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Chagall painting stolen by Nazis auctioned in US for $7.4 million

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Marc Chagall working in his studio in Vallauris, southern France, in June 1952

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A painting by Marc Chagall, which was among 15 works stolen by the Nazis and eventually returned by France to the heirs of the families concerned, sold for $7.4 million at auction in New York on Tuesday.

The sale at Phillips auction house was part of the fall auction season, which sees major industry players sell hundreds of artworks for billions of dollars in a matter of days in upscale Manhattan neighborhoods.

On Tuesday, Phillips sold 46 works for nearly $139 million. The most expensive, a monumental painting by Cy Twombly, “Untitled” (2005), which belonged to the French businessman François Pinault, went for 41.6 million dollars.

Chagall’s 1911 oil on canvas “The Father” was purchased in 1928 by a Polish-Jewish luthier, David Cender, who lost his possessions when he was forced to move to the Lodz ghetto.

Deported to Auschwitz, where his wife and daughter were killed, the luthier survived and settled in France in 1958, where he died in 1966 without having regained possession of the painting.

In the meantime, the work had reappeared in exhibitions and it turned out that Marc Chagall himself had bought it, probably between 1947 and 1953 — without knowing its provenance, according to Phillips and the ministry. cultural French.

After the death of the artist, born in the Russian Empire, in France in 1985, “Le Père” entered the national collections in 1988, then was assigned to the Center Pompidou and deposited at the Musée d’art et d’histoire du Judaism in Paris.

The French parliament unanimously passed a law earlier this year to return 15 works of Jewish families looted by the Nazis. Then-Minister of Culture Roselyne Bachelot called it a historic “first step”, noting that other works of art and looted books were still kept in public collections.

Cender’s heirs decided to sell the painting, a common scenario “when a work is returned so long after it was stolen”, because “you have multiple heirs and the work itself cannot be divided “said Phillips Vice Chairman Jeremiah Evarts.

Chagall painted his father’s portrait the year he arrived in Paris. He was “electrified by the modernism” of the city at the time and his works from this period are rare.

“Many of them were destroyed when he left Paris to return to Russia in 1914,” Evarts noted, saying he was certain that “The Father” would attract the interest of museums and collectors.

Phillips did not reveal details about who bought the work, a common practice among auction houses.

The artist and the child – Garden & Gun

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Zelda Fitzgerald has earned her place as a cultural icon. Born and raised in Montgomery, Alabama, she was the face of the flapper movement of the 1920s, a socialite who wandered from Paris to southern France to Italy. She lived alongside the literary fame and downfall of her husband, F. Scott Fitzgerald, and her battles with mental illness and schizophrenia are well documented.

photo: Courtesy of Eleanor Lanahan

A Christmas photo of the Fitzgerald family from 1925.

What’s not to be lost, however, is that while Zelda lived a life of great adventure and zeal, she also lived a life filled with tremendous creative energy. She turned to dance in her late twenties, an age when most dancers would be nearing the end of their career, and was even offered a solo in an Italian ballet. She is the author of the novel Save me the waltz, which delves into the arduous training and complexities of a dancer’s life. She painted. She drew. She wrote poetry.

photo: Courtesy of Eleanor Lanahan

Zelda Fitzgerald in 1926.

And she created paper dolls. But not just ordinary paper dolls. Paper dolls rich in artistic style. Paper dolls depicting characters from history, fairy tales and favorite stories, with multiple costumes and the attention to detail that only a true artist can offer. The practice, which began as a doll-making project for her daughter, Scottie, grew into a large collection over a period of nearly two decades. Now, a hundred years later, these dolls have been brought together by Zelda’s granddaughter, Eleanor Lanahan, in a new book, Zelda Fitzgerald’s paper dollsan extraordinary look at the artistry and vision of the famous Southern Belle.

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Like many Southerners, and especially like many former expats, I have always been fascinated by the Fitzgeralds and their place at the center of the Lost Generation. So fascinated that the feelings of wanderlust and bewilderment at the heart of Gatsby the magnificent led to the creation of pseudomy most recent novel, which tells the story of Nick Carraway, the famous narrator of the Gatsby story.

So it’s no surprise that the doll collection strikes me. There’s an androgyny to the dolls, a sensibility that dovetails perfectly with the shifting notions of sexuality and gender that invaded the bars and uninhibited streets of Paris in the 1920s, the same bars and streets where Zelda roamed. The Three Musketeers are pretty. Goldilocks has muscular arms and legs.

photo: Courtesy of Eleanor Lanahan

Goldilocks and a suit.

The dolls almost look like sculptures. The features are distinct, especially the eyes and the mouth, and the construction of the bodies seems to pick up notions from the famous sculptor Auguste Rodin, as the limbs do not appear static and flat but rather suggest physicality and movement. The definition of the muscles and the cheekbones gives a three-dimensional quality. The specific cut of King Arthur’s armor or the frills of Red Riding Hood’s bonnet add individuality to each doll, their own voice and personality, which a mother and daughter could immerse themselves in during playtime. sure. Each doll has multiple costumes, elaborate and whimsical and made for parties. No Zelda Fitzgerald doll can be underdressed during a tea party.

photo: Courtesy of Cecilia Lanahan Ross

Costumes for Scottie.

photo: Courtesy of Cecilia Lanahan Ross

Early Red Riding Hood and two suits.

An introduction to the collection, by Lanahan, reveals that Zelda seemed to know she had created something unique over the years. In 1941 she wrote to Maxwell Perkins at Scribner, the famous publisher of Fitzgerald and Hemingway, that she would like to publish a book of paper dolls: “I have painted…King Arthur’s round table. Joan of Arc and her coterie, Louis XIV and his court, Robin des Bois are on the move. Dolls are lovely… Would you be so kind as to tell me which publishers would handle such “literature” and how to approach it? No books have materialized – until now. And it is precisely published by Scribner.

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Zelda seemed certain that these weren’t just paper dolls, but true works of art. And they are. This collection is a fascinating look at the seed of creation, how a mother wishing to entertain her child could create with such imagination and skill. Perhaps the practice may have been as much for Zelda as it was for Scottie.

Michael Farris Smith is a Mississippi writer whose work includes pseudoa novel that imagines the life of F. Scott Fitzgerald’s protagonist, Nick, before Gatsby the magnificent.

Vintage Goose fashion store elevates local and independent artists – The Columbia Chronicle

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Vinyl records and boots are displayed near the Vintage Goose window at 1538 N. Halsted St. Abra Richardson

With a touch of leather, lace and satin, topped with bold vintage curations at the heart of its roots, Vintage Goose opened in August. Pilsen Vintage’s sister shop offers exclusive selections of vintage fashion, homewares, jewelry and art from the 1920s to the 2000s and works by local independent artists.

Buyers are greeted at 1538 N. Halsted St. with a bright atmosphere, alongside rare and ornate cowboy boots, vintage fashion magazines and fur coats from sustainable collections.

Pilsen Vintage staff said they saw an opportunity to expand the store location to a different neighborhood to scale down their designer curations and include more local artists in their space.

Additionally, Vintage Goose’s mission is to support local musicians and provide its community with a space to host EP release parties and concerts.

“One of [Vintage Goose’s] The big goals are to have a party, an event, at least once a month where we feature a musician and two star artists,” said Lily Parker, the store manager. “We also have jewelry designers who all make their own jewelry and get the majority of the profit for all of their work. We are here to sell vintage and support the community.

A shelf filled with vintage skirts and pants hangs under a garland of purple tinsel. Abra Richardson

Ashley Guizar, owner of Vintage Goose, said vintage items are becoming increasingly fashionable and popular in the fashion arena.

“We have vintage clothing, vintage furniture, and vintage home and decor items,” Guizar said. “We also have a very good selection of vintage jewelry. We also have handmade vendors who make different types of jewelry.

One of the Chicago companies featured is JELLY by designer and founder Elly Jimenez. JELLY offers exclusive accessories such as hats, scarves and mohair gloves.

“JELLY really strives to create pieces that you can’t leave your home without,” Jimenez said. “We want to create things that are well-designed and well-made, so that not only do you want to have them with you all the time, but when you’re done with them, you want to pass them on to the people you love.”

Jimenez found Vintage Goose through Pilsen Vintage and saw it come to life throughout its opening process, crediting Guizar and Parker for its success.

“I know it means a lot to them [Guizar and Parker], so I’m really proud of them,” Jimenez said. “The store is beautiful and I love what they shot.”

Vintage cameras, shoes by Geppetto and vinyl records on display are some of the novelties decorating the shop. Abra Richardson

Artist and designer Lia Krilis creates knitwear and jewelry inspired by mystical aesthetics. Krilis has created a line of unique metal jewelry inspired by stained glass which is featured in the store.

“I really liked the mystique [stained glass windows] were, and just the beautiful effects that the glass gives, the translucency and the colors,” Krilis said. “It was a really fun collaboration, especially in this new location; it’s so beautiful and it’s so beautifully organized.”

Krilis said companies supporting artists are something of a rarity.

“To wear pieces locally, I think it’s so cool and so unique, especially in Chicago,” Krilis said. “It’s so unique, and that’s really what art means to me, is to be able to have such an amazing, eclectic collection of pieces from amazing people.”

For Guizar and Parker, Vintage Goose and Pilsen Vintage stand out from other vintage stores because of the sense of community that the environment and customers provide.

“We’ve always tried to stand out from other vintage stores,” Guizar said. “We regularly host artists, and we welcome other small businesses to come and sell their wares in our space.”

Vintage Goose is open Thursday through Saturday from noon to 8 p.m. and Sunday from 12 p.m. to 7 p.m. To find out about upcoming events, new designers and vintage drops, visit the store on Instagram and on their website.

Doodle for Google: Google celebrates Children’s Day with artwork by 2022 doodle contest winner Shlok Muherjee

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India celebrates Children’s Day today. And the tech giant, Google, has found the best way to spread the joy on occasion. The tech giant kicked off its Children’s Day celebrations by announcing the winners of its Doodle for Google contest.

Shlok Muherjee from Kolkata has won the coveted competition in India. The young boy’s doodle highlights his hopes for India’s growth in science and technology. According to Google, there were over 115,000 entries of children in grades 1 to 10 from over 100 cities in India. Students had to create doodles on the theme “In the next 25 years, my India will be…”

Google, in its official statement, said it was heartwarming to see students showcasing their creativity. Themes such as the advancement of technology and sustainability were artfully expressed by the children in their doodles.

“We are delighted to announce the national winner of this year’s India Doodle for Google competition: Shlok Mukherjee from Delhi Public School in NewTown, Kolkata, with his thoughtful and inspirational Doodle titled ‘India Takes Center Stage’ “, read the press release from Google.

Shlok wrote that over the next 25 years, India will ask scientists to develop eco-friendly robots for the benefit of mankind. He wrote that India will have regular intergalactic journeys from Earth to space and that India will develop more in the field of Yoga and Ayurveda in the coming years.

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Google will feature Shlok’s doodle for 24 hours on November 14, 2022. Judges on the Doodle for Google panel included actress Neena Gupta, Tinkle Comics editor Kuriakose Vaisian, and YouTube creators Slayypoint, artist and entrepreneur Alika Bhatt.

Judges shortlisted 20 finalists from across the country based on artistic merit, creativity, alignment with the theme and innovative approach of the nominees. Kanakala Shrinika, Sri Prakash Vidyaniketan, Visakhapatnam is the winner in the Group 1-2 category, while Divyanshi Singhal, Delhi Public School, Gurgaon, won the competition in the Group 5-6 category. Pihu Kachhap, SGBM School, Ranchi won in the Group 7-8 category and Puppala Indira Jahnavi, Sri Prakash Vidyaniketan, Visakhapatnam won in the Group 9-10.

Every year, Children’s Day is celebrated to commemorate the birthday of India’s first Prime Minister Pandit Jawaharlal Nehru. Also known as Chacha Nehru, the first prime minister of independent India loved children. The day is also celebrated to recognize the needs of children and protect their rights. The former Prime Minister believed that children played a key role in shaping the future of the nation.

‘Makdee’, Frozen’, ‘Iqbal’: Movies to add to your kid’s watch list for Children’s Day

‘Makdee’, Frozen’, ‘Iqbal’: Movies to add to your kid’s watch list for Children’s Day

Age knows no bounds when it comes to enjoying movies. From ‘Home Alone’ to ‘Stanley Ka Dabba’, this quick video guide is what you need. On the occasion of Children’s Day, plan a special screening for your little one.

Detroit Lions Online Charity Auction: Signed Footballs, Cards, Original Artwork

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As part of our Movember charity campaign, we are auctioning off some amazing Detroit Lions items. All month, we raise funds for two charities. You can find out about all of our fundraising efforts for the Alzheimer’s Association here, but our auction supports a different cause: The Crisis Text Line.

The Crisis Text Line is an amazing, free service for people struggling with a mental health issue. It’s available 24/7 for emergencies, and it’s always 100% free, giving those who can’t afford expensive mental health care the opportunity to take care of themselves.

To support this incredible cause, we are auctioning off several Lions products, with 100% of proceeds going to Crisis Text Line.

Currently all auctions are live. The currently listed auctions (there may be more added throughout the month) will all end in 10 days – or Wednesday, Nov. 23 at 9 a.m. ET.

Here’s what you can bid on:

Detroit Lions signed football by Aidan Hutchinson (supplied by team)

Bid on the Aidan Hutchison ball here

Official Wilson football donated by the Detroit Lions and signed by second overall pick Aidan Hutchinson.

Detroit Lions signed football by Jamaal Williams (Supplied by team)

Bid on Jamaal Williams football here

Official Wilson football signed by Lions running back Jamaal Williams. Offered by the Detroit Lions.

Detroit Lions signed Charles Harris football (gifted by fan Dylan Huber)

Bid on the Charles Harris Football here

A soccer ball signed by Charles Harris at an event. Does not come with a certificate of authenticity. One side is embroidered with a Lions logo.

Jeff Okudah signed rookie card (offered by Dylan Huber)

Bid on Jeff Okudah’s rookie card here

A Donruss Elite Football 2020 rookie card of third overall pick Jeff Okudah. The card is signed by Okudah and authenticated by Panini America, Inc. As shown on the front, it is #131 of 349 produced. In very, very, very good condition and comes with plastic protection.

Original Oil Painting by Amon-Ra St. Brown (Created and Gifted by Artist Chi Shing Yeung — @chishingart on Instagram)

Bid on Amon-Ra St. Brown’s painting here

An original piece by artist Chi Shing Yeung. This is an oil painting on a 16 inch by 20 inch canvas.

Original oil painting by Malcolm Rodriguez (created and gifted by artist Chi Shing Yeung — @chishingart on Instagram)

Bid on Malcolm Rodriguez’s painting here

An original piece by artist Chi Shing Yeung. This is an oil painting on a 16 inch by 20 inch canvas.

Letter: We don’t need more charity or art shops in Andover

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We have to totally disagree with the idea of ​​turning the M&S building into even more charity and arts units, that’s exactly what this town needs.

We desperately need more retail stores.

If you want a coffee, get your hair done or visit a charity shop, Andover is the place to be.

If you want clothes, ladies or men, forget it.

Granted, there are four major cities within 20 miles where you have a much better chance of getting what you need, which is great if you know how to drive.

READ MORE: Vacant shop set to breathe new life thanks to charity plans

A city the size of Andover should be able to handle all of your retail needs.

We have at least two very large retail units which would be ideal for stores like Primark or Matalan so why aren’t the powers that be creating enticing larger retail companies to locate here like reduced rents, etc. ?

How come Barnstaple in North Devon which has a population of around 32,000 has a thriving shopping center which includes some of the names we used to have in Andover which has over 50,000?

Come on, let’s bring Andover back to what it was, a thriving market town, instead of this ghost town we have now!

Derek and Pam Andrews

Rise of herons

And more

Reviews | Why the crypto bubble finally imploded

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Adam Lashinsky is a former editor of Fortune magazine and the author of “Inside Apple: How America’s Most Admired — and Secretive — Company Really Works.”

The cryptocurrency bubble burst will end as other speculative follies have ended: in a trail of wreckage across corporations, continents – and hapless investors. Crypto has had a horrible year. We saw the terra “stablecoin” wiping in maythe untangle from the FTX trading exchange this week and shrinking non-fungible token trading throughout the year.

Small investors have already fled, their grubstakes or their savings decimated. Well-heeled venture capitalists, badly burned by each successive meltdown, will wash their hands and move on to the next shiny object. The bumpy side crypto-ambassadors (insert any big names in pro sports here, please) will return backstage. And regulators, as usual, will finally release their rules late, long after the damage is done.

There is, however, one critical difference with crypto from past bubbles: it had virtually no intrinsic merit.

Before and after their bubble erupted in the mid-1600s, tulips were still pretty flowers. America’s railroads brought about massive (and positive) change long before the panic of 1873 and are still vital nearly 150 years later. The promise of email in the 1990s – and its dot-com derivatives – was real and historic. Even subprime mortgages, however badly exploited, were a dismal innovation on hard-to-obtain loans for homebuyers – a market that survived the 2008 financial crisis.

“Crypto,” a still-misunderstood catch-all phrase for digital currencies and other non-government-controlled securities, won’t be able to make the same claim. Crypto was meant to be a safe haven in times of inflation, as hard metal commodities such as gold often are. Yet sweets like bitcoin and ethereum fell as inflation soared. They promised a way to store value. Obviously, they don’t.

Most glaringly, crypto was meant to have all sorts of other uses, from easy cross-border fund transfer to establishing value for newly created digital art forms. None of this has come true on any scale worth bragging about.

In our system, entrepreneurs and the investors who support them provide a valuable service by taking risks on unproven ideas. Without them, we wouldn’t have Apple, Google, or Post-its. But we now know that the crop of swaggering financiers who dreamed up the new category of investments known as web3 were wrong.

A common rationale for these investments was that they captured the fascination of software coders and entrepreneurs, leading to the dreamy conclusion that a real market for digital assets of all kinds was emerging.

What has emerged instead is another example of one of the worst ills plaguing Sand Hill Road, the heart of Silicon Valley’s venture capital industry: confirmation bias. The enthusiasm that VCs mistook for an investment thesis was often just the result of too much money for too few really good ideas.

Nerds aren’t stupid: if someone offers them a lot of money to follow a trend, they’ll start coding. Hence, crypto.

The last 15 or so years of venture capital investing can be explained in many ways by the low interest rate environment in which it exploded. With endowments and pension funds (and many ordinary multi-millionaires) unable to earn safe returns in bonds for more than a decade, their fund managers opted instead to place riskier bets.

Consider the Ontario Teachers’ Pension Plan, the third largest in Canada. Three years ago, she created a special fund to make investments at the venture capital stage. He invested $95 million in FTX, a leading crypto trading platform. On Thursday, he noted that “not all investments in this startup asset class are meeting expectations.” He added that his FTX investment – ​​which he will likely never see again – represents a tiny percentage of overall investments.

For years, the madness of such investment strategies has essentially resulted in free money for entrepreneurs. You didn’t have to be a genius to start a business when the cost of capital was close to zero.

Now that era is over. Higher interest rates will allow pension funds like Ontario’s to seek out safer investments. As a result, the flow of funds to VCs and start-ups will slow down. Only the best companies and VCs will emerge on the other side.

Touching Sunderland’s poppy artwork at Ryhope remembers the dead on Remembrance Day – with a nod to the environment

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St Paul’s Church has launched its poppy display for this year armistice day and Remembrance Sundaywith the beautiful installation of its artists in residence Linzi Saunders and Kevin Rudkin.

Over the past few weeks, the couple collected empty plastic bottles, which were then cut, painted and glued to a frame of garden trellis and support canes.

This was then tied around one of the large trees in St Paul’s cemetery. The artists say using recycled materials is not only better for the environment, but embraces the “make and fix” approach that had to be taken around World War II.

Artists Kevin Rudkin and Linzi Saunders created the artwork.

Linzi, who lives in Ryhope, admitted that it was a lot of work. However, she says it was worth it and is happy with the results.

She said: “Kevin and I used over 300 pop bottles for the installation and there was enough left over to make three more wreaths.”

Kevin added: “I like that it’s not obvious what it’s made of unless you get close enough to look at its construction.”

The work has been well received by locals, both in “real life” and on social media. Reverend David Chadwick of St Paul is also delighted with the tribute.

The exhibition is visible until the end of November.

He said: “Some of the ladies in the church also knitted poppy garlands. These and the poppy complement each other very well.

St. Paul’s Church Artist Residencies were established to provide an experience for new and emerging local artists to respond to the building’s heritage, architecture, and the community it serves.

It is hoped that such projects will highlight not only the faith, but also the communal role of the Church in Ryhope.

Read more

Visiting a grave in honor of Sunderland soldier Pvt Lawrence Gillan, 107 years later

The display ingeniously uses discarded plastic bottles.

The poppy will remain in place at Ryhope Street North Church through the end of November.

Jack Ruby’s wallet and JFK’s rocking chair will go up for sale in a massive 1963 auction

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November 22 marks the 59th anniversary of the assassination of President John F. Kennedy on Elm Street in Dallas. Fascination with the 35th President and his death has never fully faded, nor has interest in artifacts related to the President and what happened in Dallas.

As a result, Dallas-based Heritage Auctions is expecting a generally huge response to more than 20 JFK-related items going up for auction Dec. 1.

They include one of Kennedy’s prized rocking chairs, which Dr. Janet P. Travell recommended she use to treat her chronic back pain. Heritage also sells two other items directly related to the assassination.

A television camera formerly owned by KRLD-TV (Channel 4) in Dallas used to televise footage of Lee Harvey Oswald, including his shooting death, will be among the items auctioned by Dallas-based Heritage Auctions on 1 December 2022.(Courtesy of Heritage Auctions / HA.com)

One is a television camera formerly owned by KRLD-TV (Channel 4), which in 1963 was the CBS Dallas affiliate. (It’s now FOX affiliate KDFW-TV.)

The camera televised footage of suspected killer Lee Harvey Oswald during his arraignment on Nov. 23. She also captured his death the next day as strip club operator Jack Ruby fired a single fatal shot into Oswald’s abdomen in the basement of the Dallas police station.

Heritage will also sell Ruby’s used leather wallet and all of its contents from the time it was discontinued. It’s a myriad of strange items, ranging from his driver’s license to business cards, traffic tickets, blank checks and the Carousel Club occupancy certificate he had on Commerce Street.

The opening bid for JFK’s rocking chair is $50,000. It’s $15,000 for the TV camera and $10,000 for Ruby’s wallet and contents.

“That’s a lot of amazing artifacts,” said Joe Maddalena, executive vice president of Heritage Auctions.

Maddalena said Kennedy discovered the rocking chair in 1955 when he first visited Dr. Travell, who “believed that a rocking chair relieved tension in the lower back by keeping the muscles moving, contracting and relaxing,” according to Heritage. “Kennedy’s oak rocking chair, with hand-woven rattan seat and back, sparked a national revival of the old-fashioned rocking chair,” the company said.

In Maddalena’s words: “The whole rocking chair legacy started with that visit.”

As for the camera, “There were two instances where you saw Oswald – the day he was arraigned and the next day when Ruby killed Oswald. The camera is a source of evidence. It’s an artifact that was there in one of the most pivotal moments of one of the greatest tragedies in our nation’s history.

The camera, rocking chair and wallet belonged to famous JFK memorabilia collector Melvin “Pete” Mark Jr., a “real estate developer from the late Portland, Oregon,” according to Heritage. Legacy his collection “a vaunted assemblage” and “a kind of holy grail among collectors” of JFK history.

“We had a standalone Melvin Mark auction in May of this year,” Maddalena said, citing $5 million in gross sales for those items.

John F. Kennedy sits in his favorite rocking chair in his office during a meeting with...
John F. Kennedy sits in his favorite rocking chair in his office during a meeting with Secretary of Defense Robert McNamara and Vice President Lyndon B. Johnson.

“Ruby’s wallet was full. It happened to be on him when he shot Oswald, so, Maddalena says, it became evidence — part of the Warren Commission evidence. It was returned to Earl Ruby, Jack Ruby’s brother, and Mark bought it from him. It’s part of the assassination story. These are landmark pieces.

The live auction begins at 1 p.m. on December 1. Bidders can participate in the live auction online, by phone or in person at the Heritage location on West Airport Freeway.

The object Maddalena finds most intriguing is “by far Janet Travell’s thing, the rocking chair. It’s probably Kennedy’s most recognizable image – him in the rocking chair. It’s Camelot.

Cathy Weis Projects announces two Sundays on Broadway, December 4 and 11, 2022

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Cathy Weis Projects will present two Sundays on Broadway in December. The evenings will feature new and ongoing works by choreographers Scott Heron, Daniel Lepkoff and Sakura Shimada, Jodi Melnick with Maya Lee-Parritz, Anat Shamgar and Cathy Weis. Both events begin at 6 p.m. Suggested donation of $10 at the door. WeisAcres is located at 537 Broadway, #3 (between Prince and Spring Streets), in Manhattan. For more information on Sundays on Broadway, including WeisAcres’ COVID-19 policies, visit www.cathyweis.org.

Choreographer and videographer Cathy Weis launched Sundays on Broadway in May 2014. This unique series of performances, film screenings, readings and discussions serves as a gathering place for artists to perform and discuss their work and their experiences. process with the public. in the intimate setting of Weis’ SoHo loft. Since its inception, the series has featured the work of over 130 choreographers, filmmakers, performers and visual artists.

Sunday, December 4

Scott Heron will present his current work Study for a Clown Show. He writes: “Everything supports me even if I don’t know how or why. You immerse yourself in innocence. Try to do everything a little longer.”

Daniel Lepkoff and Sakura Shimada will present Body of Work: Closer to Home. Since the start of the pandemic, the artists have stopped traveling and teaching and have been dancing in their living room, in their house, in a forest, at the end of Old County Road in West Halifax, VT. They met on Zoom with friends from Detroit, Northampton and Argentina, twice a week for two years. They spend two hours in their dance studio every Wednesday and Friday. They write: “Our work has not changed. We are still playing, learning and looking for the presence of the imagination in the body, the reflexes of the body, the permanent spontaneous dialogue with the environment. What is new is is that everything has come closer to home.”

In 2014, Julie Martin was the first artist to present the work Nine Evenings as part of Sundays on Broadway. Nine years later, hundreds of artists have presented their work at WeisAcres. Cathy Weis brings her own work to this bustling downtown scene with her new creation, Props from Poughkeepsie: Hunger and Restraint, the first in a series of works that bring Jim Fawcett’s props to life. Performers: Emily Climer, David Guzman and Martita Abril.

sunday december 11

Jodi Melnick and Maya Lee-Parritz showcase the debut of their first collaborative duo, Agua Viva, midway through. Dedicated to a practice of movement, the body dancing on a daily basis, this study of movement aims to capture the present, the poisonous, the complex, the meditative, the mystical, the spontaneous and the broken.

SOLO, by Anat Shamgar, is part of a recent body of work called Plateau Stories, created in collaboration with sound artist, musician and performer Tom Soloveitzik. In all of these works, Shamgar deals with time as space, movement as thought, and sound as matter. The artists share a passion for silence, the aesthetics of reduction and the practice of mindfulness. The separation between sound and image serves as a starting point for the goal of creating a state of separate being and living together in harmony, a multi-layered space for how we color echoes or vibrate in the presence of the other, becomes a partner in a “one” journey.

Cathy Weis will present Props from Poughkeepsie: Vials of Remorse performed with Scott Heron. Heron and Weis will spend a week together at the WeisAcres studio and then show off what they’ve been up to. Vials of Remorse is a later chapter in the Props from Poughkeepsie series, which brings props created by Jim Fawcett to life.

Scott Heron came across Deborah Hay in 1983 in Austin and has since evolved as a performer, collaborator and creator. He worked in New York in the 1980s and 1990s, lived in a queer community in Tennessee for several years after that, and now lives in New Orleans.

Daniel Lepkoff has been moving for 72 years. In 1970 he began to call this dance.

Jodi Melnick spends time with the movement every day, whether it’s in a studio, elevator, hallway, or whatever space is available. Currently, she continues to be in dance conversations, in and out of the studio with Sara Rudner, Vicky Shick, Jon Kinzel, David Neumann, Charlie Atlas, Rashaun Mitchell, Silas Reiner, Paul Kaiser, Liz Roche, and is currently collaborating with Maya Lee Parritz.

Anat Shamgar is a dancer and dance maker based in Jerusalem. She is an active performer of solo works and collaborations. Collaborations with sound artists and others invite to discover “the other”, to merge languages ​​and to find the coexistence of differences. Shamgar has performed at Montpelier Dance Festival, Podevil Festival in Berlin, New York Improvisation Festival, Israel Festival, Room Dance Festival and many other festivals and venues. She has been a faculty member of the Jerusalem Academy of Music and Dance since 1991 and directs the choreography program and movement department.

Sakura Shimada lives in West Halifax, VT, with Daniel Lepkoff. She likes to research the functions of human body and life in country life, such as gardening, walking, swimming, skiing, dancing, meditation, animal watching, Feldenkrais lessons. She is a Feldenkrais practitioner.

Tom Soloveitzik is a Tel Aviv-based musician and sound artist. He co-directs the Holon Scratch Orchestra and has been, for the past decade, co-artistic director of the Musica Nova Ensemble for experimental music.

Cathy Weis is a dancer, choreographer, videographer and artistic director of Cathy Weis Projects. In high school, Weis was a soloist with the Louisville Ballet. After graduating from college, she played in a cello quartet in Europe, tap-danced the streets of San Francisco, and had a stint as a disco queen. Moving to New York in 1983, Weis developed a signature blend of live performance and video. In 1996 she received a Bessie Award for her creative work and in 2002 she received a Guggenheim Fellowship. In addition to her artistic practice, she runs Sundays on Broadway, a showcase for choreographers and performance artists.

Sunderland designer’s beautiful tribute to Queen Elizabeth II made of 5,000 screws is on display at Bridges Shopping Center

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In his latest piece of art, designer Darren Timby of Roker paid tribute to Queen Elizabeth II after her sad death on Thursday, September 8.

The artwork, which measures one meter in diameter, is made of 5,000 black, gold and silver screws and is one of Darren’s smallest pieces.

Artist Darren Timby with new Queen Elizabeth nail art.

Darren’s latest piece, which took 50 hours to complete, is also on view at Bridges Gallery and is expected to go on sale soon.

He said: ‘I had been planning to create a piece about the Queen for some time, in January, then when she passed away I thought it was the perfect time to honor Our Majesty.

“It’s a scaled down piece and it’s also made up of black, silver and gold screws, so it’s a bit different from my other designs. I’ve always had an interest in the monarchy, I so I liked doing this one.”

The new piece is on display at Bridges Shopping Centre.

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10 great places for a pre-theatre meal before a Sunderland Empire show…

Monroe’s piece was completed in October last year after Darren worked on it for six months.

He added: “I had been considering creating the Queen and also Diana for a while, so I thought it would be a fitting tribute – Queen Elizabeth was obviously a beloved royal.

The piece took Darren 50 hours.

“I’m going so much faster now and the support and following I get on social media is very much appreciated and really encourages me to keep downloading.”

Darren’s work is on display in the gallery at Bridges Shopping Centre.

Crypto.com: Partnerships don’t help CRO

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Crypto.com, over the past year, has garnered a number of high-profile partnerships, but these have not inflated the value of Cronos (CRO). In fact, the crypto followed the general bearish trend in the cryptocurrency market.

Crypto.com: a year of prestigious partnerships, CRO does not want it at all

One year after Matt Damon’s infamous “Fortune Favors the Brave” advertising for Crypto.com, the company has secured several major partnerships with as many advertising campaigns.

Among many others, Crypto.com acquired the naming rights to the current Crypto.com Arena in Los Angeles (LA) and sponsorships with Formula 1 (F1), Ultimate Fighting Championship (UFC), National Basketball Association (NBA) Philadelphia 76ers team, French football giant Paris Saint-Germain, Spanish football giant Atletico Madrid and Italian Serie A.

Not only that, last March it was made public that Crypto.com will be a official sponsor of the FIFA World Cup to be held in Qatar in December 2022, becoming the first crypto-trading platform to debut in the fifa world cup.

As far as advertising campaigns are concerned, among the best known is the ad featuring NBA star LeBron James which was posted during the superbowl last February, which is also part of the series “Fortune smiles on the brave”.

Another Crypto.com ad went live last March, during Oscar nightpromoting a fundraiser to support the International Red Cross and Red Crescent to help the people of Ukraine, devastated by the Russian attack.

In September, however, Crypto.com had to pull out of their five-year UEFA Champions League deal at the last minuteof which he was to be a sponsor worth more than $100 million a year.

The likely cause for this “rollback” can be traced precisely to the long “crypto winter” that has hit the cryptocurrency market in general, including Cronos (CRO).

Crypto.com: Cronos (CRO) Trend Follows Overall Downtrend

Also, over the past year, it seems that the company’s prestigious partnerships and advertising campaigns did not have a big impact on the price of the CRO after the crypto hit its all-time high.

And indeed, tracing the various stages, when the Matt Damon commercial first aired in October 2021, the CRO price was $0.21. Shortly after, with the announcement of the Staples Center naming rights purchase, the price had risen to $0.35. Then on November 24, the CRO hit its all-time high, touching $0.97.

Between October and November 2021, investors who bought on the day of the ad and sold at the top earned a 360% return.

From there, the situation for CRO and its investors then changed dramatically, following the general downtrend.

According to a user report on Reddit, Crypto.com’s timeline of significant events did not have the same impact on the price of CRO. In practice, when the FIFA World Cup sponsorship was announced, the CRO fell to $0.42.

Whereas, for example, after the announcement of Atletico Madrid sponsorship in July 2022, the CRO price was $0.11.

At the time of writing, CRO is worth $0.10. As u/gnarley_quinn pointed out, investing in Bitcoin when Matt Damon’s ad ran would have resulted in a loss of around 60%. So, although the volatility of CRO was high, the drawdown was 13% lower than that of Bitcoin over the same period.

Visa card fees

Recently, Crypto.com also had to revise its plan for Visa Midnight Blue, Ruby Steel, Royal Indigo and Jade Green cards, announcing that he will charge fees on foreign transactions that are not in Euros or Pounds.

Therefore, Visa cardholders will have to pay such fees on purchases and their ATM withdrawals from December 19, 2022.

It’s a 0.2% fee for transactions made within the EU and UK, while an additional 2% fee applies for transactions made outside of these countries.

The company clarified that these charges are only applied on amounts above the ATM free monthly limit.

Crypto.com and Visa Unveil New NFT Auction

The two companies also recently announcement the inauguration of the “Visa Masters of Movement” auction on Crypto.coma way to combine football, art and NFT as the World Cup approaches.

It’s a collection of NFTs inspired by iconic lenses marked by the five legendary footballers. Not only that, with “Visa Masters of Movement”, fans will be able to create their own custom digital art on a digitized pitch at the FIFA Fan Festival in Doha, Qatar.

All proceeds from the auction will go to UK charity ‘Street Child United’.


Greek museum exhibits first batch of art recovered in US

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ATHENS, Greece – This is a symbolic first step in a homecoming that will long last the 10-year odyssey of ancient myth.

For decades, an important part of Greece’s cultural heritage shone only for the few in the private collection of an American billionaire, until a groundbreaking agreement for its gradual return to Athens. Today, 15 of the prehistoric masterpieces went on public display for the first time in a temporary exhibition in Athens, before their final return, along with the remaining 146 works, by 2048.

But Greek opposition politicians and some archaeologists say it’s too long. They say the government should have fought in court to get the entire collection back faster, arguing it was looted from ancient sites on Greek islands and smuggled.

Culture Minister Lina Mendoni said august offer – which also involved the Metropolitan Museum of Art in New York – was the best it could be.

“A legal proceeding is a very difficult matter that requires very solid documentation which in most cases we lack,” she said on Tuesday during a presentation of the exhibition, which opened last week. and will take place for a year in Athens. Cycladic Art Museum — itself based on a private Greek collection.

“It is an unfortunate fact that finds from illegal excavations exist all over the world,” she added. “So whoever belongs to Greece, our policy is to bring them back.”

Dating from 5300 to 2200 BC. AD, the artifacts were acquired by Leonard N. Stern, an 84-year-old businessman specializing in pet supplies and real estate. Most belong to the Cycladic civilization which flourished in the Cycladic islands between 3,200 and 2,000 BC. AD, whose elegantly abstract yet enigmatic white marble figurines inspired leading artists of the 20th century.

The 15 works exhibited in Athens are striking. An 86 centimeter (34 in) female figurine retains the eyes and eyebrows in low relief. A small female figure standing on the head of a larger one is one of only three known. A marble head bears traces of painted red dots on its cheeks and neck because – like later ancient Greek sculpture – many Cycladic figurines were originally coloured.

Little is known of their original function, largely because so many surviving Cycladic artifacts were hastily unearthed by looters. This deprives archaeologists of the clues that a proper dig could provide.

“When an artifact, from a broken piece of pottery to a statue, is removed from its context, from the environment in which it stands, it ceases to be historical evidence and simply becomes a work of art” , Mendoni said. “The loss is immense.”

“If we accept that our past is part of our identity, the objects that come from illegal excavations deprive us of a greater or lesser part of this identity,” she added.

Mendoni said Greece had stepped up its efforts – in collaboration with other countries – to discourage the trade in looted antiquities and had seen a drop in antiquities collecting.

