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Multi-instrumentalist MAST has a new album on the horizon. Thelonious Sphere Monk is getting released January 26, 2018 on World Galaxy Records (an imprint of Alpha Pup Records). Its an album of modern reinterpretations of Monks songbook, and if the rest of the album is as mesmerizing as the preview track, then youll have 
Philip Allen, The War Washes Up no.11 (2014), pen and ink on paper, 3.5 x 4.5 inches (image courtesy the artist)
We are magicians, able to fight invisible wars on foreign shores. Never a whiff of burnt flesh except for 9/11. Never encountering a severed arm in the road, like Giacometti, while fleeing strafing fighter planes. What of all the invisible mayhem our military inflicts? What if the exploded bodies, the dismembered body parts, suddenly started to appear in our most beloved, sacred places of repose? Washing up on a pristine beach on Deer Isle, Maine, evidence of events far away? Would a head here, a leg there, temper our ardor for War?
Thanks to the work of scientists, we may be hearing messages from extraterrestrials in just 25 years. As part of a collaboration with the Snar Festival, a three-day electronic and advanced music festival in Barcelona, researchers recently transmitted messages to a nearby planet, with the hopes of getting a reply.
The Snar Calling project, done in celebration of the festival's 25th anniversary, marries music and science with the hopes of communicating with alien life. Working with METI International (Messaging Extraterrestrial Intelligence) and the Institute of Space Studies of Catalonia (IEEC), messages were sent out from the EISCAT antenna in Troms, Norway on October 16, 17, and 18 to the exoplanet GJ 273b. The exoplanet is 2.9 times the size of Earth and is located about 12.4 light-years away. Luytens Staror GJ 273is the red dwarf it orbits.
This means, if anyone lives there, we could expect the hear back in 25 years. We selected Luytens star, also known as GJ 273, because it's the closest star that's visible from the northern hemisphere that is known to have a potentially habitable exoplanet in orbit, shares Douglas Vakoch, president of METI.
As part of the first transmissiona second is s...
Installation view of Mark Bradford: Picketts Charge at the Hirshhorn Museum and Sculpture Garden, 2017 (courtesy the artist and Hauser & Wirth. Photo by Cathy Carver)
Mark Bradfords Picketts Charge, a site-specific commission for the circular third-floor gallery at the Hirshhorn in Washington, will doubtless be taken by some as an engagement, post-Charlottesville, in the national discussion about Civil War monuments and their place in the public sphere. Addressing the most famous battle in our nations defining conflict a history that, in Faulkners famous phrase, remains not even past Bradfords sweeping installation comprises eight large-scale works that, as their individual titles suggest, draw inspiration from the events of July 13, 1863, at Gettysburg. We should be careful, though, not to assign a narrow sense of relevance to Bradfords efforts here. The Hirshhorn commission, somewhat delayed due to the artists work for the American Pavilion in this years Venice Biennale, originated in the twilight of the Obama years, well before Trump had been considered a viable presidential candidate, let alone graced with an -ism attached to his name.
If Picketts Charge speaks to events and debates that have recently roiled the nation, this cant be chalked up to the artists design though it does suggest something uncanny in Bradfords seeming foresight. Given his innovative use of everyday materials (most notably, the hair-salon end papers in much of his early work) and his thoroughgoing rethinking of the divide between abstraction and representation, it wouldnt be the first time. What Bradford has created with Picketts Charge extends well beyond the topical not transcending or evading but encompassing and subsuming it. Insofar as the installation is about anything, it takes as its subject the ways we think, and are diverted from thinking, about history....
Sharon Lawless, Alien (2017), Hydrocal, Flashe, synthetic turf and fake fur on plywood armature, 73 x 19 x 19 inches (all images courtesy the artist)
Its not unusual for dedicated painters and other makers of flat pictures, at some points in their creative lives, to shift their attention to the third dimension. Edgar Degas isnt known to have said much about his sculpture, but William Tucker has made this declaration about it: Those elements which despite all efforts remained awkwardly separate in his painting drawing, handling, composition, subject-matter cohered and merged into one simple and direct physical activity.
Presumably, Degas would disagree, but it does seem that the act of working in actual space allowed him an understanding of his motifs (the female nude; the horse) on a level beyond the reach of paint or pastels. Though pictorial space can be irrational, self-qualifying, in a way that sculptural space simply cant, sculptures spatial forthrightness has the potential to clarify the challenges of pictorial space.
The New York artist Sharon Lawless has developed an approach to collage that is muscular, witty, and absolutely beguiling. Her current exhibition at Robert Henry Contemporary, Reusable, includes three stunning recent examples in mixed media on museum board, plus a trio of sculptures that riff on various aspects of the flat work (and, naturally, introduce considerations unique to physical space). The visual dynamics are so vigorous you can almost hear them rattle, bang, churn and chug. But the physical structures maintain a dignified, immobile silence or at most, a steady hum.
Im a longtime fan of Lawlesss collages. (I included a pretty big one in The Incipient Image, an exhibition I curated for Lesley Heller Workspace back in 2011.) The presence of three sculptures in the current show took me by surprise, as Ive always considered the elasticity and ambiguity of pictorial space fundamental to this artists visual imagination. But if viewed as distillations of the flat works (sometimes covert) architectonic underpinnings, the sculptures...
Ellen Harvey, Arcade/Arcadia (2011-2012), wood frame, aluminum letters, light bulbs, and 34 hand- engraved Plexiglass mirrors over Lumisheets, 9 x 15 x 33 feet (exterior view, all images courtesy Danese / Corey)
For its inaugural exhibition in 2011, the gleaming new Turner Contemporary in Margate on Englands southeast coast built on the site of a former guesthouse frequented by renowned British landscape painter J.M.W. Turner, who had a long relationship with his landlady, Sophia Caroline Booth invited six artists to respond to Turner and Margate.
Outside was a video of the ocean at Coney Island. Inside were mirrors, printouts of Turner engravings, and Harveys unorthodox engravings (more on this in a bit), showing current views of Margate, a once idyllic seaside resort that has faded over the years as tourists, lured by inexpensive flights, departed for sunnier climes and more fashionable beaches.
The sizes of Harveys engravings and their positions on the walls corresponded to the works on Turners gallery walls when he died, as recorded in an1851 painting by George Jones. Through the medium of engraving a prime technique for Turner throughout his career Harvey brought Turners old gallery back to life, so to speak, as a bare bones structure and gave it a startling new purpose: displaying not images of Margate in its halcyon days but in its current frayed state....
If you missed out on the clever Kickstarter product you were hoping for or just love supporting innovative entrepreneurs, Amazon Launchpad is the place to look for innovative items from startups. This special section of the online shopping giant highlights the hard work of small businesses, spotlighting creative products and the people behind them.
Not only is it possible to search by category, you can also browse items that were funded by popular crowdfunding platforms like Kickstarter and Indiegogo. You'll also have the convenience of reading up on reviews before deciding to purchase and benefit from the shipping and return policies that all Amazon products enjoy.
