ArsRSS Calls and Opportunities http://net18reaching.org/artrss/ Current Term Specific News Feed en-us Thu, 24 Jul 2014 13:00:01 -0400 240 <![CDATA[Tranquil Teepee Towers - Antony Gibbon Created The Nook for a Tranquil Work Space (TrendHunter.com)]]> Found: calls, call
(TrendHunter.com) Inspired by the elements that make up a teepee, designer Antony Gibbon created a multi-purpose teepee structure that can be used as a retreat, an office or even a hotel. He calls it The Nook, and...

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24 July 2014, 4:30 am 1c3684504dc1bc80e281c896f49af231
<![CDATA[Small Wonders: A Fine Art Small Works Exhibition - Annapolis, Maryland]]> Found: deadline, awards, award
$1,000 in awards. Deadline: September 10, 2014

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579325a27ca4b3423e786d5b9ed9b0d3
<![CDATA[CWA 45th National Exhibition - Pleasanton, California]]> Found: deadline, awards, award
$12,000 in awards. Deadline: September 5, 2014

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<![CDATA[International Juried Smart Device Photography Exhibit - Brooklyn, New York]]> Found: deadline, awards, award
$1500 Cash Awards. Deadline: August 16, 2014

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<![CDATA[Main Street Arts National Juried Small Works Show - Clifton Springs, New York]]> Found: deadline, awards, award
$1,000 in cash awards. Deadline: September 22, 2014

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<![CDATA[2014 Osceola Fall Arts Festival - Kissimmee, Florida]]> Found: deadline
$20,000 in prizes. Deadline: September 19, 2014

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<![CDATA[118th Annual Open Juried Exhibition - New York, NY]]> Found: deadline, awards, award
Over $10,000 in awards. Deadline: September 19, 2014

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<![CDATA[Works on Paper - Cohasset, Massachusetts]]> Found: deadline, awards, award
$1,200 in awards. Deadline: September 15, 2014

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<![CDATA[Joshua Tree National Park Art Exposition 2014 - Twentynine Palms, California]]> Found: residence, deadline, awards, award
$6,000 in cash awards and an Artist-In-Residence award. Deadline: September 15, 2014

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<![CDATA[86th Grand National Exhibition - New York, NY]]> Found: deadline, awards, award
Approximately $19,000 in awards. Deadline: September 6, 2014

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481a3f0e18622f85e431d5a4546f319e
<![CDATA[34th Annual Mountain Art Show - Bernardsville, New Jersey]]> Found: deadline, awards, award
$1000 Best in Show; several $250 Awards of Excellence. Deadline: September 4, 2014

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de641462bb2f54f9fa540e28a4eaa502
<![CDATA[Burgers at the Laundromat]]> Found: opportunity
ZelwiesBurger.jpg
Juliane Zelwies, Hamburger Diagram


Saturday, August 8th, the Laundromat kicks off its 2009 season with The Burger Group Show – a one-day exhibition complete with selections from The Laundromat Flat File and a menu of 'conceptual burgers.' The show features work by returning Laundromat artists, as well as newcomers who will be exhibiting their work with the space this fall.

Each participating artist has crafted a 'conceptual hamburger' that references the study of art history, or art-related concepts. The artists will be writing descriptions of their respective burgers for the menu, and cooking their creations for patrons. Founder and director of the Laundromat, Kevin Andrew Curran, sees the menu as a "tongue-in-cheek" opportunity for the artists to make commentary and fuel artistic discourse.

Curran does not intend to teach visitors a formal lesson, but he does see the potential for artists and visitors alike to indulge in "some (serious) fun with the idea of creating and consuming hamburgers that are playfully engaging art history." The show also provides an opportunity for the Laundromat to display works from the space's rotating Flat File. Artists included in the File lend their work to the Laundromat for one year, after which the drawer may be offered to another artist. In this way, Curran hopes to increase the number of artists whose work may be viewed in the flat file, while simultaneously increasing the geographic diversity of the collection.

The Burger Group Show will be held at the Laundromat gallery on Saturday, August 8th, from 6-10 PM. Participating artists include Chris Deo, Sarah McDougald Kohn, Maria Walker, Jonathan Allmaier, Scott Wilson, Ben Godward, Joe Protheroe, Ianthe Jackson and Liz Atzberger. Conceptual burgers will be on sale for $5 to $20, and visitors are invited to take home a copy of the menu.

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31 July 2009, 4:50 pm ffa978d63a305009fc59b23969410e3e
<![CDATA[Kathleen Cullen on "Tattoo"]]> Found: call, opportunity
NYC6 017.jpg
Installation view of Tattoo at Kathleen Cullen Fine Arts. Via gallery.


Tattoo at Kathleen Cullen Fine Arts is a multimedia exploration of tattoo art and its ever-changing role in society. The exhibition includes paintings, photography, sculpture and film, as well as a few empty bottles of Jack Daniels littered about the gallery for an something like an authentic, tattoo parlor feel. We caught up with Cullen, the director of the gallery, and asked about her inspiration for the show and her take on tattoo art.-- S.K.

Stephanie Korszen for ArtCat: What was your inspiration for situating the work of tattoo artists within the context of a fine art gallery?

Kathleen Cullen: The inspiration is really the everyday. You need only sit down at a café or bar, or stand at a traffic light, to grant your eyes the opportunity to admire the body art on others' skin. Additionally, one of the artists I represent, Max Snow, served as the catalyst for this exhibition. In 2008, Max documented the stories of Latino gang members in L.A., for whom tattoo art serves an important role in self-identity. Max also wears part of his identity externally in the form of body art.

In the 1930s, Herbert Hoffmann photographed people and documented their fantastic stories before they were sent to prison by the Third Reich. He developed a great respect for these people, whom he saw as hard-working and unpretentious. Many bore the simplest of tattoos on their arms and hands – historically a sign of degeneracy. Over the years, tattoos have broken free of this inherent link to all things degenerate, to the point where they now have the potential to serve as a status symbol on par with designer handbags. Bruce Willis, on the cover of W Magazine, sports tattoos. Supermodels adorn themselves with body art. We see biker motifs, as well as Maori, Japanese, and sailor themes – rich codes to decipher on other’s bodies.

AC: You’ve discussed tattoo art as an intercession between the arenas of popular and high culture. How have you mirrored this comingling of cultures in your gallery space?

KC: We have everything from a Keith Haring poster, graffiti tattoos, tattoo-inspired furniture
and a film, Mark of Cain, by Alix Lambert. This film was part of a ten-year project during which the Lambert interviewed criminals in Russia. Lambert’s project inspired David Cronenberg to review the Russian criminal tattoo codes for the well-known movie Eastern Promises, starring Vigo Mortensen and Naomi Watts. Lambert reveals the hidden history behind Russian tattoos, as well as their complex symbolism.

NYC6 030.jpg
Installation view of Tattoo at Kathleen Cullen Fine Arts. Via gallery.

AC: How did you conduct your research for this exhibition?

KC: We began by researching books and articles on the tattoo subculture from the 1930s
through the 1950s, and then followed the evolution of the tattoo further into the punk generation of the 1970s and 80s. Tattoos have transcended their stereotypical role as the mark of a lowlife in the first half of the twentieth century – though youthful sailors often flaunted tattoos as a rite of manhood – to arrive at a socially-accepted norm. Represented in our exhibit are biker, Maori, Japanese and sailor motifs.

Also included is Larry Clark's Tulsa tattoo. Like Danny Lyons, Clark blurred the lines between observer and participant. Lyons photographed unwanted, hated bikers. A common underlying theme for the artists represented in the exhibition is the desire to share an emotional closeness with their subjects. The resulting works are not merely documents; they are empathetic portraits.

AC: In presenting tattoo art, all of the works on display also portray the tattooed. Do you feel that the meaning of a tattoo is inherently tied to – and thus dependent upon – the individual’s identity?

KC: The meaning of a tattoo is intrinsically tied to a person's identity, because without the individual, the tattoo is rendered meaningless. If the individual was done away with, the tattoo would become an image devoid of significance.

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1 July 2009, 7:49 pm cf0b5f5faeee9b9e077896d92db0abdf
<![CDATA[Michael Cloeren - July 22 2014]]> Found: award
Michael Cloeren, award-winning founder & producer of the Pocono Blues Festival, talks about the annual Pennsylvania Blues Festival, taking place July 26-27 at Blue Mountain Ski Resort in Palmerton. For more information, www.skibluemt.com or 610-826-7700

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23 July 2014, 12:00 am 54af3239577bc7f2dbc733cef4149899
<![CDATA[Reflections on Music from the New Wilderness: A Dialogue between Ellen Waterman and Tyler Kinnear]]> Found: award

I wonder if in some sense the New Wilderness is this society we live in where comfortable, former boundaries still exist, but they are permeable. They exist in ways that are not settled and have no assurance that they will live on into the future.

-Ellen Waterman, in dialogue with Tyler Kinnear

With the financial support of the Rio Tinto Alcan Performing Arts Award, Music 2014, the Western Front produced Music from the New Wilderness, a production consisting of new compositions that integrate pre-recorded material, including an archival wax cylinder recording and recent field recordings.  Music scholar Ellen Waterman and doctoral student Tyler Kinnear attended the production several times.  At the invitation of DB Boyko (who played a major role as director/curator of Music from the New Wilderness), Ellen and Tyler scheduled time to formally discuss their experiences.  Prior to conversation, they exchanged a series of questions to guide their discussion (see “Questions”).  Topics addressed during the dialogue included stylistic features of works on the program and larger concepts, such as wilderness, technology, and genre.  Tyler created the following audio work using excerpts from the meeting and field recordings he made in Vancouver and on Vancouver Island.  The recordings used in the piece are as follows:

- Dialogue at Ellen’s brother’s house, with Gypsy the dog accompanying us (East Vancouver)

- Tide pool at Third Beach (Stanley Park)

- Boardwalk in Pacific Rim National Park (Vancouver Island)

- At the base of the University Boulevard Water Feature (UBC)

- Contact microphone affixed to Tyler’s apartment window on a rainy day (Kitsilano)

- Garden near the Faculty of Land and Foods Systems (UBC)

 

CLICK HERE for Video Excerpt of the performance of Songs of Love and Despair

 ___________________________________________________

Questions

How might we position these works in relation to a broader history of experimental music?

In what ways do these works engage the concept of wilderness?  (What is “new” here?)

What genre expectations are foiled and/or fulfilled by this concert?

What contextualization does the audience need in order to be let into these works?

Amidst recent demands for expansion here in British Columbia in natural resources export (pipelines, coal terminals, etc.), do these works stimulate discussion around some of the cultural, environmental, and political aspects (perhaps also anxieties) of this moment in BC history?  More directly, can such works raise environmental awareness?

______________________________

Bios

Ellen Waterman is both a music scholar and a flutist specializing in creative improvisation and contemporary music. She is currently Dean of the School of Music at Memorial University of Newfoundland where she also teaches in ethnomusicology.

Tyler Kinnear is a Ph.D. Candidate in Musicology at the University of British Columbia. His research focuses on conceptions of nature in music of the twentieth and twenty-first centuries.

_______________________________

Music from the New Wilderness Program

  • when you’re looking for something, all you can find is yourself (2014)
  • Multi-channel audio
  • Composition: Adam Basanta
  • Interviews, research, and dramaturgy: Jennifer Schine

 

 

  • The Senses of Belonging (2014)
  • Piano, voice, strings
  • Composition/performance: Alicia Hansen
  • String quartet: Peggy Lee, Jean René, Jesse Zubot, Joshua Zubot

 

  • Objects from a Landscore (2014)
  • Multi-channel projection
  • Composition: Christian Calon

 

  • Songs of Love and Despair: The Songs of Therese and the Potato Gardens Band (2014)
  • String quartet and archival recordings
  • Composition: Jesse Zubot
  • String quartet: Peggy Lee, Jean René, Jesse Zubot, Joshua Zubot
  • Visuals: Krista Belle Stewart

 

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21 May 2014, 6:58 pm 3fcb2d2ac149e4103b13b24b3b8692e4
<![CDATA[Living Improvisation: Workshop with Lee Pui Ming]]> Found: call, residence

$10 / FREE Western Front members

Advance registration required. 

To register contact: newmusicadmin@front.bc.ca

Musician-in-Residence with the Sound of Dragon Festival, pianist and composer Lee Pui Ming is recognized for her work in combining contemporary classical, jazz, and traditional Chinese music.

“We improvise all the time. We listen, assess, initiate and respond to what arises within and around us. In this gathering, we will explore more mindfully what we do automatically, and share our individual practices of improvisation. Bring yourself, and bring an instrument if you wish.”

Lee Pui Ming is an artist who is curious about the space where the Known meets the Unknown. Through the years, that exploration has led her to new ways of transforming and integrating Chinese material into her work; creating a live performance gestalt that includes sounding all parts of the piano, engaging her body and her voice; finding fresh ways of weaving tonalities; and diving into the wide expanse of open improvisation. And always, the intent is to communicate and connect with the listener, heart to heart.