The 15 works will be sent to the Met, to be exhibited with the rest from 2023 to 2048. Returns to Greece will begin in 2033 and continue through 2048.

ABC Vision Rehabilitation Services Hosts Art Auction | News, Sports, Jobs

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CBA Vision Rehabilitation Services will be holding an art auction on Thursday, November 17 from 8 a.m. to 8 p.m. on its Facebook page, @CBAVisionRehabilitationServices.

“We hope anyone interested in local art and artists and supporting the ABC’s mission will register and bid. It’s a very simple process and you can do it from the comfort of your home, office, smartphone or computer,” said Megan Maynard, Chair of the CBA’s Vision Rehabilitation Services Board.

The auction will feature approximately 25 pieces, ranging from paintings to three-dimensional art – there’s something for everyone. Some of the pieces are created by people living with disabilities, others are created by accomplished artists from our local community and friends of ABC Vision Rehabilitation Services.

To register for the auction, visit the organization’s website at www.chautauquablind.org and click on events, Art for Vision, and follow the instructions on the website.

Or we can go to the @CBAVisionRehabilitationServices Facebook page, click on Events, click on the name of the event, Art for Vision, and RSVP to that event by tagging yourself as “Train” be entered to win the door prize, a $50 activity credit at Evergreen Outfitters in Mayville. No purchase is necessary.

“You can support our youth vision screening program and add a work of art to your life”, said Joni Blackman, Executive Director. “The youth vision screening program visits most classrooms, preschools, kindergarten, homeschools and daycares in Chautauqua and Cattaraugus counties. Staff examined more than 4,400 children last year, more than 800 of whom required a visit to an eye care professional. This auction will help us keep the program going.

Auction items will be posted one week prior to the event. For more information, call Blackman at 716-664-6660 or email [email protected]



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Brushstrokes reimagined: Derek Dominic D’Souza shares his journey and love for Bengaluru – The New Indian Express

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Express press service

BENGALURU: At the end of 2014, the famous American physicist and author Alan Lightman received an email from a young art student in India. The student illustrated some verses from Lightman’s book Song of Two Worlds for an academic project and at the insistence of his teacher, he mailed them to Lightman.

Lightman was so impressed with the illustrations that he published a special illustrated edition of his book and asked if the 18-year-old would illustrate the entire book. Derek Dominic D’Souza of Bengaluru, then just 18, was surprised by the offer. Just in his freshman year of art school, D’Souza hadn’t expected something like this.

“I had never illustrated a book before. So for them to ask me to create this was huge. I felt like an impostor working on it. But my teacher was supportive and the whole experience was uplifting,” he shares.

Now a successful and much-loved digital illustrator, Derek hosted a free-for-all digital art workshop in the city on Sunday ahead of Bengaluru Comic Con 2022. “It’s always been one of my goals, to be at an event Comic Con and also to organize a workshop like this,” he said.

Born and raised in the city, D’Souza says having his studio in his own town was an honor he never expected. D’Souza expressed his admiration for the city, sharing that he quit his previous job just so he could stay in his hometown. “I lived in other places while working for Disney. During the pandemic I came back to Bengaluru and never got to go back. I quit that job and started a new one here , because this city is my home and it’s perfect. I love the cafes, the weather and everything about this city,” he says.

Having developed an interest in art from an early age, D’Souza says he only discovered digital art in recent years. “My interest in digital art started after I joined art college. Before going to art school, I didn’t know much about digital art. I always I knew I wanted to be an artist, but I didn’t know what kind of artist. It wasn’t until I went to college that I realized such a thing existed and could have a future. D’Souza has since experimented with his art style, now settling on a distinct style that has helped him rack up hundreds of thousands of social media followers.

Despite his successes, D’Souza believes the digital art landscape in the country hasn’t been very supportive of budding artists. “Most see art as a hobby rather than a career in this country. So, making a career in art is anything but simple. If you’re looking for serious artist opportunities, it’s mostly in commercials, or sometimes you get music videos.

But there is no large-scale industry that can support artists. It’s very different compared to western countries,” he explains. But the rise of the work-from-home culture, D’Souza believes, has helped artists enormously to find opportunities. “You no longer have to limit yourself to opportunities in one city or one location, you can work anywhere in the world,” concludes D’Souza.

BENGALURU: At the end of 2014, the famous American physicist and author Alan Lightman received an email from a young art student in India. The student illustrated some verses from Lightman’s book Song of Two Worlds for an academic project and at the insistence of his teacher, he mailed them to Lightman. Lightman was so impressed with the illustrations that he published a special illustrated edition of his book and asked if the 18-year-old would illustrate the entire book. Derek Dominic D’Souza of Bengaluru, then just 18, was surprised by the offer. Just in his freshman year of art school, D’Souza hadn’t expected something like this. “I had never illustrated a book before. So for them to ask me to create this was huge. I felt like an impostor working on it. But my teacher was supportive and the whole experience was uplifting,” he shares. Now a successful and much-loved digital illustrator, Derek hosted a free-for-all digital art workshop in the city on Sunday ahead of Bengaluru Comic Con 2022. “It’s always been one of my goals, to be at an event Comic Con and also to organize a workshop like this,” he said. Born and raised in the city, D’Souza says having his studio in his own town was an honor he never expected. D’Souza expressed his admiration for the city, sharing that he quit his previous job just so he could stay in his hometown. “I lived in other places while working for Disney. During the pandemic I came back to Bengaluru and never got to go back. I quit that job and started a new one here , because this city is my home and it’s perfect. I love cafes, the weather and everything about this city,” he says. Having developed an interest in art from an early age, D ‘Souza says he only discovered digital art in the last few years. “My interests in digital art started after I joined art college. Before going to art school, I didn’t know much about digital art. I always knew I wanted to be an artist, but I didn’t know what kind of artist. It wasn’t until I went to college that I realized such a thing existed and could have a future,” he says. D’Souza has since experimented with his art style, now settling on a distinct style that has helped him rack up hundreds of thousands of social media followers. Despite his successes, D’Souza believes the digital art landscape in the country hasn’t been very supportive of budding artists. “Most see art as a hobby rather than a career in this country. So, making a career in art is anything but simple. If you’re looking for serious artist opportunities, it’s mostly in commercials, or sometimes you get music videos. But there is no large-scale industry that can support artists. It’s very different compared to western countries,” he explains. But the rise of the work-from-home culture, D’Souza believes, has helped artists enormously to find opportunities. “You no longer have to limit yourself to opportunities in one city or one location, you can work anywhere in the world,” concludes D’Souza.

Years and years of priceless Steve Ditko artwork destroyed?

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art © 2000 Steve Ditko / SD Publishing

The comics are rightly held up as an example of pure, unbridled Americana. They are a uniquely American creation and have become a major force in pop culture in recent years. While there are many great creators (artists, writers, publishers) in the field, few have achieved the acclaim inside and outside the industry that the late Steve Ditko received.

Yet, sadly, this praise not only attracted innocuous detractors who had fun raving about Ditko’s alleged recluse, how he rendered anatomy or his politics (which they probably didn’t understand), but he also attracted the attention of thieves, evil- willful people who have stolen original works of art that they did not create (and do not have a business) to resell for large sums of money . Ditko has written extensively about this dark side of the comics industry in The Comics (a first-person comic book story in newsletter form edited and published by Robin Snyder) and in non-mainstream comics. His original works of art had too often ended up in the hands of thieves; Ditko himself wrote that most of the original artwork from his run on Spider-Man was never returned to him. (Others, like the good people of Two Morrows Edition have also wrote about this injustice.) And, naturally, that upset him. How would you feel if your hard work has been ripped from a warehouse or storage area and sold without your knowledge or permission. These ill-gotten gains have been the twisted “reward” of criminals for decades.

Following Ditko’s passing in June 2018, many fans eagerly awaited posts featuring scans of his original art. Expectations for some sort of “artifact” or “artist’s edition” were high.

Yet, aside from a king-sized Amazing Spider-Man, “Ditko is…amazing! »a tome that featured high-quality scans of Ditko’s original art for Amazing Fantasy #15 (which were “gifted” to the Library Congress by an anonymous donor in 2008), nothing came.

Another year passed and… nothing.

And another.

Nothing.

So Ditko fans started asking questions: Where are the tens of thousands of pages produced by Ditko over his 70-year comedy career?

The answer came from the most unexpected place. A auction of 41 Spider-Man comics owned by Ditko appeared a few weeks ago. The provenance of each has been confirmed by the Domain Ditko . According to Pacific Book Auction (PBA) (the company running the auction), they were discovered inside boxes in a small room belonging to Ditko’s sister, Anna, after her death. Ditko stayed in this room during his annual visits to his hometown of Johnstown, Pennsylvania.

However, an even more shocking revelation awaited Ditko fans in the fine print. What has been relayed is enough to send shockwaves through the comic book world and Ditko fans in particular. No, unfortunately no large hidden stash of decades of priceless original Ditko artwork has been uncovered.

The reality was darker.

“I think he destroyed everything,” Patrick Ditko, the creator’s nephew, told PBA.

As a fan, it was almost as shocking to hear as the day I found out he was dead.

About 70 years of mainstream comic book work…gone! ? No Dr. Strange. No Speedball. No Shade the changing man. No stalker. All of that – every piece of bristol board that the genius creator’s hand had filled with drawings – is gone!? Every drop of Indian ink forever removed from us? Those lush, shiny examples of high-level comic art he did for Warren Publications are no more? The original designs from decades of creative work by Charlton never to be seen by human eyes again?

Ditko owed us nothing. Art was his to do with what he felt best, yes. Assuming that’s true (and Ditko’s nephew has no reason to lie), the sense of loss I feel as a Ditko fan runs deep.

I’m sure I’m not alone.


Allison DeSalvo and Friends Present Holiday Concert to Benefit Gratitude 4 Grandparents

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SWARTHMORE — Families are invited to take a ride on the musical train through a joyous festival of songs for the season with children’s singer-entertainer Allison DeSalvo and friends at the 17th World of Song Children’s Benefit Concert on Saturday Nov. 19 from 4:30 p.m. to 6 p.m. at Park Avenue Community Center, 129 Park Ave., Swarthmore.

Children are invited to sing and dance for this year’s charity, Gratitude 4 Grandparents, in recognition of grandparents and the vital role they play.

Accompanied by guitarist Derek Chafin, percussionist John Patriarca and singer Christa Basilevsky, DeSalvo will perform a lively and interactive mix of traditional and original melodies ranging from folk to Americana celebrating family, the wonders of fall, the pleasure of animals, a pop-up turkey and more. She will be joined by other special guests, two young violinist sisters and an aspiring local children’s author sharing her inspirational story, “Love Is Everywhere”.

All proceeds go to Gratitude 4 Grandparents, a non-profit organization serving “grandfamilies” in Delaware County and beyond by providing for their immediate needs by providing essential supplies, food, gifts during vacations, financial, legal and emotional support to raise their grandchildren.

To learn more, visit http://www.gratitude4grandparents.com. The concert and program, aimed at children ages 2 to 10, also includes face painting, arts and crafts, food and refreshments.

Advance tickets, valid for one adult and one child, are sold online for a base price of $20 and each additional person is $5. Babies are free. On the day of the concert, the base price is $25. For reservations and ticket information, log on to http://www.worldofsong.com.

The Church of the Sacred Heart organizes a sale of pierogi

The Church of the Sacred Heart in Clifton Heights will hold its pierogi sale from November 7-18. Pierogi will be made and picked up at St. Stephen’s Parish Hall, 199 W. Baltimore Ave., Clifton Heights. The cost is $8 per dozen.

To order, call Joanne Bidoli at 610-574-7077 or the presbytery at 610-623-0409.

Guest speaker at Springfield Lions reunion talks about Our Closet program

The Springfield Lions Club recently hosted Lisa Ney, program officer for the Jewish Family and Children’s Service, as a speaker at the last Lions meeting.

Ney spoke about Our Closet in Your Neighborhood, a free mobile program that provides needy people in the Philadelphia area with the basic necessities of food, clothing, and access to services and benefits.

For more information, visit http://jfcsphilly.org/our-closet-in-your-neighborhood or email [email protected]/.

For more information about the Lions, contact Larry Healy at 610-716-7076 or visit http://www.springfieldlionsclub.org.

Lions President Larry Healy, left, and Lions Program Chair Sarah Gibbons, right, recently hosted Lisa Ney of Our Closet in Your Neighborhood as a guest speaker at their club dinner. (Courtesy of SPRINGFIELD LIONS CLUB)

The PLO organizes a Christmas bazaar

Our Lady of Peace Parish will be hosting a Christmas Bazaar, 6-9pm Friday November 18 and 9am-3pm Saturday November 19, at Nelson Hall, behind Notre Dame deLourdes School, Fairview Road , Swarthmore. The bazaar will include basket raffles, a toy wheel, television odds, Shark Vacuum, Basket of Cheer, Deacon’s Attic and vendors.

Breakfast with Santa is $8 per adult and $5 per child. The kitchen will be open during the bazaar. For more information, contact Rosie Moran at 610-256-9127 or [email protected]

O’Hara Hosts Fall Craft Fair

Cardinal O’Hara High School’s Band and Guard Fall Craft Fair will be held from 10 a.m. to 3 p.m. on Saturday, November 19 and from 10 a.m. to 2 p.m. on Sunday, November 20 at the O’ Cafeteria. Hara, 1701 Sproul Road, Springfield.

Everyone is invited to come and buy gifts and unique handmade items, made by more than 80 local artisans.

The event benefits the O’Hara Music Program.

Springfield Alumni Art Exhibit

The Springfield Area Educational Foundation and the Springfield School District have announced plans to hold a juried alumni art exhibit on Friday, November 11 and Saturday, November 12 in the new high school lobby. The exhibition is open to everyone.

The foundation’s Art Weekend seeks to represent the legacy of Springfield’s art design programs by featuring many works for sale by the school’s alumni. SAEF’s goal is to celebrate Springfield’s visual arts history through the works of artistic alumni while raising funds for the school’s scholarship programs.

“We are pleased to announce that the inaugural exhibit will be dedicated to our beloved Springfield art teacher, Beth Fellona,” said Chris Belton, Arts Educator and Co-Chair of the Events Committee. “Art is a powerful educational tool. In addition to creativity and self-expression, the arts teach problem-solving, critical thinking, innovation, and collaboration. By showcasing the work of our alumni, Springfield seeks to highlight the importance of arts education and honor the accomplishments of our graduates. We hope to attract a wide variety of alumni artists and designers from all mediums, professional and amateur. All entries were evaluated for exhibition by a jury comprising current art teachers, art students, community members, and SAEF/SHS board members.

For more information, contact Belton at [email protected] To become a sponsor, contact www.saef.net or call Jan Greisemer at 610-938-6034.

Plans include an artists’ reception open to the public on Nov. 11 from 5-9 p.m. Exhibition hours are November 12 from 10 a.m. to 4 p.m.

The foundation is committed to meeting the educational needs and success of every student. The foundation’s goal is to help provide rigorous and rewarding educational opportunities for every student, from kindergarten through high school. In partnership with the district, the foundation raises and manages donor funds that provide the school district with the energy needed for strategic investments in programs so that every student has the opportunity to succeed. For more information, visit http://www.saef.net.

$750,000 in funding helps create a homeless resource center in Upper Darby

Philadelphia’s Student Run Emergency Housing Unit received $750,000 in Redevelopment Assistance Program funds for its Breaking Bread Community project in the 164th Legislative District.

The Breaking Bread Community Project will be a resource center for ending homelessness, located in the Township of Upper Darby, providing services and housing assistance to anyone in need. It will also include overnight shelter for at least 30 people.

The project site is a three storey building and will require full refurbishment to provide a day use community area and offices on the first floor; sleeping areas on the second and third floors; new heating, air conditioning, electricity and fire alarm infrastructure; new interiors and finishes; new bathrooms on each floor; and improvements to the existing elevator.

“This funding will help us provide needed resources to the food and housing insecure community,” said Stephanie Sena, Founder of the Housing Unit. “We will provide 24-hour refuge from the elements and, most importantly, relationship, love and community.”

The Breaking Bread community will also provide legal aid, health care, workshops, gardening, meals and community services.

The RACP grant is administered by the Office of the Budget whose grants are intended to support community development and economic activity.

Readers can send community news and photos to Peg DeGrassa at [email protected]/.

Northern Liberties presents a giant artistic exploration of the neighborhood with the artists returning to work on the second Saturday

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Northern Liberties Business Improvement District announces the return of Artists at Work on Saturday, November 12, 2022, from 4:00 p.m. to 6:00 p.m. The neighborhood comes alive this fall with a special art exploration that will feature live music, as well as artisans and artists creating live in pop-up spaces and shops around Northern Liberties. This episode of Artists at Work is the largest yet for the program with 19 locations. Attendees will be able to stop and chat with painters, sculptors, knitters, collagers and more to learn more about their process and inspiration. New to publishing, look for collaborations with Cosa Cosa, The Clay Studio and Almanac Dance Circus Theatre. The event is rain or shine, and free to attend. Make it a day at Northern Liberties for the second Saturday with the brand new Pop-up Northern Liberties Farmers’ Market from 10am-2pm in the courtyard of Piazza Alta. For a full list of artists and shops, as well as to learn more about the Farmers’ Market Pop-up, visit: https://www.explorenorthernliberties.org/events/

Sponsored by the Penn Treaty Special Services District, Artists at Work celebrates Northern Liberties’ past and present as a neighborhood of creative, independent minds by activating nineteen storefronts with live artistic creations. This is major growth for the program that began during the pandemic for social distancing and has now expanded to become a bi-annual tradition and flagship event for the growing neighborhood.

“Northern Liberties has long been a place of creation, and Artists at Work shines a light on that artistic spirit and our unique community,” said Kristine Kennedy, executive director of the Northern Liberties Business Improvement District. “We are really excited to include artists through Cosa Cosa, a collaboration committed to creating public art, and to be able to host The Clay Studio and Almanac Dance Circus Theatre. People can explore our historic streets and discover our businesses while learning a bit about how different artistic mediums are used.”

Artists at Work is a family-friendly walking tour that will take place in 19 locations across Northern Liberties with artists settling outside inside display cases depending on their medium and needs. New to this session is Almanac Dance Circus Theater performing as a duo at the former Creative Coloring Box learning center at 632 N 2nd St. Almanac has just come out of its very successful Cannonball Festival and will feature artists from this festival. Get hands-on at The Clay Studio sculpting table located in the new Brotherly Love Gallery at 623 N 2nd St, where anyone can help form a clay sculpture.

This event is rain or shine, free and open to the public. For a map of the event and the full list of vendors with updates as the event nears, visit: https://www.explorenorthernliberties.org/event/20221112-artistsatwork/


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Interested? Learn more here.


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City Winery Welcomes French Guitar Master Pierre Bensusan to PhiladelphiaCity Winery Welcomes French Guitar Master Pierre Bensusan to Philadelphia
November 3, 2022

Franco-Algerian guitar master Pierre Bensusan’s 2020 North American tour was in full swing when the pandemic put it on hold, forcing him to return home to France. He is making up for lost time with an extensive North American tour that will take him to the City Winery Philadelphia stage on Saturday night, November 5.


Exclusive Photo: First Look at Jackie Hoffman and More at THE World Premiere of THE TATTOOED LADYExclusive Photo: First Look at Jackie Hoffman and More at THE World Premiere of THE TATTOOED LADY
November 2, 2022

The Philadelphia Theater Company presents the world premiere of a rock musical about the radical history of tattooed women. The musical stars Emmy-nominated and Obie Award-winning Jackie Hoffman (Hairspray, “Feud,” “Only Murders in the Building”) as Ida Gibson, and more. Get an exclusive first look at production photos here!


“Eisenhower: That Piece of Land” – NoHo Arts District

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John Rubinstein as Dwight D Eisenhower. Photo by PIERRE LUMIERE.

[NoHo Arts District, CA] – A NoHo Arts theater review from Theater West and the New LA Repertory Company’s production of “Eisenhower: This Piece of Ground” by Richard Hellesen, starring John Rubinstein, directed by Peter Ellenstein, through November 20.

Theater West is no stranger to political theater. I saw a number of great pieces there that centered on the innate human ability to take sides. So it was no surprise to me that they gave space to a piece on Eisenhower.

The New LA Repertory Company is reborn with the son of the founder of the original LA Rep at its helm, Peter Ellenstein. Peter’s father, Robert, also co-founded Theater West himself. What a legacy. What an opportunity. What sweet theatrical magic aligns all of these moments to create space for a play about a man whose own life is punctuated by such pivotal and substantial moments, ever-changing, never underestimating the myriad possibilities the human race could to input. Whether it’s big and meaningful or dark and terrible.

“Eisenhower: This Piece of Ground” is set after the presidency, with Eisenhower at his beloved farmhouse in Gettysburg. His first book published and his second in development, he struggles to find a reason for him to write about his presidency, or for anyone to want to read it. But his publisher is convinced of the value of his second book, not just financially, but also for bringing Eisenhower’s incisive, hard-learned intellect to the world at a time when pragmatism and wisdom were badly needed.

A NoHo Arts theatrical review of Theater West and the New LA Repertory Company's production of
John Rubinstein as Dwight D Eisenhower. Photo by PIERRE LUMIERE.

Eisenhower wakes up that morning to find the first publication of the New York magazine presidential list, ranking presidents in order of magnitude, and is irritated to say the least to find his two terms ranked at number 22. These days he’s ranked much higher in the polls at number five, the pullback is really 20 -20 . His editor gave him a tape recorder to dictate his thoughts as they came to him. The first invention of a podcast perhaps? Eisenhower certainly needed to talk, to get out of his agitated brain the thoughts that troubled him, frustrated him or even amused him. He never sought the presidency, he was persuaded to run, against isolationist Taft’s Republican ticket, and save the country from ruin. He won the primary and went on to serve two terms as one of America’s most successful presidents.

A man driven to serve the country, not his own. He sued New Deal agencies and expanded Social Security. He also developed the interstate highway system, founded NASA, and scientific training. Most notably, he signed the Civil Rights Act of 1957 and sent in Army troops to enforce federal court orders to integrate schools in Little Rock, Arkansas. He presided over two terms of phenomenal prosperity in this country and, in his farewell speech, expressed serious concerns about the “military-industrial complex” even though he was Supreme Allied Commander Europe during World War II. . Or maybe because of it. In short, there was so much I didn’t know about Dwight D. Eisenhower before this play.

A NoHo Arts theatrical review of Theater West and the New LA Repertory Company's production of
John Rubinstein as Dwight D Eisenhower. Photo by PIERRE LUMIERE.

“Eisenhower: This Piece of Ground” is a two-act play set in the living room of the great man himself as he talks about the world he lived in and his hopes and fears for the future. . He is eloquent, brilliant, emotional, humble and yet he has a core of steel in him. A ferocity. A weight to his thoughts and words. The words so brilliantly written by Richard Hellesen, who wrote several other historically poignant and thoughtful pieces.

John Rubinstein’s portrayal of Eisenhower is as meaningful as it is haunting. This is not heavy impersonation. He embodies the essence of this tall and complex man. As he strides across the stage, carving his rhetoric into compelling, determined prose, time stands still.

An actor on stage for a 90-minute play about a man who dominates modern American life is a tall order.

A NoHo Arts theatrical review of Theater West and the New LA Repertory Company's production of
John Rubinstein as Dwight D Eisenhower. Photo by PIERRE LUMIERE.

But John Rubinstein is as convincing and authentic as Eisenhower himself, without affectation, without maneuvering, only insight and truth, and an altogether masterful talent.

You know when an actor is really, really good when you totally believe him, when there’s no doubt that for the time he’s on stage absolutely everything he tells you is true. John Rubinstein is a comedian comedian. It is the perfect vehicle for its depth, its dazzling darkness and its humanity.

Deftly directed by Peter Ellenstein, who seems to have given him plenty of room to find that role and fulfill it gracefully.

“Eisenhower: This Piece of Ground” is theater at its finest. It educates us, inspires us, and uplifts a good man, a better president than most, and reminds us that we are blessed with politicians who serve only to serve us. Not themselves.

These are dark days. Cynical days. It’s good to remember that we’ve been through worse and that there are people who care enough about us to fight for the betterment of the world without a personal agenda. Hope they win.

“Eisenhower: This Piece of Ground” runs until November 20. I invite you to see this piece. It’s rare to be blessed with such a phenomenal actor giving us insight into a man as important to us all as Dwight D. Eisenhower. Cheer!!!

A few words about the staging, the scenography and the beautiful scene created for this play. Thank you all for your excellence!

A NoHo Arts theatrical review of Theater West and the New LA Repertory Company's production of
John Rubinstein as Dwight D Eisenhower. Photo by PIERRE LUMIERE.

Cast and production team

John Rubinstein – Dwight D Eisenhower
Richard Hellesen – Playwright
Peter Ellenstein – Director
Joe Huppert – Projection and sound design
Pierre Vuilleumier – Scenography
Esquire Jauchem – Lighting Design
Doug Spesert – Costume Design
Alicia Maccarone – Creative Consultant
Malcolm Wilson – Technical Supervisor
Courtney Rhodes – stage manager
Madison Chmielewski – Assistant Stage Manager
Anne Taplin – Propmaster
Jacks McLaughlin – Social Media Director
Lee Greengross & Douglas Haverty – Graphic design
Johnny Cho – Webmaster for New Los Angeles Rep
Sandra Kuker PR – Publicist
Eugene J. Hutchins – West Theater General Manager
Peter Ellenstein – New LA Rep, Production Art Director

When:

Until November 20

Friday and Saturday at 8 p.m.

Sunday at 2 p.m.

Where:

West Theater
3333 Cahuenga Blvd W, Los Angeles, CA 90068

Tickets:

https://theatrewest.org/on-stage/2022/eisenhower-this-piece-of-ground

THE REEL STORE PRESENTS THE UK’S FIRST ‘LIFE AND WORK OF FRIDA KAHLO’ WATCH

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An immersive exhibition invites visitors to discover the exciting life of the famous Mexican painter

The gallery announces the appointment of a new director, Chris Michaels

November 25, 2022 to January 29, 2023

Coventry Culture City Trust is delighted to announce that The reel store will host an immersive exhibition exploring the life and work of iconic Mexican painter Frida Kahlo from November 25, 2022 to January 29, 2023.

The Trust is also announcing today the appointment of Chris Michaels as the first director of The Reel Store, where he will be responsible for strategic direction and curatorial leadership. Most recently, Chris was Director of Digital, Communications and Technology at the National Gallery in London, where he served on their Executive Committee. He is a Senior Visiting Research Fellow at King’s College London and a Creative Industries Policy and Engagement Fellow at the Arts and Humanities Research Council. Blooloop named him one of the “Power 10 Museum Influencers” in 2022.

The multi-award winning exhibition Life and work of Frida Kahlo comes to Coventry after its sold-out run in Madrid, which saw over 100,000 visitors. Conceived, designed and produced by international exhibition producer Acciona Cultura in collaboration with the Frida Kahlo Trust, the exhibition combines academic research with an immersive spectacle that puts visitors at the center of the experience. The curatorial team behind the exhibition was led by Roxana Velásquez, executive director of the San Diego Museum of Art, and Deidré Guevara, curator of the exhibition. Frida and me at the Georges Pompidou Museum in Paris

The exhibition uses Kahlo’s personal diary to take visitors into her intimate world, inviting them to explore a fascinating new side of the famous artist through different parts of her identity: as a woman, a painter and an icon.

The immersive and audiovisual show is separated into three parts with a voiceover that highlights the richness of his writings.

The first part shows the artist as an acclaimed public figure in the 1930s and 1940s, exhibiting all over the world and rubbing shoulders with figures such as Pablo Picasso and Alice Rahon. The second section focuses on her personal story, her family origins in Mexico and the two most significant events in her life: a bus accident in 1925 that nearly paralyzed her and her tumultuous relationship with the artist Diego Rivera. The third section of the experience centers on “The Blue House” in Mexico where Kahlo lived, worked and died, and the site where many of his most famous works were painted.

In addition to extracts from Frida’s diary which show personal and hitherto unknown facets of this exceptional artist, the exhibition presents several masterpieces by the painter, including her famous self-portraits. The wounded deer or the one dedicated to Doctor Eloesserand other lesser known works such as The Suicide of Dorothy HaleWhere What the water gave me. It presents an artistic reinterpretation of Frida’s work using a 360º projection. A hands-on exhibit introduces visitors to the artist before entering the experiential galleries.

Martin Sutherland, Chief Executive of the Coventry City of Culture Trust, said:

“We are delighted to welcome Chris as the first Director of The Reel Store. He is at the forefront of digital innovation in the cultural sector and with his leadership, experience and pioneering thinking, I am sure we achieve our ambitious plans for the future.

Chris Michaels, Director of The Reel Store, said:

“I am incredibly thrilled to join The Reel Store as its first director at this pivotal time. The venue is leading the way for a new generation of museums and galleries that are building on the possibilities of digital and we are thrilled to announce life and work of Frida Kahlo as her second exhibition.

We’re sure it will not only provide an unforgettable snapshot of Kahlo’s iconic story, but also bring her thoughts, emotions, and artwork to life. The exhibition invites visitors into the heart of the creative experience, taking them on an intimate journey alongside one of the world’s most beloved and respected artists.

Carla Prat, artistic director of “The life and work of Frida Kahlo at Acciona Cultura”:

“This exhibition is the culmination of a long artistic and academic exercise to move away from the usual narrative of pain/victim and towards one of resilience, courage, female empowerment and genius. The truth is that despite the many biopics, books, and exhibitions about Frida Kahlo, there is still much to learn and remember about her and her paintings. This exhibition screams, “This is how I felt. That’s how I thought. That’s how I was. Remember me !”

Beyond its iconic masterpieces and popular perceptions, the show will take visitors on an unforgettable journey of resilience, hope and bravery. Life and work of Frida Kahlo is presented with a soundtrack by Goya-nominated composer and pianist Arturo Cardelús, which combines traditional European and Mexican music and captures the spirit of Kahlo’s legacy. The soundtrack was recorded with the Budapest Art Orchestra by its conductor, Peter Pejtsik.

The exhibition has already won three major international awards: the “Best Experience Design 2022” at the Innovation by Design Awards Fast Company, the Red Dot Design Award in the category “Brand and Communication Design 2022” and the Silver Award for the “Best Technical Facility “. ‘ at the Eventoplus Awards.

The Reel Store has been made possible by the generous support of Coventry City Council’s Department of Digital, Culture, Media and Sport through the Council’s Cultural Capital Investment Fund, the Government Building Fund through the Coventry and Warwickshire Local Enterprise Partnership (CWLEP), The Patrick Trust, The Linbury Trust, Edward Cadbury Charitable Trust and Coventry and Warwickshire Chamber of Commerce.

-ENDS-

Electronic Arts sales disappoint but profit forecasts rise

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Electronic Arts Inc. missed sales expectations in a quarterly report on Tuesday, as executives cut their full-year revenue and bookings guidance but raised their profit forecast.

Known for its sports franchises like “Madden NFL” as well as action titles like “Apex Legends” and “Battlefield 2042”, EA EA,
+0.25%
reported second-quarter net income of $299 million, or $1.07 per share, from $1.02 per share a year ago. EA did not provide adjusted earnings information, although analysts tend to estimate and judge the company on those results.

Revenue reached $1.9 billion from $1.83 billion in the prior year quarter. Reservations, which represent deferred revenue, reached $7.38 billion over the past 12 months, the company said. Net bookings for the quarter were $1.75 billion, compared to $1.85 billion in the prior year quarter.

Analysts polled by FactSet had forecast earnings of $1.37 per share on revenue of $1.94 billion and net bookings of $1.81 billion. EA shares initially fell around 2% in after-hours trading following the earnings release, but ended extended trading slightly higher after gaining 0.3% to $126.27 during the regular session.

Video game companies have struggled this year as the pandemic-era gaming boom slows and software companies face comparisons with huge growth in previous years. EA has held up better than most, however, as its sports-themed games tend to attract regular customers every year – including a “record” launch for the football game “FIFA 23” which started on the last day of the quarter – and the company’s mobile division didn’t show a huge drop like some others.

Read more: As pandemic video game boom wanes, merger madness takes over

“Despite one of the worst quarterly performance in the mobile games industry that we can remember (global consumer spending = -13% y/y), we expect EA’s business to grow by +8%,” wrote Stifel analysts ahead of the report, while maintaining a “Buy” rating but reducing their price target to $144 from $152. “And at just 17% of net bookings in fiscal 2Q23, the company’s exposure to this struggling category is lower than other publishers in our coverage universe.”

For the third fiscal quarter — which will include most of the proceeds from the launch of “FIFA” — EA executives have forecast earnings of 43 cents to 59 cents per share on revenue of $1.825 billion to $1.925 billion. dollars and reservations of $2.425 billion to $2.525 billion. Analysts had estimated earnings of $3.01 per share on revenue of $2.07 billion and bookings of $2.56 billion for the fiscal third quarter, according to FactSet.

For the full year, executives raised their profit target but cut their forecast for revenue and bookings, citing the strengthening dollar. Executives now expect full-year earnings of $3.11 to $3.34 per share, from $2.79 to $2.84 per share previously, attributing a decline in the cost of revenue seen throughout the year. year due to a change in the composition of income; total revenue is now expected to be between $7.55 billion and $7.75 billion, a reduction of $50 million from the previous range; and bookings are now forecast between $7.65 billion and $7.85 billion, down from $7.9 billion to $8.1 billion. Analysts on average had expected adjusted earnings of $7.14 per share on revenue of $7.72 billion and bookings of $7.95 billion for the year.

Chief Financial Officer Chris Suh said the reduction in sales estimates was due to the strengthening dollar, which he said had led to a $200 million reduction in annual net bookings expectations since the forecast was originally released.

“Beyond [foreign exchange]our business fundamentals remain sound with strong player engagement trends across our platforms and franchises,” he said.

Wedbush analysts Michael Pachter and Nick McKay predicted last week that EA executives would cut their full-year guidance “due to multiple factors, including unfavorable foreign currency translation, macroeconomic pressure, a difficult market for mobile games, the competitive landscape and the release schedule”.

Analysts, however, maintained their “outperform” rating on the stock and the $170 12-month price target.

“These potential headwinds are largely transitory in our view, and we remain confident of the company’s long-term growth potential anchored by its core sports brands, premier non-sports franchises and broad mobile opportunity.” , they wrote.

EA shares are down about 5% year-to-date, versus a 19% drop in the S&P 500 SPX index,
-0.41%.

Five Southwestern Colleges Named Montgomery Scholars |

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Southwestern Law School, Los Angeles, California, Nov. 01, 2022 (GLOBE NEWSWIRE) — The Kenneth & Harle Montgomery Foundation joins Southwestern Law School in nominating five Montgomery Scholars for the 2022-2023 academic year. Each scholar receives a generous award from the Foundation that provides essential support and enables them to continue to produce high-quality scholarship that will impact the legal profession and the world.

[Interview] Mulga X Samsung Art Store Partnership Offers Limitless Potential for Digital Age Artists – Samsung Newsroom Canada

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[Interview] Mulga X Samsung Art Store Partnership Offers Limitless Potential for Digital Age Artists – Samsung Newsroom Canada

Samsung Art Store is the epitome of digital-physical blending, supporting today’s artistic experiences. It enables widely acclaimed galleries, museums and artists to showcase their masterpieces to users around the world through The Frame’s digital signage. Since its launch in 2017, Samsung Art Store[1] enables extraordinary and unique selections of art to be accessible to consumers from the comfort of their own homes.

Mulga is the embodiment of the cool “art guy” persona. The Sydney-based Australian artist is a freelance illustrator, published author and muralist, whose style is dynamic, complex and just plain fun. Having started his career in finance, he moved on to making a living through art when he decided he wanted to do something he was truly passionate about.

Now Mulga makes a living doing what he loves. His art is inspired by animals, summer and the ocean, which is brought to life through Samsung’s Art Store. Samsung Newsroom sat down with Mulga to learn more about his artistic process and how he sees digital transformation affecting the art world.

Mulga

Q: Your work is described by others as complex, dynamic and unique. In your own words, how would you describe your artistic style?

I would say there is a lot of summer atmosphere and humor. It also has real Aussie vibes. There are always black lines and details with a fun element that ties it all together. You could say it’s the art that makes you smile and feel good.

Q: You’ve worked on a variety of projects — big brand collaborations, murals, smaller original paintings, and snowboards. What has been one of your recent favorites?

Last month I painted a 100 meter long mural on the beach at Port Macquarie, and it was awesome to do. I love the beach, summer and surfing; so it was the perfect place. At one point the waves were crashing against the wall while I was painting, and I had to time that with the tides. It made it a little more exciting.

Q: How did you start working with Samsung and the Art Store? What excites you most about this partnership?

I’ve worked with Samsung on a bunch of different campaigns over the years, usually creating art using Samsung products. Once I even made more than 19 cell phone wallpapers. Samsung is a great partner to work with because they have cool products and do a lot of creative collaborations.

I got involved with the Art Store when The Frame was first launched. Samsung has licensed one of my gorilla artwork for display on TVs and use for print ads. I painted live at the launch in Sydney and painted a large mural in Melbourne to promote The Frame.