Best of all, Launchpad highlights just how many great ideas are out there. It seems like there's something for every situation, whether a whimsical gift or DIY project or a STEM toy that will encourage your children to get excited by science and technology.
Tria Giovan, Malecn, Gibara (1993), photograph from The Cuba Archive (photo courtesy of Damiani)
For anyone with a smartphone, an inundation of photographic images has become an inescapable feature of everyday life. But in the Instagram Age, old-fashioned photo books designed to be lingered over, savored, and revisited have become the visual equivalent of a slow food meal.
This season, some notable new books focusing on the societies, histories, or cultures of particular places convey a strong, common subtheme a general, discernible sense of place. Among them:
The Cuba Archive, by Tria Giovan (Damiani)
New York-based Tria Giovan was born in Chicago in 1961 and grew up in the U.S. Virgin Islands. She first traveled to Cuba in 1990 in search of, as she recently told me, a place to photograph that had escaped homogenization and commercialization. There, on the island where Fidel Castros socialist revolution had triumphed three decades earlier, she found it.
Fascinated by Cuba in all its ramshackle, post-colonial-meets-revolutionary, funky beauty, and by its peoples indomitable spirit despite their hardscrabble existence, Giovan got to work shooting in color in the straight photography documentary manner (an approach that strives for veracity, without later manipulation of captured images). Over the course of numerous visits, she traversed the island, getting to know rural villages, cane fields, mountain retreats, and the crumbling, colonial-era palacios of Old Havana. She immersed herself in Cubas history, music, and, of course, politics. (Her earlier photo book, Cuba: The Elusive Island, was published by Abrams in 1996.)...
Daniel John Gadd, Falconry (2017), oil, mirrored glass, wax, copper, and metal leaf on wooden panels, 112 x 79.5 inches (photo courtesy David & Schweitzer Contemporary)
An exhibition of Daniel John Gadds paintings was the first solo show presented by David & Schweitzer Contemporary when it made its debut last fall a signal that the gallery would continue the commitment to painting that distinguished Life on Mars, its predecessor in the same space.
That show, For The Moon, was full of large, lopsided tondos featuring mirrored surfaces covered in lush violets, greens, and blues. It was work that came down decidedly in favor of the reuse, recycle, repurpose school of art-making, full of splinters, gouges, cracks, and dings. Still, the circles, as metaphors of inclusiveness and harmony, ultimately conveyed a sense of calm in spite of their scarification and scruffiness.
That appears to be gone. Falconry, Gadds current solo at David & Schweitzer, also relies on mirrored glass, but the illusion of wholeness has been ripped by a zip saw and smashed with a ball hammer. And why shouldnt it? Last year at this time we were looking toward a sustained progressive era, with the nations first female president succeeding its first African-American. No discussion is necessary of what we got instead.
The abrupt distortion of the countrys values that followed the election makes it especially poignant that the word Moon in the title of the previous show referred, according to the gallerys press release, to Gadds daughters nickname, [whose] birth has brought a centering to his life. The use of the tondo or imperfect circle is Gadds way of trying to make things whole....
On the 18th of November 1477, William Caxton (1415/1422 1492) finished printing Dictes and Sayings of the Philosophers, the first incunabulum (from the Latin incunabula which meant swaddling clothes or cradle) : the earliest printed book in English, which bore a clear publication date, but also, for the first time, a printers colophon/logotype which revealed his name and place of publication.
Caxton proofread his translation and edited it, but it seems his revisions contained an added epilogue from which a more personal style emerges. In this subchapter entitled Touching Women, he pointed out that Woodville had omitted the remarks of Socrates concerning women, which were now filled in by Caxton. The latter speculated at length as to why this may have happened. (N.F. Blake, William Caxton and English Literature, 1991).
The inaugural Chicago Art Book Fair at the Chicago Athletic Association Hotel (all photos by the author for Hyperallergic)
CHICAGO The inaugural Chicago Art Book Fair (CABF), which opened last night, takes place in an odd setting. Spread across two floors of the Chicago Athletic Association a luxury, Venetian Gothic hotel that overlooks Millennium Park the fair is bisected by a game room, bar, and study area that harken back to the buildings origins as a gentlemens club. Yet, unexpected as it might be, the swanky setting is a smart and perfectly fitting one for CABF, which was conceived as an open event for small press arts publishing that draws people beyond a niche crowd of art book lovers.Custom rubber stamp designs by Edie Fake, Mika Horibuchi, Liana Finck, David Leggett, BFGF, and Lilli Carr, presented by EPISODE
Its co-founders, Alex Valentine and Aay Preston-Myint, decided to try creating a Chicago art book fair after showing material from their publishing imprint, No Coast, at the Vancouver Art Book Fair. The event felt personable to them, and they thought that an art book fair of that scale could complement the already lively publishing scene in Chicago, which is home to events such as Zinefest, the Chicago Alternative Comics Expo, and the...
An image of the potential costumes for Slave Rebellion Reenactment to be staged in November 2018 by Dread Scott (all images courtesy the artist)
For almost three decades, the artist Dread Scott has relentlessly interrogated issues of ideology and power, often in terms of how they are experienced through the prisms of nationalism, race, and violence. He has recently undertaken one of his most ambitious projects to date, proposing to reenact the 1811 German Coast Uprising the largest slave revolt in North American history which took place outside of New Orleans, Louisiana. In partnership with the organization Antenna, which supports visual and literary arts projects relevant to its local New Orleans communities, Scott plans to employ more than 500 reenactors in period costumes (some on horses, others on foot) marching along the route taken by those involved in the original revolt. The participants will be armed with machetes, knives, and muskets, and accompanied by Creole singing and African drumming as they process 24 miles over the course of two days. The project, Slave Rebellion Reenactment, is partially funded by several organizations along with Antenna: A Blade of Grass, Fractured Atlas, Kindle Project, the McColl Center for Art + Innovation, Smack Mellon, and Map Fund. To complete the necessary funding Scott has launched a Kickstarter campaign to raise $40,000 by December 8. I spoke with him about what this project aims to do and why now seems like the right time to stage it.
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Seph Rodney: From what...
More than ever, our definition of the workplace is changing. With 43 percent of employed Americans stating that they worked remotely at some point over the course of 2016, staying connected outside of an office setting is more vital than ever. Whether you are working on your freelance business or are employed by a company that allows you to work from home, technology is the key to getting your work done in a timely, professional manner.
In fact, building a toolbox of apps is an essential task for any remote worker. Chances are, if you have a problem, there is an app to solve it. Here's our essential list of apps that will transform any virtual office into an efficient, productive space that allows you to get the job done, whether you are working from home or a seaside cafe.
Dropbox Always having important files at your fingertips with Dropbox, which has a wide range of plans to fit your storage needs. In addition, shared folders make it easy to send large files without clogging up your email storage. iOS | Android
Google Drive Not just cloud storage for photos and files, Google Drive is the easiest way share documents and spreadsheets. Commenting and change tracking allow clients and teams to work together on files without overwriting each other's work. iOS |...
