entire summer of artists, volunteers, partner organizations and supporters working together to demonstrate how one community can meet the challenges many families face. “said AIO Executive Director Joe Ryan. “For winning bidders, an ArtFeeds bowl will be a family treasure for generations to come, and the benefit for hundreds of local families will be immediate.”

Participating artists include: Lise Bécu, Hannah Berta, Meghan Brady, Beth Bull, Caroline Dishop, Ingrid Ellison, Ileana Appleton Foster, Eric Hopkins, Ariela Kuh, Alexis Iammarino, Monica Kelly, Sal Taylor Kydd, Sarah G Lee, Nathaniel Meyer, Christopher Mir, Tara Morin, Sarah McRae Morton, Colin Page, Margaret Rizzio, Anneli Skaar, Marianne Smith, Barbara Sullivan, Greta Van Campen, Simon van der Ven, Hannah Secord Wade, Peter Walls, Andy White, Margaret Williams, Susan Williams and a resident of the Maine State Correctional Facility.

AIO will share artists’ creative process and artists’ statements on @aiofoodpantry (Instagram) and @AIOFoodpantry70 (Facebook).

About AIO food and energy assistance:

AIO Food & Energy Assistance has been addressing food and energy insecurity in Knox County for over 30 years and continues to work throughout the community to raise awareness with the goal of reaching anyone who may need help. ‘assistance. AIO participates in our local food system, joining food producers, distributors and preparers with donors, volunteers and local businesses to minimize food waste, maximize local resources and share the abundance of food that exists in our community. .

AIO is experiencing a rapid increase in program enrollment due to both the enhanced program experience and challenging economic conditions. So far this year, there has been a more than 100% increase in pantry visits. In June, 3,397 family visits were made to the food pantry, representing 8,881 people. During the 2021-2022 school year, AIO’s weekend meal program provided more than 11,623 weekend packets to school children. AIO provided nearly $200,000 in energy assistance last heating season, the diaper program has distributed over 29,000 diapers so far this year.

To learn more about AIO, please stop by and visit the Pantry at 1A Gordon Drive in Rockland, Monday through Thursday, 8:00 a.m. to 5:00 p.m. More information about AIO programs, volunteering or how to donate is available at www.AIO4Me.org.

Detroit Jazz Fest returns to in-person festivities at Hart Plaza – The News Herald

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The Detroit Jazz Festival had to do a lot of improvisation in the past two pandemic-hit years, when it went ahead but through digital and broadcast outlets.

This year, all the improvisations are done live and on four stages.

The internationally acclaimed festival has returned to in-person mode, kicking off Friday, September 2 at Hart Plaza with the first of three scheduled performances by artist-in-residence Chucho Valdes. The event will run until Monday, September 5, with three stages at Hart Plaza and one at Campus Martius Park.

And the feeling Friday, from backstage at the VIP party behind the stage in the Carhartt Amphitheater to the lobby around the square was nothing short of exuberant for what festival CEO and artistic director Chris Collins called “a new brilliance” after two years of absence.

“When we hear a jazz performance, it’s there and it comes out in the air and you have to be there and feel it to really understand its significance, and you can only do that when it’s in person,” Collins said. before the music. starting on Friday. “One of the most exciting things is when I see a family from London next to a family from Hamtramck and they’ve never met in their life but they’re shaking hands because that something cool is happening on stage.

“Music does that, and for me, that’s the most important thing about being in person.”

Collins said the festival is expected to draw around 350,000 people over its four days, bringing in around $30 million for downtown businesses. But it also continues its digital presence; after attracting one million virtual viewers in 2020 and 2.5 million last year, the DJF website will broadcast live shows throughout the weekend. Quincy Jones’ Qwest TV, meanwhile, aired Friday’s opening performances, which Collins expected to have “one of the biggest viewing audiences for a single event, which is pretty cool.”

However, some things did not return with the return of the festival. The Jazz Talk series and after-hours jams at the Marriott Renaissance Center have been postponed this year out of continued Covid caution, although Cliff Bell’s Jazz Club is filling the void with a few nights of programming.

But that didn’t dampen the mood on Friday as the Dr. Valade Marching Band, led by Shannon Powell and featuring Jason Marsalis on snare drum, paraded through the Lincoln Garden Bowl area playing ‘Rock Around the Clock by Bill Haley & the Comet, the standard “When the Saints Come Marching In” and many more to get the party started.

Pianist Valdes followed with an 80-minute performance highlighted by ‘The Creation’, a four-movement composition touching on every stylistic aspect of his diverse career – featuring the 23-member Yoruban Orchestra jointly conducted by Hilario Duran and John Beasley. The piece went through everything from traditional jazz to indigenous Afro-Cuban flavors, and was followed by a fierce encore of “Bacaloa Con Pon”, originally performed by the band Irakere de Valdes.

The New Orleans Soul Rebels, feisty despite a late start, ended opening night with their usual mix of local flavors and renditions of pop classics, starting with Stevie Wonder’s “Living For the City” and a bit of “Earth, Wind & Fire”. Brazilian rhymes” in the first part of his comment.

Schedules and other information, as well as live festival performances, can be found at detroitjazzfest.org or through the festival app.

Do you have an artistic idea for Día de los Muertos? Pasadena Tournament of Roses wants to hear from you – Pasadena Star News

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The Tournament of Roses gets it when it comes to Día de los Muertos.

After all, the Pasadena organization — which hosts the Rose Parade every year — is all about the flowers, all about the magic rose.

And when it comes to Día de los Muertos, the age-old Mexican tradition that comes in October celebrates both life and death, and the merging of the spirit world and the real world, its flowers that play a central role in the festivities.

With that in mind, the Pasadena Tournament of Roses announced its third annual Día de los Muertos art competition on Friday, calling it a celebration of art in partnership with the Consulate General of Mexico in Los Angeles, Pasadena Unified School District, Greater LA Education Foundation, La Plaza de Cultura y Artes, Los Angeles Unified School District, Mercadito Monarca, 360 Agency and Yankuititl.

“When it comes to traditions, festivities and flowers – we get the call,” read an announcement from the tournament. “As an organization that revolves around a rose, the Pasadena Tournament of Roses can appreciate that the marigold occupies such a prestigious place in this celebration.”

Winners of this year’s regional contest will receive scholarships and gift cards in three age categories: 4-8, 9-13 and 14-18.

To participate, students must be between the ages of 4 and 18. According to the organizers, their art can take any form, as long as it celebrates, reflects and honors the traditions of Día de los Muertos.

Here are the categories:

    • Paintings and Drawings – Create a work of art featuring marigolds, monarch butterflies, or other holiday depictions
    • Calavera – Make and decorate a sugar skull
    • Ofrendas – Build or Build an Altar
    • Catrina – Paint a face with traditional Día de los Muertos makeup
    • Digital Art/Graphic Design – Use technology and graphic design to bring your art to life
    • Other Visual Arts – Be creative in another form, including carvings, by making a traditional Día de Muertos costume.

For reference, here is the work of the winners of the Día de los Muertos 2021 art competition:* (4-8 years old) https://www.instagram.com/p/CVwOsszppvK/* (9-13 years old) https://www.instagram.com/p/CVyJWrOPtmD/* (14-18 years old) https://www.instagram.com/p/CVzOsBZLdEP/

For more information and submission details, see https://tournamentofroses.com/diadelosmuertos.

The staggering cost of owning a superyacht

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Sanctioned Russian oligarch Suleiman Kerimov's yacht Amadea, seized by the Fijian government at the request of the United States, arrives at the port of Honolulu, Hawaii on June 16, 2022.

Sanctioned Russian oligarch Suleiman Kerimov’s yacht Amadea, seized by the Fijian government at the request of the United States, arrives at the port of Honolulu, Hawaii on June 16, 2022.
Photo: Eugene TANNER / AFP (Getty Images)

Just in time for Labor Day, the New York Times published a detailed account of what it takes to not only buy a superyacht, but keep that superyacht filled with the kind of fine art and silly toys that set your gigantic boat apart from all other gigantic boats also filled with fine art and ridiculous toys.

The Time breaks down all the costs of a $300 million yacht in the middle of the road, from locating and paying a broker ($9 million) to the small luxury add-so. You know, $1.5 million for an onboard disco here, $2 million for a panic room there. At least $3 million for crew salaries. The Costs Really Add Up, Until This $300 Million Pleasure Cruiser Costs More over $400 million. Then there’s the art, which can cost as much as the whole boat. The most expensive painting ever sold, “Salvador Mundi”, by Leonardo da Vinci, would be displayed on the yacht of Mohammad bin Salmanthe Crown Prince of Saudi Arabia.

Of course, much of the story centers on the Russian oligarchs and the “difficult” year they had at sea. Time:

Fewer and fewer stunning ships are departing from the ports of Monaco and Portofino, and recent world events have led to a determination of how many of these boats are tied up in disreputable money.

After the invasion of Ukraine, more than a dozen yachts belonging to people with ties to Russian President Vladimir V. Putin were seized by European and American authorities. Other such boats have landed in countries like Turkey and the United Arab Emirates, which have a relatively comfortable relationship with Russia. (None of the alleged owners responded to comment for this article.)

The size of the seized boats ranges from about 130 feet (about three New York buses) to about 500 feet (13 buses). At the highest level, they can cost in the order of $600 million, which Dilbar, by some measures, the largest yacht in the world, would have sold. (Dilbar, who is related to oligarch Alisher Usmanovwas seized by Germany in April.)

But what is really the difference between the superyacht of a Russian oligarch and a Americans? Nothing more than to know which agency seizes it after investigation. Our local oligarchs buy similarly ridiculously elaborate ships in order to “absorb the most excess capital”. Jeff Bezos, the guy which nearly dismantled a major infrastructure to get his yacht from shipbuilders, eventually makes an appearance throughout the story in a section regarding dinghies ($80,000+):

Some of those trailing boats are megayachts themselves, like the estimated $60 million, 246-foot “yacht support vessel” that will follow Jeffrey Bezos’ 417-foot, $500 million schooner. Toys aboard a yacht support vessel can include a McLaren car (which has sold at auction for up to $20 million), a helicopter ($3 million) or a more and more rigorous personal submarine ($2.5 million to $4 million), as well as an assortment of more affordable pedestrian-friendly toys like Jet Skis, Seabobs, ATVs, and Underwater Scooters.

And a billionaire who wants to catch tuna and marlin might have a fishing boat floating behind that can cost up to $20 million.

The Time Brings it back to the Russians though, mentioning right off the bat how oligarch and superyacht pioneer Roman Abramovich once lost a 110 meter yacht in a game of poker. As you take a break from work this weekend, maybe grilling hamburgers (or hot dogs, cause of inflation), imagine what the life of someone who loses a 371-foot yacht in a game of poker looks like. Someone like that kind of people runs your own country and its biggest employers. So, unionize.

No early victory for paparazzi in copyright lawsuit with deadly doll

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An interesting lawsuit involving a paparazzi photo is currently unfolding in federal court in California. The case began like many cases initiated by paparazzi photographers that have flooded the files in New York and California in recent years, with a paparazzi filing a copyright infringement lawsuit against a fashion brand ( or a celebrity) for posting one of his photos on Instagram without permission or a license. In that case, Carlos Vila filed a lawsuit against Deadly Doll in July 2021 for posting one of his images — a photo of model Irina Shayk walking down the street in a pair of the brand’s sweatpants — on his Instagram. The infringing photograph is “an exact copy of the entire [Vila’s] original image that was directly copied and [posted] by Deadly Doll on [its Instagram] account,” Vila asserted in the 8-page complaint he filed in the U.S. District Court for the Central District of California.

Instead of quietly settling the lawsuit out of court, which has been the pattern for the majority of the paparazzi’s long list of copyright lawsuits, Deadly Doll responded to Vila’s complaint in September. 2021 with its own claims. Primarily, Deadly Doll alleged that by taking Shayk’s photo and then offering it for licensing to the media, Vila captured “a ‘pin-up’ girl image in which deadly doll owns the copyright that was on the Deadly Doll clothing created without [its] permission.” In doing so, Deadly Doll claims that Vila has created an unauthorized derivative work. (Who else is not buy this argument?)

In arguing its counterclaims, Deadly Doll also challenged Vila’s “alleged” copyright “in the unauthorized derivative photograph” of Shayk, and asked the court for a declaration that its copyright in the artwork is valid, while the “purported copyright in [Vila’ photo] is invalid.” (Both Vila and Deadly Doll retain copyright registrations for their respective works: Vila’s photo and the pin-up illustration for Deadly Doll.)

On the heels of filing its answer to Deadly Doll’s counterclaims, complete with an affirmative defense of fair use, Vila filed a motion for judgment on the pleadings this spring, seeking to have Deadly Doll’s counterclaims dismissed on the grounds that her photo containing the pin of Deadly Doll -up girl art is not a “derivative work” within the meaning of the law – and therefore does not infringe the copyright of the trademark on the artwork . Beyond that, Vila argued that he was entitled to judgment on the pleadings because “Deadly Doll is not entitled to declaratory judgment, Deadly Doll’s copyright in the work of art is invalid and [his] photograph constitutes a fair use of the artwork.

(Deadly Doll — which was founded by musician Jesse Jo Stark, whose parents Richard Stark and Laurie Lynn Stark form the duo behind cult label Chrome Hearts — was pushed back in a later opposition filing. The company argued that since Vila’s photograph incorporated “virtually all” of his pin-up art, which is “conceptually separable, copyrighted, and copyrighted”, the photo is considered a derivative work which infringes the copyright of Deadly Doll, rendering it “ineligible for independent copyright protection under the law of the Ninth Circuit and other courts.”)

Fast forward to August 23 and Judge Otis Wright of the U.S. District Court for the Central District of California sided with Deadly Doll, finding that Vila is not entitled to judgment on the pleadings on all four fronts. .

Derivative work – First, the judge states that Vila argues that his photograph is “highly unlikely to be considered a derivative work under Ninth Circuit precedent, which protects photographers from their inherent vulnerabilities in copyright infringement suits.” author based on the individual copyrighted elements necessarily captured in their photographs. ” However, he “does not – and cannot – cite any precedent asserting that the photographs can never be derivative works of any artwork displayed there,” says Justice Wrights.

“As a result, the question of whether the photograph is a derivative work always requires the court to determine whether the photograph recasts, transforms or adapts the work of art” – a question of fact to be established on summary judgment or determined at court case.

Vila copyright – Vila’s second argument – in which he asserts that Deadly Doll cannot prevail over his request for declaratory judgment because his photo meets the Ninth Circuit’s “extremely low” originality threshold and is therefore original enough to warrant its own copyright protection – similarly fails. “By citing precedent that simply suggests that Deadly Doll is unlikely to prevail on its claim, instead of citing precedent that Deadly Doll’s claim is untenable in law”, the court argues that Vila “does not acquit of his obligation to show that he is entitled to judgment”.

Copyright Deadly Doll – Third, Vila argues that he is entitled to a judgment in law because Deadly Doll’s copyright in the artwork is invalid since the dates of creation, first publication and recording alleged in trademark counterclaims do not match the dates posted on the US Copyright Office web page. This particular argument fails for a number of different reasons, according to Justice Wright, but “most importantly” because Vila provides “no precedent to support a finding that inconsistencies between alleged copyright dates in a complaint and the dates represented on the copyright registration, render the copyright registration void or voidable so as to be entitled to judgment on the pleadings.

At the same time, the court notes that Deadly Doll submitted an additional copyright registration for her artwork, which displays the dates of creation, first publication and registration which are consistent with the relevant claims in the counterclaims, thereby rendering Vila’s argument moot.

Fair use – Vila finally argues that he is entitled to a judgment on the pleadings “because in any case, [his] incorporation of the artwork into the photograph constitutes fair use and therefore does not constitute copyright infringement,” the court summarized. Quickly rejecting this argument, the court states that determining whether a work constitutes fair use requires “a case-by-case analysis and flexible balancing of relevant factors”, which it “cannot quite simply not do as part of a motion for judgment on the pleadings.” Citing Deadly Doll’s opposition motion, Judge Wright states that “Vila’s fair use arguments are not properly raised in this motion because fair use is a question of mixed law and fact that generally cannot be resolved by motions to dismiss or judgment on the pleadings”. As such, Vila “cannot show, by looking only than counterclaims”, that his photograph is fair use in law.

In light of the foregoing, Judge Wright found that Deadly Doll had made sufficient claims of copyright infringement and declaratory relief, and therefore Vila is not entitled to judgment on the pleadings. .

The case is Carlos Vila v. Deadly Doll, Inc., 2:21-cv-05837 (CD Cal.)

How to Buy Art Online 2022

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frame bridge

Buying art, especially online, isn’t as daunting as it sounds: you don’t need to spend thousands of dollars or have a dealer on deck. The following sites make the process of buying art easy and, most importantly, fun. Not only will browsing open your world to emerging and established artists (the Met Museum’s online store has prints of famous paintings at your fingertips!), but many sites offer customization options that let you choose exactly what you want in your frame.

All in all, the days of boring white walls are over. It’s time to give your space some major personality and let your imagination run wild to achieve the dreamy gallery wall you’ve always wanted. Don’t worry, if you’re not so handy and nervous about damaging your walls with too many bad holes, we’ve found a solution for that too. When you’re done clicking through our long list of the best places to buy art online, we have a feeling you’ll be left with a mini collection of art all your own.

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How do I buy my first work of art?

As you can see, buying your first piece of art is fun, and having a limited budget won’t stop you from getting something awesome. Before you start shopping, the most important things to keep in mind are prioritizing the aesthetic you want and making sure your measurements are correct. There’s nothing worse than having to return something that’s too big or too small, and sometimes it can even leave you with unwanted return costs.

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Where can I buy virtual art?

Several of the sites above have specific sections for virtual art. For example, Saatchi Art has a separate NFT category, and to make sure you’re happy with your purchase, there are often customer service representatives on standby ready to answer any questions you may have. If this is something that interests you, do your research and take advantage of these resources.

Beautiful houseIsis Briones, Shopping Editor at , tried a range of sites firsthand and conducted extensive research to compile a list of the best places to buy art online. As always, she also kept her budget in mind and included online stores with affordable and quality finds.

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Björk Shares ‘Fossira’ Artwork And More Details About New Album

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Björk shared artwork for her upcoming new album “Fossora” and shared more details about her themes.

The singer’s upcoming 10th album – the sequel to 2017’s “Utopia” – was announced during a recent interview. It is slated for release this fall via One Little Independent Records, but the exact date is yet to be announced.

After revealing that the album’s lead single is called “Atopos”, the singer has now shared cover art and pre-order details for “Fossora”, along with a statement outlining other themes from the album. album.

“Every album always starts with a feeling that I try to turn into sound,” she wrote on Instagram today (August 31). “This time around, the feeling was of landing on dirt and digging my feet into the ground.

“It was also woven into how I experienced the ‘now.’ this time around 7 billion of us did it together nesting in our homes, quarantine being long enough in one place. for us to take root.

She continued, “My new album ‘fossora’ is about that. it’s a word I made up. it is the feminine of fossore (digger, digger, digger), so in short it means “she who digs” (into the ground).

“So sonically it’s bass, bass bass, we have 6 bass clarinets and a punchy sub.”

She then thanked her collaborators on the album, including serpentwithfeet and her children, Sindri and Dóa.

See the post below, and pre-order ‘Fossira’ here.

Two songs on the disc – “Sorrowful Soil” and “Ancestress” – are said to be tributes directed at the singer’s mother, Hildur Rúna Hauksdóttir, who died in 2018 at the age of 72.

“I think my brother and I weren’t ready to…we thought he had 10 years left,” Björk said. The Guardian. “So we were like, ‘Go’ and make her fight and… and it was like she had an internal clock inside her and she was just ready to go.”

“Fossora” is expected to feature collaborations with Serpentwithfeet and Indonesian punk bands Gabber Modus Operandi, as well as contributions from son Sindri and daughter Doa.

In October 2021, Björk said the album was created “for people doing clubs at home in their living room” during the COVID-enforced shutdowns.

Following the announcement of the new album, Björk has also launched a new podcast series in which she will reflect on the creation of each of her studio albums.

The first three episodes of Björk: sonic symbolism will be released tomorrow (September 1), delving into the worlds of ‘Debut’ (1993), ‘Post’ (1995) and ‘Homogenic’ (1997) respectively. Additional installments will follow album by album on a weekly basis until October 13th.

In a statement, Björk described her upcoming podcast venture as “an experiment in capturing the moods, timbres and tempos that vibrated during each of these phases” of her career.

It’s a Steal 2022 – Annual Art Show and Sale in Arlington (Event)

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“It’s a Steal 2022” Annual Art Exhibit and Sale in Arlington
Friday, September 23, 2022 – 5 p.m. to 8 p.m. Opening
Saturday September 24, 2022 – 11am-5pm
Sunday September 25, 2022 – 11am-2pm
Covenant Church, 2666 North Military Road, Arlington, VA 22202
Forty members of the Arlington Artists Alliance will sell hundreds of artworks for less than $125. Artwork includes original paintings (framed or ready to hang), pottery, glass, note cards, prints, matted (but unframed) originals and much more.
Come meet the artists and enjoy light refreshments at the opening reception on Friday, September 23 from 5 to 8 p.m.

Contact:
Christina Papanicolaou

Arlington Artists Alliance
A non-profit organization serving and supporting the arts and artists in Arlington County
www.arlingtonartistsalliance.org
571-483-0652
The Arlington Artists Alliance is supported in part by Arlington County through the Arlington Cultural Affairs Division of Arlington Economic Development and the Arlington Arts Commission and in part by the Arts Commission of Virginia and the National Endowment for the Arts. For more information about Arlington Artists Alliance members, exhibits, and programs, visit www.arlingtonartistsalliance.org

Stoner/Prog Band MOTHS on the Tenacity of Puerto Rico’s Metal Scene

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Jonathan Miranda and Weslie Negrón of MOTHS discuss their debut album, space forceand how the Puerto Rican metal scene has survived several recent setbacks.

On this debut album, Puerto Rican progressive/stoner metal quintet MOTHS fuse Latin flavors with undertones of influences such as Baroness, Mastodon and King Crimson. As a result, it is a very diverse and rewarding introduction.

It’s especially impressive considering the adversity they’ve encountered along the way. Naturally, the COVID-19 pandemic halted the creation of the album; however, several other events—Hurricane Maria, the 2019 resignation of Governor Ricardo Rosselló Nevares, and various earthquakes and power outages—affected not only the group but the entire island. So their story is one of immense endurance and optimism.

We recently spoke with bassist Weslie Negrón and lead guitarist Jonathan Miranda about the impact of these events. space forcehow the Puerto Rican metal scene thrives despite these hardships and more.

Has there always been a strong progressive metal scene in Puerto Rico?

Weslie Negrón: Yeah, it’s been going on since the late 80s. You could say the first band was Cardinal Sin, which was a mix of early Metallica and Pantera.

Jonathan Miranda: It was thrash in the beginning, yes.

WN: Then you have Puya, which became the biggest metal band on the island. They toured with Iron Maiden in 1999, and they mixed nu-metal with salsa and stuff. Since the 80s, a lot of bands came out of the underground and Latin rock was booming. So our metal, punk and hardcore scenes took advantage of that a bit.

I started playing in 2010 when there was another big band boom. It’s like a roller coaster in the sense that the movement can be idle for a while, then a handful of groups explode and it turns back on.

Puya, “Oasis”

How has the scene changed or evolved since you started playing?

WN: Between, maybe, 2011 and 2017, a lot happened, but then Hurricane Maria happened and everything went back to zero.

JM: The scene was hit hard, that’s for sure. In the 2000s there was a lot of post-hardcore and death metal, but now it’s mostly a mix of everything. You know, from hyper-technical to death to black metal and mathcore. It’s very diverse and the music started coming back after Hurricane Maria, but the pandemic knocked it down. However, we are finally resuming our shows and I have seen about 10 new bands in the past six months.

It seems Puerto Rican artists and fans have incredible resilience.

WN: Absolutely.

Which of these styles influenced MOTHS the most?

WN: Well, we have very different tastes. I guess a common interest would be prog.

JM: And each of us has a different musical background. Omar [González, rhythm guitar] I came from the thrash metal crossover, whereas I was more of a “Big 4” type. Weslie was more death/thrash but also hardcore, Damaris [Rodríguez, vocals] loves prog and power metal and Danny [Figueroa, drums] play everything [laughs]. Some of us also studied jazz and classical.

MITES, “Awakened”

Ah, so that explains your varied sound. Then there have been some recent incidents in Puerto Rico that may have hindered the creation of space force. Not only Hurricane Maria, but also earthquakes, power outages, and even the 2019 resignation of Governor Ricardo Rosselló Nevares.

WN: It seemed that every time we walked into the studio, something disturbed us. When we were finishing our first EP [2018’s MOTHS], Hurricane Maria came and destroyed the electrical system of the whole island. I had no electricity for three months afterwards. Then the earthquakes and the pandemic happened as we worked out the final details for space force. We still suffer from these things.

WN: I was very patient, but I was also losing my mind a bit [laughs]. In a way, though, the pandemic was a blessing because we didn’t have to worry about finishing the album and touring.

JM: Also, we couldn’t risk getting sick, so we had to take a complete break and stay in touch. It was only at the end of 2020 that we decided to get back to recording space force.

WN: We were also able to release a split EP with The Stone Eye in August 2020, just to stay active, and we did a livestream for Heresy Fest Online in Argentina. I was anxious to get space force ready as soon as possible, however. Luckily, now seems like a good time for it.

Absolutely. You’ve had a lot of positive reception so far and you’ve shown a lot of perseverance.

WN: Thank you. We also need to be able to play it live and promote it.

JM: You also asked about the situation with Ricardo Rosselló Nevares, didn’t you? It didn’t have a direct impact on the album, except that it allowed us to merchandise it. [laughs], which are selling like hotcakes. That said, there are government issues that limit a lot of groups, like the lack of programs that could help local talent. [or provide them with] platforms to perform at local festivals and stuff like that.

It’s a big problem.

WN: It definitely is, and in general, if these issues persist, we may also struggle to find enough venues for artists. Many of them closed during the pandemic. That said, the general vibe here is one of tenacity. A few weeks ago, two local shows had about 800 people between them.

JM: They were thrilled. People are hungry for quality gigs and bands. It’s finally animated again.

WN: Even with all these hurdles, there are so many new bands emerging. They just refuse to quit, you know, even though they have to work really hard to be exposed. It is very impressive.

MOTHS, ‘Space Force’ (2022)

MITES

That’s wonderful.

JM: It’s true, and artists from all walks of life will support each other, whether it’s punk, rock or extreme metal. We have a taste of everything and it’s very tight.

It feels like a really inclusive community.

WN: That’s a good way to put it. I mean, the pandemic has provided a good reset process for artists to reconsider what they’re doing well versus what they could be doing better for themselves and their audiences.

It’s an exciting time, but also, living in Puerto Rico now is like extreme sports. Every day brings new challenges and adventures. I love it here, though, and one of my biggest goals is to make sure we can successfully do it all from here.

JM: And if we succeed, labels could try to sign other bands, so the idea of ​​elevating Puerto Rican metal is a big inspiration.

WN: Beyond MOTHS, we want people to know that there is great music coming from the island.

Thanks to Jonathan Miranda and Weslie Negrón for the interview. Get your copy of ‘Space Force’ here and follow MOTHS on Facebook, TwitterInstagram, Bandcamp and YouTube.

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“It generated a lot of interest”

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WEST RIDGE – A former public telephone booth in West Ridge offers a portal to Earth’s past and future – or at least a local artist’s depiction.

The abandoned payphone on Western Avenue just south of Pratt Boulevard now houses an elaborate sci-fi themed art installation by West Ridge artist Luna Rail. Rail asked to be identified by his artist pseudonym to protect his career as a social worker.

The phone has long been retired, with only two metal boxes that previously contained it still standing. In one of these boxes is the artwork, an elaborate 19th-century theater display with gilt ornaments and red velvet curtains.

On stage in this theater a day in the life of the future Earth unfolds, where aliens sit around a campfire. The scene is idyllic – save for the remnants of human life, including abandoned Old Style cans.

The scene depicts multiple layers showing remains of humans and other creatures. Other objects buried below the surface are items left behind by humans, including a shopping cart. There’s also an X-Wing fighter jet from Star Wars, hinting at a long-lost society.

“I was thinking, ‘Humans, how long are we going to stay? Are we about to wipe out?'” Luna Rail said. “I like the idea of ​​’Maybe something will survive us. .'”

Credit: Joe Ward/Block Club Chicago
A payphone in West Ridge houses a fantastic theater-themed art installation.

The art exhibition is named after its coordinates: 42.004587, -87.690123. It features an inscription with an enigmatic quote attributed to St. Luna, another alias of the artist, saying, “Someday the words of a beloved old song will say, ‘Parlin’s space is vast and the time too….’ “

The payphone is across from Warren Park, a few blocks from the Luna Rail West Ridge house. One day, the artist noticed the abandoned payphone infrastructure.

Luna Rail thought there might be a better use and designed the facility. The piece was installed in June.

“There are so few left,” Luna Rail said. ” I’ve watched it [and thought]’It’s perfect.'”

Credit: Joe Ward/Block Club Chicago
The installation of payphones represents layers of the earth and possibly future inhabitants around a campfire.

Luna Rail visits the exhibition almost every day. He spends the night to switch on the lights connected to the installation. During the day, it solves problems caused by bad weather or vandalism.

The piece draws inspiration from many of Luna Rail’s early artistic passions.

One of Luna Rail’s first forays into art was painting the backdrop for high school stage productions. The work is reminiscent of that era, with the art set in a theater against a hand-drawn backdrop.

The installation is unique for Luna Rail, said the artist. But similar installations may be popping up around the city thanks to Agitator Gallery, the Logan Square-based artist collective he co-founded.

Agitator has called for artists to submit works for a “guerrilla/insurgent art installation”. The idea is to place thought-provoking pieces in places where audiences wouldn’t normally see such works, Luna Rail said.

“I’ve always loved underground art, art that pushes boundaries to be socially relevant,” he said. “As wacky as it is, it has generated a lot of interest. I had some interesting conversations” about the play.

Credit: Courtesy of Luna Rail
The screen lights up at night.

The West Ridge art facility has fans nearby: local Jiffy Lube employees.

The coin is on the sidewalk near the Jiffy Lube at the corner of Western Avenue and Pratt Boulevard. Workers saw Luna Rail tending to its piece and asked questions about the installation, the artist said.

Now, Jiffy Lube employees look after the art exhibit when it needs maintenance.

“It’s life ahead of us,” said Ivan, director at Jiffy Lube. “It’s a very good design. You don’t see this too often.

The installation will not last the winter. Luna Rail plans to dismantle the exhibit this fall and give it to Ivan, who said he would be honored to have it.

“It’s his,” Luna said. “We talked about putting it inside the Jiffy Lube, which I love.”

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Listen to “It’s Alright: A Block Club Chicago Podcast”:

Delta Fair, 901 Fest, ‘Jaws’ more

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You don’t have to work hard to find entertainment in Memphis on Labor Day weekend.

First declared a federal holiday in 1894, Labor Day — the annual recognition of the achievements and contributions of American workers — has become a particularly action-packed milestone. A three-day weekend for many, the holidays provide a late-summer opportunity to party and get active before sunny days give way to winter, holiday stress and sunsets. early sun.

Here’s a list of nine things to do in the Memphis area over the holiday weekend. Some are outdoors, some indoors, all are – we hope – worthwhile.

“Another Dimension: Digital Art in Memphis”

Until 9/11, Memphis Brooks Museum of Art in Overton Park

Like the towering “Vide-O-Belisk” of television sets that video art pioneer Nam June Paik created for the Brooks in 2002, which foreshadowed the rise of new types of visual image-making , digital creation has seen a boom in recent years, as chronicled in news stories about cryptocurrencies and NFTs. Open since June, the Memphis museum’s first exhibit offers what curators at Brooks call “an insight into the emerging digital art scene in Memphis,” exploring the ways artists working in digital media can create “virtual environments.” and “alternative physical and psychological spaces in the digital realm.” Visit brooksmuseum.org.

MEMPHIS MUSEUMS:The Memphis Brooks Museum of Art chooses a new director

MEMPHIS BROOKS MUSEUM:How the Memphis Brooks Museum of Art plans to become an ‘epicenter of black art’

Pickin' and grinnin' and skeletonin': Keller Williams brings his

‘Grateful Grass’ – The Church Health 35th Anniversary Concert

5.30-9.45pm 1 September, Overton Park Shell

To help promote recognition and support for the non-profit organization that provides crucial healthcare to the area’s most needy residents, the Shell is the site of a free concert titled Grateful Grass by Keller Williams, in which the veteran singer-songwriter leads ensembles such as the Hellbenders and The Stone Gas Band in bluegrass-style renditions of Grateful Dead songs.

Marcella & Her Lovers will perform this year at 901 Fest in Railgarten.

901 party

September 1-4, Railgarten

Live rap, blues, rock and gospel will be on tap for four days at 2166 Central’s food, drink and gaming venue. The stellar lineup features some of the area’s top performers including Star & Micey, Dead Soldiers, Lord T & Eloise, Marcella & Her Lovers, Neighborhood Texture Jam, the Wilkins Sisters, Devil Train, the Lucky 7 Brass Band and this year’s Grammy Winner for Best Traditional Blues Album, Cedric Burnside. A weekend pass is $55; single-day tickets are $15 for Thursday or Sunday and $20 for Friday or Saturday. For daily music schedules, tickets and more, visit railgarten.com/901-fest/.