In Lee’s performing career, she has played in jazz, new music, and folk festivals in places like Montreal, Ottawa, Vancouver, Toronto, Halifax, Edmonton, White Horse, San Francisco, St. Paul (Minnesota), Honolulu, Berlin, Bern, Worpswede, and Hong Kong. She has been presented by presenters like Honens International Piano Festival in Calgary, Art Gallery of Ontario and The Royal Ontario Museum in Toronto, Vancouver New Music, and Hong Kong Urban Council. Recently she made concerto appearances performing she comes to shore with The Hopkins Symphony, Windsor Symphony, and The Bay-Atlantic Symphony.

Co-presented by Sound of Dragon: A Festival of Chinese Music.

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27 March 2014, 1:00 pm 6a48af1f2927e6e1f0db314d4c96736f
<![CDATA[Scoring Sound: Vancouver Draw Down Festival]]> Found: residency, residence, entre

Grand Luxe Hall, Western Front

FREE

Have you ever heard a drawing before? Come and draw your own score and hear it played by international pianist Lisa Ullén. Ullén collaborates with artist Kathleen Taylor to guide this hands-on event to create instant graphic scores from drawings and doodles. No experience required.

Scoring Sound is one of forty five FREE drawing workshops for Vancouver Draw Down, an annual event that celebrates creativity. Now in its 5th year, the Vancouver Draw Down is a city-wide day of drawing that challenges commonplace ideas about what drawing is and what it can do. It’s time to spark the right side of your brain and connect with the innovative and imaginative recesses of your mind. This is about process and pleasure, not about technical skill. That’s why everyone -including you- can participate!

___________________________

Stolkholm-based composer and pianist Lisa Ullén visits the Western Front as Musician-In-Residence for the month of June. She is one of the key artists on the Swedish jazz and improvisation scene with several projects and constellations. Lisa has many international collaborations, and has been touring in Europe and the USA. Her latest and long awaited solo album Catachresis was released in May 2011 (NUSCOPE recordings, US). Ullén works in the realms of jazz, experimental, and contemporary music as a pianist, improviser, composer, and arranger. As part of her residency, Ullén will work in collaboration with local musicians and present a solo piano concert.

Kathleen Taylor is an artist and writer based in Vancouver. Focused in drawing that approaches sculpture and painting, her current practice is centered around paper and pathos. She received her BFA from Emily Carr University in 2013, and recently participated in the exhibition “The Hatchery” at Avenue gallery.

Roundhouse Community C<U>entre</U> 

Co-presented with the Roundhouse Community Arts and Recreation Centre and Coastal Jazz & Blues with support from the Swedish Arts Grants Committee

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26 March 2014, 7:51 pm d3883a8d6c2a9dad21a46bc517008c38
<![CDATA[The Truth podcast: Eat Cake]]> Found: calls, call
Can coconut cake + random phone calls = love? Find out in our alternative Valentine's Day radio drama from US producer Jonathan Mitchell
Francesca Panetta

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14 February 2011, 10:22 am 196e56db861cfa8df85f0beefe71e779
<![CDATA[The Heckle 02: Mistaken identities]]> Found: awards, award
In the Guardian's daily podcast from Edinburgh, Lucy Porter and Brian Logan mull over mistaken identities with Phill Jupitus and Andre Vincent and comedy bigwigs report on this year's if.comedy awards, plus Phil Nichol.

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7 August 2007, 6:35 am c98463d1678f7b9315b468b8d649985e
<![CDATA[Opportunity for artists]]> Found: call, deadline, juror, entry, entries
My good bud Al Miner, who used to roam these regions, and who is also a kick-ass artist, and thus was included in the first volume of my books on DC area artists, is the juror for this show up in the Soviet Socialist Republic of Massachusetts.
Deadline: September 15, 2014 CALL FOR WORKS ON PAPER South Shore Art Center in Cohasset, MA, invites entries of original work that offer distinctive imaginative imagery using paper. Show dates October 24 - December 21, 2014. Opening Reception October 24 6-8pm Juried by Al Miner, Assistant Curator of Contemporary Art at the Museum of Fine Arts, Boston. $1200 in prizes - all work must be for sale. Entry fee. Details: 781-383-2787 OR https://client.smarterentry.com/SSAC

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23 July 2014, 5:30 am 72a6e14e6fcf4f215fad74ed297d9dbb
<![CDATA[Gateway CDC Receives $100,000 from NEA]]> Found: call, awarded, award
Good news in this news release!
National Endowment for the Arts (NEA) Chairman Jane Chu announced plans to award 66 Our Town grants totaling $5.073 million and reaching 38 states in the Our Town program's fourth year of funding. Gateway Community Development Corporation(CDC) is one of those recommended organizations and will receive $100,000 to fund Phase 3 of the Art Lives Here initiative. The goal of Art Lives Here is to boost vibrancy in the Prince George's County Gateway Arts District using a mix of short and long term projects to support existing small businesses, attract commercial in-fill, prepare for the next round of commercial development, and further strengthen our diverse and streetwise creative communities. In Phase 3, the initiative will launch a Creative Enterprise Incubator in the prominent retail space of the Artspace Artist Lofts on the Mount Rainier circle.

This year's Our Town projects demonstrate again that excellent art is as fundamental to a community's success as land-use, transportation, education, housing, infrastructure, and public safety, helping build stronger communities that are diverse in geography and character. Our Town funds arts-based community development projects in a way that is authentic, equitable, and augments existing local assets. Since Our Town's inception in 2011 and including these projects, the NEA will have awarded 256 Our Town grants totaling more than $21 million in all 50 states and the District of Columbia.

The Creative Enterprise Incubator will convert a long under-utilized commercial space at the Artspace Mount Rainier Artist Lofts into a vibrant hub of activity to serve arts-related and retail businesses and provide a comprehensive set of resources that will enhance opportunities for the creative economy to thrive. Purpose-built for arts usage, the available space includes 4,000 square feet of open and flexible gallery storefront, room for a mix of private commercial artists studios and offices, a large classroom space, and a residents' gallery. Artspace will build out the space and a committed team of partners, artists, professional arts managers and business leaders will equip the incubator with a self-sustaining structure that brings a curriculum, services and resources to the Gateway Arts District's creative communities.

"Gateway Community Development Corporation demonstrates the best in creative community development and whose work will have a valuable impact on its community," said Chairman Chu. "Through Our Town funding, arts organizations continue to spark vitality that support neighborhoods and public spaces, enhancing a sense of place for residents and visitors alike."

Art Lives Here (ALH) began with an NEA grant of $50,000 to Joe's Movement Emporium to focus on artist-driven strategies to support small business development in Mount Rainier's historic but distressed town center. In phase I (June 2012-June 2013) the initiative (a) engaged citizens through participatory public arts projects; (b) facilitated partnerships to place competitively-selected arts projects in under-performing storefronts to enliven  the space and attract locals and visitors downtown; (c) hosted Soup Nites where local donations were matched 10:1 to support creative business developments; and (d) established a downtown arts season and visibility campaign that swirled public art, social media, street marketing and multimedia into the stock of existing events.

Designed to progress in seasons and up the Gateway corridor, phase 2 was funded with $240,000 by ArtPlace America to Joe's Movement Emporium (July 2013-December 2014) to continue the visibility campaign developed in phase I and to extend it to neighboring towns in the arts district with projects based on the Mount Rainier pilot. In phase 2, the ALH initiative is: (e) hosting Better Block projects in Brentwood and North Brentwood near two active Redevelopment Authority sites; (f) competitively funding pop-up installations and performances woven into existing arts district events; and (g) working with local multimedia professionals to produce a series of artist profiles and spark a multimedia production micro-industry. ALH partners have also undertaken smaller scale urban design projects, including: (h) commissioning a series of 30+ place-making murals throughout the arts district; (i) locally producing boulevard signage for businesses and art spaces; and (j) public works projects around storm drains in partnership with the Department of Environmental Resources. Partners for ALH phase 2 include Art Works Now, Gateway CDC, Hyattsville CDC, Joe's Movement Emporium, Maryland-National Capital Park and Planning Commission, Prince George's African American Museum and Cultural Center, Prince George's Arts and Humanities Council, and Red Dirt Studio.

"Through the Art Lives Here initiative, our team has strengthened its economic, social, and political ties, already attracting more positive attention to the Gateway Arts District," said Gateway CDC Executive Director Carole Bernard. "With a new round of long-awaited arts-integrated facilities through the two-mile stretch of historic U.S. Route 1, our four large mixed-use development projects over the next 36 months will bring new density, new businesses and an anticipated increased interest in property in the corridor. At this exciting time in the arts district's history, we need to focus on our local businesses and creative communities more than ever and form collaborative infrastructures for new creative enterprises that will enhance opportunities for continued economic growth and sustainability."

"The City of Mount Rainier is pleased to partner with Gateway CDC on phase 3 of Art Lives Here," said Mount Rainier Mayor Malinda Miles. "By activating a commercial space within our business district and converting it into a creative enterprise incubator, our many local artists and businesses will receive critical resources and services that will help them grow and maintain their presence in a changing economic environment."

"Artspace has a long history of investment in facilities across the country that support the arts, and we are excited to work with Gateway CDC, the City of Mount Rainier and the communities of the arts district to pilot this new incubator," said Artspace Senior Vice President of Properties Greg Handberg. "Artspace is proud to be a partner on this NEA grant where we can activate our commercial space and be a part of helping our artist residents and other local businesses move their businesses forward in a community-focused initiative."

"The Prince George's County Redevelopment Authority has invested millions of dollars into the Gateway Arts District because we know what this area and the surrounding communities have to offer," said Redevelopment Authority Executive Director Howard Ways. "We are excited about this project and our partnership with Gateway CDC, and the County looks forward to being a part of the continued community revitalization strategies within the arts district."

The NEA received 275 applications for Our Town this year. Recommended grant amounts ranged from $25,000 to $200,000. For a complete listing of projects recommended for Our Town grant support, please visit the NEA web site at arts.gov. Project descriptions, grants listed by state and by project type, and resources are available as well.

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22 July 2014, 5:00 am 0f0dd3100552bd1924ed1dd55b83a506
<![CDATA[The DMV at AU this summer]]> Found: awards, award
Exhibits at the American University Museum at the Katzen Arts Center this summer focus on the art and artists and collectors in Washington, D.C. Exhibits open June 14 and run through Aug. 17.

Passion for Prints
Passionate Collectors: The Washington Print Club at 50 features almost 150 prints selected from Washington collections. The collection reveals a diversity of techniques from relief printing by celebrated masters Durer, van Dyck, Carracci, Pissarro, Picasso and Chuck Close to monoprints by contemporaries Richard Estes, Ventura Salimbeni, Thomas Frye, Adolphe Appian, Reinhard Hilker and Keiko Hara. Among the contemporary works is a print involving buckshot, and one created with 4,225 small black dots.
“Viewers will be surprised there are no dominating genres or periods or artists represented in this show, but rather a huge range of works that are national, international and local,” said AU Museum Director and Curator Jack Rasmussen. “We share our location in the nation’s capital with most international diplomatic missions to the United States. Washington is a community with diverse interests and affiliations and may well provide the most diverse group of collectors in the country.”

The show will also feature “Midwest Matrix,” a film study of post-World War II printmaking to present, produced and directed by Susan Goldman.
The Washington Print Club was established in 1964 as an independent, nonprofit volunteer organization consisting of both collectors and practicing artists. This biennial exhibition celebrates the club’s 50th anniversary.
 

Lives Devoted to Art 
The Franz and Virginia Bader Fund: Second Act features paintings, sculptures and works on paper by Richard Cleaver, Emilie Brzezinski, Fred Folsom and other artists who received grants totaling $670,000 over the last 13 years from the Bader Fund. Legendary Washington art dealer Franz Bader and his wife, Virginia, started the fund, which continues to support the arts long after the couple’s deaths in 1994 and 2001, respectively. The fund committee awards grants for artists 40 and older who live within 150 miles of the U.S. Capitol.
The first exhibition of Bader Fund artists took place a decade ago. “Second Act” provides another viewing of the range and quality of work supported by the grants.
Franz Bader was born in Vienna, Austria, in 1903. Bader and his first wife, Antonia, were fortunate to escape Vienna after the takeover of Austria by Nazi Germany in 1938, arriving in Washington in early 1939 with few possessions and little money. But, as is true of so many émigrés from Hitler’s Europe, their arrival was America’s good fortune—Washington's, in particular. Working at first with the Whyte Bookstore and Gallery and then, from 1953 to 1985, at his own art and book shop, Bader was a pioneer and creator of a vibrant art scene in his adopted city.
 