Having my work in the Art Store means people all over the world discover my art. Once someone sees my piece in the Art Store, they are more likely to find my website, looking for the original painting they displayed on their TV. Additionally, there are royalties based on how long my art is displayed on all the televisions in the world.

Q: A lot of your work is done in a real, physical way: painting. How do you find your paintings translate to digital display on The Frame? Do you plan to work with other mediums in the future?

It works very well. I scan all of my artwork into a high resolution digital format for The Frame, and it looks like an actual painting. Although I have no intention of changing the way I paint, I would like to turn my paintings into 3D works of art – very large public works of art – in the future.

Q: How have your own designs evolved as technology has advanced? Are there any notable changes in your work that have been deeply impacted by technological innovations?

With the rise of blockchain technology and the novelty of being able to “own” digital art via NFTs, digital art is truly at its peak. As an artist, that’s a big thing. I create a lot more digital art and especially when working on my own “MulgaKongz” NFT collection. By creating art on a tablet, I can work anywhere – at the beach, on a boat or in a motor vehicle. It’s very useful.

When it comes to displaying the artwork, digital screens such as The Frame provide extremely vibrant colors with full screen details. The colors can sometimes even be more vivid than the actual paintings, so they look supercharged. Most of the time, when artworks are displayed on The Frame, they are larger than the actual version, and many details are also more visible, which can be more impactful than smaller versions of the real life.

Q: What are your three pieces that you would recommend users post on The Frame?

It’s really a matter of personal preference, but I can tell you that last month my most popular work in the Art Store was the Clifford King of the Point. It’s a painting of a tall, bearded guy standing with his surfboard on my local beach, and he’s surrounded by goofy seagulls. It’s summery, fun and colorful.

Clifford King of the Point (2020)

My second most viewed work last month was a colorful collage-style work titled Under the sea. It features corals, whisker fish, bearded pineapples and octopus tentacles. I originally drew this artwork for a chain of Poke Bowl restaurants in my home town of Sydney.

Under the sea (2018)

Another of my favorite works in the Art Store is titled Cactus Brothers. It is a painting of two cactus figures wearing sombreros under a starry sky. They’re in the desert surrounded by cacti and palm trees, and an oasis-style lake sits in the background. It was a work of art, which I was commissioned to paint for an amateur cacti collector of my art.

Cactus Brothers (2021)

To see more of Mulga’s artwork, head to the Samsung Art Store in The Frame.

[1] * Art Store subscription required to access the full selection. Fees apply to the subscription service.
** Art Store artwork is subject to change without notice.

Exhibit near Egypt’s Giza pyramids blends ancient history with contemporary art – Xinhua English.news.cn

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People visit a pyramid-shaped artwork during ‘Forever Is Now’ exhibition held at the Giza Pyramids complex in Giza, Egypt, on Oct. 27, 2022. (Xinhua/Ahmed Gomaa)

by Mahmoud Fouly

CAIRO, Oct. 30 (Xinhua) — Against the backdrop of the three great pyramids of Giza and their plateau, an open-air art exhibition featuring a dozen contemporary art installations is being held in the southwest of Cairo, Egypt.

The “Forever Is Now” exhibition aims to combine the ancient history and cultural heritage represented in the pyramids with contemporary art, establishing a link between past, present and future.

One of the installations is a six-meter-tall unfinished obelisk by Emirati conceptual artist Zeinab Alhashemi. Made of stainless steel and camel skins, the obelisk symbolizes the well-known ancient unfinished obelisk located in Aswan in Upper Egypt.

Another piece is “Secrets of Time” by Tunisian artist eL Seed. The work consists of a curtain of ropes suspended in the shape of a door surrounded by an iron frame, on which there was a quote from the late Egyptian novelist Radwa Ashour in Arabic calligraphy: “Time does not reveal its secrets to humanity”.

Photo shows the artwork “Pantheon of Deities” by Egyptian artist Therese Antoine during the “Forever Is Now” exhibition held at the Giza pyramids complex in Giza, Egypt on October 27, 2022. (Xinhua/Ahmed Gomaa)

EL Seed explained that his work is intended to celebrate the mystery and grandeur of the Giza pyramids, the construction of which remains a secret until today.

“The piece is meant to provide a new experience, because anyone can open this curtain of strings and rediscover the pyramids in a new way,” el Seed told Xinhua near his work.

“The pyramids in the background are more important than the work of art. The background gives value to the work. My work will perish while the pyramids will remain”, added the Tunisian artist.

Not far from el Seed’s work, a work by Spanish artist SpY titled “ORB: Under the Same Sun” features a four-meter-diameter ball, or orb, made of chrome steel with safety glass mirrors reinforced reflecting the pyramids, the sky and the surroundings.

A little further on, a three-part work by Jwan Yosef, a Swedish-Syrian painter and artist, depicts a huge 3D figure of the artist’s own face sinking into the sand, with only the nose, lips and the chin emerging from the sand and facing the sky.

The limestone artwork, “Vital Sands”, takes a new approach to the traditional self-portrait genre by depicting immersion in the healing sands of time.

Yosef said he was having a conversation with “one of the oldest and most iconic landmarks in the world” through his article.

People visit the artwork ‘ORB: Under the Same Sun’ by Spanish artist SpY during ‘Forever Is Now’ exhibition held at the Giza Pyramids complex in Giza, Egypt, on Oct. 27, 2022. (Xinhua/Ahmed Gomaa)

“To have this dialogue with your own work is just amazing, and to be able to portray that it’s just an amazing experience,” he added.

“Forever Is Now” is organized by the company Art D’Egypte, an Egyptian platform dedicated to art and heritage, under the auspices of the Egyptian Ministry of Tourism and Antiquities and the Ministry of Foreign Affairs, as well as the United Nations Educational, Scientific and Cultural Organization. international (UNESCO).

The month-long event kicked off on October 27 and will remain open to visitors until the end of November, featuring works by artists from 11 countries, including Saudi Arabia, Italy, Cameroon and France.

Chief organizer Nadine Abdel-Ghaffar, also founder of Art From Egypt, said this year’s exhibition is different because it precedes Egypt’s hosting of the 27th session of the Conference of the Parties ( COP 27) to the United Nations Framework Convention on Climate. Switch, noting that a few of the artworks here also feature environmental sustainability.

“Each year, Art D’Egypte organizes an exhibition of local art at a different archaeological site. But when it comes to the pyramids, we thought we should invite the whole world to participate, not just Egyptian artists,” said she declared.

“It gave greater influence to the event because each foreign artist acts as an ambassador of Egypt at home,” the organizer told Xinhua.

Photo shows the artwork ‘Spirit of Hathor’ by British-American artist Natalie Clark during the ‘Forever Is Now’ exhibition held at the Giza pyramids complex in Giza, Egypt on October 27 2022. (Xinhua/Ahmed Gomaa)

In her work entitled “Pantheon of Deities”, Egyptian artist Thérèse Antoine sculpted five marble columns representing obelisks referring to important deities of the Old Kingdom of ancient Egypt. At the top of each column is the symbol of the deity, in stainless steel or iron.

Meanwhile, British-American artist Natalie Clark presents a piece titled “Spirit of Hathor”, referring to the goddess of the sky, women, fertility and love in ancient Egypt. The installation shows two pairs of interlocking horns in Corten steel, the two upper horns holding the marble sun. The piece represents “divine, feminine female empowerment” as Clark puts it.

Visitors were impressed with the outdoor exhibit surrounding the Giza pyramids.

“I think it’s great to combine classic buildings and elements from the ancient past with modern art. And I think it really enriches both rooms,” 22-year-old Dutch tourist Fenna told Xinhua. Visser, adding that such an event helps visitors learn more about Egyptian culture and history.

Tame Impala ‘Lonerism’ 10th Anniversary Interview

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For Kevin Parker – the man behind the musical project Tame Impala – revisiting his second studio album Solitude was, “for lack of a better word, cringe.” Following his debut Interior speaker, Parker’s ambient and exploratory follow-up LP was released in 2012 to widespread industry acclaim. For all the splash he’s made with critics and fans alike, listening to the LP a decade later, the artist can’t help but consider what changes he could make to certain songs if he had any. the occasion. Headlining California’s Desert Days music festival earlier this month, Parker celebrated the decade of Solitude with a live interpretation of the entire album, where, despite the artistic impulse, he remained faithful to his primordial version.

Between stops on his cross-country tour, Parker teamed up with Celine’s creative director, Hedi Slimane, to take part in the fashion photographer’s exhibition Portrait of Musician series.

Unveiling the exclusive images, HYPEBEAST caught up with Parker to talk about his highly anticipated collaboration with Slimane and the 10th anniversary of Solitude.

What prompted you to take part in the Portrait of a musician series?

I’m always doing something that I haven’t done before. I’ve never really entered the fashion world before and still don’t really consider myself in the fashion world, but he reached out to me and I have a lot of respect for Hedi. He shot me a few years ago.

I know he’s always loved me as an artist, so obviously it’s like a huge honor. At first, I was like…me? I’ve always been surprised when people want to take my picture.

Walk me through the process of shooting together.

We both walked in with an open mind. I think the way he works is he kind of feels it in that moment. Neither had been to the place before, which was this old French villa on the water. It was a nice place. And it was fucking hot. It was about 105°F (40°C).

This month marks the 10th anniversary of Solitude, and to celebrate, you recently performed the entire album at Desert Days. What was it like to revisit the album a decade after its creation?

I listen to my albums once in a while, for some reason – because I need to check something out or a song might be used for a commercial or something. It usually takes me back to some kind of memory lane, a wormhole. It’s the second of my albums that is 10 years old, so it’s more of an emotional experience than I expected.

With setting up a performance, I try to be a bit faithful to the album, which always requires going back and revisiting how I created sounds or lyrics that I didn’t. haven’t revisited for a long time. Or just [considering] music and the way I make it. Holding things that have been in a box for 10 years is something special. All of these things added together make this a truly contemplative time in my life.

When you go back to an older album, especially with the intention of playing it live, do you feel eager to play it differently this time around? I wonder if it’s hard to stay true to the original version of the album or if you feel compelled to change it.

There are so many that I hate to say – but like, for lack of a better word – moments of hindsight. And don’t cringe at what I sing. Actually, the lyrics are what I’m most happy about because that was me 10 years ago, you know? All that interested me 10 years ago is what I sing. And when I sing the lyrics, I’m like, I don’t even feel like that, I feel like a completely different version of me wrote them. It’s like I’m singing someone else’s lyrics.

It’s more the production background and you know. We’re going to play a song and come to a section and I’m like, ‘Oh, in this section, it would have been so nice to hear this guitar part on its own instead of stuffing it with sounds and drum sounds and everything deform. There were definitely a lot of those moments, but at the end of the day, I have to accept that that’s how the album was and that’s how people know it.

Compared to your first LP Interior speaker, Solitude sees you experiment more with different synths and samples. Along with the evolution of your musical style, how was your approach to making an album different the second time around?

With Solitude, I believed in myself more than ever. I dedicated myself to setting up my own studio in my house. Before, I just recorded in my room. I realized this was going to be my life. It sounds silly, but until then, I didn’t think my music deserved its own recording studio. I completely leaned into it and it became my world.

A room in my house has been transformed into a studio. It’s still where I spend most of my life, with the exception of touring. I also found Ableton, which I still use today, as a way to make music on tour. It completely changed the way I record music, so it blew everything up too.

DNA Norwich book and art gallery closing after one year

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Published:
07:01 29 October 2022



The owners of a contemporary art gallery and bookshop said the closure after just over a year was “heartbreaking”.

DNA Norwich at Bank Plain was opened in August 2021 by Alex Bucklee and Daisy Thatcher.

The couple have now decided to close the doors one last time to focus more on their son.

In a statement on Instagram, the owners said: “There are several factors that led us to this decision – one, of course, being financial.


Co-owner of DNA Norwich, Daisy Thatcher.
– Credit: Alex Bucklee

“Times are really tough for everyone at the moment and we’ve felt the brunt of it – however, saying this, we could go on from a financial perspective and see this difficult time.

“That being said, owning a business is 24 hours a day and it has impacted our day-to-day family life.

“We have a little boy and we feel our time needs to be spent focusing on him at this important time in his life.

“Of course, continuing with DNA would make it incredibly difficult.

“We want to thank once again everyone who made DNA such a wonderful place and experience for us. Even though it was short, it was incredibly sweet.

“We leave with memories and friends that we will keep for life.”

The space aimed to celebrate prints by creating a dynamic and energetic space that challenges traditional ideas of what a bookshop and gallery should be.

Co-owner Miss Thatcher said: “The response has been both heartwarming and heartbreaking to see people being so kind.

“It’s a shame but it is what it is, and it was a family decision.”

The store will close for the last time on November 20.

It will remain open normally from 10 a.m. to 5:30 p.m. Tuesday to Sunday, also closing on October 29 for the day.

There will be up to 50% off all books and discounts on artwork in-store and online.

After discussion with members, the owners have decided to continue their book club with information available on DNA Norwich’s Instagram.

Student Art Exhibition November 4-17 at McAllen

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South Texas College and the McAllen Creative Incubator present the “STC Student Exhibit,” which will be on display November 4-17, 2022, at the McAllen Creative Incubator, located at 601 N. Main St. in McAllen. Courtesy Image
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Texas Border Affairs

South Texas College and the McAllen Creative Incubator present the “STC Student Exhibit,” which will be on display November 4-17, 2022, at the McAllen Creative Incubator, located at 601 N. Main St. in McAllen. There will be a reception, art activity and musical performance on November 4 during McAllen’s First Friday Artwalk. Admission is free and open to the public.

The artworks featured are from current STC art students and examine a variety of mediums including ceramics, drawing, linocuts, painting, photography and printed digital art. STC’s music department will also be present at the event with its students playing classical guitar.

– Advertising –

“We are excited about the continued collaboration with the McAllen Chamber of Commerce Creative Incubator and the opportunity to share the artwork students have created this semester with the wider community.”

The McAllen Creative Incubator is located at 601 N. Main Street and strengthens the creative sector, including arts, culture and for-profit creative enterprises, by engaging the arts, business and creative communities, providing capacity building services abilities and serving as a thought leader and organizer in the town of McAllen. For more information about participating in Art Walk, contact Laura Robles at 956-687-2787 or email [email protected]

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Rihanna Fans All Notice the Same Thing About ‘Lift Me Up’ Artwork

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28 October 2022, 10:57

Rihanna officially made her return to music on Friday, with new single “Lift Me Up.”

Rihanna is released new music for the first time in six years after being asked to sing on the Black Panther: Wakanda Forever soundtrack.

Friday, ‘Lift Me Up’, which is in honor of Black PantherLate star Chadwick Boseman has hit streaming platforms and fan reactions are as expected.

What did Rihanna name her baby boy?

Twitter is once again in awe of RiRi’s unmistakable voice, with fans saying they didn’t realize how much they miss her voice.

Rihanna released

Rihanna released “Lift Me Up” in honor of Chadwick Boseman.

Image:
Getty


“Lift Me Up” is in honor of Chadwick Boseman.

Image:
Getty


People have also compared the single’s artwork to RiRi’s 2006 album “A Girl Like Me,” as they both feature a close-up of the singer brooding for the camera behind her effortlessly tousled hair.

“Serve A Girl Like Me teas here!” I see that not much has changed [sic]“, tweeted a fan.

“This gives the album cover ‘A Girl Like Me’,” said a second.

Some fans also think they can hear similarities in RiRi’s 2006 new song and title track: “That Rihanna song? Phew. Some of his most treasured voices to date. I hear a little ‘a girl like me’ in these races.

“It gives ‘Girl Like Me’ but more mature!” Wrote another.

The song was written by Rihanna, Tems, Ludwig Göransson and Black Pantherfrom director Ryan Coogler.

On Instagram, Tems said of the track, “Glad to have written this song in honor of Chadwick Boseman and even happier to hear the baddest @badgalriri voice it to perfection.”

The singer-songwriter said she wanted to write something “that depicts a warm embrace from all the people I’ve lost in my life.”

The emotional ballad is a tribute to Chadwick Boseman, who died in 2020 after a private four-year battle with colon cancer.

> Here are all the ways you can listen to Capital

Live mural auction brings $9,000 to Penticton Brewery – Penticton Western News

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It was a packed house at Cannery Brewing’s Ale-Catraz, which hosted the Square Mini-Mural live auction that brought in more than $9,000 on Wednesday night.

The lively event auctioned off the 10 4ft by 4ft murals that have been on display inside the Dining Hall and outside in Cannery’s Backyard areas since March.

The $25 ticket for people included a free beer, live music from Dorian Goodwin, oysters from Buy The Sea, and an eager crowd willing to spend $$$ to get their favorite tune.

Some pieces have fetched over $1,000, with proceeds shared between the artists and the Penticton Art Gallery to support next year’s mural auction.

This year’s auction features 10 paintings created by some of the Okanagan’s most colorful artists: Amy Schroeter, Angela Hansen, Ariane` Kamps, Elizabeth Houghton, Greta Kamp, Jessie Dunlop, Johann Wessels, Kristine Lee, Leta Heiberg and Moozhan Ahmadzadegan.

For Cannery Brewing owner Patt Dyck, the auction is always bittersweet.

“I am so attached to seeing these beautiful paintings in the dining room. It’s hard to see them go,” Dyck said recently.

Penticton Art Gallery curator Paul Crawford acted as auctioneer for the evening. He commented on how fun the night was.

“We really can’t thank everyone enough for joining us, and we’re looking forward to year three,” Crawford said.

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AI does not choose our artistic future, we

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Illustration generated by OpenAI’s DALL-E 2.

Like other technologies that preceded it, artificial intelligence, commonly referred to as AI, is altering art forms that have existed for millennia. He would also be instrumental in creating art forms not yet imagined. In the future, there will be three or four types of intelligences creating art: human artists, humans and AI working in collaboration, machine learning models that do not require human initiation but which still lack sensitivity, and finally, in the event that technologists create truly sensitive objects. artificial intelligence, artificial general intelligence or AGI capable of self-creating art. In any case, the AI ​​is unlikely to destroy the art, but it will certainly transform it – a process that has already begun. Humans are making choices about how this will happen, and they are making those choices right now.

At the end of the 19th century, the camera did not destroy painting, but it changed the world of visual arts. Freed from the pressure to portray reality convincingly, artists embarked on experiments with aesthetics and meaning. In the early 20th century, the readymade (the use of found and manufactured objects as art) did not destroy sculpture but freed some artists from narrow notions of authorship and craft. This freed the sculptors to focus on theory and concept.

Thus, one could say that the world has always asked existential questions about new technologies. Of course, it’s not entirely accurate to compare machine learning to a 19ecentury camera that doesn’t make decisions and can’t learn or learn to operate on its own. The merging of human practices with machine learning, as we move towards a future of AGI, points humanity to a visible horizon where human and mechanical intelligences intersect and interact. Or is it a precipice?

For his project, “ماه طلعت، Moon-faced”, Allahyari uses a series of carefully researched and chosen keywords with a multimodal AI model to generate a series of videos from the Qajar dynasty painting archives (1786 -1925). Through this collaboration, the machine program learns to paint new genderless portraits, with the aim of undoing and repairing a history of Westernization that ended over the course of non-binary gender representation in Persian visual culture. . (Morehshin Allahyari, ماه طلعت، MOON-FACED, 2022. Video and text courtesy of the artist.)

Today, visualization work can be quickly accomplished by AI, raising questions like what new forms of creativity it might unleash some artists and what their next experiments might reveal. Already, contemporary artists like Mario Klingman, Sasha Stiles, Lauren Lee McCarthy, Morehshin Allahyari, Carla Gannisand Connie Bakchi investigate this new potential by collaborating with machines; build their own training sets to demonstrate bias; and generally help the world talk about how deep learning and neural networks affect humans, both today and in a variety of speculative futures. Far from working to destroy art, these artists use AI to expand the field of creativity.

As a biomedical engineer, Connie Bakshi has previously worked with songbirds to understand how language develops in the brain. Today, she collaborates with AI to further explore the complexity of communication and language: “the forces, powers and invisible binaries that shape us”. (Connie Bakshi, bird no. 052022. Courtesy of the artist.)

But it also deserves a critical examination of how humans will be used in return. Humans design the models and usually provide the training sets. It is already easy to see that the simple act of scraping the internet for training data encodes an explicit bias that puts marginalized communities at risk. It is imperative today to design the training process for Ais with intention, rather than closing our eyes and hoping for the best.

Moreover, the inputs to today’s machine learning regimes come from the same artists whose paid labor can be replaced by the models: illustrators, designers, writers, composers, translators.

That said, if artists and their supporters are dedicated to systems that advance culture rather than cannibalize it, AI can be an incredible opportunity for learning and collaboration. That’s a big if. AI training systems are far from set, and those creating AI programs are making crucial decisions right now.

As a researcher in the field of game theory, Mary Flanagan set out to collaborate with digital archives to create a new, intentionally biased intelligent machine that would reverse the gender bias of our current technology. When she discovered that much of the historical record of women’s art was digitally invisible in the databases used to train the AI, she put together this database herself, contacting museums, archives and foundations around the world, with the aim of bringing together the missing archives. The work of non-male Westerners of color was particularly underrepresented. (Marie Flanagan, [GRACE: AI]2022. Courtesy of the artist.)

Today, AI-generated images are created by models that retrieve existing images produced by creative work (along with their views and biases), as well as responses to those images, essentially creating variations on pre-existing images and stylistic choices. While this process provides the opportunity for collaboration and learning, it has also elicited a reasonable response from artists whose work has been used as training data without permission or compensation. Often the artists’ names – or the styles they helped create – are even used as prompts. And while the AI ​​is regularly credited as a co-creator, the human creators whose work fueled the machine are often neither mentioned nor paid.

Create Technology (2022), Sasha Stiles collaborated with OpenAI GPT-2 and GPT-3, as fine-tuned custom text generators on her own writing and research materials. Stiles sees the predictive powers of AI as a connection to ancient prophecy: “not only is AI art to be tolerated,” she tweets, “but it is oracular and prophetic. everyone’s hands, maybe, but some artists are mediums, channels (Photo: Katie Peyton Hofstadter)

Fundamentally, it’s problematic to build a system that scrapes creative work and then expects that hardware to keep churning out to power the next generation of algorithms. In other words, if AI-powered creators are starved of inputs, there’s no reason to believe those outputs will continue to evolve. If companies use human labor to power machines, who designs the ethical framework, who applies it and who studies the impact? If the answer to any of these questions is who can make the most money in the shortest time, paying the least for creative work, then yes: the arts sector will suffer, both human and mechanically. As Jeanette Winterson points out in “Love(Lace) Actually”, from her 2021 collection, 12 bytes: how we got here. where we could go next, there is great potential for human-AI collaborations in novel writing software. But without Virginia Woolf, GPT-3 will not produce it.

“…if I type: Cat falls down the mine shaft and discovers a secret world of giant mice with computer skills, novel writer will help with all character components (probably lots of characters if he’s is about mice), and the twists and turns of the plot – and yay, I’ve written a novel (about mice). wake up one morning in Turkey as a woman, I probably won’t write Virginia Woolf’s. Orlando. Anyway, it’s done. »

If creative growth is to continue, now is the time to invest resources to equitably support and grow arts, education, libraries and culture – rather than taking the easy bait and allowing a few companies to now scrape existing art treasures for all. value, and maybe one day resell them to advertisers. Humanity has built a civilization of enormous wealth and abilities, even if they are not evenly distributed. Innovators and visionaries in the world of technology and art have the opportunity to choose the world they want. AI doesn’t make that choice, people do.

“As an artist who works with code,” writes Lauren Lee McCarthy, “I think in terms of scripts, both social and technical.” In LAUREN, McCarthy plays the role of a will-less personal assistant, mimicking the role of (usually female-voiced) programs like Alexa or Siri. Instead of shouting at an AI, participants shout (and sometimes, speak softly) for Lauren, who responds to requests without judgment. “I try to be better than an AI, understanding them as a person and acting in anticipation of their needs and wants.” Lauren Lee McCarthy, LAUREN2017. (Video: Testimonials LAUREN2017, directed by David Leonard.)

I don’t wring my hands at the thought of transformational change in art. In 50 years, art may be as unrecognizable to me today as Christo and Jean-Claude’s shrouded Reichstag would be to a European court painter. Yet this court painter would find much to recognize in Amy Sheridan’s painting of Michelle Obama. Today, society recognizes the merits of both works of art. One does not deny the other.

So those who create and support art should embrace this technology, yes, and learn from it, collaborate with it, and also make conscious decisions about the future. If the wealth generated by an AI workforce is used to create income security for those in need, for example, the world could see an explosion of creativity and diversity in art enhanced by technology. ‘IA. This type of explosion would see exciting and rewarding new forms of storytelling, community, and critique.

Today, as in the past, art is made for humans. People love it for its beauty, for asking questions and subverting the answers, for challenging society, for sounding the alarm, and sometimes, for simply making human beings feel seen. Even if humans merge with machines, it’s hard to see why they would stop creating or loving art.

In 2015, the internet was flooded with images created with Deep Dream, a program that used a neural network to find and enhance patterns in input images. Today, artists like Gretta Louw use technology with a heavy dose of meta-commentary. (Installation view of Gretta Louw’s On dark days we must dream in double time, 2021 Digital embroidery and digital printing on linen, and NFT .mp3 file via QR-Code. Courtesy of Honor Fraser Gallery, Los Angeles; photo by Jeff Mclane. )


Special: Will AI destroy art? Or just change it?

Four boutique hotels with art, luxury, hipster flair and more

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Cincinnati: 21C Museum Hotel

Accommodation that doubles as a contemporary art center

Art, they say, is in the eye of the beholder. So who are we to question the artistic merits of typical hotel décor?

Yet the intentionally and carefully curated art housed in 21C Museum Hotels, a small chain founded in 2006 in Louisville, aesthetically sets these hotels apart.

Ohio’s only 21C, in Cincinnati, is located in the former Metropole Hotel, a century-old building listed on the National Register of Historic Places. The hotel is in the heart of the city, a short walk from Fountain Square and adjacent to the Center for Contemporary Art and the Aronoff Center for the Arts, an ideal location for art lovers.

But visitors don’t need to leave the hotel to enjoy intriguing exhibits and site-specific contemporary art installations. Public spaces are filled with interesting and provocative pieces, such as Austrian artist Werner Reiterer’s “Untitled,” a huge brass chandelier that hangs, incongruously, outside the hotel’s entrance.

The main hotel facility changes periodically. A new exhibition, Refuge: needing, seeking, creating shelter, was installed at the end of the summer. The exhibition explores the challenges faced by people and displaced people through works such as Burundian artist Serge Alain Nitegeka’s portraits of refugees painted on shipping crates.

The hotel, a 1.75 hour drive from Columbus, has rates from $249 to $639 per night.

Steve Stephens

More stylish stays:25 cool hotels and other dazzling destinations within a day’s drive of Columbus

Artist in Residence Jeff Zimpel at Saint Kate - The Arts Hotel in Milwaukee

Milwaukee: Saint Kate – The Arts Hotel

An artist in residence invites guests to leave their mark.

Saint Kate – The Arts Hotel defines itself with the motto “invite participation and expect change”. To that end, the 219-room hotel in Milwaukee’s downtown theater district launched a new artist-in-residence program in September, an initiative that encourages guests to explore their own creativity, in addition to giving one artist each year studio space, stipend, networking opportunities and a chance to exhibit their work.

The first recipient is Jeff Zimpel, a multidisciplinary artist and educator from Milwaukee. Her eight-month residency spans An Ecology of Marks, a community exhibit at [email protected], a nonprofit arts organization in Milwaukee, which drew inspiration from colors and materials found in nature and incorporated the audience to the project. The same principles guide Zimpel in Saint Kate.

Every week, from Thursday to Saturday, Zimpel works in his hotel space, called “Studio Ecology”, where guests are invited to come and chat with him. On Saturdays, he also offers a visit to his studio, the hotel’s permanent collection and current exhibitions. Additionally, Zimpel encourages participation, asking visitors to his studio to make a “mark”, a term he uses to describe creative visual expression, using handmade brushes, natural pigments, tiles of resin and watercolor paper.

Zimpel’s residency will culminate with a two-month exhibition at Saint Kate, and while the content of that exhibition is undefined, it may incorporate some guest-made marks, says Saint Kate curator Samantha Timm. “It engages a lot of our values ​​in Saint Kate,” she says.

The hotel, a 7-hour drive from Columbus, offers rates from $249 to $1,861 (the latter for a two-bedroom suite) per night.

David Ghose

The indoor dog park at the Metropolitan at the 9 in Cleveland

Cleveland: The Metropolitan at 9

An architectural gem with its own dog park

When visiting an unfamiliar city, one of the greatest joys is discovering architectural treasures during a short walk down any street – walking your dog, perhaps? Cleveland’s Ninth Street offers plenty of such finds, not the least of which is the Metropolitan at the 9, a Marriott Autograph Collection hotel.

The 29-story Brutalist-style tower sits right next to the 1907 neoclassical and Beaux-Arts building of the Cleveland Trust Co. — an architectural contrast if ever there was one. The hotel tower, built in 1971, was designed as the headquarters of the Ameritrust bank by famous Hungarian modernist architect Marcel Breuer.

The bank was bought out and vacated the building in 1996. The tower nearly fell in the wrecking ball, but preservation efforts prevailed, and in 2014 the vacant building was converted into luxury apartments and the Metropolitan at the 9.

The hotel takes full advantage of features left over from its banking days, including the original vaults beneath the Cleveland Trust Co., now containing the Vault Cocktail Lounge. But what really sets the hotel apart from its architecture is its attitude towards dogs, who are not only welcome for an additional fee, but also have access (along with their owners) to their own dog park. on the 29th floor. And, as a bonus, cats are forbidden.

The hotel is a 2 hour drive from Columbus and costs $175 to $535 per night.

Steve Stephens

A room at the Drake Hotel in Toronto

Toronto: The Drake Hotel

A hipster hot spot is growing.

First off, Drake doesn’t own the Drake Hotel. The hospitality landmark in Toronto’s ultra-hip West Queen West neighborhood answers this question on its website: “We enjoy everything in Toronto, including Drake!” states the website. “We opened our doors in 2004, long before @champagnepapi was #the6ix God.”

Indeed, over the past 18 years, the flophouse-turned-boutique hotel has set a new standard for design, cultural cachet and stylish accommodation in “the Six”, as Drake calls his hometown (a reference to area code 416). The hotel has also become a linchpin in the transformation of West Queen West into an arts, nightlife and shopping hub, declared by Vogue in 2014 as the second coolest neighborhood in the world (behind only Shimokitazawa in Tokyo).

Since then, gentrification has tamed West Queen West: many shops, bars, galleries and other cool pioneers have closed or moved in search of cheaper digs. But not all of the neighborhood’s charms have gone away by any means, and the Drake remains a West Queen West anchor, though the hotel has evolved as well.

In December 2021, The Drake opened its Modern Wing, a five-story contemporary addition that more than doubled the number of rooms (from 19 to 51). Other highlights include a lobby bar with a cozy retro vibe and the Rooftop Terrace Suite, a boxcar-inspired retreat with two bathrooms, kitchenette, terrazzo-covered bar, private terrace, and an exorbitant price – $2,499 in Canadian Dollars for one night in October ($1,906 in US currency).

Yet even with this extravagance, the Drake remains true to its roots. More affordable “crash pad” rooms are available, and the hotel’s signature live music venue, the Drake Underground, continues to book an eclectic lineup of up-and-coming DJs, indie-rock acts, and hip-hop artists. Then there’s the hotel’s “pleasure menu” of sex toys and other erotic treats available through room service. The Drake may have grown up, but he still wants to have fun.

The Drake is a 7 hour drive from Columbus. Rates are $251 to $1,906 per night (US currency).

David Ghose

This story is from the October 2022 issue of Monthly Columbus.

New digital art archive launched to help Yazidi community rebuild after genocide

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The traditions and art of Yazidi Genocide women survivors have been collected in an archive group, hosted by the United Nations (UN) on the Google Arts & Culture platform. The fruit of a year-long series of workshops in northern Iraq, the Yazidi cultural archives are not simply aimed at documenting the traditions of the small ethnic minority. Basically, they address the mental health crisis currently plaguing the Yazidi community, which has manifested in high rates of depression, post-traumatic stress disorder, and suicide.

The Yazidi Cultural Archive is launched today at the headquarters of Iraq-based NGO Yazda, a lead partner in the project, in Duhok, Iraq, and at the Institut du monde arabe in Paris. Available in English and Arabic, they include four permanent online exhibitions of works, photographs and films created by 16 Yazidi survivors.

In 2014, Yazidis living in Iraq were targeted by the Islamic State, in what the UN and other governments have recognized as genocide. According to the UN, in August 2014, Isis killed 5,000 Yazidi men and abducted 7,000 Yazidi women and girls. About 50% of the Yazidi community has been displaced, about 360,000 people in total. Around 200,000 Yazidis remain in camps today.

The NGO Yazda organized painting and photography workshops for women survivors; their art has been used to create four permanent online exhibitions © Yazidi Cultural Archives

“The project builds on research conducted in post-genocide Rwanda, which found that archiving plays a role in restoring mental health,” says George Richards, director of Community Jameel, one of the project’s partners. initiative.

“Where the community feels their cultural identity is in danger and then experiences something as traumatic and devastating as genocide, archiving their heritage offers recognition of their cultural identity. And that in itself helps to strengthen the community’s post-genocide recovery, because they know they are seen, as it seems these days.

The project was spearheaded by Yazda in collaboration with Community Jameel, the UN, and arts organization Culturunners. Additional support and guidance was provided by WHO’s Arts & Health programme, Open Mind Project and the NGO Nobody’s Listening. Yazda held workshops for women survivors from 2021 to 2022, during which women produced paintings and photographs reflecting the event.

© Yazidi Cultural Archives

Survival strategies

Other archived cultural forms reveal survival strategies during war. Tattooing, for example, was once a traditional practice among Yazidis, but its popularity was declining. But during the takeover, many young women began tattooing themselves, hoping it would make them less likely to be taken into captivity, as tattooing is haraam (forbidden) in Isis’ strict interpretation of Islam. “Instead of tattooing themselves with the traditional designs, they tattooed themselves with the dates they were taken, or the names of villages that had been destroyed, or the names of male relatives who had been killed,” says Richards.

“So the tattoo took on this new meaning for the Yazidi community. He had this very real, almost defensive purpose in captivity. So in this case our recording of the traditional tattoo has this secondary relevance to survivors [in comparison to its new significance]and it was the survivors who created the archives.

“The women who created this archive chose to affirm their identity by documenting Yazidi customs and traditions for future generations,” says Nisha Sajnani, founding director of arts and health at New York University, another project partner. “In doing so, they reflect the strength, dignity and vitality of their community. The partners also plan to evaluate the effectiveness of the program. This will enable them to develop evidence-based policies for dealing with conflict-affected communities, for bodies such as the UN.

Jimmy Carr Destroys Arts audience rescues Rolf Harris artwork

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Viewers chose between a Harris and Gill painting (Picture: Channel 4)

A painting of a sex offender Rolf Harris was saved in a controversial program jimmy carr Destroys art.

The 75-minute special hosted by the comedian saw a live studio audience vote to keep an artwork of a controversial character, including Hitlerto be destroyed.

At the start of the show, broadcast Tuesday on Channel 4, Dom Joly and Nina Power were the experts each trying to defend a work by Harris and Eric Gill.

Harris, now 92, was convicted of 12 indecent assaults in London‘s Southwark Crown Court in June 2014, one of which was overturned in 2017.

These included one about an eight-year-old autograph hunter, two about girls in their early teens, and a catalog of abuse against his daughter’s friend of over 16 years.

The Australian-born artist was jailed for five years and nine months in 2014 and released on license in May 2017.

Meanwhile, Gill, a sculptor, who died in 1940, allegedly sexually abused two of his daughters.


Rolf Harris
Harris was arrested during Operation Yewtree (Picture: Getty Images)

The Jimmy Carr Destroys Art audience chose to destroy the image of Gill, described by Power as “ungodly”, which was set on fire, while Harris’ painting was left alone.

Since Channel 4 announced the show it has been criticized for being offensive, with the broadcaster airing a trigger warning before it is broadcast.


jimmy carr
Jimmy Carr Destroys Art has been criticized by viewers (Picture: Getty Images)

A Holocaust memorial group had slammed the special for deciding to feature Hitler artwork, saying: ‘There’s nothing entertaining or laughable about Hitler or the murder of six million Jews. and the persecution of millions more”.

“This episode of the TV series, Art Trouble, makes Hitler a topic of lighthearted entertainment – it’s deeply inappropriate, and in a time of growing Holocaust distortion, dangerously trivialized.

“The question of how closely art can be linked to its creators is important, but this program is only a shock stunt, and cannot excuse the trivialization of the horrors of Nazism.”

Jimmy Carr destroys art is available on All4.

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AFTER : Jimmy Carr destroys art introduced by trigger warning after Adolf Hitler painting controversy

AFTER : Howard Stern compares Kanye West to Hitler after anti-Semitic comments: ‘If he’s so mentally ill, why don’t they appoint a conservative?’

Shane MacGowan’s first art exhibition in London is almost sold out

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Former Irish band The Pogues frontman Shane MacGowan has found a creative outlet in his art and it seems to be as successful for him as his music. Such a success that his first London exhibition, in a gallery in Knightsbridge, is almost sold out.