As this 2018 photograph of Sharon Harris and her 10-year-old nephew, Joduntis Robinson, shows, the Delta Fair can have you screaming with joy or fear or (most likely) a combination of both.

Delta Fair and Music Festival

September 2-11, 7777 Walnut Grove at Agricenter International

Ten days of live music, rides, pig races, funnel cakes, circus acrobats, “Jurassic Kingdom dinosaurs”, livestock, celebrity visits (the star of “Cobra Kai Gianni DiCenzo will be there September 5) and more, the Delta Fair combines state-of-the-art attractions with old-school county fair appeal. Admission prices vary; free entry coupons are available, with restrictions, for those registering online. Visit deltafest.com.

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Memphis Public Libraries LGBTQIA+ Pride Celebration

September 2-3, Benjamin L. Hooks Central Library

Art, music, a quiz contest, mini pride parade, raffles, free drinks and more are part of the fun as OUTMemphis, Friends of the Library and other allies recognize an important part of the Memphis community. Activities take place from 6 p.m. to 8 p.m. on September 2 and from 11 a.m. to 2 p.m. on September 3. To register, visit memphislibrary.org.

Beale Street Cigar Festival

September 2-4, Handy Park

Smoke ’em if you’ve got ’em at this seventh annual stogie celebration, which features live entertainment (the BB King All-Star Band, among others) and vendors representing what organizers bill as “the best cigar brands in the world.” “. Admission prices vary. Visit bealestreetcigarfestival.com.

We're going to need a bigger screen:

“Jaws” in IMAX

September 2-8, Malco Paradiso

Sharker, uh, Steven Spielberg’s 1975 shocker was the biggest box office hit of all time until something called “Star Wars” – created by Spielberg’s pal George Lucas – came two years ago. later. “You’re going to need a bigger boat,” Roy Scheider said in the film; perhaps with that caveat in mind, Spielberg and Universal Pictures have upgraded “Jaws” for a bigger screen: a conversion that should show audiences just how big a single fish can be. For tickets and timetables, visit malco.com.

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Stone Soul Picnic

3-9 p.m. September 3, Overton Park Shell

One of the city’s most famous events, the family-friendly Stone Soul Picnic has hosted an annual gospel and R&B-oriented Christian music revue since 1974; this year’s lineup will include the Spiritual Soldiers, Sensational Wells Brothers and more. The free event is hosted by WLOK-AM 1340, the first black-owned radio station in Memphis. Visit wlok.com.

Smooth soul ballad Peabo Bryson arrives at the Cannon Center.

Peabo Bryson and the River City Jazz & Music Festival

6:30-11:00 p.m. September 4, Cannon Center for the Performing Arts

The soul ballad veteran headlines an evening that also includes South African singer-guitarist Jonathan Butler, soft jazz saxophonist Najee and fusion band Pieces of a Dream. Find more information about Facebook or at thecannoncenter.com.

Sonam Kapoor Ahuja Reveals the Meaning of the Illustration Used to Announce the Arrival of a Baby Boy in This Instagram Post: Bollywood News

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Sonam Kapoor Ahuja and Anand Ahuja welcomed their first child on August 20 and several celebrities took to social media to congratulate the couple on the news. Along with an emotional note on welcoming their baby, the couple also shared a unique piece of art. Now explaining the reason behind the same, Sonam revealed on social media that it was created by famous Rithika Merchant and explained that the reason behind the sketch of eagle and deer represents the concept universal of a union between the Heavenly Father and Mother Earth.

Sonam Kapoor Ahuja Reveals The Meaning Of The Illustration Used To Announce The Arrival Of A Baby Boy In This Instagram Post

Sonam Kapoor Ahuja took to Instagram to share another photo of the creation of the artwork along with a long note describing the painting and its meaning. Expressing her gratitude to artist Rithika Merchant, Sonam wrote, “For this momentous occasion in our lives @anandahuja and I wanted @rithikamerchant to create a special piece of art to announce the birth of our baby boy. And we couldn’t be more ecstatic with it. In this work of art, Rithika refers to the universal concepts of a union between the Heavenly Father and the gentle, attentive and watchful Mother Earth, represented here by the Eagle and the Deer respectively.

She added, “Eagles or hawks are associated with fatherhood and otherworldliness (the overall Dyeus Pita/Sky Father concept). Deer are associated with motherhood. They are gentle, attentive and watchful creatures. They are always on their toes and can move, adapt and survive even the toughest conditions.

“Since the early Neolithic, when the land was much colder and reindeer more common, the female reindeer was revered by the people of the North. She was the “mother who gives life”, the leader of the herds on which they depended for their survival, and they followed the migrations of the reindeer for milk, food, clothing and shelter. She was a revered spiritual figure associated with fertility, motherhood, regeneration and rebirth from the sun,” she concluded.

The photos were originally shared by Rithika Merchant on her Instagram page where she captioned it saying, “Specially commissioned for Sonam and Anand on this special occasion, Rithika Merchant references the universal concepts of a union between Father of Heaven and gentle, watchful and watchful Mother Earth, represented in this bowed ‘Nova’ artwork by the Eagle and the Stag respectively. Congratulations to @sonamkapoor and @anandahuja on their new arrival!” Sonam also responded to it by expressing how much she loved the artwork. She commented, “I love it so much I can’t tell you. It represents all my emotions.

Expressing their happiness over the news, the Kapoor family celebrated the arrival of Sonam Kapoor Ahuja and Anand Ahuja’s baby throughout the week. Anand and her grandfather Anil Kapoor handed out sweets to the media while Rhea Kapoor provided a big welcome for Sonam and newborn Baby Kapoor-Ahuja when the actress returned home from hospital.

Read also: Sonam Kapoor Ahuja and her newborn receive the warmest welcome from Rhea Kapoor; sharing videos on instagram

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The return of the St Duthac Book and Arts Festival – bringing together local writers and guests in Tain from September 21-28 – has put tickets on sale this week

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Tickets are now on sale for the St Duthac Book and Arts Festival which, for its second year, brings together local writers and guests such as BBC correspondent and broadcaster James Naughtie, award-winning writer from the Highlands Cal Flyn, writer and storyteller Jess Smith, Hamish MacDonald as the festival’s traveling poet and Paul Murton – writer, television producer and director – known for his television series Grand Tours.

St Duthac Book and Arts Festival Traveling Poet Hamish MacDonald.

From September 21-28, the festival brings together events for lovers of books, arts and heritage, including music, art and writers of fiction, poetry and non-fiction.

The festival will launch on September 21 at the pop-up bookshop returning this year to the Clan Ross room of the Royal Hotel, Tain.

Writer and broadcaster James Naughtie.
Writer and broadcaster James Naughtie.

The bookstore will remain open for the duration of the festival.

There are some unusual events happening this year, perhaps one of the most intriguing being Trial By Jury at Tain Sheriff Court on Saturday 24th September.

Writer Mark Bridgeman will present a real-life murder case in which the audience becomes the jury. After hearing the arguments of the prosecution and the defence, they will be asked to reflect on their verdict – will they send a man to the gallows? There’s a prize for the winner, the actual verdict will be revealed, and there’ll be a chance to ask the writer questions in a Q&A that will follow.

The worlds of crime from Scottish writers from the Caledonia Crime Collective will be revealed – i.e. GR Halliday, Andrew Greig, Allan Martin, JD Whitelaw, Emma Christie, Marion Todd and Deborah Masson.

Neil Lancaster will talk about his latest character Max Craigie in his new detective series.
Neil Lancaster will talk about his latest character Max Craigie in his new detective series.

There will also be an inside track for would-be writers from best-selling detective writer Margaret Kirk on how to succeed in the publishing world. Neil Lancaster, another crime writer from the Highlands, will talk about his Max Criagie series. Thurso’s vet, Guy Gordon, will talk about his book, following the Channel 5 series The Highland Vet, in which he features.

There are three events focusing on the poetry of Highland poets Aoife Lyall, Mandy Haggith and James Ross.

Margaret Kirk will explain how to succeed in the world of publishing.
Margaret Kirk will explain how to succeed in the world of publishing.

Some other activities and events include photo walks, learning horror stories, jumping and drumming at the amazing Drumfun for the kids, and chilling out with the City Jazz Quartet for an evening of fun.

On Monday there will also be a half-day event at the spectacular Balnagown Estate, featuring storyteller Bob Pegg.

Bob Pegg
Bob Pegg

The book and arts festival takes its name from the patron saint of Tain, St Duthac,

And it returns after last year’s first event to focus on Scotland’s oldest royal burgh, Tain and the surrounding communities, to celebrate their unique heritage and the contemporary artists and authors who live there.

The planned entertainment program will take the public on a journey across the peninsula, allowing people to immerse themselves in writing and speaking through author events, workshops, arts and heritage trails and the temporary bookstore.

For the full line-up and tickets on sale go to the website: stduthacbookfest.com You can also purchase tickets from the TDDT (Tain & District Development Trust) office in Tain.


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A Definitive Summary of FSU Arts Clubs

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Most FSU students have a general idea of ​​what clubs they want to join when they first enter campus. They may have been active in similar organizations in high school or already have friends who have spoken about their organization. What students usually don’t realize is the amount of activities and clubs the state of Florida has to offer. While a full list of this school’s 788 RSO options can be found on NoleCentral, the following organizations are strictly for artists, fashion gurus, film and book nerds, creators, or anyone who enjoys quite simply all that is art and culture.

Film and production

With Florida State’s College of Motion Picture Arts ranked in the top 15 in the nation, it’s no wonder FSU draws throngs of filmmakers and production students every year. A student body as creative as FSU demands a selection of film and production clubs available at school today.

For starters, the FSU Film Club is the perfect organization for anyone who simply loves movies, whether it’s talking about them, watching them, or making them. There is also a club specifically dedicated to Japanese animation for all anime fanatics.

The Askew Student Life Cinema (ASLC) deserves its own subcategory because it has four distinct clubs that can fall under the arts and culture umbrella: the SLC Film Committee, the Game Committee, the Events Committee, and a video production committee.

On the production side, there’s Club Downunder, which works tirelessly to bring guest speakers, bands, and host fun events on campus for the enjoyment of the student body. FSU also has its own radio station called WVFS Tallahassee 89.7FM, simply known as V89, which students help produce and manage. For specific audio production, check out the Audio Production Club and the Recording Artist Club.

Music and performances

Whether you’ve been part of a church choir since you could stand or were born to be the next Beethoven, FSU has a place or two for you.

Those whose musical gifts involve instruments have almost too many options to bear. From the Trumpet Guild of FSU to the Society of Composers, your melodic niche can be found. For those whose instrument is their own vocal chords, there are a handful of choirs and acapella groups that call FSU home, including All-Night Yahtzee, Gospel Choir, Reverb FSU, Vox, and Acabelles.

Additionally, the student body here stimulates a wonderful plethora of performers unrelated to instruments or vocals. Our comedy groups such as 30in60 and No Bears Allowed can be found at events throughout the year with popular dance groups, such as the FSU Belly Dancers and Seminole Dance Force. The comedy sketch group Friday Night Live also hosts their own live show once a semester where they perform sketches and show video sketches with a host, much like their inspirational “Saturday Night Live.”

Writing and Art

Luckily for anyone interested in journalism or creative writing, there’s a publication for just about every form in Florida State. “Her Campus FSU” gives women the opportunity to try their hand at the publishing process, as well as an extensive social media staff for content creation experience. “Strike” is a fashion magazine that started at FSU and hosts fashion shows, photoshoots, and surprise themed releases. For those more focused on literature and art, Kudzu Review features the creative work of FSU undergraduate students. Hopeful screenwriters should check out the Script2Screen Club to help them prepare their future scripts for the big screen.

Other art connoisseurs are more than welcome and there is a wide variety of art programs offered at FSU. The Phocus Photography Club gives students the opportunity to master their camera skills while the Student Art Studio for Healing provides a safe space for students of all levels of artistic experience to practice art forms of all sorts.

Any of more than 700 clubs in the state of Florida offer the opportunity to form lifelong friendships and develop skills at all experience levels. Wherever your interests may fall on the arts and culture spectrum, FSU always has a club to call home.

Smart ways to buy and pitfalls of investing in high-end watches

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Born in Armenia and raised in Southern California, Edvin Ovasapyan is an accomplished investor, entrepreneur and financial strategist. His studies began in accounting and pivoted to the pharmaceutical industry, where he remained for over two decades. Edvin’s passion for complicated cars and watches developed in his mid-twenties and blossomed into a sophisticated collector.

When he’s not traveling the globe for his next acquisition of a business, a rare vehicle or a watch, Edvin is a die-hard Real Madrid fan, avid cyclist and, above all, a very proud father of her two adorable children.

For many, investing in timepieces may seem like the perfect win-win situation. In theory, it enables the purchase of a highly sought-after luxury item, the pleasure of owning and wearing such expressions of craftsmanship, and the eventual profits when reselling the item on the secondary market. Additionally, investing in a timepiece can be an investment in self-esteem, something to pass down to your children or other family members, or an addition to a well-maintained and organized collection.

And we’ve seen how the timepiece market has exploded in recent years, fueled by limited production due to the pandemic, style shifts and changes in luxury spending habits. Auction houses keep breaking records, especially with vintage pieces, some to six figures. However, as profit on resale is not always guaranteed, investors should be wise to ensure that they do not succumb to the many pitfalls of investing in high-end watches. Here’s what you can do to avoid some of the biggest risks and mitigate exposure to market fluctuations.

Invest in yourself

It is perhaps easy to forget, in a world where luxury and highly sought-after products such as sneakers are so commonplace, that such purchases may only be for pleasure, too. If you’re intimidated by the prospect of reselling, or if you’re on the hunt for a new high-end watch just out of passion, there are things you can do to maximize potential returns if you ever want to part with it.

The first is to always be selective. Some might tell you to start with a certain brand or niche market segment, or head towards names like Rolex or Patek Philippe, but if you’re buying for fun, you have to choose what you like. This serves the dual purpose of keeping you happy with your purchase, while passively increasing the value of less popular brands. The power of this should not be underestimated and an unsuspecting outsider may surprise you for years to come.

The second crucial tip is to buy early. Provided you have the capital, don’t wait to see if others buy it or if it gains popularity: rip it off at market value to increase your chances of a profit on resale.

Purchase for the purpose of selling or trading

Although there is absolute legitimacy in buying watches to simply enjoy and wear them, many have decided – especially given the recent boom in profitability – to buy a horological instrument and use it as a commodity. to trade or sell on the auction market.

If you decide to venture into this area, you’ll need to keep a close eye on the market to see what’s popular and trending, and grab those models as close to retail value as possible. Interestingly, the unlikely boom in the vintage and pre-owned watch market at the onset of the COVID-19 pandemic was largely attributed to people having more free time to research the market and find out what might be popular. With this increasing competition against other in-house watch experts, forums such as Rolex Forums, Chrono24, eBay and TimeZone will be your best friend. See what coins are selling for and where, asking prices and actual sale value. Staying ahead and avoiding inflated prices will allow you to get the most out of your purchase.

If this is your first time entering this market, other things to look out for include pre-owned and limited edition timepieces and watches with small production numbers or an interesting origin story or a previous owner, because rarity and exclusivity most often correspond. assess. You should also seek to prioritize quality over quantity when building a collection, take great care of it, and be patient when looking for new pieces. Finally, oddities like manufacturing errors don’t always have to be a red flag. Consider the Rolex Daytona 16520, whose “inverted 6” on a small lot made it very desirable, for example!

Best secondary market

When it comes to reselling your watch, the best platform to maximize your earnings will be a respected auction market, rather than your traditional secondary watch dealer. Indeed, being in direct competition with other end users will increase prices and increase your earnings. You’ll also be able to gauge prices and see real-time demand on your watch, rather than relying on what your dealer tells you.

When using these marketplaces, be sure to bide your time and not be put off by cheap offers, and always consider the fees so that you are not disappointed with your bottom line. https://www.secretentourage.com/lifestyle/watches/money-selling-watches/

Avoid hidden risks

As with any investment, there is capital at risk. But there are some perils specific to the timepiece market that you should also be aware of. As mentioned, the used market is booming and is a great starting point for those on a budget. However, the risk of counterfeiting, theft or watches in poor condition is high.

There is also a phenomenon of ‘Frankenwatches’, which are a low value combination of a number of different watches, re-enacted as Frankenstein’s monster. Needless to say, there is a stark difference between desirable manufacturing quirks and damaged or counterfeit products! Protect yourself by obtaining the relevant documents, when you can, and doing your due diligence before you buy.

Above all, treat yourself by investing in timepieces. If you have the capital, these luxury and high-end watches are something to admire and enjoy. And, of course, if you can do it while making good profits, then you’re a winner.

Discover new worlds with AI art

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Artificial intelligence has been around for a while now. It has appeared in many editing software for photography (and digital art), including Photoshop, Lightroom, Luminar and many more.

It’s a tool that helps us create the images we saw when we captured “that” moment in time. Or allows us to create the moment we wish we could capture. Even to capture something we dreamed of and not real at all.

What is AI Art?

So what is AI art? AI art refers to art generated using artificial intelligence. AI is a field of computer science that focuses on creating programs that mimic human intelligence or even simulate the human brain through a set of algorithms.

Is it considered real art? By many, yes. AI art even sells for substantial sums in some cases.

Pictorial vase of poppies

How it works?

Generally, you need a platform to create your AI art. There are several around.

Once you’re set up, you’ll need to create your variables. These are prompts that you place in the AI ​​platform to start your creation. It depends on the platform and the type of art you want to work with. Maybe something like steampunk, dusty road, extreme details and dragons. These are the prompts I used to create the banner image.

But it could be anything, a pictorial vase of poppies like above. You can add styles – like realistic, painterly, cyberpunk, hand drawn… anything. You can also add colors, sizes, etc. It’s worth seeing what others have done to get an idea. But there is more than that.

What is Midjourney?

There are a few platforms to help you create AI art. night cafe isn’t bad if you’re just starting out and have an idea of ​​what can be done. But I found it to be really limited. Mid Road is the one most seem to use. The website doesn’t look like much – it’s a Discord – but once you get into it, it’s mind blowing!

There is a free section, however, you only get limited uses and that disappeared pretty quickly just to figure things out. I ended up going with the $10 (per month) version just to see if I want to expand further in this area. I’m not going to dive deep into HOW it all works, but I might put some links at the end to get you started.

The Beginner page in Midjourney Discord

Is it cheating?

I do not think so. Let’s be real here. When digital photography was introduced, many photographers hated it and said it was deceptive and fanciful. Now it’s mainstream. Photoshop was cheating, and so was Lightroom, whether it was for photo editing or digital art.

AI is infiltrating our daily lives; it is a tool. Nothing more. So using it to create backgrounds or things to add to our digital art is NOT cheating. Still need to find the concept.

People take a photo they didn’t take, add it to a background they didn’t create, add some texture and some elements to it, and call it digital art. If they NEVER took any of the original photos or created the digital backgrounds and assets, is that cheating? Is it REAL art? They think so, so HOW is it different?

Sure, you can create some pretty amazing standalone artwork, but I also love creating elements and then turning them into digital art. It’s wild. For the past few weeks, I’ve spent more time creating digital art containing AI than creating standalone pieces from my own photos in Photoshop. So no… I don’t think it’s cheating at all! It’s liberating.

Space Cat mixes AI and Photoshop
Space Cat mixes AI and Photoshop

What does this mean for digital art?

Digital art is NOT dead, and I don’t think it will be for the foreseeable future. Maybe if your digital art is just making quick mockups for something bigger, then maybe.

But we still have to find the original concept. It still needs the human element. Without your contribution, nothing happens. Just like regular art, digital or otherwise. If you use a brush or a digital tablet, you should ALWAYS work and come up with ideas.

So I’m fairly certain that digital art is safe. Likewise, traditional art is safe such as painting, carving, drawing and more. People will always appreciate your unique talents. I doubt that will change.

What does this mean for photography?

Likewise, I don’t think digital or film photography is in danger at all. In fact, AI programs like Midjourney use photos and artwork on the Internet to get references. Millions and millions of photos, digital art and even traditional paintings, sculptures and more.

All of this information has to be collected somewhere. It’s sort of blended together to create something entirely new. This is NOT scamming someone else’s art. It takes ‘1’ and ‘0’ and does something else.

Is this the future of digital art?

AI is interfering more and more in our daily lives. Fridges and washing machines, smartphones, computers, and yes digital art. I’m sure it will evolve further. The origins of AI have been a bit scaremongering and so far only basic tasks, boring stuff, that a computer chip would happily purr.

Will the machine get up? I doubt it, unless there’s some evil force behind it all — but that’s another story!

The Cheshire Cat
The Cheshire Cat

The good, the bad and the ugly

In everything, there is a good side and a bad side. There is a steep learning curve. It takes time (and money) to create AI art, and most have a subscription service to get real value out of it. It can also accumulate.

Free services don’t have much to offer, are very limited, or only give you a few free trials. Even Midjourney. By the time you’ve sorted out what to do, set a prompt, reviewed, reviewed, and reviewed again, your limited free access is over. I got A LOT more from my first $10 spend, but I don’t know if I want to go up from there at this point.

There’s a lot of noise in the likes of Midjourney and finding your own art can get frustrating. There are private Bot rooms, but not for cheap seats. There’s also nothing stopping someone from copying your prompts, but even if they do, the end result is often different.

Images are small. I found that I end up scaling my finished pieces to create digital art of any actual size. If you increase the image size and take a closer look, often something goes wrong, especially with faces. I’m sure it will improve over time.

The best piece? Well, that’s A LOT of fun. It gives you a creative edge that you may not have thought you had or could have. The only limit is your account space and your imagination. But beware, it’s a bit of a trip down Alice’s rabbit hole and you can lose track of time VERY quickly. I admit it’s more fun than binge-watching TV! I created all the art in this post in Midjourney.

Alice down the rabbit hole
Alice down the rabbit hole

What did I create?

I played around with various ideas and made unique AI art; it’s fun to see what you can find. I have also created elements that I can then use in additional digital artwork. Now that’s been a lot of fun.

So where do I see all of this headed? Honestly, I don’t have a clue, I’m just in on it. But before you start joking around with words like it’s NOT real art, I think you should at least give it a try. It could be a lot more creative than you thought.

Is AI art for everyone? Probably not, but don’t knock until you try, as they say. I’m still learning how to navigate it like so many other people, but so far I’ve enjoyed the trip!

Interested in more?

For those of you who want to learn more, here are two videos that I found very helpful. But beware, it can be very addictive.

‘Mr Eggs’ Video Shows How Lighthorseman’s Artwork Was Created

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A VIDEO has revealed how Banksy-style artwork in a York pub was created in the middle of the night – by a mysterious Yorkshire-loving ‘Mr Eggs’.

It shows a character with a pointed hat, carrying the message: “It’s not me, it’s the others.”

Dan posted on the pub’s Facebook page: ‘We’ve had a Banksy-esque piece of wall art appear overnight at the pub – does anyone know who the artist is?’

There was speculation that it might actually be a Banksy – a work by the pseudonymous street artist whose satirical street art and subversive epigrams, executed with a distinctive stencil technique, have appeared in the streets, walls and bridges around the world.

“Someone said if it was a Banksy it would be worth more than the pub!” says Dan.

An email containing the video, sent to The Press last night, simply read: “Think you might like it? Thank you, Mr Eggs.”

The video shows the artwork created by torchlight with stencils and spray paints.

York Press:

It is accompanied by a song paying homage to Yorkshire.

The lyrics include the lines: “The rest of England have a bad idea of ​​the kind of people who live here… They think Yorkshire is full of smoke… and the only thing we’re good at is our beer… We don’t all wear flat caps and spiked boots, we don’t all eat black pudding and booze, and Yorkshire isn’t all dust and grime… You can have a great time walking the moors taking in the views.”

York Press:

The press have emailed ‘Mr Eggs’ asking what the cryptic message in the artwork means and if he has any plans for more such photos around York, but he hasn’t not answered yet.

Art walk, sale of stones and blacksmithing lessons

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Art walk

On Saturday during Art Walk, Guilded Lynx will host three artists: ceramicist Alison Anderson, landscape painter Caroline Duggan and abstract painter Marc Fisher. The artists will be in the studio on Saturday from 12:00 p.m. to 4:00 p.m. to talk about their work.

Sale of stones on Friday September 29 and Saturday October 1

Richard Cybulski has scheduled his next stone sale at Guilded Lynx. He will be present on Friday September 29 from 11:30 a.m. to 6:30 p.m. and on Saturday October 1 from 10:00 a.m. to 4:00 p.m. If you are looking for something in particular, do not hesitate to contact him before the sale.

Blacksmithing course October 22-23

Stephen LaBlanc will be giving a blacksmith course the weekend of October 21-23. The course will run from 10:00 a.m. to 5:00 p.m. for all three days. As soon as Stephen sends me his description, the class will go up to our website for registration. In the meantime, if you are interested in taking the course and want to pre-register, just send me an email. This class will have more advanced projects for those who have taken her class before, although beginners are also welcome.

Guilded Lynx is located at 258 Main Street. Visit the online metal arts studio here.

Mobile photo-editing app maker Lightricks launches text-to-image generator – TechCrunch

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Creator of mobile photo-editing app Lightricks is jumping on the AI-generated art bandwagon with its new “Text to Image” generator in its apps, including Photoleap, which is known for its photo-editing capabilities , and Motionleap, an app that can animate a still photo to make it look like it’s moving. Starting today, users can now create AI-generated images via text prompts to share with their friends and social media followers.

The new feature is the latest AI development for Lightricks, whose flagship Facetune app is used by many Instagram models to touch up their selfies and alter their waistlines. The Israel-based startup is known for leveraging AI technology to power a range of tools for creative expression. Its other products include apps such as Videoleap, Filtertune, Beatleap, Artleap, Lightleap and Boosted.

With the new “Text to Image” feature, Lightricks is adopting technology that will help users not only edit photos or videos, but also create art by leveraging AI capabilities. A similar feature was recently introduced in TikTok’s mobile app to create video backgrounds.

To use the new feature, click “Generate AI Image” at the top of the app and a text box will pop up for you to type in whatever comes from your wildest dreams (within reason, as l app does not allow NSFW content). You can also start with pre-written prompts provided such as “a purple fox, by Van Gogh” or “poodle singing k pop album cover”.

After creating the AI ​​image, users can access editing and animation tools. Photoleap provides tools like overlay, filters, quick art, cutout tools, etc. Motionleap has animation tools, a 3D motion tool, as well as overlays and other effects.

In comparison, other AI illustration apps like Dream by WOMBO do not allow users to edit photos.

Picture credits: Lightricks

The company explains that the underlying AI built into Lightricks’ applications is based on open-source code released by Stable Diffusion, a DALL-E 2-like system launched publicly recently.

To use the new feature, a user enters a prompt and the images are sourced from millions of images on the internet from publicly available websites.

“Text to Image” is free and users can upload as many of their AI image creations as they want. The user owns every image created with the generator, says Lightricks. If you sign up for a Pro subscription, you can download up to 100 “premium quality” files per month. The subscription ranges from $4.99 per month with an annual plan to $9.99 per month with a monthly plan.

“AI technology has proven its powerful capabilities in content creation. Implementing Text to Image functionality directly into our apps opens up a whole realm of possibilities for our users, giving them unlimited opportunities for creating amazing content,” said Zeev Farbman, CEO and Co-Founder of Lightricks, in a statement. “This new tool supports our mission to help users experience the magic of creation and inspire a new generation of content creators.”

AI-generated art, when used ethically, can be a great tool for creators who lack the artistic abilities to physically create their ideas.

Here’s an example of what we found while testing the feature ourselves:

Picture credits: Lauren Forristal/Photoleap

Notice how Nicole Kidman’s face is weathered and looks downright terrifying. This is done to avoid copyright claims. According to Lightricks, its terms of use do not permit copyright infringement. A human-owned photo of an internet celebrity may be copyrightable, but not a work of art created by artificial intelligence. A celebrity’s “likeness” is not copyrighted.

Unlike the more advanced DALL-E and Google Imagen systems, Lightricks’ basic text-to-image generator does not produce photorealistic results, similar to the ambiguous backgrounds created by TikTok’s new AI green screen feature.

NSFW material is a risk with AI art generation systems, but Lightricks uses the Google Cloud Vision API to prevent users from requesting NSFW content. When we tested the image-to-text feature on Photoleap, some text prompts resulted in images of mostly nude and distorted female avatars, but nothing explicit that could be considered pornographic.

We have also typed “Vladimir Putin strip tease” for educational purposes only. Fortunately, the AI ​​generator on Photoleap saved our eyes from burns and generated an artistic image of Putin wearing a suit and tie.

So if you were looking for something light and fun, try Photoleap and Motionleap. Don’t be weird about it.

Photoleap is available only on iOS devices, while Motionleap is on iOS and Android devices. Combined, Photoleap and Motionleap have been downloaded over 170 million times.

Art Supplies Market | Share, Size, Growth 2022

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Industry research

The research report on the Global Art Supplies Market includes specific segments by Region (Country), Company, Type and Application. This study provides information on the sales and revenue during the historical and forecast period from 2017 to 2028. Understanding the segments helps to identify the importance of the various factors which contribute to the growth of the market.

Pune, Aug. 26, 2022 (GLOBE NEWSWIRE) — The Global Art Supplies Market The 2022 research report provides in-depth analysis of market size, share, growth, trends and forecasts. The Art Supplies Market includes a detailed description of the market size and growth, value and major opportunities in the Art Supplies Market and outlines the factors that are and will be driving the growth of industry taking into account previous growth patterns in the forecast. period 2022-2028. The Art Supplies Market research report provides an overview of the market’s key drivers, challenges, opportunities, and risks. Key players are also profiled with their market shares in the global art supplies market discussed. Overall, this report covers the historical situation, the current situation and the future prospects. The Art Supplies Market research report encompasses research methodologies, porter’s five forces analysis, product scope, and CAGR status. Finally, the report offers a quantitative analysis of key countries based on their revenue share and the latest technological advancements in each region.

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Additionally, the research report provides in-depth data on major factors influencing the growth of the Art Supplies market at country and local levels, market size forecast, in terms of value, market share by region and segment , regional market positions, segment and growth opportunities by country, key company profiles, SWOT, product portfolio and growth strategies.

Impact of Covid-19 on the art supplies industry:

The Covid-19 pandemic has had a negative impact on the art supplies market. with industrialists. Major companies have suspended operations in different locations due to lockdown and social distancing norms. After the pandemic, the industry expects a lot of requirements and demands due to the rapid urbanization and the increasing need for rational use of the present area.

COVID-19 (Coronavirus) Global Market Conditions and Competitors:- In this report, analysts compile existing research on COVID-19, share key insights and help the reader spot new market opportunities related to the pandemic. Topics include product development pipelines, diagnostic testing approaches, vaccine development programs, regulatory approvals and more.

Get Sample Copy of Art Supplies Market Research Report 2022

This report gives a detailed description of all the factors influencing the growth of these market players along with their company profiles, product portfolios, marketing strategies, technology integrations and more information about these market players. Some of the key players are:

Major Key Players Listed in the Art Supplies Market Report are:

  • Faber Castell

  • Kokuyo Camlin

  • FILA Group

  • BIC Company

  • Hallmark Cards (Crayola)

  • Mapped

  • Stadtler Mars

  • pentel

  • Pilot

  • Newell Brands

  • Pelikan

  • Mitsubishi Pencil

  • Linc Pen & Plastics

Global art supplies market: Conductors and stresses

The research report has integrated the analysis of different factors which are increasing the growth of the market. It constitutes trends, restraints and drivers that transform the market either positively or negatively. This section also provides the scope of different segments and applications that can potentially influence the market in the future. Detailed information is based on current trends and historical milestones. This section also provides an analysis of the production volume in the global market and each type.

A thorough assessment of the constraints included in the report portrays the contrast with the drivers and leaves room for strategic planning. Factors that overshadow the growth of the market are pivotal as they can be understood to devise different bends for getting hold of the lucrative opportunities that are present in the ever-growing market. Additionally, insights into the opinions of market experts have been taken to better understand the market.

Inquire more and share questions if any before purchase on this report at – https://www.industryresearch.biz/enquiry/pre-order-enquiry/21202312

Overall, the report proves to be an effective tool that players can utilize to gain a competitive edge over their competitors and ensure sustainable success in the global Art Supplies Market. All conclusions, data and information provided in the report are validated and revalidated using reliable sources. The analysts authoring the report have adopted a unique and industry-leading research and analytical approach for an in-depth study of the global art supplies market.

Global Art Supplies Market: Segment Analysis

The research report includes specific segments by region (country), company, type and application. This study provides information on sales and revenue over the historical and forecast period. Understanding the segments helps to identify the importance of different factors contributing to market growth.

By type:

  • Pencil

  • Pen

  • Colors

  • Highlighter

  • Marker pen

  • Others

Per application:

Geographic segment covered in the report:

The Art Supplies report provides information on the market area, which is further sub-divided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country and sub-region over the estimated period.

  • North America

  • Europe

  • Asia Pacific

  • South America

  • Middle East and Africa

Answers to key questions in the report:

  • What is the growth potential of the Art Supplies market?

  • Which product segment will take the lion’s share?

  • Which regional market will impose itself as a pioneer in the years to come?

  • Which application segment will experience strong growth?

  • What growth opportunities might arise in the art supplies industry in the coming years?