Personal Drifts of Culture
Continental Drift surveys the work of Washington artist Judy Byron, and invites the viewer to consider the visual and auditory environment that informs identity. The exhibition acknowledges the artist’s drifting of visual influences between three specific countries: Brazil, China, and Ghana. From 2010 through 2012, Byron traveled abroad and photographed details of sidewalks, toys, products, netting, foliage, clothing and detritus. Images from her travels formed the point of departure for 18 color pencil drawings.
Accompanying the drawings are the voices of three women from Brazil, China, and Ghana who now live in the Metro D.C. area and have established roots while maintaining strong identification with their places of birth. Three smaller drawings — Memories of Home — are based on photos Byron took of objects in their homes that remind the women of the homes they left behind. The sound of ocean waves lapping the shore can be heard throughout the exhibition space.
Rasmussen observed:  “I don’t think any artist has communicated so beautifully the interaction of community and environment in the construction of culture.”
 

Nature’s Fleeting Beauty
Syzygy, William Newman’s series of 19 oil paintings and digital images, and two metal sculptures, is a vibrant investigation of temporality, subjective freedom, and natural splendor. The photographs, photorealist paintings and stainless steel sculptures present striking natural forms and places holding personal resonance for Newman, including Yellowstone National Park, the Grand Canyon and the cosmos.
For his sculptures, Newman had natural artifacts from his farmhouse in Shenandoah County duplicated in welded, polished stainless steel by craftsmen in Beijing. The resulting forms gracefully blend elements of abstraction with Newman’s mastery of representational expression. 

This tactile sensibility is also evident in Newman’s conjunction of paintings and photographs. The central subjects of his paintings are round forms from nature, which Newman and his assistants meticulously recreated from photographs that he took himself or appropriated from NASA’s public archives. Newman then conjoined the objects with photographs using rare-earth magnets. Photographs that took just a click to create and paintings that took years to make join to represent nature’s fleeting beauty, its life through memory and desire, and its timeless eternal renewal.

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18 July 2014, 4:00 am 58c768414de0cd6d644a5eee38a7ccdb
<![CDATA[Community Gateway Arch]]> Found: call
Mayor Vincent C. Gray will join representatives of the D.C. Commission on the Arts and Humanities (DCCAH) in the dedication of the Community Gateway Arch on Friday, July 18, at a twilight ceremony, from 7:00 to 9:00 p.m. The program will take place outside the Unity Health Care Parkside Health Center facility, located at the corner of Hayes Street and Kenilworth Terrace NE.

"This new work of public art celebrates the District's cultural heritage," said Mayor Gray. "Artists, community members and the District government collaborated on the new installation, which represents the creativity and aspirations of Ward 7 residents."

The Community Gatewaysculpture was designed by Washington Glass School uber artists Michael Janis, Tim Tate and Erwin Timmers, who worked in collaboration with Ward 7 artist apprentice Bill Howard and numerous Ward 7 community members and stakeholders during the early phases of fabrication. The design of the public artwork was intended to mark the entrance to the Kenilworth / Parkside section of the city.

Washington Glass School was selected through an open Call to Artists and panel process led by the DCCAH, through the D.C. Creates! Public Art Program selection committee, in partnership with the D.C. Primary Care Association (DCPCA), the Unity Health Care Foundation, the Ward 7 Community and ANC 7D07 Commissioner Willie H. Woods. Central to the selection of the public artwork and the community input process was the Ward 7 Arts Collaborative, led by artist and community arts advocate Wanda Aikens.

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16 July 2014, 5:30 am f02b4e3b313e9993c4ef092e39980f17
<![CDATA[Scam Alert]]> Found: calling, call
Recently received a scam phone call from a heavily accented dude calling from the "Windows Security Center" -- this is a classic cold call scam -- the phone that showed up as coming from was (325) 477-7355.

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15 July 2014, 4:30 am fff98cce6cc5f22243d89c931aba46f1
<![CDATA[Maryland State Arts Council Individual Artist Award]]> Found: deadline, submit, award
The deadline for 2015 Maryland State Arts Council Individual Artist Award applications is 4:30 PM on Thursday, July 24, 2014.

 The funding categories available for 2015 include:
  • Non-Classical Music: Composition
  • Non-Classical Music: Solo Performance
  • Playwriting
  • Visual Arts: Crafts 
  • Visual Arts: Photography

All applications must be submitted online. Applicants can click here to access the application, guidelines and technical assistance resources. 

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14 July 2014, 4:30 am 48c20f52f4bedb36754d470f808ba3a9
<![CDATA[Introduction]]> Found: residency, entry
Dear all:

Happy Summer! My apologies for the extremely late intro. I've been more off
the grid than usual, but now back into the flow of things. I've really
enjoyed reading all of the intros and beginnings to conversations --- this
is looking to be fantastic.

I'll be presenting around a project "Songs for Non-Work," a platform where
thousands of Amazon MTurk workers were paid Silicon Valley minimum wage
(10/hr USD) to not-work in one-minute intervals. Workers also had the
option of recording and contributing audio, which forms a lengthy unedited
soundscape - I've been very interested Dziga Vertov's notion of sound
as a "factory
of facts <http://www.ubu.com/sound/vertov.html>," experimenting with sound
as an entryway into thinking about post-work imaginaries (such as discussed
by Kathi Weeks) and alternative ideas to basic income.

I live in London and am doing a brief residency at the White Building this
summer. If you're interested, there's some more info on my collaborative
and individual projects here <

]]>
10 July 2014, 3:50 pm a21a2beebf5bed4b2746068593db09a4
<![CDATA[Rita Moreno at the NPG]]> Found: opportunity, awards, award
This Wednesday, July 9 at 7 p.m., Rita Moreno will be at the National Portrait Gallery for a special presentation.

Moreno, actress, singer, and dancer, is the only American entertainer of Puerto Rican ancestry to have won the four major annual American entertainment awards: an Emmy, a Grammy, an Oscar, and a Tony (EGOT), as well as receiving the Screen Actors Guild Life Achievement award. Moreno will speak about her life and career with Taína Caragol, curator of Latino art and history at the Portrait Gallery. Attendees may also have the opportunity to meet Ms. Moreno at a reception at 6 p.m.

Moreno is also represented in the special exhibition “Dancing the Dream” on the first floor.

Tickets for the program start at $15 and can be purchased online at http://bit.ly/RitaMNPG or through the Smithsonian Theaters Concessions and Attractions ticketing line at 1-866-868-7774. Tickets must be acquired in advance.

]]>
7 July 2014, 3:00 am 70a1fd51166e4b3084e2b6cb298114fd
<![CDATA[Virginia Museum of Fine Arts Fellowship program]]> Found: deadline, awarded, awards, award, juror
The Virginia Museum of Fine Arts Fellowship program is a vital source of funding for the visual arts and art history in Virginia.  VMFA is committed to supporting professional artists and art students who demonstrate exceptional creative ability in their chosen discipline and, as such has awarded nearly $5 million to Virginia’s artists since the program’s creation over 70 years ago.
 
The VMFA Fellowship program was established in 1940 through a generous contribution made by the late John Lee Pratt of Fredericksburg, Virginia.  Offered through VMFA Statewide, Fellowships are still largely funded through the Pratt endowment, and supplemented by annual gifts from the Lettie Pate Whitehead Foundation and the J. Warwick McClintic, Jr. Scholarship Fund.  The Fellowship program has a long and established history of supporting Virginia’s artistic talent and has helped to further the careers and studies of many distinguished individuals, including recent recipients Rick Alverson of Richmond, Michelle Erickson of Hampton, and Megan Marlatt of Orange.
 
VMFA offers $8,000 awards to professional artists, $6,000 awards to graduate students, and $4,000 awards to undergraduate students.  Applicants may apply in the disciplines of Crafts, Drawing, Film/Video, Mixed Media, New/Emerging Media, Painting, Photography, Printmaking, Sculpture, and Art History (graduate students only).  All applicants must be legal residents of Virginia and student applicants must be enrolled full-time in degree-seeking programs. Applicants’ works are reviewed anonymously by distinguished jurors and awards are made based on artistic merit.  The deadline for Fellowship applications is Friday, November 7, 2014. 
 
We ask that you please encourage interested students and professional artists to apply. Full eligibility criteria, an application, and a printable PDF flyer can be found at www.VMFA.museum/fellowships

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2 July 2014, 3:30 am 7f146032c88239bc771b963366b4c801
<![CDATA[The Strathmore Fine Artists in Residence initiative]]> Found: opportunity, residency, residence, deadline
Deadline: September 8, 2014

There is not enough that I can say to recommend The Strathmore Fine Artists in Residence initiative (Fine AIR) to all emerging artists.... I have been lucky enough to have been a mentor twice, and can therefore testify what a boost to an artist's career this program is... and it deals and teaches so many diverse areas.... there is nothing even close to it in the DMV, maybe even the nation.

It was established to help cultivate local visual arts talent by connecting established professionals in all aspects of the field with up-and-coming artists.  Emerging artists will be in residence in the Mansion at Strathmore from January – August 2015. During this time, each artist will have the opportunity to develop an audience in the DC metropolitan area, perfect their craft, create and implement an outreach, educational, or special event proposal for Strathmore’s consideration, and premiere a new body of artwork, including a collaborative piece with one’s mentor, commissioned by Strathmore in a culminating exhibition.

The exhibition of new work will take place in August of 2015 and will reflect the artistic growth of the artist in residence.  Throughout the residency artists meet with a professional artist mentor for career guidance and artistic critique; attend career development workshops; and have the opportunity to teach, lecture, volunteer, exhibit or otherwise participate in Strathmore visual arts programming. Apply here: http://www.strathmore.org/education/series/view.asp?id=10102314

Eligibility:
The Strathmore Fine Artist in Residence Program is open to all emerging visual artists.  All media accepted.
Fine AIR Program Timeline
•             September 8, 2014   Deadline for application
•             September 15 – 18, 2014  Select applicants invited to interview
•             September 29, 2014   Notification of acceptance
•             October 2014   Fine AIR contracts finalized
•             November 2014  Incoming Fine AIR class announced to the public
•             January 2015   Official start of the Fine AIR program
•             August 2015   Exhibition of new work

A Residency at Strathmore includes:
•             An exhibition of new work at the Mansion at Strathmore, Summer 2015
•             Strathmore’s consideration of an outreach, educational, or special event proposal
•             A professional artist mentor throughout the residency
•             Career Development workshops and experiences provided by Strathmore
•             A stipend of $1,000 (Studio space and housing are not available with this residency)

Artist responsibilities include:
•             Mandatory attendance at a Fine AIR welcome event, scheduled meetings with artist mentor, and career development workshops provided by Strathmore.
•             Creation of a new body of saleable work, including a collaborative piece created with one’s mentor, to debut at the 2015 Fine AIR Exhibition at the Mansion at Strathmore.
•             Creation of an outreach, educational, or other visual arts event proposal for Strathmore’s consideration for future seasons.
•             Volunteering at “Discover Strathmore” and “Strathmore Arts Festival” events and by providing an artist demonstration, pop- up of artwork for exhibition and/or sale, or related artistic presence.
•             Volunteer to teach, lecture, and/or demo for the visual art department at least once during residency.  Strathmore charges admission for these programs and all proceeds go toward supporting the Fine AIR program.

]]>
30 June 2014, 7:52 pm da83eb76f1fa53c7e3b8848c90285e52
<![CDATA[Re: Introduction]]> Found: opportunity
TL;DR:
We will run a workshop for prototyping (interface) interventions into (digital) workspaces.

Hi there,
Sorry for postponing my introduction until now, as my contribution to the conference is still a work in progress.
My name is Mushon Zer-Aviv, I’m a designer, an educator and a media activist based in Tel Aviv and previously in New York where I know some of you guys from. Currently I’m teaching digital media at Shenkar School for Design and Engineering and am doing some work on budget transparency in Israel (but enough about me). I have attended the first Digital Labor conference at the New School in 2009 and wrote a paper for Mobility Shifts in 2011.

My design work often attempts to re-politicize interface both as a control mechanism and as an opportunity for agency. I'm researching, writing and designing tools and platforms that attempt to go beyond “User Generated Content” and suggest a more critical approach that could be thought of as “User Generated Interfaces”. For example I am cu

]]>
30 June 2014, 12:08 pm 4acbf378997cd0d43bda6271e69eb4e0
<![CDATA[Re: Introduction]]> Found: call
This will be my second digital labor conference. I'm happy to see how much
the concept has developed over the past five years.

I am presently completing an essay on automation
<http://balkin.blogspot.com/2014/06/a-more-nuanced-view-of-legal-automation.html>,
in response to a call for proposals
<http://canopycanopycanopy.com/contents/2014_commission_recipients> from
Triple Canopy. I edited and wrote for a New Museum-sponsored project on "The
Last Newspaper <http://newcityreader.net/issue08.html>." My book, The Black
Box Society <http://www.hup.harvard.edu/catalog.php?isbn=9780674368279>,
will be published this fall.

My presentation at the conference will explore proposals to "automate the
automators"--i.e., how to computerize (and thus render redundant) the
managers and investors who claim automation should render most workers
redundant.