The Enchanted Pose (1927), shown with an overlay of God is not a Sant (all images Succession Rene Magritte c/o SABAM ULiege)
Researchers have found the final piece of a painting by Ren Magritte that the artist scrapped, over 80 years ago, by cutting up its canvas into four surfaces he later reused. The last section of La Pose enchante (The Enchanted Pose) (1927), which shows two identical nude women leaning against broken columns, has been hidden beneath the layers of paint of God is Not a Saint, an artwork Magritte made between 1935 and 1936 that depicts a bird on a brown shoe. The once-lost fragment came to light during the paintings examination by a team comprised of individuals from the Royal Museums of Fine Arts of Belgium (RMFAB) and the European Centre of Archaeometry of the University of Lige, as part of a comprehensive study of the collection at the Magritte Museum. Researchers announced the news yesterday at a press conference at the museum.Rene Magritte, God is not a Saint (1935-36)
The existence of La Pose enchante has long been known. It was actually exhibited in 1927 and critically acclaimed, according to The Guardian; a black-and-white photograph of the painting was published in the artists 1992 catalogue raisonn.
Yet, it was only in 2013 that physical traces of the painting surfaced. Its upper-left-hand corner emerged at the Museum of Modern Art, where conservators x-rayed Le Portrait (The P...
There are a bevy of creative classes available on sites like Craftsy and CreativeLive. Whether youre looking for art, photography, or career-oriented topics, youll find thousands of them on these sites. And because its the holidays, these places are having great deals. CreativeLive is having a Flash Sale with a selection of classes that are only $15, while Craftsy has a Black Friday promotion with some courses available at a 50% discount. With both of these sites, every class is available as a gift, too. How easy is that?
Weve curated an offering of creative classes below. For even more recommendations, see what weve highlighted in the weeks past.
Still from Kambui Olujimis Where Does the Time Go (all photos by Sachyn Mital, courtesy of David Rubenstein Atrium, except where noted)
The film begins with a black screen except for a single white light in the lower-right corner. Theres the sound of rhythmic tinkling. The seconds yawn in between that opening shot and the appearance of more lights in the lower-left corner, and slowly, very slowly, the camera pulls back to reveal a suspension bridge at night: a terrestrial constellation guiding cars to their ports of call. Its the Ambassador Bridge, which connects Detroit, Michigan to Ontario, Canada. In the next scene, via a split-screen view, a car is on fire in a seemingly suburban neighborhood. Eventually a fire truck arrives. But while I wait, watching, it continues to burn. I expect the extinguishing to happen, but I dont get to see it. Instead, the very next scene gives me a different use for water: as a region for exploration. A boy plays in the sand on a beach, at the waters edge, the fire of a sunset in the far distance behind him.Still from Kambui Olujimis Where Does the Time Go (screenshot courtesy of the artist)
Im watching Kambui Olujimis short film ...
Ahmed Rabbani, Untitled (Binoculars Pointing at the Moon) (2016), work on paper (all images courtesy Art from Guantnsmo Bay exhibition, and used with permission)
The 41 remaining detainees at Guantanamo Bay just lost ownership to their own artwork paintings, drawings, and even sculptures created while shackled to the floor. According to Carol Rosenberg at the Miami Herald, the Pentagon has decided to claim ownership of all creative works made inside the detention center, and they may even decide to burn them.Muhammad Ansi, Untitled (Hands Holding Flowers through Bars) (2016), work on paper
According to Rosenberg, art classes started at Gitmo in the later years of the Bush administration as commanders explored ways to distract detainees who had spent years in single-cell lockups from getting into clashes with the guards. The program appeared successful, and even US military personnel were impressed. Detainees began sending works theyd created as presents to their lawyers and families after close inspection and screening for subliminal messages, of course.
Rosenbergs article sites an ongoin...
Long ago, we showed you some startling footage of an elderly, arthritic Pierre-Auguste Renoir, painting with horribly deformed hands. Today we offer a more idyllic image of a French Impressionist painter in his golden years: Claude Monet on a sunny day in his beautiful garden at Giverny.
Once again, the footage was produced by Sacha Guitry for his project Ceux de Chez Nous, or "Those of Our Land." It was shot in the summer of 1915, when Monet was 74 years old. It was not the best time in Monet's life. His second wife and eldest son had both died in the previous few years, and his eyesight was getting progressively worse due to cataracts. But despite the emotional and physical setbacks, Monet would soon rebound, making the last decade of his life (he died in 1926 at the age of 86) an extremely productive period in which he painted many of his most famous studies of water lilies.
At the beginning of the film clip we see Guitry and Monet talking with each other. Then Monet paints on a large canvas beside a lily pond. It's a shame the camera doesn't show the painting Monet is working on, but it's fascinating to see the great artist all clad in white, a cigarette dangling from his lips, painting in his lovely garden.
Note: This beautiful clip and post originally appeared on our site in 2012.
Whether youre working in a creative industry or are aspiring to be in one, sites like Creative Boom will help you in your journey. Founded in 2009 by Katy Cowan, the blog offers something for everyone who makes art, design, or photography a way of life.
Creative Boom features a wealth of visual inspiration from makers around the world. In any given week, you might read an article about giant woodcuts, bespoke ping pong paddles, and rare photographs of Prince. With this wide-ranging source of inspiration, the site champions a multi-disciplinary approach to artistic influence. By being exposed to different media and processes, it challenges us to consider how we utilize materials in our own work.
In addition to writing about and promoting creatives, the site also offers practical advice on how to start or grow your career. It is a trove of resources, including tips on making it as a freelancer, maintaining a work/life balance, and getting over your creative block. No matter where you are in your career, their advice is sure to strike a chord.
We were honored to speak to Katy about Creative Booma site which we have personally admired for many years. Learn more about her background and its playful redesign that takes their branding to the next level.
What is your background? What led you to become the Founding Editor of Creative Boom?
I'm a journalist and PR consultant from Manchester, UK. I launched my own PR firm in 2007 and spent a happy two years freelancing for various clients. But then the globa...
Feeling, life, motion and emotion constitute its import, philosopher Susanne Langer wrote of music, which she defined as a highly articulated sensuous object.
Although many great writers have contemplated the power of music, few have articulated it more perfectly or more sensuously than Walt Whitman (May 31, 1819March 26, 1892) does in Specimen Days (public library) the sublime collection of prose fragments and journal entries, which gave us Whitman on the wisdom of trees and which the poet himself described as a melange of loafing, looking, hobbling, sitting, traveling a little thinking thrown in for salt, but very little mostly the scenes everybody sees, but some of my own caprices, meditations, egotism. And what a beautiful, generous egotism it is.Walt Whitman (Library of Congress)
One cold February evening in the last weeks of his sixtieth year, having finally recovered from the stroke that had rendered him paralyzed for two years, Whitman treated himself to a concert at Philadelphias opera house. Two decades after he wrote of music as...