  • What are the most significant challenges that the art supplies market may face in the future?

  • Who are the key companies in the Art Supplies market?

  • What are the key trends that are positively impacting market growth?

  • What growth strategies are the players considering to stay in the Art Supplies market?

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Detailed TOC of Global Art Supplies Market Report 2022

1 Art Supplies Market Overview

1.1 Product Overview and Scope of Art Supplies
1.2 Art Supplies Segment by Type
1.2.1 Global Art Supplies Sales Growth Rate Comparison by Type (2022-2028)
1.2.2 Pencil
1.2.3 Pen
1.2.4 Colors
1.2.5 Highlighter
1.2.6 Marker
1.2.7 Others
1.3 Art Supplies Segment by Application
1.3.1 Global Art Supplies Sales Comparison by Application: (2022-2028)
1.3.2 School
1.3.3 Home and hobby
1.3.4 Offices
1.3.5 Independent Professionals
1.3.6 Others
1.4 Global Art Supplies Market Size Estimates and Forecasts
1.4.1 Global Art Supplies Revenue 2017-2028
1.4.2 Global Sales of Art Supplies 2017-2028
1.4.3 Art Supplies Market Size by Region: 2017 versus 2021 versus 2028

2 Art Supplies Market Competition by Manufacturers

2.1 Global Art Supplies Sales Market Share by Manufacturers (2017-2022)
2.2 Global Art Supplies Revenue Market Share by Manufacturers (2017-2022)
2.3 Global Art Supplies Average Price by Manufacturers (2017-2022)
2.4 Manufacturers Art Supplies Manufacturing Sites, Area Served, Product Type
2.5 Art Supplies Market Competitive Situation and Trends
2.5.1 Art Supplies Market Concentration Rate
2.5.2 Global Top 5 and Top 10 Art Supplies Players Market Share by Revenue
2.5.3 Global Art Supplies Market Share by Company Type (Tier 1, Tier 2 and Tier 3)
2.6 Manufacturer mergers and acquisitions, expansion plans

Continued….

Browse full TOC at – https://www.industryresearch.biz/TOC/21202312

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The market is changing rapidly with the continuous expansion of the industry. Technological advancements have provided today’s businesses with multi-faceted benefits driving daily economic changes. Thus, it is very important for a business to understand the patterns of market movements in order to strategize better. An effective strategy gives companies a head start in planning and an advantage over their competitors. Industry Research is a credible source for getting the market reports that will give you the head start your business needs.

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Introduction to the Metaverse: Regulatory Perspectives in China and Singapore | Morgana Lewis

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“Metaverse” is generally used to describe any virtual world where users can interact using digital avatars. There are seven layers to any metaverse: infrastructure, human interface, decentralization, spatial computing, creator economy, discovery, and experience (like games, social interactions, esports, theater, and shopping). Users create an avatar and can then access existing metaverses via a virtual reality headset or from a computer, tablet or phone.

As part of our Asia Technology Innovation Series 2022our international team provides an overview of the Metaverse, examines how it is regulated in China and Singapore, and highlights key considerations for engaging and entering the Metaverse.

CHINA’S REGULATORY OUTLOOK

Like many jurisdictions around the world, China recognizes the importance of developing its digital economy in a context of rapid change in the world. Although it does not directly refer to the Metaverse, China’s Digital Economy Development Plan includes terms and covers concepts that would be applicable to the Metaverse, such as blockchain and virtual reality. However, there are significant concerns about money laundering and the potential impact of the metaverse on China’s financial markets, its currency stability, and foreign exchange, among other areas. For these reasons, China has a particularly tough stance on cryptocurrencies, which have been effectively banned in China since September 2021.

The China Banking Association, the Securities Association and the Internet Financial Association have published a set of guidelines for the non-fungible token (NFT) industry, which state in particular that the underlying assets of NFTs must not include bonds. , insurance, securities, precious metals or other financial assets. , and requirements for platforms to verify identities when issuing, selling and buying NFTs, among others. Despite the restrictions, some NFT markets remain strong, such as the digital art collectibles market, which operates on permissioned blockchains, with transactions conducted in Chinese yuan and not cryptocurrencies. With many new digital collection platforms launching every month since the start of 2021, the steady trend looks set to continue into 2022.

REGULATORY OUTLOOK IN SINGAPORE

We have yet to see targeted legislation addressing the metaverse; however, certain regulations would affect the offers made there. For example, Singapore’s Remote Gaming Act explicitly prohibits online gambling. If online gambling operators create a casino in the metaverse, they will need to consider measures to disable access for Singaporean users to avoid breaking the law.

With the explosion of cryptocurrency offerings, some casino games in the metaverse can lead these games with utility tokens for rewards. If these tokens are not considered “monetary values”, Singapore law will not treat them as gambling activities. However, if these tokens are redeemable for fiat currency or other items “worth money”, these would be prohibited.

Separately, operators that offer token exchanges on the metaverse may offer digital payment token services, and such activities are regulated by the Payment Services Act and the Financial Services and Markets Act of Singapore. Again, these operators in this space may need to consider restricting access for users from Singapore to comply with the laws.

OUTLOOK IN ASIA

In five to 10 years, it is very likely that we will see additional legislation from the region relating to the Metaverse and a possible convergence of approach as we learn more about what the Metaverse has to offer and how it works. It should also be noted that “real world” regulation, especially in the financial services space, would likely be sought to be replicated in the virtual metaverse space.

KEY THINGS TO CONSIDER WHEN ENTERING THE METAVERSE

  • Register, monitor and enforce intellectual property assets: Whether or not you want to engage in the metaverse, if you own intellectual property assets, see what their scope is compared to digital assets. You may also want to register existing trademarks to cover digital assets. Companies Should Expand IP Monitoring and Enforcement to Popular Metaverse Platforms
  • Impact on current and future license agreements: Consider express provisions in current and future intellectual property licensing agreements to cover the use of intellectual property in virtual worlds (e.g. digital goods and services)
  • Dive into a metaverse: Consider your target audience and which platform is best for reaching that audience. Acquiring digital assets, including acquiring a digital wallet, purchasing cryptocurrency or coins from this metaverse, or acquiring virtual land.
  • Contact the architects of the virtual world: Consult with a Virtual World Architect regarding virtual land and buildings, how you want to present your brand, and the type of interaction you want to have with users.

Our team discussed these and other questions during the An Introduction to the Metaverse session of our Asia Technology Innovation Series 2022.

Media Module – Data Source Element: An Introduction to the Metaverse August 2022

[View source.]

“I Will Not Speak Māori”: the provocative new work of Tame Iti causes a sensation

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“I will not speak Maori” is a phrase Tame Iti has been forced to write hundreds of times by his teachers.

Now the sometimes controversial Tūhoe kaumātua is causing a stir by painting the phrase on Wellington’s waterfront.

The words are bolded on a scrim tied to a fence in Odlin’s Square, part of an art installation called I Will Not Speak Māori to celebrate Te Wiki o Te Reo Māori, Maori Language Week.

Iti said the installation was meant to be provocative and he liked the response it received from passers-by when he painted it – although it confused some people at first.

READ MORE:
* Week-long spotlight on te reo Māori as part of a broader focus on language revitalization
* Wellington’s journey to becoming a te reo capital
* Te Reo Māori: Mastering grammar
* Broadcasters reveal how controversial just saying Maori words correctly can be

“People responded quite fiercely, and I really like that. I had to explain to them that we (Maori) were subject to this. We had to write this, so you have to see this.

“It does what it’s supposed to do – create conversation.”

The installation marks the 50th anniversary of the delivery of the Māori-language petition by Iti and Tāmaki Makaurau’s Ngā Tamatoa Māori activist group to the Parliament of Te Whanganui-a-Tara in 1972, calling for recognition of te reo Māori .

Tame Iti's art installation in Wellington celebrates Te Wiki o Te Reo Māori, Maori Language Week.

MONIQUE FORD/Stuff

Tame Iti’s art installation in Wellington celebrates Te Wiki o Te Reo Māori, Maori Language Week.

He launched Maori Language Day the same year, which became Maori Language Week in 1975.

Parts of the installation have been temporarily dismantled due to high winds on the waterfront, but they will be reinstalled by September 1 in time for Te Wiki o Te Reo Māori.

Before being taken down, a member of the public cut the word ‘No’ from the board, so that it read: ‘I will speak Maori’ – a statement Iti appreciated.

“I want to meet that person, I want to shake their hand, because it’s all part of art…that’s what art is, and I love it.”

WellingtonNZ/Stuff

“I will not speak Maori” is written in bold on a canvas tied to a fence in Odlin’s Square.

Tiana Rakete, event development manager at WellingtonNZ – the agency that helped fund the installation – said it was only fitting that Iti chose Wellington to showcase the works.

“Wellington is an integral part of the story of te reo Māori revitalization, like the place where Tame brought the petition 50 years ago.

“There’s nowhere else this conversation could appropriately take place.”

The installation, which also includes corten steel sculptures, audio and visual presentations and live performances by Tame himself, will be officially open to the public from September 1.

South Korean collector Higgin Kim: “People are really tough. Art works like a tenderizer’

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There are many contemporary art collectors who specialize in a single medium or style or coterie of artists. Higgin Kim, the president of the Byucksan Engineering and Construction Company in South Korea, is not that kind of collector. “I don’t care about art stories and a scholastic approach,” he says in his sprawling office above Seoul’s Guro district, when asked to define his tastes. “I just want to enjoy my life.”

The 400 works spread across Byucksan’s headquarters in the Pan-Pacific Building suggest a man with boundless curiosity and a zest for new ideas. There is a Nam June Paik robot sculpture assembled from television monitors and other technological devices; an amber glass horse by Shin Sang-ho (next to a window, to catch the sunlight); an intricate spider’s web – like a tangle of ropes suspended in a box – by Tomás Saraceno. (“What the hell is that?” was Kim’s reaction when he saw the latter at Art Basel.) A hologram of James Turrell hangs behind his receptionist’s desk and behind his own. finds a Yoko Ono Plexiglas edition with a small text saying “I LOVE U”.

Yoko Ono ‘Add Color Painting: I Love You’ (2004) © Yoko Ono. Courtesy of Galerie Lelong & Co, New York. Photo: Jun Michael Park

Wearing his signature bow tie with a beige suit, Kim, 76, looks like an erudite gentleman, even an Indiana Jones-esque adventurer. He is erudite and soft-spoken, which lends some intrigue to his talk of the hard-working construction industry. “People are really tough,” he says, “so I want to share art. Art works like a tenderizer. As classical music plays in the background, he jokes about some of Byucksan’s 1,200 employees discussing, with some exasperation, how he’s forcing the culture on them, with lectures and ‘points’ employees can spend to attend cultural events. “Once in a while we teach them about paintings and classical music and things like that,” he says.

There is a rich recent history of South Korean conglomerates spending heavily on art in Seoul as part of their philanthropic activities. Samsung has its Leeum and Ho-Am museums in the capital region, filled with ancient Korean materials and global contemporaries; beauty empire Amorepacific opened a David Chipperfield-designed headquarters and museum in 2017; the energy company ST International joined forces with Herzog & de Meuron for its own premises last year.

Two sculptures rest on pedestals: a geometric shape in red metal and a rectangular plexiglass piece containing an intricate pattern
Left: “Gentle Is the Resting Hand” by Brad Howe (2018). Right: “Housed Barrier IV” by Eun-Suh Choi (2012) © Jun Michael Park

Kim took a different approach. The art is his, not Byucksan’s, and he decided not to make it a dedicated home. “I have already designed the museum twice. I have land to build a museum. But maintaining a museum is very expensive. Some who have gone down this path have had financial problems and had to offload art. “You can’t do that,” he said. “You have to learn from history and from other countries.”

Kim’s story spans post-World War II Korea. He was born in Seoul in January 1946, just months after the country’s liberation from Japan, and in 1948 his father started the company, before the family fled to Busan during the Korean War. They moved back to Seoul when Kim was 10; later he attended Miami University in Ohio. After compulsory military service, he worked for the family business and found his way to Saudi Arabia in 1973 for a dozen years. “There I made my first million dollars,” Kim says. “I was 31 years old. Nothing to spend it on. There was nothing there. He spent half his time working for arms dealer Adnan Khashoggi’s Triad International, dealing with Asian investment and trade affairs, he says.

Back in 1985 in Seoul and in the family business, Kim began amassing an art collection with his wife, Sohyung Lee Kim, although Khashoggi’s love of opulence doesn’t seem to have rubbed off on him. “Within the limits of the budget, you have to find the best,” he tells me. “That’s the principle of the collection.” They focused on contemporary art because the exorbitant prices of Impressionism and Modernism seemed beyond their reach. (“I could sell that,” he says, pointing to the art on the walls, “and buy a piece.”)

A brightly lit room contains works of art and sculptures
Artwork at Higgin Kim’s office at Byuksan Engineering Headquarters, Seoul © Jun Michael Park

His approach was to buy one or two pieces a month, and the collection now numbers over 1,000 works. While Kim is open to trade, he only sold once, when a relentless dealer convinced him to part ways with one Anselm Kiefer. By contrast, Kim sold a number of affiliates while struggling to stay afloat during the Asian financial crisis of the late 1990s. “I was so stupid,” he says. “We knew it was coming. I did nothing about it. And I didn’t know what that meant. I thought it was someone else’s problem.

Even years after their purchase, many works continue to have a deep resonance for him. An early purchase, a Salvador Dalí print of the crucifixion, “never bores” Kim. (“I was born a Christian, I never missed Sundays,” he says.) After the death of his first wife, he began seeing his current wife, art dealer Ihn Yang Kim, there. is 12 years old, while serving on the steering committee of the Korea International Art Fair (which is taking place alongside Frieze Seoul next week). She sold him a James Casebere photograph and a Liam Gillick mural hanging in a conference room. “I was dating my wife, so I had to buy art from her gallery,” he says. “It has also helped our collections.”

A picture hanging on the wall of an office shows a greyish image of a hallway, staircase and window

James Casebere, ‘Turning Hallway’ (2003) © Courtesy of the artist and Sean Kelly, New York. Photo: Jun Michael Park

A detailed photograph shows an array of fruits on glassware on a wooden surface

‘Mistral’ (2017) by Wolfgang Tillmans © Courtesy of Galerie Buchholz. Photo: Jun Michael Park

When he’s not thinking about art, there are philanthropic and community projects to keep him busy. For example, he lends three rare instruments – two violins (including a 1683 Stradivarius) and a cello – to the Sejong Soloists ensemble in Manhattan. “I don’t have a talent for painting or playing other instruments or singing, but I really enjoy their profession,” he says, and supporting artists has its perks. “It’s fun talking to them. Today, it’s another way to meet young people.

Kim has given an art-buying budget to his son, who works in Byucksan, and his son’s wife, an artist, and their recent acquisitions include a radiant fruit still life by photographer Wolfgang Tillmans which hangs near elevators. “I try not to buy,” Kim says, a hint of mischief in her voice. “It’s difficult.”

bsfoundation.org

ZozoFest and Zozobra Art Show artists bring the 90s to life

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Not Even Zozobra by Mike Graham De La Rosa. (Courtesy of Mike Graham De La Rosa)

The burning of Zozobra is an art form, an expressive depiction of rejuvenation that has gained constant recognition.

ZozoFest and Zozobra Art Show exemplify the meaning of the event each year and have not only captured the essence of tradition, but have advanced the relationship between the extinction of gloom and broader concepts.

The annual show takes place the weekend before the fire at Old Man Gloom, which sits between the revival that takes place in the spring and the resolutions made at the turn of the year. Artist Will Shuster created the event in 1924 and has inspired other artists ever since.

Many new original works will be on display at ZozoFest and the Zozobra Art Show in Santa Fe, which begins today and runs through Sunday. Organized by the Kiwanis Club, this year’s gallery theme is an ode to the 90s.

Su Walker holds her contest-winning entry for ZozoFest at her studio in Rio Rancho. (Liam Debonis/Diary)

Since 2014, the Kiwanis club has honored Shuster with its Decades Project. Event chairman Ray Sandoval, after hearing firsthand that the event had become obsolete, floated the idea of ​​a 10-year journey through the decades leading up to the 100th anniversary of the fire of Zozobra.

Sandoval said he wanted to take people on a tour of history going back in time.

“There are basic elements in the ritual of getting rid of gloom, and we’re never going to take that away, but we want to provide a new interpretation,” he said.

Ray Sandoval

Since the start of the project, each year has presented the decades in sequential order from Zozobra’s inception to its 98th fire. With only two years left until the milestone, it’s time to revisit ’90s staples like grunge music, Tim Burton, flip phones and Furbies.

“People are so talented,” Sandoval reflected on the state’s artists. “We have some really good things in store for people.”

ZozoFest and Zozobra Art Show is a free event and proceeds from all art sales go to help children in New Mexico.

The exhibition will feature works by popular artists such as Mike Graham De La Rosa, festival veterans such as Jennifer M. Gutierrez and first-time submitters such as Su Walker.

Regardless of experience level, quality works of art will be on display, acknowledging this iconic celebration.

Capture items

Middle school teacher Graham De La Rosa is the creator of Cosmic Desert, an expertly designed digital art project. The painter embraced the most modern form of creation in 2019, and his work captures elements of New Mexico through a unique blend of pop culture and tradition.

Growing up in Santa Fe, Graham De La Rosa observed and embraced its culture and stereotypes. From standards like distinctive art and heritage to outward depictions like aliens and the atomic bomb.

Jennifer M. Gutierrez shows off her art for ZozoFest and Zozobra Art Show 2022. (Courtesy of Jennifer M. Gutierrez)

“I love those things, but there’s just this obsolescence that I really enjoyed playing with,” he said of the stereotypes. “There are these textures that I love in New Mexico…these elements that make up our lives.”

Graham De La Rosa was young in the 90s, but old enough to appreciate trends and draw inspiration from the music scene. His work, “Zozobra Not Even” – which will be featured on a ticket poster – is a take on Nirvana’s classic “Nevermind” album cover.

His piece is his first submission to ZozoFest, an event for which he has great admiration. He reflected on how Zozobra presents an opportunity to confront and overcome their respective issues.

He said, “Will Shuster put a mirror on New Mexicans and their day-to-day issues and said it was good to have them, let’s celebrate them as a community.”

Art comes full circle

Gutierrez is a retired elementary school teacher, which is only to be expected given that her art debut also started in elementary school – creativity is on full swing. She said she was always sitting and doodling, making posters and flyers for her classmates, family and herself.

A woman of many artistic professions, she said, “My artwork is whimsical. I like to make people smile. »

Gutierrez will be attending her fifth ZozoFest and was excited about the ’90s theme. She shared her inspiration from the decade, particularly her admiration for Tim Burton, best exemplified in his work, “Scissorhand Zozo.”

She said of the event, “It’s interesting to hear from other artists and how they create. It’s fun to look at all the artwork and it helps the kids. It’s worth it.”

Many works will be exhibited at this year’s event, from veterans to newcomers.

The first time is a charm

Walker is an internationally acclaimed artist, working primarily in the realm of aliens and Sasquatch. Although she only started drawing in 2016, she said she has been working in crafts for four decades. The Zozobra Art Contest leading up to ZozoFest and the Zozobra Art Show was Walker’s first contest, and she did her research.

“I’ve studied all kinds of Zozobras throughout history,” Walker said. “It was fascinating to watch Zozobra change over the decades.”

For the competition, Walker explained that she explored what was famous in the 90s and designed her piece based on some of the biggest trends and entertainment. His Zozobra, which was named Zozobra Youth Poster 2022, comes with a Furby next to his leg and sports a Jedi robe and lightsaber while chatting on a flip phone. Darth Maul’s menacing face serves as a backdrop of fireworks.

Walker shared, “I just had fun doing it before anything else. I was shocked when I got the email from (Sandoval). “

ZozoFest and Zozobra Art Show continue to grow, showcasing the many talented artists who reside in the state.

Reviving the tradition

Mike Graham De La Rosa throws his Zozobra art “Zozobra Not Even” behind him. (Courtesy of Gema Tarango)

Art from ZozoFest and Zozobra Art Show will be for sale with proceeds going to the Kiwanis Club to help improve the lives of children and families in New Mexico. Sandoval said he received 450 submissions to the competition from first- and second-graders alone. There were 150 total submissions specifically for ZozoFest and Zozobra Art Show.

Sandoval said, “As people learned about the Decades Project, creativity boiled over and participation escalated. We are really happy about that. We have reinvigorated the tradition.

No matter the generation, the artists of ZozoFest and Zozobra Art Show remind us that tradition and progression can coexist, especially when there is a common denominator: shaking off the darkness. Gloom has no concept of time or generational differences, but can still be burned every year.

Leave it all hanging out at the West End Festival – Monterey Herald

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The Sand City West End Celebration turns 21 this weekend. Hard to believe, I know. For those of us who have supported this very special, locally produced, free, music, arts and community focused street fair from the start, it has become one of the events of the year where people go out in public to embrace the diverse visual arts community by buying their wares and seeing and being seen on the streets of good old Sandy Town. There’s music and dancing in the streets, food, wine, beer, new murals joining the ranks of older ones that have become a visual signature for this small strip of town in the across the highway from the beach.

While still considered a place where you get your cars worked, buy paint, shop for home improvement products, and chat with designers and artisans, Sand City has also become something of an art colony. Originally marketed as our own little New York-style SoHo neighborhood, Sand City’s West End has found its own colorful and unique personality. If you don’t go there much, be sure to come to this event as there is something for everyone. The theme for this year’s event is Celebrating Art and Community.

“The theme we chose this year is exactly what the festival is all about, all about community and celebrating the arts,” said event producer Steve Vagnini. “That sums up everything West End is about and that’s what we do every year, celebrating the community. People who come to the West End Celebration come for the atmosphere. It’s cool and it’s where people who love the arts and support artists and musicians come together. Additionally, all participating nonprofits help many facets of our community. We are all here together for one weekend of the year. Unlike the Car Week the region has just hosted for people from all over the world, the West End celebration is the community and the fiber of who we are.

Headlining the indie scene on Saturday at Sand City’s West End celebration is Maria Muldar. (Courtesy picture)

Top musical acts appear on three stages spread around the event footprint which engages multiple blocks centered around the indie stage at the intersection of Ortiz Avenue and Hickory Street. Considered the main stage, the Independent is so called because of its proximity to the Independent apartment building and its plaza adorned with public sculptures. Redwood Avenues, one block from Ortiz Avenue, has a stage at each end, the Redwood Stage at the north end, and the Hear & Now Stage at the south. On Saturday, the event runs from 11 a.m. to 5:30 p.m. and on Sunday from 12 p.m. to 5 p.m.

Headlining Independent Stage Saturday is Maria Muldar, one of the great vocal artists to emerge from New York’s folk music revival scene of the early to mid-60s in Greenwich Village. She is truly an American treasure, best known for the 70s pop music hit “Midnight at the Oasis”, although at the very essence of her career she is known as a respected performer of nearly every style of music. American roots music, including blues, early jazz, gospel, folk, country and New Orleans R&B.

Before her big solo career with the performance of “Midnight at the Oasis”, she played in the Even Dozen Jug Band and the Jim Kweskin Jug Band, where she met her husband Geoff Muldaur. They then separated to perform as a duo, and when the marriage broke up, she went solo. Later in her career, she collaborated with artists like the Jerry Garcia Band, bluegrass icon Peter Rowan and New Orleans piano legend Dr. John. She received a Grammy Award nomination for Best Traditional Blues Album for her “Richland Woman Blues.” She has released 31 albums and appeared on the records of many other artists. It will be a delightful way to end the day on the main stage; his set starts at 4 p.m. Also appearing that day are local jazz saxophonist and pianist Gary Meek and his band; singer/songwriter Adrea Castiano; 15-year-old Pacific Grove rising singer and songwriter Katherine Lavin and the day’s 11 a.m. opener is the cream of the traditional Guitars Not Guns organization of the group of young performers.

The Redwood Stage features Central Coast bands rocking out. Meez831 headlines at 4:30 p.m., with Jon Griffin & The Lightfighters, Wolf Jett and Next Exit filling out the day’s performance from 12:30 p.m. The Hear & Now stage features young alternative artists, topped by DJ Razzvio at 4pm, with Sea.LVL, Reverend Stephan Sams & The Savages, Merely Amuse and Morticai opening the stage at noon.

The headliner of the Independent Stage at 4 p.m. on Sunday is The Sun Kings, a Bay Area-based Beatles cover band that has become nationally known as one of the best in a crowded field. of Beatles repertoire groups. You’ll hear Beatles songs from every year of their relatively short recording career. Bandleader Drew Harrison is also a well-known John Lennon stylist, presenting a show called “In the Spirit of Lennon”. You will definitely want to participate in this action. Also on the bill, highly talented singer-songwriter Cindy Alexander, born and raised in Los Angeles, and her band, Matt Masih, and Dirty Cello kick things off at noon.

The Redwood Stage Sunday has a really solid lineup of local talent. The headliner is Wrockinfoose at 4 p.m., with Hayley Jane, Chuck Brewer Band and The B-Keepers kicking off at noon. At Hear & Now, find multi-talented musician, composer and visual artist DJ Hanif Wondir at 4 p.m., with The Bassment, Palo Santo, Meredith McHenry and Holysea in support from noon. For all exact times and more band information, please visit the event website at www.westendcelebration.com.

The West End celebration has seen many changes in its 21-year history. In its early years, the focus was on Sand City artists who kept working studios within the city limits, and there was a desire to build the city’s reputation as a place for artistic creation. Well, this aspect has been very successful, attracting a large number of artists to the region to settle in town. Most if not all of these studios will be open to the public to view and develop relationships with the artists through purchases and return visits at other times of the year.

Additionally, Vagnini has organized over 150 artists, craftsmen and various other vendors who line the streets to sell their creations. Many are local Monterey County artisans, but there is also a great selection of other artists from outside the region. Vagnini said the jury selection process required the seller to sell only original creations, which could vary from paintings, sculptures, photographs, jewelry, clothing, home and garden ornaments, to many other types of art. .

Before the weekend for the second year takes place the WE wall art festival. Twelve international mural artists selected by a jury come to Sand City to collaborate on six walls in the West End District. The artwork will live on as permanent pieces that will create an outdoor gallery all year round. During the festival there will be two large murals still in progress, plus an experiential street mural on the festival grounds, a very cool 3D drawing on the street itself and festival goers are invited to engage and take pictures with it.
No street fair is complete without food and drink. There will be 15 local food vendors, three craft beer vendors (Post No Bills at the Independent, English Ales and Other Brothers Brewery which will be located adjacent to the Redwood Stage). El Jefe Nitro Margaritas and a wine tent will provide a variety of delicacies at the party. Proceeds from the wine tasting tent hosted by Galante Vineyards and Dawn’s Dream will benefit the Monterey County chapter of Guitars Not Guns. More than 25 non-profit organizations will be represented this year with information booths. Raffle tickets will be on sale at the Town’s information tent for a chance to win an electric guitar signed by Dweezil Zappa.

In addition to parking in available spaces on the streets of Sand City, attendees can park at the Edgewater Mall and take the shuttle that connects the Lucky Store in the center to the other side of town at Sweet Elena’s Cafe & Bakery. People can take the shuttle which arrives every 15 minutes at every stop along this route. The festival footprint is fenced and security is stationed at the entrances to watch incoming and outgoing traffic, and there are cement barricades around the ends of the streets to keep out wandering drivers. Just step out and see for yourself if you don’t already know what a great time this event is, and admission is free!

I just have to scream for the Saturday night concert with Forrest Day at the Urban Lounge. The hugely popular Bay Area rocker calls Monterey/Big Sur home away from home, and he has a huge following here. He has been absent from the scene since before the pandemic hit, mainly because he was trapped in the Philippines until recently with its COVID lockdown. The show starts at 8:30 p.m., tickets are $22, available in advance at www.forrestday.com, click on the event listing or at the door.

Manchester Psych Fest – September 3, 2022

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The incredible Manchester Psych Fest is back on September 3rd. The one-day event is the largest yet with over 60 bands, artists and DJs playing in venues across the city, from the Deaf Institute to Albert Hall. The event includes a new festival hub – Mushroom Fields, as well as Art & Wellbeing and a fine selection of Manchester street food stalls.

Kurt Vile and The Coral headlined, with appearances from many bands featured on Louder Than War including Loose Articles, The Psychedelic Porn Crumpets, Warmduscher, She Drew The Gun, Melt Yourself Down, Bleach Lab TRUUCES, The Bug Club and Lime Garden.

Tickets are available here: Psych Fest Tickets

After:

Manchester Psych Fest announces brand new outdoor festival hub – Mushroom The fields.

Taking over the new Manchester Circle Square area, ‘Mushroom Fields’ will serve as the gateway to the festival for attendees

Mushroom Fields will transform into a brand new outdoor festival center for wristband collection and will feature art exhibits, murals and installations, digital arts, interactive psychological stretching, street food, the First Chop Bar, a photo booth, DJs, shops and NFTs.

The UK’s leading psychedelic music and arts festival, Manchester Psych Fest, returns for its ninth and biggest edition of the one-day event to date, taking place on September 3, 2022.

For this year’s festival, Manchester Psych Fest is launching Mushroom The fields’an exciting new festival center, located in the vibrant new district square circle area on Oxford Road. Mushroom The fields’ will be the gateway for festival-goers to the event, with an official Psych Fest Bar sell for the first time limited edition Psych Fest Mango IPAbrewed and presented by the award-winning Manchester Brewery First chop.

Some of Manchester’s best street food purveyors will also be there, including the much-loved Indian vegan outfit This charming Naan, New Zealand restaurant Tahi, Asian food hall Hello Oriental and and more than The Holy Kitchen of the Mountain.

As always, Manchester Psych Fest continues to put visual art first, this year with a “Art History of Manchester Psych Fest” exhibition, takeover of NFT in the digital art market known originmurals and sculptures by local female artists Hermitsmoze (Rebecca Miller) Lindsay Johnson & Sveggs_ink (Sophie Egleton) and visual extrapolations by the designer and artistic director Raissa Pardini.

But that’s not all! Manchester Art Workshop Nafty’swhose visual offerings have become synonymous with the festival, were commissioned to display the festival artwork, while the artist and designer Lucy Grainge will be showcasing their work, hosting print workshops, and even giving away special limited-edition Psych Fest tote bags.

Festival-goers will also be able to pick up some official festival merchandise and premium vintage clothing from the Northern Quarter outlet Seven Bionics and start their day with a Psychedelic stretch session with personal trainer Fiona Ledgard.

Manchester Psych Fest will work alongside a carbon-savvy urban art and street art production team Protest Art Projects, give life to the management and construction of the Mushroom Fields Hub by injecting several large-scale structures and colorful locations that you won’t want to miss.

With over 60 live artists, DJs and a brand new ‘Mushroom The festival hub of Fields, there’s plenty to experience at Manchester Psych Fest 2022, as it occupies some of Manchester’s finest venues, all within a 10-minute walk via the Oxford Road corridor. AAlbert Hall, O2 Ritz, RNCM, Gorilla, Deaf Institute and YES host a full day of amazing live music.

Mushroom The fields’ will open to festival-goers from 10am and remain open until 9pm, with wristband collection and the Psych Fest bar also open from 10am.

Final tickets available via manchesterpsychfest.com.

Full Line-Up (these participate in places):

KURT VILE & THE VIOLATORS, CORAL

GRUFF RHYS, midi noir, TINARIWEN, WARMDUSCHER, JANE WEAVER, BATTLES, HINDS, GOAT GIRL, DREAM WIFE, GWENNO, PSYCHEDELIC PORN CRUMPETS, SHE A DREW THE GUN, MELT YOURSELF DOWN, TESS PARKS, THE KVB, WILLY MASON, FEET, THE LUCID DREAM, SCALPING, ROSE CITY BAND, THE BUG CLUB, BLEACH LAB, SUGAR CANDY MOUNTAIN, DEJA VEGA, CIRCUIT DES YEUX, PENELOPE ISLES, BESS ATWELL, KEG, HAMISH HAWK, COLA, DUMBO GETS MAD, SIMONE MARIE BUTLER (PRIMAL SCREAM) DJ SET, JENNY O. (INCLUDE FULL POINT), FAT DOG, PARTY DOZEN, MESS ESQUE, SKULLCRUSHER, BULK ITEMS, HONEYGLAZE, LIME GARDEN, THE GOLDEN DREGS, HIGHSCHOOL, GHOST WOMAN, MINI TREES, GRACE CUMMINGS, TTRRUUCES, FAKE TURINS, AUTOMOTION, O. (INCLUDE FULL POINT), JAPANESE TELEVISION, FREAK SLUG, MEWN, MYSTIC PEACH, OCTOBER AND THE EYES, DREAM NAILS, YUMI AND THE WEATHER, MARUJA, HEAVY SALAD, SPLINT, DUVET

+ DJs // ARTISTIC INSTALLATIONS // CATERING STANDS // MERCHANDISE

*14+ // LINE-UP SUBJECT TO CHANGE

ALBERT HALL, O2 RITZ, RNCM, GORILLA, DEAF INSTITUTE, YES, CIRCLE SQUARE

// SAT 03/09/22

~

stronger than war

De La Salle College students bet on art | County Leader of St George and Sutherland

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AWARD WINNER: The grade 10 students’ collaborative sculptural artwork, Twelve Baskets, explored the biblical passage “The Food of the 5000” from John 6:1-15.

Students from De La Salle College in Caringbah were named major winners at the 23rd annual Clancy Prize Religious Art Exhibition held in July.