--Frank


Frank Pasquale
Professor of Law
University of Maryland Carey School of Law
500 W. Baltimore St.
Baltimore, MD 21201
(410)-706-4820


On Fri, Jun 27, 2014 at 5:06

]]>
30 June 2014, 2:19 am 9d1d28a8d38ef50d8a575d451f84fccb
<![CDATA[Mary Armstrong at Cross MacKenzie]]> Found: awards, award
Mary Armstrong: "Drifting Waters"
Thursday July 24th - September 10th, 2014
Opening Reception: Thursday July 24th 6-8  
Cross MacKenzie Gallery is pleased to present a solo show of paintings by distinguished artist Mary Armstrong. Her ethereal landscapes-which shift between the ground, water, and air-explore the symbiotic relationship between the earth and it's atmosphere, evoking both a sense of serenity and turmoil.

Armstrong's abstract interpretations of a landscape and views of a distant horizon are informed by 19th century painting approaches. Yet the artist's method of scraping through luscious wax and oils on panel in order to reveal hyped-up colors from underneath, lend her work a decidedly contemporary vibe. A self-proclaimed "student of light and collector of air", Armstrong's fascination and deep appreciation for the world outside her studio has led her to translate both the physical and metaphysical elements of nature with a certain type of reverence; her palette delicate and harmonious, her work gracefully hovers in between the earthly and the airy worlds.
Her depictions of water emphasize the mutability and interplay of light and color, effectively creating striking landscapes of the sea and the sky. It is, however, her interest in our constantly altering relationship to the earth itself that has caused her to develop feelings of anxiety and worry, which she conveys in the subtly turbulent overtones of her paintings. The dichotomies of the natural world that Armstrong explores ultimately lead her to inhabit a still undefined space, a realm of beauty filled with ambiguity and uncertainty, where the focus is on the general sensations and impressions, rather than the concrete physical elements of the environment she/we inhabit(s).

Mary Armstrong, a professor at Boston College, has been teaching painting since 1989. She began showing her paintings and drawings at Victoria Munroe Gallery in New York and Boston in 1985, and has since been featured in dozens of group exhibitions and been lauded with multiple awards.

]]>
28 June 2014, 7:16 pm a870c05da102a5e8c268108d41506efd
<![CDATA[Oscar Tusquets Blanca – The Gaulino Chair]]> Found: award
Oscar T. Blanca, designer (Spanish, b. 1941), B.D. Barcelona Designs, manufacturer Gaulino Armchair, 1987 Indianapolis Museum of Art, Robertine Daniels Art Fund in Memory of Her Late Husband, Richard Monroe Fairbanks Sr., and Her Late Son, Michael Fairbanks, 2013.4

Oscar T. Blanca, designer (Spanish, b. 1941), B.D. Barcelona Designs, manufacturer
Gaulino Armchair, 1987
Indianapolis Museum of Art, Robertine Daniels Art Fund in Memory of Her Late Husband, Richard Monroe Fairbanks Sr., and Her Late Son, Michael Fairbanks, 2013.4

Oscar Tusquets Blanca (who prefers we use both surnames) was born in 1941. The Barcelona native trained as an architect and began working as a designer of furniture and objects in 1972 with BD (Barcelona Design). Since then he has won several award,s including the Spanish National Design Award. Tusquets Blanca designed the Gaulino chair in 1987 and it is a prime example of Spanish design and functional art. Every angle of the Gaulino chair has beautiful complex lines bringing joy to your eyes as you follow along its subtle, sculptural curves. This is the result of his friendship with Salvador Dali and his interests in painting and writing. It seems clear he was also inspired by Antoni Gaudi and Carlo Mollino for which he named the chair.

The Gaulino chair, winner of the 1989 Industrial Design Prize, has a handmade appearance yet it was his first industrial project in wood. Its structure is made of solid ash and is available in a natural varnish, oak stain or black stain. The oak seat can be upholstered in black, natural, or honey leather. It can be stacked, but what a crime that would be! This is a gorgeous piece that I want to sit in, touch, and be close to in order to study every detail. The anamorphic shapes speak to me and fascinate me. I am not surprised to learn that Tusquets Blanca considers this chair one of his best works. The Gaulino chair is now a part of the Design Arts permanent collection at the IMA.

— Marika Klemm, ASID, Marika Designs, LLC

Tusquets Blanca’s Gaulino chair is an inspired mix of masculine and feminine lines. It may be a dining chair but I prefer to see it as a stand-alone chair that exudes an international design ethos of beauty and functionality. At first glance, the Gaulino chair has a masculine stance on the floor that dares you to have a seat. Yet its machismo belies the feminine, almost sensual, lines of the seat and arms which draw you in and seal the deal. Some will use the Gaulino with the matching table. Others will place it in any room as a side chair to add a sophisticated, sublime and lean design element for the occasional aperitif, but I would use it as the ultimate desk chair, in black, at a small writing desk.

— Michael Lubarsky, DAS Member

 

]]>
16 August 2013, 3:21 pm 7caa5db64db9e341c31482c07a46aba4
<![CDATA[Straw Bale Gardening: A How-To Guide]]> Found: jury

1. Start with a bale of Straw.

Bale1

2. Saturate it with water for about 3 days.

Watering a straw bale

3. Sprinkle the top of the bale with 1/2 cup granular nitrogen fertilizer and continue watering, adding 1/2 cup fertilizer for the next 3 days. Then for the next 3 days only add 1/4 cup fertilizer and water.

4. On day 10, begin digging 3 holes in the the top of the bale, a little larger than the plant pot diameter. Then fill the holes with potting soil or compost, or a combination, and water gently.

A straw bale with holes in it

A straw bale with dirt filled in the holes

Be sure to dig your holes slightly larger than the plant pot diameter

5. When the soil is no longer hot to the touch, plant and water gently. Clean gallon milk jugs with their bottoms removed make a good cloche if the temperature drops suddenly!

A planted straw bale with a watering pale

6. Continue watering gently and occasionally add dilute fertilizer or compost tea about once per week. The continued watering will leach the fertilizer out.

A straw bale with plants in it

Advantages to Straw Bale Gardening

  • Easier (raised) for folks with limited mobility
  • Useful if your garden soil is poor
  • Useful if you have little or no soil in which to garden
  • Virtually no weeding (Don’t use hay bales!)
  • Don’t have to rotate crops, use a fresh bale each year
  • At season’s end, provides great compost for rest of garden

Possible Disadvantages to Straw Bale Gardening

  • May look a little messy as the bale decomposes
  • Bales dry out quickly, so ultimately may use too much water…jury is still out on this one

 

 

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5 June 2013, 9:00 am b7dfbe038892baee8e89a874f91645ef
<![CDATA[Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest]]> Found: jury
WINNER
WINNER
No Walls Between Us, Pablo Munoz, Vancouver (British Colombia)
FINALIST
FINALIST
Round dance on Parliament Hill, Fabric, Acrylic, Sharpie, 2013, Roxanne Martin, Sault Ste. Marie (Ontario)
FINALIST
FINALIST
Sans titre, Matthilde Cing-Mars, Trois-Rivières (Québec)
FINALIST
FINALIST
United, Leo Samilo, Surrey (British Colombia)
FINALIST
FINALIST
Untold truth, Bogdan Salii, Toronto (Ontario)
FINALIST
FINALIST
Complexity, Brianne Walker, Windsor (Ontario)

The Michaëlle Jean Foundation, the AGO and WorldPride Toronto 2014 are delighted to announce the winner of the 4th Wall Youth Solidarity Project online vote.

Selected as winner by more than a thousand Canadians of all ages from across the country, Vancouver-based artist and rights activist Pablo Muñoz receives $1,000 and will work with a seasoned public art practitioner to see his art mounted on the western wall of the AGO.

His work, No Walls Between Us, highlights the unique experiences of migrant and racialized LGBT youth. It was one of six pieces of art chosen by a jury to represent the theme of “Solidarity with Canada’s Two-Spirited and LGBTTIQQ Communities,” in an unprecedented exhibition celebrating WorldPride Toronto 2014.

On view at the AGO between June 22 and Nov. 15, 2014, the Youth Solidarity Exhibition will inspire Canadians to work together to promote safe, inclusive and healthy communities for Two-Spirited and LGBTTIQQ youth throughout the country. The other young artists featured in the exhibition are:

  • Mathilde Cinq-Mars, a multidisciplinary visual and animation artist from Trois-Rivière, Que. who has a BA from the University of Strasbourg;
  • Roxanne Martin, a digital artist from Sault Ste. Marie, Ont., and the great-niece of Cecil Youngfox, a trailblazing Anishinaabe painter and gay rights activist;
  • Bogdan Salii, a passionate visual artist from Toronto, Ont., who recently immigrated to Canada from Ukraine to pursue his dream of transforming his love for art into a lucrative business;
  • Leo Samilo, a nascent artist and recent high school graduate from Surrey, B.C’s Filipino community; and
  • Brianne Walker, a 17-year-old human rights activist from Windsor, Ont., and aspiring visual artist and filmmaker.

This project is actively supported by more than 55 human rights, faith-based, arts, newcomer, Aboriginal and health organizations across Canada. For a full list of project collaborators, click here.

About Pablo Muño
Colombian-born Pablo Muñoz arrived to Canada as a refugee in 2000. Today, he is an accomplished citizen whose artistic work extends from painting, design, performance art and writing, and his community work centers around immigrant and refugee youth issues, intersections of queer and racialized identities, and solidarity with indigenous communities. Over the past year, Pablo worked on the Make it Count campaign — a project that created community dialogues across the province addressing challenges faced by migrant youth. He is currently working as a story editor on a documentary telling the story of queer refugees coming into Canada. He also is a member of the Vancouver Foundation’s Education Granting Committee and the City of Vancouver’s Youth Advisory Committee.

The Youth Solidarity Project is funded in part by StreetARToronto, a program of the City of Toronto, as well as the K.M. Hunter Foundation.

About the 4th Wall program
In theatre, the “fourth wall” is an imaginary screen that creates a virtual separation between actor and spectator. There are many ways to cross the fourth wall and to make the invisible visible. The Michaëlle Jean Foundation chose to do so through the 4th Wall: Make the Invisible Visible program, in collaboration with several prestigious Canadian museums and art galleries. The goal is to invite young creators to break down the invisible walls that create solitudes between individuals and communities across Canada, by opening the doors of our major cultural institutions to emerging creators from marginalized backgrounds. The Foundation offers museum and art gallery space and bursaries to youth from disadvantaged backgrounds, often cut off from museums, so that they can produce original art that conveys their experiences, ideas and challenges. On display for the public to see, their work provokes debate and builds solutions. The first 4th Wall exhibition was launched on Feb. 5, 2014, at the Montreal Museum of Fine Arts, to mark Black History Month in collaboration with FRO Foundation.

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26 June 2014, 10:51 am ea30053a59b51a2b6d3048cc34f89f16
<![CDATA[Call for applications: An opportunity for Toronto-based MFA photography students]]> Found: opportunity, residency, submit

Are you or do you know a Toronto-based artist who is enrolled in or has recently graduated from an MFA program focusing on photography? If yes, the Aimia | AGO Photography Prize has an opportunity to share.

This August, one of the artists on the yet-to-be-announced shortlist for the 2014 Aimia | AGO Photography Prize will be in Toronto to participate in the Prize’s residency program. Each year, all four artists on the shortlist receive a fully funded, self-directed residency designed to deepen or enrich their respective practices.

credit

credit


The artist is designing a teaching-focused residency that will be open to five Toronto-based artists who are currently enrolled in or recently graduated from an MFA program with a focus on photography. From Aug. 18 to Aug. 29, the five students will work with the artist, both as a group and one-on-one, with the goal of eliciting critical dialogue about each student’s work and potentially producing new work.

There will be three to four group meetings, and the artist will meet with each of the students individually two to three times over the course of the two-week period. The students will work between the visits to develop ideas and/or create new work. Each student will receive a $500 honorarium to support production and expenses during the study period.

Applicants must be currently enrolled in an MFA program in Canada or internationally or have graduated from such a program after Jan. 1, 2013. Applicants must be based in Toronto between Aug. 18 and 29, 2014, and be available for regular meetings and studio visits during this time.

Although the artist’s identity won’t be publicly revealed until the Aug. 13 shortlist announcement, students under consideration for the program will be notified of the artist’s identity before their participation is confirmed.

Applications must include an artist statement, CV and portfolio of as many as 25 images and/or 10 minutes of video work with detailed credit information (title, date, medium, dimensions). Applications to the program are due July 9.

To submit an application or for more information, please contact Sean O’Neill, Manager, Aimia | AGO Photography Prize at sean_oneill@ago.net.

]]>
23 June 2014, 1:29 pm a491661c35ba6532af13776369b282bc
<![CDATA[Augment it Yourself (AiY) Deadline: July 1]]> Found: deadline

“Perception, in whatever sensory modality, is the result of the brain’s cartographic skill.” Antonio Dimasio

New Radio and Performing Arts, Inc. (NRPA) invites you to propose a hybrid net art project for Turbulence.org - Augment it Yourself (AiY). Projects must use both the World Wide Web and a physical site :: Deadline: July 1, 2014 :: Commission Amount: $6,000 :: Commission Date: July 2015.