Speaking to the Guardian’s Observer, Shane MacGowan said: ‘I was blown away by it all.

Many of MacGowan’s designs were made in the 1980s and range in price from £2,000 to £28,000. However, the Andipa Gallery found the exhibition so successful that they extended the exhibition. Even Kate Moss bought his work.

His wife, Victoria Clarke, said her 64-year-old husband, now in a wheelchair, enjoyed the launch of the exhibit immensely. “Shane can get away with being hostile, but he really enjoyed it. Normally he doesn’t like being told he’s good at things, but he’s starting to like the idea that his art is good,” she told the Observer.

Speaking from his flat in Dublin, MacGowan said the violence that surrounded him in his youth influenced his art. He says he considers himself “a realist who doesn’t know how to draw very well”.

“I really am a primitive artist. I drew them for fun in boring trips on pieces of paper and sick bags and such. I guess I’m just creative. People have told me that I am.

He added: “Kate [Moss] always has some really cool art in her homes, so I was really glad she liked it.”

Clarke also noted “The Fontaines DC band bought Shane’s very loud, almost aggressive portrayal of Bono, so they were all Irish bands together…

“We didn’t make any impressions, so only one person can have a play. Shane doesn’t like to repeat himself.

She also noted that her discipline is non-existent.

“He has no studio and no discipline. He works in watercolor and acrylic, and ink mainly, but also with found materials, like my lipstick. It varies, like his moods. “

“He was drawing anywhere then,” Clarke explains. “On a restaurant menu, a hotel room service card, or my receipts and bank statements. Even the walls, but not once on a canvas.

MacGowan has also just finished recording a new album with Irish band Cronin. The former Pogues frontman hasn’t recorded an album since 1997’s “The Crock of Gold.” He told Radio Nova in December 2021 that he had been working on the album with the band since 2015.

Chanel celebrates the 35th anniversary of an “icon”

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Thirty-five years after its release, the Chanel Première watch has been reinvented for today.

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In 1987, Jacques Helleu, then artistic director of Chanel, launched the first watch creation of the luxury French fashion house.

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As much a high-fashion piece as it was a device for keeping time, the watch incorporated various design cues – or codes – from the house into an elegant watch style.

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Well known to Helleu, a 30-year veteran of the brand who joined the house at just 18, these recognizable design elements included an octagonal case inspired by the bottle cap of the iconic Chanel No. 5 perfume – itself inspired by the famous Place Vendôme in Paris.

The unique feminine design has been secured to the wrist with a flexible chain strap delicately interwoven with leather, a nod to the chain straps of the house’s coveted quilted handbags.

“I fought to create a design that was strong, that was unique, that – more than the launch of a single collection – became an eternal reference,” Helleu said of the design when it was released.

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Helleu’s creation was called the First.

Thirty-five years later, the Première has been reinvented for today by Arnaud Chastaingt, director of Chanel’s watchmaking design studio, with the Première Edition Originale.

The original Chanel Première edition.
The original Chanel Première edition. Courtesy of Chanel

“La Première was the first page of our watchmaking history,” says Chastaingt. “She was born of absolute creative freedom and initiated a vision, the “Allure of Time” as measured by Chanel…

“Much more than a watch, the Première is a lesson in style.”

Positioned at the “heart” of the brand’s luxury watch collection, Chastaingt’s recent celebration of Chanel’s historic design sees the Première timepiece stick to the original, decorated in black and gold, the minimalist face highlighting an absence of details such as numbers, a second hand or date.

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“Première is also a true statement of geometric, two-tone purity,” says Chastaingt of the streamlined reissue, available in Canada at Chanel boutiques. “More than a watch, it’s a fashion item whose style takes precedence over its horological function. And, I guess, that’s what made him more than an icon.

Arnaud Chastaingt, director of the Chanel watch design studio.
Arnaud Chastaingt, director of the Chanel watch design studio. Chanel

To mark the release of the First Edition Originale, Chastaingt has created three ultra-limited watches – only five pieces of the three special models have been created worldwide – for a capsule collection of Haute Horlogerie models. Titled Hors-Série Première, the unique creations each play with elements of “excess” such as pavé diamond details and the addition of dangling charms.

“Exaggerated, agglomerated, layered, stacked, I chose to pay homage to Première by playing with excess,” Chastaingt said of the trio of timepieces.

For example, the design of the iconic Hors-Série Première chain includes several turns of the chain in 18-carat yellow gold with black velvet and 625 brilliant-cut diamonds.

The three limited Haute Horlogerie creations are designed to celebrate the “intrinsically unique” elements of Première design, explains Chastaingt, allowing it “to offer new dresses, new looks to this eternal icon”.

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75 vacant Melbourne storefronts up for grabs for artists and creatives

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Zachary Sanderson Lyrics

The $2.6 million program means elevating businesses with additional foot traffic in early 2023.

From Errol Street in North Melbourne to new neighborhoods in Docklands, the Storefront activation program will continue to breathe new life into Melbourne’s businesses next year. The program aims to give 40 different stores the opportunity to test their unique crafts and services given the impacts of the pandemic.

The storefront activation program

  • The storefront activation program starts early next year
  • Locations on Errol Street, Victoria Street, Bellair Street, Macaulay Road and Docklands

Stay up to date with what’s happening in and around Melbourne here.

Given the cost of multiple lockdowns, the City of Melbourne is confident that a particular focus on the storefront will shed new light on some unique small businesses in Melbourne. Not only is this aimed at upgrading businesses in the region, but it is also seen as an opportunity to attract new businesses.

“We have seen incredible success stories through the storefront activation program – watching businesses blossom with several tenants extending their leases, and others becoming permanent City of Melbourne fixtures,” said Kevin Louey, Senior Portfolio Advisor Business and Global Opportunities.

For starting a business, this option is a blessing. Offering low-cost or free rentals on over 75 different vacant storefronts across Melbourne neighborhoods, it lends a helping hand to budding creatives and visionaries. From companies such as G’day Kitty, a store specifically for all things feline and Jem Bray Art, a contemporary digital art experience.

Although a means of specifically targeting small business growth, the program is a by-product of the City of Melbourne and the Victorian Government’s Melbourne City Recovery Fund.. $100 million has been donated to keep the pulse of our favorite streets and alleys, our small businesses and our culture beating.

Lord Mayor Sally Capp endorses the scheme, saying: “We are proud to continue this scheme and step up our efforts to revitalize quieter spaces – supporting local jobs and increasing footfall and visitation.”

For more information on current City of Melbourne programs, go here.

Behind the Art: The Night Watch (1642) by Rembrandt van Rijn

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Some paintings are made by great thinkers and change the course of the art world forever. They introduce concepts so intriguing to the human mind that it has you wondering for years. Such a painting is The Night Watch, by Dutch artist Rembrandt van Rijn in 1642. Also known as ‘Militia Company of District II under the Command of Captain Frans Banninck Cocq’ and ‘The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch’, it is one of the most famous from the Golden Age and is seen by 2.2 million people a year. Prominently displayed in the Rijksmuseum, Amsterdam, Netherlands, it is worth over $500 million. The painting is famous for three things: its colossal size (12 by 14+1⁄2 feet); the dramatic use of light and shadow and the unusual style of painting showcasing a different perception of movement – ​​as if it were a ‘snapshot’.

The story behind the famous “snapshot”

When I took a look at this majestic The painting, I was a university student who loved to explore different museums across Europe. I always made sure to buy the audio guide so I could learn more about the masterpieces. Out of hundreds of paintings, The Night Watch stood out as a big foot and had a long audio clip. He explained the history of the painting and what the artist painted. However, I didn’t understand why he was so famous and why we still want to see him. Surely the Dutch Golden Age is long gone and now we have digital art and NFTS based on that art. The particularity of this painting is that it is a snapshot of several soldiers on mission. It’s the same detail that made it so controversial. The painting was controversial not because of its subject, but because of how Rembrandt portrayed the members of the group. Rather than giving each of them equal importance, he created the equivalent of a film for the painter: a group of militiamen who have just taken action and are about to leave. According to the Rijksmuseum, Rembrandts was the first artist to paint figures in a group portrait doing something. Painting takes a lot of time and dedication. He wants you to drink in the gloom he brings with him and wants to tell you a story. The story of a division of the Amsterdam civic guard, the Kloveniers militia. In the painting, it is the moving company, led by Captain Frans Banninck Cocq (dressed in black, with a red belt) and his lieutenant, Willem van Ruytenburch (dressed in yellow, with a white belt). With effective use of sunlight and shadow, Rembrandt draws attention to the three most prominent figures in the crowd: the two men in the center (from whom the painting takes its original title) and the woman in the center -left in the background carrying a chicken. Behind them, the company colors are worn by the Jan Visscher Cornelissen sign. The figures are almost life-size.

The mysterious girl in the painting

The painting is famous for three things: its colossal size (12 by 14+1⁄2 feet); the dramatic use of light and shadow and the unusual style of painting showcasing a different perception of movement – ​​as if it were a ‘snapshot’. (Photo: Rijksmuseum)

The The painting is much darker and darker in person. At first glance, you can barely understand what is going on, then you lay eyes on this girl ghost in the middle of all the army men. Who is she? Rembrandt naturally displayed the traditional arquebusier emblem, with the maiden in the background carrying the main symbols. She’s kind of a mascot herself; the claws of a dead chicken in her belt represent the clauweniers (arquebusiers), the pistol behind the chicken represents the shamrock, and she holds the goblet of the militia. The man in front of her is wearing an oak leaf helmet, a traditional arquebusier motif. The dead chicken is also believed to represent a defeated opponent and the color yellow is often associated with victory.

Did the Night Watch lead to the downfall of Rembrandt?

Each work of art contains the soul of the artist. It also contains untold stories that haven’t surfaced in decades. I was very interested in the state of mind of Rembrandt and I wanted to understand why he painted what he painted and what was the result of his work. It was then that I heard of his downfall because of it. How can a $500 million piece of art bring someone down? It is said that Rembrandt’s apparent disgrace was, for many years, tied to The Night Watch. The The painting even inspired conspiracy theories thanks to director Peter Greenaway and his 2007 pic “Night Watching.” This documentary and another titled ‘Rembrandt’s J’Accus’e, argue that the painting’s intricate iconography reveals a murder plot that leads to members of the civic militia, which it depicts as threatening Rembrandt’s life and leading to its ruin. According to myths and theories, when The Night Watch was unveiled to members of the Militia and their wives, the reception was overwhelmingly negative. Viewers thought the painting insulted the militiamen and that it was not “serious art” because everything looked shadowy and confusing. Contrary to myth, which began in the early 19th century, Rembrandt continued to receive commissions from the great and the good for years after completing this masterpiece.

Why is The Night Watch a masterpiece?

As I watched The Night Watch, I wondered what makes it so special. To me it seemed not only too dark but very crowded. I used to see portraits with a person as the main focus. This painting features 34 figures, including members of the volunteer guard, a military standard bearer, a drummer, and a young girl. What Rembrandt did was something completely new, making it one of the hallmarks of the Dutch Golden Age period. Millions of people still flock to see it each year to marvel at Rembrandt’s masterful skills in rendering dozens of nearly life-size individuals. The painting also features Baroque art qualities like a dramatic use of light and shadow and a display of movement. Interestingly, for hundreds of years the painting was covered in a dark glaze and dirt, which misled scholars into believing it depicted a night scene which led to its name” The Nightwatch”. And if that misconception wasn’t enough, just like the Mona Lisa, this painting has survived multiple attempts at vandalism and theft. From an unemployed cobbler to a deranged teacher to an escaped psychiatric patient, all manner of people have tried to tarnish him with knives and acid. This added to the charm of the painting and made people appreciate Rembrandt’s work more after the restoration process. If given a chance, I would love to see this masterpiece again and truly admire the work of an artist who captured the world by creating a snapshot.

The sequel in Behind the Art: Why is Picasso’s Girl in a Mirror Worth About $179.4 Million and What Does the Painting Really Mean?

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Guy Fieri Parodies Taylor Swift’s ‘Midnights’ Artwork

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Fans are getting creative with their fun parodies of Taylor Swiftit is Midnights cover art. While the excitement surrounding Swift’s 10th studio album is still high, several fans and public figures shared their amusing fantasies of the Midnights masterpieces.

Even if you’re not a Swiftie, you’ve probably seen the standard album artwork, which features an image of Swift holding a lit lighter, enclosed in a white border with the album title above and the track list on the side.

In the wake of the album’s release, Food Network personality Guy Fieri shared a parody of the album cover, titled The flavours. The cover also featured parodies of the album’s tracks, some of the most notable including “Lavender Cookies”, for Swift’s “Lavender Haze” and “Midnight Snack”, for “Midnight Rain”.

In front of Teletubbies Netflix reboot, the show’s official Twitter account shared their own version of the cover art, titled Midnights (in Teletubbyland), which featured Teletubby Laa-Laa holding a lighter. Like Fieri, the Teletubbies included their own versions of the Midnights track names including, “Hugging Heroes” in place of “Anti-hero,and probably the most notable difference, “Silly Things,” in place of “Vigilante Sh*t.”

Swift herself has yet to comment on the parodies.

Midnights is now available through Republic. spread it here.

Muncy Historical Society hosts fine art juried exhibition and sale | News, Sports, Jobs

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The 16th Annual Invitational Artists’ Exhibition and Sale will take place on Friday, November 11 from 5:30 to 9 p.m. and Saturday, November 12 from 9 a.m. to 3 p.m. The show will be held at First United Methodist Church, 602 S. Market Street, Muncy.

The Society’s Art Exhibitions Committee wants to ensure that exhibition guests experience a well-rounded event that includes a wide range of artistic expression – diversity and artistic excellence remain paramount to the selection process . The exhibit will feature some of Pennsylvania’s most talented artists whose works are exhibited and collected nationally; many share a close relationship with Lycoming County and the surrounding region. It includes a wide range of artwork including oil, acrylic, pastel and watercolor paintings, jewelry, ceramics, metal and woodwork, textiles , mixed techniques, mosaics, sculptures, stained glass and interior decoration. The exhibition will be a rich and varied collection of original works as well as signed and numbered limited edition reproductions.

This year’s performers include Judith Cole Costello, Selinda Kennedy, Abby Machamer, Deb Parsons, Tammy Quigley Rosenow, Kris Robbins, Mark Robbins, Roger Shipley, Theresa Spitler, Deb Stabley, Bruce Storm, Nella Godbey Storm and Wynn Yarrow. Joining the show for the first time will be Melanie Payton of Mount Joy and Liz Tilley of Stroudsburg.

“A panel of independent jurors evaluates new entrants and selects from our stable of talented craftspeople who are already jurors to choose those who will be invited to participate in the current year’s show. Although each exhibition is different, a small number of our artists are at the heart of the exhibition. We take care to offer a mix of traditional and contemporary styles and techniques, from oil painting to acrylic to mixed media. We are very lucky to be able to introduce our community to such incredibly talented artists and to be able to vary the show each year with different artistic expressions,” said Linda Poulton, show coordinator.

Michael J. Davis and Bruce Storm will be available both days to personalize and sign their books which have been published by the Muncy Historical Society. Davis is the author of the most recent collaborative effort, “17756,” an illustrated children’s book. With artwork by Bruce Storm, “17756” guides youngsters through the story of Muncy’s rich history and heritage. Muncy’s story unfolds through the eyes of Brady Rabbit, McCarty Cat, Schuyler Box Turtle, Painter Firefly and Hardscrabble Mouse. Storm will be available to personalize and sign “Views of the Dragon and Other Observations”, released in 2019, featuring 126 of his earlier paintings.

Participants will have the opportunity to participate in a silent auction on Friday and until 1 p.m. on Saturday. Along with art from participating artists, an original oil painting by David Seybold titled “Sunny Sweet Peas” will be available to bidders. Attendees can also register for a free drawing for a $100 gift certificate towards a purchase at Salon des artistes 2023.

Proceeds from this year’s show will benefit the Muncy Historical Society’s educational initiatives and outreach, including the seventh “Fish in Pepper Street” concert and the development of the Captain John Brady Heritage Park located at the north end of Market Street in Muncy.

Arts funding support was provided by Gary’s Furniture, 3 Factory St., Picture Rocks; state funding through a grant from the Pennsylvania Council on the Arts, an agency funded by the Commonwealth of Pennsylvania, and friends of the Muncy Historical Society.

For more information, visit www.MuncyHistoricalSociety.org, call 570-546-5917, or email [email protected]



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Lady Gaga goes behind the DJ booth at Dom Pérignon’s LA dinner – WWD

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“Good to see you all,” Lady Gaga said, addressing the dinner party, microphone in hand. “Thank you very much for being here.”

Crowds sat outdoors atop the tennis courts at the Sheats–Goldstein Residence in the hills of Los Angeles–the architectural landmark designed by John Lautner. Owner and townsman James Goldstein, Billy Porter, Anderson .Paak and Alexandra Daddario were among the guests around the seemingly endless table; arched mirrors at either end framed the illusion, with white neon lights illuminating the night.

The evening was hosted by Dom Pérignon, the vintage champagne brand of LVMH Moët Hennessy Louis Vuitton, toasting Gaga’s partnership with the company on Thursday.

“I love working with Dom Pérignon and Vincent Chaperon,” continued the pop star and actress of Dom Pérignon’s cellar master. She wore a gothic black ensemble, complete with gloves and platforms, by Topo Studio NY. “Hello my friend,” she said turning to him.

“Tonight we want to celebrate creativity, from within,” Gaga said. “Tonight we will focus on the introspective nature of being an artist, reflecting not only on our talent but also on our imagination, on all the possibilities and the specialness of what it is to really collaborate. When you are collaborating, it reminds you that there is an audience and maybe your friend is watching. I would like to introduce you to someone I really like. In fact, I spent the whole day working with him in the studio. His name is Alex Smith. He’s one of the most brilliant jazz pianists I’ve ever heard in my life, my favorite being Thelonious Monk.

She stopped, telling Chaperon, “If jazz could be a champagne, it would be Thelonious Monk, Vincent.” She continued, of Smith, “I hope you guys really listen to him tonight. My favorite thing about him is that while he plays he sings. But you can’t hear him. . He just sings to himself. He’s a great artist. Have a great night. Love you.”

At the right time, Smith, a Grammy Award-winning pianist and composer, started playing the piano. He brought half the group to their feet, moving closer to get a better look.

It was an international crowd; Dom Pérignon’s in-house team across all markets, led by Marketing Director Jacques Giraco, and Moët & Chandon CEO Berta de Pablos-Barbier, mingled with the likes of French model Cindy Bruna , the Italian artist Maurizio Cattelan, the Mexican dancer Isaac Hernández. , and Spanish actor and actress Paco León and Milena Smit.

“Tonight is all about creation and artistic dialogue,” Chaperon had said earlier, as dinner got underway before Gaga arrived. “Since now 2021, we have been working on matches with the talented and visionary Lady Gaga – I will be honored to host a little later tonight. Creation is work. It is passionate and relentless work. a job that is never finished. For me, it is a job in constant quest for harmony. And for Dom Pérignon, it is a job that elevates us.

Gaga has designed limited-edition bottles for the house, in collaboration with Nicola Formichetti, which come to life in a fantastic short film campaign. A 2008 vintage rosé was served, accompanied by a menu created by chef Jordan Kahn of Vespertine.

“I thought Dom Pérignon rosé was really the best wine to embody the vision of our founder, the Benedictine monk Dom Pierre Pérignon, considered the father of champagne,” Chaperon said. “He lived with a philosophy, ‘ora et labora’, which in Latin means ‘pray and work’. So today, we are still inspired by his vision and we seek harmony as a source of emotion. So tonight, I just want to share this emotion with all of you.

The glasses have been raised.

“Bravo to you,” he said. “Health, well done. Let’s party.”

The party continued downstairs in Goldstein’s club space, overlooking the Los Angeles skyline. Formichetti was among those who showed up after dinner, along with Alex Isreal, Rickey Thompson and Kerwin Frost, dancing to the hard-hitting beats of DJ Hana Gabrielle Pestle – known as Hana. Gaga joined her behind the booth as they danced to her songs and others, including Beyoncé’s “Pure/Honey.”

iPhones have been elevated to capture every moment.

Opening a new store in Grand Rapids next month

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Modish Moth is one of two new stores opening the first week of November on Robinson Road.

GRAND RAPIDS, Michigan — A new store is coming to Eastown in Grand Rapids. The e-commerce is transforming into a brick-and-mortar store, bringing a hip, unique vibe to a storefront that’s been closed for about a year.

Modish Moth is one of two open the first week of November on Robinson Road off Lake Drive Southeast.

“We’re really excited and welcoming to everyone. Bring your dogs, bring your friends, bring your family. We’re happy to see everyone and we really hope we can bring greatness to Eastown,” said the co-owner Amber Amborski. “We really like to support locals and hope everyone does.”

The finishes are done inside the store.

“I try to be a bit darker, more whimsical,” Amborski says.

She describes the boutique as natural and organic, like her art, which is how the business started a few years ago.

“I started with my artwork, which I paint with coffee and watercolors,” Amborski explains. “Since high school, I’ve always liked mixing techniques. I’ve done a lot of painting and drawing or ink and drawing, sometimes more textual things. Honestly, coffee just sparked an interest. And I was like, ‘I’m going to try it.’ I loved it. I thought it was very moody, very organic and natural.”

She started selling her prints before the pandemic in craft markets and online.

When COVID hit, it slowed down, and so did her and her husband Caleb.

They started a family and pursued their full-time jobs in the medical industry. Then they picked up where they left off.

“We kind of decided to basically add the whole boutique and I started putting my designs on baby clothes because we had kids and so we really filled it all in from there,” Amborski says.

In addition to her art on certain pieces of the shop, she fills it with baby stuff and what she calls “home quirks.”

“They’re just random, very weird things that you might not find in a lot of other stores. But really, I pick things that I would like at home,” Amborski says.

Although she says they’re a little tired of opening their first storefront during a time of high inflation, they actually had a good opportunity buying the space for less than they expected.

“We’re kind of trying to take that opportunity with the open space and trying to develop the area, and trying to bring some back as small businesses for people to shop,” Amborski said.

The grand opening of Modish Moth will take place on November 3 with a celebration. Amborski says there will be refreshments and food, as well as promotions and giveaways.

The event will take place from 3-6 p.m. at 1407 Robinson Rd SE in Grand Rapids, where The Grassy Knoll was once located.

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On the cover | October 20, 2022

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Cover

On the cover | October 20, 2022

read more about the cover of this issue

illustrated by Maddie Waters |

“Just Passing Through” by Maddie Waters

Maddie Waters is an aspiring digital artist and graphic designer based in Appleton, Wisconsin.

“Right of Way” (2022) Digital Art by Maddie Waters From the artist: “This piece features one of my favorite subjects to illustrate: a ghost. Specifically, this piece features a wandering ghost standing in heavy rain with an umbrella and a suitcase. I love creating simple line art with unique patterns inspired by nature and all sorts of spooky elements, and I love both the simplicity and versatility of using leaf ghosts as a subject. I started my artistic journey designing stickers and have recently moved on to bigger, fuller pieces. I hope to continue to expand my artistic domain by trying new digital art techniques and styles. If you want to see more of my pieces and follow my journey, you can find me on Instagram @turbulentwatersart.

Volume one finds its cover a number of ways, from local art shows to random emails to knowing someone who knows someone who knows a great artist. The art is always from a current or former resident of the Chippewa Valley. If you would like to submit a cover, send us a message.

Masterton/Whakaoriori artwork vandalized to remove Maori name

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An artist’s attempt to honor bicultural place names in the city where she lives has been tarnished by vandalism.

When Masterton-based visual artist Paula Coulthard was commissioned to paint a telecommunications box at the entrance to her North Island town eight years ago, she decided to do it in a style reminiscent of mid-century travel posters.

“Welcome to Whakaoriori”, the proudly proclaimed sign in bright cherry red paint atop a bluish scene of the Tararua Range, a fly fisherman, a cyclist and a hot air balloon.

Whakaoriori is the original name given to the region and refers to the melodious song of birds in the region, which was supposed to be so soothing that mothers did not need to sing lullabies or oriori to their children. Located at the entrance to the city limits of Masterton on State Highway 2, Coulthard felt the scene and message was a fitting welcome to the Wairarapa’s largest city.

Now the front of the artwork simply says “Welcome to”.

On Monday, Coulthard and her husband Simon noticed the sign had been vandalized, with near-perfect gray paint used to erase the te reo Māori name.

“It’s just very sad,” Coulthard says. “That it happened in our community and someone felt so much hate that they came out with a spray can.”

The box after being vandalized. (Photo: provided)

The artwork, says Coulthard, was originally commissioned by Chorus – one of many ubiquitous cabinet facelifts that have been undertaken in the town of Masterton and across the country.

At the time, Coulthard’s decision to include both town names was deliberate. “Masterton is the official name,” she says, but “it also goes by the name of Whakaoriori, which is the original name of this area and I thought that should be recognized as well, as places often have more than one name.

The name erasure perhaps reflects attitudes bubbling just below the surface across the region, she says. “I can only guess why anyone would do that and I guess it’s racist,” she says.

Coulthard’s husband, Simon Miller, who contacted The Spinoff about the vandalism via email, backs it up and says “it’s such a specific attack”. He notes that the other side of the box is also painted, with the phrase “Kia ora by Masterton”. This side remains intact. “You can see how carefully it was done,” Miller says, “the only thing that was vandalized was that one word.”

“This artwork is a celebration of the beauty of Whakaoriori/Masterton and the welcome people can expect when they come here,” he said in his first email. “The depth of Whakaoriori reality cannot be repainted.”

For Miller, the action taken is symptomatic of a lack of understanding of local history and especially of the local history that existed before colonization. “It reflects a fear of what true recognition of this name might mean,” he adds.

Although Coulthard hasn’t heard of Chorus yet, she would like to repaint the box. Would she do something different next time? “I was actually wondering if I was going to do it all again and make an even stronger Whakaoriori statement in response.”

A Chorus spokesperson said in an email that “sseeing the work of an artist vandalized is extremely disappointing and sad for the local communities where it is located”.

“This mural is protected by a graffiti shield, like all of our murals around Aotearoa, and can be wiped clean,” the spokesperson said. They added: “We will definitely look into doing this and would be happy to speak to the artist directly.”


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Rare Indian works of art among those offered at Christie’s auction in London

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New Delhi: Christie’s will auction art from the Islamic and Indian worlds, including Oriental rugs and carpets, which will take place live at its auction house in London later this month. On the Indian front, there will be paintings around the Mughal, Rajput, Deccani and Pahari schools of the learned professor Ludwig Habighorst. Other Indian works include a diamond-set and enamelled silver pandan given as a gift by the Nizam of Hyderabad to Maharaja Ranjit Singh, estimated at £2.50,000-3.50,000, and a folio from the Muraqqa of Saint Petersburg which depicts a hunting party and is also estimated between £3,000,000 and £5,000,000. This sale will include works of art, paintings, carpets and manuscripts from the 9th to the 20th century from Spain and India. This, the auction house said, was organized due to global demand and the influence of Islamic culture and craftsmanship. “The sale showcases the international resonance that the Islamic world has had in the art market and which continues to attract buyers from all corners of the globe due to the exceptional craftsmanship, quality and craftsmanship. provenance of these extraordinary works of art,” a spo said. Highlights is also a royal Anatolian Quran scroll, copied by a scribe for Ghiyath Al-Din Sultan Muhammad Ibn Sultan Eretna, the ruler of an Anatolian principality in AD 754/1353-54. It measures approximately 15 meters long (51 feet 7 inches) and is illuminated throughout. It is estimated between £2,000,000 and £3,000,000. The sale also includes curated private collections with provenances in several different categories. From the Iranian world, a private American collection of medieval Persian pottery, all decorated with animals, A Lustrous Menagrie¸ which is preceded by a star-shaped tile adorned with a camel.The sale also includes a set of Safavid paintings from the 17th century, including a rediscovered work by artist Reza ‘Abbasi of a White-eared Bulbul which is estimated at £1,000,000-1,50,000. The Turkish section is led by a group of Iznik pottery from the Victor Adda Collection – an early 20th century collector based in Alexandria. The section also has manuscripts, arms and armour, including an Ottoman tombak ceremonial shield, estimated at £80,000-120,000. According to MarketResearch.com, the art auction market is expected to reach over $38 billion by 2024.

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Aughrim is part of an international network of artists

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The Aughrim community was out in force earlier this month to celebrate the official opening of the Aughrim ‘Kunstverein’, as part of the Aughrim Heritage and Arts Weekend.

‘Kunstverein’, which literally translates to ‘Art club’, is a close network of 400-year-old non-profit domestic spaces, which aims to show the practices, attempts and failures of avant-garde artists. guard (of all ages) who have been underestimated in the history of contemporary art.

The Aughrim Kunstverein curatorial initiative was developed and founded by contemporary art curator Kate Strain, who served as artistic director of the Grazer Kunstverein, Austria, from 2016 to 2021.

“The launch went really well, although we didn’t have the best weather,” Kate said. “We had people there from as far away as Austria and Amsterdam, Belfast and London. There were people from Limerick Galway, Donegal and Wexford. We even took a bus from Dublin.

“Fortunately, the rain held up well enough. It actually helped create a great community atmosphere – everyone gathered in the pavilion and it became nice and cozy. We had tea and cookies, and everyone seemed to be really enjoying themselves.

As part of the launch, Kate unveiled the inaugural commission of Aughrim Kunstverein: a site-specific permanent installation by artist collective ‘Forerunner’, which saw a giant piece of Aughrim granite, which weighs more than a ton, brought into the new arts office. Entitled “Granite Leap”, the work was launched as part of a public program of new artistic commissions.

The launch program included a brilliant performance by Isadora Epstein at Frrester’s Hall, who performed a play against a backdrop painted by Dublin artist Kathy Tynan. There was also photography by Rich Gilligan, collaborative writing by Yurika Higashikawa, hospitality designed by Jennie Moran and an exhibition of the Aughrim Intangible Heritage Collection by the 1798 Club (Aughrim Active Retirement Group in conjunction with Kunstverein Aughrim).

Earlier this weekend, Cathaoirleach of the Municipal District of Arklow, Pat Kennedy, opened an exhibition of the Aughrim Intangible Heritage Collection by The Aughrim Active Retirement Group.

The community initiative consists primarily of a collection of articles, documents, objects, photographs, ephemera, artifacts and other memorabilia of social, historical or personal significance, which tell the stories of Aughrim. These range from a 1920s wedding dress to old ration books, to a 1950s telephone and old hen’s leg tags.

As part of the opening, attendees also heard a reading by local actress and drama teacher Andrea Kelly of local historian Irene Kinsella’s ‘Who Remembers; Aughrim our Granite City’, and opening address by Deirdre Burns, Heritage Officer at Wicklow County Council.

The event marked the first developmental step in creating an inventory of intangible heritage objects that the Aughrim Active Retirement Group is compiling.

Kunstverein Aughrim is supported by the Arts Council of Ireland and Wicklow County Council. For more information visit www.kunstverein.ie or contact [email protected]

Diwali celebrations: brilliant decor, shopping offers and art workshops await passengers at Lko airport

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The Chaudhary Charan Singh International Airport (CCSI) building has been beautifully decorated ahead of Diwali. In addition to the aesthetically decorated terminal, attractive shopping offers are also available for those passengers shopping at the stores inside the airport.

Speaking on the decor and shopping offerings, airport spokesperson CCSI said, “This year’s Diwali theme is ‘India’s Celebration Starter’. In addition to the colorful lights and decoration, there are several irresistible offers for those wishing to shop at the airport boutiques. The attractive “pocket” discount on shopping at the airport would be available until October 31.

“Various activities for passengers, including arts and crafts workshops, have also been planned inside the airport. The free workshops will be held for departing domestic passengers, where they can take their artwork of art,” the airport spokesperson said.

“There are great installations like the majestic earthen lamp in the starting area and a mystical kaleidoscope in another area. Then there is a nice display of fireworks in the finish area. These twinkling installations symbolically aim to convey the need to remove darkness from our lives and bring joy. The decor adds to the divine ambience and passengers can create everlasting beautiful memories by taking photos,” the spokesperson added.

Passengers can also enjoy a quick game of “Spin the Wheel”, where they can win discount coupons and offers from different brands, the spokesperson added.

Loretta Yarlow’s New Exhibit – Massachusetts Daily Collegian

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Upon entering the university’s contemporary art museum, you are greeted with soft beige carpets, an open interior, and a warm welcome from the staff. If you’re lucky, you might even spot Loretta Yarlow, curator and director of the museum. When I met her, she was as busy tending to the needs of the unseen works, which lay delicately on the floor of the venue, each ready to be presented in its own meticulously planned place in the museum. Upon meeting me, she immediately extended the offer of a tour, during which I got a passionate behind-the-scenes look at how everything was gearing up for the big day.

With opening remarks from State Senator Jo Comerford, the reception took place in the lobby of the Bromery Center for the Arts, complete with a bar and aperitif table. The crowd of people all had the same respect for contemporary art, as well as the team that made it all possible. Paired with a symposium the very next day, the museum was filled with soft chatter and a warm aura of appreciation and community hard to find in big city museums. This is one of the reasons this place is so unique; its size and almost random placement in the large network of popular art museums across the country makes you wonder how we at all colleges can see in-person installations of previously unseen works by well-known artists such as ‘Andy Warhol.

Yarlow has been chief curator at UMCA since 2005, with previous experience in museums nationwide and around the world.

“Of all the museums I’ve worked at, I’ve always felt that a museum that’s on campus – where I can connect with students, faculty, the research that’s going on, and contemporary artists is always the dream,” Yarlow said.

His words ring true, because the museum is at the center of our lives; Hidden at the edge of the campus pond within the Bromery Center for the Arts, UMCA is a showcase gem, and to think that we as students have it so accessible is inspiring.

As a museum curator, Yarlow expresses herself through the arrangement and selection of her art on a large scale, often having to manage boundaries she cannot control, such as the size of the walls, the length of the paintings themselves. same and even the color of the interior of the building. In the world of Yarlow, everything artistic is also calculated.

“Thinking about what worked with which artists,” Yarlow explained.

“Thinking about the thematic and formal threads that I could weave together in this exhibition. Thematic in terms of art and politics, and time periods with minimal conceptual art. The formal is what young conservatives often do not know how to do. Just thinking about where to position the art, what is shown next, how much space is in between, how to bring visual memory from one place to another,” she continued.

As she continued to speak, I realized how much spatial awareness it takes to populate a museum. It really takes not just an artist’s eye, but also an architectural eye to coordinate the aesthetic. I believe there is beauty in this aspect. The ability to make each work of art shine on its own unique pedestal requires extensive research, talent and self-expression, which Yarlow is brimming with.

Being a curator means that Yarlow had full creative freedom with this exhibit. She really wanted to represent the campus and the community in a way that was relevant to us and our current times, which is what the exhibit was supposed to focus on.

“I wanted to reveal our presence here and let it be known that we have this collection, and this collection belongs to you and me,” Yarlow said. “The goal is to get it out there, get it seen and see what else can be said about it.”

All of the pieces in this collection feel like they have a purpose, although what really strikes me is the part of the museum hidden away in a room below. The artists presented here are less mainstream, but in my opinion, more impactful. In the small room advertised as “We Need to Get Out of This Place – Transportative Art,” curated by UMass graduate students Cecily Hughes and Tirzah Frank, there is art dedicated to feelings of restlessness, fear, and of escape that many of us have felt during the pandemic. Maybe it’s because it’s the first massive historical event I’ve witnessed in its entirety, but it really brought me back to those weird times. I can say with certainty that the unique pieces here by Susan De Beer, Garry Winogrand and others truly fit the description of transportive art which blends well with Yarlow’s chosen themes of politics, photography, conceptual and meditative pop subjects throughout the exhibition. Some pieces even have QR codes paired underneath that take you to lengthy interviews with the artists themselves – a unique feature that makes the experience more interactive.

I almost felt silly asking Yarlow what her favorite piece at the museum was, as she works with the nearly 3,800 pieces in the UMCA collection daily. However, laughing, she immediately took me to see the multiple open plies exhibited by Tauba Auerbach. Stepping out of the 2D art that surrounds it, Auerbach’s work has been featured in major exhibitions at New York’s Musuem of Modern Art, and now at last a small piece sits at UMCA in its colorful glory. Next to it, a small screen shows a video installation of his art closing and opening like a pop-up book. It’s quirky and thought-provoking, and you wonder how many different ways you can present art.

Another piece that Yarlow often likes to show is Tim Rollins’ one that takes up an entire wall. 24 pages of WEB DuBois’ novel “Darkwater” are displayed evenly on a large white wall. This piece is unique because it is a collective piece, each page having been dipped individually in black and gold ink by a student of the Renaissance School of Springfield. It’s supposed to depict a scene from the book itself: DuBois’ birth along a golden river in the Berkshire hills. This piece is particularly interesting when put into context, as you can almost imagine young students meticulously picking out their favorite pages and watering them carefully or not, as they see fit. It’s playful, but also profound, as childhood often is.

After my visit to the museum, as well as my interview with Yarlow, I began to reflect on the importance of art collecting and what it means in today’s society. Art inspires people, making them more productive and happier, which positively impacts the world around them. It’s a subtle domino effect.