The exhibition, held at the McGlade Gallery on the Australian Catholic University campus in Strathfield, is a celebration of student creativity and spirituality expressed through the visual arts, inspired by Cardinal Edward Clancy.

This year, 68 works of art by pupils in grades 7 to 11 were exhibited in 150 Catholic schools in Sydney.

Grade 10 students Lachlan Whitehill, Peter Petrou, Max Lukotsievskiy, Jonathan Passas and Jesse Stone were announced as the proud recipients of the $1,000 Brian Jordan Award.

The group presented a collaborative sculptural work titled Twelve Baskets who explored the scripture passage “The Food of the 5000” from John 6:1-15.

A school spokesperson said that to prepare for the Clancy Award, the five students attended a second term workshop and took part in an intensive two-day holiday workshop to learn traditional and contemporary approaches to basketry.

“It was a challenging task for the students who spent many hours mastering the craft skills and techniques to make the collaboration work,” the spokesperson said.

To create the artwork, they used the ancient basket weaving technique of weaving (predating pottery or stone carving) to make 12 baskets.

Each basket was woven using 12 strands of rope to form the spokes or pegs. These 12 strands created the base of the baskets, giving them strength while helping to maintain the overall shape.

“The number 12 has been used repeatedly throughout our work to symbolize the 12 baskets of bread that remained with the disciples after Jesus fed the 5000,” the students said.

“We chose to weave baskets because they can be understood as functional objects, objects of beauty as well as complex networks of knowledge transmission.

“Just like the scriptures that remind us not only of the beauty that God offers us here on earth, but of the wonderful things that can happen when we trust in him and follow him.”

College Principal Peter Buxton thanked the families and community members who attended the grand opening in support of the student exhibitors.

“The Clancy Prize is a fantastic opportunity for students to see their work professionally curated in a gallery and to view other work produced by students in the Archdiocese of Sydney,” said Mr Buxton.

“The quality of contemporary exhibition space at ACU provided a fantastic backdrop for this showcase of outstanding student work in the visual arts.”

Megan the Stallion and More – Billboard

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It might surprise some pop and hip-hop fans to see Megan Thee Stallion — one of the most recognizable artists of the past half-decade in popular music, responsible for several massive hits and culture-dominating catchphrases — making her mark. debuted at No. 4 on the Billboard 200 album chart this week (dated August 27) with her Traumazine together, three points below the new, much less visible Rod Wave Nice spirit LP.

The thing is, despite her major hits — including two No. 1s on the Billboard Hot 100 — Megan has never scored a No. 1 album on the Billboard 200. While the Houston rapper has pop hits and a profile public the likes of which an artist like Rod Wave (who previously topped the Billboard 200 with 2021 soulfly) can currently only dream of, the latter is the artist who broadcasts in the greatest volume when it comes to complete albums: Nice spirit racked up 157.753 million official US on-demand streams for its 24 tracks in its first week, while Traumazine managed 85.72 million official on-demand streams for its 18 tracks during the same period, according to Luminate.

However, Megan is far from the only major star not to have a Billboard 200-topped LP on her resume. Here are 10 of the biggest names of recent years who have yet to reach pole position on the leaderboard, in no particular order.

Ghana: Raising Youth Awareness Key to Cultural Conservation – Okraku-Mantey

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The Deputy Minister of Tourism, Arts and Culture, Mr. Mark Okraku-Mantey, called for the awareness and training of young people in the process of conservation and enhancement of cultural heritage for sustainable tourism development.

According to him, the involvement of individuals in raising awareness would better preserve the heritage of humanity, improve living conditions and reduce poverty.

“Preserving the cultural and natural heritage, to make it accessible to all, to make cultures and civilizations better known, to improve daily living conditions and to reduce poverty, this is what gives meaning to the sustainability of tourism development,” he added.

The minister revealed this at the opening of this year’s World Folklore Day in Accra yesterday.

Under the theme “Arousing the interest of African youth in folklore for sustainable development”, it aims to inspire young people to better understand the essence of folklore in the development of a sustainable economy.

This year’s commemoration saw the participation of Kenya, Togo, Namibia, Gambia and Togo.

Folklore or intangible cultural heritage refers to the means of expressing one’s culture, including music, dance, art, designs, names, symbols and signs, performances, ceremonies, architectural forms , crafts and stories, languages ​​or any artistic cultural expression.

Mr. Okraku-Mantey said the ministry, in partnership with the National Council of Folklore and other cultural agencies, was working hard to develop and implement tourism policies and activities involving the participation of communities, especially young people. , the preservation and enhancement of Ghanaian cultural heritage. long-term.

The initiative, he said, would create a strong relationship between tourism and culture to help Ghana become a competitive and attractive place to live, visit and make business investments to foster sustainability and development.

“Let’s keep in mind that a thriving cultural economy has the potential to improve a country’s social and economic status as well as contribute positively to the lives of our communities,” he said.

The Executive Director of the National Folklore Council, Madame Bernice Ann-Deh Kumah, said that sustainable development was an important topic in African countries and therefore every factor that contributed to or promoted it should be carefully considered, whether whether it is tangible or intangible cultural heritage, adding “nothing should be left out”.

She said that the National Folklore Council is taking the necessary steps to compile a national register of intangible cultural heritage and following the procedure to inscribe it on the World Heritage Register in order to attract tourists to the country.

“In this regard, we must collaborate with our neighboring African countries to enable us to be inscribed on the World Heritage Register, because some intangible cultural heritages are similar in most African countries,” she added.

Professor Kodzo Gavua, Lecturer at the University of Ghana – Department of Archaeology, on his part said that it was imperative for Africans to redefine themselves in a way that would give an edge over their counterparts, adding ” And for this to be achieved, young people must seek, study and learn about African ways of life, especially folklore.”

He said that in recent times, Africans have tended to accept whatever is presented to them without screening, which has led to a lack of trust and a misunderstanding of values.

“Once we start appreciating what we have, we will be able to ensure that we have our dignity and satisfaction. Studying folklore will also challenge us to think logically and bring us back to understanding ourselves,” added Professor Gavua.

The Romantics – NoHo Arts District

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[NoHo Arts District, CA] – The City of West Hollywood and the Classical Theater Lab are proud to present Edmond Rostand’s play The Romantics directed by Suzanne Hunt, produced by Suzanne Hunt and Alexander Wells, September 10-25.

5 uses for NFTs now and in the future

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NFTs… people are still trying to figure out what they are, what they mean and what they are for. A non-fungible token (NFT) is a record on a blockchain that is associated with a particular digital or physical asset. It is a one-of-a-kind digital asset that you can own.

NFTs in news are usually linked to a piece of digital art. But, it turns out that NFTs can be used in multiple ways and for multiple reasons.

“All of the use cases we see today for monetizing NFTs center around using the unique identifier property of NFTs to track the value and ownership of items that are rarely publicly available anonymously, but In the future, we expect serial number technology to move into the background as a tool for software developers to manage the location of standard data structures and necessary functions to the operation of their applications, and yes, some of these applications may create games or tools that use the NFTs collected by users today, but they will by far be used to manage new streams of data yet to be develop and make existing data feeds available to web3 platforms”, says a Web3 expert Connor Borrego.

Here are Connor’s top 5 hot uses for NFTs that we’ll see in the near future:

Hot Use #1: Adhesions

NFTs are used for member access to online and offline experiences for community members. Because non-fungible tokens are simply a serial number for a piece of data, like an image, on the internet, which has the official NFT community image is recorded on the blockchain and publicly verifiable.

Hot Use #2: Limited Edition Digital Art or Music

Collecting limited edition digital art or music is one of the most popular and well-known ways to use NFTs to earn money. For the most part, these items are just collectibles that fans of the artist can purchase as a form of memorabilia to display to show how much they support their work, but some of these NFTs have additional uses such as a royalty share and a distribution interval. on commercial licensing of art to generate revenue. For a visual artist, that might mean turning one of their favorite tracks into printed posters, notebooks, stickers, that showcase the art, while a collectible song might tie into revenue from various streaming services where the song can be distributed.

Hot Use #3: Limited Edition Physical Products

In the art world and other markets for high-value assets like real estate or diamonds, there is a concept known as provenance, which involves understanding the chain of possession of an object. until its creator, it adds trust and transparency to the transaction and the integrity of the asset in question. Because of how blockchain works, its ledger technology provides this documentation by default, allowing it to be used as a trusted source of information for transferring ownership of high-value assets.

Hot Use #4: Financing Option

NFTs can be sold as collectibles, vouchers, or memberships, which are great tools for communities or brands that don’t have established business models, because you’re able to sell something value to people who believe in your mission and this contribution can give them different levels of control over the decision-making related to the money raised. For startups, this looks a lot like pre-selling your product and redeeming an NFT voucher with lifetime access to your future software product, while for nonprofits, this type looks like a sale at the digital oven who hires a professional chef to fundraise with the best pastries, or even as an online country club.

Hot Use #5: Data Privacy/Content Creator Use Case

For now, the people who will benefit the most from the creation of NFT are the content creators of any media or social media. Even if you are unable to monetize your content today through existing advertising platforms, it allows the limited fan base you have today to collect your viral moments and support your continued work online. Monetizing digital real estate like social media pages, websites, and apps has a suite of predictable sales models to choose from, and so most monetize from a combination of merchandise and ads, NFTs simply provide an additional option and way to reward community members, subscribers and subscribers, potentially with a chance that their item will be more than just a valuable collectible in the future.

IRON MAIDEN artist DEREK RIGGS kicks off pre-sale of new Axes High t-shirt in support of PAUL DI’ANNO’s medical treatments

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Here’s an update from writer Stjepan Juras, who has written many Iron Maiden-related books. Juras was instrumental in helping former frontman Paul Di’Anno raise money for medical treatment in Croatia which prevented the loss of his leg.

Juras: “As you know, the entire Iron Maiden fan community stood up and gave legendary vocalist Paul Di’Anno a helping hand. Iron Maiden & Phantom Music also joined in this great action. This story wouldn’t be complete without the legendary monster Eddie and his creator Derek Riggs. Derek offered his special artwork which we will print on a t-shirt, along with a special certificate. The shirt will be unique and you’ve never seen anything like it. Remember, Eddie “killed” Paul on the Venezuelan edition of the Maiden Japan live EP, and now he’s going to resurrect him and give him a chance for a new life on his own two feet. bundles with the 2022 event t-shirt and signed Warhorse DVD single at maidencroatia.com/warhorse.”

Front design of the t-shirt:

“While there were various suggestions and ideas for what to put on the front of the shirt, Derek chose one of his previously unreleased illustrations directly related to the Killers album. He called the illustration “Axes High”, in order to playfully play with the theme of the illustration and the name of the famous 1984 single Maiden. write a message of support, Axes High For Paul Di’Anno!”

Design of the back of the t-shirt:

“The back design of this t-shirt will not be revealed until September 1st once the design is ready for release. What is so special and unique about this design that it must be revealed a month later?For the first time in history, the names of the fans who helped do a good deed with this purchase, will be printed on the t-shirt, meaning each t -shirt will be personalized.

We want to present it to you in more detail how it will look like. Namely, under the illustration at the top of the back, the inscription ‘Axes Crossed Tour 2022’ will be written, and instead of the names of the cities and the dates of the imaginary tour, the names of the fans will be written in the same form. than tour dates, which are usually found on band t-shirts. It is for this reason that we cannot show you the final design. Only a limited number of names will fit on the back of each t-shirt, so if you want to be part of the story and have your name included, you better order quickly (you can choose not to have your name printed if you don’t like it, let us know).

This is Derek’s first time drawing Paul, since the Venezuelan edition of the single “Maiden Japan” in 1981, where he was beheaded by Eddie. Today, smiling and proud, Paul thanks all the fans who helped him on his road to recovery. Someone would say ‘fingers crossed’ for successful future operations, but we’ll say ‘Axes Crossed’ in our style.

There will be a white, gray and black version of the t-shirt available, so feel free to choose the color you prefer. Or, better yet, why not order one of each! This way, you will do three times as much to help Paul. The price of this beautiful shirt, shipping included, is 44 Euros. All t-shirts will ship in September 2022. The exact date will be announced soon!” Pre-orders can be placed now here.

After seven years in a wheelchair and a difficult condition that could have resulted in the loss of his leg, Paul Di’Anno found salvation in Croatia. Since the end of November 2021, Paul has been undergoing treatment in Croatia, where he took his first steps in May after a series of lymphatic drainage treatments and daily physiotherapy. The complicated and long-lasting treatment was initiated by fans and friends who raised significant funds to restore his new life.

On May 22, when Iron Maiden kicked off their 2022 Legacy Of The Beast World Tour in Zagreb, Croatia, bassist Steve Harris and Di’Anno reunited for the first time in years. A video was released with Di’Anno meeting Harris and band manager Rod Smallwood. Di’Anno sang on Iron Maiden’s first two legendary albums, Iron Maiden and Killers. Di’Anno has spent the past few months in the Croatian capital receiving lymphatic drainage treatment ahead of an upcoming knee operation.

A guest on The Metal Voice, Di’Anno recounted the encounter with Harris and Smallwood, calling it “quite emotional”. Check out the interview below.

Di’Anno: “It was great because first I met Steve’s sister, Linda, who I hadn’t seen in about 30 years. And then…Steve was amazing, then Rod too , it’s been my whole year , actually. It was fantastic. It was pretty awesome. It was pretty emotional. If this had been the first time we’d spoken together in 30 years, it might have been a bit weirder. But, like I said, we talk about football and stuff like that, and Steve has called me a couple of times from (his home) in the Bahamas.”

Black Cinema 1898-1971 Exhibition – The Hollywood Reporter

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Regeneration: Black Cinema 1898-1971, the second major temporary exhibition at the Academy Museum of Motion Pictures, which opens August 21, is a nuanced exploration of how black filmmakers and performers have influenced, defined and expanded American films. The exhibition (which ran for five years) takes a comprehensive look at film history and black visual culture more broadly, highlighting notable items like the original costumes worn by Lena Horne in Stormy weather (1943) and Sammy Davis Jr. in Porgy and Bess (1959), Nicholas Brothers tap shoes and one of Louis Armstrong’s trumpets.

The show’s debut, 1898, marks the creation of “the first known moving picture sequence of African-American performers on the screen, [seen] with dignity,” says Doris Berger, Co-Curator and Vice President of Curatorial Affairs at the Academy Museum. The show ends with material from 1971, the dawn of the Blaxploitation subgenre, acknowledging the shift that took place when black film arts became available and embraced by mainstream audiences.

“We watch independent films as well as Hollywood, and we watch in front of and behind the camera,” says Rhea Combs, co-curator and director of curatorial affairs at the Smithsonian’s National Portrait Gallery. She adds that the exhibition is anchored “with four thinkers: Sojourner Truth, Booker T. Washington, Frederick Douglass and WEB Du Bois, [and looks at] how these 19th century scholars understood the power of imagery and representation, and how this relay was passed on to independent filmmakers in the 1920s and 30s to further this charge.

According to Combs, the way African-American images have historically been portrayed informed the entire show, which includes photographs, scripts, posters, drawings, newsreels, and more.

The show provides a sociopolitical context for early experimental works like “race movies”, which were independent productions from the 1910s through the 1940s, made for black audiences and featuring all-black actors. And the “Stars and Icons” gallery, with more than 50 glamorous portraits on display, pays homage to black artists who were household names as well as those who never quite crossed into the mainstream. “Even within the Hollywood film industry, there were so many people who had roles that were uncredited from the start,” Berger says.

“We recognize that Blackness isn’t a monolith. So there’s this idea of ​​really understanding that there were ecosystems of creative people that were feeding off of each other,” Combs explains. “And this idea of ​​regeneration in is one that I think we not only found inspiration in through a literal ‘racing movie’ title with that name, but also that idea of ​​creativity fueling other creative opportunities. That’s another reason why we integrate visual art with film art – to make sure we recognize that these are porous ideas and that people are inspired by a variety of different artistic pursuits.

To develop the contemporary elements of black film culture for the exhibition catalog in particular, the team interviewed filmmakers such as Barry Jenkins, Dawn Porter, Charles Burnett, Ava DuVernay and had conversations with descendants of notable actors (such as the grandson of Cab Calloway and Tony Nicholas, the son of one of the Nicholas Brothers), in an effort to make the continuum clear – an acknowledgment of how early films not only informed films of the 20th century, but also how they continue to inform the art being made today.

Courtesy of the Cinémathèque française

Another notable aspect of the show is its exploration of lesser-known film formats of yesteryear such as “soundies”, three-minute musical shorts that served as the precursor to the modern music video. “[They were] really important to black performers and musicians… they were shown in [panoram] machines in cafes, bars and taverns,” says Berger. “It was so exciting to see that long before MTV there were musical films that really provided a great opportunity for amazing African American talent to perform not just in nightclubs but also in movies – first short, then also long.”

The programming surrounding the exhibition (which runs until April 9) will be robust, in the form of a series of films programmed by Bernardo Rondeau, the museum’s senior director of film programs. Screenings begin August 25 with Reform the school (1939), a film thought to be lost in time, which was rediscovered through research. Starring Louise Beavers, it was restored in 2020 by the Academy Film Archive specifically for this exhibition, making it available to view after many decades. Screenings of around 20 more films will follow, all of which constitute a survey of the films explored in the exhibition itself, including Princess Tam Tam (1935), No Exit (1950) and The learning tree (1969).

The curatorial team also worked with the Los Angeles Department of Education and consulted with a scientific advisory board (including contemporary filmmakers such as Burnett, DuVernay and Shola Lynch as well as other scholars) to cultivate a program around movies, which will be fully expressed at a peak in February.

“We really want to open up film history to inspire conversations, good relationships, and hopefully joy and a sense of discovery of film history,” Berger says. “Sometimes that also means expanding the barrel. And that’s exactly what Regeneration try to do. We try to expand the canon of what is known about African American filmmakers and performance.

A version of this story first appeared in the August 17 issue of The Hollywood Reporter magazine. Click here to subscribe.

Ground Zero Blues Club Hosts First “Art in the Alley” Event

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BILOXI, Miss. (WLOX) – On Saturday, the Ground Zero Blues Club hosted its first “Art in the Alley” event in Biloxi.

About forty vendors set up inside and outside the club. Operations Manager and VIP Daniel Givens said it was a way for them to showcase some of the local artists and also showcase the club’s new floor.

“Biloxi is known for its casinos and many events are held in Ocean Springs, Bay St. Louis and Long Beach. I just want to bring more attention to the neighborhood with all the generations they’re doing here downtown,” Givens said.

Painters, food vendors and boutiques were among the kiosks selling their wares. Jennifer Sandmann was there to support her business owner friends. She said it’s important to support local artists.

“It brings people together. It brings joy. He inspires other artists. If you’re an artist, you see other things going on. It inspires kids to be artists and to be creative,” Sandmann said.

One of these artists was Keith Douglas, also known as Cartoon man. He came from Louisiana to present his works of art.

“It’s a habit now. I drew every day except maybe 14 days. So one day I woke up around 11:30 p.m. and drew a circle and went back to sleep. I wasn’t going to let 14 days pass,” Douglas said.

Givens hopes to be able to organize this event at least once a month.

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2022 NFT Art Market Outlook: Big Things Are Happening

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This press release was originally issued by SBWire

New Jersey, United States — (SBWIRE) – 08/20/2022 – The latest published Global NFT Art Market Market Research provides insight into the current market dynamics in the global NFT Art space, as well as what our survey respondents – all of the outsourcing decision makers – predict the market will look like in 2027. The study breaks down the market into revenue and volume (if applicable) and price history to estimate size and analysis trends and identify gaps and opportunities.

Key players in the global NFT art market
OpenSea (US), Rarible (US), SuperRare (US), Foundation (US), Atomic Market (US), Myth Market (US), KnownOrigin (UK) , Enjin Marketplace (Singapore), Portion (US), Async Art (US).

Sample Free Report + All Related Charts & Graphs @: https://www.advancemarketanalytics.com/sample-report/185884-global-nft-art-market#utm_source=SBWireLal

NFT stands for Unfungible Token. An NFT artwork is considered a magnificent probability for artists. NFT artwork should be a way for wealthy men and women to build wealth in the backyard of the current economic system through the sophistication of blockchain except the sophistication of modern artistic discourse. The Internet was initially designed to promote free access to information, but what happened next was the opposite. NFT ART’s social community is centered around posting work with the help of every trending and up-and-coming artist in contemporary pop, illustration art, and crypto art. All artwork displayed in NFT ART galleries is as properly minted on the blockchain as a special asset.

Market Growth Drivers:
Growing popularity among individual artist

What is the trend in the market:
Growth of digital innovation worldwide

Challenges:
Regulatory Guidelines on NFT Art

Market leaders and their expansionist development strategies
In December 2021, non-fungible token (NFT) marketplace Rarible launched its integration with energy-efficient proof-of-stake blockchain Tezos after announcing the plan last month. Tezos is also the blockchain used by gaming giant Ubisoft for its recent entry into the NFT space. Rarible’s integration with Tezos marks the third blockchain supported by Rarible, after Ethereum and Flow.
In 2021, Opensea released a statement announcing that it had acquired a $100 million Series B round, led by Andreessen Horowitz, valuing the organization at $1.5 billion. As the first cross-chain NFT marketplace, the company also announces official support for various blockchains. With this funding, OpenSea will continue to evolve its NFT platform, initially focusing on adding engineering expertise and expanding globally to new regions and audiences, enabling users to purchase and to trade NFTs more easily.

Download Sample PDF of [email protected] Art Market Report https://www.advancemarketanalytics.com/download-report/185884-global-nft-art-market#utm_source=SBWireLal

The NFT Art industry report additionally presents an analysis pattern of previous data sources gathered from reliable sources and establishes a previous growth trajectory for the NFT Art market. The report also focuses on comprehensive market revenue streams along with growth patterns, local reforms, COVID impact analysis with a focused approach on market trends and overall market growth.

Moreover, the NFT Art report depicts the market segmentation based on various parameters and attributes based on geographical spread, product types, applications, etc. The market segmentation further clarifies the regional breakdown for the NFT Art market, business trends, potential revenue sources, and upcoming market opportunities.

The global NFT art market segments and market data breakdown are illustrated below:
by type (photos, videos, music, other), application (personal use, commercial use), end user (artists, musicians and celebrities, graphic designers, animators, companies, other)

The NFT Art market study highlights the segmentation of the NFT Art industry on a global distribution. The report focuses on LATAM, North America, Europe, Asia and Rest of the World regions in terms of developing market trends, preferred marketing channels, investment feasibility, long-term investments and business environment analysis. The NFT Art report also draws attention to the product capacity, product price, profit stream, supply/demand ratio, production and market growth rate and a projected growth forecast.

In addition, the NFT Art market study also covers several factors such as market status, key market trends, growth forecasts and growth opportunities. In addition, we analyze the challenges faced by the NFT art market in terms of global and regional basis. The study also encompasses a number of emerging opportunities and trends which are considered considering their impact on a global scale in gaining a majority of market share.

The study encompasses a variety of analytical resources such as SWOT analysis and Porters Five Forces analysis coupled with primary and secondary research methodologies. It covers all the bases surrounding the NFT Art industry by exploring the competitive nature of the market with regional analysis.

Brief About NFT Art Market Report with TOC @ https://www.advancemarketanalytics.com/reports/185884-global-nft-art-market#utm_source=SBWireLal

A few points from the table of contents:
Chapter One: Presentation of the Report
Chapter Two: Global Market Growth Trends
Chapter Three: NFT Art Market Value Chain
Chapter Four: Player Profiles
Chapter Five: Global NFT Art Market Analysis by Regions
Chapter Six: North America NFT Art Market Analysis by Countries
Chapter Seven: Europe NFT Art Market Analysis by Countries
Chapter Eight: Asia Pacific NFT Art Market Analysis by Countries
Chapter Nine: Middle East and Africa NFT Art Market Analysis by Countries
Chapter Ten: South America NFT Art Market Analysis by Countries
Chapter Eleven: Global NFT Art Market Segment by Types
Chapter Twelve: Global NFT Art Market Segment by Applications

Buy the latest detailed report @ https://www.advancemarketanalytics.com/buy-now?format=1&report=185884#utm_source=SBWireLal

Thank you for reading this article; you can also get individual chapter wise section or region wise report version like North America, Western Europe or Southeast Asia.

For more information on this press release, visit: http://www.sbwire.com/press-releases/nft-art-market-outlook-2022-big-things-are-hapening-1362503.htm

The Holy Kingdom is getting a new drama

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Overload fans finally get a glimpse of what the new movie, The Holy Kingdom, has in store with the release of the first key teaser visual.

The first teaser image for Overlord: The Sacred Realm finally fell.

The visual features protagonist Ainz Ooal Gown menacingly in the background. The new film was announced in May last year, but many details about the project, including the creative team, character voice actors, and release date, have yet to be confirmed. Based on the title, many have speculated that The Holy Kingdom will adapt the light novel series’ “The Paladin of the Holy Kingdom” story arc, which sees the Roble Holy Kingdom being invaded by a group of demi-humans.

RELATED: One Piece, Overlord Publishers Sue Major Manga Piracy Site

Series creator Kugane Maruyama was first released Suzerain independently online before the story was acquired by publisher Enterbrain, a subdivision of Kadokawa. A total of 16 light novels have been published since July 2012, and the series has achieved substantial financial success with over seven million copies of the books circulating worldwide. To celebrate Suzerainof the tenth anniversary, Maruyama shared on social media his feelings about the story’s popularity and thanked his avid fans and readers, writing, “I will continue to do my best to deliver even better things in the future. !”


Suzerain, an isekai series set in a dark fantasy world, tells the story of a video game veteran named Momonga, who is an avid gamer of YGGDRASIL, an in-depth multiplayer online role-playing game. When he stubbornly refuses to log out when the game must be stopped for good, Momonga finds himself trapped in YGGDRASIL alongside his NPCs, who begin to develop real sentience. Unable to return to his life in the real world, the player decides to assume the identity of his character, Ainz Ooal Gown and sets out to see if other players are trapped as well.

RELATED: Overlord’s Armies Gather in New Season 4 Opening Sequence


The first season of the animated adaptation from the Madhouse studio (The vampire dies in no time) debuted in July 2015 and the fourth season of Suzerain is currently part of Crunchyroll’s summer lineup. Satoshi Hino (fire force) stars as Ainz alongside Emiri Kato (black butler) like Aura Bella Fiora and Masayuki Katou (Log Horizon) as Demiurge. While Hino will likely voice Ainz again in the new film, no official announcement regarding the role has been made.

For those who want to get a glimpse of what might happen in Overlord: The Sacred Realm prior to the film’s premiere, Maruyama’s light novels are distributed in North America by Yen Press.


Source: Twitter, via Crunchyroll

Strauss & Co’s August online sale shines the spotlight on artists from the Eastern Cape

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One of the highlights of the auction is a specially curated session by senior art specialist Ian Hunter, who is originally from the Eastern Cape and has been exposed to the province’s cultural exports since he was a curator at the Ann Bryant National Gallery and lecturer in the region.

“The Eastern Cape has helped nurture some of South Africa’s most prolific artists and writers. This is an area close to my heart – its history of struggle, distinct landscapes and rich indigenous culture have contributed so much to our artistic and literary canon,” says Hunter. The session features artists such as George Pemba, Penny Siopis, Norman Catherine, Brian Bradshaw, Estelle Marais, Benjamin Coutouvidis, Helen Timms, Cecil Skotnes and Michael Hallier.

The Eastern Cape session focuses on three “hubs” in the Eastern Cape.

“The area that people think of as the ‘heartland’ of the Eastern Cape art scene is usually Makahda (formerly known as Grahamstown),” says Hunter. “Highlights include artwork from the Grahamstown Group, an art movement led by Brian Bradshaw, who was a professor of fine art at Rhodes University in the 1960s. He was an interesting and sometimes controversial figure in the history of South African art,” he adds. “Although British-born Bradshaw’s style shared similarities with the so-called ‘kitchen sink realism’, his combination of abstraction and realism brought a new kind of observation to the South African art,” says Hunter.

One of the standout lots from the Eastern Cape-focused session is an exuberant oil painting, Namib, an abstract landscape of the Namib Desert painted in shades of rich ochre, saffron and flecks of cerulean blue. In this impressive landscape, Bradshaw punctuates the reliefs with indigo cloisonne outlines and impasto brushstrokes. He contrasts this with color fields of russet horizons and cadmium, sun-scorched plains.

Another highlight is Helen Timm, a former student of the Master of Rhodes Divide the land, a large-scale oil painting, executed in an expressive style, rich in texture and movement. The painting reveals a bird’s eye view of a South African settlement – Timm’s feverish brushstrokes enliven the rich tapestry of dwellings and landscapes in his unique painterly style.

Port Elizabeth has also produced several stellar artists – one of the most notable is the black modernist, George Pemba. “A key part of this session is New Brighton, an intimate watercolor of street life in Pemba’s hometown,” says Hunter. Pemba was inspired by European realists Honoré-Victorin Daumier and Gustav Courbet and their unwavering portrayals of class distinctions and social issues. But unlike the Franco-European realists, Pemba recorded his own reality with dignity and pathos.

In New Brighton two female characters stroll through the streets of the then racially segregated township on the outskirts of Port Elizabeth (now Gqeberha). Despite the tragic history of forced evictions by the apartheid government and issues like poverty and repression, there is almost a rural idyll in this watercolor painting of Pemba.

There are also two remarkable sculptures by Anton Momberg that go under the hammer. Momberg, who is considered one of South Africa’s most accomplished realist sculptors, studied at Port Elizabeth Technikon, earning a teacher’s degree in fine art, specializing in sculpture. bellaa sculpture cast in polyester resin is a stylized nude of a young woman.

Featured artists from East London are Jack Lugg, who ran East London’s Technical College Art School for 35 years, Cecil Skotnes and Norman Catherine.

The sale also includes pillars and perennials at regular fine art auctions, with prints by William Kentridge, Walter Battiss, Georgina Gratrix, Peter Clarke and JH Pierneef. Pierneef, always a favourite, has two works in this sale, including Hoenderhok, Meerlust, a charming linocut of a chicken coop in front of a gabled Cape Dutch farmhouse.

“Pierneef’s linocuts are selling exceptionally well in the secondary market, fetching prices well above their appraised value. There is a definite growth in collector interest in Pierneef, not just in South Africa, but also internationally,” says Bina Genovese, Senior Executive at Strauss & Co. “Our two unique artist Pierneef sales reflect this, we have seen exponentially rising prices for, among other things, his linocuts,” she concludes.

Strauss & Co’s August online sales presented by its decorative arts, wine and art departments all open for auction on Monday, August 22 at 8:00 am. Auctions close on Monday, August 29 as follows:

Decorative arts at 6 p.m. (A Cape Country Collection, Silver, Furniture, Ceramics, Jewelry)
wine to 7 p.m. (Cape Town Heritage Wines)
The art to 8 p.m. (19th Century, Modern, Post-War and Contemporary Art – with a focus on artists linked to the Eastern Cape, plus a dedicated Welgemeend session with all proceeds going towards the preservation and conservation of the Welgemeend Mansion in Cape Town.

Browse the auctions and register to bid: www.straussart.co.za.

GenZ artist Enli Yu cooperated with ATELIER BEAUTE CHANEL in New York and created a new Times trend

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Theirsverse’s “Generation Z” artist Yu Enli recently participated in multi-cooperation activities in person at the ATELIER BEAUTE CHANEL store in New York City. He created a unique artistic trend, integrating art and painting with beauty and fashion, breaking boundaries, and integrating Web2 and Web3. He regards makeup as a form of artistic expression and introduces people to his strong sense of trend, diversity and new-era fashion look through his artistic journey by breaking the fourth wall.

Compared to other public figures, Enli hopes to express herself and prove herself with her own art. At the age of 9, his work was exhibited at the “Young GEISAI (TAIWAN) 2011” organized by Murakami Takashi in Asia. With the attempts and ambition of the next generation, Enli tries to create art through fine art, video, sound, body, etc. and uses these media to freely assemble and disassemble.

During ATELIER BEAUTE CHANEL beauty workshop activities, we watched the introduction of Theirsverse movie created by Enli and were impressed by the work and culture created by this “Generation Z” artist with great sense artistic and great creativity, which is characterized by a great appreciation value, collection value and personality of young people.

The highly anticipated interactive activity is the make-up design performed by the make-up artists of the ATELIER BEAUTE CHANEL and Enli workshop. They recreate the makeup of Enli’s works on real people and break the fourth wall accordingly.

Next, Enli, the young artist, talked about his pursuit and exploration of art and let everyone see that he hopes to create a brand new artistic space in his own way, which he is in the process of do right now. It breaks down the barriers between virtual space and real space. It integrates them so that the imagination of the young population, group co-creation, more cultural media and other content will prevail indefinitely in the future.

“I think makeup is a form (of expression) and it’s a relatively new art.” – Enli

For Enli, fashion is the expression of an emotion and clothes have no gender. Clothes are just clothes and they cannot define a person. Makeup is also a new art form, which is drawing on the face and giving everyone the right to explore more possibilities of their facial features.

At the scene, while Enli and three makeup artists recreated the makeup, Enli’s mother, well-known artist Annie Yi, also came to the scene as a “reviewer” to evaluate the makeup. Known as the “leader of beauty”, Annie Yi explained and commented on the creation of different makeups at the scene. Besides makeup, Annie Yi said that she recently learned and understood a lot of knowledge in multicultural fields, hoping to make progress with her son and help Enli show off her artistic creation and talents better.