Photograph by Hunter Barnes from Tickets (courtesy the artist and Reel Art Press)
In the early 2000s, when Hunter Barnes was working on a series of Western rodeo photographs that would be published in the 2002 Redneck Roundup, he noticed a seasonal carnival that was pitched alongside one of gatherings. Years later, on the way back to my studio in Oregon, all the sudden, the rodeo didnt have the carnival, Barnes told Hyperallergic. And I thought, I really need to document this now.
He later visited Gibsonton, Florida, where carnival performers and workers live off-season, and its not unusual to see a ride or exotic animal in a front yard. While in town, he reached out to a man named Ward Hall who had founded one of the last surviving traveling circuses. I stopped at a gas station and looked him up in the phone book, called him, and went to his house the next day, Barnes said. There he spent hours transfixed by Halls stories of life on the road, and the photographs and ephemera of the vanishing sideshow.Cover of Tickets: Photographs by Hunter Barnes (courtesy Reel Art Press)
Barnes soon went on the road with Halls carnival the World of Wonders Show joining its stops at fairs in Maine....
Even the most angelic of cherubs cant resist making their mark on white walls. Some children might be scolded for scribbling on their parents property, however this particular couple responded with an ingenious alternative approach. After coming home to find their 6-year-old son had used a green marker to draw a little house on one of their walls, instead of bestowing punishment, they decided to frame itjust like a masterpiece in a gallery.
The photos were shared on twitter by Dr. Eric Masicottea neurosurgeon, associate professor, and medical director of the mTBI/Concussion Program at the University of Torontowith the caption Your kids are going to do things they shouldnt. It helps if you married someone with a sense of humour. The parents even created an artwork label and titled the treasured piece, Interrupted House. The label also states the artists preferred medium, Marker on latex paint, and includes the caption Gifted to his parents, by surprise. Nov. 13th.
The hilarious idea has since has gone viral with over 100K retweets. Could this be the beginning of a little artist in the making?
Spirit of Friendship at the Factory Contemporary Arts Centre with Nh Sn Collectives installation 82 131 39 (2017) on the left and Trng Cng Tngs, Blind Map, (2013), on the right, hanging
In galleries, we expect objects. After all the artists hard labor of education, research, and the construction is over, we largely focus on the finished product, proudly displayed in a white cube. Spirit of Friendship, at the Factory Contemporary Arts Centre, in Ho Chi Minh City, inverts this tendency, with a curatorial focus instead on the very relationships, the friendships that make the national art scene.
Perhaps the quintessential installation of Spirit of Friendship is Nh Sn Collectives installation 82 131 39, (2017). It is a replica of Me Luongs kitchen table (the title are the tables dimensions) where Nh Sn would regularly meet and discuss art, but most obviously as a welcoming place to cook, share, and eat, together. Spirit of Friendship proposes that, while members of Nh Sn Collective and Studio have produced great artworks, its their friendships that nourished, developed, and continue to sustain their practices to this day. The friendships, the informal relationships behind the artworks, are not superfluous side notes to the end objects, but of fundamental importance to their very existence....
"A show about nothing": people have described Seinfeld that way for decades, but creators Jerry Seinfeld and Larry David didn't set out to create anything of the kind. In fact, with Seinfeld himself already established as a stand-up comedian, they originally pitched to NBC a show about how a comic finds material in his day-to-day life. But in its 43rd episode, when the series had become a major cultural phenomenon, Seinfeld's character and Jason Alexander's George Costanza (whom David based on himself) pitch a show to television executives where "nothing happens," and fans seized upon the truth about Seinfeld they saw reflected in that joke.
In the video essay above, Evan Puschak, known as the Nerdwriter, figures out why. It's a cultural and intellectual journey that takes him back to the 19th-century novels of Gustave Flaubert. "Flaubert was a pioneer of literary realism, in large part responsible for raising the status of the novel to that of a high art," says Puschak.
In 1852, Flaubert wrote a letter describing his ambition to write "a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style." Instead of wanting to "string you along with multiple suspense-heightening narrative developments," in Puschak's view, "he wants to bring you into the text itself, to look there for the carefully constructed meanings that he's built for you."
And so, in their own way, do Seinfeld and David in the sitcom that became and remains so beloved in large part with its numerous departures from the traditions the form had established over the past forty years. "It wasn't until Seinfeld that the conventions of the sitcom were deconstructed fully, when all forms of unity, familial and especially romantic, were wholeheartedly abandoned. For Seinfeld, these additional elements were just so much fluff," distractions from telling a story "held together by the internal strength of its comedy." The critic James Wood, quoted in this video,...
Winslow Fegley in A Billion Nights on Earth (photo by Johanna Austin, image courtesy BAM)
What do you get when you combine The Chronicles of Narnia, Moby Dick, a pop-up book, and Kabuki theater? Thats what A Billion Nights on Earth sets out to do, and with mostly positive results. The unique experimental production is playing this weekend at BAM Fisher as part of the 2017 Next Wave Festival.
A collaboration between theater director Thaddeus Phillips and visual artist Steven Dufala (one half of the Dufala Brothers), A Billion Nights on Earth first premiered at the Philadelphia Fringe Festival earlier this fall. It tells the story of a father and his young son, played by Michael Fegley and his real-life son, Winslow. Its late at night, and the boy cant find his stuffed whale, so hes having a hard time falling asleep. Meanwhile, his architect father labors away on a drawing accompanied by a comical smooth jazz score having to reheat his coffee every time his son interrupts his work. When the boy opens the refrigerator for a glass of milk, he discovers a portal into an alternate universe. He enters, in a search for his white whale, with his father following closely behind....
As the COP23 international climate summit in Bonn, Germany comes to a close, many are making declarations that confirm their commitment to the Paris Agreement, regardless of the US government's stance. Europe, as well as 20 American states, 110 US cities, and 1,400 businesses are stepping in to fill the void that the US government will leave after President Trump's decision to pull out of the Paris Agreement.
The United States will withdraw in 2020the earliest possible datefrom the accord, and in advance is already pulling payments to climate funds like the UNs Intergovernmental Panel on Climate Change (IPCC). Established in 1988, the IPCC brings together climate experts from around the world in an effort to synthesize and present their findings to world political leaders, helping inform international policy. The United States was providing $2 million annually to the IPCC.
And now, Europe is setting out to fill that gap. I can guarantee that, starting in 2018, the IPCC will have all the money it needs and will continue to support our decision-making, French President Emmanuel Macron announced. They will not miss a single euro. Macron, who has been a critic of President Trump's decision, even announcing grants for American climate change researchers to come to France to carry on with their work, is joined by the UK, who announced that they will double their contributions to the organization.
During COP23, Macron also declared that France would close all of its coal power plants by 2021, a stark contrast to the current federal policy. David Banks, President Trump's special advisor on energy and environment, stated in Bonn that increased coal, gas, and oil use was a global reality. However, not all American governing organizations share that philosophy.