“I want people to know that it’s kind of like the food chain – everyone gets fed,” Yarlow said. “For example, we buy a work of art, the artist is paid, we have it in our museum for future research and study. Everyone is fed, the students, the spectators and the galleries.

I’m only scratching the surface of the importance of the art industry, which Yarlow lectured on at his symposium, “The Future of Collecting: Why Collecting Matters.” The symposium will be available for viewing on the UMCA website.

Towards the end of my interview, we moved away from the script and talked more about larger topics, like the future of digital art, as well as unanswered questions like “What is art? ” I started to see how easy it is for art and talking about art to inspire thoughts, ideas and questions that you wouldn’t normally encounter on a daily basis. Even with my limited knowledge of contemporary art, I highly recommend any student to go to UMCA and experience something completely different from what they are used to.

Amelia Wompa can be contacted at [email protected].

City-owned artwork is infused into new places

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The walls of two fire stations, Place Beaudry and the City’s Espace des arts will soon feature multiple pieces from the City’s permanent art collection, some of which have rarely been exhibited until now.

In order to promote visual culture in Saint-Albert, a few public facilities will host certain works of art from the city’s permanent art collection.

The walls of two fire stations as well as Place Beaudry, where the Family and Community Support Services are located, will soon be covered with approximately 25 works of art thanks to the City’s artistic placement program.

Organized by collection manager Dani Rice and public art associate Dana Murray, the city’s art placement program aims to ensure public facilities have a comforting and lively atmosphere.

“We place artwork from this permanent collection in city-owned facilities and public offices. The reason we’re doing this is to make the collection accessible, so people can see it,” Rice explained in an interview. The city’s permanent collection comprises around 300 pieces in total, including paintings, drawings, photographs and ceramics.

“We want to make sure we promote visual culture – we think that’s very important – especially with visual arts in St. Albert.”

Many factors go into deciding which works of art are suitable for certain locations, Rice said. “It’s not random, there’s a whole process attached to it.”

“We are currently working with fire stations number one and three; they’re very happy to put artwork in their spaces,” Rice said. “They requested artwork depicting scenes from St. Albert because they want to create a comforting atmosphere that reflects the community they serve.

Rice said there are about 10 paintings that match the needs of the two fire stations, and the firefighters will decide which ones to put on the walls.

“For Beaudry Place, it’s kind of similar to fire stations — they’re looking for colorful, more positive works,” Rice said, adding, “some that might have a bit more of a community base.”

“For example, I think there’s a series of photographs by Jill Watamaniuk that depict different events and people in the community, so we’re going to frame them and integrate them as a series.”

A third project, in development since August, will feature two sets of art from the city’s collection that have never been exhibited before at the City Arts Space in Campbell Park, Rice said.

The City Arts Space is a rehearsal and performing arts space used by the St. Albert Children’s Theatre.

“One is a collection of prints, drawings and paintings from a Japanese exchange that happened in the 1990s,” Rice said. “We’re uncovering information about it, which has been really interesting.”

“We’re going to hang them as this huge series of children’s art right next to a smaller body of work that we have which is actually St. Albert children from 1995 – a series of paintings from of two schools.

The Gazette was unable to obtain additional information on this exchange with Japan by the press deadline.

Heritage Museum archivist Vino Vipulanantharajah said in an email that in October 1990 officials from the Hokkaido region of Japan visited St. Albert as part of an exchange program.

“I don’t know if anything art-related grew out of that, but I guess it might be possible,” Vipulanantharajah said.

“We’re really looking forward to having these two big screens in this area, and they’ll be floor-to-ceiling for little kids to see, big kids to see, with some didactic information about this exchange for people know where it’s coming from,” Rice said.

“The quality of work is great.”

LS Lowry’s ‘Going to the Match’ faces uncertain future ahead of $9 million auction

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CNN

It has been described as “simply the finest football painting ever” and is expected to fetch up to $9 million at auction later this month, but the sale of LS’s “Going to the Match” Lowry could see the much-loved work disappear from the public eye. display.

The 1953 painting, which depicts crowds of Lowry’s trademark matchstick-style figures heading towards a football stadium in north-west England, goes up for auction on October 19, potentially ending his 22-year residency at the Lowry Museum in Salford. .

The impending sale has stoked fears in the art community and beyond about the future of the image, so much so that the mayor of Salford has called on football clubs and wealthy players to buy the painting and keep in the public eye.

“There is a very real risk that the work will leave public display, and there is a real risk that it will also leave the country,” Michael Simpson, director of visual arts at the Lowry, told CNN.

According to Christie’s, the painting is expected to fetch between $5.5m and $9m (£5-8m) at auction, and Simpson hopes a temporary export ban will ensure the work stays in the UK after its sale.

In such a case, an independent committee would review the painting and advise the UK government on whether it is considered a national treasure and deemed “too important to leave the UK”.

Many believe the North West of England is a natural home for ‘Go to the Match’ and its nostalgic portrayal of crowds flocking to a football match.

The tiny figures in the painting walk towards Burnden Park – the now demolished former home of the Bolton Wanderers – against a backdrop of factory chimneys and gray, cloudy skies.

A far cry from the billion-dollar Premier League industry of today, it gives a glimpse of what English football was like in the mid-20th century, when spectators traveled to games straight from work a Saturday.

“It’s probably the best football painting ever, in my opinion,” Mick Kirkbride, a London-based artist featured in the Football Art Prize exhibition, told CNN.

“It brings up everything about this outing on a Saturday – going to your hordes and your groups and your tribes in this cathedral. And then the industrial backdrop says it all about where the game was born and where it flourished.

Painted when Lowry was at the height of his powers, “Going to the Match” – like much of the artist’s work – has grown in popularity over the past few decades.

Today, nearly 50 years after his death, he is celebrated for his honest portrayals of ordinary people leading ordinary lives.

Using a restrained and largely monochrome palette, Lowry captured moody industrial scenes around Manchester and Salford, amassing prolific work during his artistic career.

He produced several works focused on sporting events, but ‘Going to the Match’ is the best known – as the painting’s estimated price suggests.

“For working-class people in the North who like to look at paintings, this is really our Mona Lisa,” says Kirkbride. “For football fans it’s iconic… You can’t think of many iconic football paintings.”

The photo was bought by the Professional Footballers’ Association (PFA) – the union representing football players in England and Wales – in 1999 when then-CEO Gordon Taylor called it a “simply the most beautiful football painting of all time”.

But the PFA must now sell the painting to fund its charity work, which includes helping former football players with dementia.

The mayor of Salford launched a campaign for a temporary export ban to be attached to ‘Going to the game’ and wrote a letter pleading ‘[people] means” to purchase the painting and help keep it on public display in the city.

“It has achieved its iconic status over the past 20 or so years when seen in public,” says Simpson, who believes the Lowry Museum has a “very good case” to continue displaying the painting after its sale.

“When it was in a private collection before that, relatively few people knew about it. But having it on public display made it an icon and increased its value dramatically.

The Lowry is a 15-minute walk from Manchester United’s Old Trafford stadium and benefits from increased footfall when the club hold home games as a pre-match meeting point for fans.

“Lots of people are coming, they’ll have something to eat in our cafe and they’ll have a few drinks at the bar,” Simpson says. “They’ll come up and take a look at the board, or they’ll just meet people before they go to the game.”

But Simpson thinks the upcoming World Cup in Qatar could entice overseas collectors to try and buy ‘Going to the Match’, and Kirkbride expects the painting to outsell its value given the growing popularity. by Lowry.

“It’s the commodification of art versus cultural heritage – it’s a clash of two ideologies,” says Kirkbridge. “Art is a commodity, the currency of art. There’s a tough market there… It’s very, very tough.

Whatever the outcome of the auction, efforts in recent weeks to keep the painting on display in the UK are a testament to Lowry’s artistic legacy and the nostalgic appeal of football.

“Anyone who has been to a football game can see themselves in this photo because it’s more about the shared experience of seeing a game together and being together,” Simpson says.

“Lowry captures it wonderfully in this work.”

Halloween is almost here. Here are 5 Unique Costume Stores in the Dallas Area

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Halloween is right around the corner, and you might want to avoid a last-minute rush to find a costume store.

Consider hitting a costume store and visiting a pumpkin patch on the way home to celebrate the season, whether at the Dallas Arboretum, Dallas Farmers Market, or another local farm.

If you’re looking to shop in person instead of ordering from Amazon this year, here are a few Dallas-area stores that might have your one-of-a-kind Halloween costume:

This Deep Ellum institution is full of costumes. One of the oldest costume shops in the area, it houses theatrical outfits and period-inspired dresses. You can also find a costume for your next gala or other special event.

The store is committed to providing a “unique look” that will make you stand out at your party, according to its website. All costumes are rented and cost around $50-75.

Dallas Costume Shoppe is currently open by appointment only. To schedule an appointment, email [email protected] with your name, costume or event information, and measurements.

905 Main Street, Dallas. Open from noon to 5:30 p.m. Monday to Friday and from 10 a.m. to 1 p.m. on Saturday. It is recommended that you call ahead to check availability at 214-428-4613.

Dallas Vintage Shop is a one stop shop for all things vintage. With dresses ranging from the 1920s to the 80s, the store also specializes in western, steampunk and antique period costumes.

The store promises to deliver to any budget, according to its website.

1855 N. Central Expressway, Suite 1000, Plano. Open 10 a.m. to 7 p.m. Monday to Saturday.

Costume World rents and sells costumes in a variety of genres, from period dresses to mascot costumes. The store also sells wigs and makeup.

Some Halloween costumes originally marked at $80 are going for $35 this season.

13621 Inwood Road, Suite 400, Dallas. Open 10 a.m. to 7 p.m. Monday to Saturday and 12 p.m. to 5 p.m. Sunday.

This Design District theater supply store specializes in a variety of stage props, theater makeup, wigs and costumes for rent.

You can request an appointment on Yelp or just introduce yourself.

1231 Wycliff Avenue, Suite 300, Dallas. Open 10 a.m. to 7 p.m. Tuesday through Saturday through October 29 and 9 a.m. to 5 p.m. Halloween.

Primarily a vintage clothing store, Gratitude also rents out costumes year-round. He also buys vintage clothes.

This seemingly small store is filled to the brim with jewelry, hats and shoes and has a massive vintage collection, ranging from the 1920s to the 90s. You may have to dig into this Oak Lawn gem to find what you’re looking for. seek.

3613 Fairmount Street, Dallas. Open from noon to 6 p.m. from Tuesday to Saturday and from 1 p.m. to 5 p.m. on Sunday.

Protesters throw soup at Van Gogh artwork

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LONDON: Climate protesters threw soup at Vincent van Gogh’s ‘sunflowers’ at the National Gallery in London on Friday to protest against fossil fuel extraction, but caused no damage to the glass-covered painting .

The group Just Stop Oil, which wants the UK government to stop new oil and gas projects, said activists threw two cans of tomato soup at the oil painting, one of the most iconic works by the Dutch artist. The two demonstrators also glued themselves to the wall of the gallery.

The soup spattered the glass covering the painting and its gilded frame. The gallery said “there is some minor damage to the frame, but the paintwork is unscathed”. It was cleaned and returned to its place in the gallery on Friday afternoon.

The work is one of many versions of “Sunflowers” that Van Gogh painted in the late 1880s.

London’s Metropolitan Police said officers arrested two people on suspicion of criminal damage and aggravated trespassing.

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“Specialist officers have now removed them and they have been taken into custody at a central London police station,” police said in a statement.

A group of protesters from the same group then gathered at police headquarters and sprayed yellow paint on the rotating ‘New Scotland Yard’ sign in front of it. Several also stuck to the road, blocking traffic. According to the police, 24 people were arrested.

Just Stop Oil has drawn attention – and criticism – for targeting artworks in museums. In July, Just Stop Oil campaigners stuck to the frame of an early copy of Leonardo da Vinci’s ‘The Last Supper’ at the Royal Academy of Arts in London, and John Constable’s ‘The Hay Wain’ at the National Gallery.

Activists also blocked bridges and intersections across London during two weeks of protests.

The protesters were part of a “radical new flank” of the environmental movement that University of Maryland social scientist Dana Fisher calls “the disruptors.”

“These tactics are specifically aimed at getting media attention,” said Fisher, who studies activists. According to her, they appeared to have targeted a glass-covered painting to cause minimal damage, but were attracting more attention than previous activists who had attached themselves to the art.

Throwing tomato soup “is an escalation of a tactic,” Fisher said.

University of Pennsylvania climatologist Michael Mann has expressed concern that vandalism is “alienating many people that we need to bring into the fold. People who are natural allies in the climate battle but who will draw negative associations with climate advocacy and activism from such acts.

The wave of protests comes as the UK government opens a new licensing round for oil and gas exploration in the North Sea, despite criticism from environmentalists and scientists who say the move undermines the country’s commitment to Europe West in the fight against climate change.

London sales suggest continued strength in the art market

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Bidders were in hot pursuit of the art at back-to-back auctions at Phillips and Sotheby’s in London on Friday amid currency volatility and economic uncertainty that did not appear to suppress the bidding.

Several new records were set, largely for ultra-contemporary artists, including Robert Nava, Michaela Yearwood-Dan and Doron Langberg at Phillips, and Julien Nguyen, Louise Giovanelli and Charline von Heyl at Sotheby’s. Caroline Walker’s paintings set two artist records in one day, first at Phillips and then at Sotheby’s.

Walker’s night scenes2017, fetched £516,600 (US$577,042) at the Phillips sale, then hours later at Sotheby’s ‘The Now’ sale, 13 bidders jacked up the price of her Interior Exterior2015, at £529,200.

Sotheby’s also saw an auction record for Frank Auerbach’s
JYM manager, 1984-85, during its contemporary sale. The painting sold above estimates for £5.6 million, including fees.

In total, the 20th Century and Contemporary Phillips sale fetched £18.7m, below the high estimate of £21m, while Sotheby’s ‘The Now’ sale of works created since 1980 – none of which had been offered at auction before – fetched £11.4. million. Sotheby’s Contemporary sale realized £85.7 million.

Caroline Walker, Interior Exterior2015

Courtesy of Sotheby’s

The presale estimate range for The Now was between £8m and £10.75m, while the contemporary sale was expected to reach between £72.7m and £93.7m.

Most of the lots on offer at the three sales found bidders, as the 33-lot Phillips auction was 94% sold, the 18-lot Sotheby’s The Now auction was 100% sold, and the Contemporary sale of 33 lots was sold at 97%.

The results show that collectors are looking for high-quality art “in all genres and by artists of all ages”, says James Sevier, head of contemporary art, Europe, at Sotheby’s, noting that there were a strong bid for classic names in addition to today’s artists. generation.

“This week I felt like the global art world was properly brought together for the first time in London, with collectors from every continent translating into an unforgettable energy in our halls this week. “said Sevier.

At a press conference after the Phillips sale, the auction house’s CEO, Stephen Brooks, also attributed the results to Frieze Week, which brings art lovers from around the world to London for two fairs. Frieze, museum exhibits and other events.

“It’s clear that the resulting excitement has spilled over into our auction room here tonight,” Brooks said. He added that the auction demonstrated that “there is clearly strength in the middle market.”

The results follow a generally strong evening of bidding at Christie’s on Thursday in London.

Big ticket sales from Sotheby’s for the evening included those of Francis Bacon
Three studies for the portrait of Henrietta Moraes1963, which was donated by the collection of William S. Paley, the former head of CBS, and fetched £24.3 million, below an estimate of £30 million.

The work, which carried an irrevocable bid and a guarantee, was among several in Paley’s collection on loan to the Museum of Modern Art in New York. Proceeds from the sale, and more than two dozen other works to appear at future Sotheby’s auctions, will support the Paley Museum, the Greenpark Foundation, and a new MoMA endowment for digital media and technology and for new acquisitions.

The other notable sale, that of Gerhard Richter
192 Color, 1966, an oil painting over six feet tall from the Elisabeth and Gerhard Soht Collection in Hamburg, Germany, generated strong bids, selling according to a high estimate of £18.3 million . The work had been loaned to the Hamburger Kunsthalle museum in Germany in the 1990s.

Sotheby’s Contemporary Sale also saw lively bidding for Bridget Riley’s
shades of summer1994, which sold above estimates for £1.1 million, and Lucien Freud
And the bridegroom (1st version)which has been pressured by seven bidders to nearly double its high estimate to £1.9million.

Cecily Brown
Beautiful not realistic2008, also strongly chased, sold for £1.5m, nearly double a high estimate.

Among the records obtained at Phillips was that of Nava Before the Minotaur2019, which achieved a world record for the artist at auction of £639,600, more than double the work’s high estimate.

The Now sale also reached a record price for Nguyen’s Semper Solus, 2017, which sold for £453,600, multiples of a high estimate of £60,000, and for Giovanelli’s Voyeurwhich sold for £81,900, double its high estimate.

There were also good results for Flora Yukhnovich, whose Nobody put baby in the cornersold for £1.6 million, above estimates, and that of Jadé Fadojutimi
The misplaced thrill of rufflessold for £554,400, also above estimates.

Talking art in chip shops and tabernacles with curator Lois Stonock.

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The Brent Biennale, created by Metroland Studios, is a biennial celebration of Brent’s vibrant visual arts scene.

Taking place in 2022 at 12 venues in Willesden, Harlesden and Kilburn, including a tin tabernacle and an unused TfL fish and chip shop, the 2022 Brent Biennial explores ten years of ‘hostile environment’ immigration policy bringing artists and community groups together around ideas of ‘home’. The Brent Biennale first took place in 2020 as part of the London Borough of Culture in Brent.

We spoke to Lois Stonock, Founder and Director of Metroland Cultures and Curator of the Brent Biennale, about the ideas that arose while curating the festival and the significance of it being held in Brent.

Kamile Oforme (2022). Installation view, Brent Biennial 2022, In the House of my Love (July 8 – September 11, 2022). Commissioned in partnership with JackArts/BuilHollywood and Studio Voltaire

How did the idea of ​​a biennial come about?

The first iteration of the Brent Biennale took place in 2020 when Brent was the London Borough of Culture. The pandemic forced us to completely rethink many of the programs we had planned to offer and the biennial model in its simplest sense created a container for a series of exhibitions that were happening in Brent at the same time and talking about the theme center of the community. centered practice. The nature of a biennial also promised that it would happen again, which was a big factor – we were saying it’s not just a 2020 program at Brent but a program in perpetuity, and he’s going to be looking for an ongoing conversation with the many communities that live and work here.

Why is “home” important in Brent?

Brent is a small microcosm of the world. It is London’s second most ethnically diverse borough and one of the local authorities with the most first-generation migrants in the country. The history and heritage of the borough is based on migration and movement, where many different communities have come and made this place their home. This identity of Brent as a house of migrants is truly present throughout the borough and materializes in the efforts of solidarity, care and hospitality that many people and communities have created for themselves and for others. to create a sense of home away from home. Home is very important in Brent because, although it has many personal meanings, people continually find ways to be together, share space and develop relationships with each other through different perspectives and experiences.

How did the works included surprise/interpellate you?

Artists and community groups who took part in this year’s edition of the biennale explored various approaches to questions of home and belonging, reflecting on ten years since the implementation of the Environment Policy hostile to the UK – a damaging set of legislative and administrative measures that has made life in this country virtually impossible for refugees and asylum seekers, as well as incredibly difficult for many migrant communities. What was truly amazing was how the works challenged the notion of belonging as something we own, receive, are born with, or are simply “naturally” associated with. What was most surprising and beautiful was discovering the many worlds into which the works invited us; worlds where the life of no human being can ever be considered “illegal”.

What are your ambitions for Metroland Studios and Brent Biennial?

The Brent Biennale takes place every two years, with the first iteration taking place in 2020. The second iteration took place this year over the summer. Curator Eliel Jones worked with us to present the biennial In The House of My Love, which explored the theme of home. The next iteration of the Biennale will take place in 2024 and we hope to announce the curator in December this year.

Metroland Studios is one of the ways we support artists. We have a studio in Kilburn which has a gallery, social space and screening room; at the same time, we offer free workshops to artists in the borough. The studio building is a temporary space, so we are looking for a new permanent headquarters for the organization!

Turab Shah and Arwa Aburawa, I Take It Everywhere (2022), film still. Commissioned as part of the Brent Biennial 2022, In the House of my Love (July 8 – September 11, 2022).

With the biennial exhibition now over, In the House of my Love spans the remainder of the year through a series of community commissions which are currently underway with Brent-based partners including: Asian Women’s Resource Center, SUFRA Foodbank & Kitchen and Young Roots.

Find out more about London Borough of Culture projects.

Microsoft Bing gets an AI image generator

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Microsoft Bing is getting an AI image generator in the coming weeks that lets users turn text into digital art.

Let’s say a photo of a Shiba Inu as an astronaut would go perfectly with a blog post you write.

You turn to search engines for a free-to-use image, but you can’t find one that matches your criteria.

With Microsoft Bing’s new Image Creator tool, you can generate the exact image you need by entering descriptive text.

See an example of the Image Creator in action below:

Image Credit: Screenshot from microsoft.com/en-us/microsoft-365/blog/2022/10/12/new-tools-from-microsoft-365-edge-and-bing-bridge-the- gap-between-productivity -and-creativity/, October 2022.

Image Creator is powered by DALL-E 2 image generator technology developed by OpenAI.

In a blog post, Microsoft says Image Creator can help researchers create images that don’t yet exist.

All you have to do is enter an image description and Image Creator will generate it for you.

When Image Creator becomes available, you can access it by going to the Bing Images tab and clicking “Image Creator” or the Image Creator icon in the Microsoft Edge sidebar.

Availablity

Microsoft is taking a “measured” approach with the rollout of Image Creator, starting with a limited preview in some places.

The soft launch is due to the novelty of the DALL-E 2 technology.

Microsoft is treading carefully out of a commitment to responsible AI, the company says:

“It’s important with early technologies like DALL∙E 2 to recognize that it’s new and we expect it to continue to evolve and improve. We take our commitment to responsible AI seriously. To help prevent DALL∙E 2 from delivering inappropriate results through the Designer app and Image Creator, we are working with our partner OpenAI, who developed DALL∙E 2, to take the necessary steps and continue to evolve our approach.

Image Creator will use techniques to prevent abuse, including blocking queries on sensitive topics and filters to limit the generation of images that violate Bing policies.

Microsoft will take feedback from the limited preview to improve Image Creator before rolling it out to everyone.


Source: Microsoft

Feature image: Andrey Zhuravlev/Shutterstock

Searching for ancient artwork carved into Australian boabs

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Archaeologists and historians from the Australian National University, the University of Western Australia and the University of Canberra recently teamed up with a group of Australian First Nations cultural historians to undertake a unique expedition recording art ancient carved in boabs. Their goal was to find and document the existence of carved artwork on the surface of boabs in the arid Tanami Desert in northwest Australia, a rarely visited section of the vast continent. The ancient artists were the ancestors of today’s First Nations peoples. There was a sense of urgency in this mission, as many of the oldest boabs in this region may be nearing the end of their long lives.

“Unlike most Australian trees, the inner wood of boabs is soft and fibrous and when the trees die they simply crumble,” explained Australian National University archaeologist Sue O’Connor, lead author of ‘a report on the expedition published by antiquity. “Sadly, after lasting for centuries, if not millennia, this incredible work of art, which is just as important as the rock art for which Indigenous Australians are famous, is now in danger of disappearing.”

Fortunately, the boab artwork shipment was a success. During an extensive search, the team found a dozen boab trees that featured this type or unique artwork, which appears to include images of the King Brown Snake, a mythological version of a real snake that is common in Western Australia.

Brenda Garstone, First Nations member and expedition participant, stressed the importance of preserving and protecting Indigenous artworks and the stories they tell, so that traditional wisdom is not inaccessible to younger generations. “We are in a race against time to document this priceless cultural heritage,” Garstone explained.

Traditional owner Brenda Garstone at the smallest of the carved boabs recorded in Australia’s northern Tanami Desert. (S. O’Connor / Antiquity Publications Ltd )

Hunt for boab carvings in the Tanami Desert

Fieldwork on this discovery project began in June 2021. To prepare for their research, archaeologists marked out an area of ​​approximately 62 square miles (160 km2) in a treeless, sun-dried region that borders the western of Australia on one side and the remote Northern Territory on the other.

The team entered this ominous desert area seeking to take high-resolution photos of every boab they could find. They paid particular attention to those that might feature ancient carvings known as dendroglyphs.

Previous explorations in the 1990s had indicated the presence of such trees in the Tanami Desert. At the time, however, not all of these trees were photographed and their exact location was not noted. The new research project aimed to verify these ancient sightings, while creating a more detailed visual record and map of the still-existing boabs and their dendroglyphs.

During this extensive investigation, researchers found 12 boabs that included carvings of distinctive pictographs. The most common image to appear in these carvings was that of snakes, followed in frequency by designs of emus and kangaroo footprints.

Some of the snake images were coiled while others were extended, representing movement. Abstract geometric shapes were also present in the image collection, as were images of what may have been intended to represent gods in animal form.

a) Enlargement of a snake sculpture, showing damaged areas on the bark by insect larvae;  b) location of the carving on the boab tree shown in a);  c) partially collapsed boab, with elaborate snake carvings on the trunk and lower branches;  and d) Darrell Lewis seated next to a low branch with deeply carved snakes.  (Photographs a–c by S. O'Connor; d) by D. Lewis / Antiquity Publications Ltd)

a) Enlargement of a snake sculpture, showing damaged areas on the bark by insect larvae; b) location of the carving on the boab tree shown in a); c) partially collapsed boab, with elaborate snake carvings on the trunk and lower branches; and d) Darrell Lewis seated next to a low branch with deeply carved snakes. (Photographs a–c by S. O’Connor; d) by D. Lewis / Antiquity Publications Ltd )

Using Boab Trees as a storyboard

Taken together, the dendroglyphs tell the story of the mythical King Brown Snake and his travels in the Tanami Desert region. His path would have been considered sacred and could have been followed by First Nations hunter-gatherers seeking to survive in a hostile landscape.

Although the First Nations members of the research team know the mythological traditions of their people, even they have no way of telling for sure when the images were carved. “They [boab trees] They are often said to live up to 2,000 years, but this is based on ages obtained from some of the massive baobabs in South Africa which are a different species,” Prof O’Connor said.

“We just don’t know how old Australian boabs are,” O’Connor pointed out. Without this knowledge, she confirmed that it would be impossible to precisely date the dendroglyphs to a specific time in history. This is a problem they hope to eventually solve. “It is essential that we obtain direct ages for these remarkable Australian trees, which help tell the story of First Nations Australians and are the source of a rich cultural heritage.”

a) Open-mouthed snake and emu track (right), northern Tanami Desert.  The boab sculpture measures approximately 1.2m in diameter;  b) boab with coiled and extended serpent carvings, northern Tanami Desert (D. Lewis/ Antiquity Publications Ltd).

a) Open-mouthed snake and emu track (right), northern Tanami Desert. The boab sculpture measures approximately 1.2m in diameter; b) boab with coiled and elongated snake carvings, northern Tanami Desert (D. Lewis/ Antiquity Publications Ltd ).

Boabs are essential for survival in the desert

The Australian boab shares a common ancestor with the African baobab. It would not have evolved on the mainland naturally, but arrived in prehistoric times when its pods washed ashore after crossing the ocean from the west.

Boabs are extraordinary due to their massive size and thickness, large egg-shaped pods, and incredible longevity. These bottle-shaped trees grow surprisingly well in the desert environments of the Northern Territory, which is one of only two places where they can be found. The boab has also taken hold in the rugged and mountainous region of Kimberley, also located in northwestern Australia, a few hundred kilometers west of the Tanami Desert.

The boab functioned as a vital source of nutrition for the First Nations peoples of Australia. Its roots, seeds, and pith are all edible, and the trees would have served as a vital food source in desert conditions where other edible plants were scarce.

Standing like solitary sentinels on vast treeless plains, lone boabs are said to have been used as a source of shade by indigenous peoples traveling through or living in the scorching Tanami Desert. These massive trees would also have been very useful for mapping purposes – as distinctive and easily spotted objects on an open landscape, they would have helped ancient travelers navigate through otherwise featureless desert territory.

Given how addicted the ancients were to large, visually striking boabs, it’s no surprise that they came to regard them as sacred. Providing a smooth, durable surface for artwork and image-based storytelling, boabs functioned as intergenerational canvases for ancient indigenous artists and myth-makers who wanted their works preserved in order to be seen. and understood by their descendants.

a) Anne Rivers, traditional owner, holding a coolamon painted with boabs;  and b) enlarged painted coolamon (J. Balme / Antiquity Publications Ltd).

a) Anne Rivers, traditional owner, holding a coolamon painted with boabs; and b) enlargement of painted coolamon (J. Balme / Antiquity Publications Ltd ).

Deciphering the stories of the creators

In 2018, a group of First Nations scholars published photographs of several ancient carvings found on boabs growing in the western Kimberley region. In their analysis of this aboriginal artwork they emphasized the spiritual nature of this imagery.

“These engravings are interpreted from the perspective of a larger ontology, in which the images are part of interconnected narratives describing the actions of wanjinas and other creative beings who have shaped the landscape,” Professor O’Connor and his co-authors wrote in antiquityexplaining the larger context in which their findings in the Tanami Desert can be interpreted.

Much has already been learned about the ancient Aboriginal artwork carved into boabs and the beliefs of the ancestors of modern First Nations peoples in Australia. But there is still much to discover. “There are hundreds more boabs visible on Google Earth, which we failed to reach on this trip,” Prof O’Connor said. “Still to check for carvings on our next Tanami adventure.”

Top image: Large boab with coiled snake carving, northern Tanami Desert. Source: Darrell Lewis / Antiquity Publications Ltd

By Nathan Falde

🌱 Deployment of Electric Bikes + Indigenous Art Auction + Kennel Cough Alert

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Welcome back, Scottsdale! I’m here in your inbox as usual to tell you everything you need to know about what’s happening in town.


But first, today’s weather:

Fairly sunny and very hot. High: 95 Low: 69.


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Here are the top 3 stories in Scottsdale today:

  1. Lime, the brand known for its line of electric transportation services, expanded its presence in the Valley this week with the launch of e-bikes in Scottsdale. A company press release says residents can expect more than 100 of the e-bikes to roll out on the streets of Scottsdale in the coming days. Lime’s electric bikes and scooters can also be found in Phoenix, where the brand relaunched this summer after temporarily halting operations in 2020. (KTAR.com)
  2. A selection of Native American art and pottery is currently auctioned at the Larsen Gallery in Scottsdale. The exhibition features the work of 60 different Aboriginal artists and is the largest collection of Aboriginal art ever presented at the gallery. The pieces will be included in the Larsen Fall 2022 Art Auction on Saturday, October 22. (Arizona’s Family)
  3. A dog daycare center in Scottsdale has temporarily closed after several of its canine residents experienced severe cases of kennel cough, an infectious respiratory breed in dogs. The Barking Dog reopened this week after a thorough cleaning of the property, but area pet owners are urged to ensure their dogs are up to date on Bordetella and other vaccinations. Dogs showing symptoms of kennel cough such as coughing, sneezing, runny nose and loss of appetite should take their pet to a veterinarian as soon as possible. (ABC15 Arizona to Phoenix)

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Today in Scottdale:

  • Scavenger hunt in the old town On the farm and at crafts (6:00 p.m.)
  • Argentine tango beginner class 1 At Scottsdale Neighborhood Arts Place (7:30 p.m.)
  • Divas at dusk At Bottled Blonde (10:00 p.m.)

From my notebook:

  • The Salt River Tribal Library is hosting its first-ever adults-only Super Smash Bros Ultimate tournament on October 19. Disguised participants will also be entered into a raffle, so don’t forget your battle gear! (Salt River Pima-Maricopa Indian Community via Facebook)
  • The Scottsdale General Election is fast approaching! Don’t forget to vote on Election Day, November 8. If you are voting by mail, the deadline to request a ballot is Friday, October 28 and the recommended last day to send in your completed ballot is Tuesday, November 1. (City of Scottsdale – Government via Facebook)
  • The The Scottsdale Public Library is hosting a career fair! Stop by the Civic Center Library on Tuesday, October 18 from 10:30 a.m. to 1:30 p.m. to meet with employers, get your resume reviewed, and participate in mock interviews! (Scottsdale Public Library via Facebook)

More from our sponsors – please support the local news!

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You are officially informed for today. I will see you soon!

Helene Eckhard

About me: Helen Eckhard is a Marketing Associate at Lightning Media Partners. Outside of work, she enjoys building crossword puzzles, knitting, or devising increasingly clever ways to kill the characters in her detective novels.

“In the footsteps of the ancestors”

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By Laman Ismayilova

The Baku Museum Center invites you to admire the works of Azerbaijani Honored Artist Ulviyya Hamzayeva, reports Azernews.

His personal exhibition “In the footsteps of ancestors” will be opened in the central round hall of the Baku Museum on October 28 (1800) with the support of the Azerbaijani Ministry of Culture.

Ulviyya Hamzayeva was born into a military family on April 30, 1982 in the village of Shakarabad in the Babak district of Nakhchivan.

She attended primary and secondary school in Nakhchivan. In 2003, she graduated from the Fine Arts department of the Faculty of Arts of Nakhichevan State University and continued her master’s degree there.

Ulviyya Hamzayeva worked as a lecturer in the Department of Fine Arts and Drawing at Nakhchivan State University. Now she continues her teaching activities at Nakhchivan State University. She holds a doctorate. candidate for the Academy of Fine Arts of Azerbaijan.

Ulviyya Hamzayeva’s artistic activities are multifaceted. She is the author of the monument which was erected for the first time in Azerbaijan in memory of the victims of the genocide in the youth park of the Nakhchivan State University.

In 2001, she was the decorator of plays staged on the basis of Nizami Ganjavi’s poem “The Treasure of Mysteries”, the fairy play “Blue Bird” by Maurice Maeterlinck and the play “Telescope” by Elchin. Afandiyev. His creative works have been featured in over 200 mixed and solo exhibitions.

Ulviyya Hamzayeva was awarded the title of Honored Artist of the Nakhchivan Autonomous Republic and the Republic of Azerbaijan. She is a member of the Union of Artists of Azerbaijan and the International Art Association of UNESCO. She was elected a full member (academician) of the World Academy of Arts New Era.

Ulviyya Hamzayeva is also distinguished by her active involvement in public projects. She is the curator and organizer of the International Drawing Festival “Nakhichevan – The Cradle of Humankind” I, II, III and IV, which has been held every two years since 2012.

Ulviyya Hamzayeva was elected president of the Nakhichevan Union of Artists in 2011 at the organization’s 3rd conference, and she still leads the union. She was a deputy of the 4th convocation of the Supreme Assembly of the Nakhchivan Autonomous Republic. She is a deputy of the 5th and 6th convocations of the Milli Majlis of the Republic of Azerbaijan.

Vice-President of the National Academy of Sciences of Azerbaijan Academician Isa Habibbayli characterized the creative works of Ulviyya Hamzayeva, who achieved great success in a short time, as the fruit of her hard work as follows:

“Plot and composition, mythological characters and motifs, symbolism that signifies national values ​​and patchwork pieces in her paintings, all together determine the uniqueness of Ulviyya Hamzayeva’s art. Ulviyya Hamzayeva is a original artist with a distinctive and individual style, like no other artist of centuries-old fine arts in Azerbaijan, as evidenced by her paintings.She is the main creator of miniature art in Azerbaijan in modern times.The synthesis of details of folk art with mythological characters and its unity with modernity determine the face of examples of modern miniature art created by Ulviyya Hamzayeva.While Ulviyya Hamzayeva’s miniatures are a distinct artistic phenomenon based on mythological motifs, examples of folk art and philosophy of contemporary life, traditional miniature art in Azerbaijan is mainly created on the basis of folk motifs. games and epic lyrical works.Ulviyya Hamzayeva is the creator of the genre of mythical minia tures. All this demonstrates that Ulviyya Hamzayeva is one of the creative personalities of Azerbaijani fine arts with a special thought,” he said.

The creative works of the artist are also well known globally. Thus, her works were displayed in various exhibitions in countries such as the United States, Turkey, and France while she was still studying at university, and they won the appreciation of the public. Later, the artist was actively invited to important exhibitions, festivals and symposiums held around the world in the fields of painting and art, and her creative works were evaluated and awarded the highest prizes. high at many events. The artist visited the United States, Portugal, China, Turkey, Turkmenistan, Georgia, etc. with his works, participated in successful projects there and represented our country through his creative outdoor works. Carolyn Edlund, art business consultant, writer and speaker, the director of the Art Business Institute, expressed the artist’s creative works as follows:

“The genre of Ulviyya Hamzayeva’s paintings is not easy to determine. She works in gouache and oil on canvas. Her works first appear as modern allegories, but here it is not enough to simply see the image, it must also be understood. Moreover, his works are very closely related to the ancient artistic traditions of Azerbaijan. His paintings, which resemble examples of carpets, miniatures and ancient petroglyphs, bring characters to life. fantastical works of legends and fairy tales. It is important to consider the artist’s worldview, which reflects historical accuracy and ancient symbolism “woven” into modern copyrighted graphic techniques. ” of the author have aroused a lot of interest and given him a wide audience.