In this cooperative interaction between Enli and the ATELIER BEAUTE CHANEL atelier, we saw the creativity of the younger generation of artists and understood that art is not just a one-sided expression. If we can understand that makeup is an art form and separate the art of makeup from social judgments and limitations, then we can truly enjoy the fun of makeup.


As Art Director of Theirsverse, Enli will work with young artists in the future building of Theirsverse to create a multicultural community owned by Gen Z artists, young people to create meaningful value.

About Theirsverse:

Theirsverse is a diverse, trendy and artistic new Web3 brand. Created by a group of young artists from different races and gender identities.

Theirsverse is a web3 brand that has a large business network in the entertainment industry. Our track record spans music labels, film production, fashionable toys, virtual singers, and the social metaverse. Our vision is to create a diverse community for the younger generation by integrating trends, entertainment, art and technology. We also hope that every member can find a sense of belonging and create a new identity in Theirsverse.

Theirsverse invites global holders to build brands together and has also created a fund for young artists, which will help more talented young artists and generate a new Web3 ecosystem. Their verse is an invitation to unlock your creative future!

To learn more, please visit https://theirsverse.com/

Media Contact
Company Name: Their verse
Contact person: Media Relations
E-mail: Send an email
Town: New York
Country: United States
Website: https://theirsverse.com/

VCU’s Institute of Contemporary Art Hosts First Resonate Podcast Festival – VCU News

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The Institute of Contemporary Art at Virginia Commonwealth University (ICA at VCU) is pleased to announce its first RESONATE Podcast Festival, which will take place on October 14 and 15. The weekend festival will include workshops with industry leaders at the VPM+ICA Community Media Center, a live podcast pitch competition, one-on-one consultations, exhibitions and special performances featuring Sharon Mashihi from Appearances and Nick van der Kolk of Love + Radio.

Celebrating the art of podcasting, RESONATE is open to everyone: whether you’re a curious student of podcasting, a producer looking to learn additional skills, or an avid listener looking to get behind the scenes. “RESONATE brings together the aesthetic, educational, and community aspects of podcasting, all in one place,” said Chioke I’Anson, ICA at VCU, Director of Community Media. “Our workshops cover the elements of podcasting that newbies and even mid-career producers have the hardest time mastering. Live performances will delight and amaze. We have art exhibits, opportunities for you to speak directly to the experts, and even a live party where three producers will compete for a VPM podcast contract. It’s an immersive listening experience, featuring some of the coolest podcasters in the business. In addition, there will be snacks.”

Throughout the weekend, professional podcasters will lead sessions on all aspects of podcast production, from scoring and detailed storytelling to marketing and promotion. Session Hosts include Audio Producer, Storyteller, and Host Ronald Young Jr.; Nichole Hill, award-winning audio producer, project manager and educator; Mission to Zyzz recording engineer, mixer and sound designer Shane O’Connell; independent radio producer and editor and former artistic director of Third Coast, Sarah Geis; Editorial Director/Founder of Story Mechanics and Executive Producer of Admissible, Ellen Horn; VP of Creator Partnerships, Gumball, Dane Cardiel; and co-hosts of NPR’s Invisibilia, Yowei Shaw and Kia Miakka Natisse. During the festival, attendees will have the opportunity to participate in discussions and Q&As with the presenters and to network with other podcasters. As part of the VPM+ICA Community Media Center’s partnership with AIR Media, RESONATE participants can sign up for one-on-one consultations for editorial advice and technical support.

Attendees will also have the opportunity to listen to newly commissioned audio works at the VPM+ICA Community Media Center’s Podcast Art Facility throughout the weekend, which will include individual listening stations. Here, listeners can experience six hours of never-before-heard content from “The Secrets Hotline, a Love + Radio” spin-off podcast where callers leave revealing, anonymous messages.

Events will be held at ICA at VCU located at 601 W Broad St, Richmond, VA 23220.

Call for pitches | Opening night

RESONATE, in collaboration with VPM, invites established and aspiring podcasters to pitch their best idea for a chance to receive funding and production support to produce a pilot episode of their show. Submissions must not have been previously published and must align with one or more of these genres: arts and culture, history, science, current affairs, or education.

Three finalists will be selected to pitch their idea at the RESONATE Podcast Festival Pitch Party in front of a panel of judges and a live audience for a chance to win the top prize – a $10,000 production contract to create a pilot episode of their podcast. with VPM.

All finalists will receive free passes to the RESONATE Podcast Festival 2022 and will have the opportunity to work alongside VPM producers to refine their pitches ahead of their presentation at the RESONATE Pitch Party. Finalists must attend the RESONATE Podcast Festival and participate in the Pitch Party to be eligible for the grand prize.

Reflecting on their partnership with the museum, VPM Chief Content Officer Steve Humble said, “VPM is committed to nurturing the talents of local and regional podcasters and providing them with a platform to tell their stories. The VPM + ICA Community Media Center is a place where anyone can hone their podcasting skills. We are thrilled to partner with the ICA for RESONATE celebrating excellence in podcasting.

Special shows:

  • Love + Radio with Nick van der Kolk and friends

Sturgeon riders, roving gangs, slave rebellions, vampires, excited but cruel aristocrats, pink Confederate statues and drinking whiskey straight from the gutter. Welcome to the weird, wonderful and complicated history of Richmond, Virginia in this special live presentation of the critically acclaimed podcast.

  • Sharon Mashihi of Appearances

A performance about relationships, death and Sharon’s inner battle with personal storytelling. Written, performed and designed by Sharon Mashihi.

RESONATE sessions:

  • The importance of the game with Sarah Geis

To make a podcast, you need a production plan. But to make a podcast great, the best tool in your arsenal might just be your acting ability. Sarah Geis teaches how gaming can boost your podcast.

  • Score for non-musicians with Nichole Hill

Confused about adding music to your podcast? Improve your flow between segments, set the tone, and create a better overall listening experience with new skills, even if you’re not a musician. Join Nichole Hill as she walks you through the scoring. No experience necessary.

  • Professional mixing, across the galaxy with Shane O’Connell

Most podcasts have a few vocal tracks. Very easy. But what happens when you have more than a dozen, plus sound effects, plus music? How the hell do you mix it all up? This limited session with Mission to Zyzz’s Shane O’Connell will show you how to mix spatial audio. Like, really mix it up.

  • How to pitch a podcast with Ronald Young, Jr.

One day you will buy your podcast from the media networks. When that day comes, you will need to be very good at explaining your show. That’s why you need a pitch deck. Join Ronald Young Jr., a guy who has hosted and presented multiple shows, for a session on how to get the pitch right.

  • Market your podcast with Dane Cardiel

Make sure your story is heard. Learn how to reach more ears and reach more people as Dane Cardiel teaches marketing strategy for your podcast.

  • A long manifesto with Kia Miakka Natisse and Yowei Shaw

A dedicated producer can work for days on an engaging 4 minute story. What does it take to fill an entire hour? Come hear the duo behind NPR’s Invisibilia deliver their treatise on making a powerful radio hour.

  • Write for podcasts with Ellen Horne

Writing rules vary in all fields. In podcasting, the mantra is “write for the ear”. But what exactly does that mean, and how can you turn your podcast script into something people will

South African Artist Launches Generative NFT Art Collection

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Artist Jan Hendrik Viljoen, aka “Portchie”, has become the first South African artist to sell a generative art collection through non-fungible tokens (NFT).

Using a random number generator, a collection of only 1,000 NFTs will be created starting August 25, 2022.

“Art is something that brings joy to my eyes and mind and makes life special to me. This project called Cycling by the river is very exciting because I’m not a digital artist, but I’m able to do something like that,” Portchie says.

An NFT is a digital asset that exists completely in the digital universe – you can’t touch it, but you can own it. As Facebook and Instagram strive to allow users to use their NFTs within their platforms, owning art in the digital world looks set to become mainstream in the future.

Portchie has partnered with a team of creative technologists to create a system by which every NFT will be created digitally. This means that each of the multiple hand painted elements and their variations have the ability to be randomly selected and then combined to create a unique digitally created work of art.

Portchie’s art quickly became popular after selling out at his first major solo exhibition in 1991 and in 1995 he went to open an art studio called The Red Teapot Gallery where nearby Stellenbosch Art Galleries started buying his art.

His works are a hallmark of vibrant colors, distorted shapes and blue trees and can be described as an “explosion of joyful colors”. Since its inception, Portchie has sold over 18,000 original paintings and over one million prints worldwide. Unlike limited editions or prints, this NFT collection will only consist of unique collectibles, meaning you won’t be able to find two that are copies of each other.

NFT art has made global news over the past year, with several high-profile sales grossing millions of dollars. For example, in 2021, Daily: first 5,000 days was sold for $69.3 million.

In addition to owning the digital asset, each NFT will allow its owner to redeem a high-definition print of their collectible, signed by Portchie himself. It will also accept a limited number of commission requests from those who also want a painted copy of their unique collectible.

Through a process called minting — taking digital data and turning it into cryptographic collections or digital assets — fans everywhere now have the ability to instantly own the unique collectible. Fans can mint their NFT instead of buying it.

A whitelist in the NFT world is a list of people who get in early and have guaranteed access to the mint and often have the option to purchase the NFT at a lower price before it is released to the general public.

Those who want to be whitelisted can do two things:

  • Go to Discord and register to join the Cycling by the river community of fans and art lovers.
  • Subscribe to the newsletter on the website. You will then receive an email and your wallet addresses will be collected and notified on the day everything goes live.

n August 25, a link will be added to the homepage, directing buyers directly to a link to the mint. Only those registered on the white list will be able to strike.

On August 28, anyone can use the same link to purchase their unique NFT artwork.

Shattered folk art at Pappajohn Sculpture Park

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JAYWALK TO SCHOOL? IT WOULD FIX THE NIGHT TO POINT THE POLICE OR TRY TO FIND OUT WHO DAMAGED AN ART INSTALLATION AT PAPA JOHN’S SCULPTURE PARK IN DOWNTOWN. POLICE SAID SOMEONE BROKEN SIX COLORED GLASS PANELS ON THE PANORAMIC AWARENESS PAVILION. THE MONKS ART CENTER IS NOW REVIEWING THIS AREA’S SECURITY VIDEO. THIS IS AT LEAST THE THIRD TIME THE ROOM HAS BEEN VANDALIZED. VANDALS BROKEN THE GLASS TWICE IN 2016. AT THE TIME THE ART CENTER TOLD US EACH PANEL WILL COST $50,000,000 TO REPLACE.

Shattered folk art at Pappajohn Sculpture Park

Des Moines police are trying to determine who damaged an art installation at Pappajohn Sculpture Park. The Des Moines Art Center is currently reviewing security video of the area. This is at least the third time the room has been vandalized. Vandals broke glass twice in 2016. At the time, the Art Center told us said each panel would cost to replace. They’re still working on an estimate of the final damage.

Des Moines police are trying to find out who damaged an art installation at Pappajohn Sculpture Park.

According to the police, someone broke six colored glass panels on the “scenic awareness pavilion”.

The Des Moines Art Center is currently reviewing the area’s security video.

This is at least the third time the room has been vandalized.

Vandals smashed the glass twice in 2016. At the time, the Art Center told us each panel would cost $50,000 to replace.

They’re still working on an estimate of the final damage.

AROUND CAPE ANN: The festival explores Celtic and Nordic music | New

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Rockport’s third Celtic Festival features the region’s enchanted music, but this year will also feature a crossover with Norse music, in addition to late-night cabaret entertainment.

The festival, ‘Exploring Celtic Roots and Branches’, runs until Sunday August 21, with seven events and ending on Sunday with a concert with David Coffin leading the chanteys of the sea along with other surprises. Festival performers include both known and new musicians, as well as singers, dancers and storytellers.

The festival is organized by Brian O’Donovan of A Celtic Sojourn and Edinburgh-born harpist/composer Maeve Gilchrist.

Opening night is Friday, August 19 at 7:30 p.m. with “Nordic Nights,” which brings together top Celtic and Scandinavian musicians in a concert of fiddles, reels and more.

This year there will be two “Festival Clubs”, which means that the music will not stop after the performances on the main stage on Friday and Saturday, but will continue around 9:30 p.m. in a more informal setting in the auditorium. third floor reception. of the place, with drinks and snacks. Musicians and special guests will present an additional session of Celtic music.

Sharing the love of music, on Saturday August 20 at 11 a.m. there will be a lounge session – an art exploration with Brian O’Donovan of some of the artists involved in the weekend with a discussion and a mini-concert exploring musical styles, instruments and vocals.

The Saturday evening concert includes “A Global Celebration of Strings” with musicians from around the world sharing the stage. Among the featured music will be Ladino songs from the Sephardic Jewish tradition, Shetland fiddle tunes and Scottish finger-style guitar.

Sunday includes two events, beginning at noon with “Words & Music: the Celtic Spirit”, described as a spiritual celebration of the word complemented by music, hosted by the two artistic directors, O’Donovan and Gilchrist, as well as a selection of festival musicians.

The final concert, Sunday at 5 p.m., is “A Symphony of the Sea,” which celebrates Cape Ann’s history and its place in maritime history, with special guest David Coffin. This program explores the traditions surrounding the ocean while showcasing traditional and classical music in this celebration of all things sea-related.

For tickets and more information, visit rockportmusic.org.

willie alexander

Punk music legend, musical innovator and artistic icon Willie “Loco” Alexander returns to Music on Meetinghouse Green on Friday, August 19 at 6 p.m. with his band for an evening of musical entertainment at the corner of Middle and Church Streets in downtown city ​​of Gloucester.

Alexander shares his talents as a singer, songwriter and keyboardist with the Persistence of Memory Orchestra. Alexander, who has a musical career spanning around 50 years, has been a member of The Lost, Bagatelle, Grass Menagerie and the post-Lou Reed Velvet Underground, and frontman of his own bands. He is admired for his unique musical voice and his artistic vision, which goes beyond music.

Voluntary donations will benefit the Grace Center, a drop-in center for the homeless and underserved in Cape Ann. The evening food vendor is Crepes du Jour with freshly made sweet and savory crepes. Bring chairs or blankets and picnic with food from the vendors or bring your own. The shows are handicapped accessible. For more details, visit www.gloucestermeetinghouse.org.

Next Thursday, August 25, the Alexander Memory Persistence Orchestra is the featured act for the free Cape Ann Museum Courtyard Concerts, 5:30-7 p.m., 27 Pleasant St., Gloucester city centre.

native flautist

In keeping with John Hays Hammond’s love of music, Helen’s Willow Wind will return with their Native American-style flutes to welcome visitors into the courtyard on Friday, August 19 from 11 a.m. to 2 p.m. at Hammond’s Castle Museum in Gloucester. An award-winning musician, she is globally recognized for her improvisations that aim to take the listener on a journey of mind, heart and soul, from the realm of the ethereal to blues, jazz and places in between. Details at www.hammondcastle.org.

Concert by the pool

Cape Ann Symphony presents a special outdoor concert on Sunday, August 21 at 4 p.m., featuring CAS Principal Flutist Stephanie Stathos and the Cape Ann Symphony Chamber Orchestra under the direction of Maestro Yoichi Udagawa. The musicians will perform poolside at CAS President Fran White’s home in Magnolia. Refreshments will be served. Seating is limited to 75. Tickets are $45 for adults, $40 for seniors, $20 for students of any age; and $5 for youth 12 and under. For tickets and details, call 978-281-0543 or visit www.capeannsymphony.org.

“The musicians and I are thrilled and excited to be able to play together over the summer,” Udagawa said. “It’s such a nice, quiet place that gives the audience a close proximity to the musicians – something we don’t often get in large concert halls.”

The concert program includes Charles Floyd’s ‘Hymn For The Fallen’, Mozart’s ‘Flute Concerto in G Major’ and Bologna’s ‘Symphony No. 2 in D Major’.

tiny landscapes

A solo exhibition of small scenes from Cape Ann by Leigh Slingluff will run until 21 August at the North Shore Arts Association, 11 Pirate’s Lane, Gloucester. The exhibition features seascapes, landscapes and skyscapes by Slingluff, a local artist. The artist finds inspiration for her plein air paintings when she explores the outdoors with her dog and husband, swims and snorkels at local beaches, gardens and gazes at the sea and sky of Cape Town. Ann. She is an artist member of the North Shore Arts Association and the Rockport Art Association & Museum. His most recent works are published on his Instagram: @galobster.

“Deftly Crooked”

Rocky Neck Art Colony announces the opening of a new exhibition, “Deftly Askew”, at The Cove Gallery, 37 Rocky Neck Ave., Gloucester, on Thursday, August 18, with a free public reception from 5-7 p.m. The show features artists Helen Tory, Patricia Wellenkamp, ​​Laurel Rogers and Tobi Klein who work in a variety of mediums with a commonality that generates a “dynamic connection”.

“There is a search for expression and balance in the use of several pieces to create harmonious wholes. Rough edges, rich layering and exploration of textures inspire the boundaries of each artwork to be somewhat ‘crooked’ in its depiction. However, there is careful and “skillful” thoughtfulness in this organic creation process,” according to the exhibition statement.

Rogers combines his extensive knowledge of papermaking, marbling and bookbinding with a sense of lyrical design to create sculptures, books and journals; Wellenkamp stamps, engraves, chases, gilts, braids and rivets to add texture to the mixed metals she uses in jewelry making; Klein’s work took her in two directions: graceful woven metal sculptures and two-dimensional monoprints/collages; and Tory paints on clay and other surfaces with monotypes or etchings pasted on top, and graphite powder, ink or oil paint is added and removed to the using steel wool, an eraser or a rag to produce evocative images.

For hours and more details, visit: rockyneckartcolony.org.

Rock for veterans

Captain Lester S Wass Post 3, 8 Washington St., Gloucester is hosting a benefit concert featuring Boston rock band Power Expo on Friday, August 19, 7-10 p.m. Tickets are $10 and can be purchased in advance at American Legion Post 3 in Gloucester, or at the door. There will be a 50/50 and a draw for a free stay at the Beauport Hotel in support of the Massachusetts Coalition of the Blind and the American Legion.

Shakespeare in the woods

The wooded outdoor setting of Lanes Coven Theater Company’s production of “Macbeth” offers audiences a unique theatrical experience for this Shakespearean classic, which is in its final days, August 18-21 at 7:30 p.m. Surrounded by Trees and under an expansive tent, theatergoers can arrive at 7 p.m. for picnics and BYOB.

Set in medieval Scotland, the tale tells the story of Macbeth’s rise to power and tragic fall, which began after the warrior was visited by the three witches to learn that he would become king. However, the witches also prophesy that future kings will not be descended from Macbeth but from another captain. The cast includes the father-son duo of Michael McNamara, who plays King Duncan, a gentle king, and Max McNamara, who plays Banquo. Oliver Shirley plays the title role. NYC’s Adrianna Mitchell plays Lady MacBeth. For more details and ticket options, visit: www.lanescoven.com.

Tony Nominated Play

The Gloucester Stage production of Tony-nominated ‘Grand Horizons’, a play full of humor, family realities and surprises, will run until August 21. Directed by Robert Walsh, the cast features the beloved married couple of Paula Plum and Richard Snee, as well as Jeremy Beazlie, June Kfoury, Cristhian Mancinas-García, Greg Maraio and Marissa Stewart. Playwright Bess Wohl’s comedy explores a disrupted family. For tickets and details, visit GloucesterStage.com.

innovative dance

The New York-based Cornfield Dance returns to the Windhover Center for the Performing Arts with their latest creation, “The Wasp in the Window,” Saturday and Sunday, August 20 and 21 at 3 p.m., 257R Granite St., Rockport. Ellen Cornfield is known for creating “lush, abstract, full-throttle dances that revel in the use of space, time, and geometric relationships.” The performance is followed by a Q&A with the artists. The show is rain or shine under the large tent at the Windhover Outdoor Stage. Seating begins at 2:30 p.m. and the public is welcome to bring refreshments. For tickets, visit https://windhover.org/performances.

Cornfield Dance also presents two free public performances in Rockport’s Millbrook Meadow Park on Thursday, August 18 at 3 and 6 p.m. The venue-appropriate dance performance takes place in the park in downtown Rockport, across from Front Beach. The Dance features a work described as a lively, athletic dance that includes six red folding chairs and explores social distancing, as well as a series of dances confined to spaces no larger than 6 feet square; the dances will be performed in different places in the park. The performances are followed by a Q&A with the artists. The rainy date is August 19 at 3 p.m. only.

Around Cape Ann is a section devoted to events taking place in Cape Ann and Cape Ann artists performing elsewhere. If you would like to submit an article, contact reporter Gail McCarthy at 978-675-2706 or [email protected] at least two weeks in advance.

Trivver Obtains Patent on Technology to Protect NFTs from Fraud

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Non-fungible tokens or NFTs have become a craze in recent years, with some buyers spending thousands or even millions of dollars for the ephemeral rights to a piece of digital art, although there are signs the market is sagging. weakens.

Last year, an anonymous buyer paid a colossal $6.6 million for an NFT linked to a Beeple video, ten times its original listing price, while musician Grimes sold some of her digital art for over $6 million earlier this year.

NFTs could be described as digital certificates of authenticity, secured by a blockchain, and above all do not provide any ownership of the art itself.

For this reason, some consider the NFT phenomenon to be nothing more than a fad and an inconvenience – as there is often nothing to stop others from freely copying the artwork – while others argue that they are desirable collectibles that give their owners the right to use the art and can help support artists.

Whichever side of the fence you are on, where there is money to be made, counterfeiters are sure to follow, and NFTs are no different.

Last year, for example, auction house NFT Nifty Gateway promoted a video depicting a room full of sculptures by Ai Weiwei – which was neither made nor endorsed by the Chinese artist. . And earlier this year, another artist, Aja Trier, discovered that her paintings had been turned into thousands of NFTs by other parties, without her knowledge, in an attempt to monetize her work.

Another NFT market – OpenSeas – has estimated that up to 80% of its NFTs for sale are fraudulent reproductions.

Falling confidence

Founder and CEO of technology company Trivver Joel LaMontagne said that one of the reasons for a slowdown in the NFT market is a “lack of confidence”, as well as the prevailing economic conditions around the world.

The company has just been granted a patent for a smartphone-based scanner app that can be used to instantly check whether an NFT is genuine or not.

The scanner searches for a unique 3D pixel fingerprint that can be placed on an NFT, “retaining and reporting ownership to the original creator and all subsequent owners of the NFT as well as the purpose of the NFT”.

This not only ensures the authenticity of the NFT, but can also “ensure that any sales, royalties, and other revenue generated by each NFT reaches the rightful owner,” according to Trivver.

Another company targeting the authenticity of NFTs is MarqVision, which offers an AI-based intellectual property protection platform that focuses on monitoring NFT markets to detect and report fake listings. It’s a similar approach to that taken by SnifflesNFT, which is currently in beta testing.

Picture by Tumisu Going through Pixabay

Artwork promotes healing at Burke Hospital in White Plains

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Burke Rehabilitation Hospital demonstrates its commitment to treating the whole person by presenting art installations at its inpatient and outpatient facilities. This work is titled Infusions by artist Jamie Harris, which adorns the Bonnie and Tom Grace SCI/Neurorehabilitation Gym at Burke. Photo credit: Lori Adams

Burke Rehabilitation Hospital demonstrates its commitment to treating the whole person by presenting artwork installations in its inpatient and outpatient settings. The restorative quality of the art enhances the treatment provided by Burke’s highly trained therapists.

According to Jodi Moise, program and fine arts collection director at Montefiore Medicine, art humanizes the patient experience and supports Burke’s mission by meeting emotional and physical needs. The art program fosters a healing environment of service to patients, visitors and staff. “Studies show that art, especially pieces that reflect nature or floral themes, promotes health and healing,” she said. “At Burke, we also choose art that incorporates movement to further its mission of rehabilitation.”

A recent addition to the Burke campus, titled To celebrate, is a series of four paintings in the Burke CARES Staff Lounge. Artist Jennifer Glover Riggs experimented with bright, happy colors to foster an optimistic sense that better days are always ahead.

Another example, Infusions by artist Jamie Harris, graces the Bonnie and Tom Grace SCI/Neurorehabilitation Gym. This work of art, spanning 31 feet, creates an atmosphere of encouragement using uplifting colors and images that project a sense of movement.

According to Burke’s Vice President of Inpatient Rehabilitation, Sandra Alexandrou, PT, MBA, “When someone walks into the Bonnie and Tom Grace Gym, especially for the first time, they are immediately captivated by this beautiful work of art. art that perfectly complements this already impressive space. Alexandrou also noted, “For people receiving therapy in the gym and for employees, the sense of movement and transition captured by the art communicates the essence of rehabilitation in such a graceful way and elevates the morale of everyone who spends time in the gym. .”

The collections are organized to highlight the unique characteristics of each location. Rachel Hellman’s fresco, paths of light, consists of changing shutters of warm and cool colors that are inspired by Burke’s landscape. Located in the White Plains Ambulatory Gymnasium, this mural creates a positive environment that encourages patients through their rehabilitation journey. The artwork enriches this newly renovated space equipped with modern technology.

Burke’s locations across Westchester and the Bronx also incorporate art to further this restoration mission.

Moise concluded, “When I curate art for Burke, my hope is for everyone to experience the artwork as it moves through our various facilities and it transforms the experience of his rehabilitation process.”

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Picasso painting seized during anti-drug operation in Iraq

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Written by Amarachi Orie, CNN

Authorities say a painting believed to be by Pablo Picasso and valued at millions of dollars was discovered during a drug raid in Iraq.
The allegedly stolen artwork was discovered in the possession of three people in Diyala province in central-eastern Iraq on Saturday, the Iraqi News Agency (INA) reports.

The suspects were arrested on suspicion of being involved in the trade and transport of narcotics, according to the General Directorate for the Fight against Narcotic Drugs and Psychotropic Substances of the country’s Interior Ministry.

“A painting belonging to the international painter Picasso was seized from their possession, estimated at millions of dollars,” Colonel Bilal Sobhi, director of the anti-narcotics media office, said in a statement to INA.

He added: “The drug trade is linked to many crimes, including murder, robbery, kidnapping, rape, gang formation, corruption and family disintegration, until it reaches the antiques trade”.

The raid that led to the discovery of the painting was part of the ministry’s ongoing security operations that began in July.

Details about the painting, its ownership history and how it will be authenticated have yet to be released.

Picasso, who died in 1973, amassed a colossal body of work.

During his 78-year career, the Spanish artist produced around 13,500 paintings and around 100,000 prints and etchings. He also created hundreds of sculptures and ceramics and around 34,000 illustrations.
Last year, Picasso’s “Head of a Woman” was among three works of art recovered by Greek police nearly a decade after it was stolen in a daring museum heist.
In 2019, the $28 million ‘Portrait of Dora Maar’ was recovered by a Dutch art sleuth, 20 years after it was stolen from a Saudi sheikh’s yacht off the coast of the south coast of France.
In May, a portrait of Picasso’s lover and mother of one of his children, titled “Femme nue couche” (“Reclining Naked Woman”), sold at auction for $67.5 million.

Playground-Chicago playwright incubator announces inaugural season

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PlayGround-Chicago, the first Midwest expansion of the famed California-based playwright incubator, has shared plans for its inaugural season. The company will announce the Season 1 writers pool shortly, 36 Chicago-based early-career playwrights competitively selected from applications received this summer.

In the upcoming 2022-23 season, these writers will generate more than 150 original short plays, 36 of which will be developed through Monday Night PlayGround, a monthly series of scripted readings that is central to the Writer Development Process at several levels of PlayGround. Each month, PlayGround announces a topic and invites members of the annual writers’ pool to submit original ten-minute plays inspired by the topic and written in just four and a half days. The six best scripts are directed by leading local directors and actors and presented this year online for a live (virtual) audience, starting Monday, October 31 and continuing on 1st Mondays, from December to April.

PlayGround-Chicago wraps up its inaugural season with the annual Best of PlayGround-Chicago on Monday, May 1, 2023, featuring a curated selection with input from audiences and society members of the current season’s six best short works.

PlayGround now operates programs and businesses in the San Francisco Bay Area, Los Angeles, New York and – new this year – Chicago. In recognition of PlayGround’s national presence, PlayGround will host an integrated in-person/online hybrid fundraising gala, the One PlayGround Gala, on Monday, September 19 at the Broadwater Plunge in Los Angeles, Potrero Stage in San Francisco and satellite locations in NYC and Chicago, featuring live performances of last season’s Best of, testimonials and a gourmet four-course dinner. All proceeds will support the Monday Night Series and artist compensation.

In addition to PlayGround-Chicago, we’re also offering streaming access to this year’s PlayGround (SF), PlayGround-LA, and PlayGround-NY seasons, with all events free. Tickets for the 2022-23 seasons are now available at https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2191471®id=23&articlelink=https%3A%2F%2Ftickets.playground-sf.org? utm_source=BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1. For more information, visit https://PlayGround-CH.org/Monday.

PlayGround-Chicago will hold open auditions for this performance season via online video date (reservation required) on Sunday, October 2, from 2-5 p.m. CT. For more information and to schedule an audition slot, visit https://playground-ch.org/audition.

PlayGround-Chicago is the third regional expansion of the Bay Area’s acclaimed playwright incubator and community theater hub, PlayGround. PlayGround was started in San Francisco in 1994 by co-founders Jim Kleinmann, Brighde Mullins and Denise Shama. In 1996, Kleinmann became PlayGround’s first art director. Since its inception, PlayGround has developed and staged over 1,000 original ten-minute plays by over 300 early-career writers from the Bay Area, Los Angeles and New York and has commissioned/developed 100 plays completed by prominent PlayGround alumni, creating 34 of these through PlayGround’s innovative New Play production fund. In the process of staging these works, PlayGround helped identify some of the leading emerging writers and, at the same time, effected the creation of a real community of theater artists, bringing together hundreds of actors, directors and local playwrights.

PlayGround alumni have won local, national and international honors for their short and comprehensive work, including recognition at the O’Neill National Playwrights Conference, The Lark, Humana Festival, Bay Area Playwrights Festival and New York International Fringe Festival . , among others. The directors and actors participating in PlayGround are among the most distinguished theater professionals, working regularly on major local stages.

All performances will take place online via Vimeo’s live stream and will also be available on demand for pre-registered guests. To ensure maximum accessibility, admission is free (donations gratefully accepted). Advance reservations are required and registered guests will receive a Vimeo Live link within 24 hours of the performance.

A Playground gala

Monday night play area

  • October 31, 2022 at 7 p.m. CT / 5 p.m. PT

  • December 5, 2022 at 7 p.m. CT / 5 p.m. PT

  • January 2, 2023 at 7 p.m. CT / 5 p.m. PT

  • February 6, 2023 at 7 p.m. CT / 5 p.m. PT

  • March 6, 2023 at 7:00 p.m. CST / 5:00 p.m. PST

  • April 3, 2023 at 7 p.m. CT / 5 p.m. PT

Best of PlayGround-NY

To book tickets, visit https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2191471®id=23&articlelink=https%3A%2F%2Ftickets.playground-sf.org?utm_source=BWW2022&utm_medium=referral&utm_campaign= item&utm_content=bottombuybutton1.

What I Buy and Why: Adam and Iris Singer on Discovering Big Treasure at a Tiny Auction House and the Dangers of Buying Art Via Jpeg

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The empty walls of a new home can impart the same daunting yet exciting sense of possibility to an art collector as a blank canvas to an artist. When couple Adam and Iris Singer moved from Tulsa, Oklahoma, to Paradise Valley, Arizona, a suburb of Phoenix, in the mid-2000s, they felt both inspiration and dismay about where to start.

Over the past nearly 20 years, the Singers have gone from finding art fairs with advisors to building deep relationships with artists. Adam, an entrepreneur, now sits on the boards of institutions including the Hirshhorn Museum and Sculpture Garden.

The Singers are not limited to any particular style, medium or even period. “Iris and I never cataloged the collection trying to collect a uniform style,” Adam said. “I love that art has many styles and when displayed together they tend to speak to and complement each other.”

In October, the exhibition “In Our Time” at Arizona’s Sthe cottsdale museum of contemporary art will take a focused look at 40 works by 27 contemporary artists from the African diaspora in the Singer collectiontion. The show includes works by Amoako Boafo, Mark Bradford, Jadé Fadojutimi, Derek Fordjour and Toyin Ojih Odutola.

We spoke with Adam Singer about the artwork that escaped and the treasure the couple would save from a fire.

What was your last art purchase?

Not sure which job would be considered newer because Iris and I bought two in the same week. But we are delighted to have purchased both a work by Derek Fordjour, Masons, magicians, showgirls and kings (2021), and that of Naudline Pierre Surely the sun will rise (2021-22).

Assuredly, the Sun Shall Rise Stone. Courtesy of Singer Collection. ” width=”636″ height=”848″ srcset=”https://news.artnet.com/app/news-upload/2022/08/IMG_0470-768×1024.jpg 768w, https://news.artnet.com /app/news-upload/2022/08/IMG_0470-225×300.jpg 225w, https://news.artnet.com/app/news-upload/2022/08/IMG_0470-1152×1536.jpg 1152w, https://news .artnet.com/app/news-upload/2022/08/IMG_0470-38×50.jpg 38w, https://news.artnet.com/app/news-upload/2022/08/IMG_0470-1440×1920.jpg 1440w, https ://news.artnet.com/app/news-upload/2022/08/IMG_0470.jpg 1500w” sizes=”(max-width: 636px) 100vw, 636px”/>

Naudline Pierre and Adam Singer stand in front of Pierre’s Surely the sun will rise (2021-2022). Courtesy of The Iris and Adam Singer Collection.