Photographer Christoffer Relander (previously) uses double exposure photography to capture wooded Finnish landscapes inside of glass jars. These images give a peek into the photographers past, while also metaphorically preserving the memories he formed as a childhood growing up in the south of Finland.
Reality can be beautiful, but the surreal often absorbs me, said Relander in an artist statement on his website. Photography to me is a way to express and stimulate my imagination. Nature is simply the world. With alternative and experimental camera techniques I am able to create artworks that otherwise only would be possible through painting or digital manipulation in an external software.
The new series is a follow-up to his black and white project Jarred & Displaced which was recently exhibited at the Finnish Cultural Institute in Madrid. You can view more of Relanders wooded images on his Instagram. (via PetaPixel)
Within the confines of an abandoned warehouse in Lisbon, artist Bordalo II just opened the doors to his largest body of work to date, dozens of animalistic assemblages comprised of his trademark medium: trash. Using locally-sourced waste plastics, car parts, construction materials, and other found detritus, Bordalo has become famous for his uncanny depictions of animalsthose most vulnerable to the side effects of our disposable economy. While scale often plays a large role in his outdoor wall-mounted street pieces, the artist also created considerably smaller assemblages attached to old doors, siding, and windowpanes.
Whether on a large or small scale, his unusual sculptural creations oblige us to question and rethink our own role as actors in this static, consumerist and self-destructive society, which exploits, often in an abusive way, the resources that nature offers us, shares Attero curator Lara Seixo Rodrigues.
Mundo Meza, Documentation of a window display at Maxfield Bleu, West Hollywood (c. early 1980s) (photo by Mundo Meza, courtesy Pat Meza)
LOS ANGELES Axis Mundo: Queer Networks in Chicano LA, a collaboration between the Museum of Contemporary Art, Los Angeles (MOCA) and ONE National Gay & Lesbian Archives at the University of Southern California Libraries, is a pun on axis mundi, the mythological axis connecting the earth to heaven and hell, and around which the universe revolves. By replacing mundi with mundo, the phrase shifts from Latin to Spanglish, even while retaining its original meaning. The title is apt, insofar as the exhibition explores how queer Chicano/a artists collectively created a world in Los Angeles from the late 1960s to the early 90s that has been largely unknown.
In contrast to the axis mundi, Axis Mundo refuses to center any given figure, although the show is the result of research into the lesser-known artist Edmundo Mundo Meza, who was born in Tijuana in 1955, came of age in the Chicano/a art community of East Los Angeles, and ultimately died of complications due to AIDS in 1985. But even while Meza occupies a prominent place, the true focus of the exhibition is on the queer Chicano/a networks of Los Angeles.
Certain people reappear throughout the exhibition, at times in surprisingly different ways. For example, we learn on the first floor of MOCAs Pacific Design Center of Mezas relationship with Simon Doonan, now the Creative Ambassador-at-Large of Barneys, but then a window dresser at Maxfield Bleu in West Hollywood. The duo produced provocative displays, such as one satirizing the abduction of a three-year-old girl by a coyote. On the second floor, we see documentation from a performance at the Hong Kong Caf in August 1979 by Johanna Went, who received leftover props from Doonan and Meza. Doonan makes a final appearance in the afterword of the exhibition catalogue, giving us the essay Mundo Goes to Hollywood....
Patti Smith has always aligned herself with artists who were outsiders and experimentalists in their time, but who have since moved to the center of the culture, where they are often reduced to a few biographical notes. Arthur Rimbaud, Virginia Woolf, William Blake. As much motivated by art and poetry as by the aggression of rock and roll, Smiths 1975 debut album reached out to people on the margins of popular culture. I was speaking to the disenfranchised, to people outside society, people like myself, she says, I didnt know these people, but I knew they were out there. I think Horses did what I hoped it would do. It spoke to the people who needed to hear it.
Its hard to imagine who those people were. In the process of its canonization, unfortunately, punk has come to be seen as a rejection of culture, a form of anti-art. But Smiths amalgam of loose, rangy garage rock brims with artiness, making it the natural link between the Velvet Underground and the Ramones, writes Jillian Mapes at Pitchfork, in the continuum of downtown New York rock. Pitchfork situates Smiths first record at the top of their Story of Feminist Punk in 33 Songs, more influential in its attitude perhaps than in its particular style. Her presence at the forefront of the scene was a statement in itself, but a statement of what, exactly?
Inspired by the works of the old masters, Russia-based artist Maria Vasilyeva creates accessories and panels that evoke the style and fine workmanship of the Renaissance. Vasilyevas purses, pendants, and brooches feature embroidered portraits, with each stitch appearing to resemble a paint stroke, emulating the technique of classical oil paintings.
Vasilyeva uses a selection of elegant fabricsincluding plush Italian velvetand embellishes her works with beading and tassels to achieve a sense of luxury associated with the fine art that inspires them. The perfect proportions and period-specific colors imbue her creations with a sense of antiquity.
Some pieces, set against a light background, show the subjects delicate features in subtle shades of ivory white, blue-grey, and nut browns. Whereas in others, like one of most recent piecesa pendant featuring Girl with a Pearl Earring by Johannes Vermeerdisplay much richer colors. The dark charcoal-black background, alongside the burnt umber of the clothes contrast with the ultramarine blue and lemon yellow of her headscarf, while a touch of vermillion red in her lips pops against subtle, peachy skin tones.
An action shot from the first Hyperallergic IRL event at Housing Works in June 2015 (photo Hrag Vartanian/Hyperallergic)
Hyperallergic IRL is back! On Tuesday, November 28, catch a rare glimpse of Hyperallergics writers, editors, and contributors stepping away from their computer screens and onto the stage at the Housing Works Bookstore. For one night only, the Worlds Greatest Art Blogazine will come to life with readings, rantings, and even our favorite gems from the comment section.
Some of the highlights of the evening will include: contributor Sarah Archer revisiting her cultural history of pink; writer and editor Seph Rodney reading from his work; and Producer Tiernan Morgan presenting an illustrated history of the New York art market. Plus, there will be art trivia with prizes throughout the evening, led by editor (and resident trivia master) Benjamin Sutton. The event will be MCd by our Editor-in-Chief, Hrag Vartanian.
Youll laugh, youll cry, youll think deep thoughts about art.
Here are all the details:
Tuesday, November 28, 78:30 pm
Housing Works Bookstore Cafe
126 Crosby Street, Soho, Manhattan
The event is FREE, but we recommend RSVPing on Facebook.
Food and beverages will be available for purchase, and all proceeds will go directly to Housing Works.
Past Hyperallergic IRL events have packed the house, so we suggest you arrive early to snag a spot. See you there!
Caspar Netscher, Woman Feeding a Parrot, with a Page (1666), oil on panel (courtesy National Gallery of Art, Washington, the Lee and Juliet Folger Fund)
Vermeer and the Masters of Genre Painting: Inspiration and Rivalry now at the National Gallery of Art in Washington, DC, includes a 1666 painting by Caspar Netscher of a woman offering a parrot a snack. The work, one of around 70 pieces from the Dutch Golden Age on view, was recently acquired by the museum.