Here are the artist’s explanations of the factors that inspired her to develop through the stages of this art and its relationship with her creative works: “I was born in Nakhchivan, one of the most beautiful and Azerbaijan My ancestors lived in this ancient land, my happy childhood passed here, and now my youth passes, and I hope that I will live here, in this ancient city full of old traditions and mythological sayings, in the future. The people of Nakhchivan are noble and proud, like our high snow-capped mountains. I am proud that great architects, musicians, painters and wise rulers lived and created in these holy lands. Nakhchivan is the cradle of geniuses And if I am a painter today, it is because of the great work of our beautiful nature, the pure and fragrant air, my parents and good people.

Go to sleep at night, wait for morning. Had a dream, hurry to revive it on a piece of paper or canvas. There is no void in my works, in my thoughts, in my desires. All space is filled with my “emptiness”. Details, symbols, fragments, patterns, semiotics that belong to me, my mystical language, the sound from heaven – this is my “emptiness”. Symbols, language of patterns, colors, music – it’s me, it’s mine, it’s in me…

Sometimes it’s difficult, “I exist and I don’t exist”. I love the Creator’s creations and his unique, “human” creation. I am the hero, I am a useless person and I am a defective toy. My life is a “point”. The man created from a point returns to the point at the end.

All my life I will wait for the transformation of a caterpillar into a butterfly… I send the ship of my thoughts, illusions, myths and fairy tales to sail. I know my ship has no stop. I simply forgot to take the anchor that I didn’t have on my boat.

My reality – is not reality. I don’t like watches, numbers – they laugh, make fun of us and wait for the moment to say: it’s too late. Too bad I have so little time…”

Thus, art lovers are invited into the colorful world full of nationality, antiquity, mythology and true philosophy of life, to get acquainted with the works which are the product of the warmth of the heart, the vision of the world, feelings and thoughts of the artist, and to travel in the world of Ulviyya Hamzayeva.

Opening of the exhibition: October 28 at 6 p.m.

The exhibition runs from October 29 to November 01. Free entry.

The event’s media partners are Azernews.AZ, Trend.Az, Day.Az and Milli.Az.

Follow us on twitter @AzerNewsAz

6 questions to Robert Lazzarini, whose latest series of sculptures addresses the distorted view of violence in the United States

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Distortion plays a central role in the practice of American artist Robert Lazzarini, in which common or everyday objects are stretched and distorted, making them less recognizable and strange. Early works included a series of “workshop objects”: wall-mounted tools typically found in any artist’s studio, such as a hammer, but the object was flattened and twisted, so that perspective becomes an optical illusion. In 2010, Lazzarini collaborated with KAWS, applying the same treatment to the latter’s iconic Companion character, producing vinyl figures that appeared to have reflected themselves in a funhouse mirror. His method? Lazzarini was an early adopter of computer-aided design and manufacturing (CAD/CAM) technology, which produces hyper-accurate renderings of objects that can be edited, altered or distorted before production.

This interplay between object and distortion is highlighted in Lazzarini’s latest series, “guns, knifes, brass knuckles”, which features sculptures of these common objects, except they have been visually and physically distorted, disrupting our perspective understanding. of them. In brass knuckles vi (2022), for example, the highly recognizable weapon is twisted in such a way that, although it is still identifiable, the viewer has no clear idea of ​​how it might be grasped and held. This phenomenological experience of recognition, crossed with the social and cultural connotations of the object, invites us to reflect on what brass knuckles mean, both for the individual and for society in general.

On the occasion of the launch of Artnet’s latest Buy Now offer, available until October 25th, we spoke with the artist of the series “guns, knives, brass knuckles” to learn more about the making of these objects and their meaning.

Robert Lazzarini, detail of brass knuckles vi (2022). Courtesy of the artist.

Can you tell me a bit about how you see brass knuckles in the context of the show?

Sure. “Rifles, Knives, Brass Knuckles” considers the different types of spaces in which you might encounter these objects: public, domestic, and, in the case of brass knuckles, marginal. So it suggests something rarely seen: the alley, the street fight, the gang fight. Brass knuckles themselves are mostly concealed weapons, hidden in a pocket and pulled out at the last minute. Unlike a firearm, the use of knives and brass knuckles requires a violent, physically close encounter.

My work often contains body references. In this series, I have been interested in how each of these works relates to the hand as an extension of the body, more precisely to gripping. They all represent the fist as the armed hand. And, if the viewer can imagine the objects in their hands, this involves them in a possible act of violence.

Can you tell me about the distortion process?

I think of distortion as the relationship between the observable world and the schema. So, I reconfigure sculpture as a way of reconsidering it. Part of this process is correlating readability with unreadability. With brass knuckles I bring the normative object into digital space and modify it with compound sine waves.

Distortion does not necessarily consist of making severe deformations to the object. Small changes in their geometries can take them out of the normal register in a more disturbing way. Although the process of distortion is about making the shapes of objects more complex, it is also about complicating the space around the object.

Robert Lazzarini in the studio creating one of "brass knuckles" sculptures.  Courtesy of the artist.

Robert Lazzarini in the studio creating one of the “brass knuckles” sculptures. Courtesy of the artist.

Tell me about the importance of the golden surface of brass knuckles.

I try to highlight the tensions within the sculpture, one of which is related to the design. But another is the relationship between the gilt and decorative quality of the work and its vulgar subject matter. Having a shiny ornament sitting on your credenza from the comfort of your home is quite at odds with the notion of being in a half-lit alley trying to smash someone’s face.

The other brass knuckles sculptures you’ve made contain multiple elements. What is the meaning of repetition in these works?

Repetition is a tool I have used throughout my career. It is above all a way for me to express the seriality and the expansion and contraction of the object. Here, however, I am using repetition as a metaphor for kinetic activity. The intertwined knuckles suggest the energy and confusion of combat.

In the design of brass knuckles, there is the repetition of the four finger holes. This is where the viewer projects their own hand into the sculpture. Deforming the regular holes creates slip, making them shift and proprioceptive shift.

How do brass knuckles represent American culture?

America is one of the 15 most dangerous places to live in the world. We have a violence problem.

No one celebrates violence with the same enthusiasm as America does – television, movies, video games, the news. The fact that Americans are obsessed with it as entertainment says as much about the commodification of violence as it does about the ever-increasing blur between real and fictional violence. The prevalence of violence in all media adds to this confusion. brass knuckles (vi) (2022) reflects on America’s fascination with violence and reveals an aspect of our brutal nature.

Robert Lazzarini, design for American Flag ii (2022).  Courtesy of the artist.

Robert Lazarini, design for american flag ii (2022). Courtesy of the artist.

What other projects are you working on in the studio?

I recently started a series based on a group of distorted American flags attached to the wall. In accordance with my practice, there is no material translation, so they are made of fabric with distorted embroidered stars and variable length hand stitching. Obviously, they evoke something of the current state of politics in this country. However, notions of the body are also present – the works refer to camouflage, liquidity and blood. The flags are based on the 9 foot by 5 1/2 foot variant, also known as the “casket draper”, which is ceremonially used to wrap the coffins of fallen military personnel who died in action.

In some ways, I think these flags are better symbols of our nation than the traditional flag – not something static and fixed, but something constantly in motion.

Check brass knuckles (vi) in Buy now: Robert Lazzarininow online until October 25, 2022 on Artnet Auctions.

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See station artwork on the new K – NBC Los Angeles subway line

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More than a dozen artworks by 14 artists have been commissioned for the new K metro line which opened last week.

The rail line that opened on Friday serves the communities of West Adams, Jefferson Park, Baldwin Hills, Leimert Park, Hyde Park, Inglewood, Westchester and more.

Click here for the story behind each piece. Click here for a guided tour subway artwork.

The illustrations of the stations along the route have been integrated into the levels of the square, the hall and the platform. Runners will discover new neighborhood landmarks showcasing culture and community.

Artists include Ingrid Calame, Eileen Cowin, Kenturah Davis, Dean Erdmann, Sherin Guirguis, Carlson Hatton, Mara Lonner, Geoff McFetridge, Rebeca Méndez, Erwin Redl, Kim Schoenstadt, Jaime Scholnick, Shinique Smith and Mickalene Thomas.

The K line connects to the E (Expo) subway line, which runs between downtown Los Angeles and Santa Monica. By 2024, the K line will also connect to the new LAX/Metro Transit Center station, the new Aviation/Century station, and the C metro line.

Eileen Cowin, you’re headed in the right direction, Martin Luther King Jr. Station.

Carlson Hatton, Hyde Park Oasis

Art Deco Austin Mansion With ‘Magic Door’ Costs $13 Million – Robb Report

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This newly listed Texas mansion combines Art Deco style, modern design elements and…magic?

Back on the market for the first time in about a decade, the Bohn House is considered one of the most architecturally significant addresses in all of Austin and boasts quite a storied history. The historic residence was built in 1938 by architect Roy L. Thomas, before being extended by Dick Clark + Associates in 2014. Stylistically, Thomas is said to have modeled the house after the fictional Shangri-La featured in the film by Frank Capra in 1937. horizon lost and the iconic queen mary ocean liner. He also has a trick up his sleeve: a “magic door” that descends at the touch of a button to separate two rooms.

Sellers Bill and Misty Reid bought the property for $1.4 million in 2013, the the wall street journal. During a 14-month renovation, the couple nearly doubled the square footage of the home, updated all the plumbing and electrical, and added a rooftop deck, three-car garage, media room, and living room. 1,800 bottle wine cellar. Now they’re offering the fruits of their labor for $13 million.

The current owners have transformed an old bomb shelter into a brand new wine cellar.

JPM Immobilier

Situated on nearly half an acre, Lone Star Digs offers 6,528 square feet of living space, five bedrooms, four bathrooms, and three half baths. The interior nods to the illustrious cruise ship with portholes and a bow-shaped rotunda. On the first floor is a large foyer which has been fitted with Carrara and Negro Santa Maria marble as an ode to the house’s 1930s origins. From here you will find a circular dining room that was once a sunroom and a gourmet chef’s kitchen equipped with Miele appliances.

The Bohn House

A circular “magic door” descends from the ceiling to separate the living room and the kitchen.

Brian Cole

Downstairs, the media room features a hand-painted mural commissioned by original owner Herbert Bohn. Upstairs, meanwhile, the ultra-private master suite features a walk-in closet, a large bathroom with a frameless rain shower, and views of the University of Texas clock tower. You can also see the swimming pool from the ground floor.

The plush cushion still retains many of its charming original details which have been artfully restored, including the light fixtures, aluminum handrails, steel windows and entrance staircase. “I was going up and down the old stairs and there were two creaks on the way down,” Misty told the WSJ. “I always thought ‘Mrs. Bohn must have had those same creaky steps.’ Of course, the circular mahogany door that magically retracts into the ceiling has also stood the test of time. Hey, who doesn’t? not a house steeped in history?

Phyllis Patek and Teresa Jones of Compass own the list.

Click here to see all the photos of Maison Bohn.

The Bohn House

Brian Cole

Pioneering Japanese avant-garde composer Ichiyanagi dies at 89

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TOKYO — Pioneering pianist and composer Toshi Ichiyanagi, who studied with John Cage and spearheaded Japanese advances in modern experimental music, has died. He was 89 years old.

Ichiyanagi, who was married to Yoko Ono before marrying John Lennon, died on Friday, according to the Kanagawa Arts Foundation, where Ichiyanagi had served as chief artistic director. The cause of death was not given.

“We would like to express our deepest gratitude to all those who loved him during his lifetime,” the foundation’s president, Kazumi Tamamura, said in a statement on Saturday.

Ichiyanagi studied at the Juilliard School in New York and became a pioneer, using free-spirited compositional techniques that left a lot to chance, incorporating not only traditional Japanese elements and instruments, but also electronic music.

He was known for his genre-defying collaborations, working with Jasper Johns and Merce Cunningham, as well as innovative Japanese artists like architect Kisho Kurokawa and poet-playwright Shuji Terayama, as well as Ono, with whom he was married for several years from the mid-1950s.

“In my creation, I tried to let various elements, which have often been seen separately as contrast and opposite in music, coexist and permeate each other,” Ichiyanagi said in an artist statement.

Traditional Japanese music inspired and emboldened him, he said, because he was not preoccupied with the usual definitions of music as “temporal art” or what he called “divisions”, such as relative and absolute, or new and old.

Modern music was more about “substantial space, in order to restore the spiritual richness that music provides”, he said.

His music has traveled freely across influences and cultures, moving seamlessly from minimalist avant-garde to western opera.

Ichiyanagi has toured the world, premiering his compositions at Carnegie Hall in New York and the Théâtre des Champs-Élysées in Paris. The National Theater of Japan also commissioned several works from him.

He has remained prolific over the years, producing the Concerto for Marimba and Orchestra in 2013 and Piano Concerto No. 6 in 2016, which Ichiyanagi performed solo at a Tokyo festival.

Ichiyanagi has received numerous awards, including the Alexander Gretchaninov Prize from Juilliard, the Order of Arts and Letters of the French Republic and the Order of the Rising Sun, the Golden Rays with Rosette and the Purple Ribbon Medal from the Government Japanese.

Born in Kobe into a family of musicians, Ichiyanagi showed promise as a composer from an early age. He won a major competition in Japan before moving to the United States as a teenager, when such moves were still relatively rare in post-war Japan.

A private funeral is held with the family. A public ceremony in his honor is being prepared, hosted by his son, Japanese media said.

ArtSci Roundup: Indigenous Peoples Day On Air, Chamber Dance Company, and More

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Arts and shows | UW and the community | UW Notebook

October 7, 2022

Through public events and exhibits, connect with the UW community every week!


October 10: Indigenous Peoples Day 2022, on air

Join KEXP, Nia Tero and Amplifier for Indigenous Peoples Day 2022. Featuring special all-day on-air programming and the opening of the “Thriving Peoples Thriving Places” installation in KEXP’s gathering space, featuring artwork featuring Indigenous women leaders who have made significant contributions to Indigenous rights and guardianship, and free posters while supplies last

Free | More information


October 11, 7 p.m.: The Threat to the Empire and The Sovereign Prankster: A double book launch with professors Vicente Rafael and Moon-Ho JungeElliott Bay Book Society

A double book launch and conversation with history teachers Moon-Ho Jung and Vicente Rafael. Moon-Ho Jung presents his book on Asian and Asian-American radicalism and the formation of the US national security state: Threat to Empire: Anticolonial Solidarities and the Transpacific Origins of the American Security State (University of California Press, 2022) and Vicente Rafael (History) presents his book on the recent president of the Philippines, The Sovereign Trickster: Death and Laughter in the Age of Duterte (Duke Univ. Press, 2022).

Free | More information


October 12, 3:30 p.m.: Sam Dubal’s Inaugural Memorial Lecture on Racial Justice in Global Health, on line

Presented by: Dr. Ugo Edu, Assistant Professor of African American Studies at UCLA

This conference draws on various moments, fictional and non-fictional, to explore our commitments to the anti-racism work necessary to advance health equity. It asks for an interrogation of what is meant by “health” and how this or these definitions inform what can be envisaged as equity in health. By asking whether we are sure we want health equity, it invites us to reflect on our commitments and our willingness to sacrifice on performative gestures and declarations that often contradict the stated objectives.

Free | More information


October 13, 3 p.m.: BOOK TALK | Beyond the Next Village: A Year of Magic and Medicine in Nepal with author Mary Anne Mercer, Hans Rosling Center for Population Health (HRC)
Sam Dubal’s Inaugural Memorial Lecture on Racial Justice in Global Health, on line

A year in rural Nepal engaged in public health practice and clinical care launched Mary Anne Mercer’s career in global health. She will talk about Beyond the next village with Dr. Deepa Rao and respond to student comments and questions.

Free | More information


October 13 – 16: Chamber Dance CompanyMeany Hall – Studio Theater

Feature: Chamber Dance Company shifts focus, reinvents repertoire as it returns to the stage, UW News

This year’s program,view content notice) presented in the intimate Meany Studio Theatre, celebrates a wide range of contemporary dance styles. Guests from Seattle’s professional dance community join the Bedroom Dance Company will perform excerpts from Crystal Pite’s 10 rescue-themed duosand the captivating and tender work of David Roussève, Stardust. The program is complemented by new works created by sophomore MFA students Gary Champi and Jenn Pray, which will be performed by members of the company with guests from the Dance Department.

Discounts Available for UW Employees and Students | Tickets are $10 to $22


Fall Term: The Big Read: The new education by Cathy Davidson

The College of Arts & Sciences launches its “Rethinking the Academy” initiative by inviting students, faculty and staff to join in a campus-wide reading experience, followed by conversations about how we can improve teaching and learning at the University of Washington.

Join the Conversation: Register for the keynote with the author on November 14 at 1:30 p.m. (in person or via Zoom).


October 14, 7:30 p.m.: DXARTS Fall Concert: DXARTS Improv EnsembleMeany Hall – Katharyn Alvord Gerlich Theater

Transcultural acoustic/electronic performance with Sæunn Thorsteinsdóttir, cello; Steve Rodby, bass; Richard Karpen, pianos and electronics; Juan Pampin, live electronics; Ted Poor, drums/percussion; Breana Tavaglione, autoharp and found sound objects; Wei Yang, guzheng, flutes and piano; Cuong Vu, trumpet. An evening of enigmatic musical exploration crossing and blurring genre boundaries.

Free | More information


October 14 – 16: Artist visit: Donna Huanca, Henry Art Gallery

Performance is an integral part of the work of Berlin artist Donna Huanca. Join the Henry for a weekend of artist-enabled programs in conjunction with Huanca’s large-scale immersive installation MAGMA SLACK. The artist will visit the museum for a conversation with Jazmina Figueroa before two days of running performances by Parisjoy Jennings and Kim Thompson.

October 14, 6 p.m.: Artist talk: Donna Huanca with Jazmina Figueroa

October 15 – 16: Parisjoy Jennings and Kim Thompson: Live in MAGMA SLIT

Tag(s): Anthropology • Faculty of Arts and Sciences • Department of Dance • Department of History • DXARTS • Harry Bridges Center for Labor Studies • Henry Art Gallery • School of Public Health


Andreas Angelidakis mixes antiquity and digital culture

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In 2003, the Athenian artist Andreas Angelidakis found himself in Paris with Olivier Zahm, founder of Purple magazine. At Zahm’s suggestion, he visited the French Communist Party headquarters building, designed by Brazilian modernist Oscar Niemeyer as a gift to the party. A trained architect himself, Angelidakis found it nothing less than “sensational and transcendent”. So this year, when Denis Pernet, curator of the traveling art foundation Audemars Piguet Contemporain, invites him to create an installation in his auditorium, Angelidakis seizes the opportunity. He decided to extend his series gentle ruins, the modular display furniture he designed the very year he first saw the building, to form “a disco monastery building site.” An example of how the Brazilians worked organic forms in modernism, the roof of the auditorium protrudes through the front lawn of the premises like a dome inspired by the belly of a pregnant woman. Inside is a womb of grass-green carpet and diffused white light that will house the artist’s multimedia fantasy titled Center for Critical Appreciation of Antiquity.

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

In conversation, Angelidakis is patient and precise. “There’s a mystical geek vibe to this exhibit,” he says when we meet in Athens in August, dressed in leopard-print shorts and sitting on a sofa block digitally printed with an ancient photo of a Greek column. His top-floor apartment next to the National Archaeological Museum is an Aladdin ordeal cavern. In 30 years of career, Angelidakis has participated in numerous biennials, panels with Hans Ulrich Obrist, stands at Art Basel, conferences at Columbia and published a book entitled Internet Suburb. He was an architect, teacher and curator. “I don’t see exhibitions as a display but as an active ingredient to play with.” He remembers that in 2017, when he showed soft ruins at Documenta 14, security guards called him because visitors were moving parts of the facility: “I said, ‘Perfect!'”

In today’s version, its gentle crumbling columns are accompanied by daybeds printed with archaeological pamphlets, scattered around a column of scaffolding rising through shadows of smoke and light. On the auditorium screen, an infinite tunnel video extends the space like a portal. A metal container – resembling those used in ships, shipyards and refugee camps – houses a “souvenir shop” of Greek figurines and tourist items.

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

He calls this conglomeration “a system for a gentle stylite house”, explaining that a stylite was a monk seated in prayer on top of a pillar (pens) to be closer to God. He says that on top of the Temple of Olympian Zeus – the largest temple in ancient Athens – there once stood a hut housing a stylite. It was removed in 1870, when the modern Greek government, barely half a century old, pursued an archaeological policy aimed at eradicating nearly 2,000 years of historical adaptations with the aim of producing an idealized Greek aesthetic that would support a unified national identity in stride. of Ottoman rule.

Along with other elements of the temple’s social ecosystem (including coffee huts, commerce, and various ceremonial practices), the hut was erased, not only from physical existence, but also from documentation. Photographs of the 19th-century ruin were doctored as part of this national branding exercise that sought to paint Greece as a whitewashed monocultural fantasy, embodying the classic architectural ideals adored by the West.

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

At the center of Niemeyer’s auditorium, Angelidakis’ stylite pillar takes the form of a scaffolding tower with its signature digital impression of an Ionian column draped on one side and a construction chute suspended from the other. Athenian buildings have recently undergone many repurposings, to which the chute refers. At the top of the pillar is a metal hut in a signal yellow color to match the chute.

And what about the monk who would be in the hut? “It could be any of us doing our YouTube meditations on the couch,” the artist says. Angelidakis appeals to clubby elements, pointing out that people have turned to ancient temples and modern nightclubs in search of high rituals. “You can be on a column or on medical cannabis or antidepressants, social media, coffee, wine – there are different ways to escape reality.”

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

The artist recalls the days when the Temple of Olympian Zeus sailed the land, and the video for the installation evokes the classic gay club aesthetic that combines the idealized male forms of Greek statues with the evasive positivity of disco. . Angelidakis ordered 3D-printed figures online, with Ionian column tops (“the gayer column, flower-based, with swirls”) positioned as hats, collars, skirts or pedestals on their bodies in white plastic. “Ken the stylite,” he jokes about these kitschy miniatures, which he filmed spinning on tiny catwalks before superimposing them in the club portal video that airs the bittersweet coverage of the countertenor Klaus Nomi of Donna Summer. I feel love – as emblematic of club culture as the columns are of architecture. “Nomi released this track as he was dying of AIDS.”

The dive into the Angelidakis archive is executed with intellectual expertise, but his motivations for pursuing it are more personal. “I also search myself. I’m still trying to figure out why I’m so preoccupied with antiquity with my psychoanalyst. His father, a building engineer, showed him around archaeological sites when they received guests in Crete. He is not immune to the pervasive nostalgia for Greece, nor the melancholic mythologies of the queer, wound-healing community.

Curator Denis Pernet with Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

By retrieving stylite from history’s scrap heap and blending it with other repressed cultural elements, Angelidakis brings aspects of the urban environment out of the shadows and into them again – while you have fun! Lie down on columns! Remember the club tops! Espace Niemeyer is often referred to as retro-futuristic, an early vision of today’s space age. Angelidakis’ style is also retro-futuristic in its own way, citing the little utopias clubs of the 70s and 80s provided, including their historicist impulses. by Kubrick 2001: A Space Odyssey (1968) is a permanent reference, as is Superstudio. “I like to mix science fiction with antiquity.”

One of the booklets in the “gift shop” container is titled Future Memory Club. He covered pages of ancient archaeological pamphlets with his own sketchy musings, featuring current-day keywords like Ukraine, monkeypox and micro-dosing. “I asked the Archaeological Society if I could reprint the original pages but they said no.” Maybe they were nervous about his approach. “People idolize ancient Greece as the birthplace of democracy, but you had to be a rich man over 35 to be an Athenian citizen and vote.”

Angelidakis is interesting for many reasons – his progressive treatment of Athenian conditions, the funky DIY furniture in his apartment, the “queer brutalist” island home he just built, the intense relationship he shares with his fierce Pomeranian. , Lupo. He was studying architecture at Columbia when it first abolished the use of hand tools and required students to design only on the computer. “I was lucky to be part of it. The beginning of virtuality.’ Texture mapping, rendering, and video compositing produce his style, and he’s been “in digital archeology” for 20 years.”

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

It was 1965 when the PCF (French Communist Party) tasked Niemeyer with imagining an inspiring headquarters from which to lead the left-wing future they thought they saw. A member of his Brazilian counterpart, the architect had just left Rio de Janeiro for Paris in voluntary exile from the right-wing government of his native country. Located on the Place du Colonel Fabien, named after a hero of the French Communist resistance of World War II, the headquarters opened in 1981, one of seven buildings in France by the architect, the last of which is no only opened this year at Château La Coste in Aix-en-Provence. Espace Niemeyer combines the formal clarity and clean lines of the larger modernist vision with freeform curves and expressive flourishes, resulting in a building that is both modest and charismatic.

The Espace Niemeyer foundation was created after the building was classified as a historic monument in 2007 to ensure its maintenance, raising funds by renting its refined design environments. Arts organizations, media companies and luxury brands have staged productions here, including Netflix and Prada. The interest of the curator Pernet is both aesthetic and philanthropic: paying to exhibit there contributes to its preservation and opens it to the public. “I wanted to bring Angelidakis’ Athenian perspective on cities and culture to a Parisian audience,” says Pernet. “The way he uses urban planning and the digital to comment on society means you don’t have to be an art world insider to understand his work.” Angelidakis’ preoccupation with utopian fantasies and architectural ruins fits perfectly with how we have come to look back at the visions of mid-century architects, including Niemeyer, and the dilapidated state of many of their buildings today.

Space Niemeyer, Iimage credit: Dimitri Bourriau

That Audemars Piguet, the last family-owned Swiss watch brand, invited a contemporary deconstructivist Athenian artist to exhibit at the headquarters of the Paris Communist Party, designed by Niemeyer in protest exile, as contemporary European governments increasingly lean to the right, perfectly reflects the collapse of the meaning in which culture is immersed today. This irreverent shuffling creates a sublimely entertaining presentation of decadence, interpreting Angelidakis’ theme of ruin and reflecting a post-ideological condition. “The crisis was one of my subjects,” says the artist. “Postmodernism was the beginning of our current notion of crisis as something recurring that is part of our civilization. In constant crisis, what is right and wrong? Might as well go all the way and make a niche temple with a Stylite monk in the Niemeyer cupola. §

Historic stained glass on display

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If you’re heading to Tauranga Central Library at He Puna Manawa on Devonport Road this school holiday, come check out the stained glass panels on display which have a rich history.

Stained glass windows from the original 1930s art deco library building on Willow Street have been installed in the He Puna Wānanga Heritage & Research area, while two works of art from 1989 sit proudly in the program room adjacent to the cafe.

Libraries manager Joanna Thomas says the rooms add a bit of vibrancy and richness to the premises and people who visit the space can admire the works of art up close.

“It’s only fitting that these pieces are stored here until their new home is ready, as our archival collection connects people to the past,” says Joanna.

The lead windows installed at He Puna Wānanga Heritage & Research (near the Gray Street entrance to He Puna Manawa) were originally from the 1930s art deco building that housed the public library and electric utility of the borough. The architect was FN Hornibrook and the builder CFJ Biggs. The Bay of Plenty Times reported at the time that “a striking feature of the whole building is the beauty which has been introduced by the use of leaded lights”.

When the building was demolished in 1989, these three lead windows were retained and incorporated into the new Willow Street Library building. Earlier this year they were carefully relocated before the now complete demolition of this building.

The stained glass windows next to the cafe at He Puna Manawa were designed and made by John Macready in 1989, during the time of the Ministry of Worx gallery in Waikino Gorge. The theme of the showcases is “Creation is coming”.

“One features Papa, the earth mother, as an earth-shaped woman with her hair flowing in a lake, and Rangi, the sky father, raining down stars from above. ‘other window features the figure of a man with stars sprouting from the heart representing a creation, or that everything is made of the same stuff,’ John commented at the time.

Other stained glass panels removed before demolition of the old library and administration building began earlier this year are being stored in Tauranga City Council’s Heritage Collection facilities for safekeeping safe place.

The longer term plan is to integrate all the signs into the new civic district – Te Manawataki o Te Papa. The vibrant community space will be developed over the next eight years and will include facilities such as a civic wharf (public meeting hall), museum, library and exhibition center.

Joanna says the historic images of signs seen in council buildings over time can also be seen now by visiting Pae Korokī: Tauranga Archives Online.

“A picture I noticed while looking on Pae Korokī’s website the other day was when the late Queen Elizabeth II and the Duke of Edinburgh visited Tauranga in 1963, and you can see the stained glass window of the old town hall in the background. It was quite emotional.”

Learn more about Pae Korokī

For over 40 years, Tauranga City Libraries have carefully collected and preserved the history of Tauranga as part of an extensive archival collection.

The digitized elements of the collection are available for the community to access at their leisure at https://paekoroki.tauranga.govt.nz/

© Scoop Media

Clars’ September 16 Modern + Contemporary + Design Art Sale Surpasses $1.3 Million

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Andy Warhol’s complete set of 10 “Cowboys and Indians” serigraphs fetched $503,750, the highest sale result.

OAKLAND, CA. — Clars’ Modern + Contemporary / Art + Design fall sale on September 16 kicked off the season with impressive results, 230 lots totaling just over $1.3 million. Fine art led the way with $1.1 million in sales, the highlight being Andy Warhol’s full set of ten serigraphs, “Cowboys and Indians,” which sold for $503,750. Rick Unruh, Chairman and CEO of Clars, said: “Clars is definitely ‘climbing the ladder’ by being recognized internationally as one of the leading auction houses for modern and contemporary works. This latest auction was our third full set of Warhols to be offered in the last two years – all with outstanding results. Another stellar performance was several “Pumpkin” serigraphs by Yayoi Kusama (Japanese, b. 1929) which sold for a combined price of $108,750.

The Clars Auction Gallery recorded a nearly 100% sell-through rate for the Fall Design sale, with over 100 lots sold for a total of over $210,000. Customers from across the country competed for the Design Lots, with many items selling at or above the high estimate. Cristina Campion, Associate Director of Twentieth Century Design at Clars, commented, “Strong sales like this really demonstrate that Clars is a recognized name among design collectors across the United States.”

Top picks included an Angelo Mangiarotti “Eros” dining table that sold for $18,750, with an estimate of $6/9,000. Other auction highlights included a set of eight Mario Bellini Cab chairs, model 413, which fetched $10,625, a set of Christian Liaigre “Bazane” stools which sold for $9,375, a Charles and Ray Eames 670 and 671 chair and ottoman that fetched $8,125, and a Vladimir Kagan “Ondine” chair that fetched $8,125. Clars is gearing up for its next design auction on Dec. 18 and hopes the department will continue to see an upward trajectory in sales.

For information, 510-428-0100 or www.clars.com.

Valorant’s Piedra del Sol Skin Pack Channels Aztec Myth

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All the more reason to get the battle pass.

Valorant’s Act 2 Episode 5 battle pass was filled with memes, cute weapon buddies inspired by mythical lore animals, and one of the most elaborate skinlines we’ve seen in one battle pass to date.

The Piedra del Sol (which translates to Stone of the Sun) skin bundle is inspired by the art of the Aztec civilization, bringing to life one of the most powerful empires of the ancient world.

Riot Games weapons artist Raquel Garcia penned a new developer blog post that dove into the inspiration behind the collection, detailing the design story behind each individual weapon.



The Piedra del Sol skin bundle is inspired by Aztec mythology

Credit: Riot Games

The Piedra del Sol Collection includes skins for the Ghost, Judge, Bucky, Ghost, and Melee. The Ghost was influenced by the Aztec god Xolotl, commonly depicted as a human skeleton with the head of a canine. He guided the dead through the Aztec underworld known as Mictlan.

“I wanted to capture an artistic feel for this gun that would represent him well and also fit into today’s modern gaming world,” Garcia said. “After revisiting the initial concept, I felt the face had more of a feline direction. I wanted it to look more like a dog as the deity is depicted.

Garcia rounded the cheeks, squared the nose, and added rounder eyes, retaining Xolotl’s canine attributes while staying true to the original concept.

The rest of the canons also correspond to an Aztec god. The Ghost represents Quetzalcoatl (Creation), the Bucky is Huitzilopochtli (Sun and War) and the Judge is Tezcatlipoca (Night Sky).

The face of each god sits on the back of each weapon, gleefully ogling the player.

“We worked closely with our Latin America office to decide on the faces for each weapon and to find unique color palettes that best represent the divinity of each weapon,” said Sammi Pedregon, art supervisor. outsourced to Valorant.

Valorant Piedra Del Sol Melee Skin Bundle
Credit: Riot Games

Finally, the melee skin was based on the Aztec Sunstone and a Macuahuitl, a historical Aztec wooden club with inlaid obsidian stones like blades.

The team encountered several challenges in transforming the initial concept into a 3D model. “In our early batches of weapons, the faces, in particular, would look really lopsided, small, or uneven compared to the rest of the weapon details,” Pedregon said.

This meant that they had to rework and adjust different sections of each weapon to match the same beautiful and intricate gemstones seen in Aztec culture.

This isn’t the first time Riot has taken inspiration from ancient myths and lore to design a weapon skin. The Sarmad skin bundle is inspired by Egyptian mythology, with each weapon similarly modeled after a different deity.

You can read the full blog here.

READ MORE: NRG could be close to completing its roster with superstar FPX

Wood featured in Pop Up Arts Shop | Archives

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The Cultural Arts Council Douglasville/Douglas County’s new Pop Up Arts Shop for October features Cathy Wood’s creative glass work with CW Glass Designs.

As an artist of many creative mediums, Wood fell in love with the art of stained glass over forty years ago. During a long tenure as an art teacher for public and private schools, Wood’s passion for stained glass was only a hobby. In retirement, she kicked her business CW Glass Designs into high gear and hasn’t looked back since.

The last Haverhill Art Walk of 2022 ends this weekend with Punk in the Park and Art Market

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As a public service, 97.9 WHAV presents Community Spotlight at no cost to benefit non-profit organizations in Greater Haverhill. To submit event news, fundraisers and other community calendar announcements, click on the image.

The Tims, Punk in the Park and Neck Dive are among the highlights of the last Haverhill Art Walk of the year this weekend.

The Haverhill Art Walk is a monthly event that runs from June to October and spotlights local businesses and underutilized spaces with art, exhibits, demonstrations and musical performances.

The final festival takes place Saturday, October 8, from 3-6 p.m. throughout downtown Haverhill at Washington, Wingate, Essex and Emerson streets.

In Washington Square, Punk in the Park is presented by Heaventown Haverhill, a community of local artists, musicians and enthusiasts who encourage creativity in the Merrimack Valley. Live musical performances include Jonee Earthquake Band, Stereo Vulture, Diablogato and The Grubs.

Shoetown Art Center is hosting a sidewalk art sale and exhibition of student and staff work at 200 Merrimack St. Additionally, the Tom of Buttonwoods Museum guides a walking tour of Italian architectural heritage beginning at 4:30 p.m. , outside the Merrimack Valley Regional Transit Authority bus station.

Live music and art will be on display along Washington Street, as The Tims will play at G’s Restaurant, 35 Washington St., and Grace Marchese will exhibit her art at Exit Realty, 41 Washington St.

More music courtesy of Neck Dive happens in Columbus Park, while Rosemary Smith leads the final hula hoop event of the year.

On Wingate Street, Array of Trades showcases over 20 artists at the Art Market and Winged Rabbit, 53 Wingate St., pottery, fused and stained glass, paintings, digital art, photography and jewelry of local artists. Featured.

For updates and details visit the Haverhill Art Walk Facebook page. Questions can be emailed to [email protected].

Work of the white night donated to the community of Shepparton

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The Victorian Government donated a White Night artwork to the community of Shepparton, attracting more visitors and supporting local businesses.

Located at Kaiela Artsthe permanent outdoor public artwork was commissioned to White Night Shepparton and features the stories of emerging artists Tori Day, Tahnee Day and Dylan Charles.

Called Shadowsthe artwork will be located in the Victoria Park Wetlands, home to the Yorta Yorta Nation for centuries.

The artwork depicts stories that have been passed down through the generations of their connection to rivers and waterways.

With Shadows remaining outside of Kaiela Arts as a permanent piece for locals and visitors alike means more people will be able to engage with the rich stories of the Yorta Yorta Nation.

Donating the artwork to Shepparton provides an example of the lasting impact creative events can have on communities long after the event, with artwork living to provide ongoing benefits in their new location.

Shepparton was lit up on Saturday June 25 for the city’s first all-nighter, which drew more than 30,000 locals and visitors to revel in this much-loved cultural celebration.

The program featured the best of previous regional Nuit Blanche events as well as new elements that showcased the region’s landscape, culture and history.

Since Melbourne’s first All-Nighter in 2013, the event has established a solid reputation as a dynamic and inclusive celebration of immersive art and community involvement.

“Since the inaugural White Night Shepparton event in June, Shadows was warmly welcomed by locals and visitors to Kaiela Arts and SAT and we are proud to make it a permanent part of this historic landscape,” said Minister of Tourism, Sports and Major Events Steve Dimopoulos.

“This new permanent creative attraction will give visitors even more reasons to enjoy Shepparton and the surrounding areas, supporting local businesses and jobs.”


Image: Shadows by Tori Day, Tahnee Day and Dylan Charles – courtesy of Visit Victoria

Creation, destruction, sensation: Damien Hirst’s burning desire to destroy art worth £10million | Damien Hirt

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JTake two cultural phenomena, both designed to confuse us, that are now each worth a lot of money: the art of Damien Hirst and the equally infamous Non-Fungible Tokens, or NFTs. Between them, they have already puzzled many art lovers. This month brings them both together in a dramatic event that will be staged during Frieze London, a time when the international art world turns its fickle attention to the capital.