What works or artists do you hope to add to your collection this year?

Iris and I usually have a wish list that we start at the start of each year. We were lucky enough to be able to tick off a few artists, but we have a few more to watch. Like many collectors, we would like to add a work by Calida Rawles or Michael Armitage to the collection, but it will be difficult as both artists are highly sought after and do not produce much work.

Yoshitomo Nara, Title (Year).  Courtesy of The Iris and Adam Singer Collection.

Yoshitomo Nara, SANDY (2008). Courtesy of The Iris and Adam Singer Collection.

What is the most expensive work of art you own?

Iris and I have been lucky because many of our works have gone up in value. But since the market and tastes are constantly changing, it’s hard to say which job is the most expensive. We have our favorites and that doesn’t change. Iris loves our Yoshitomo Nara painting. I would have a hard time choosing which painting I would take if the house was on fire, but it would be between Mark Grotjahn and Mark Bradford.

Courtesy of The Iris and Adam Singer Collection.

Vaughn Spann, Locked up (the gaze) (2020). Courtesy of The Iris and Adam Singer Collection.

Where do you most often buy art?

We tend to purchase most of our artwork directly from galleries. Although I like to go to art fairs for the social aspects and to discover new artists, it is not my favorite place to buy works. I think it’s important to see multiple examples of an artist’s work and, if possible, choose one of your favorites from a specific set of works. Of course, if you know the artist’s practice, an art fair can also be a good resource.

Is there a work you regret buying?

I wouldn’t say regret, but my wife tells a funny story about when I bought an artwork from a jpeg early in our early days of collecting. The artwork was beautiful but on closer inspection it turned out to have lots of sex scenes and body parts… As our three daughters were very young at the time, we decided to hang the work in our room. But that didn’t stop the conversations and curiosity of our girls and their friends.

Franz Kline, Self-Portrait (1945).

Franz Klein, self-portrait (1945). Courtesy of The Iris and Adam Singer Collection.

What work have you hung in your bathroom?

In our master bathroom we have fantastic artwork by Vaughn Spann, Locked up (the gaze). But one of my favorite works is in our guest bathroom, a self-portrait by Franz Kline from 1945. I first saw the work in the Abstract Expressionism exhibition at the Royal Academy of Art. To my disbelief, the work came up for sale at an obscure auction about six months after the show ended, and I bought it. How fortunate to have explored the catalog of the auction and to have recognized the work!

What work would you have liked to buy when you had the opportunity?

Now, this question definitely opens up some wounds! There are two artists that come easily to mind, but there are many more. First, I’ve always wanted a pre-1965 solid red or black Alexander Calder mobile. I love how the mobiles move with perfect balance and cast shadows. The second artist is Christopher Wool. When we started our collection, I fell in love with his text paintings and was determined to buy one. I felt like I was the underbid for three consecutive auction cycles right before his market exploded. I was the underbidder for his text work Idiot (in blue) which became a centerpiece of his retrospective at the Guggenheim. I guess I was crazy that I hadn’t stretched myself more financially back then.

Mark Bradford, TBC (2014).  Courtesy of The Iris and Adam Singer Collection.

Mark Bradford, to confirm (2014). Courtesy of The Iris and Adam Singer Collection.

If you could steal one piece of art without getting caught, what would it be?

There are so many works that I fantasize about stealing! I will cite two of my best: blue boy by Thomas Gainsborough at the Huntington Library, and three flags by Jasper Johns at the Whitney Museum of American Art. But I would also love the opportunity to be a fly on the wall and just watch my favorite artist create work in his studio.

Mark Bradford, Wear the Bracelet (2008).  Courtesy of The Iris and Adam Singer Collection.

Mark Bradford, Wear the Bracelet (2008). Courtesy of The Iris and Adam Singer Collection.

What does art represent for you?

For Iris and me, art gives life and character to our house. When people visit the collection, they get an idea of ​​our tastes and can see who we are as collectors. We appreciate the aesthetic aspect of art and appreciate artists for their ability to create art. Personally, I don’t have an artistic bone in my body.

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I’ve Used This Gadget For A Year – And It’s Transformed My Living Room

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Imagine walking into your living room and admiring masterful paintings by some of the greatest painters of all time. The Netgear Meural Canvas II Digital Art Frame lets you do just that. It has adorned my walls with works by Van Gogh, Picasso, Rembrandt and many other epic painters for a year now, and it still fascinates me. And it completely transformed my living room.

A year ago, I was refreshing my house and wanted to furnish my living room. I was considering buying a painting or digital print that I would need to frame, anything to bring color and life to the walls. That said, I know I’m prone to getting bored easily (and I also take about half an hour to decide what to watch over the weekend), so I knew such a decision wasn’t going to be easy.

After a month of procrastinating on buying artwork, I decided to go the digital route and opt for the Netgear Meural Canvas II because it lets you choose a new painting every day. Granted, I wasn’t sure either. I already had some concerns about potential buyer’s remorse: would I really enjoy the artwork that came on my wall, or would it just gather dust?

Image of Netgear Meural Canvas II in a living room

(Image credit: future)

The Netgear Meural Canvas II can be hung on the wall and offers an extensive collection of digital artwork.

The 16 x 24 inch model is $599 (opens in a new tab), and the larger 19 x 29-inch variant bumps you an extra $100 to $699 (admittedly, I got a deal, since the smaller unit was just $399 last year). And then there’s a whole subscription thing, because everything is a subscription service these days. Although the first year is free, they will charge you $8.95 per month ($69.95 per year) to access Meural’s extensive library of over 30,000 artworks. If you stop paying, you will be limited to the art you can download there.

So what really made me stick with the digital frame and made me an aesthete? Keep reading to find out.

What I like about the Netgear Meural Canvas II

The Netgear Meural Canvas II is great because it looks like a standard picture frame. I really liked that it has a white border and a metal frame, which just highlights the paintings and makes it look fresh out of a museum. There is also a wooden frame option if you prefer.

It connects to the internet via Wi-Fi, and you switch art with the accompanying Meural app that offers a full search engine. You can filter by museums the art appears in if you’ve just visited a place and want to find a favourite, browse the work of your favorite artist, and naturally you can search by movement in categories such as abstract art, realism and modern art. .

This way, I can feel transported to the Louvre in Paris or the Tate Modern Museum in London, and “borrow” paintings that I never imagined I would have in my living room. Yes, these are pictures only, and not the real deal, but this frame is not intended for art collectors.

The Meural app also features pop culture art with digital posters and animated images, which include elements from a partnership with Marvel. This way, you can go from MoMA to MCU in an instant.

Additionally, Meural provides accompanying information on each painting, including a biography of the artist and a brief description of the painting itself. Her painting playlists make it easy to discover, and I’ve even created some of my own as well. It even allows me to program the frame to switch to different jobs at different times of the day. In the evening, I like to have warm colors to accompany the sunset that I can often see from my window.

The display makes the paintings so close to the real thing that I sometimes forget it’s a digital screen. As we mention in our Meural Canvas II review, this makes art “more elegant than a TV showing a photo”. The display is a 920 x 1080p LCD with a matte finish that prevents glare. The brush strokes are noticeable, especially up close, and the colors really pop. There’s an ambient light sensor that automatically adjusts the brightness, giving the image a natural feel.

True to being a digital frame, you can also upload your own photos. I created a playlist of pictures I wanted to upload. The only issue I found here, however, is that the aspect ratio can be a little skewed at times. Yet the Meural Canvas II brings my own images to life. The Meural app also features pop culture art with digital posters and animated images, which include elements from a partnership with Marvel. This way, you can go from MoMA to MCU in an instant.

What I don’t like about the Netgear Meural Canvas II

The Meural is aesthetically pleasing for the most part. There’s a tidy power button, SD card dock and micro USB input. My little frustration comes from the power cable which protrudes and gives the charm of being a canvas faithful to reality. I tried to conceal it with a white wire protector, but that only seems to clean it up a bit.

Image of Netgear Meural Canvas II in a living room

A metal sheath is required for the power cable of the Netgear Meural Canvas II (Image credit: future)

Another gripe I have with the Netgear Meural Canvas II is its gesture control interface. Since you’re not supposed to touch art in a museum, the Meural Canvas II lets you glide without touching, essentially moving your hand in front of the painting, like Tom Cruise in Minority Report. You swipe from the bottom center of the canvas to view more information about the painting, and swiping right will bring up the menu. These gestures can be fun to use the first time around, but I wasn’t impressed afterwards. It is often slightly glitchy and requires several swipes before the canvas actually responds. A year later, I control my Meural only with the app.

The other issue is that you’re kind of stuck in one image orientation at a time, unless you want to hang up the Canvas II. Since the frame hangs vertically or horizontally, you choose and stick with one of these modes. That said, for $49 you can buy a swivel mount that allows you to swivel easily with little effort.

Netgear Meural Canvas II: The Basics

I never intended to spend $399 on something to make my living room more visually vibrant. But a year after buying the Netgear Meural Canvas II, I’m still as interested as when I unboxed it. It’s a great addition to my living room and always catches the eye of guests who want to know more about the gadget.

The realistic depiction of artwork is impressive and if you are interested in art, the depth of the library is strong enough to keep you busy with learning and discovery. I wonder if Netgear has considered adding support for acquired art via NFTs (although you can just save the JPEG and pretend you bought it).

Either way, the Canvas II is one of the prettiest ways to bring art into your home without going to a dealer or learning to paint. I learned a lot about Van Gogh’s style of work and even styles like pointillism. I’m curious that I can trick someone into believing that I have an MFA.

That said, Netgear Meural is not alone in its category. There’s Amazon’s Echo Show 15 which is one of the best smart displays and costs a lot less at $249. You won’t get access to the artwork, but it does act as a speaker and is a smart display. Samsung’s The Frame TV is also an option, but it’s much more expensive at $1,999. It has 4K resolution and many images and paintings accessible in “Art” mode.

61st Annual Eagle Harbor Art Festival Highlights Original Artwork

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EAGLE HARBOR, Mich. (WLUC) – The Copper Country Associated Arts Gallery hosted the 61st annual Eagle Harbor Arts Festival this weekend.

About 65 vendors showcased their artwork ranging from ceramics, paintings and hand-woven crafts.

Miles Stearn has been attending the Eagle Harbor Arts Festival for about 10 years and showcases his handcrafted pottery.

“People really appreciate my pottery and it’s really cool that people come back and buy from me again year after year,” said artist Miles Stearn. “There is no other feeling, people are paying their hard earned money for your parts which I make with my heart, it’s awesome.”

Stearn says he had good sales this weekend thanks to community support.

“It’s super easy to do and there’s a good turnout, so the sales are really good, and the community supports the show,” Stearn said. “I look forward to coming here every year.

Event organizer Linda Dodge said she was pleased with the turnout this year. There were 45 returning artists at this festival and nine new artists this year.

“It just makes you smile that everyone is having a busy summer, a lot of people have company and yet they take the time to bring their company or take time out, there are a lot of family gatherings this year and they say you’re welcome to come with us, but we’re going to the fair,” Dodge said.

Dodge says if you missed this year, it’s worth making the trip next summer.

“Well, if you’ve never been here, please come up,” Dodge said. “If it’s too late this year, join us next year, it’s wonderful and fun.”

Copyright 2022 WLUC. All rights reserved.

Fabby-Do presents a collection of costumes for children

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Fabby-Do costume kits available to order

Do-it-yourself costumes offer a unique opportunity to pretend and trick or treat

There are no instructions with our creativity kits and it’s just amazing what little minds and hands can invent”

— Founder Robin Brackbill

DOYLESTOWN, Pennsylvania, USA, Aug. 14, 2022 /EINPresswire.com/ — Fabby-Do presents its Make and Make-Believe collection of costumes for purchase online or creation in-store.

Fabby-Do is a local establishment specializing in parties, classes, special events and creative play experiences for children. Among the dozens of crafts available to craft in the store or buy online is the “Make and Make Believe” collection with many unique costume designs. These include “Precious Princess”, “Perfectly Pirate”, “Fancy Fairy” and the ever popular “Merry Mermaid”. Children receive the main elements of the costume as well as many decorative supplies and Fabby-Doodads to make their costume personal and unique.

Halloween has become one of the major retail events of the year, with costume purchases increasing from just over 50% to nearly 70% over the past fifteen years. While most purchases are mass-produced costumes, many families seek opportunities to create their own. Halloween is often seen as the holiday that encourages the most individual expression and is a great time to tap into children’s creative ability and boost their self-confidence.

“Fabby-Do encourages the expression of children’s creativity in everything we do. While we provide the supplies, the kids provide the ideas and bring them to life,” said Fabby-Do founder Robin Brackbill. “There are no instructions with our creativity kits and it’s just amazing what little minds and hands can invent.”

Kids can create in Fabby-Do’s “Creative Cafe” – a magical setting for 2-2 year olds to express their creativity. Fabby-Do’s Make and Make Believe collection is also available online at www.fabbydo.com/shop. Follow Fabby-Do on all social media to see the creativity in action and for all the other latest information.

About Fabby-Do
Fabby-Do has been located in the heart of Doylestown, Pennsylvania since 2013. Fabby-Do has been hosting children’s parties for over 12 years and providing creative and celebratory experiences based on arts, crafts, music and entertainment. ‘imagination. Fabby-Do provides exceptional experiences for children by unleashing children’s creativity through artistic expression. To learn more, visit www.fabbydo.com.

Robin Hood
Fabby-Do
+1 215-939-0233
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Laguna Beach Sawdust Art Festival Presents Artists’ Benevolent Fund Art Auction Sunday, August 14, 2022 – South OC Beaches

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Laguna Beach’s Sawdust Art Festival Presents Artists’ Benevolent Fund Art Auction on Sunday, August 14, 2022
The 56th Annual Laguna Beaches Sawdust Art Festival 2022 is daily until Sunday, August 28, 2022.
South OC Beaches has all the information for you to enjoy the Laguna Beach Sawdust Art Festival!

Attend the 36th Annual Artists’ Benevolent Fund Art Auction at 12:30-3:30 p.m.
The live auction features dozens of original artworks from Sawdust artists, in a lively event hosted by renowned auctioneer Tony DeZao.
100% of proceeds will benefit the Artists’ Benevolent Fund, which provides emergency financial assistance to active artists in Laguna Beach.
Try to arrive before 12:00 to be able to see the art!

Sawdust Art Festival Dates and Times

From Friday 24 June 2022 to Sunday 28 August 2022

Friday and Saturday: 11 a.m. to 10 p.m.

Sunday to Thursday: 11 a.m. to 7 p.m.

Sawdust Art Festival schedule of events for Saturday August 13, 2022

11:30am-4:00pm: Jason Feddy in concert at the Grill

12:00-4:00 p.m.: Balloon Diva wandering through the festival site and performing

12:30-3:30 p.m.: Charity auction of works of art on the main deck

1:30-6:00 p.m.: Tricia Freeman performing at The Tavern

Sawdust Art Festival Features

Beatles Day Saturday August 20, 2022

Daily Festival Classes (online schedule)

Artists’ Benevolent Fund Art Auction (Sunday August 14, 2022)

Ceramic Center

glass blowing

Live art demonstrations

Pop Up Festival Course

Live music and live entertainment

Craft beer and wine

Outdoor cafes and restaurants

Three-acre eucalyptus setting

162 Festival-goers
Artistic disciplines include:
Blown and fused glass
Leather
Paint
Jewelry
surfing art
Ceramic
Clothing and textiles
Sculptures in wood and metals
Photography

Al fresco dining at the Sawdust Art Festival

sawdust fair
Evan’s Gourmet Bistro is a fresh and healthy organic
Durrell Tacos
The Mediterranean of GG
Espresso on the go
Fran’s Popcorn

Sawdust Art Festival Tickets

Adults: $10.00

Seniors (65 and over) $7.00

6-12 years $5.00

Ages 5 and under Free (free ticket required to enter)

Passport to the Arts is $29.00
Receive one-time admission to Laguna Beach’s three famous art festivals and all they have to offer.
Tickets are on sale at the box office.

Information on Orange County Resident Nights (free admission on select nights) is online
Sunday/Monday/Tuesday/Thursday: different cities different days from 4:00 p.m. to 7:00 p.m. (with valid ID)

County Free Days
Free admission between 11 a.m. and 7 p.m. • On presentation of a valid identity document

Los Angeles County: Sunday, July 17, 2022 and Sunday, August 7, 2022

San Diego County: Sunday July 24, 2022 and Sunday August 14, 2022

Riverside/San Bernardino County: Sunday July 31, 2022 and Sunday August 21, 2022

Laguna Beach Sawdust Art Festival Parking and Shuttles

The Sawdust Art Festival is located at 935 Laguna Canyon Road.

Laguna Beach Sustainable Transportation

The Laguna Beach Summer 2022 Cart Guide Is Live
Laguna Beach Canyon Trolley is 8:30 a.m. to 11:30 p.m. daily
(Canyon Trolleys estimated to arrive every 20 minutes)
The Laguna Beach Coastal Trolley is from 9:30 a.m. to 11:30 p.m.
(Coastal carts should arrive every 30 minutes)
The Laguna Beach Coastal Trolley connects to the Dana Point Trolley at Salt Creek Beach
Laguna Beach Trolley Tracker is online

Laguna Beach Summer Breeze
Park and Ride from U Mass Global at 16355 Laguna Canyon Road to all Laguna Beach Summer Festivals
Fridays and Saturdays from 10:00 a.m. to 11:30 p.m.
(Summer Breeze Canyon carts are estimated to arrive every 30 minutes)

Laguna Beach public car park open all day:

Laguna Beach City parking information is online

The Sawdust Art Festival is a 5-10 minute walk to downtown Laguna, the main beach and other Laguna Beach art festivals.

The art store in Toronto with a century-old reputation is closing for good

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Toronto artists are expected to rush to make their final deliveries as it has been announced that one of the city’s most popular art stores will soon be closing.

Curry’s Artists Materials has been a West Queen West staple for years, being part of the mall that faces the Drake Hotel.

They sell just about every material you could possibly need to make art, including canvas, inks, pastels, and drawing supplies, and the business as a whole has been operating since 1911.


The store let people know towards the end of July that the West Queen West store would be closing, announcing discounts on social media.

People reacted to one of their first posts breaking the news in almost eerily small print, with much larger letters letting them know that online shopping is still open.

“It’s like my favorite store as ever,” one person commented, with another commenting, “It’s concerning.”

“Drove from Scarborough to your stores in Toronto, first at Yonge St, then when it closed at Dundas St, then when it closed at Queen West,” someone commented.

“Even though I found the store wasn’t as well stocked as it could have been. I tell my friends that Curry’s is my ‘candy store’. Very disappointed. I don’t buy any online art supplies Goodbye Curry’s.

The store posted several successive posts about the closure on social media, each advertising discounts dropping from 25% to 30%, saying “everything must go”.

The last day for Curry’s West Queen West location is August 15.

Here’s How Crypto Twitter Is Reacting To The Tornado Cash Attack

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Vladislav Sopov

The Netherlands Crime Agency (FIOD) arrested mixer developer Tornado Cash after the project was sanctioned by OFAC; Crypto Twitter has something to say

Last week, US watchdog OFAC put the addresses of Tornado Cash, the world’s most popular transaction obfuscation service, on the sanctions list. Dutch police have arrested its main developer Alexey Pertsev with more crackdowns to come. The global crypto community is enraged by the attack and is discussing its influence on the future of blockchain and Web3.

Crypto Twitter mocks the absurdity of another anti-crypto witch hunt

Most prominent crypto enthusiasts, entrepreneurs, analysts, researchers, and traders are shocked by the absurdity of the attacks on Tornado Cash. Many of them – including Stefan George, co-founder and CTO of Gnosis – remember US attempts to ban one of the key elements of PGP encryption. In the 1990s, the United States Customs Service opened a criminal investigation into Phil Zimmermann because part of his code was considered ammunition subject to arms trafficking export controls.

Chris Blec, a DeFi researcher, lawyer, and educator, likened the penalties against Tornado Cash to penalizing gun manufacturers for the illegal activities of their customers:

Additionally, the crypto community is angered by the fact that every individual who has interacted in some way with Tornado Cash can also be considered “sanctioned”:

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Law-abiding DeFi are under fire

Some services that have already “imposed” penalties on Tornado Cash are being criticized by privacy advocates. At the time of printing, Tornado Cash customers are prohibited from using the Aave Finance (AAVE) and dYdX (DYDX) interfaces; accounts for the project and its developers are suspended by GitHub, while Tornado Cash’s main Discord server is also down.

On top of that, Circle has frozen some USDC coins that are somehow associated with Tornado Cash; calls to Tornado Cash are censored by node providers Alchemy and Infura and its domain is shut down by decentralized hosting service Limo.

Crypto investor Ryan Sean Adams denounced services that block Tornado Cash addresses and advised them to “develop a backbone”:

However, some crypto experts simply recommend using the DeFi codebase with custom interfaces, as all major Ethereum-centric protocols are open source:

Resistance in Web3: enthusiasts talk about Tornado Cash

To breathe new life into the “Ammunition” t-shirts popularized by Bitcoin (BTC) veteran Adam Back, enthusiasts have already produced “Tornado Cash” apparel with printed versions of his codebase.

Another enthusiast turned the Tornado Cash code base into a digital work of art:

Gonçalo Sá, a veteran blockchain security researcher and co-founder of ConsenSys Diligence, published a Tornado Cash Factory that partially reimburses deployment costs for every Web3 enthusiast who deploys the latest version of its codebase:

Last but not least, more conservative proponents of Tornado Cash attempt find a lawyer for his team to create a defensive strategy.

A work of art from a closed UK parish church has been added to the National Heritage Register

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LEICESTER, UK – Following a campaign by art historians, the British government has added the masterpiece ‘Oldham Mural’ to its national heritage register.

The church closed in 2017, jeopardizing the artwork titled “The Crucifixion”.


The mural is located in Holy Rosary Church in Oldham – a town in the Greater Manchester region of England. It is one of the most important works of Hungarian artist George Mayer-Marton, who died in 1960.

The Jewish artist pioneered the Byzantine mosaic method in England after fleeing Austria – where he settled after World War I – in 1938 following the Anschluss with Nazi Germany. He worked on several churches – particularly in the North West of England – after arriving in the country, creating ‘The Crucifixion’ – which is over 24ft long – at Holy Rosary in 1955.

“The fresco by George Mayer-Marton in Holy Rosary Church, Oldham is of great significance. The list recognizes it. The Heritage Committee looks forward to working with the Diocese of Salford [which covers the greater Manchester area], and all interested parties, to ensure the protection and proper conservation of this exceptional work of art. It is now urgent,” said Sophie Andreae, vice-president of the Heritage Committee of the Episcopal Conference.

The frescoes were partially overpainted in the 1980s, but experts say the artwork still exists underneath.

speaking to Node last year, Clare Willsdon, professor of art history at the University of Glasgow, noted that the piece is the only known Mayer-Marton mural that combines fresco painting and mosaic.

RELATED: Art historians campaign to save rare mosaic in closed UK parish church

“Both the historic “Byzantine” faceted mosaic technique which Mayer-Marton used for the Crucifixion element, and the Italian Renaissance-type “true fresco” which he used for the flanking figures of Mary and John , and the background sky, involve a physical integration of image and building that is very evocative and significant in relation to the Roman Catholic belief in transubstantiation,” she said. Node.

“For in Byzantine mosaic, which Mayer-Marton learned in Italy, the mosaic pieces – tesserae – are pressed into the still wet plaster of the wall, while fresco similarly involves painting on wet plaster, so the pigment chemically bonds to the wall as it dries. Images of the crucified Christ and his grieving mother and St. John were thus symbolically merged with the body of the church and the rituals that took place there, including Holy Communion at the altar directly below the painting. mural,” Willsdon explained.

The mural is now a Grade II listed building, giving it protection under UK law. Listed buildings cannot be demolished or altered without special permission. There are three grades under the law, but the vast majority of listed buildings are grade II.

UK Heritage Minister Nigel Huddleston has released a statement explaining why the work has received legal protection.

“This magnificent mural in the Church of the Holy Rosary deserves a Grade II listing. This will protect the one-of-a-kind mural and serve as an important reminder for future generations of the escape of Hungarian artist George Mayer-Marton of Nazi persecution,” he said.

Mayer-Marton’s nephew, Nick Braithwaite, said he welcomed the listing of his uncle’s works.

“I am delighted that this exceptionally significant masterpiece is finally receiving the national recognition it deserves. I am grateful to everyone who helped bring us here and in particular to SAVE Britain’s Heritage for keeping the mural in the spotlight,’ he said.

SAVE Britain’s Heritage was set up in the 1970s by journalists, historians, architects and town planners to campaign publicly for endangered historic buildings, many of which had been destroyed in the UK’s post-war period -United.

Henrietta Billings, director of SAVE Britain’s Heritage, called the listing of Mayer-Marton’s work “a fantastic achievement for Oldham and modern public art in England”.

“We are thrilled that the mural is now being celebrated and finally being given the recognition it deserves. Listing will open a new chapter for this building and work of art and we look forward to helping the Diocese of Salford find a sympathetic new owner,” she said.

The diocese said it was “committed to protecting the rare artwork of George Mayer-Marton and ensuring that the work is made more accessible to the public in the future”.

Instagram is getting into NFTs months after they crashed. Artists are wary but hopeful.

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As crypto winter rolled in, so did NFT sales. After a rush to mainstream culture and nearly two years of explosive growth that peaked in November, NFT sales fell short of $1 billion in July for the first time since June 2021, from more than $5 billion. dollars in January. Sales on OpenSea, the world’s largest NFT marketplace, fell 79% from May to July, and the company laid off 20% of its staff in mid-July.

But the NFT downturn hasn’t stopped social media companies from rolling out new features this summer that appear to be designed for the NFT-obsessed world of last winter’s crypto boom. Reddit, which had already been in the NFT space for over a year, announced a marketplace for fixed-price NFTs that it billed as “collectible avatars” on July 7. Snap is testing NFTs as AR filters, the Financial Times reported in mid-July. And just last week, Meta announced that Instagram would allow users from 100 countries to feature NFTs on its platform. With this feature, users can connect their digital wallet and share NFTs from it as posts that automatically display public information about the NFT. Posts will have a glitter effect to differentiate them from your average Instagram post. Facebook should follow suit.

Artists making a living from digital art are hoping that all this interest from big business despite a collapsing NFT industry will mean that the market for their work will eventually return. But they also worry that with so many social media giants entering the NFT space, big brands and corporations will take over, leaving independent artists with less influence over the success of their art.

The odd timing of new Reddit, Snap, and Meta NFT features is likely because they were long-planned additions — and it’s hard to predict slowdowns in industries as volatile as crypto.

Sophia Wilson, an artist who worked with Meta in a small cohort of creators on her pilot for Instagram’s new NFT feature, said Instagram first reached out to her in November 2021 – before the crypto hit. its heyday and never crumbles – along with its plans for the project. “Of course, more people would have benefited from it had it been released during the boom, but this stuff can’t be reversed overnight,” Wilson says.

Edward Dowling, Product Manager of the Creator Blockchain Experiences Team at Meta, said Forbes via email that the company started working on NFT features before the market peak last November and that they are part of Meta’s goal to help creators monetize in as many ways as possible.

Tim Rathschmidt, director of communications for Reddit, declined to comment on the timing of the company’s release during a crypto winter, but wrote that the company prefers to focus on “how blockchain can benefit users and artists on Reddit… rather than the level of hype surrounding a technology.This might help explain why Reddit’s July launch of a fixed-price “collectible avatars” marketplace eschewed the word “NFT” entirely.

The formal entry of social media companies into the NFT space makes a lot of sense, given how integral social media platforms have been to the growing popularity of NFTs. Users, namely celebrities and influencers with millions of followers like Bella Hadid, Paris Hilton, and Snoop Dogg, have helped bring NFTs to the mainstream by sharing their NFTs on platforms like Twitter and Instagram. In turn, social media sites have been instrumental in helping digital artists big and small trying to market their NFT work.

Some companies managed to catch the NFT wave as it peaked. Reddit rolled out its own NFT marketplace at the height of the boom last year, making it one of the first major social platforms to enter the space. TikTok and Twitter released features supporting NFTs in September 2021 and January 2022, respectively. Discord was also an early gathering place for NFT enthusiasts, although it eventually abandoned plans for crypto-related features in response to concerns about the high environmental impact of NFTs (a digital artist has calculated that mining a single Ethereum-based NFT used enough energy to power a home in the US for nearly five days).

But until this summer, after the first cloud of hype passed, Instagram, Facebook and Snap hadn’t done much product-wise to support NFTs. Some NFT artists said Forbes that they actually enjoyed the timing of the release when the market isn’t as hot as it was last winter. When large consumer tech companies with billions of users support NFTs with new features, it could indicate that NFTs are here to stay, a message amplified by releasing them during a market downturn.

“If companies like Meta really get into it, it shows you there’s longevity and stability out there,” says Jay Alders, a painter and NFT artist known for his ocean-inspired work that mixes surrealism , cartoon and traditional painting.

He also joked about big tech’s NFT features as an additional integration of technology: “NFTs were like the new indie band in town that everyone loves, that only cool kids knew about, and now, everything everyone knows it, and it’s not cool anymore.”

But his quip underlies a more serious concern: When something becomes big, giant corporations will want a slice – and Alders fears “corporate conglomerates and big brands” will be the ones to get the most out of new features. NFT. Then, individual artists might suffer, not benefit, from the updates, leading some artists to be wary of Meta’s thrust into space.

Australian artist Serwah Attafuah was previously wary of Meta’s entry into NFTs, but over the past few months has come to appreciate Meta’s release of relatively minor features during the recession. Attafuah is happy to be able to share NFTs on Instagram while also selling them through NFT auction sites like Foundation and OpenSea, the platforms that have made selling digital art viable for her. It is not yet ready to abandon these markets.

For example, one of Attafuah’s first NFTs, a surreal cyber dreamscape of a female figure surrounded by fish, sold on Foundation in March 2021 for 10 ETH, or around $18,000 at the time, much more. than the $50 she charged for some non-NFT digital art pieces.

Although Meta does not currently deduct fees from creators using Instagram’s NFT feature, it may do so for future NFT features on Facebook and Instagram, such as a marketplace. According to CNBC, Meta plans to eventually reduce NFT sales on its Horizon Worlds virtual reality platform by 47.5%. OpenSea, on the other hand, takes 2.5%.

Meta’s plans to take such a big chunk of NFT’s profits in this case is an embodiment of the skepticism around big tech entering a space that was built on ideals of decentralization, whether that’s true or not. In practice. OpenSea has dominated the market for the past two years, reaching a 97% market share in March, although that number has since fallen to 66%.

And Meta indeed plans to expand into an NFT marketplace, the Financial Times reported in January, which Alders called “inevitable” and “just what these companies are doing.”

Wilson, who often receives direct messages on Instagram asking why it’s not possible to buy NFTs on Instagram itself, said it was the “next logical step”.

Broader access could be good for artists, Wilson said: The more mainstream the platform, the larger the audience.

“We love it,” 3D artist and animator Clara Luzian says of Instagram’s NFT feature, adding that it makes it easier for artists to build an audience and opens up the NFT world to curious but curious people. may not know much about it. before. Luzian is known as the artist Renderfruit and for art that draws the viewer into fantastical dream worlds.

With such a large audience, it’s especially crucial that major social media companies encourage underrepresented artists when rolling out their NFT features, Wilson says. She sees it as an opportunity to change an industry that is currently dominated by white men, who received the bulk of the wealth from last winter’s NFT boom.

Black utopia and female empowerment are key themes in Wilson’s work, and she was happy to see that she was far from the only black person or the only woman in Meta’s cohort of 16 partners. original creators.

The five NFT artists who spoke to Forbes remain hopeful that the NFT market will stabilize or strengthen again. They think now is the time to double down and make the most of the tools – social media and otherwise – available to them.

“I know it’s common for this to go up and down,” says Luzian, who has delayed several NFT projects due to the crash.

Michael Artis, whose seminal work involves colorful butterflies that represent the lupus that killed his mother and how he grew up after her grief, feels the same way. “Once everything is back, everyone is going to be rushing to do it all over again,” says Artis, who teamed up with Reddit to create NFTs for his collectible avatar launch in mid-July.

And even if the market doesn’t get back to where it was last winter, Alders predicts that now that the “pump and dump” artists are gone, NFTs still offer a good avenue for “the real artists doing the real, legit stuff.” to sell their work, both on Instagram and Facebook and on the more traditional NFT auction sites.

“I’m very optimistic about NFT technology,” says Alders. “Now, when things start to turn into another bull run or a more stable growth scenario, I feel like I’ll be settled into a position that I never could have been before.”

Why the world’s largest cross and its guardians are under imminent threat in Spain

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Earlier this year, Guinness World Records recognized the Basilica Cross as the largest free-standing cross in the world. It was measured at 152.4 meters (500 feet) high.

The record books also include the basilica, 260 meters (853 feet) long, the longest in the world. Built between 1940 and 1958, the church cost around $229 million. Under Pope John XXIII, the church was elevated “to the honor and dignity of a minor basilica” in April 1960.

Due to the excellent geological stability and isolation of the area, it also has an underground gravimetry and tidal laboratory in two of its basements. Researchers around the world use it to study Earth’s tides, gravimetry and absolute gravity.