I walked into the conservation studio, not knowing about the acquisition, and I saw it sitting out there. I said, I own that bird!' Kristen Gonzalez, the curatorial assistant in the Department of Northern Baroque Paintings, told Hyperallergic. So I was really interested to look more at Dutch genre paintings. That got me on this research path to look at them from the perspective of an art historian and someone who lives with these creatures.
Gonzalez has an African Grey parrot, not unlike the one in the 17th-century painting, and that familiarity made her perceive the painted birds as more than solely symbols. In an online feature called More than Mimicry: The Parrot in Dutch Genre Painting, she explored the significance of the parrots as metaphors, and their presence as intelligent animal companions. For the latter, she drew on Dr. Irene Pepperbergs animal cognition studies on African Greys. On November 20, Gonzalez will give a talk at the museum about her research, which is part of a...
All hell broke loose online in Pakistan this winter after their first Oscar winner, Sharmeen Obaid, tweeted a complaint against a doctor who sent an unsolicited friendship request on Facebook to her sister following an E.R. visit. Sharmeens tweet provoked a firestorm of debate amongst Pakistani social media users, who shared a picture of Sharmeen posing with American film producer Harvey Weinstein as proof of Sharmeens double standards on sexual harassment.Sharmeen Obaid, World Economic Forum (via Wikimedia Commons)
Sharmeen is not the first Pakistani to incite calls to violence by going public about abuse. Member of Parliament Ayesha Gulalai received severe and terrifying censure from social media trolls for her public accusations of sexual harassment against former-cricketer-turned-politician Imran Khan. Similar critiques have also been used against Malala Yusufzai, Pakistans only woman Nobel laureate, when social media users suggested that photographs of her at Oxford University wearing a bomber jacket and jeans, under a modest headscarf, looked just like porn actress Mia Khalifa.
These issues are not limited to Pakistan alone, of course. Digital harassment has been a prominent issue in the United States as well, and the tactics trolls use to challenge women who speak out about harassment are strikingly similar in both countries. Trolls in both contexts deploy words like feminazi, or man-hater, accusing women of exaggerating, attention-seeking, or of trivializing real cases of abuse to further their own taste for drama. They create fake Facebook or Twitter accounts in the name of a woman (or other abused person) going public, using these accounts to post humiliating status updates or embarrassing personal details about the survivor. Women in both cases are quickly accused of being traitors, airing their dirty laundry on a global stage with implications for the reputation of their social groups or organizations.
Comparing American and Pakistani harassment cases highlights how geographically distant and culturally different locations draw on similar...
Makeup artist Evelyn Affleck is formally trained in the art of beauty, but she still finds time to experiment with the ever-growing field. Calling her Instagram a collection of ideas, Affleck chronicles her bold concepts that transform the body into a canvas for abstract works of art.
Affleck covers her face and neck in a variety of motifs. This often takes the form of vibrant, swirling hues or expressive brush strokes that radiate from the eyes or mouth and drip down the cheeks like colorful tears. Glitter, jewels, and other large sequins are also applied as a way to add depth to her painting, resulting in a mask-like effect.
Affleck hails from an artistic family and has explored a wide range of fine art, from music to writing to painting. She was eventually drawn towards makeup, but she uses her wisdom to elevate her practice. Fine art also gives her a depth and understanding of what makeup can truly be, Affleck writes, not just pretty surface decoration but an expression of character, story, and era.
Anyone whos ever been to Stockholm has probably gotten at least a taste of the remarkably vibrant artistic concepts that define many of the citys subway stations. A bunch of the stations are incredibly distinctivemy favorite was the Solna Centrum station on the blue line, executed by Anders berg and...
Echo number four (via Discogs)
One of the nice people I met at the Revolting Cocks and Meat Beat Manifesto show last weekend kept telling me about an instructional record Salvador Dal made, demonstrating the proper way to speak English. I think...
Leonardo da Vinci, Salvator Mundi (c.1500), oil on panel, 25 7/8 x 18 in.(65.7 x 45.7 cm) (courtesy Christies)
Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.
Salvator Mundi (c. 1500) sold at Christies for $450,312,500 (inc. buyers premium) after just under 20 minutes of bidding, becoming the most expensive artwork ever sold at auction. Christies hired an outside PR firm for the first time in order to conduct its marketing campaign branded The last da Vinci which included a video of viewers stunned in awe before the painting. The record price was set despite concerns regarding the precise attribution of the work from figures like Michael Daley, Frank Zllner, and Jerry Saltz. A Guardian article published last month regarding Walter Isaacsons new biography of Leonardo was later revised with an editors note explaining that the piece is the subject of a legal complaint made on behalf of Christies International Plc. Isaacson subsequently took to ...
Paradigm Shift is the pattern of sharp images melting into alien shapes, and then reuniting again as something no less vivid, no less stunning than before, and also still vaguely familiar. Guitarist Simone Lobina drives the scorched earth melody of France Mon Amour, etching it onto the face of the tune, and even after he 
One wonders what might have become of Richard Atkins musical career had he come of age in this millennium, when youngsters suffering from acute stage fright regularly attract stadium-sized followings on Youtube.
This was most definitely not the case in 1968, when Atkins, aged 19, took the stage in a small Hollywood club filled with music industry brass, there specifically to see him.
Unfortunately, talent could only take him so far. Having learned to play guitar only a couple of years earlier in the wake of a disfiguring motorcycle accident, he and partner Richard Manning had recorded an album, Richard Twice, for Mercury Records. The presence on that record of several members of the Wrecking Crew, an informal, but legendary group of LA session musicians, conferred extra pop pedigree. The Acid Archives later called it "a virtually perfect pop album, the kind of thing that would have ruled the charts if the wind had been blowing the right way that month."
Alas, one tiny technical difficulty at the start of the gig caused Manning to flee, leaving the freaked out and frighteningly ill equipped Atkins to deal with the yawning chasm that had opened between him and the audience. The only fix that occurred to him was a Bugs Bunny-inspired soft shoe, a move that apparently went over big with his Mom, prior to the accident, when he had two legs and could balance without a crutch.
As recounted in Matthew Saltons animated documentary, above, this soul crushing moment is not without humor. Atkins, affably narrating his own story, has had 50 years to mull that night over, and realizes that blown opportunities are probably more universal than successfully snagged brass rings (American Idol, anyone?)
Over the ensuing years, Atkins found fulfillment as a woodworker and family man, but music remained a painful what-if, a...
No woman should say, I am but a woman! But a woman! What more can you ask to be? pioneering 19th-century astronomer Maria Mitchell told her students as she paved the way for women in science. And yet a century later, Brenda Berkman found embers of that but-a-woman cavil smoldering in the innermost chamber of culture, and she set out to extinguish them with unexampled fortitude of spirit.