  • The behavior of all particles is contingent on the presence of a conscious observer.
  • Our internal and external perceptions are inextricably connected.
  • Reality is the perpetual enfolding/unfolding of autopoiesis (self-making), in relationship with others and our environment.

Augmented Reality (AR) is a real-time experience of a real-world environment whose elements are augmented by computer-generated sensory input — such as video, graphics or sound — and mapped to GPS coordinates. Thus, after downloading an AR ‘app’ to a smartphone and going to the specified location, users are able to experience intertwined realities.

While AR refers to the technologies that make these experiences possible, we are interested in how we have always augmented our realities — with our brains and other reality-mediating technologies — modifying and/or enhancing reality by layering memories on real-time perceptions, for instance. How will your project contribute to perception, memory, and the creation of the autobiographical self?

Required: Proposal (max 500 words), Biography (max 300 words), and URLS of past work.

Email them to turbulence @ turbulence.org with the Subject: Turbulence.org - AiY Proposal.

* Do it Yourself (DiY) empowers individuals to make things without the aid of “experts” or professionals; it is an alternative to consumer culture’s emphasis on relying on others to satisfy ones needs.

]]>
15 June 2014, 7:09 pm c3154f204df2cd4bc65f4083e3c537a5
<![CDATA[Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics]]> Found: residence

Click to play:

Download 81.4 MB MP3

Recorded: March 26, 2014, at the Art Gallery of Ontario
Duration: 01:29:05

In this podcast, hear AGO artist-in-residence Jim Munroe in conversation with artists Mark Connery, a Toronto-based comic and zine artist, and Jonathan Mak, a Toronto-based game developer, about their work, indie culture and how playfulness factors into their practices.

Jonathan Mak is a Toronto-based game developer working under the title Queasy Games. He recently collaborated with I am Robot and Proud (aka Shaw-Han Liem), a Toronto-based electronic music artist, on Sound Shapes for PS Vita and PlayStation®3. Sound Shapes features music by Beck, Deadmau5 and Jim Guthrie and graphics by Capy, Superbrothers, Pixeljam and Pyramid Attack.

Mark Connery is a Toronto-based producer of comics and zines. He is most known for the mini-comic adventures of Rudy. In addition to his own publications, his work has appeared in many group exhibitions and has been published in Exclaim!, Kiss Machine and in many small-press lit zines in Toronto and Vancouver.

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4 June 2014, 9:00 am 7ecbcd287d321df62d87955f8cbb5ea9
<![CDATA[Turbulence Commission: “Shadow Play - Tales of Urbanization of China” by Lily & Honglei]]> Found: residency

Turbulence Commission: Shadow Play: Tales of Urbanization of China by Lily & Honglei [Download Second Life for desktop and Layar for mobile devices]

Over the past few decades China has been urbanizing at an astounding pace. In 2013, the People’s Republic unveiled its plan to relocate 260 million people from China’s countryside to one of 21 “mega regions” by 2020 (cbsnews.com). Such a significant shift will undoubtedly transform China’s national character, which has been predominantly agrarian for millennia. Shadow Play weaves three interfaces, Virtual Reality (VR), Augmented Reality (AR), and Physical Reality (PR), and combines the past and present — through time-honored imagery, paint, “shadow play,” and new media technologies — to immerse participants in the realities of contemporary China.

Shadow Play: Tales of Urbanization of China is a 2014 commission of New Radio and Performing Arts, Inc. for its Turbulence.org website. It was made possible with funding from the Jerome Foundation.

BIOGRAPHY

Based in New York and Beijing, Lily & Honglei is an artist collective consisting of Xiying Yang, Honglei Li and He Li. Utilizing traditional painting, video, and new media Lily & Honglei creates ‘visual fables’ which intertwines current social issues with cultural heritage. Their artworks have been presented at numerous international and national venues including Museum of Art and Design in New York, Queens Museum of Art in New York, Whitney Museum of American Art, He Xiangning Art Museum in China, ICA Boston, The Painting Center of New York, Eyebeam Art & Technology Center, Electronic Visualization & Arts at British Computer Society in London, ISEA–Intel Society of Electronic Arts in Istanbul, New York Artist Residency Foundation Gallery, Shanghai University Gallery, MIT Center for Advanced Visual Studies, SIGGRAPH 2008, SIGGRAPH Asia 2013, Dumbo Art Festival in New York, among many others.

“Like” us on Facebook:
http://facebook.com/nrpa.org
http://facebook.com/turbulence.org

Follow us on Twitter:
http://twitter.com/turbulenceorg

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3 June 2014, 8:00 pm b459465b6fb0ae916e8769707099cde6
<![CDATA[In memoriam: A tribute to the memory of Lynne Cohen]]> Found: call, residency

The Art Gallery of Ontario shares in the loss of Lynne Cohen, one of Canada’s finest visual artists. Lynne’s remarkable body of work took us to extraordinary, often-foreboding places — places we would be unlikely to encounter in our daily lives, except through her compelling photographs. Her enigmatic, real-world photographs of interior environments, uninhabited by humans, alluded to her sense of wit and irony.

Lynne Cohen, Untitled (Column), 2009. © Lynne Cohen, 2010.

Lynne Cohen, Untitled (Column), 2009. © Lynne Cohen, 2010.

An internationally collected artist, Lynne was nominated for the Aimia | AGO Photography Prize (then called the Grange Prize) in 2009, and the AGO is proud to have exhibited her work alongside the nominees from Canada and Mexico. Lynne spent her Prize-sponsored residency in Mexico, inspired by interior spaces that became new installations of extraordinary photographs.

Lynne’s legacy will be remembered by all who admired her vision, dedication to students, loyalty to those who knew her and her incredible strength the past three years. Our deepest condolences to Andrews Lugg, her partner of 50 years, who was closest to Lynne in every way.

— Maia Sutnik, Curator, Special Photography Projects at the AGO

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15 May 2014, 1:48 pm e22ff6e59039f8515b186e701816c618
<![CDATA[Augment it Yourself (AiY): Call for Proposals]]> Found: deadline

“Perception, in whatever sensory modality, is the result of the brain’s cartographic skill.” Antonio Dimasio

New Radio and Performing Arts, Inc. (NRPA) invites you to propose a hybrid net art project for Turbulence.org - Augment it Yourself (AiY). Projects must use both the World Wide Web and a physical site :: Deadline: July 1, 2014 :: Commission Amount: $6,000 :: Commission Date: July 2015.

  • The behavior of all particles is contingent on the presence of a conscious observer.
  • Our internal and external perceptions are inextricably connected.
  • Reality is the perpetual enfolding/unfolding of autopoiesis (self-making), in relationship with others and our environment.

Augmented Reality (AR) is a real-time experience of a real-world environment whose elements are augmented by computer-generated sensory input — such as video, graphics or sound — and mapped to GPS coordinates. Thus, after downloading an AR ‘app’ to a smartphone and going to the specified location, users are able to experience intertwined realities.

While AR refers to the technologies that make these experiences possible, we are interested in how we have always augmented our realities — with our brains and other reality-mediating technologies — modifying and/or enhancing reality by layering memories on real-time perceptions, for instance. How will your project contribute to perception, memory, and the creation of the autobiographical self?

Required: Proposal (max 500 words), Biography (max 300 words), and URLS of past work.

Email them to turbulence @ turbulence.org with the Subject: Turbulence.org - AiY Proposal.

* Do it Yourself (DiY) empowers individuals to make things without the aid of “experts” or professionals; it is an alternative to consumer culture’s emphasis on relying on others to satisfy ones needs.

]]>
9 May 2014, 12:42 pm 8080436594a247f1d1e9a092b24d5921
<![CDATA[Celebrate moms with us this May]]> Found: call

This year the AGO celebrates moms with special programming all over the Gallery. Here’s what’s on:

Maternité au lit jaune, or Madame Fontaine et le petit Noël, 1896. Denis, Maurice. Oil and graphite on canvas. 44.6 x 50.9 cm. Framed: 64.8 x 70 cm. Gift of Mrs. Judy Simmonds, 2008. © 2014 Art Gallery of Ontario.

Maternité au lit jaune, or Madame Fontaine et le petit Noël, 1896. Denis, Maurice. Oil and graphite on canvas. 44.6 x 50.9 cm. Framed: 64.8 x 70 cm. Gift of Mrs. Judy Simmonds, 2008. © 2014 Art Gallery of Ontario.

Mother’s Day brunch
Edit, May 9, 4 p.m. SOLD OUT
On Sunday, May 11, FRANK restaurant celebrates moms with a special Mother’s Day brunch buffet. The menu features an enormous selection of offerings including traditional breakfast fare, a seafood station, a carving station featuring roasted AAA tenderloin, a la carte [check accents] menus, kid-friendly options and more. Brunch will be served from 11 a.m to 3:30 p.m. at a cost of $75 per adult. Children ages 6-10 can dine for $20 and children under 5 eat for $12. Reservations are encouraged as space is limited. Please call 416-979-6688 or visit FRANK online for more information.

Mother’s Day tea at The Grange (members only)
Enjoy Mother’s Day with a deliciously modern version of a Victorian tea on May 11 (seatings at 11:30 a.m. and 1:15 and 3:15 p.m.). Members are invited to enjoy a wide variety of tea along with delicious scones, croissants, sandwiches, assorted desserts and a few surprises. Book tickets for this exclusive Mother’s Day event and spend the rest of the day exploring the Collection at the Gallery.

Mother’s Day card-making at AGO Family Sundays
Part of our Family Sunday programming on Sunday, May 4, includes card-making! Get ready to cut, paste and draw something special for Mom.

Mother’s Day gift ideas

Our shopAGO team has selected a range of items perfect for Mom. See some of them below and visit the shop’s special Mother’s Day display for more options.

Design Ideas
Design Ideas
Soapstones – 9
IMM Living
IMM Living
Duck Cake Plate Holder - 54
IMM Living
IMM Living
Swallow Wings Ring Holder - 19
Marina Babic
Marina Babic
Small Vine Silver Earrings - 175 Small Vine Silver/Gold Earrings - 195
Schleeh Design
Schleeh Design
Red Tail Wood Vase - 1,600
Atelier Trema
Atelier Trema
Assorted Ceramic Pears - 26
IMM Living
IMM Living
Duck Body Container - 27
Uta Ottmar
Uta Ottmar
Pebble Earrings - 50

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24 April 2014, 10:05 am 05e8900a884fe3b2943507937c70887d
<![CDATA[Emerging artists wanting to participate in the Splendid festival read on...(May 2011)]]> Found: calling, call
Calling creatives of all stripes who have an inquisitive mind, an innovative approach and a desire to collaborate to participate in the 2011 Splendid program.

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20 March 2011, 2:03 pm a0ec52e369c8df0b4b378ef64b241d2e
<![CDATA[Lowry Art Trickery?]]> Found: calls, call
Wigan Today reports that an art lover from Cheshire accused of tricking a dealer into buying a fake LS Lowry has told a court he thought the painting was genuine. Maurice Taylor - who calls himself Lord Taylor Windsor after buying the title on the internet for £1,000 - sold the Mill Street scene to businessman David Smith during a meeting in a Ritz hotel room in 2007. Mr Smith, managing director of Neptune Fine Arts, paid over £230,000 before discovering the work was bogus. Taylor, 60, who lives in a mansion near Congleton, had bought the snowy scene featuring matchstick-style figures three years earlier through friend and Lowry expert Ivan Aird. Mr Aird acted as an agent for the previous owner Martin Heaps who, the crown say, sold the picture for £7,500 with an invoice describing it as "After Lowry" because it was created by artist Arthur Delaney. Prosecuting at Chester Crown Court, Sion Ap Mihangel, said Taylor knew the picture was fake, invented history to boost its provenance, and doctored the invoice so it appeared he was sold a genuine work. Taylor admitted telling his buyer and auctioneers Bonhams he bought the painting several decades earlier from industrialist Eddie Rosenfeld. He said he did not know why he lied but claimed Mr Aird asked him not to say he bought the painting through him. He said Mr Aird told him the painting was genuine and said: "When he sold me that picture there was never a question in his mind. I didn't question him, he told me it was original." A team of experts from Bonhams later assessed the work and were taken in by it. They provided a £600,000 insurance valuation and laid on the red carpet treatment, hoping Taylor would sell it through them. Mr Mihangel said Taylor acquired the Bonhams valuation to strengthen his selling position and to ensure a private sale. Taylor denies denies six counts of fraud and one of forging an invoice. The trial continues. (For full source and full article click the Headline). Irish Art