The entire enclosure works through the Fundación de la Santa Cruz del Valle de los Caidos (Foundation of the Holy Cross of the Valley of the Dead). The Foundation is both owned by the Spanish government, previously managed by the head of state, but now by the government national heritage (National Heritage) — and the Benedictine monks.

Patrimonio takes care of obtaining financing, mainly by selling entrance tickets at the main entrance gate at the bottom of the valley. The law stipulates that he must give part of this money to the monks to maintain the employees of the Escolania and the guesthouse.

However, Patrimonio stopped paying the monks four years ago, putting economic pressure on the abbey, which now maintains the compound with the help of private donations and other funds.

The architects estimated that the damage to the Valley of the Fallen site would cost several million dollars to repair. Estefania Aguirre

The architects estimated that the damage to the abbey and basilica would cost several million dollars to repair.

Patrimonio also blocks maintenance work paid for by private donations. The complex is completely run down.

Fifteen years of “ferocious harassment”

Since the government of José Luis Rodríguez Zapatero adopted the Historical Memory Act’ in 2007, tensions rose between the government and the religious community.

“We were fiercely harassed,” said Father Cantera.

“I had a tough time four years ago, but I took it as a purification from which I came out stronger,” he said.

“All because of the media harassment, the attempt to publicly mock me in the Senate when they called me in about the exhumations.”

“As there were families who objected to the exhumation of the remains of other dead, as is currently the case, at that time we (the monks) were forced to intervene and present an appeal, and the courts have decreed a series of precautionary measures suspending the procedure”, he continued.

“From then on, as they had judicially lost the first battle, they started harassing me in the media and denigrating me as a person.”

Despite the struggles, the community welcomes many young vocations. There are six monks under the age of 30: three who have made profession of temporary vows, two of solemn vows and a soon-to-be admitted postulant.

The Benedictines make a vow of stability added to those of poverty, chastity and obedience. When they go to a place, they usually stay there for life. Many have been martyred for this reason throughout history.

Where can I buy a Turkish mosaic lamp in New West?

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A group of three Turkish friends have created a successful business teaching people how to make mosaic art that they grew up seeing in their homes in Istanbul. Their new studio opened in New West earlier this year.

Adam Ucar, Ekrem Tapan and Halil Gozukara first met while studying in Hong Kong. Ucar was studying law, Tapan, computer science and Gozukara, international relations.

All three, who had grown up in Turkey, had moved to Hong Kong for higher education. Here, as they acclimated to the new culture by learning Mandarin, they also wanted to introduce others to their culture.

To do this, they turned to a simple everyday object they used at home: a mosaic lamp.

“This [the mosaic lamp] is very common for our eyes, in fact. All Turkish children have seen it,” said Ucar, who remembers having two dim swan lamps in the bedroom and a bright table lamp in the living room in the house he grew up in.


The three friends decided to hold a small workshop to teach others how to create the mosaic art pattern they were so familiar with.

They never thought of it as a long-term endeavor until the workshop became a success, and someone walked up to them and asked, “Can I buy a lamp?”

That was enough for them to open their first store in Hong Kong. In fact, Ucar, who got a white-collar job after graduation, decided to give it up so he could teach and sell mosaic art.

Now their studio has branches in Hong Kong, Taiwan, the Netherlands and Canada.

Bringing Mosaic Art to the New West

Since opening their store in downtown New Westminster in January 2022, they have already had more than 2,000 lamps made in their workshops.

People from all over the country, sometimes even from the United States, show up. Some companies bring in their employees for team building workshops; many brides-to-be prefer mosaic lamp DIYs as part of their bridal showers, Ucar said.

They didn’t expect an overwhelming response.

One Friday night, this reporter went to his studio at 332 Columbia St. to see what the fuss was about.

A flight of dimly lit spiral stairs led to a bright room filled with rows and rows of twinkling mosaic lamps. Heavy chandeliers hung from the ceiling, colorful rugs were laid out on the floors, and slow classical Turkish music played in the background.


“We wanted to create a small space where people can experience Istanbul’s rich culture without having to fly all the way here,” Ucar said, inviting the reporter to sit at a table on which lay 50 small ceramic bowls from mosaic pieces in different colors. imported from Turkey.

The pieces, smooth to the touch and with blunt corners, were made by a seasoned craftsman, Ucar’s mosaic art teacher, who runs a shop in Istanbul’s historic Grand Bazaar.

Besides the cut glass pieces and the sparkling beads, there was a bottle of glue (for sticking the mosaic pieces on the lamp), tweezers (for carefully placing the beads) and a sheet with mosaic patterns traditional ones that people could refer to. when designing their lamp.

Even as Ucar, who is an advanced mosaic artist, demonstrated the technique, his friend and co-founder Tapan offered a tray of Turkish tea and sweets – imported from their hometown.

The history of Turkish mosaic art

As this journalist washed down a tasty sesame cookie with a sip of strong black tea, Ucar spoke about the evolution of mosaic art in Turkey. “It happened nearly 6,000 years ago.”

Turkish art was influenced by the presence of the Greek-speaking Byzantine or Eastern Roman Empire which ruled between the 4th and 14th centuries – during this period mosaics of Christian religious figures and powerful rulers were popular, such as mentioned on the Khan Academy website.

The rule of the Ottoman Empire began in the 1450s (via National Geographic); and with this shift in power, nature-inspired mosaic designs began to appear in mosques, as mentioned in ceramic artist and educator George Woideck’s blog.


According to Ucar, who hesitantly admits to having scraped mosaic pieces off neighbors’ walls as a child, the practice of sticking mosaics on walls came from the Greeks; using it on lamps was an idea brought later by the Ottomans.

Although it is an important part of Turkey’s art and culture, locals see it as just a functional piece – a source of light when it gets dark. In fact, Ucar’s family is surprised that he runs a successful business around them.

“My older brother still can’t believe I make them for profit,” he said with a laugh.

“He thinks it’s just a lamp.”

But Ucar, his friends and the nearly 2,500 people who have spent hours learning the art at the studio know it’s much more than that.

Mosaic Art Studio at 332 Columbia St. offers workshops all week except Monday and Thursday. A two-hour workshop costs $69.

A trio of artists from Chilliwack and Hope come together for the Convergence 2022 exhibition

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Three Chilliwack artists have come together for the upcoming art exhibit at the Chilliwack Cultural Center.

Convergence 2022, with pottery by Holly McKeen, paintings by Patricia Peters and digital art by George Rychter, is on display at the O’Connor Group Art Gallery from August 10 to September 17.

All three artists are members of the Chilliwack Visual Artists Association. Peters and McKeen are artists from Chilliwack while Rychter is from Hope.

The Progress caught up with McKeen and Peters just before the show opened on Wednesday.

“I was thrilled to be in this exhibit with Patricia because I love how colorful her work is,” McKeen said. “She has a kind of feeling in her painting that when I look at these paintings, I don’t see the trees, I see the wind in the trees. I think we are kindred spirits that way in our art.

The Convergence 2022 art exhibition is on view in the Chilliwack Cultural Center Art Gallery from August 10 to September 17, 2022. (Jenna Hauck/Chilliwack Progress)

Peters agrees that their works complement each other.

“Holly’s work is exquisite. The natural forms of crystalline enamels are exceptional and very rare,” Peters said. “The forms themselves are refined and beautiful.”

She calls McKeens’ work “world-class pottery”.

The Convergence 2022 art exhibition is on view in the Chilliwack Cultural Center Art Gallery from August 10 to September 17, 2022. (Jenna Hauck/Chilliwack Progress)

The Convergence 2022 art exhibition is on view in the Chilliwack Cultural Center Art Gallery from August 10 to September 17, 2022. (Jenna Hauck/Chilliwack Progress)

In Rychter’s digital work, all of the pieces begin with photos he has taken of leaves. He then transforms and colors them.

McKeen said it’s “pretty exciting” what Rychter can do when manipulating images.

Peters said seeing Rychter’s work in photos or online doesn’t do it justice.

“George’s work has to be seen to be experienced,” she said.

The work of the three artists captures a shared interpretation of movement, energy and natural forms, in a bold and fresh presentation, the Chilliwack Visual Artists Association said in a press release.

The Convergence 2022 art exhibition is on view in the Chilliwack Cultural Center Art Gallery from August 10 to September 17, 2022. (Jenna Hauck/Chilliwack Progress)

The Convergence 2022 art exhibition is on view in the Chilliwack Cultural Center Art Gallery from August 10 to September 17, 2022. (Jenna Hauck/Chilliwack Progress)

McKeen said she enjoys the study of intricate surfaces in crystalline and special-effect glazes while pursuing movement and elegant curves in her porcelain designs. Surface and form are one in the ceramic art of this collection.

Peters is a contemporary landscape artist who creates vivid imagery using her unique language of color to illustrate her response to the world around us and, in particular, her ongoing conversation with the earth.

“My paintings speak to history,” Peters said.

She also included a small piece that her son made 16 years ago when he was nine. She will tell the story behind her at the opening reception and people can also read about it at the gallery where the story will be displayed alongside the painting.

This little painting by Colton Peters - son of Patricia Peters - has a story that people can read about when visiting the Convergence 2022 Art Exhibition at the Chilliwack Cultural Centre.  (Jenna Hauck/ Chilliwack Progress)

This little painting by Colton Peters – son of Patricia Peters – has a story that people can read about when visiting the Convergence 2022 Art Exhibition at the Chilliwack Cultural Centre. (Jenna Hauck/ Chilliwack Progress)

As a digital artist, Rychter’s work is born using computer algorithms to wildly manipulate a photo image, in order to transform it into something which he then colors. Ultimately, the artwork is transformed into a light jet print on white aluminum.

Convergence 2022 is in the Chilliwack Cultural Center Art Gallery (9201 Corbould Street) from Wednesday August 10th to Saturday September 17th. The opening reception will take place on Saturday, August 13 from noon to 2 p.m. with an artist talk at 1 p.m.

Admission is free and gallery hours are noon to 5 p.m. Wednesday through Saturday.

The Convergence 2022 art exhibition is on view in the Chilliwack Cultural Center Art Gallery from August 10 to September 17, 2022. (Jenna Hauck/Chilliwack Progress)

The Convergence 2022 art exhibition is on view in the Chilliwack Cultural Center Art Gallery from August 10 to September 17, 2022. (Jenna Hauck/Chilliwack Progress)

Looking for more events happening in and around Chilliwack? Find out what’s happening in Chilliwack in our community section.


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Drawings and materials by the late artist Nancy Erickson go on sale | Montana News

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When Nancy Erickson died in February at the age of 86, she left behind decades of shelves and wallets filled with character designs and art materials, including fabrics, brushes, paints and Moreover.

She and her husband, Ron Erickson, lived in their Pattee Canyon home for 50 years, where she worked in a custom-designed studio with windows overlooking the hills. Once she spotted a cougar on the back.

On Saturday will be a sale of her figure drawings, made during sessions with her longtime group, the Pattee Canyon Ladies Salon, as well as materials she used for paintings and her large-scale fabric works of animals and figures that have been exhibited around Montana, in the United States and abroad.

It’s a fascinating way to look at an artist’s legacy in the room she worked in, said Leslie Van Stavern Millar, a longtime close friend and member of the show.

“That’s what she worked with and what she did,” Millar said.

Ron went through all the drawings from the years she produced, with Millar’s help, over the months.

They chose about 50-70 with Nancy in mind, wondering if she would approve if she saw a particular piece hanging in someone else’s living room. Larger designs will cost between $75 and $100, smaller ones between $25 and $35.

Looking at the works displayed on the wall, Ron said there was a visible consistency over time.

“It’s hard, for example, to look at a room and say, ‘Oh, this is from 1970, and this one here is from 2020,'” he said.

The sale will take place at 3250 Pattee Canyon Drive on Saturday, August 13, from 10 a.m. to 4 p.m. The designs will be set up in the studio and the materials outside. Face coverings are mandatory inside. Parking is limited and people should carpool if they can.

‘Heavy equipment’

Artists are “hardware-heavy” workers, Millar said. The studio shows it. It has shelves full of fabrics in all the colors and patterns that Nancy used in her fabric wall sculptures, as well as thread, a sewing machine, and more. (As they went through the tissues, they unearthed more of his diaries, which will be donated to the Mansfield Archives in the hope that a potential biographer can use them.)

There are studio furniture and storage shelves. Nancy photographed her own work with a camera that is now on sale: a Calumet 4 x 5 inch camera and a sturdy tripod. Ron said they are selling a selection of the many books they have collected over the years, including volumes on individual artists and museum catalogs.

The studio is where, since 1989, Erickson has met twice a month for figure drawing sessions with the Pattee Canyon Ladies Salon, a group that has met continuously for decades. She was the founder and “anonymous leader”.

Millar said working regularly from the figure was fundamental to Erickson’s practice, as well as a sense of community and friendship. It never involved formal reviews or expectations that a play might end up in public broadcast.

Drawing in this way is an opportunity to put aside any kind of photographic reference and “look at a human body in real time, with light and shadow”, and a variety of body types depending on the model, she said. declared.

Erickson was known for her drawings, paintings, and quilted works, often of animals and humans, and often with a message of concern for society’s effects on the environment. She worked in fabric art from the 70s, when it was less widely accepted. Over time, her work was shown not only in museums, it was celebrated in the world of quilting and textiles. She has participated in more than 500 shows during her career.

Among his innovations were free-form cutouts of figures that departed from the traditional square shape. Looking at a selection of smaller designs on the wall, Ron counted three that became large-scale textile works.

Fans of his animal and fabric works take note: this sale is focused on character designs, not major works. There are a small handful of bears in the room, including one that shows off the animal’s bone structure, reflecting its original field of study, zoology.

Proceeds will go to the Montana Museum of Art and Culture and the Missoula Art Museum – Nancy Erickson donated a selection of her works to the latter’s permanent collection several years ago.

Later this fall, many events will mark his legacy. The MMAC opens a dedicated exhibition at the Ladies Salon on October 14. They worked on a catalog and an accompanying symposium.

Simultaneously, his longtime local exhibition space, Gallery 709 at Montana Art and Framing, will feature a selection of his work.

Hollywood woman making art from beach trash to inspire and educate about environmental awareness

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HOLLYWOOD, Florida. – Hollywood resident Manon Weise is on a mission to inspire and educate the masses by creating art from trash to show us all what we are doing for our planet.

“There’s so much on our beaches that people don’t realize, because they don’t see it,” Weise said. “So our sculptures show what is happening on our beaches.”

A series of 10 works are currently exhibited in Flamingo Gardens in Davieall made from scraps Weise found in Hollywood Beach and made by her husband, Kurt.

“The Mahi Mahi was created with colored plastics that he cut out of buckets, containers that we found on the beach,” Weise said. “The eyes are actually two plastic spoons.”

The idea for the Mahi came after Weise collaborated with the Broward Surfrider Foundation for the 2018 Hollywood Candy Cane Parade, to make a float entirely from beach trash.

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“We won for most unique (parade float), but it raised awareness, people couldn’t believe we found all of this on our local beach,” Weise said.

Thus was born Free Our Seas and Beyond, a nonprofit created by Weise to tackle a problem that grew more pervasive by the day.

“I was walking on the beach, I kept seeing trash, trash, trash everywhere,” Weise said. “And I was like, ‘What can I do with this, because no one is recycling.’ And I thought there’s no better way to educate the public than through the arts and it’s about the visual, seeing it and knowing that this stuff exists.

A pelican sculpture was made to show how carelessly discarded fishing gear kills seabirds, a manta ray stuffed with ocean plastic like many in real life, and a Florida alligator illustrating the impact of human waste on Everglades wildlife.

“The alligator was created out of garbage cans, oil can lids, the wheels of a Tonka toy and toothbrushes, that’s what we made our teeth out of,” she said. declared.

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One of their most breathtaking creations is a large grouper made up of 200 flip flops.

“It’s on our beaches, not flip flops that someone left, but flip flops that came from the ocean, from a Gulfstream that brought them,” Weise said. “Sometimes I find five to ten flip flops a day. Not pairs, just one. They are made of rubber. They are not biodegradable.

And it’s not all that plastic the world keeps producing either. Less than nine percent of all the plastic in the world is actually recycled, meaning what hasn’t been incinerated is still on our planet in some form.

“Recycling doesn’t happen,” Weise said. “People think so, but it’s not. So we use our art as a way to spread the word and also to reuse it because it won’t be recycled.

Weise’s message is not subtle: let’s reduce our waste before it’s too late.

“The future here is our children, and they won’t have a clean planet if we don’t start making the change here,” she said.

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Our species is already beginning to disappear. An installation of the critically endangered vaquita was launched two years ago when there were 17 left on the planet.

So far there are only 10.

“They could be gone in a year, and that’s detrimental to our environment because everything is interconnected,” Weise said. “So once they’re gone, what happens next?”

Weise was recently joined by reinforcements, an army of volunteers converging on the Marine Environmental Education Center in Hollywood to clean up the beach and collect trash and trash that will no doubt inspire future work.

It is a sad fact that unfortunately there is never a shortage of materials.

“Honestly, I wish there were no plastic so I wouldn’t have to do this, but I love our planet, I love Hollywood,” Weise said. “I really want to raise awareness about the pollution that’s happening right now.”

Installation of Free Our Seas and Beyond at Flamingo Gardens runs until the fifth of September.

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For more information about Free Our Seas and Beyond, including how to donate, Click here.

Also check out Free Our Seas and Beyond on Instagram.

Copyright 2022 by WPLG Local10.com – All rights reserved.

Trinity Church Wall Street and Jazz House Kids announce launch of free educational programming and concerts to benefit young musicians and jazz audiences in Lower Manhattan – Episcopal News Service

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Trinity Church Wall Street announces a new collaboration with Jazz House Kids, a preeminent arts education and performance organization in Montclair, NJ, now in its 20e year and founded by jazz singer Melissa Walker. Eight-time GRAMMY winner Christian McBride serves as artistic director. This fall, Trinity will host professional and inspirational jazz education for children of all backgrounds in its new signature program JAZZHOUSE @ Trinity. This collaboration with Jazz House Kids reflects Trinity’s commitment to providing a wide range of musical styles and access to award-winning musicians in our public spaces, including jazz, a uniquely American art form and an important voice and unifying for our collective history and experience.

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NEW YORK, NY, August 22 – Trinity Church Wall Street today announced a new collaboration this fall with Jazz House Kids, a preeminent arts education and performance organization in Montclair, NJ, to provide free, professional jazz education for children, as well as a series of free jazz concerts for the public in its historic downtown churches. Jazz House Kids, now in their 20se year, was founded by jazz singer Melissa Walker, and eight-time GRAMMY winner Christian McBride is its artistic director. This [email protected] collaboration reflects Trinity’s commitment to providing a wide range of musical styles and access to award-winning musicians in our public spaces, including jazz, a uniquely American art form and an important, unifying voice. for our collective history and experience.

Earlier this summer, JAZZHOUSE @ Trinity launched Trinity Youth Afterschool programming at Trinity Commons – Trinity’s public space in lower Manhattan – thanks to the creation of the Trinity Youth Summer Jazz Ensemble. Two jazz ensembles studied under the direction of world-class artists, with a culminating performance at St. Paul’s Chapel on Tuesday, July 26.

The new [email protected] offering at Trinity Youth Afterschool will expand access to free music training and jazz education in small and large ensembles; improvisation; novice programs for beginners, which will include the use of a new instrument; jazz vocals and African percussion. Nationally recognized jazz artists will serve as artist teachers, providing students in grades 6-12 with a wide range of creative programs that develop musical potential, improve leadership, social-emotional learning and life skills , and improve school performance. The program will be expanded to K-5 in 2023.

The program for the 2022-23 school year begins on September 19 and interested students in grades 6-12 can register through Trinity Youth.

Trinity Youth Afterschool is a 5-day-a-week program that is free and open to all NYC youth in grades 6-12. Youth members have access to a wide range of quality programs in addition to lunch on arrival, a full-size gym, youth lounge, study space and study studios. art and dance.

As part of the collaborative summer offering, daytime jazz concerts have also made their debut at Trinity. Guests included jazz greats like Bruce Williams, Abel Mireles and LatiNext; and emerging talents Zoe Obadia and Claudia Nketia, performing in Trinity’s historic St. Paul’s Chapel. Building on these successes and on Trinity’s “indispensable and essential” (The New York Times) musical programming, Concerts at One will return this fall and will offer a new Jazz at One series on Tuesdays for seven weeks starting October 11, presented in collaboration with JAZZHOUSE @ Trinity.

Trinity will also present a new Jazz Icons concert series at Trinity Church on Sundays, co-hosted by Mr. McBride and Ms. Walker of Jazz House Kids. On July 10, pioneer Steve Turre Sextet was the first artist in this series, followed by concerts scheduled for October 9 and December 4 with renowned pianist Monty Alexander at 3 p.m.

“Trinity is thrilled to bring a new stream of musical talent to our historic sanctuaries and to offer this gift of free and vibrant music concerts to our neighbors,” said Reverend Michael Bird, Vicar of Trinity Church Wall Street. “We are grateful to our partners at Jazz House Kids for hosting award-winning educational programs for our youth and opening doors to some of the greatest musicians of our time.”

Jazz House Kids is thrilled to open a campus in New York in conjunction with Trinity Church,” said Ms. Walker, President of Jazz House Kids. “We will pursue our mission as an instrument of change: providing access, learning, career development and community building through jazz. We are honored to begin this collaboration with the renowned Trinity Church Wall Street and recognize their significant investment in jazz – that uniquely American art form born out of the African-American experience and now embraced worldwide.

About Trinity Church of Wall Street:

Trinity Church Wall Street is a growing and inclusive Episcopal parish with over 1,200 members. For more than three centuries, Trinity has been part of the fabric of New York City, weaving together a vibrant and diverse parish of people from all walks of life in and around the five boroughs. The parish is guided by its core values: faith, integrity, inclusiveness, compassion, social justice and stewardship. These principles are why Trinity champions justice and equity through public education, neighborhood outreach and financial resources. More than 20 services are offered weekly online and at its historic shrines, Trinity Church and St. Paul’s Chapel, cornerstones of the parish’s community life, worship and mission, and online at trinitywallstreet. org.

About Jazz House Kids

Now in its 20th year, Jazz House Kids is dedicated to transforming lives using the power and legacy of jazz through world-class education and performances that create pathways for accessing, learning, developing career and community development. The organization and students have received over 125 awards and recognitions for excellence in jazz and jazz education. Every weekday, through a series of curricular and after-school programs, Jazz House helps young people gain an artistic edge through music, mentorship, education and learning, community building prosperous and promoting community leaders and global citizens. The organization’s large-scale cultural signature program is the Montclair Jazz Festival, the New York area’s largest free jazz festival that draws more than 35,000 attendees to downtown Montclair each year. For more information, visit www.jazzhousekids.org.

With “Bus Stop Paintings”, the artist presents the historic buildings of the Chicago district, one watercolor at a time

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WEST TOWN — An Instagram account run by a local artist features paintings of historic buildings and businesses in Chicago, as well as locations in Colorado, Texas and beyond.

Bus Stop Paintings is run by Chicago artist Diego Bleifuss Prados, who began painting watercolors at the start of the pandemic while living in Denver.

The project actually started with photography, said Bleifuss Prados, after being inspired by Twitter posts from lee bey, Deborah Mercier and other tales of little-known buildings in Chicago neighborhoods.

Bleifuss Prados said he will walk around and take pictures of old buildings and storefronts, usually those with historic features and new businesses below, including grocery stores, taquerias and liquor stores .

“Especially in Chicago, there’s a type of building, really beautiful, older buildings that have architectural terracotta or really fine brickwork and etching. And then on the first floor there’s like, a butcher. Or an auto shop or just a small store that juxtaposes with the big, older building above,” Bleifuss Prados said.

While working from home during the pandemic, he began experimenting with drawing and painting buildings. Last year he started publishing his work online under the Bus Stop Paintings account.

Credit: Supplied/Diego Bleifuss Prados
Carnicerías Jimenez by Diego Bleifuss Prados

He returned to Chicago this spring and many of his recent paintings feature buildings in the greater West Town area, such as Western Wear in Alcala, Ciales Poultry in Bucktown, and the Starsiak Clothing building in the Polish Triangle.

He also painted a taqueria in Pilsen, a grocery store in Humboldt Park, and many scenes in Denver, Texas and even one in Hebron, Palestine.

Bleifuss Prados said he took a few art classes in school but never received any formal training. He hadn’t worked much with watercolors until he started what became Bus Stop Paintings in 2020.

“I had all this extra free time so I started painting some of the pictures I was taking around Denver. More than anything, it takes a lot of time and patience to go through the tedious process of drawing it and painting it. redraw it, then paint it,” he said.

One of his biggest challenges has been getting the right light for his photos, which serve as a model for each painting. That process has been more difficult in Chicago than in sunny Denver and Texas, he said.

“I noticed buildings and then I often have to come back when the lighting is good to have good lighting, good sunshine and then good shadows too. And that can be quite tricky,” he said. “I’m going to take several photos…and recreate them as best I can. »

Many of the oldest buildings represented by Bleifuss Prados are in gentrifying neighborhoods, where long-standing businesses are often at risk of displacement.

He said there was a dedication to historic preservation in his work, with an urge to document a building or store before it was gone or changed forever.

“I think there’s an element of trying to chronicle the treasures or gems of the neighborhood, architectural gems that are disappearing. And just a style of building and store that is slowly being replaced, or quickly in some places,” he said.

Recently he stopped at a locksmith in Humboldt Park to take a picture after waiting for a sunny day with good light.

Instead, he found the building under construction and the company sign removed.

“It sometimes feels like a race against time trying to get some of the shots before they get demolished or turned into a target or something,” he said. “A lot of these buildings are sort of ephemeral.”

He has sold a small number of physical prints of his work and hopes to expand his offering when he finds the time.

Until then, he plans to paint more buildings across Chicago, as well as finish some older ones.

“I just keep an eye out whenever I walk around the city, looking for things, buildings, stores or signs that would be interesting or that I find beautiful,” he said. “I really appreciate people who love paintings and yes, I’m excited to share more.”

Credit: Supplied/Diego Bleifuss Prados
Sale of furniture by Diego Bleifuss Prados, representing 1239 N. Ashland Ave. at Wicker Park

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Non Fungible Media Token – Navigating the choppy waters of Ethereum Front Runners to launch a brand new concept

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NFMT

Competition

Competition

RMT Reviews and News

RMT Reviews and News

Non Fungible launches on Ethereum and now seeks to advance its project with an NFT contest

Only those who dare to fail greatly can achieve great success.

—Abdi Hussein

OXFORD, UK, August 9, 2022 /EINPresswire.com/ — At a time when the markets are down, the Ethereum network is full of top bots, trying their best to steal new projects that have just been launched. NFMT launched last night and we were hit hard by these bots, but while many would have given up and cut their losses, it looks like NFMT is here to stay.

With the owner, Abdi has been quick to verify himself and is now working to push the project to potential investors, we can see a very good opportunity for new investors to join the project at a very good price. With a market cap of less than $10,000 and the robots supported, this is a project that can work very well with the proper care and attention.

With a safe and well-known Solidity developer working with the project, I see a safe and reputable person controlling the contract to really give these guys the best opportunity to start off on a good footing.

The idea for the NFMT project stems from Abdi’s time in marketing. With him working at various reputable marketing companies, he worked on crypto promotion for other tokens before taking the plunge and entering the industry himself for the NFMT project.

NFMT was created to bridge the gap between physical and digital art, with the idea of ​​working with famous galleries around the world to add NFT displays, show the best designs from the NFMT community as well as market other NFTs , Designers and even projects. Abdi has the business acumen and knowledge to make it a success and I for one am very interested to see what comes next from the NFMT camp.

The project, although very new, is already looking to reward NFT creators, with a prize pool of 2 Ethereum split between 3 winners which is decided by rounds of voting, with the winners then receiving their prizes and the chance to appear in a prestigious gallery in the City of London.

We spoke to Abdi, who told us where he comes from and what he aims to achieve in this space:

“I started getting interested in crypto when I was at University of the Arts and invested small amounts a few years ago. It has now grown to a sufficient amount to sustain and nurture my project and I see short-term expenses as long-term gains for the project and its investors We haven’t had the best start with the bots, but now we can take it to a new level and really start making waves in the Ethereum space. I really look forward to working hard now to make this project a success’

A very interesting project this one, with everything to gain and nothing to lose. It’s great to see people fighting to keep their heads above water in turbulent markets and I, for one, respect their commitment and willingness to do well. If they get community support and find new wielders attracted, this could be a very interesting project indeed!

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When technology meets creativity

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“When bankers meet for dinner, they discuss art. When artists meet for dinner, they discuss money. – Oscar Wilde

A digital artist, Mike Winkelmann, aka Beeple, has sold “Everydays: The First 5000 Days”, a collage of computer illustrations, for $69 million at Christie’s. The work was able to command the huge sum for what was essentially a 13-year montage of Winkelmann’s messages because it was attached to a digital certificate known as an NFT or Non-Fungible Token. This deal sparked a mad rush among artists – a gold rush – to join the NFT bandwagon.

The NFT craze has spread quickly. Despite the fact that the modern art world is inherently volatile, the rise of NFTs is shaping the artistic landscape. Several Indian artists have created digital artworks and sold them to collectors around the world, using the NFT route.

What is special about an NFT?

Anyone can view individual images – or even the entire collage of images – of digital art online for free. So why are people willing to spend millions of dollars for something that can be downloaded or screenshotted? This is because NFTs give ownership of the original item to the buyer.

People can have a picture of Leonardo da Vinci’s Monalisa on their phone or go to the Louvre museum in France and take a picture of it, but the original Monalisa is priceless, and copies and replicas are simply worthless because the museum is recognized as the sole possessor of the original. NFTs on works of art are the equivalent of an attestation – they are digital certificates from the artist stating: “This work was created by me and accompanies the work of art”.

Artists wishing to sell their work as NFTs must first register with a marketplace before “minting” digital tokens by uploading and validating their information on a blockchain.

Each NFT has its own valuation, which is determined by the highest bidder, who receives a digital token rather than the actual painting, sculpture, or printed copy, when it comes to art or collectibles. The NFT contains information about the current owner of the piece, transfer procedures, artwork details, a link to the digital image or a hash code, and built-in authentication that serves as proof of ownership.

Modern monetization tool

Santanu Hazarika, a self-taught multidisciplinary visual artist and illustrator based in Mumbai, has just released his first major NFT. According to Santanu, the global NFT marketplace is slowly becoming a crucial promotional tool for all artists to monetize their work and uniquely engage with the art-appreciating community of collectors and fans. “There are many ways NFTs help artists. Individual artists can support themselves by publishing their own work without the intervention of intermediaries, galleries, art collectors or dealers of any kind,” he explains.

Cryptocurrency is frequently used as a payment method for NFTs.

Physical silver can be exchanged for cryptocurrencies and vice versa – in other words, both are “fungible”. Each unit of physical money and cryptocurrencies is equal in value to a similar unit of itself – one dollar will be worth the same as another dollar, and one Bitcoin will be worth the same as another Bitcoin at some time. But NFTs are different. Each NFT has a digital signature, which prevents it from being exchanged for another, or having the same value as another token – so they are non-fungible. Simply put, NFTs are essentially assets that have their own digital identity and ownership record, and they cannot be replicated to form new versions of themselves.

Art, GIFs, sports videos, video games and virtual avatars, designer shoes, music, and even tweets can all be associated with NFTs, making them unique and collectible. These NFTs can be sold for varying sums. For example, Twitter co-founder Jack Dorsey sold his first NFT tweet for over $2.9 million.

art trade

When it comes to art, because they establish ownership of the artwork, NFTs are valuable. They can be bought and sold online. If you have an NFT for a work of art, you have the option of keeping it, selling it, or trading it. There are many NFT marketplaces where sellers can upload their products and buyers can connect digital wallets to purchase them. To attract potential buyers, some digital artists post their work on social media platforms like Instagram.

“I love the value of the original in a world full of fakes,” says Venkat Gaddam, an artist and fashion designer from Telangana who plans to launch an NFT series soon. It’s an exciting time to be a creator, an ideator or an artist, in my opinion.”

“With NFTs, artists no longer need to pay huge commissions to galleries to present their works! Our artworks can be minted as NFTs and kept on the Blockchain forever,” says artist Swati Pasari from Kolkata.

Royalties for repeat sales

NFTs provide transparency and accessibility to the art world like never before, ensuring that musicians, artists and others are fairly compensated for their work.

Due to the nature of NFTs, artists won’t have to settle for a one-time sale of their work. They will be able to benefit from subsequent transactions thanks to royalties on secondary sales.

“I think it gives you complete control over when and how you give up your work. You realize how transparent the transactions are and you can see who is selling your artwork and how much it is selling for; you have also the royalty system in place, which means that every time your art is resold, you not only know who is buying it, but you also get paid,” says Santanu, who launched a first-of-its-kind digital artwork Breaking the Frames (BTF) on the WazirX NFT marketplace in collaboration with pop sensation Ritviz.

“Copyrights and partial sale opportunities historically have no place in the world of fine art. Artfi (a blockchain-based fine art NFT ecosystem) offers the unique opportunity for artists, sellers and collectors to earn royalties on every NFT transaction, sell 90% of their art and keep 10% locked up in their wallets for the future,” says Artii founder Asif Kamal, who is also an art connoisseur.