Berkman, now an artist in her sixties, was once a lawyer before becoming one of the first women firefighters on the New York force, where she initiated and won at great personal cost a landmark lawsuit that forever changed the face of the fire department and became a precedent for equality far beyond its locale. Berkman recounts the hard-earned triumph through the lens of her uniform in one of the sixty-eight stories in Emily Spivacks altogether wonderful Worn in New York (public library) the continuation of Spivacks Worn Stories, one of the most rewarding books of 2014, unraveling the tapestry of cultural and personal histories that make us who we are through the storytelling thread of sartorial micro-memoirs....
The urine of the stallion fertilises the fields more than all the chemicals of science. So, under Divine Providence, the excess of amorous nature fertilises the spiritual field. (Eric Gill)
On the 17th of November 1940, British artist Eric Gill died of lung cancer in Hillingdon, UK. During his lifetime he was recognised for his original typeface designs, stonecutting, printmaking and characteristic sculptures. Among others, he was the author of the Stations of the Cross in Westminster Cathedral (1914), three out of eight studies of wind, carved for the exterior of the new London Underground Headquarters at St James Park station (1928) and statues for the BBCs Broadcasting House (1932). Posthumously, the adoration for his unquestionable artistic genius was faced with spicy revelations on his shocking sexual behaviour, brought to light in a biography by Fiona MacCarthy (1989).
Most of the information in the book comes from Gills personal diaries, in which he went into great detail about sexual acts with his own children, sister and a dog. His attitude to animals, as to some extent to children, was that particularly Victorian combination of scientific curiosity mixed with high emotionalism. (Fiona MacCarthy, Eric Gill...
Louis K. Meisel Gallery is pleased
to announce A Preview
to Havana, a solo exhibition of Robert Gnieweks
recent paintings. A Photorealist with an aptitude for
creating atmospheric urban landscapes, Gniewek has begun a
new series of work based on his recent journey to Cuba; this
exhibition will premiere the first two paintings from
this new body of work.
Known for recreating the effects of fluorescent, neon, and diffused light, Gnieweks Hopper-esque cityscapes often capture moments of isolation. His compositions are imbued with soft light that subtly takes center stage. Inspired by scenes that are architecturally or culturally nostalgic, Gnieweks paintings possess a cinematic quality that is rarely captured in Photorealism.
Robert Gniewek began his career painting his hometown of Detroit. Over the course of his career, he has painted cities across the United States and Europe, as well as slightly more remote outposts of urban life that have included taverns, motels, and diners. In March 2017, Gniewek was able to travel to Havana. His forthcoming body of work will concentrate on Vedados narrow, gritty streets.
An opening reception for the artist will be held on November 16th from 6-8pm.
For further information and images of works from the exhibition, please contact Elizabeth Harris or Alain Simi at 212-677-1340, or email firstname.lastname@example.org.
A Preview to Havana continues at Louis K. Meisel Gallery (141 Prince Street, SoHo, Manhattan) through December 22.
The post Louis K. Meisel Gallery Presents Robert Gnieweks <i>A Preview to Havana</i> appeared first on Hyperallergic.
Paula Modersohn-Becker, Self-Portrait in Front of a Green Background with Blue Lilies (c. 1905) ( Paula-Modersohn-Becker-Stiftung, Bremen; all images courtesy of Semiotexte)
In the basement of the Museum Folkwang in Essen, Germany, home to one of the most famous collections of 19th- and 20th-century European painting, are the paintings of women subjects, and the paintings of women artists. In the low-ceilinged, dimly-lit room, amongst the images of mothers and children, goddesses and nymphs, situated slightly out of sight behind a television monitor, hung a self-portrait of a young woman with almond eyes and a red smile holding a branch pulled from a camellia tree. She stares out at us, determinedly, with a look of concentration on her face. The absence of her second hand suggests she is in fact in the process of painting herself. But, who is she? And why do we even need to ask?
When I Google search Paula M. Becker, almost every entry insists she was one of the most important figures in early Expressionism, a contemporary of men we are on last-name basis with: Picasso, Gauguin, Matisse, Munch. In her native Germany, her works adorn postcards, magnets, and posters. She has been heralded as the first Western woman artist to paint herself naked. She has been claimed as the first Western woman artist to paint herself pregnant. She traveled often to Paris and developed close friendships with the painter Heinrich Vogeler and the poet Rainer Maria Rilke. She began a series of correspondence based around a mutual admiration for the others art with Otto Modersohn, which lead to their marriage in 1901. And yet, her name barely appears alongside these men in the annals of art history. She deserves her own biography. Luckily, Marie Darrieussecq has written it.
The fascination with these lost characters of history, often encountered as a footnote or brief chapter in someone elses story, can le...
While Hanji saw success in Korea for hundreds of years, the handmade craft has all but died out due to more efficient manufacturing methods. In order to protect and preserve the centuries-old practice, it is important to understand what sets Hanji apart from other papermaking processes, from its time-honored history to its artistic flair.
Hanji refers to handmade Korean paper. Traditionally, this durable paper is created using dak, the bark of Paper Mulberry trees, and dak pul, sap from the aibika plant. In addition to sheets used for writing, it is used to make a range of objects. These include screens for doors, clothing, fans, and lanterns.
If you're fascinated by nature and botanical illustrations, you'll be thrilled by the Biodiversity Heritage Library. This open access digital library focuses on bringing the natural world closer to people through access to writings and illustration. Thanks to the dedication of BHL staff and readers, over 100,000 images and photographs from the collection have been uploaded to their popular Flickr account since 2011.
Divided up clearly into albums by publication, the account is a surprisingly huge success for the organization, opening up the world of nature illustration to a new audience. A dive into the photostream shows everything from 19th-century volumes on the birds of Australia to an odd grouping of bat illustrations. And, of course, there are the botanicals. French, German, English, and South African journals have all been lovingly scanned, providing a fascinating look at the biodiversity that existsor existedthroughout these countries.
If you really want to dive deep into the world of nature and botanical illustrations, there's another photostream of tagged photos that provides a huge grab bag of over 2 million illustrations and photographs. Wondering how beekeepers dressed in 1910? You'll find it here along with enough glorious plant illustrations to quench your thirst for nature.
Performance art on Bogart Street during Bushwick Open Studios 2016 (photo by Hrag Vartanian/ Hyperallergic)
Quartz has published an analysis of the US cities with the densest concentration of artists, compiled from US Census data spanning five years from 2011 to 2016. Unsurprisingly, the results show that artists tend to congregate disproportionately in major metropolitan areas and cultural hubs and that many, many artists are (still) moving to Brooklyn.
But still, there are some interesting details. The study uses categories for artist, defined by the NEA, and these extend beyond what might initially come to most peoples minds. In addition to all the usual suspects (photographers, fine artists, dancers, musicians), the study also accounts for less expected mtiers, like PA system announcers, ad copy writers, floral designers, and ventriloquists.
In the final analysis, New York claimed two of the top spots in drawing artists, with Manhattan at number one and Kings County (i.e. Brooklyn) as number three. San Francisco (number two), LA (number four) and Portland (number five) rounded out the top five.