And, as if the combination of this notorious British artist and the mystifying market for digital art wasn’t explosive enough, a real bonfire is promised. Hirst is to spotlight works from his first £10million NFT collection. For his detractors, the expensive stunt will mark the low point of a career built on brass cuffs and necks. For admirers, this is an opportunity to reflect on the impact of a master.

Hirst’s conflagration is due to begin on Tuesday, October 11 in front of a virtual audience and guests at his Newport Street Gallery. The burning routine will continue daily at set times until its exhibition, The Currency, ends at the end of the month.

The artworks themselves, a series of 10,000 images that feature his trademark colorful dots, were released by digital arts service Heni last year, each represented by a virtual token, or NFT, worth £2,000. Collectors had the option of keeping either the token or the physical artwork, and this summer 5,149 chose the tangible item, while 4,851 opted for the NFT. It is these 4,851 original images that must now be destroyed.

Damien Hirst’s sculpture Death Denied. Photograph: Justin Tallis/AFP/Getty Images

For Laura Cumming, author and Observer art critic, this ostensibly provocative act fits perfectly into the practice of the artist. “Damien Hirst made the market his medium and his message a long time ago,” she said over the weekend. “His latest stunt is absolutely self-contained in those terms.

“He’s always been brilliant on titles and this one is like the crack-cocaine concentrate of epigrams. It’s called The Currency and that’s what it’s about and what it’s for – l art as money, and making money with art. And that, in turn, goes right to the heart of Frieze Week.

Hirst’s first fireworks display will be far from the first artistic banter with the spectacle of destruction. Before Banksy surprised this auction house in 2018 by automatically shredding his Girl With Balloon image, the KLF group stunned the music world by burning a million pounds on the Hebridean island of Jura in the summer of 1994. And , in 2001, artist Michael Landy proceeded to destroy all his possessions in an abandoned department store.

The gratuitous demolition is alarming, although anyone who has ever built a sandcastle or a snowman will be familiar with the toll the threat of erasure places on creativity. Certainly, 2009 Turner Prize winner Richard Wright saw the eventual destruction of his intricate murals as part of their essence, and he claimed to be quite optimistic about it.

The images that make up The Currency were hand-crafted on paper in 2016 with enamel paint, then numbered, watermarked, hologram and micro-dotted, as well as randomly stamped and titled from Hirst’s favorite song lyrics, before being signed on the back.

The artist sees in this series a way to involve the public by buying, exchanging or selling his works. To the outside world, however, it’s really the kind of trickery that has given contemporary art a bad name. But then, without a bad reputation, where would such an art be? Much like the punk wave in music in the late 1970s, the Young British Artists of the late 1990s wouldn’t have had much effect without killing a few sacred cows, and eventually pickling them.

The Sex Pistols’ music wasn’t melodious or smooth, but it was exciting, and Hirst was the YBA equivalent. Like Johnny Rotten, he asked the annoying questions that modern art has often asked, but more aggressively. Questions like, what is art and how is it different from craft and design, or even a visual joke? We can all understand that a pillbox is a pillbox, but if you fill an art gallery with it, it means something more. But what value or meaning does it have if you then mass-produce these pill boxes? NFTs have now taken these conceptual puzzles one step further by removing the need for any product.

For God's Sake, a life-size cast of a human skull in platinum, by Damien Hirst.
For God’s Sake, a life-size cast of a human skull in platinum, by Damien Hirst. Photograph: Reuters

“If anyone was to play with NFTs and their value, it was Damien Hirst,” said Louisa Buck, The art diary contemporary art correspondent, admitting that she is “not one to believe that NFTs are the offspring of the devil”. “He’s always been brilliant at playing with the art market. But much of the art he created along the way, well, that’s another story.

Buck points to the varying quality of the 223 works by Hirst auctioned off at London’s controversial 2008 “liquidation” sale, works ranging from grand to “hideous”. It was a fiasco in which art dealers were allegedly forced to secretly buy back works to protect the value of the artist’s output.

“And when it comes to that diamond-encrusted skull [which Hirst initially claimed sold for £50m in 2007, before later backtracking], who knows if Hirst ever owned it, or who bought it,” Buck said. “Still, he’s done a fantastic job patrolling the territory that wonders what is art and what is merchandise. And whatever happens next, he has already produced some of the most stunning works of art of the last decades, pieces such as Mother and Child (Divided), the cow and calf in tanks and the shark in formaldehyde . Or A Hundred Years, the fly installation. We must not forget the paintings on site either. Of course, he was referring to the art of people like Bridget Riley. It is steeped in art history.

However, not all of them are even slightly seduced. This weekend, one of his artistic peers told me that the commotion around Hirst was “almost as boring as his terrible work.” He likened it to giving Cliff Richard space on the music pages.

If nothing else, however, Hirst’s role as a motivator and promoter of the YBA movement was undeniable. His ambition was there from the start, when he and other illustrious people mounted an exhibition in a deserted building by the Thames called Freeze in 1988. Almost empty on the day of my visit, luckily at the time, the legendary show vibrated with pure nerve and visual exuberance. Sensation, the controversial YBA show at the Royal Academy in London, followed in 1997 and after that, the rock star lifestyle of a wealthy bohemian awaited Hirst.

Today, he remains the kind of celebrity who attracts anecdotes. A friend, for example, remembers setting fire to a caravan during a music festival. And then came his Devon empire, including an elegant Ilfracombe restaurant, and the proliferation of spin paintings. Scandalous media coverage over the years has varied from tame revelations that he hasn’t done all his work, to speculation about the veracity of his Sunken Treasure parody, to recent claims that he’s got rid of many employees during the pandemic.

More serious blows from art experts have included the condemnation of Robert Hughes, the late champion of modern painting and sculpture. In a film for Channel 4, the Australian critic said Hirst operated ‘like a commercial brand’, had ‘little ease’ and his shark, The Physical Impossibility of Death in the Mind of Someone Living, was ‘the most overrated in the world “. marine organism.

Criticism of Hirst’s skill as a painter is more than justified, according to Buck: “Hirst fell off the hook when he began to see himself as a painter, standing in a studio with a smock and a beret, while ‘he can barely draw,’ she said.

The opening of the new NFT show has already garnered an in-kind reaction from a reviewer. An artist called Victor smashed one of Hirst’s dotted ceramic plates on the pavement outside the Vauxhall gallery in protest, before burning a book he plans to sell now for £250,000 as a as a commentary on the “grotesque art market”.

The art isn’t just about stunts, of course. But it’s about stimulating images and ideas, some of which look directly at the very idea of ​​art. The value we place on an image is always up to us, as is our belief in a currency. As Hirst once said when asked if the shipwrecked treasures he presented at the Venice Biennale in 2017 were real: “Myth or reality…whatever you choose to believe.

Vermont Arts News | Vermont Arts

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‘Gatsby the magnificent’

Brahms Requiem

Visit of the open workshop

Pianist Clayton Stephenson

Autumn Art Walk

Schumann Quartets

Pickering Book Tree – new book and art store opens in town

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A NEW book and art store has opened in Pickering.

The Pickering Book Tree opened in late August 2022, on Market Place, and has over 3,000 books, as well as a range of art supplies including watercolours, acrylics, pencils and brushes.

On its shelves there is everything from novelties to classics and poetry.

If you can’t find the book you’re looking for, the store has an ordering policy that books can be purchased from vendors.

The store is a family business of Andrew and Stephanie Bundy, and their daughter Cathy.

Andrew worked as a teacher in Norfolk and came out of retirement to open the store with his family.

The family moved from Norwich to Pickering in 2018.

“The bottom line is, whatever the bills, we just want it to work,” Andrew said.

The idea for the bookstore came from Ella, Andrew and Stephanie’s daughter, who died of cancer last year aged 27.

Andrew said Ella was a “devoted reader”.

“Every time (Ella) came to see her, she was like, ‘I love Pickering Dad, but this is a town that could use a bookstore,'” he added.

With Ella’s recommendation in mind, the family jumped at the chance to take over the 18th-century house on Market Place and open a bookstore.

Since opening, Andrew said: “Business is good. There has been a lot of interest in the store.

“We’ve had such a mix of people coming into the store – it’s very difficult to pinpoint any particular interest.

“It’s just great to meet people who talk about books, to help them find the books they want – point them to books they might not have thought of.”

The store is a family business of Stephanie, Cathy and Andrew Bundy

Andrew explained that the community is at the heart of the store and in the future they hope to hold book club meetings and work with schools to give students the opportunity to read and develop habits early on.

While juggling challenges such as the rising cost of living and supermarket prices, Andrew said: “The bottom line is that whatever all the bills are, we just want it to work.”

His wife, Stephanie, added, “We’re doing this for the love of the bookstore and for the community.”

In addition to selling in-store, the store aims to start selling directly from its website.

The website and social media pages were created by the couple’s daughter, Cathy.

Currently, books can be purchased from the online store through bookshop.org – an online store supporting independent bookstores.

In addition to supporting the community, the store aims to be as sustainable as possible.

The store runs a loyalty card system where points can be collected, with a tree planted for each card completed.

A contribution is also made to the planting of a tree for every 50 books sold at the boutique.

The bookstore plants a tree for every 50 books sold and for every completed loyalty card

The Pickering Book Tree is open 10 a.m. to 4 p.m. and closed Wednesdays and Sundays.

More information about the store can be found on its website, Instagram and Facebook pages.

The boutique will hold its opening on Tuesday, October 4 from 7 p.m. with travel writer Jules Brown. Tickets can be purchased in-store or online here.

Artist Creates Inktober 2022 Illustrations Using Artificial Intelligence Art

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The real magic of Artificial Inktober

New York, NY – September 30, 2022 – An international artist creates 31 designs for Inktober 2022 using artificial intelligence.

American artist Allan Linder has created a collection of AI-generated artwork using prompts from the official Inktober 2022.

If you’re unfamiliar with Inktober, it’s a month-long drawing challenge in October that focuses on better inking skills by giving the artist a different prompt every day. Linder has participated in many of these challenges over the past few years using traditional pen and ink drawing techniques.

This year, Linder decided to do something different by using Midjourney’s AI to create the art based on the Inktober prompts. Below are the first ten days created in advance. Check back for updates.

Each of these illustrations is created using a variety of techniques available to the artist and hundreds of hours of work. These illustrations are original handmade illustrations, using artificial intelligence, digital painting, image synthesis, latent scattering, image to image, rapid engineering, 3D rendering and vector fractal design , creating a dynamic media collage with hundreds of layers.

The Inktober Artificial Collection will be released as an NFT collection for $1 each.

Allan Linder is an award-winning multidisciplinary artist with 25 years of experience in painting, drawing storyboards for film and television, character design, animation and illustration.

The Chelsea Artists Gallery Our mission is to provide all artists, regardless of age, race, gender or creed, the opportunity to present their work without censorship.

For more information please call 929-277-8407 or email [email protected]

Media Contact
Company Name: The Chelsea Artists Gallery
Contact person: Bo Jenkins
E-mail: Send an email
Call: 929-277-8407
Country: United States
Website: https://www.theartistsgallerychelsea.org/

London Fire Brigade presents art display to ‘celebrate bravery’

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The London Fire Brigade unveiled their updated typeface designed by Studio Sutherl & and The Foundry Types at the Running Towards exhibition of graphic artwork inspired by the organization’s design heritage.

The race to took place at Shoreditch Fire Station during the London Design Festival, with visitors entering through the building’s large red shutters into an exhibition of artwork created by British designers.

The exhibition took place at Shoreditch Fire Station

The new Fire Brigade Sans font, created by Studio Sutherland and Types of foundrywas displayed outside the Shoreditch fire station.

Its design was inspired by the lettering of old fire trucks and on the front the typeface was printed in the red, yellow and gold colors synonymous with fire trucks.

Black and white poster that reads 'Nee Naw Nee Naw'
Studio Sutherl& designed the new London Fire Brigade typeface

To celebrate the typeface, London Firefighters collaborated with communications agency KesselsKramer, writer Thomas SharpStudio Sutherl& and rug maker British on the exhibition, which saw designers create their own interpretations of the organization’s design heritage.

Among the exhibits were graphic renditions of the Danger Fire Hazard safety sign, a bespoke rug with a pattern inspired by the universal emergency exit sign, and firefighting objects and items from the company’s own collection. Shoreditch Fire Station.

Red poster with the new London Fire Department typeface in gold lettering
London Fire Brigade’s Fire Brigade Sans typeface featured on posters

KesselsKramer described the showcase as “a celebration of the bravery of London’s firefighters, aiming to inspire that same spirit in ourselves”.

The studio invited 25 London-based designers to recreate the fire safety symbol for their display, titled Warning: Fire Hazard.

“It seemed fitting that for the inaugural London Fire Brigade Design Festival exhibition, a graphic design element synonymous with the fire service took center stage,” said KesselsKramer.

Black cat illustrated on a blue triangle with a lit match
Franz Lang’s design tells the story of his grandmother’s cat

Presented on triangular panels, each work was designed to tell a story of firefighter bravery. Graphic artist jimmy turrelThe interpretation of was dedicated to his father who was a firefighter.

Illustrator Francois LangThe entry of depicts the story of her grandmother’s cat, who was rescued from a tree by firefighters.

“It’s such an iconic venue for an art exhibit,” said Lauren Coutts, Artistic Director of KesselsKramer. “Getting a rare glimpse of a fire station is very exciting in itself, so to be able to celebrate bravery here, in so many forms, is very special.”

The Brits have created a bespoke wool rug for The Running Towards exhibition, which features a pattern inspired by the universal fire exit symbol.

Rug hanging from beams at Shoreditch Fire Station
Brits designed a rug to be displayed at The Running Towards exhibition

The burgundy and navy blue chevrons repeat throughout the length of the rug with arrows and sticks that refer to the emergency exit sign. According to the British, the rug is made from wool to illustrate the material’s naturally flame retardant properties.

“As a material, wool contains a higher water and nitrogen content than other synthetic fibers, making it a naturally flame retardant material,” Britons said.

“Another advantage is that it does not emit smoke or fumes, often one of the main causes of serious health problems following a fire.”

Yellow and red poster with the text 'fight flight'
The exhibit featured graphic posters in a color palette referencing fire trucks

Other exhibits that took place during the London Design Festival include a collection of wooden objects made from a dying ash tree and a sculptural stone installation that references Stonehenge.

Photograph courtesy of London Fire Brigade.

The Running Towards took place from September 20 to 24 as part of the London Design Festival. See Dezeen Events Guide for an up-to-date list of architecture and design events happening around the world.

Learn about contemporary figurative painting with selections chosen by the Art Renewal Center for a Sotheby’s sale

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With a mission centered on the promotion and revitalization of figurative art, the Art Renewal Center (ARC) is at the forefront of the 21st century figurative art movement. Founded as a 501(c)(3) non-profit organization in 1999, ARC was originally created to document and preserve the skills and knowledge of Old Master painting techniques, particularly as they have been developed over the past centuries. The need was obvious: at that time, there were only 14 studio schools in the world that offered instruction in realistic painting styles; today, thanks in large part to the efforts of ARC, there are more than 85 ARC-accredited art schools and programs, as well as additional online resources for artists to learn and advance the arts. figurative art. Along with this proliferation of schools and workshops, realism developed a new and growing following. Although abstraction has been a dominant force over the past century, in recent years there has been a noticeable resurgence in attention to figurative and realistic work.

In the summer of 2021, Sotheby’s opened its first-ever online auction of Important 21st Century Realism, which featured 28 lots selected from the 15th ARC International Salon, the world’s largest figurative art competition. The fair received nearly 5,000 submissions from more than 80 countries and 91 works were exhibited in the gallery space of Sotheby’s New York. The realistic art exhibit was incredibly well received and the auction ultimately sold 21 of 28 lots for a total of $442,300, indicating strong interest.

Realist ARC works continued to appear at Sotheby’s contemporary auctions, which provided an invaluable platform for wide display. Currently, seven ARC works by national and international artists are included in the Contemporary Discoveries online sale, open for auction between September 23 and October 3, 2022. The fact that realism is so strongly represented in this sale highlights highlight ARC’s achievements in promoting gender.

See the Art Renewal Center selections in Sotheby’s Contemporary Discoveries sale below.

Megan Read, Evanesce (The Homecoming Child) (2022). Courtesy of the Art Renewal Center.

Lesley Thiel, In my head: I am a warrior (2022). Courtesy of the Art Renewal Center.

Tina Sprat, Before to sleep (2022). Courtesy of the Art Renewal Center.

Vanessa Lemen, Tide (2022). Courtesy of the Art Renewal Center.

The Contemporary Finds Online Auction is open for bidding from September 23 to October 3, 2022.

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Michelle Williams Joins Eden Children’s Concerts in Chicago

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Chicago News

Michelle Williams joins Chicago Children of Eden Gigs

The Grammy-winning entertainer and Broadway alum will star as Eve and Mama Noah in the Stephen Schwartz-John Caird musical.

michelle williams


Grammy-winning recording artist and Broadway alum Michelle Williams to star as Eve and Mama Noah in Stephen Schwartz and John Caird’s upcoming Chicago Stage Concerts Children of Eden. The biblical musical, which tells the stories of Adam, Eve and Noah, will perform at the Cadillac Palace Theater in Chicago on October 15.

Former Destiny’s Child member Williams, whose Broadway credits include Aida, Chicagoand Once on this island— joins a previously announced cast including Broadway Wretched star Randal Keith as a father, The voice runner-up Koryn Hawthorne as Yonah, gospel music artist David Phelps as Adam/Noah, and YouTube music creator and artist Sam Tsui as Cain/Japheth. The staged concert will be conducted by Derek Van Barham and will feature choreography by Nicholas Ranauro.

With plans for a full Broadway production in 2023, the Chicago concert is produced by the Chicagoland Theater Fund and Onesti Entertainment. Justin Kono serves as musical director, with Kyle Haas serving as artistic producer.

Based on the book of Genesis, Children of Eden has a book by Caird and a score by Schwartz and offers a unique account of the story of creation through the epic of Noah and the flood. The musical had its world premiere in London’s West End in 1991, then was performed in revised form at New Jersey’s Paper Mill Playhouse in 1997. Although the musical has yet to come to Broadway, it is become a favorite in regional theaters, schools, and churches. The score includes Schwartz favorites such as “The Spark of Creation”, “Lost in the Wilderness”, “Stranger to the Rain” and “In Whatever Time We Have”.

The Chicago concerts have been in the works since 2020, originally announced for summer 2020 with a different creative team and Norm Lewis as Father. Following the onset of COVID-19, the concert was postponed to August 2021, with Kirstin Maldonado, Deborah Cox, David Phelps and Brian Justin Crum joining the star roster. This date has also been postponed. Further castings for the 2022 concert are to be announced.

For more information and tickets, visit BroadwayInChicago.com.

“Lost Lake” – NoHo Arts District

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Lisagaye Tomlinson as Veronica and Craig Bachmann as Hogan. Photo by Maria Proios.

[NoHo Arts District, CA] – A NoHo Arts Theater Review of the Cheshire Moon and Crimson Square Theater Company production of David Auburn’s “Lost Lake”, directed by Faye Viviana, starring Lisagaye Tomlinson and Craig Bachmann at the Beverly Hills Playhouse.

I saw several plays at the Beverly Hills Playhouse, all produced by the Crimson Square Theater Company, and all excellent. “Lost Lake” is no exception.

A brilliantly paced and emotional exploration of two people brought together, who normally would never have met, and how the intersection of their lives for a few days one summer changes them.

Veronica visits a potential lakeside rental with the intention of booking a week in the summer for her and her children. Hogan is the cabin’s owner and does his best to sell Veronica on the idea that his is the best cabin on the lake, despite its rundown condition and Veronica’s obvious reservations. Veronica hasn’t had much luck with the other cabins she’s visited, imagining that a recently widowed young black woman with two children doesn’t offer a good prospect for the extremely “conservative” locals. Hogan, however, seems very eager to rent to her, and although the cabin is rough around the edges, Veronica takes the plunge and leaves Hogan a deposit.

A NoHo Arts theater review and production of
Lisagaye Tomlinson as Veronica and Craig Bachmann as Hogan. Photo by Maria Proios.

Fast forward several weeks when Veronica arrives with her children and finds that hardly any of the maintenance work that Hogan promised to do on the house has actually been done, his clothes are even still in the drawers and he needs a deep cleaning. Annoyed but determined to make the most of her time with her children, Veronica decides to stay.

She has other worries, she just lost her job as a nurse practitioner and is in real danger of losing her nursing license. Hogan has his own struggles, sleeping in his truck while he rents out his house and fighting with his brother who co-owns the cabin. The two discover a lot more about each other’s misfortunes than either of them would have ever liked and, in a way, become something of a friend.

They are two people from totally different backgrounds and with completely different pains and yet something changes for them because of each other. For better and for worse. It’s a play about expectations. The ones we have about ourselves and how our lives are meant to unfold. The ones we have on top of each other, even though we have no idea who or what “the other” is. And the ones we have about what each of us can ultimately do to change our destiny, alone or not.

LisaGaye Tomlinson is fascinating as Veronica. Icey, to the point of steel. Completely broken, but stoic in her pain and so human. She takes us on a whole journey from the first meeting to the last words. Really great work and totally believable.

Craig Bachmann as Hogan is his equal in every way. He gets to the heart of this character, what might have been stereotypical is nuanced and layered and thoroughly likable. Her ability to charm while clearly lying childishly, only hoping to please, is so effective.

So with these two wonderful actors and a room full of richly drawn drama and the hard, hard truth of the world, how could this performance be anything less than wonderful. The decor is also in the spotlight in this room, as it really does feel like a dingy little cabin by a lake in late summer.

A NoHo Arts theater review and production of
Lisagaye Tomlinson as Veronica and Craig Bachmann as Hogan. Photo by Maria Proios.

“Lost Lake” is definitely an emotional roller coaster ride. We fall in love with these two people and their very “lost” lives.

The way they relate to each other, the little disappointments that are forgiven, and the deep understanding on a level they could never really know is what makes “Lost Lake” such an eye-opener. It’s a tender story of two people who save each other in completely different ways for no reason, but they can.

Watching their beautiful and very reluctant generosity of heart saves us a little too. There is so much animosity in the world – wars, hatred and distrust.

“Lost Lake” gives us a few hours into a world where there might be some hope for all of us. Cheer!

A NoHo Arts theater review and production of
Lisagaye Tomlinson as Veronica and Craig Bachmann as Hogan. Photo by Maria Proios.

Only a few more weekends of this shine, so don’t delay!!

When:

Until October 9
Friday and Saturday 8 p.m.
Sunday 2 p.m. and 7 p.m.

Where:

254, boul. Robertson S. Beverly Hills, CA 90211

Tickets:

https://www.crimsonsquare.org/

Irish Great Hunger Bord – Quinnipiac does not copyright works of art

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Calls for further investigation by the DA as the Great Hunger Museum’s Irish Collection does not have a proper or agreed domicile at Fairfield GAA as Quinnipiac flouts its responsibilities and duty of care with new loan of works of art art.

Today, September 28, the Great Hunger Museum of Ireland at Quinnipiac University is set to celebrate its 10th anniversary. Instead, the Irish Great Hunger Bord, committed to preserving the world’s largest collection of Great Hunger-related art, is calling for a further investigation by the district attorney into Quinnipiac’s handling of the museum’s closure and works of art.

In a recently published statement, titled “The threat to the Irish Great Hunger Museum is entering a new and dangerous phase”, the Irish Great Hunger Bord says that “the public outcry surrounding the museum’s unwarranted closure has fallen into the deaf ear”. They add that Quinnipiac’s actions since August 2021 are “an act of gross disrespect for their public trust” as they loaned part of the collection to Ireland’s Great Hunger Museum of Fairfield, a hastily formed entity without building, staff, membership or financial capacity. .”

In September 2021, it was announced that the Gaelic American Club in Fairfield, Connecticut would become the new home of the Great Hunger Museum’s collection.

The Verge states that “Last March, due to the furor over the closure of the museum, Quinnipiac issued a public statement falsely asserting that the collection should be in the care of the Gaelic American Club in Fairfield, Connecticut. This statement stated that the Quinnipiac Board of Trustees had approved the transfer to the Gaelic American Club. However, the Gaelic American Club had never voted among its members to ratify this decision. The lie that the GAC was the official steward has was repeated publicly by Quinnipiac Provost Debra Liebowitz at a rally in Fairfield two weeks ago.

“Then, last week (21.09.22), in a memo written to its members, Gerry Forde, the chairman of the executive committee of the Gaelic American Club disclaimed any responsibility for the collection or for the establishment of a new museum of Famine.”

They also note that under a new interim agreement, “selected works of art will be displayed in a hallway at the Fairfield Museum and History Center for a few weeks before being returned to storage with the collection indefinitely. That Quinnipiac approved the loan of 30 pieces – of which only 24 appear to be on display – is an outrage and a violation, given that Quinnipiac is still the custodian of the works.”

They reiterate that “the loan was made under false pretenses”.

final insult

“Allowing unauthorized private citizens to manipulate the art is a final insult and a tipping point. Keen to preserve the collection and honor the legacy of the famine, the Irish Great Hunger Bord calls for a thorough review of these actions by the Connecticut Attorney General’s Office to the due process that the situation demands, that the public deserves, and that the University owes to the heritage community, Edge’s statement continued.

“‘Collections have a special role and a distinct relationship with the communities that engage with them. They are not mere property…Removing them from the collecting entity is also a public act,’ says the professional of renowned museum, Dr. Thomas J. Loughman.

“IGHM was the only museum in the world dedicated to honoring the devastated victims of the disaster and its ramifications for global migration. The collection, acquired through donations from the artists and their estates, was housed in an off-campus building on Whitney Avenue. redesigned for this purpose. The Museum quickly became an international symbol of compassion and human rights. Its future as a memorial site and center of learning was promising.

The Great Hunger Museum, CT.

“Yet that was not the case. Rather than build on the museum’s worldwide fame after the collection’s successful tour of three sites in Ireland, including Dublin Castle, in 2020 Quinnipiac’s new president, Judy Olian, announced that IGHM will be closing immediately and permanently following a vote by the University’s Board of Trustees and despite its recent acceptance of public donations to keep the museum open. President Olian’s claim of the museum’s insolvency has been challenged, and supporter groups have come forward to offer funding to continue its operation. These efforts were pushed back and during the Covid pandemic the collection was locked down and neglected, with no information released regarding the management and storage of the artworks.

“The closure of IGHM has sparked public outrage challenging Quinnipiac’s authority to close an institution subject to special fiduciary duties, including obligations to maintain the integrity of the collection, provide public access and to specialists and to ensure their physical well-being: these are the responsibilities of any museum dedicated to the public good.

“The idea that Quinnipiac would revoke his support for IGHM, an entity” dedicated to educating people about the harms of discrimination and bigotry
– in this case, anti-Catholic and anti-Irish bigotry – at a time when the world
being so preoccupied with these issues doesn’t make much sense,’ former Quinnipiac chairman John Lahey told The New York Times. The decision wasn’t just baffling; it was haphazard and in violation of the museum’s mission to hold these cultural artifacts in trust for the public good.

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“Let’s be clear: temporary loans of part of a collection violate the fiduciary responsibility to protect, preserve and display a collection as donors intended. Many people familiar with the matter suggest that Quinnipiac reopen simply the IGHM closed with the money the University is spending on storage, insurance, attorneys, and temporary exhibits such as the art exhibit at the Fairfield History Center. attempts by Museum supporters over the past year to work with Quinnipiac in fundraising and providing professional support have been flatly rejected by the Although Quinnipiac claims the Museum is not financially viable, he refuses to provide evidence to support this claim.

“Members of the Great Hunger Bord of Ireland have urged Connecticut Attorney General William Tong to investigate the museum’s closure. The Attorney General’s interim report, released August 16, concluded – as trustees should have knowledge – that no transfer of the collection could occur without first obtaining judicial approval through a diversion action in court. Specifically, Quinnipiac remains the custodial owner of the cultural art and therefore has fiduciary duties not only to protect and preserve the collection, but to exhibit it in a qualified museum setting. These abilities cannot be voted off by the trustees, nor can the collections be transferred, without public scrutiny and due process before the Connecticut Superior Court, known as a deviation action.

A piece from the Great Hunger Museum:

A piece from the Great Hunger Museum: “Anguish”, by Glenna Goodacre.

Respond to obligations

“In an action for deviation, the University must prove that it is unable to meet its obligations; it must prove that it honors the interests of those who have donated to the museum; and that the institution it hopes asset stewards are better prepared than they are to be stewards of the collection.

“We, the Great Hunger Edge of Ireland, cannot sit idly by while the Trustees continue to shirk their fiduciary duties. We urge Attorney General William Tong to fully discharge the duties of his office to” to represent the public interest in protecting any donations, bequests, or devices intended for public or charitable purposes”, and to determine why Quinnipiac University trustees say it cannot operate the museum as the donors intended In addition, we call on directors to honor their individual fiduciary duties:

1. Publicly retract and correct persistent misrepresentations that the Collection is being transferred to the Gaelic American Club, which has now disavowed such representations to its own members.

2. Use misappropriated funds to abandon the operation of the Great Hunger Museum of Ireland in order to immediately reopen the museum and properly preserve and display the collection as living artists and donors wished, or otherwise:

3. Immediately begin the diversion action required to prove that it can no longer operate the museum as intended and seek court approval to transfer the collection to a qualified operational museum now and not years
in the future.

In the absence of such actions, trustees must explain why they refuse to protect the museum’s original vision of honoring Irish history and educating the public.”

The Edge told IrishCentral that he had asked “the public to call or write to Connecticut Attorney General William Tong as good as Administrators of Quinnipiac University. The public’s response will make the difference.”

For more visit www.IGHBord.org

Works by David Hockney and Rankin sold at anonymous auction for WaterAid

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Anonymous painting for WaterAid auction

Works by well-known British artists including David Hockney, Damien Hirst, Rankin and Boy George are to go under the hammer anonymously to raise money for WaterAid.

The pieces will form part of the charity’s ‘secret’ Art Of Change auction, but will be sold without the artists’ names on them, with bidders urged to use their artistic instincts to potentially make the purchase of a lifetime .

The collection, curated in collaboration with Hidden Gallery, showcases climate-themed works to raise awareness of the devastating impact of climate change on vulnerable communities’ access to safe drinking water.

(WaterAid/Issy Oakes/PA)

The auction will take place during the British Art Fair at the Saatchi Gallery in London, which runs from September 29 to October 2.

The UK artists featured range from celebrities and household names to emerging talent, with everyone involved donating 50% to 100% of their sale to WaterAid.

Artists who contributed to the exhibition include Ben Okri and Rosemary Clunie, Boy George, Carolyn Trant, Carrie Reichardt, Damien Hirst, David Hockney and Giles Deacon.

(WaterAid/Issy Oakes/PA)

Haseebah Ali, Henry Ward, Heywood and Condie, Jessica Albarn, Jonathan Barnes, Julian Wild, Nettie Wakefield, Pure Evil, Rankin, Rowena Easton, Sir Peter Blake and The Connor Brothers will also have works exhibited and sold.

Photographer and filmmaker Rankin said: “The climate crisis is a water crisis, from too much to too little, it is now an emergency.

“Solving this problem is a daunting task. That is why it is so important that we think about supporting sustainable adaptation.

(WaterAid/Issy Oakes/PA)

Nigerian-British poet Ben Okri added: “The destruction of our environment and the impacts of climate change are now a must-have conversation.

“There is nowhere to hide. Those who suffer the most are not the ones causing the problem.

“In Nigeria, my native country, more than 46 million people do not have access to drinking water. Progress is being made, but much remains to be done. »

Many famous contributors are due to attend a collectors preview at the Saatchi Gallery on Thursday evening.

Nirali Shah and Hana Nakhwa tell us how Pinterest is making content creation more “satisfying” for artists and creators!

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Pinterest is often our go-to app for creative ideas and art, but is it more beneficial than other social media apps for content creators? Let’s find out!

When we think of content creation, we think of Instagram. Instagram is home to all types of content, whether it’s fashion, skincare, makeup, photography, humor, and more. Browsing through Reels, you regularly come across artistic content. There are reels for painting, crafting, resin art, and embroidery, among others. A social media platform that similarly empowers artistic content creators but gets little traction is pinterest, our go-to app for creative ideas and art, aka the home of aesthetics. He generously helps those who teach, learn or consume the art. Consequently, many artists and content creators swear by Pinterest.

One of these independent artists is Nirali Shah whose artistic journey began on Instagram, but the constant support of the public motivated her to join Pinterest. It is her happy space where she expresses what she likes to do, without worrying about its scope. Artist and Art Influencer, Hana Nakhwawho typically posts videos and slide art on Pinterest, says, “Because the app’s algorithm focuses on quality rather than quantity, it’s easier to increase your visibility, even with a good pin. I think one of its main advantages is the less pressure, there is no competition.

Pinterest is surely a creative platform but what sets it apart from the crowd? According to Hana, while other platforms encourage 15-30 second videos, Pinterest lets you explain things in detail in multiple slides. Other qualities highlighted by Nirali are the minimal features of Pinterest and the lack of dependence on the time of publication of the content. “Content can be created at your own pace without affecting engagement; not posting for a while will not cause you to lose followers. This encourages quality work that can be reused on other platforms.

While Pinterest is beneficial in many areas, it’s no fairy tale. Hana struggles to add copyright-free audio to videos because Pinterest doesn’t have a built-in audio library. Content creation, although considered a hobby, is a source of life for many. Nirali explains that since Pinterest is all about ideas and inspiration, it’s not ideal for business. Due to its limited built-in features, conversions are less. It cannot be invoked for monetary growth, except for the affiliation part which is not accessible to everyone.

However, the good part is that these drawbacks do not overshadow the positive qualities of Pinterest. In fact, you can showcase your Pinterest content on other social media platforms to leverage it, attracting a large and diverse audience. How? Nirali uses his board content for story polls (eg this or that), beautiful backgrounds (for articles/stories/covers), quotes that can be used for captions, and shares his popular pins on other platforms. Hana usually posts shorter versions of videos on other platforms and links them to the long version on Pinterest.

Leveraging your Pinterest content on other platforms is possible and doable. However, you must first configure the base. “Use all the new features that Pinterest has come up with – idea pins, regular pins. Organize your board into sections. Try using more than one slide; people love step-by-step idea pins,” advises Hana “Don’t sit on the idea of ​​creating. Go ahead and be you. Be original and above all have fun,” she adds.

Pinterest is a gold mine for content consumers and creators, but it can also be tricky ground. However, it is definitely something worth experimenting with. It has its own strengths and vices, which makes it a breeding ground for displaying your ideas, skills, and talents. Like Hana and Nirali, any artist with access to Pinterest can be a creator if they understand the platform and use it to their advantage.

Are you ready to become a Pinterest creator?

You can find Hana Nakhwa at @artistically.__.yours and @hananakhwa and Nirali Shah to @nirali.paints and @niralipaints on Instagram and Pinterest respectively.

Also read: Simran Das suggests these easy-to-read classics for your TBR list

Ide Adobe Park Hosts Art in the Park Event – ​​Red Bluff Daily News

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RED BLUFF — Supplies were ready Saturday for anyone interested in learning how to illustrate and identify the Western Bluebird at William B. Ide Adobe State Historic Park in Red Bluff.

Participants complete their drawings of Western Bluebirds on Saturday at Ide Adobe State Park. (George Johnston/Daily News)

Park Aide Veronica Lamoreaux was the drawing teacher for the day and the main organizer of the event. She said the illustration of birds can help people identify them better by knowing the different body parts and identifying what colors they are. The park chose the Western Bluebird because it was spotted in the area primarily in the afternoon.

After learning to draw the Western Bluebird, park interpreter Jennifer Pooley helped people spot birds and downloaded the Merlin Bird ID app, an online bird identification service.

Birdwatching is an easy hobby anyone can take up, Lamoreaux said. This can be done in urban areas, local parks, or even in one’s backyard.

“It’s not something that’s limited to people who go out a lot,” Lamoreaux said.

Kaitlyn Reed heard about the event through her fiancé. Reed enjoyed learning to draw birds, which she had never done before, and said she was thinking about how to incorporate it into the class she teaches.

Reed watched birds with her grandparents and now has books to do it on her own.

“I love that kind of stuff, learning different things, and like (Lamoreaux) said, it’s not always about being an artist, but anyone can create art,” said said Reed.

This event was made possible by the new Art in the Park program, which Pooley describes as another way to invite people to parks and engage with them.

“I think when you bring people into a space where they can express themselves creatively, it also opens the door to learning and appreciation,” Pooley said.

The park will host a story event for children on October 8.

Later in the year, the park will host its Pioneer Christmas Party on December 17.

Universal Everything explores digital life in motion with Lifeforms

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180 Studios presents a major new exhibition from digital art collective, Universal Everything at 180 The
Strand
opening on October 12, 2022.