Creators can also incorporate clauses into their NFTs. Beeple, for example, stipulated that he would receive a 10% royalty on any subsequent resale of his $69 million coin. “In the case of a physical work of art, you only get paid once; however, with NFTs, artists receive a royalty even on all future sales of their work,” adds Swati.

Has anyone in India sold an NFT?

The answer to that is, yes, many have. Raghavendra Rathore was the first designer to use proprietary blockchain technology to convert his artwork into NFT. Canada-based Tamil musician Kaber Vasuki has sold an unreleased demo of his track “Vasanam” on OpenSea (web3 marketplace for NFT) for 50 Ethereum, or around Rs. 1.5 crore. Kanthraj N, a Bangalore-based watercolor artist, has auctioned off 12 of his award-winning original paintings on the RubiX marketplace.

“With NFTs, artists are now open to working with anyone, anywhere,” says Santanu, adding, “The process removes various barriers such as approaching galleries, expecting galleries to pick up your work, an art dealer to push and promote you. , and the logistical problems too.

Artists who have created NFTs form groups and online communities to help and educate each other.

A multi-billion dollar company in the making

According to the Artprice database, NFTs have grown in popularity, accounting for a third of online sales or 2% of the overall art market. Artists who have embraced NFTs find it empowering. Suvigya Sharma, an Indian artist, painter and fashion designer known for his miniature paintings, Tanjore paintings, murals and portraits, has partnered with OwlUnited – an NFT project bringing together business, charity and digital art . He says that nowadays digital art, especially NFTs, is used to raise funds for the launch of medium and large companies.

“NFTs are expected to be a multi-trillion dollar industry in the global economy, and many people are beginning to accumulate these digital assets for artistic or utilitarian purposes. Over the past couple of years, many NFT projects have sprung up in the market,” says Suvigya.

A revolution is indeed sweeping the art world, and it will never be the same again.

DreamWorks Animation will launch the open MoonRay renderer

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Later this year, MoonRay, a proprietary production renderer from DreamWorks Animation, will be made available as open source software. The Bad Guys, Croods: A New Age, How to Train Your Dragon: The Hidden World, and the upcoming Puss in Boots: The Last Wish all used the studio’s state-of-the-art Monte Carlo Ray Tracer.

World-class DreamWorks engineers created MoonRay, which features an extensive library of production-tested physical materials, USD Hydra rendering delegate, multi-machine rendering, and cloud rendering using Arras.

“We are thrilled to share more than 10 years of innovation and development on MoonRay’s vectorized, threaded, parallel and distributed codebase with the industry,” said Andrew Pearce, Vice President of Global Technology at DreamWorks. . “The appetite for large-scale rendering grows every year, and MoonRay stands ready to meet that need. We expect to see the code base grow stronger with community involvement as DreamWorks continues to demonstrate our commitment towards open source.

With a mission to “…keep all vector lanes of all cores of all machines busy all the time with meaningful work”, DreamWorks’ in-house MCRT renderer, MoonRay, was built from the ground up by putting the focus on efficiency and scalability. It also offers state-of-the-art features for unrestricted artistic expression. It can produce a wide variety of graphics, ranging from photorealistic to highly stylized. With no previous legacy code and a highly scalable state-of-the-art architecture, MoonRay enables rapid, cinematic-quality art iteration using well-known tools.

Support for distributed rendering, a pixel-matching XPU mode that increases speed by processing ray bundles on both the GPU and CPU, ray processing with Intel Embree, shader vectoring using Intel ISPC Compilation and Bulk Path Tracing are other high performance capabilities. In order to be integrated with content creation applications that accept the standard, MoonRay ships with a USD Hydra render delegate.

To manage multiple machines and contexts, MoonRay uses the Arras distributed computing framework from DreamWorks, which will also be integrated into the open source codebase. Multi-machine rendering accelerates the artist’s interactive display and decouples the rendering from the interactive tool, increasing the resilience of the interactive experience. The artist can simultaneously view various lighting conditions, different grades of materials, many instances in a shot or sequence, or even multiple locations in an environment, using MoonRay and Arras in multi-context mode.

Bill Ballew, Chief Technology Officer at DreamWorks, said, “MoonRay has been a game-changer for our productions. We have over a billion hours of use at DreamWorks. As the open source community continues to adopt and improve it, we will see significant benefits for the animation and visual effects industry as well as academia.

DreamWorks wants to make MoonRay available under the Apache 2.0 license. Further information and updates will be available at OpenMoonRay.org.

DreamWorks Animation is a global family entertainment company with feature film and television brands supported by a strong global consumer products strategy. DreamWorks Animation is a division of Universal Filmed Entertainment Group within NBCUniversal, a subsidiary of Comcast Corporation. With over $15 billion at the global box office, DWA’s picture legacy includes well-known characters and franchises like Shrek, Madagascar, Kung Fu Panda, How to Train Your Dragon, Spirit, Trolls, The Boss Baby and The Bad Guys from 2022 Customers in over 190 countries can watch award-winning original television content from DreamWorks Animation.

The 48th annual Harlem Week kicks off with 10 days of events this weekend

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Mark your calendars – Harlem Week is coming back strong!

From August 12-21, Harlem Week will host a series of events showcasing the people, arts, culture, entertainment and history of Harlem. This 48th annual celebration features in-person and virtual experiences centered around the theme “Inspiration, Impact and Legacy”.

“All New Yorkers are invited to experience HARLEM WEEK from August 12-21 as we honor key elements of our city. Seniors and children can celebrate education, restaurants, technology and theater,” said Lloyd Williams, president of HARLEM WEEK. You’ll hear music ranging from jazz, gospel, R&B, hip-hop, soca, Latin, Caribbean, ‘Afrobeat, etc. Remember – you haven’t done this town until you’ve done it Uptown, so do it in Harlem. We can’t wait to see you!’

Harlem Week events can be enjoyed in person and online at harlemweek.com. The festivities kick off August 12 with Older Persons Day, Harlem’s first major public event of the week, at the Adam Clayton Powell Jr. State Office Building. The event will include health demonstrations, health tests, performances, a tech debunking panel, a Senior Hat fashion show, and more.

On August 13, Harlem Week will host the Percy Sutton Harlem 5k Run and Walk for Health Against Gun Violence. Centered around the theme “Save Our Children”, which is a call to action against gun violence. Participants are invited to register here. That evening, from 4-7 p.m., Harlem Week will host Great Jazz on the Great Hill, which will feature performances by the Jimmy Heath Legacy Band, Antonio Hart Quartet and Tammy McCann in Central Park.

To wrap up the first weekend of Harlem Week, New Yorkers can celebrate “A Great Day in Harlem” on August 14. Starting at noon, guests can head to Ulysses S Grant National Memorial for the opening of the International Village, which features a variety of vendors to shop from, followed by performances and appearances by R&B artist Kenny Lattimore, a tribute to 90-year-old Caribbean legend Lord Nelson (aka “The Soca Daddy”), Uptown Dance Academy, Artz, Roots & Rhythm, Impact Repertory Theatre, Mama Foundation’s Sing Harlem Choir and Isn’t Her Grace Amazing Choir. The evening will conclude with the Under Under the Stars concert featuring national and international artists supported by the Harlem Music Festival All-Star Band led by “star music director” Ray Chew.

For more information and a full list of events, visit www.harlemweek.com.

CEO selling NFTs of Confederate monuments he took down

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RICHMOND, Va. (AP) — After removing the Robert E. Lee monument in Richmond and nearly two dozen other statues across the city and state, Devon Henry is looking to raise money for charity by selling statues digital artworks inspired by their removal in the cryptocurrency market.

CryptoFederacy, Henry’s new venture, recently launched its first round of artwork with the goal of raising a total of $13 million for various non-profit groups and social justice causes, including the development of affordable housing, gun violence prevention, access to mental health care and the right to vote.

The 45-year-old CEO of Team Henry Enterprises, the contracting company that the state and the cities of Richmond and Charlottesville hired to demolish Confederate monuments, said he founded the new company after considering what he should do next after participating in the historic effort.

“The statues have fallen. But what’s next? Henry said in an interview. “It’s about keeping the momentum going and keeping the awareness of what those statues meant – and taking a negative narrative and turning it into something positive.”

Richmond Mayor Levar Stoney and former Virginia Governor Ralph Northam have ordered the removal of Confederate monuments in the former Confederate capital in 2020 amid nationwide protests over the murder of George Floyd by the police. The orders came after several other states and localities across the country took similar action to pay tribute to the Confederacy after a white supremacist murdered nine black parishioners at a church in Charleston, South Carolina, five years earlier. .

Henry said he was apprehensive when the governor’s chief of staff first approached him about the removal of the Lee monument. He was inclined to take it, but considered the deadly rally of white supremacists in Charlottesville in 2017 and how a contractor’s car in New Orleans was set on fire.

Henry, who is black, said he consulted with his wife and children. They discussed what it would mean to remove the monuments that generations of people have believed have represented oppression and racism and the risks that might entail.

“We came to the conclusion that we had to do it,” he said. “We need to take these issues into our own hands and show courage.”

Henry said CryptoFederacy’s goal is to capitalize on the rise of new technologies such as Web3 and non-fungible tokens (NFTs) to raise funds for social justice causes.

Founded earlier this year, the organization’s first project is The Thirteen Stars, a digital art collection that includes 3D models of Confederate monuments covered in newspaper headlines and artwork of the statues surrounded by graffiti.

Anthony Bartley, who goes by the name Fading Royalty, created most of the artwork in the collection.

Currently based in St. Louis, where he attended Washington University, Bartley, 24, said he was excited to be part of the project after curating a book of photographs of the 2020 protests. Proceeds from sales of books went to the NAACP legal defense fund.

Creating the artwork, he said, “took me back to doing something bigger than myself. And it feels good to be a part of it, especially knowing that the proceeds will go to charity.

The name of the collection refers to the 13 stars of the Confederate battle flag “Southern Cross” as well as each of the 13 causes to which CryptoFederacy intends to allocate $1 million with proceeds from the sale of the artwork of art.

Michael Garvey, economist and artist involved in the project, created three pieces for the collection. One depicts an alien plane “abducting” the Robert E. Lee statue, while another shows all the scattered monuments in an arcade claw machine game.

Garvey, 33, said his work is meant to symbolize moving forward into “the future” and how the project is intended to reclaim the monuments.

“It can be like taking some of the oppression…caused by the culture around statues and taking money from this NFT project to relieve some of that pressure on us,” he said.

Henry said CryptoFederacy is still engaging potential nonprofit and charity partners for the project, but has already struck deals with the Richmond-based Better Housing Coalition and the Thurgood Marshall College Fund to support college scholarships. and historically black universities.

Other artists have also sought to raise funds through the sale of NFTs recently. For example, Russian feminist art collective and punk rock band Pussy Riot earlier this year helped raise more than $7 million to support Ukraine during the Russian invasion of the country, according to media reports.

Customers can bid on Thirteen Stars artwork using Ethereum cryptocurrency. The auction website for the artwork states that the minimum bid for each piece is 105 wrapped ethers, which equates to approximately $182,000.

In addition to acquiring the ownership rights to the artwork via the blockchain, a kind of digital public ledger that is the basis of cryptocurrencies and NFT ownership, buyers will receive a small physical artifact of the artwork. one of the landmarks.

Henry said he chose to embrace the new cryptocurrency market and new arts platform as a way to encourage black entrepreneurship in an emerging market as well.

“I just feel like at some point it’s going to be part of our lives,” he said. “I saw a lot of stuff out there in the NFT space, and I thought it might be something more meaningful and historical that people can relate to and understand.”

Henry said he expects bidding for the artwork to remain open online until the end of August. He said that CryptoFederacy will also release a second collection of NFT artwork later this summer.

Pierce Brosnan Handpicked Artwork For This Memorable “Thomas Crown Affair” Bowler Hat Scene

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TL; DR:

  • Pierce Brosnan played the title role in the 1999s The Thomas Crown Affair.
  • An artist himself, Pierce Brosnan personally selected René Magritte’s “The Son of Man” for the bowler hat scene.
  • René Russo referenced the painting of the bowler hat in the last line of The Thomas Crown Affair.

Bowler hats. Say these three words to anyone who watched the 1999s The Thomas Crown Affair and, chances are, no further explanation is needed. In John McTiernan’s film, Pierce Brosnan’s lead character memorably escapes the authorities with the help of a painting. And, of course, lots of men in bowler hats. It turns out that the actor chose the painting himself.

The painting of ‘The Thomas Crown Affair’ is ‘The Son of Man’ by René Magritte

Considering the remake of the 1969 version centers on the theft of a Monet painting from the museum, that’s no surprise. The Thomas Crown Affair presents various works of art. Brosnan’s character eats in front of a painting he calls “Haystacks”. Meanwhile, a museum security guard points out that another nearby artwork is attracting more attention.

Then there are the additional works seen in Crown’s house. Not to mention fellow insurance investigators Catherine Banning (Rene Russo) set fire to Crown’s tropical hideaway.

However, arguably the most famous part of the movie is the bowler hat scene. So what is the painting in The Thomas Crown Affair called? It is the “Son of Man” by the Belgian surrealist René Magritte.

Pierce Brosnan chose “The Son of Man” for the bowler hat scene

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According Gentleman’s DiaryBrosnan selected “The Son of Man” for The Thomas Crown Affair. The 69-year-old didn’t explain why he chose this particular painting, although he did talk about his interest in the art.

Brosnan even sketched during the interview. “Because sometimes all you have to do is paint! Sitting on calls, sitting on Zoom, sitting here watching people. It’s nice to stay active,” he said.

He also shared that he makes art a part of his life even when filming on location.

“Here in Atlanta, in this beautiful apartment, I have a studio. It’s just a spare room, turned into a studio, where I set up work,” he said. “But, if you have to be away somewhere for a long time, I think it’s good to come away with a job or two that you did there.”

The last line of “The Thomas Crown Affair” is a nod to the painting of the bowler hat

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Russo referred to the Thomas Crown case painting, aka “The Son of Man”, in the final scene, according to IMDb. “Next time, I’ll break both your arms,” ​​her character told Crown after finding out during her flight.

So how was this a nod to the bowler hat painting? According to IMDb, Crown introduced himself as the man in the painting. And, in the painting, the man’s left arm appears to bend backwards as if broken.

RELATED: Why Jack Nicholson Gave Diane Keaton Money After Starring in ‘Something’s Gotta Give’

Annual Art Sale helps Aspen Thrift Shop do more for the community

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People view merchandise at the preview Friday, August 5, 2022, ahead of the annual Aspen Thrift Shop art sale at the Red Brick Center for the Arts in Aspen. The main sale is Saturday from 10 a.m. to 2 p.m.
Austin Colbert/The Aspen Times

Chances are you’ve contributed something over the years to Aspen Thrift Shop. Saturday is your chance to buy something cool and keep the virtuous cycle of giving going. Yes, the annual art sale is here on Saturday, and you only have a short time, from 10 a.m. to 2 p.m.

You may have enjoyed the benefits. The 73-year-old all-women-run organization has donated hundreds of thousands of dollars a year to community service groups ranging from A to Z – ACES to Youth Zone – just from the cycle of trash can to treasure that store d deals promotes.

Katherine Sand of Thrift Shop explains: “We relieve the locals of their stuff, because we all have too much! Sell ​​it to people who need it at rock bottom prices – it’s about the only place you can buy truly affordable clothing and goods in Aspen, and donate the proceeds to the community.



The art sale, which Sand started eight years ago, will add its share, about $30,000, to the prize pool for organizations and scholarships at the end of the day.

What awaits you at the Red Brick Center for the Arts? Maybe it’s better to ask what isn’t. Art! Sure. Books, paintings, photographs, posters, sculptures, jewelry, clothing, ceramics, pots, pans, all the clever kitchen and sink, no doubt.



People view merchandise at the preview Friday, August 5, 2022, ahead of the annual Aspen Thrift Shop art sale at the Red Brick Center for the Arts in Aspen. The main sale is Saturday from 10 a.m. to 2 p.m.
Austin Colbert/The Aspen Times

Here is a starting list of some of the highlight treasures:

  • A print signed Terry Rose for the 1987 Choices for the Future symposium held at Windstar and also signed by John Denver.
  • Prints signed Tom Benton.
  • Folk art pieces.
  • Australian and African artifacts.
  • Official catalog of Angelo Accardi, the luxury edition.
  • Architectural prints by Michael Graves.
  • Steuben glass.

“I find more as I unpack our storage,” says Sand. “It’s a real treasure hunt and a cornucopia. Also amazing, great value vintage clothing – we are only selling a few as there are so many in the shop, but what we have is special.

The Thrift Shop (and Art Sale) is staffed entirely by volunteers. Working people, retirees, all kinds of people and all ages. All you need is the desire to give your time. Oh, and be a woman.

Sand said the store is always looking for more volunteers. Most “work” about two days a month in the store, at 422 E. Hopkins Ave., open 10 a.m. to 3 p.m. Tuesday through Saturday and Tuesday evenings from 4:30 p.m. to 7 p.m.

The store went through lean times during the height of the pandemic, Sand says, like other nonprofits and businesses. They closed for long periods. Sometimes they couldn’t accept donations.

“However, we have bounced back beautifully and the store is packed and grants are being given to the community,” she says.

The guiding philosophy of The Thrift Shop on the donation side is to provide as much as possible to as many groups as possible.

People view merchandise at the preview Friday, August 5, 2022, ahead of the annual Aspen Thrift Shop art sale at the Red Brick Center for the Arts in Aspen.
Austin Colbert/The Aspen Times

“We believe that our grants – to the environment, arts, social services, education and child care – reflect the diversity of our donors, volunteers and clientele, and are an important demonstration of the local engagement with organizations that can use this evidence to support their other fundraisers,” she says.

Proceeds from the shop and art sales flow into the Roaring Fork Valley in the form of grants and scholarships.

But why the sale at the top of a store open six days a week?

“It’s partly a question of space,” she says. “We just don’t have a lot of room in the store to sell everything, and I also realized eight years ago when I started selling that there were so many amazing things, it would be fun to see everything in one place at once. time.”

But only on Saturday, and only from 10 a.m. to 2 p.m.

[email protected]

RESPECT. Interview: Tebs Maqubela, Head of A&R for Hillman Grad Records, talks developing talent, working alongside Lena Waithe and more

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Image Credit: Hillman Grad Records

As the A&R Manager for Hillman Grad Records—Maqubela is responsible for finding and nurturing musical talent, while playing a vital role in the development of artists, through music creation, marketing and promotion. As a key label leader that produces “music you can feel”, Maqubela comprehensively plans artists’ careers and oversees recording projects and operations – whether it’s arranging sessions recording – to serve as a link between songwriters, record producers and other creatives. . In addition, Maqubela identifies the vision and structure of each project. Driven by his mission to challenge the status quo, Maqubela helped shape the music roster and release the catalog in less than a year as the new hotbed of hip-hop and R&B.

Formed in March 2021, Maqubela is the liaison with Def Jam Recordings, following the joint venture partnership. Since joining HG Records, Maqubela has signed 4 up-and-coming artists partnering with Waithe – and being her ear for the label – 2x GRAMMY®, ASCAP Award-Winning R&B Artist Davion Farris, singer/songwriter/actress Jai’Len Josey (Synchronization: The Chi, and Around twenty), CS Armstrong (to sychronize : Bel-Air)and rapper and actress Siya (synchronizes: Around twenty, and half-sisters).

Leveraging opportunities across music, television and film, Maqubela works directly with Lena’s music supervisor, Big Tank (aka Derek Thornton), and was able to capitalize on the cultural meaning generated when these worlds meaningfully intersect. Specifically, Maqubela reads scripts and finds music to embody a moment. As Showtime’s most-watched series, The Chi, Maqubela and his team created a special visual concept album for television and a feature film titled “Chi Concert Sounds” (an artistic endeavor similar to that of Beyonceì Lemonade) and helped score the soundtrack and bring that vision to life. The production included a celebration of music and spoken word, with performances by BJ The Chicago Kid, Jai’Len Josey, DeCarlo and Davion Farris. Reflecting his love for music and storytelling, Maqubela also scored the soundtrack and musical supervision for the #2 comedy television series on BET, Around twentyand The one and only Dick Gregory (album inspired by the Showtime documentary film) – with an all-star collection of soul, R&B and hip-hop music that includes: Lupe Fiasco, Big KRIT, Cory Henry, Talib Kweli, Terrace Martin, Statik Selektah, Danni Baylor, BJ The Chicago Kid, and Bobby Sessions from Def Jam, among others. Additionally, Maqubela oversaw the soundtrack and musical supervision of MR SOUL!music inspired by the award-winning documentary, with an all-star soundtrack, featuring classic soul/R&B tracks from Donny Hathaway, Patti LaBelle, Hugh Masekela, Gladys Knight and the Pips, Delfonics, and Kool and the gang. The feature film received honors – 2021 Critics’ Choice Awardas well as a NAACP Image Award Winner.

To ensure that black designers had a seat at the table, Maqubela created a global movement alongside chief executive Albert Cooke and global beauty brand Sephoraentitled SEPHORA: ROOM OF BLACK BEAUTY– a visual celebration of the contribution of black creators in the beauty space with live performances by Jai’Len Josey, Symphani Soto, Kari Faux and Leven Kali.

Before HG Records, Maqubela joined the hedge fund Fortress Investment Group LLC, to expand its skillset on the startup front – a highly diversified global investment manager with approximately $54.2 billion in assets under management as of September 2021, for clients and private investors worldwide. In her role, Maqubela watched Sound Cloud, Spotify, SESACand SONGS Music Editing – which former President Ron Perry sold before going to Columbia Records.

Previously, Maqubela also formed strong ties with the then-budding hip-hop music collective. Brockhamptonwhile managing the first members Rodney Tenor as they found their way to explosive success. In this role, Maqubela helped Tenor develop his own music as a solo artist. Moreover, Maqubela was also the Director by A&R at Columbia Recordswhere he signed and helped develop acts such as the seething alt-R&B, yet genre-transcending singer named Q. His vision was to sign artists with a unique voice – who push the boundaries of creativity in the vein of Tyler the Creator and Adele. During his time as an artist manager, Maqubela co-managed the highly sought after Memphis Recording Artist Jon Waltz. The rapper/singer has multiple songs on 1 million streams on every major platform, has garnered interest from all major labels despite yet to release a full album and is expected to be a smash hit.

Building on his career in the music industry, Maqubela joined 300 Entertainment and rose through the ranks from intern to Marketing Manager – an American independent record company founded by Lyor Cohen, Roger Gold, Kevin Liles and Todd Moscowitz. Maqubela was tasked with leveraging 300 Entertainment’s Spotify presence, in addition to creating, designing and operating #RisktakerFMa playlist initiative that has garnered over 8,000 organic subscribers on 300’s branded playlist. Fetty Wap and Young Thug shared the campaign.

We had the chance to speak with Tebs to discuss his work as A&R for Hillman Grad Records, developing artist, ideal qualities for an artist, Sounds of the Chi concert and much more. Enter the audio of the interview below.


Interview Highlights:

How’s life.

His role as A&R for Hillman Grad Records.

Joint venture with Def Jam Recordings.

Working with Lean Waithe.

Artist in development.

His role Previously at 300 Entertainment.

Her favorite artist to work with.

Top 3 qualities required for an artist.

His Top 5 Artist of all time.

Name a song that describes his life.

What RESPECT. Means for him.

Suggested items:


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Ayana Rached

a dedicated sneaker + sports + music writer who will keep you up to date with the latest news. Email: [email protected] | Twitter: @ajrbcg_


More interviews


RESPECT. Interview: Lil Migo Talks ‘King Of The Trap 2 Deluxe Mixtape’, Visual For ‘Cheated’ & More

Lil Migo, the rawest emerging voice of Memphis’ budding hip-hop scene, whose signature tracks “No Love In My Heart” and “Letter 2 The Industry” have…


Editor’s Choice

The groundbreaking Zagutachie mesmerized viewers with its stunning new graphics

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Zagutachie is the 1st anti-establishment NFT artist, speaking out against the establishment, martial laws, tyranny and other evils in society. He is the 1st NFT Artist to illustrate against the evils of society, 1st NFT Artist who speaks for women’s rights, 1st NFT Artist who speaks against tyranny, injustice. He is the 1st NFT artist who speaks for transgender people, who speaks for a better living condition for farmers. He is the 1st artist who openly accepts the failure of the existing centralized economic system and openly supports the decentralized crypto-economy model.

He is the first NFT artist who speaks through his NFT via legend art against establishment, martial laws and against tyranny.

He illustrates different aspects of our socio-economic system in his NFTs. He is a big critic of our existing economic system, where governments totally control wealth, and a proponent of the decentralized crypto economic model, where instead of governments, people will control the distribution of wealth without government interference.

His NFT art is absolutely different from the existing NFT art in that all of his NFTs are different from each other; each NFT illustrates a different topic with a fixed message via captioning.

Zagutachie’s art is different, he designed each different NFT with another., each NFT represents a socio-economic subject, according to the artist, there is no point in making thousands of useless AVTAR images without any purpose or meaning , he describes his art as meaningful and logical.

Zagutachie’s digital art is on the cutting edge of women’s rights, black rights, gender equality, free speech, farmers rights, transgender/LGBT, children with special needs , positive thinking, anonymous creator, who speaks only through his social media platform and website.

It relies on NFT art to create stunning “All are equal based on a theme” artwork

Critics describe Zagutachie’s art as emotionally complex, what he tries to convince or what he tries to deliver, all his NFT art shows his anger towards the establishment and the demons of society. He is very optimistic about Metaverse and considers it a safe haven.

His NFTs aggressively illustrate sentiments against oppression, tyranny and the establishment. Her NFTs are open about freedom of speech, media freedom and women’s rights (gender equality)

He sees the existing economic system, where fiat is the base currency, as a flop system as this system has failed to ensure an equal distribution of wealth, Zagutachie sees Crypto as a friendly system.

Zagutachie’s NFTs illustrate that ordinary people should be the center of power and marshals and generals should not have enough power to seize governments, he considers this tyranny.

The artist is against the establishment’s abuse of power, which he has illustrated in his digital paintings. Zagutachie’s NFTs are a new trend in NFTs and a revolutionary way to convey meaningful messages of equality through NFTs.

Here are Zagutachie’s four digital charts:

Oooz,,,,, heroes, Sheros and Zeros

This fascinating digital art titled “Oooz” illustrates three trees, the first tree represents “Nelson Mandela”, this tree has a red dot, this red dot represents the results the world will see, he was a true “hero”

2n/a the tree in the graphic represents “Aung San Suu Kyi”, who is in detention, her struggle will pave the way for a democratic society, the orange dot represents the results of her struggle, she is a real “Shero”

3rd the tree represents “Vladimir Putin” due to his dictatorship this tree is unable to produce a fruitful result, he is the real zero, so the hero, the shero and the zero all in one picture

The establishment keeps us in a cage

The establishment keeps us in a cage

You call it establishment, or tyranny, or evil, under this dictatorship, people are suffering, even if they are not in detention, their minds are being captured, Zagutachie illustrated this in his digital art.

The establishment is not the bandage of the system, it is in itself a disease

The establishment is not the bandage of the system, it is in itself a disease

Zagutachie illustrated in this image, that when you are under the influence of establishment, the reduction of the tax burden is necessary to produce economic growth.

Black people

Black people

Black people are as equal as white people even all human beings are equal regardless of color, race or religion, black people should not be treated differently, simply “All equal”

This artist is changing the whole NFT era.

https://medium.com/@nonfungible40/zagutachie-the-angry-artist-1b9e64ade0e0

https://opensea.io/Zagutachie

zagutachie zagutachie [email protected] www.zagutachie.com Canada

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Company Name: Zagutachie
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Website: zagutachie.com

Stunning works of art on display at the Science Festival

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The Gaia exhibition will be presented at Chelmsford Cathedral in October

Visitors to Chelmsford Cathedral this autumn will be able to experience an astronaut’s view of the world when Gaia’s stunning artwork arrives in Essex for the first time.

Measuring six meters in diameter and created from detailed 120 dpi NASA images of the Earth’s surface, Gaia offers the chance to see the planet in its entirety as it slowly rotates through the nave of the Cathedral of Chelmsford, accompanied by a surround sound composition by BAFTA award-winning composer Dan Jones.

Gaia is hosted by Chelmsford Cathedral and will be open to the public on October 12 and daily until Sunday October 30. It was introduced to the town with support from the Essex County Council Climate Action Fund and Anglia Ruskin University (ARU), with Gaia forming part of ARU’s first annual Chelmsford Science Festival .

James Rolfe, Chief Operating Officer at Anglia Ruskin University (ARU), said:

“Gaia is a stunning installation and the ARU is proud to partner with Chelmsford Cathedral to bring it to the heart of our city.

The exhibition will be a key part of Chelmsford’s premier science festival, giving people of all ages the opportunity to be inspired and experience the fascinating world of science.

Gaia will be open to visitors during the day and some evenings. Meanwhile, local environmental and ecological organizations have been invited to provide interactive exhibits to encourage us to think about ways to protect our planet. Plus, visitors can enjoy live music, lectures, and an evening of yoga in the spectacular setting of Gaia.

There will also be plenty of opportunities for kids to enjoy Gaia, especially during ARU Family Science Day on October 15 and fun mid-term arts and crafts from October 24-28.

Keith Baggs, Chief Operating Officer of Chelmsford Cathedral, said:

“We are delighted to announce this carefully curated program which we hope will allow everyone to enjoy this wonderful art installation. As a Gold Eco Church award winner, Gaia is a unique opportunity for Chelmsford Cathedral to invite the public to reflect on the important role each of us can play in protecting the planet.

As Chelmsford Cathedral expects to see a large number of visitors when Gaia is installed, the Cathedral will be offering timed entry tickets. Admission during the day is free and there is a small supplement to visit in the evening when Gaia is beautifully illuminated and the cathedral lit by candlelight. Tickets for special events will be limited and organizers advise booking early. All tickets can be booked from Thursday 1 September via the Chelmsford Cathedral website, chelmsfordcathedral.org.uk/gaia.

/Public release. This material from the original organization/authors may be ad hoc in nature, edited for clarity, style and length. The views and opinions expressed are those of the author or authors.View Full here.

Jeffrey Smart’s new documentary on ABC iView shines a light on the inner turmoil of the famous Australian artist

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Pearce’s presence proved crucial. “Jeffrey wouldn’t necessarily have confided in me as a reporter, but he was comfortable talking to Barry while we were there as observers,” says Hunter.

The artist confided in his friend Barry Pearce, above, while Hunter took on the task of recording their conversations. Fairfax Media

She revisited her archive footage when she heard the National Gallery of Australia was hosting an exhibition of Smart’s work [held last year] to mark the centenary of his birth. Hunter says she was amazed by Smart’s candor about her self-doubt as an artist, her compulsion to find beauty in the ordinary ugliness of modern city life, and her determination to be “measured by the work of the Italian Renaissance masters he most revered. .

There are plenty of new reveals in the hour-long documentary, which airs on ABC Plus next Wednesday. They mostly come from that original footage from 2006, when Smart was chilling with his partner and friends. To begin, Smart explains how he created what Pearce calls “a new aesthetic out of 20th century technology…subjects that others found mundane and brutal to him were just part of a new type of beauty”.

In Smart’s words, “I find it funny that maybe 100 years from now, if people look at the paintings done by the artists of this century, that the most ubiquitous things, like cars, televisions, and telephones, don’t do not appear. We should paint the things around us.

Jeffrey Smart, “Morning, Yarragon Siding” (1983-84). © The Estate of Jeffrey Smart

Throughout the movie, Hunter says, it’s Smart’s feeling of underachievement. “I find it incredible that he could have been so successful in the market, but was plagued with such self-doubt,” she says. “He never painted for the market. He painted for himself. He was always looking to paint a beautiful picture, and I don’t know if he ever felt that he had succeeded.

One of the most haunting scenes in the documentary – from Donald Featherstone’s 1994 documentary, Smart’s Maze – shows Smart lighting a bonfire and sending canvases he considered inferior.

“Nolan wouldn’t have done that,” Hunter claims. “He would have given them to his art dealer, or put them in a drawer, and let others decide their value. [But] Jeffrey would have hated if a painting he considered bad was shown in public. And when it came to his work, the only critic he listened to was himself.

This film also includes what Hunter considers the first television interview with Ermes De Zan, Smart’s much younger partner, born in Italy but raised in Australia. Smart and De Zan lived together for 38 years in Posticcia Nuova, near the birthplace of Piero della Francesca, the most admired Smart painter of the Renaissance.

“Ermes never put himself forward, but he’s a very learned man,” says Hunter. “He was a painter too, but readily admits that there was no place for two artists with an ego in a relationship. Jeffrey complained that he had set up a wonderful studio for Ermes, but it was quickly filled with gardening tools so Ermes could exercise his creative talents elsewhere.

Perhaps Smart’s most important work was a commission to produce a Victorian Arts Council mural. The dimensions of the mural were extremely long and shallow.

Jeffrey Smart at the opening of an exhibition of his work at the Art Gallery of NSW. He is photographed in front of “Container Train in Landscape” (1983-84). Andrew Taylor

Smart was about to quit. He and De Zan decided to go to Greece to take a vacation. Along the way, they were held up at a level crossing as a train passed. “We were sitting in the car [when] we saw this heavenly container train of different colors weaving through the trees,” Smart recalled in the documentary. “We both looked through the saplings and Ermes said, ‘Here’s the mural.’ He said it first.