The post Data Suggests Artists More Drawn to Cities than Ever appeared first on Hyperallergic.
Using a technique called high-speed atomic-force microscopy, Japanese researcher Osamu Nureki has managed to show CRISPR-Cas9 editing DNA in real-time. In a new paper published in Nature, Nureki outlines how he and his team were able to capture the astonishing footage.
While it may appear grainy and pixelated, its important to keep in mind the amazingness of what were seeing: a single-molecule...
Hippopotamus (William) (ca. 1961-1878 BCE) (Public Domain image)
In 1931, an article appeared in the now defunct British weekly Punch that described the mystique of one small, faience hippo the ancient Egyptian statuette, decorated with lotus flowers, that is today among the most recognized objects at the Metropolitan Museum of Art. Its author, one Captain H. M. Raleigh, detailed how a framed print of the hippo in his drawing room had an effect so powerful on him and his family that they considered the hippo an oracle of sorts: a bright blue beast they consulted before making any major decisions.
He is described on the back of the frame as Hippopotamus with Lotus Flowers, Buds and Leaves, XII. Dynasty (about 1950 B.C.), Series VII., Number 1, Egyptian Faience; but to us he is simply William, Raleigh wrote. We have come to love and revere him with an intensity bordering on the pagan.Hippopotamus (William) (ca. 1961-1878 BCE) (Public Domain image)
Punch is a satirical magazine, and Raleigh most likely a false byline. But William, the name seemingly pulled out of nowhere, stuck. Soon after the article was published, the Met circulated a copy through an issue of its quarterly publication, Bulletin, and the museum has since referred to the ancient Egyptian creature by the old Norman name. Its even shown on its display label, printed as “...
Whether youre an established professional working with a top gallery, a weekend tinkerer, or a student tackling personal projects, here at Colossal we believe that your creativity enriches our world. The incredible range of art created by artists of all ages, from all backgrounds, all over the planet, is the lifeblood of our publication. Thats why, in this season of giving and receiving, Colossal is excited to partner with DonorsChoose.org to help support young artists.
DonorsChoose.org is a New York-based nonprofit that makes it easy for anyone to help a classroom in need. Public school teachers from every corner of America create classroom project requests, and you can give any amount to the project that inspires you.
Weve selected a range of art-focused projects from around the U.S., including requests for basic art supplies as well as specific needs for exploring particular techniques and materials. Each project page lets you know about the teacher and students who benefit from our collective support; how and why the supplies will be used; and includes a specific breakdown of every item and expense on the classrooms wish list. Or, simply make a donation at the top of the page and your donation will be automatically distributed.
Why do todays students need our support? While many students in the US are fortunate to receive arts education, 17% of elementary school students receive no instruction in visual arts, and 96% of students receive no instruction in theater. And schools with higher rates of students in poverty are less likely to provide arts education (...
The alluring black and white photography of Jason M. Peterson, a craft honed daily over the last 25 years, has garnered the Chicago-based photographer an unparalleled following. With 1 million followers on Instagrama number usually reserved for celebrities (or food accounts)his moody, artistic work captures the soul of every scene he shoots.
As the Chief Creative Officer for Havas North America, Peterson's work in advertising has certainly impacted his photography, perfectly his ability to tell a story and evoke emotion through monochromatic imagery. Or, perhaps it's his photographya passion that began at 13that helped push him toward the visual storytelling world of advertising. Though he's been a photographer for most of his life, it's only in the past 5 years that he's shared his work with a wide public audience.
One look at his Instagram feed and it's clear why so many people follow his photographic journey. Crisp and clear, he works with shadows, angles, and lines to draw out unique forms within his composition. As comfortable in the city as he is in nature, his ability to balance a scene shines through whether shooting aerial photographs or capturing the energy of a concert. And though black and white photography is what he's known for, Peterson doesn't necessarily define himself by that choice.
To me, my photos arent about black and white at all, Peterson shares with My Modern Met. I am trying to capture human emotion, make the viewer feel something. Black and white helps focus on that emotioncolor is one less thing to be in the way of seeing the feeling.
And if he can stimulate his fans to step away from the screen, look around and notice the small things in their surroundings, he's accomplished his goal.
Like a mad hybrid of Wheres Waldo meets Dr. Seusswith healthy doses of absurdity and science fictionSwedish illustrator Mattias Adolfsson (previously) fills his sketchbooks and canvases edge to edge with his manically dense drawings of well, just about anything you can imagine. Around the framework of a known destination such as a small village or the interior of a church, the artist populates nearly every square inch with bands of unruly characters, Rube Goldberg-esque contraptions, and overly complex spacesuits. The purpose of everything seems to be a mystery, but the time spent trying to understand it all is always rewarding, a first-glance view can turn into minutes of exploration as each piece slowly unravels like a story.
Adolfsson is as meticulous in the documentation and sharing of his work as the subject matter itself. You can follow his process and peek inside numerous sketchbooks on his website, where you can also find many of his drawings gathered into a series of books. He also shares prints and a few original watercolor works in his Etsy shop.
Learning something new can be challenging, but sometimes, it can take you places youd never imagine. Kimiko Nishimoto was 72 years old when she picked up a camera, and its transformed her life over the past 17 years. Now at 89, she's enjoying wide-spread attention for her creative self-portrait photography.
Nishimoto pokes fun at herself through her bizarre compositions. While many people are concerned with finding their most flattering angles and wearing stylish outfits, Nishimoto chooses to dress up in strange costumes and place herself in situations that are amusingly self-deprecatinglike hanging from a clothesline, being struck with a shovel, and run over by a car. The exaggerated images make you smile as well as commend Nishimoto for her willingness to be silly. Thanks to a camera and photo manipulation software, she has found her creative bliss.
Nishimoto has teamed up with Epson on a month-long exhibition of her work. Her photos will be on view at the Epson Imaging Gallery in Tokyo from December 15th, 2017, through January 18th, 2018.
The original Simpsons home, 742 Evergreen Terrace vs The Simpsons House IRL
Springfield's 742 Evergreen Terracethe suburban two-story detached residence thats home to The Simpsonsis possibly one of the most recognizable homes on TV. The home has hardly changed since first airing in 1989, and features a garage, basement, attic, and a large garden complete with a brown picket fence. By design, the fictional family home encapsulates the American suburban stereotype. But what ifin some bizarre alternate realitythe suburban stereotype as we know it had evolved into something quite different? Marketing agency NeoMam have provided the answer, following a recent commission by HomeAdvisor, in which they gave the Simpson family home a series of architectural makeovers.
NeoMam have reimagined the iconic abode in a diverse mix of styles including a curvaceous Art Deco domicile; a wooden log cabin; an angular contemporary home, with floor to ceiling windows; a colonial residence, that even Mr Burns would be impressed by; a Mediterranean villa featuring arched windows; a Victorian mansion; a Cape Cod dwelling, with a steeped roof; and even one in the style of Tudor Revival.
Regardless of the building style, youll see one thing that remains constant: Homer in the backyard throwing out a can of Duff.
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