Inspired by decades of visual culture and futurists’ attempts to depict the body in motion, the digital art collective all universal will present Life formtheir largest UK solo exhibition to date, at 180 studiospopulating a sprawling network of underground spaces at the heart of 180 Strand with an extensive collection of forward-looking moving image artwork. Using state-of-the-art digital technology, Universal Everything is able to create moving digital life and explore a wide range of human behavior and natural phenomena, from evolution, parades and crowd dynamics to the diversity of the ecosystem of our planet. For many featured works, Universal Everything uses generative systems that evolve and change over time and audience interaction, meaning no one who experiences Lifeforms will see the same show twice.

all universal
all universal

Presented and commissioned by 180 Studios, the exhibition will bring together 14 individual ‘lifeforms’, which will exist in distinct spaces or ‘habitats’ created by Ab Rogers Design. Lifeforms also includes the world premiere of new works by Universal Everything Primordial, Maison Autonome and Into the Sun. Universal Everything’s work was first featured at 180 Studios as part of LUX: New Wave of Contemporary Art in 2020 with a revamp of Transfiguration, which will be included in Lifeforms. The studio has also exhibited in cultural institutions such as the ZKM, the Barbican, the V&A, La Gaite Lyrique and the Science Museum.

all universal
all universal

Universal All: Life Forms
180 The Strand, London, WC2R 1EA
October 12 – December 18, 2022
11 a.m. – 7 p.m., Wednesday to Sunday

Tickets are available now. For more information on Universal Everything, you can follow them on instagram and visit them website.

Then watch: Marija Bozinovska Jones transcends the limits of language by visualizing embodied forms of intelligence

Variety of eclectic and unexpected experiences and eye-catching artwork at FORMAT Festival

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As you return to the Sugar Creek airstrip for the second day of the FORMAT (for music, art and technology) festival, you may notice streams of blue and green light shimmering in the night sky. In fact, it’s hard to miss.

The Aurora Borealis effect is from a mirrored hot air balloon installation, “New Horizon” by Doug Aitken. Anchored at the furthest end of the festival grounds, the balloon’s metallic, reflective shine, combined with seams of kinetic lighting and colorful projections, draw crowds further into the night’s surreal art events. They just have to see where the colored light comes from.

By the time they get to the light sculpture of the balloon, they may notice that the projections not only change color and pulsating patterns, but are able to create images of clouds in the air. Some might even lay on the ground to watch the digital clouds roll by in the night.

As a festival goer who wants to take it all in, you have a lot of stops to make. To get to Smokey’s, a location in a hidden forest enclave, you must walk through James Tapscott’s artwork, a circular eclipse-like installation called Arc Zero. From a distance, you see the luminous element visually smudge. It’s only when you walk underneath that you realize that site-appropriate work fogs up the people walking underneath.

Once inside the forest behind, music lovers are projected into a place designed by assume astro vivid focus, a duo of artists – one from Brazil, the other from France. The result is something they describe as an adult playground to encourage play, movement and inclusivity. The stage is neon-colored and resembles a creatures face – performers on stage can be seen inside its large mouth. During performances, the lights sometimes form an irregular line like teeth or shoot laser-like beams from his eyes.

The small nature of the place keeps the viewing experience pretty even. No place is better or worse to see, only different. And you can’t miss the shimmering disco ball that twinkles in its center.

Retracing your steps through Arc Zero and past the hot air balloon is a small black box of a location. If you dare to pull back a black curtain and step into a room as dark as night, you will see space artwork by John Gerrard and Richie Hawtin. The digital simulation produces a video loop of an ouroboros, a snake eating its tail, historically symbolic of infinity or the cycle of life, death and rebirth. It is presented in combination with techno music to immerse the audience in the musical and visual aspects.

Next door is the site of Boris Acket’s ‘Waaiwerken’, which debuted on Friday but was dismantled for repairs on Saturday due to unforeseen circumstances.

As you begin to pass the barn that once stood at The Momentary, you might be drawn to local drag queen Maddy Morphosis, who hosted the renamed venue “Drag Me to the Disco” for FORMAT Festival. Inside the disco madhouse this weekend – aside from the neon green spotlights, disco balls lining the rafters and twinkling curtains dividing the small seating areas – there were performances of salsa, funk and African disco, not to mention lots of dancing.

If you manage to break free, your next chance to dance is a stop at Solana House, marked by a small forest of metal cylinders (taller than most people), where live DJ sets perform with rears. -digital video plans. Come back during the day and they give you free snacks, like popsicles and tamales.

On the other side is a three-story building called The Cube. Long before entering you can see people enjoying 4D sound and augmented sound realities. The lights reveal the thin, translucent material of the structure’s exterior, making the silhouettes of the interior part of its appearance.

A hypnotic frequency session collaboration by sex anthropologist and author Betony Vernon with local musician Amos Cochran took place at The Cube on Saturday afternoon.

After all the dancing and walking, DomeRx is a welcome rest for legs and minds that need a break. In Darren Romanelli’s 360 Immersive Dome, festival-goers choose a beanbag to lie down and watch laser light show-like projections while listening to techno and other music. Some sets have been described as “vegetable poetry meditations” and “vegetable music listening evenings”.

Once rested, you might just have time to put your head through one of the holes in Pia Camil’s large fiber artwork, which looks like a ton of t-shirts sewn together. Then it’s back to live music.

Local Cherokee singer-songwriter Kalyn Fay played the opening show on the North of Oz stage on Saturday early afternoon, followed by British band Palace. Between songs, singer Leo Wyndham said he never imagined they would be performing in Arkansas. As the set ended, Wyndham said they would be back in the area soon.

The Flaming Lips, Beach House and Rufus du Sol all performed to packed audiences on the North Oz and South Oz stages late Saturday night and early Sunday morning.

Nick Cave’s 10-foot-tall raffia and hair soundsuits interacted and danced at the edge of the stage to songs and performances by The Flaming Lips. As the soundtracks went off, lead singer Wayne Michael Coyne, who was in a Wonder Woman, said: “Whatever those freaks are, they’re unlikely to end up somewhere as cool as this tonight. .” At the end of their set, Coyne said, “Thank you for being so excited…and for your beautiful screams.”

As Australian house and electronica band Rufus du Sol took the stage, lead singer Tyrone Lindqvist simply opened with “Let’s dance”, and much of the audience agreed. Lindqvist had Covid two weeks ago and felt rather lucky to be back with people, he noted. Rufus du Sol drummer James Hunt said it was the band’s first time in this part of the United States and thanked everyone for the warm welcome.

Auction records broken by a local work of art in 2012

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RECORDS were broken at Taunton Antiques Auction House in October 2012 when a small white alabaster item sold for almost a third of a million pounds.

The £325,000 paid for the 21cm-wide alabaster item with the uninviting title ‘Small Oval’ at a record auction was more than four times the pre-sale estimate.

Dame Barbara Hepworth’s work was among 165 lots that sold for a total hammer price of £723,000 at Greenslade Taylor Hunt’s antiques auction house in Winchester Street, Taunton.

Expected to fetch between £50,000 and £80,000, it caused astonishment as it was picked up by an anonymous bidder by telephone against a set bid in the hall.

The sale followed another Hepworth piece, ‘Four Forms’, which fetched £98,000.

The spectacular results were achieved during the sale of the collection built up over 40 years by artist Joy Barnes, who lives in Somerset and turns 100 next month.

Auction house manager Stuart Triggol said: “We are extremely pleased to have been able to offer the collection as a whole and to sell it in the West Country, the home of the seller.

“Internal records were broken, with not only the highest price ever for a single lot, but also the highest sales total ever.”

Appraiser and cataloguer Christopher Lanigan O’Keeffe said: “We are delighted with the fabulous outcome of the Joy Barnes collection and honored to have been appointed to manage the sale.

“It should never be forgotten that the great appeal of collections like this is due in large part to the discerning eye of the collector and this has been clearly demonstrated.

“With huge pre-sale interest and a packed auction room, it was clear that Joy’s taste and love for sculpture was appreciated by many others.

“We couldn’t be happier with the result, capped off by the incredible £325,000 directed by Barbara Hepworth.”

You need to play the most meaningful game on PS Plus ASAP

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Video games are unique among other artistic mediums. Interactivity allows the player to truly participate in a story and can be used by developers to create dialogue between performers and audiences. Games that speak directly to art are rare and often not very effective in getting their message across. But the story of a dog and a rabbit facing artists’ expectations breaks that mold. Chicory: a colorful story is one of the best art stories in any medium, not just video games, and is an essential PlayStation experience with its addition to the PS Plus library.

Everyone is critical

Chicory looks at art from the point of view of the artist and the amateur.Finji

Painting is something that most children do. Often it starts with finger paint and then a few brushes, maybe they even get to a stage where they use nicer paints and real canvas. But it is understood that art will not be a lifelong pursuit for everyone.

Those who do not let go of the brush become artists. They are seen as these great pillars of culture, responsible for creating something out of their own being that speaks something about the world.

Chicory, the titular character but not the player character, is the traditional entertainer. She is classically trained and lives with high expectations in everything she does. But she reached the peak of her young career and was exhausted. As Wielder, she is tasked with bringing color to the world, but as she falls into a deep depression, she relinquishes her title and color is removed from the world.

Over the course of the game, we watch her struggle to regain the love of art she once had, but on her own terms. His journey is a raw and powerful representation of the intense burden imposed on artists by the rest of the world and themselves.

The player character is a dog (in my case, Pancakes), who starts out as a janitor in the Wielder’s tower. Pancakes decides to take the brush, the tool that brings color to the world. Pancakes is not an artist, at least not traditionally. They travel the world trying to appreciate the role of the Wielder despite being constantly told that they are not good enough to be a “real artist”.

The chicory and the pancakes act as foils to each other, revealing two aspects of the art. It is history through observation and history through experience. Chicory: a colorful story finds difficulties and values ​​in artistic creation as an artist and as an amateur. Every boss in the game is an “evil” reflection of yourself, moving in mirror image to yourself. The biggest villain in the game is doubt. Pancakes’ most powerful trait is their self-confidence, the same trait we see Chicory seek out in hopes of reconciling her own self-doubt.

out of the lines

The World of Chicory shows that video games don’t have to be capitalist.Finji

Whereas Chicory: a colorful story is primarily an art story, it also creates a world that breaks with traditional game design beholden to our own realities in a capitalist society. There’s no money in all of Chicory.

Instead, other citizens of the world offer you items in exchange for serving your community. By finding lost kids or picking up trash, you can get a stylish collection of outfits for Pancakes. No one seeks to exploit his neighbor and make a place for himself in the world by driving up the prices of necessary items.

“We’ve avoided any type of renewable resource, which means there’s nothing for players to work on forever, which changes the relationship with the game a lot,” said designer Greg Lobanov. Eurogamer.

In a medium often obsessed with acquiring skill points, currency, or even paying real money to gain an advantage, Chicory stands. The likes of Tom Nook are not welcome in the world of Picnic.

ChicoryThe coloring book world makes the player an active part of the game’s art process.Finji

This anti-capitalist approach boils down to Lobanov’s desire to make freedom the defining characteristic of Chicory. This little dog adventure game is also a blank coloring book, and it allows the player to fill each page as much or as little as they want. This unlimited freedom brings color and joy to the world and to the player.

A world map can be viewed at any time during your game, it shows your progress in the world. You can watch the color slowly work its way into different corners and eventually the map is filled with your work. You left your mark on this world, and it’s unlike any other person. Chicory: a colorful story places the player in a position of power and creation that no other game possesses, bridging the gap between developer and player to create something unique.

It is a product of the artist and the hobbyist, and it is beautiful.

Chicory: a colorful story is free for PS Plus Extra and Premium subscribers. It is also available for Nintendo Switch and PC.

“Epicenter of pleasure”: the Nob Hill motel is reborn as a boutique hotel

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The Zazz Hotel replaces the former University Lodge motel in the Nob Hill area. Hotel owner Sharmin S. Dharas walks into one of the hotel rooms, which is ready for business.
(Roberto E. Rosales/Albuquerque Journal)

Copyright © 2022 Albuquerque Journal

Whenever Sharmin Dharas designed a new room at her Nob Hill motel, the Zazz Hotel, she asked her 2-year-old daughter what her favorite color was.

“Every week I would ask my daughter, you know, ‘What’s your favorite color?’ “Dharas said. “And, of course, as a toddler, it’s never the same.”

Whatever color tickled the little one that day, the decor of the room would be guided.

“I was designing the rooms as I went, so she really helped me with that,” Dharas said.

Dharas is renovating and reopening the mid-century motel, formerly University Lodge, as a boutique hotel just blocks from the University of New Mexico. The hotel is currently accepting guests, with a grand opening scheduled for early October — the same month as the on-site speakeasy bar Z Lounge opens.

Dharas grew up at University Lodge, which her parents bought in 1990, just like her own daughter will grow up at the Zazz Hotel.

“Growing up here, I used to ride my bike in the parking lot, I used to play in the little fountain my parents made with fish and stuff out front,” Dharas said. “So I wanted the same for my daughter, you know, where she could come and play here.”

Gaming is the key to Hotel Zazz. Whimsical metal flowers adorn the railings and an oversized chess set is ready for checkmate in the yard. Dharas said she tried to make the hotel a feast for the senses; each room smells like bananas and includes bright colors and tactile elements.

“When you walk into a room, you might want to touch things,” Dharas said.

Although Dharas studied medicine and worked as a doctor in Arizona, she never stopped loving hospitality.

“We were always seeing people from all over the world – Finland, Sweden, New Zealand – and they were coming here because of the New Mexico culture and buying, for example, the turquoise next door,” Dharas said.

The Zazz Hotel replaces the former University Lodge motel in the Nob Hill area. Sharmin S. Dharas is the owner of the hotel, who is ready for business. (Roberto E. Rosales/Albuquerque Journal)

Dharas took over the motel from her parents in 2019, when her daughter was just one month old. She said she used to joke with her parents that when she had a baby, they had to give her their own baby: the motel.

“I knew our place had potential because, number one, it’s Nob Hill; two, it is closest to the UNM; three, it’s just a cool vibe of a motel, you know, the shape of this one was great to start with,” Dharas said. “And it was my house, so why not, right?”

Dharas commissioned two Nob Hill architects, Michelle Negrette and Sarah Zahm, to design the Zazz Hotel.

“I did it on purpose where it’s Nob Hill and women, based on all of my brand values,” Dharas said.

The hotel also works with nearly 50 artists, the majority of whom are women or people of color, Dharas said. Even the soaps in the bathroom are made by a mother-daughter duo.

Dharas also wrote a children’s book, “The Zazzy Adventures of Roozy and Raffie”, about the hotel. Proceeds from the book help educate women in arts and culture. Guests who purchase a copy also get 15% off their stay at Hotel Zazz.

Although Dharas wants to move away from the reputation of the old motel, she said she also wants to respect the history of the neighborhood and the building.

“Nob Hill needs something fun, something exciting, something to bring more tourists to this neighborhood and to be like the epicenter of fun,” Dharas said. “…I want to merge the old and the new because, without the old, I can’t be the new.”

Web 3.0, NFT and metaverse: digitally transforming industries

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Technological advances are changing the overall functioning of end-user industries. Sudip Saha, COO at Future Market Insights, examines the evolution of the latest technologies such as NFTs, Metaverse and Web 3.0, how they are fueling digital transformation and how organizations can prepare to reshape their industries.

The integration of various features of technology, such as artificial intelligence, machine learning, augmented reality, virtual reality and the Internet of Things, is an evolving nature of work and an accelerated workflow . This, in turn, increases the rate of productivity and provides promising results to end user industries. Moreover, the use of technology is not only related to large enterprises, but has also spread to small and medium industries, thus transforming the workflow of business models.

The exchange of information on the Internet is the main driver for the increasing use of advanced technological capabilities. The latest entrant in the technology arena is Web 3.0, non-fungible tokens and the metaverse. These technological components have the potential to replace, redesign and deliver effective work in a technology driven world. With the use of these technological features, companies are constantly trying to take the plunge to reach more consumers.

The emergence of the metaverse and the development of web 3.0 are making the virtual world a reality. Metaverse will not only help people interact with each other, but also help them advertise, make new connections and expand business opportunities using a virtual avatar. Additionally, the integration of NFTs to sell digital art has opened doors of innovation and opportunity for end-user industries in the digital world. Let’s see how advanced technologies such as Web 3.0. NFTs and the metaverse are reshaping end-user industries.

Web 3.0: Ensuring Smooth Workflow Operations

Web 3.0, the third generation of Internet access provider (WWW), offers intelligent, associated and open sites. It makes the existing interface of websites more user-friendly. Growing adoption of blockchain technology, Internet of Things with the tendency of people to invest in cryptocurrency and NFTs are increasing the reliance on Web 3.0

For example, business sectors are ready to leverage 3.0 to rethink their existing work models. With the integration of Web 3.0, companies are redesigning user interfaces to achieve better results. Future Market Insights indicates that the enterprise web security market is expected to recording a CAGR of 7% by accumulating a market value of US$7.6 billion by the end of 2032. Another major factor propelling the adoption of Web 3.0 is the security it offers. Thus, with the integration of web 3.0, users can not only exchange information without the risk of cyber-attacks but also make workflows robust.

With the integration of Web 3.0, users can access the services provided by the metaverse without any special permissions. This makes the metaverse more accessible through Web 3.0. Not only does web 3.0 ensure the confidentiality of information, but it also stores and secures information without the intervention of a third party due to its decentralized nature. Web 3.0 and Metaverse complement each other perfectly due to the distinct features it offers. While users can create virtual avatars in the metaverse, they can sell, interact, and buy goods through NFTs.

Learn more: 3 predictions for non-fungible tokens (NFTs) and the metaverse for 2022

NFT in the Metaverse

NFTs are the latest attraction for consumers and have the potential to last longer as they are an integral part of the digital world. Through the use of NFTs, consumers can buy and sell products using cryptocurrency and trade valuable assets at desired prices. Metaverse not only provides the much-needed digital shift that businesses need, but also helps people understand the capacity of the virtual world. As each NFT is 100% unique, the chances of trading a particular piece of art (image, video, or GIF) should multiply in the digital world.

Metaverse not only helps people feel, learn and experience without being present in the practical world, but also has become the virtual marketplace for NFT trading. Major competitors in the consumer products market maximize the use of the metaverse by advertising their products in the same. Future Market Insight indicates that the mainstream metaverse market is expected to have a Stunning double-digit CAGR of 24.5% on reaching a market value of US$500 billion end of 2032.

The booming e-commerce market has now reached new heights as the metaverse offers a virtual shopping experience that feels almost real. For example, Nike, the sportswear company, created Nikeland on the Roblox platform which helps users socialize, engage, and participate in company promotions. This, in turn, makes consumers more connected to the brand and gives them a first-hand experience of new launches of different products. Another consumer goods company, Forever 21, has taken it a step further by allowing users to create their own Forever 21 stores in the metaverse. Using this, users can create online retail stores, design the interior as per their vision and hire virtual employees for the same. Thus, users gain the experience of learning business, shopping, and interacting with other users to understand the requirements of a business.

Changing the dynamics of the digital world

Now that we know the multifunctionality of web 3.0, NFTs and the metaverse, here is how these components can revolutionize the way businesses operate.

Internet 3.0: The development of web 3.0 has created a secure space for the exchange of information for various business entities. Thus, most end users are transforming their existing business models and redefining them to meet the needs of Web 3.0. The growing adoption of Web 3.0 is increasing the presence of the metaverse and enabling the secure commerce of NFTs.

Metaverse: The penetration of the virtual world has created countless opportunities for business growth in the metaverse. Businesses are now looking for opportunities that will help them connect with consumers on a personal level. Thus, the opportunity for business expansion has shifted from exchanging products to creating virtual retail stores.

NFT: NFTs are widely used to monetize skills and can be used to buy and sell assets such as art, fashion, memes or music. NFT creates a safe space for careers or unconventional work spectra that are not marketed to the mainstream world. Thus, NFTs provide a way for people to invest in things they love and want to own. With the use of the metaverse, buying and selling NFTs has become easier.

Digital first

The rapid evolution they can undergo is the advantage of Web 3.0, the metaverse and nascent stage NFTs. Thus, the developers of these components are open to constant technological changes and customize them to provide unique experiences to users. Moreover, the fusion of these components promises to provide a virtually rich experience to users.

In the future, the use of these components will not be specifically limited to personal use only. Major consumer goods companies, edtech industries, food and retail industries, and IT industries plan to connect, interact, and grow using the metaverse and NFTs. The growing use of the metaverse has the potential to create opportunities for unconventional career choices, making it an economically sound platform for users.

In the coming years, the integration of Web 3.0 will become more important. This, in turn, will increase the reliance on the same. As Web 3.0 strengthens the presence of the Metaverse and the Metaverse supports the use of NFTs, the interdependence of these components promises to provide a rich experience for users around the world.

How do you offer users a richer experience thanks to new immersive technologies? Share with us on Facebook, Twitterand LinkedIn.

LEARN MORE ABOUT NFTS:

First glimpse of the artwork – Billboard

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Ozuna ventures into the world of comics.

The Puerto Rican hitmaker is teaming up with Sumerian Comics to produce an “action-packed” graphic novel that has yet to be titled. “I love collaborating to take my creativity to new and interesting places,” Ozuna said in a statement. “I’m so excited to partner with the talented team at Sumerian and create something new, exciting and fun for my fans and my culture.”

Details of the upcoming project are still being worked out, but fans can expect an “action-thriller manga inspired by characters like James Bond and Xander ‘XXX’ Cage,” according to a press release. Going forward, the plan is “to adapt Ozuna’s graphic novel into a feature film or TV series.”

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See the latest videos, graphics and news

See the latest videos, graphics and news

“We are thrilled to partner with such a unique and accomplished musical artist as Ozuna for this project,” added Ash Avildsen, CEO of Sumerian Comics & Games, which recently acquired graphic novel publisher and game company Behemoth Comics. “What he has achieved with his music is nothing short of spectacular on a global scale and now we will see the power of his storytelling as we work alongside him to bring it to life. meaningful and innovative that denotes the beginning of a new frontier for Sumerian.

The partnership with Ozuna — overseen by Foundation Media and Simran A. Singh (by Singh, Singh & Trauben, LLP) in collaboration with The Blueprint Group — will be the company’s first graphic novel project with a Latin artist.

First Look at Graphic Novel Artwork Produced by Ozuna:

Exclusive art for the upcoming novel produced by Ozuna.

Sumerian comics

Double Bay Art Deco hoard sells for $600,000 at auction above price guide

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An Art Deco treasure that has hosted a range of famous Double Bay artists and personalities has sold at auction for $600,000 above guide price.

world-renowned flautist Jane Rutter; Film producer Margaret Fink and late neurologist Oliver Sacks were all regular guests at The Pierre’s two-bedroom apartment at 3/21 William St.

And sources at the midweek auction said the stunning property fetched $3million.

The commercial agent, Harriet France of Sotheby’s, could not disclose the result or the buyer, although it is understood she had six registers including five participants.

AFTER:

Where Ryan Gosling will be staying in Sydney

Is this the most luxurious unit in Sydney?

Bidding started at $2.3 million and rose mostly $50,000 until auctioneer Jesse Davidson of Auctionworks slammed the hammer.

The apartment, which had two bathrooms, was the home of the late award-winning designer Don Fish and his wife, Vicky.

They had downsized a large Darling Point family home in 1996, paying $530,000.

France said the flat attracted a ‘mixed bag’ of people – young and old.

“We brought in 97 groups during the campaign,” she said.

“People certainly still like well-built, old-style units.

“There are a lot of people looking for good quality stock.”

At the start of the campaign, she described him as “the perfect downsizer”.

“It’s on the first floor so just a few steps but high enough to get a view; large rooms, so there may be large pieces of furniture; northern exposure and perfect sunshine and right across from Steyne Park and the ferry,” she had said.

The couple’s daughter, Charlotte, says her parents had made good use of the large living and dining areas, which allowed them to continue to entertain friends and family.

And Don particularly enjoyed the adjacent park and beach.

Originally published as Double Bay Art Deco, treasure fetches $600,000 more than guide price

Evolution of Y2K fashion style of BTS members

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Check out BTS’s hottest outfits

Following the development of BTS’ style is entertaining and seems more doable to emulate than trying to learn their dance moves, as most of us can only sing and dance with our best friends to live in our dreams. . Also, BTS is hot stuff in terms of fashion. They dress in a variety of bright colors, wild prints and patterned fabrics. In other words, they don’t hesitate to try new things with their looks.

Let’s take a look at the band’s stylistic development, starting from the beginning, in honor of their killer ensembles.

They all seem to have recently finished a football game or breakdancing practice. They immediately established their fashion dominance by wearing sneakers and knee-highs with gold chains. Considering this group set is an artistic creation, it seems logical that they presented this look at Ilchi Art Hall in Seoul. The group’s penchant for gold chain necklaces remained a constant early fashion marker, as you can see here (still at Ilchi Art Hall). Along with owning it, it marked the beginning of their showy attire. We love Jimin’s jersey style sleeveless t-shirt, side cap and double jewels.

When BTS attended the 2014 Gaon Chart K-pop Awards at Olympic Park, they looked like they had stepped straight out of a winter wonderland of trendy clothes. Crisp white shoes with white patterning and embellishments were a welcome change from their monotonous black style of 2013. Kudos to J-Hope for rocking a white cap, blazer and matching sneakers. The boys displayed their love of skulls and crossbones when they performed at the Lotte Card Art Center. The band’s look is a mood, from their leather coats to the skull logo bomber jacket to the skull t-shirt.

Keep reading IWMBuzz.com

5 things to do in NEO: ‘Little Shop of Horrors’, ‘La Siempreviva’ and more local theater | Arts & Culture

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Great Lakes Theater

“Little Shop of Horrors,” the beloved musical featuring an infamous carnivorous plant, is now playing at the Hanna Theater in Playhouse Square in Cleveland. Enjoy camp and familiar tunes like “Suddenly, Seymour” in the Great Lakes Theater production, on view until October 9.

Beck Center for the Arts

“Buyer & Cellar” is a one-man show with Scott Esposito playing six characters. As the protagonist, he is Alex More, a struggling actor working for Barbara Streisand. He also plays the superstar himself in “Buyer & Cellar,” onstage through October 9 at the Beck Center for the Arts in Lakewood.

LatinUs Theater

The Colombian play “La Siempreviva” tells the story of a law student who disappears during the takeover of the Bogata courthouse by the terrorist group M19 in 1985. The play explores how it all affects people’s lives . The production is in Spanish with English subtitles through October 9 at the LatinUs Blackbox Theater inside the Pivot Center in the Clark-Fulton neighborhood of Cleveland.

Chagrin Valley Little Theater

“Dracula” haunts audiences in this adaptation of Bram Stoker’s 1897 novel. Director Mason Stewart calls it a “PG-13 thriller,” but audiences shouldn’t expect too much gore. “Dracula” is on stage at the Chagrin Valley Little Theater in Chagrin Falls until October 1.

Fine Arts Association

Young performers take the stage in “13,” a musical following a teenager who moves from the city to a small town, his parents’ divorce and coming of age with his bar mitzvah. This Yarnell Youth Theater Company production runs until October 2 at the Fine Arts Association in Willoughby.

Copyright 2022 WKSU. To learn more, visit WKSU.

Prime Minister Sheikh Hasina attends a photo exhibition on the Padma Bridge at the UN

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Prime Minister Sheikh Hasina admiring the photo exhibition on the Padma Bridge at the United Nations (UN) headquarters. Photo: BSS

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Prime Minister Sheikh Hasina admiring the photo exhibition on the Padma Bridge at the United Nations (UN) headquarters. Photo: BSS

Prime Minister Sheikh Hasina visited the photo exhibition on the Padma Bridge at the United Nations (UN) headquarters on Wednesday.

She witnessed the exhibition held on the curved wall at the first level of the UN headquarters, said the deputy press secretary to the Prime Minister, KM Shakhawat Moon.

He said some foreign guests, including the President of the United Nations Economic and Social Council (ECOSOC), Lachezara Stoeva, were present during the Prime Minister’s visit to the exhibition.

The Prime Minister told the foreign guests, “We built the Padma Bridge with our own funds because its construction was a challenge for us. The World Bank tried to accuse us of having made allegations of corruption, but it was later proven that there was no corruption. .”

The exhibition opened on September 19 and will run until September 24.

A total of 25 images are exhibited at the photo exhibition.

Foreign Minister AK Abdul Momen, Goodwill Ambassador Mohammad Ziauddin, Minister of State for Foreign Affairs Shahriar Alam, Minister of State for Education Mohibul Hassan Chowdhury, Principal Secretary for Foreign Affairs Masud Bin Momen and Prime Minister’s Principal Cabinet Secretary Md Tofazzel Hossain Miah, among others, were present.

Olafur Eliasson brings his works to the Palazzo Strozzi in Florence

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Visitors to Florence’s historic Palazzo Strozzi will be able to see the building in a whole new light this fall, thanks to Olafur Eliasson. The Icelandic-Danish artist has installed 11 of his sensory artworks in the building, including a brand new 11-foot-tall ellipse whose moire pattern distorts perceptions of the palace’s classical courtyard.

Under Time (2022) is a brand new work of art suspended 8 meters above the ground. When visitors view the artwork, its moiré pattern of overlapping grids throws off their sense of balance, altering the perception of the architectural grid of the courtyard.

The artwork sets the tone for the vast spectacle, dubbed Nel Tuo Tempo (In Your Time). This is Eliasson’s largest exhibition in Italy to date and brings together old and new artwork to activate the spaces of the palace through light, shadow, reflection, pattern and color .

Eliasson says: “Nel tuo tempo is an encounter between works of art, visitors and the Palazzo Strozzi itself. This extraordinary Renaissance building has spanned the centuries to welcome us here, now, in the 21st century – not as a mere host of art but as a co-producer of the exhibition.

On the other side of the Piano Nobile, Eliasson “borrows” the building’s windows, using light, color and shadow to reveal the imperfections of their glass. He also revisits his weather-based installations, evoking personal rainbows (With Beauty, 1993) and spaces bathed in monofrequent light that reduces colors to shades of gray and yellow.

Photography: studio Ela Bialkowska OKNO

The expansive spectacle is curated by Fondazione director Arturo Galansino, which offers visitors “the experience of the ‘here and now’…projecting the legacy of the Renaissance into the present”. It’s a succinct reminder that while Eliasson’s installations have reached meteoric heights thanks to social media, they’re still best enjoyed in person, in the moment.

Nel Tuo Tempo runs from September 22 to January 22, 2023 at Palazzo Strozzi, Piazza degli Strozzi, 50123 Firenze FI, Italy

Photography: studio Ela Bialkowska OKNO

Photography: studio Ela Bialkowska OKNO

Photography: studio Ela Bialkowska OKNO

Photography: studio Ela Bialkowska OKNO

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Cost of living crisis? Not at that 10 million dollar art sale

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The Deustcher and Hackett sale did just that, with many works exceeding their high estimates. Reflecting the tastes of collectors, records have been set for artists ranging from the 19th century to the present day: from John Rae’s Panorama of Hyde Parkfrom around 1893, which fetched $40,000 on the hammer, to Jonny Niesche’s brilliant abstract, Sweet Emily2020, which sold for $14,000 (hammer).

Jonny Niesche, Sweet Emily, 2020, set a new auction record for the artist, selling for $14,000 (hammer), at Deutscher and Hackett last week

Records were also set for Ludwig Hirschfeld-Mack, Max Meldrum and Bruce Armstrong.

The auction opened with four lots from the prized collection of philanthropists Joan and Peter Clemenger, all on the secondary market for the first time. The first and smallest of the batches packed the biggest punch, inch for inch at least.

Brett Whiteley’s ‘Self-Portrait’, 1977, includes a cut of Whiteley’s actual hair. It has an estimate of $280,000 to $350,000.

The inflexibility of Brett Whiteley self-portrait, with a manly stubble of real hair, exceeded its high estimate by $200,000 to sell for $550,000 (hammer). With buyer’s fees included (25% GST included), the price came to $675,000, a huge expense for the 12-by-10-inch oil painting. The Clemengers bought the painting in 1979 for $4,400, not worrying about whether it would turn a profit in the long run. They bought it because they liked it, as they did each of the works auctioned last week. Of course on them.

“The Brett Whiteley defied scale,” says Deutscher. “It screamed around the room…it was such a powerful image and drew a lot of bidding.”

Deutscher did not say whether the painting went to a private collector or a public gallery, which raises suspicions about Saleroom at the latter. We eagerly await the announcement.

Fred Williams’ ‘Lysterfield Landscape’, 1968-69, sold for $1.9 million (hammer) on an estimate of $1.6-2 million.

Also from the Clemenger Collection, Fred Williams’ Lysterfield Landscape, 1968-69, sold at the high end of its estimate, for $1.9 million (hammer), becoming the year’s most expensive work of art at auction. The painting is Williams at its finest, with an intense, zen-like beauty and a subtle application of glaze that gives the work a silky sheen.

Jeffrey Smart’s demure portrayal of outspoken Germaine Greer was a harder sell. Despite its cultural significance, the painting deviates somewhat from the intelligent compositions generally favored by the marketplace. Still, the painting sold at its low estimate of $1 million. Hardly a gift, and another great return for a painting that cost the Clemengers $25,000 in 1989.

“It’s a very memorable image that sparked a lot of discussion, but at the time of the auction two people were interested in owning the work,” says Deutscher.

The winning bidder was long-time dealer Stuart Purves, owner of Australian galleries in Sydney and Melbourne.

Purves tells Saleroom, “I’m going to enjoy it for a while, but I have a client in mind for it.”

Jeffrey Smart’s 1984 “Portrait of Germaine Greer” has an estimated price of $1-1.5 million. The work is auctioned in Sydney on September 14 by Deutscher and Hackett.

Asked about securing Greer’s portrait at his low estimate, Purves said, “I was quite surprised myself. I think it was early in the auction and the phones and internet weren’t quite set up so it was possible that luck was on my side as this is a really important painting and I should have looked for more.

The fourth batch of the Clemengers collection, John Brack’s Posies, 1990, sold for $480,000, notably $120,000 below its low estimate. The market balks at Brack’s later works, with their strange walking pencils, stacked postcards and wooden hands, and Posies corresponds to the invoice. Esoteric and tightly constructed, the painting is a visual metaphor representing Brack’s own family.

“It’s a quirky, belated image that some people have struggled to read,” says Deutscher.

Brack’s widow, fellow artist Helen Maudsley, once told this writer that Brack’s later works were his best; the market has yet to see it.

John Brack’s 1990 “Posies” has an estimate of $600,000 to $800,000.

But there were many other successes to raise the score.

The bold abstract of Bauhaus artist Ludwig Hirschfeld-Mack, Red, gray and orange compositionpainted in Berlin around 1935 and for the first time on the secondary market, direct from the artist’s estate, fetches $115,000 (hammer), from an estimate of $30,000-50,000.

Ludwig Hirschfeld-Mack, Red, Gray and Orange Composition, c. 1935, estimate $30,000-50,000, sold at Deutscher and Hackett next Wednesday in Sydney

Said Deutscher: “I think it just caught the attention of people who collected abstracts, works of Ralph Balson and Tony Tuckson, or whatever, and for something quite unique and quite special, they were willing to pay a premium.”

The painting has entered a private collection. Eight small works on paper by Hirschfeld-Mack, also from the estate of the artist, all sold well, the particularity being Composition1962, which more than doubled its high estimate to earn $14,000 (hammer).

Resi Schwarzbauer, author of Ludwig Hirschfeld-Mack: more than a Bauhaus artist, who approached the artist’s parents and friends while writing the book, was delighted with the result.

“I am absolutely thrilled for this wonderful family,” says Schwarzbauer.

Bruce Armstrong, Bunjil, 2009, sold for $82,000 (hammer), a new auction record for the artist, at Deutscher and Hackett last week.

Other highlights include an auction rally for the cast and painted bronze of Bruce Armstrong, Bunjil, 2009, which soared to a record $82,000 (hammer), from an estimate of $20,000 to $30,000. Standing almost a meter tall, the sculpture is a smaller version of the two “guardian” figures at the entrance to Melbourne’s Grand Hyatt hotel on Russell Street.

Scottish-born Australian artist Max Meldrum’s 1943 portrait of his daughter, Ida, at the piano in his studio in Kew, Melbourne, fetched $60,000 from an estimate of $8,000-12,000.

The historical vision of Melbourne by L. Van den Houten, Melbourne as it looked in 1837, the side of Emerald Hill near the fallscreated in 1873, soared almost five times above its high estimate, to sell for $70,000.

Max Meldrum, Ida In the Studio, 1943, sold for $60,000 (hammer), at Deutscher and Hackett last week, setting a new auction record for the artist.

The $10.6 million sale posted a clearance rate of 88% by number and 110% by value, bringing Deutscher and Hackett’s total revenue for the year to $43.2 million.

At this rate, the company could end the year with a result not seen since 2007, when Sotheby’s Australia sold $51.4 million worth of artwork. Closest competitor, Smith & Singer has sold over $17.2 million at auction so far.

HL Van den Houten, Melbourne As It Was in 1837, From the Emerald Hill Side Near the Falls, 1873, sold for nearly five times its high estimate, at $70,000 (hammer), at Deutscher and Hackett last week .

“The market is obviously not booming, but it was almost booming results,” Deutscher says. “We went into it with some nervousness, but in the end we were thrilled. There were a lot of underbids who didn’t spend a dime, so that’s encouraging for our November sale.

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.

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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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