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3 March 2009, 2:23 pm 742b0215e6c8dc96600e8ca9f935efd4
<![CDATA[Caged Art Recognised]]> Found: awarded, award
The New York Times reports that 1974 Tehching Hsieh, a young Taiwanese performance artist working as a seaman, walked down the gangplank of an oil tanker docked in the Delaware River and slipped into the United States. His destination: Manhattan, center of the art world. Once there, though, Mr. Hsieh found himself ensnared in the benumbing life of an illegal immigrant. With the downtown art scene vibrating around him, he eked out a living at Chinese restaurants and construction jobs, feeling alien, alienated and creatively barren until it came to him: He could turn his isolation into art. Inside an unfinished loft, he could build himself a beautiful cage, shave his head, stencil his name onto a uniform and lock himself away for a year. Thirty years later Mr. Hsieh’s “Cage Piece” is on display at the Museum of Modern Art as the inaugural installation in a series on performance art. But formal recognition of Mr. Hsieh (pronounced shay), who is now a 58-year-old American citizen with spiky salt-and-pepper hair, has been a long time coming. For decades he was almost an urban legend, his harrowing performances — the year he punched a time clock hourly, the year he lived on the streets, the year he spent tethered by a rope to a female artist — kept alive by talk. This winter, owing to renewed interest in performance art, new passion for contemporary Chinese art and the coinciding interests of several curators, Mr. Hsieh’s moment of recognition has arrived from many directions at once. The one-man show at MoMA runs through May 18. The Guggenheim is featuring his time-clock piece in “The Third Mind: American Artists Contemplate Asia, 1860-1989” through April 19. M.I.T. Press is about to release “Out of Now,” a large-format book devoted to his “lifeworks.” And United States Artists, an advocacy organization, has awarded Mr. Hsieh $50,000, his first grant. He is gratified by the exhibitions. But he judges the book, which is 384 pages and weighs almost six pounds, to be the definitive ode to his artistic career. “Because of this book I can die tomorrow,” said Mr.Hsieh. (For full source and full article click the Headline). Irish Art

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1 March 2009, 5:44 am fd7169cf5c1136b48458b08bac45ae05
<![CDATA["Nazi" Picasso's Stay In NY]]> Found: jury
Time/CNN reports that it may have been possible for Picasso's boy to lead that horse without a rein, but it appears that the Museum of Modern Art didn't have the famous painting on as tight a leash as you might have thought. For more than a year that 1906 picture, one of the high points of MoMA's art collection, has been the focus of a Holocaust restitution fight that also involved another Picasso, Le Moulin de la Galette, this one hanging at the Guggenheim. Yesterday both museums settled out of court with three plaintiffs seeking return of the paintings, which they claim had been relinquished under duress by their Jewish owner in the 1930s. As with most settlements the details of this one are sealed, so we may never know whether or how much money changed hands. And by itself the mere fact that the two art museums chose to settle doesn't mean they didn't have faith in their own arguments. (Or, for that matter, that the plaintiffs didn't have faith in their's.) But jury trials are a crapshoot and for the museums at least, the paintings were too important to lose. (For full source and full article click the Headline). Irish Art

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10 February 2009, 4:42 am bc8182e962bd4b6e9594ac931c5d7831
<![CDATA[Joe Boyle's Art at Waterfront Hall, Belfast]]> Found: call, opportunity
There is a small number of artists that savvy Irish Art collectors should carefully track in 2009 - and Joe Boyle (a previous Conor Prize Winner at the Royal Ulster Academy) - is one of them. This Belfast Waterfront exhibition fuses three themes. The first is Boyle's response to a trip to China investigating 17th century dry brush calligraphy combined with Chinese contemporary aspiration for a western iconography. The second is the notion that the fragment can intentionally signify the whole - as part of an ancient object may be considered a work of art - despite that not being the original artistic intention. In this exploration Boyle chooses the Eye as the part that signifies the whole in a meaningful manner - presenting an opportunity to explore different ways of seeing aspects of change in Irish Society. The final theme is a response to Landscape which employs notions of metaphor, edge and parameter to explore emotions which we experience and are challenged by what is often a familiar and sometimes threatening environment. Joe Boyle - Solo Gallery 2 Waterfront Hall 2 Lanyon Place, Belfast Tel: 028 9033 4400 Opens Tuesday 3rd February (7pm- 9pm) until 27th February 2009 Irish Art

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25 January 2009, 5:10 pm 4b446c25110586cb155c74a9f1c63bcf
<![CDATA[Irish Art Thieves Took Taxi]]> Found: residence
Bungling Irish art thieves led Gardai to their door last weekend when they brought their loot home in a taxicab. Two men were apprehended at a residence in Kilmore following the theft of three paintings. It is believed that the thieves were easily located after they hired a taxi to ferry them, and two of the paintings home following the robbery. According to Gardai a plate glass window in Greenacres was smashed and paintings removed from the display. Gardai this week said that while investigations into the matter are 'not yet complete', they are 'not looking for anyone else in connection with the matter'. (For full source and full article click the Headline). Irish Art

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10 November 2008, 12:43 am 8b31fd7fd4d3a323e3af8af918d320de
<![CDATA[V&A CultureCast: July 2006 (no images)]]> Found: residence
The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts.

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10 July 2006, 5:00 am 7f45194f7191090b5a3e8a16ef4292f4
<![CDATA[V&A CultureCast: July 2006 (enhanced with images)]]> Found: residence
The July 2006 edition of CultureCast features design historian David Crowley discussing the image of Che Guevara within the context of 1960s culture and politics. It also has an extract from a tapestry gallery talk given by Sue Lawty, V& A artist in residence and an article about the cast of the Portico de la Gloria in the Cast Courts.

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10 July 2006, 5:00 am fcc19779ff82a9ae2204dc9125804c34
<![CDATA[Gaza crisis: Palestinian death toll passes 700 - live updates]]> Found: call
  • Health officials say 718 Palestinians killed
  • Israel has lost 32 soldiers
  • UN votes to investigate possible war crimes
  • US lifts ban on flights to Tel Aviv

Israel's finance minister Naftali Bennett has given an unapologetic interview to Sky News, accusing Hamas of using their own civilians as human shields, adding that "you fight back - there is now proportionality when you fight terror."

Asked about growing support for Hamas in the face of increasing bloodshed in Gaza, he called supporters of Hamas "immoral", adding:

We want to live side by side, it's them who are running after us. We handed them the land and they turned it into a fortress of terror.

Audrey Landmann, Médecins Sans Frontières (MSF) medical coordinator in Gaza has told Sky News that the situation in Gaza is deteriorating rapidly. Medical supplies are stuck at the border and rescue teams are unable to operate safely in Gaza.

She said the situation was worsening daily, adding that at the last count more than 150,000 were now gathered in shelters, many more trying to find safety in their homes. Some medical supplies had passed over the border yesterday, but others were stuck, she said.

The hospitals are overstretched because the health system was already fragile..now its putting lot of pressure on the system.

The main problem is not availability of food and water, the main problem is the security. There is no way to move safety for humanitaitan aid workers to provide this help because of the constant shelling.

The Palestinian news agency Ma'an is reporting that Hamas have killed eight Israeli soldiers in northeastern Gaza City.

The Hamas-affiliated al-Qassam Brigades said on Thursday that they had killed eight Israeli soldiers in northeastern Gaza City in what was potentially the deadliest attack on the military since the ground invasion began last week.

Al-Qassam Brigades said that they infiltrated into the eastern part of al-Tuffah neighborhood earlier on Thursday and launched an attack on Israeli soldiers deployed there.

Earlier today the UN under secretary general for humanitarian affairs, Baroness Amos, described the plight of Gazan civilians who were trapped in increasingly desperate conditions. She told the BBC:

We are extremely concerned with the deteriorating humanitarian situation," she told the BBC.

We have over 118,000 people now who are sheltering in UN schools. People are running out of food. Water is also a serious concern.

In a joint press conference with Israeli prime minister Benjamin Netanyahu in Jerusalem this morning foreign secretary Philip Hammond called for a swift ceasefire between Israel and Hamas.

Hammond put the blame for the latest outbreak of fighting firmly on Hamas while reiterating Britain's support for Israel's right to defend itself. He said:

Britain has also been very clear that Israel has the right to defend itself and its citizens but we are gravely concerned by the ongoing heavy level of civilian casualties. We want to see a ceasefire quickly agreed.

We welcomed the earlier ceasefire proposal by Egypt. We are disappointed that Hamas has once again apparently rejected ceasefire proposals.

I thank you for keeping your moral focus and your moral clarity. We shall need it in the days ahead.

It is a travesty of justice, it is a travesty of fairness, it is travesty of common sense, it is a travesty of truth.

It will not prevent us from continuing to defend our people, to protect them against rocket attacks and to dismantle the vast terror tunnel network that we have seen that is geared to penetrate our territory.

Our data team have produced this map which shows where residents are trapped in the village of Khuzaar in Gaza, and places where International Red Cross ambulances went in yesterday to rescue the wounded.

A school in Gaza which was sheltering 1500 people has been hit by Israeli fire, according to the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA).

The organisation says it is the third time that a school has been hit by Israeli weapons.

"This is the second time in three days that an UNRWA school has taken a direct hit from Israeli shelling and we again condemn this in the strongest possible terms."

"They were inside investigating, during a coordinated window in which the Israeli Army said the UN could move freely in a marked vehicle"

"We call on all sides to respect their obligations under international humanitarian law to protect civilians and refrain from any action that endangers the lives of humanitarian workers."

Middle East expert at Chatham House Nadim Shehadi has said that Israel is likely to resist a cease fire, in order not to hand a significant political victory to Hamas.

"If Hamas can achieve any results from the violence and from what they call the resistance it will be a victory for Hamas and a message that only violence can achieve results and not negotiation," he said, in an interview on Sky News.

An astonishing photograph from astronaut Alexander Gerst - which shows explosions and rockets flying over Gaza and Israel - has gone viral.

The German flight engineer, geophysicist and volcanologist called the it his "saddest photo yet".

My saddest photo yet. From #ISS we can actually see explosions and rockets flying over #Gaza & #Israel pic.twitter.com/jNGWxHilSy

In an interview with Sky News this morning British foreign secretary Philip Hammond has reiterated the view that Israel has a legitimate right to defend itself but warned that international sympathy was running out.

On a visit to the region, he told Sky News that his clear message to Israeli prime minister Binyamin Netanyahu was "as the campaign goes on and civilian casualties mount, western public opinion is becoming more and more concerned and less sympathetic to Israel".

We are appealing to Israel [to consider] their western values and do everything they can to exercise their legitimately right to self defence while minimising the damage caused.

I think that is a clear message as the campaign goes on and civilian casualties mount, western public opinion is becoming more and more concerned and less sympathetic to Israel. That is simply a fact.

It is also the case that the longer the campaign goes on the stronger Hamas becomines politically.

The leader of Islamist militant group Hamas said yesterday that there could be no ceasefire to ease the conflict in Gaza unless there was an end to Israel's blockade.

Khaled Meshaal said Hamas would continue to reject a ceasefire until its conditions were met.

We will not accept any initiative that does not lift the blockade on our people and that does not respect their sacrifices.

The Red Cross has said that it is struggling to evacuate wounded civilians in Gaza, with rubble and power lines strewn across roads and sporadic intense fighting.

LISTEN - Red Cross 'struggling to evacuate wounded civilians' in Gaza http://t.co/3mHwYd6mlj #r4today

UK Foreign Secretary Philip Hammond has arrived in the region where he held late-night talks with Palestinian President Mahmoud Abbas in Ramallah.

In other breaking news US airlines have lifted a flight ban to Israel this morning,

The ban was lifted hours after US Secretary of State John Kerry concluded talks in Jerusalem and Ramallah and returned to Cairo to continue pushing regional efforts for a ceasefire.

After 17 days of bloodshed in Gaza, the Palestinian death toll has reached 718.

The Israeli army has said that three more soldiers were killed in combat inside Gaza on Wednesday, raising the total number of soldiers killed since the start of a ground operation on July 17 to 32. Continue reading...

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24 July 2014, 7:37 am 7aad258b652831662bd1ad6b983f8c5b
<![CDATA[James Taylor named captain of England Lions for triangular series]]> Found: opportunity
13-man squad will take on New Zealand A and Sri Lanka A
Middlesexs Ravi Patel makes first Lions squad appearance

England selectors have named a 13-man Lions squad, captained by Nottinghamshires James Taylor, for the triangular series against New Zealand A and Sri Lanka A. The squad, coached by Andy Flower, will play two 50-over matches against each of the touring teams.

The national selector James Whitaker said: With the Royal London one-day international series against India rapidly approaching and next winters tour to Sri Lanka and ICC Cricket World Cup also firmly in our sights, this is the perfect opportunity for these players to impress the selectors in the 50-over format of the game. Continue reading...

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24 July 2014, 6:24 am 924354ed023209344445e7eaac46adee
<![CDATA[Bill Clinton calls for countries to make peace not war]]> Found: calls, call

Former US president says the world must find a way to 'bridge the divide'

The former US president Bill Clinton told a crowd in Adelaide on Thursday that the world needs to move away from zero sum thinking and focus on cooperation in order to meet the challenges of this new century.

Are we going to share the future or are we going to fight over it? Is what we have in common more important than our histories or differences? Clinton asked the audience. Continue reading...

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24 July 2014, 5:34 am b4f45b062973f9d1b43127d2074c3ac9
<![CDATA[Bernard Cribbins: 'I made Noël Coward's favourite record']]> Found: call
No one tells a story like Bernard Cribbins. Simon Hattenstone settles down to listen to the former paratrooper, pop star and Womble talk about his epic career and never having children of his own

Bernard Cribbins is completing the Telegraph crossword when I arrive. He looks up. "What bloody time d'you call this?" I apologise. He grins. He knows the trains have been delayed at Waterloo. "Six down, enzyme, must be. Bobobobobom, bobobobobom," he sings, to no recognisable tune. It's a brute of a summer's day, and Cribbins' pink shirt is sweat-patched, and there's a rivulet dripping from his forehead. He has a full head of white hair, a beard like brambles and a crippling handshake.

He is 85 now and industrious as ever. This week, appropriately enough, he stars in the first CBeebies Prom as Old Jack, eponymous hero of the BBC show Old Jack's Boat. Appropriate because no actor has done more for children's drama than Cribbins. His CV of grownup work is formidable: the horrific Mr Hutchinson in Fawlty Towers; the belligerent barman in Hitchcock's Frenzy; a starring role as Nathan Detroit in Richard Eyre's Guys and Dolls at the National Theatre; camping it up with Kenneth Williams in the Carry On films; crooking it up alongside Peter Sellers in Two-Way Stretch. Then there are the hit singles he had in the early 1960s. But it is his work for children that most of us remember: voicing every character in the Wombles; a record number of Jackanory appearances; station porter Albert Perks in the enduring Railway Children; two stints in Doctor Who almost 50 years apart; and now Old Jack's Boat in which he sits with Salty, his gorgeous Hungarian wire-haired vizsla, and tells stories. Continue reading...

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24 July 2014, 3:00 am cdf88f53561c2ec5f1622b547a8c06d0
<![CDATA[The Germans resist a heroic view of war if only we could]]> Found: opportunity
In Berlin the first world war centenary carries a warning about nationalism and conflict. Britain prefers to ignore the awkward issues

We need to keep a watch on the way the first world war is being commemorated, wrote Santanu Das in the Guardian this week. He is right. With the 4 August centenary of the outbreak less than two weeks away, that watchfulness is now very pressing. In Britain, at least, it is hard not to be apprehensive about the story we are about to be told.

The British governments official website has recently started to describe the first world war with studied care as a significant milestone in world history. It was certainly that. But what kind of milestone? And with what lessons? In the past two weeks I have had the opportunity to visit two impressive and serious commemorations of the war: one in London, at the Imperial War Museums justly admired new first world war galleries; the other in Berlin, in a no less powerful special first world war exhibition in the Deutsches Historisches Museum. Continue reading...

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24 July 2014, 1:30 am fee73d327a52720981067349c477468f
<![CDATA[We baby boomers know how to dress with self-confidence]]> Found: call

If our clothes are right, we feel like we can do anything. That's why us smart older ladies like to give our sensible outfits a feminine lift

Last week, I gave a talk about older women, style and confidence, and had a moment's mental absence. Not a senior moment instead it struck me that my audience was as stylistically diverse as it was possible to be. How wonderful, I thought, to be this age and to wear what best expresses you. Self-expression through style is where confidence comes from, isnt it? Wearing what makes you happy also makes you comfortable in your skin and this, to me, is where whats currently offered to older women misses its target by a country mile. If we want something different, particularly in summer, we are forced into clothes designed and made for a much younger market; clothes that dont fit and feel uncomfortably junior. I hate the term age appropriate as much as I hate the question Am I too old for? but its either that or the greige ennui of a companys classic line. Its quite hard to feel confident about personal style given the apparently limited imaginations of manufacturers. And yet, somehow, we do.

We mid-to late-50s baby boomers were teenagers at a time straddling not only traditional female role models but the publication of Germaine Greers The Female Eunuch diametrically opposed ideals. My recollection is of feeling torn between an inculcated wish to emulate my mother with her swishy skirted, clickety heeled, neat brand of femininity and the call of the wild that arrived via teenage magazines and the television. My 16-year-old self was looking to Biba, Quant, Ossie Clark and Jean Muir for inspiration. That usually meant taking ideas from others and adapting my own clothes stitching star-scattered inserts into pair of jeans to make mega-flares for example. Continue reading...

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23 July 2014, 8:06 pm 2b0524c53da67f2a45bf4c010edcf9aa
<![CDATA[Facebook earnings beat expectations as ad revenues soar]]> Found: opportunity

Mark Zuckerberg says 'our community has continued to grow' as revenue for the quarter ending June 30 totalled $2.91bn

Facebook comfortably beat Wall Street expectations on Wednesday, announcing that its once-struggling mobile business now accounts for 62% of advertising revenues.

We had a good second quarter, said Mark Zuckerberg, Facebook's founder and CEO. Our community has continued to grow, and we see a lot of opportunity ahead as we connect the rest of the world. Continue reading...

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23 July 2014, 5:01 pm 2d4ed83005243988c2635f677efc5f05
<![CDATA[Calls for Tory MP to stand down as trade envoy over Russian business links]]> Found: calls, call
Cameron's advisor Charles Hendry heads body promoting Russo-British trade as MPs urger stronger sanctions

One of David Cameron's trade envoys and former ministers is facing calls to stand down over for his links to a pro-Russian business group.

Charles Hendry, a Tory MP and former energy minister, is listed as president of the Russo-British Chamber of Commerce, leading an advisory council that includes one of Vladimir Putin's wealthy allies whose firm recently struck an oil deal with Syria and an ex-chief of the Russian arms company that designed Buk missiles. Continue reading...

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23 July 2014, 4:23 pm f51afafd38735a95e137fabe91cb591d
<![CDATA[Man Booker 2014: more global, less diverse]]> Found: submit
Wider eligibility criteria have given this year's longlist an Anglo-American feel but it's also overwhelmingly white and male

The Booker opened up to the world and to some, the publishing world looked a little narrower. With American authors eligible for the first time, the resulting lineup is unsurprisingly Anglo-American in flavour chair of judges AC Grayling said publishers had been concentrating on pushing their US authors but also overwhelmingly white and male. No African or Indian authors, and only one British woman. Globalisation often tends towards a monoculture, and the other much-debated rule change, whereby past success increases the number of books a publisher may submit, can only push the prize towards the establishment. The small-press surprises and unknown debutantes that have been a fixture of recent years are notably absent though notable too is the prize's first crowd-funded long-listee, eco-activist Paul Kingsnorth's Old English tale of resistance to the Norman invasion.

But let's hope the books are discussed as passionately as the rules, for in a strong year, the judges have found some fantastic novels. There's popular fiction in the shape of David Nicholls' followup to the megaselling One Day, as well as stylistic experimentation from Kingsnorth and Ali Smith. Continue reading...

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23 July 2014, 1:21 pm 6939d377a6e6263afae66e89c0963df6
<![CDATA[Coolio releases music video on adult website PornHub]]> Found: award

Rapper signs deal to debut all his new tracks on adult entertainment site

During his absence from the world of mainstream music, rapper Coolio has dabbled in cookery, appeared on Wife Swap and entered not only the Celebrity Big Brother house, but the Ultimate Big Brother house, too. But according to celebrity gossip website TMZ, he is gearing up for a return to the rap world, and will launch his comeback via adult entertainment website PornHub.

Since rising to fame in 1994 with his breakout hit Fantastic Voyage, Coolio's commercial success has yet to surpass the giddy heights of his Grammy award-winning track Gangsta's Paradise, and he has not released an album since the self-produced From the Bottom 2 the Top in 2009. Continue reading...

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23 July 2014, 12:30 pm 468b122cf31f5ec941b97faa61c7dc27
<![CDATA[New Works by Albert Samreth and Gor Soudan]]> Found: call, residency

poster for New Works by Albert Samreth and Gor Soudan
New Works by Albert Samreth and Gor Soudan
at Yamamoto Gendai (Shirokane, Hiroo area)
(2014-07-12 - 2014-07-26)

Through partnership with The Backers Foundation, AIT has previously hosted artists and curators from Africa, Asia, South America and the Middle East and here as part of the 7th joint residency programme, an exhibition is accompanied by research, production and cultural exchange through educational sessions. Albert Samreth (Born in 1987, Los Angeles, USA) is an emerging conceptual artist who has developed a studio practice based around engaging with natural and systematic processes. For this exhibition, Samreth will present a new series of paintings created by either the effects of Tokyo’s heavy summer rainfall or made by the sunlight in a natural photographic process. The remainder of his work for the show will be derived from graphic scores related to his concurrent project for the International Moscow Biennale of Young Art, where he will be teaching songs to an African Grey Parrot. Gor Soudan (Born in 1983, Kisumu, Kenya) is a self-taught conceptual artist based in Nairobi, Kenya. For this exhibition, Soudan will present pieces from his “Drawing in Space” series alongside linear drawings and an installation constructed in his Tokyo studio using a variety of locally-sourced, natural materials.

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<![CDATA[Raoul Dufy Exhibition]]> Found: opportunity

poster for Raoul Dufy Exhibition
Raoul Dufy Exhibition
at Galerie Tamenaga (Ginza, Marunouchi area)
(2014-06-13 - 2014-07-26)

As a member of the fauvist movement centering around the likes of Matisse and Derain, Dufy came to develop his own unique style filled with a particular sense of rhythm. This exhibition takes the opportunity to place a spotlight upon Dufy’s watercolor works which with their soft light and buoyant color reveal another side to this French master. [Image: Raoul Dufy “Trouville” (1933) oil paint 50×73cm]

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<![CDATA[Kota Hirakawa “Fragile Dream of Paintings”]]> Found: residence

poster for Kota Hirakawa “Fragile Dream of Paintings”
Kota Hirakawa “Fragile Dream of Paintings”
at Bambinart Gallery (Chiyoda area)
(2014-06-21 - 2014-07-27)

Kota Hirakawa is an artist who has taken up the subjects of history and society as a focus for his practice, with works including “Trinitite” the black monochrome copies of Tsuguharu Fujita and Saburo Miyamoto’s war time paintings, and the “Where is Niraikanai” series produced during a residence in Okinawa, continuing to explore the subjects of war and art history. In the first part of this two part exhibition Hirakawa presents work developed in residencies in both Okinawa and Enoshima, tracing the memory of place and the imprint of the familiar everyday. Following this the second part features his “Memory and Record” series with an installation of black painted clocks sounding throughout the gallery. [Image: Kota Hirakawa “Where is Niraikanai-The white flag girl” (2014) 53.0×45.5cm]

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<![CDATA[Summer Show]]> Found: award

poster for Summer Show
Summer Show
at Maki Fine Arts (Chiyoda area)
(2014-07-05 - 2014-07-27)

Maki Fine Arts presents a group show of new and recent work from the 4 artists Shu Ikeda, Atsushi Tawa, Wataru Yamakami and Kazuhito Tanaka. Well-known for his photographic cut outs Ikeda features a collection of work previously un-exhibited in Japan, Tawa showcases a new body of abstract prints, Tanaka presents a range of photography which shifts between the line of abstract and figurative, while 2013 winner of the Tokyo Midtown Audience Award Yamakami unveils recent painting work.

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<![CDATA[Gesai#20 Bronze Winners Exhibition - Kim Zeluck]]> Found: opportunity, award

poster for Gesai#20 Bronze Winners Exhibition - Kim Zeluck
Gesai#20 Bronze Winners Exhibition - Kim Zeluck
at Hidari Zingaro (Musashino, Tama area)
(2014-07-24 - 2014-07-29)

The gold, silver and bronze award winners of Gesai#20 held on May 4th 2014 are each given the opportunity to present their solo exhibition at Hidari Zingaro, starting with the bronze award winner Kim Zeluck.

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<![CDATA[Ryuki Yamamoto Exhibition]]> Found: residence

poster for Ryuki Yamamoto Exhibition
Ryuki Yamamoto Exhibition
at Mizuma Art Gallery - Ichigaya Tamachi (Ichigaya, Kagurazaka area)
(2014-07-23 - 2014-08-30)

With his overwhelming power of composition and cutting self-portraits Ryuki Yamamoto has continued to gain international attention for his powerful paintings. In 2011 he joined a residence program in Beijing with the support of the Pola Foundation and here in this exhibition presents 1 work created during this period and 1 work produced since, both of an impressively large scale. Here he combines spirits, gods and mythical figures with countless images of himself dressed in school uniform in a never ending process of chaos and birth.

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<![CDATA[Mission [Space X Art] -Beyond Cosmologies]]> Found: opportunity

poster for Mission [Space X Art] -Beyond Cosmologies
Mission [Space X Art] -Beyond Cosmologies
at Museum of Contemporary Art, Tokyo (Kiyosumi, Ryogoku area)
(2014-06-07 - 2014-08-31)

In the second decade of the twenty-first century both outer space, into which research and development progresses, and artists’ expressions of inner space are rapidly expanding/converging to constitute a parallel world. Coinciding with the 2014 space boom, this exhibition examines how outer space has been drawn infinitely closer to our daily lives, along with the inner space created by artists as a multiverse, surpassing individual cosmologies. Japan joined the exploration space after the war, and the since this time artists have also come to interpret our steps into the universe through their own particular expressions. This exhibition will present art installations; items connected with space exploration, such as parts of satellites and rockets (fairings); documents from the world of entertainment, such as literature, manga and anime; interactive exhibits; discussions and other events to explore the new possibilities that ‘reflect the expanding/converging world’. It will offer the opportunity to experience and consider ‘space’, not only as some different world or Utopia, but also as something that is ‘ordinary’ in a true sense. [Related Event] Shintaro Tanikawa Book Reading “The Next Universe” Date: June 29(Sun) 14:00-15:30 Venue: B2F Auditorium

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<![CDATA[In Search of Modigliani— From the Avant-Garde to Classicalism]]> Found: opportunity

poster for In Search of Modigliani— From the Avant-Garde to Classicalism
In Search of Modigliani— From the Avant-Garde to Classicalism
at Pola Museum of Art (Yokohama, Kanagawa area)
(2014-04-12 - 2014-09-15)

Born in Livorno, Italy, the painter and sculptor Amedeo Modigliani (1884–1920) lived a short but storied life, producing art in a unique style that continues to strike viewers with its vividness. While Modigliani has long been considered a representative of the School of Paris, in the past century there has been a growing movement to reexamine his work on its own merits. With a similar awareness, the primary aim of this exhibition is to reconsider the meaning of the work left by an artist often said to be in a class by himself, while also shedding light on Modigliani’s era and artistic environment. Tracing the first fifteen years or so of the 20th century, a time when artistic and aesthetic values underwent dizzying changes, it explores to what extent Modigliani’s art was a subject of its times and to what extent it focuses on unchanging elements. Art from early in Modigliani’s career through his stay in southern France is presented along with works contemporaries who influenced or interacted with Modigliani, revealing his development as an artist. [Image: Amedeo Modigliani “Reclining Nude With Loose Hair” (1917)] [Related Event] 130 Years of Modigliani - A 3 Day Festival of Celebrations Dates: July 25-27 An opportunity to join a host of workshops, concerts, gallery talks hand games in the discovery of Modigliani. Also including a lecture from Italian art expert Kikuro Miyashita.

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<![CDATA[Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists]]> Found: opportunity

poster for Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists
Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists
at Bernard Buffet Museum (Greater Tokyo area)
(2014-07-19 - 2014-09-28)

The Musée Bernard Buffet is holding an exhibition of the Hoeido edition of “The Fifty-three Stations of the Tokaido” by the ukiyo-e master Hiroshige Utagawa (1797-1858) and works by contemporary artists who have been inspired by him. The Hoeido edition of “The Fifty-three Stations of the Tokaido,” regarded as the artist’s ultimate masterpiece, presents scenes along the highway as they change over the seasons and over time with abundant lyricism. The prints in this series are also known for the rich variety with which Utagawa depicts the human figure in the landscapes at each location. The world these prints creates, abounding in its rich sense of humanity, continues to capture the hearts of artists today. Leiko Ikemura (1951- ) is an artist who lives and works in Europe, where she continues her fundamental questioning of human existence. After the 2011 Tohoku earthquake, she began engaging in a dialogue with Hiroshige’s “The Fifty-three Stations of the Tokaido,” which could be said to depict the essential, primordial landscapes of Japan. That experience has led to her creating poems and a new series of drawings. Samurai warriors coexist with contemporary individuals in the Yamato-e style miniatures of Akira Yamaguchi (1969- ). In them, Yamaguchi engages in a dialogue with styles from the past while humorously applying the spirit of modern criticism. Yamaguchi creates new landscapes based on places that have caught his eye in the Mishima area, such as the Mishima Taisha and other shrines, expressed through his own interpretations of them. “Hiroshige is my hero!” says Kazuyuki Takezaki (1976- ). Staying in the Mishima area, he has become enthralled with the landscapes along the Genpe and Kakita rivers and has created paintings and built installations inspired by phenomena he has observed there. This exhibition is an opportunity to rediscover the fascination of Utagawa’s “The Fifty-three Stations of the Tokaido,” to experience the work of several contemporary artists, and to contemplate the indelible, essential landscapes within each of us. [Related Event] Workshop “Let’s Make a Landscape with Takezaki-san!” Date: Jul. 21 (Mon, public holiday) 13:00–15:30 Participants: 18 (Young children through Junior High Students) Admission: ¥1000 Please see the venue’s website for reservations, details, and information on more related events.

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<![CDATA[2D Work Award Winners Exhibition]]> Found: award

2D Work Award Winners Exhibition
at Tokyo Wonder Wall (Shinjuku area)
(2013-10-10 - 2014-09-29)

12 artists selected for the Wonder Wall Award from 479 competitors present their work in a relay of solo exhibitions held between October 2013 - September 2014, with an artist talk held each month. Exhibition Schedule Chie Sannami Exhibition Period: 10th October-31st October Opening Talk: 10th October 17:30-18:30 Issei Nishimura Exhibition Period: 7th November-28th November Tsuyoshi Matsunami Exhibition Period: 5th December-26th December Opening Talk: 5th December 17:30-18:30 Mayu Hirota Exhibition Period: 9th January-30th Janurary Opening Talk: 9th January 17:30-18:30 Momi Abe Exhibition Period: 6th February- 27th February Opening Talk: 6th February 17:30-18:30 Shizuka Mitsui Exhibition Period: 6th March-28th March Opening Talk: 6th March 17:30-18:30 Eijiro Saito Exhibition Period: 10th April-30th April Opening Talk: 10th April 17:30-18:30 Saiko Kasajima Exhibition Period: 8th May-29th May Opening Talk: 8th May 17:30-18:30 Hiroaki Ito Exhibition Period: 5th June-26th June Opening Talk: 5th June 17:30-18:30 Narumi Sasaki Exhibition Period: 3rd July-25th July Opening Talk: 3rd July 17:30-18:30 Nanako Mukai Exhibition Period: 7th August-28th August Opening Talk: 7th August 17:30-18:30 Shiro Ishibashi Exhibition Period: 4th September-29th September Gallery Talk: 11th September 12:15-13:00

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<![CDATA[Hideo Ogiwara “Playing with Lines”]]> Found: opportunity

poster for Hideo Ogiwara “Playing with Lines”
Hideo Ogiwara “Playing with Lines”
at Kichijoji Art Museum (Musashino, Tama area)
(2014-07-03 - 2014-11-03)

Exhibiting the print works of Hideo Ogiwara with an opportunity to compare the various techniques employed in his practice with such impressive works as “Fairytale Land” and “Aesop’s Fables”.

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<![CDATA[“Art as a Haven of Happiness”]]> Found: calls, call

poster for “Art as a Haven of Happiness”
“Art as a Haven of Happiness”
at Tokyo Metropolitan Art Museum (Ueno, Yanaka area)
(2014-07-26 - 2014-10-08)

At the art studios “Atelier Element Present” (Mie and Tokyo) and “Shobu Gakuen” (Kagoshima), people born with Down syndrome and other developmental disabilities are daily producing artworks that evince rich sensibilities and intellectual insight. Their world of jewel-like colors, full of bright, festive energy, easily calls the words “happiness” and “harmony” to mind. Their creative approach—light in spirit and as natural as breathing—seems to epitomize true freedom in art. The profound beauty of form they achieve forces us to reconsider our definition of the word, “disabled.” As a special feature, this exhibition will allow visitors to observe the artists’ production process, normally something only the studio staff is witness to. The exhibition venue will thus become a place to consider anew “the meaning and possibilities of art” in human life. (Some 100 artworks will be presented.) [Related Events] Lecture “What has been made, What can be made” Date: July 26(Sat) 14:00-16:00 Speaker: Shin Fukumori (Shobu Gakuen) “Art as a Haven of Happiness” Date: September 15(Mon/Public Holiday) 14:00-17:00 Part 1: Speaker - Genichiro Takahashi(writer) 14:00-15:00 Part 2: Speaker - Hiroatsu Sakuma (Atelier Element Present) Moderator: Atsuyuki Nakahara (Tokyo Metropolitan Art Museum)

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<![CDATA[Find Asia - Asia’s Creativities Meet in Yokohama]]> Found: residence

poster for Find Asia - Asia’s Creativities Meet in Yokohama
Find Asia - Asia’s Creativities Meet in Yokohama
at Yokohama Creative City Center (Yokohama, Kanagawa area)
(2014-08-01 - 2014-11-03)

Find Asia is brings together the art of Japan, China and Korea in a special art program designed as an associate event of the Yokohama Triennale 2014 and the Culture City of East Asia Yokohama 2014. Placing a spotlight on Asian creators YCC opens up its spaces to form a space of communication and exchange in a fluid dialogue which surpasses the divisions between artists and viewer, art collectors, directors and designers in a diverse sharing of perspectives. Program Contents (1) Find ASIA and myself This is an exhibition and residence program showcasing art from across East Asia. Artist unit L Pack transform the YCC café into the “Yokoso Cocowa Cafedesu”, resident artists hold open studios and exhibitions, while special event programs are joined by Yuko Mohri Hitoshi Toyoda and Norimizu Ameya. Residence Program JI Lei in Yokohama Residence: July 15 – September 14 Open Studio August 1 – September 5 Exhibition September 6 – November 3 The World of Satoru Aoyama Open Studio August 1 – August 26 (2) Space Space – Lounge Space Produced by Yokohama Creators (3F) Space Space is a multi-purpose space for visitors to relax in, while also being used as a talk event and schooling space, created by Yokohama based designers NosignerA place to get to know and enjoy art. (3) Information Center (1F Entrance) An information center providing visitors with all the details of the Yokohama Triennale and the events of the Culture City of East Asia program. Spatial design is provided by interior design brand PAP Design and accompanied by infographics creative(c)ities created by creators from 11 Asian cities currently staying in Yokohama.

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<![CDATA[Stephen Mushin “Now, if, what, then - Farming Tokyo”]]> Found: opportunity

poster for Stephen Mushin “Now, if, what, then - Farming Tokyo”
Stephen Mushin “Now, if, what, then - Farming Tokyo”
at Spiral (Omotesando, Aoyama area)
(2014-08-18 - 2014-08-31)

Melbourne based artist Stephan Mushin presents a vision of Tokyo reconsiders the city from ecological perspectives of energy, the food chain, and recycling. His “Tokyo” is one of the biggest cities in the world, endowed with a rich food culture but also a massive producer of waste. He presents images of fictional yet realizable machines that would both enliven Tokyo and help to solve these environmental problems in fantastical, fun ways. Experiencing the artworks and accompanying discussions, visitors of all ages will be encouraged to deepen their imagination and creativity, and dream of a positive future. [Related Events] Wrorkshop for Children and Families Dates: August 18th (Monday) – 21st, 2014 (Thursday) 14:00-15:00/16:00~17:00 Target: 5-12years old and families Creative Ideas Bar A discussion forum will also take place during the exhibition, inviting key persons in the fields of art, design, and education from Australia and Japan. Offering the opportunity to hear about the latest developments in these fields in both countries, visitors and experts alike will exchange ideas and gain new outlooks on learning and creativity. Date: August 20th (Wednesday) 18:00-20:00 Target: Students, teachers, designers and artists

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<![CDATA[2014 Tokyo Art Directors Club Exhibition]]> Found: call, award, jury

poster for 2014 Tokyo Art Directors Club Exhibition
2014 Tokyo Art Directors Club Exhibition
at Creation Gallery G8 (Ginza, Marunouchi area)
(2014-07-04 - 2014-07-28)

The Tokyo Art Directors Club was first formed in 1952 and is currently made up of 80 art directors. This association has come to hold an annual open call award exhibition in which the latest innovations in advertising and design are selected by the jury panel to present the very forefront of communication design in Japan. This exhibition is split over two venues, with work of general creators shown as Gallery G8 and the work of ADC members showcased at Ginza Graphic Gallery.

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<![CDATA[2014 Tokyo Art Directors Club Exhibition]]> Found: call, submissions, submission

2014 Tokyo Art Directors Club Exhibition
at Ginza Graphic Gallery (Ginza, Marunouchi area)
(2014-07-04 - 2014-07-28)

With over 8500 submissions the annual open call exhibition of advertising and graphic design, including newspaper and magazine adverts, packaging, logo designs, displays and TV commercials, the group of 80 jurists of the Artistic Directors Club have carefully selected their choice of the best innovations which have appeared between May 2013-April 2014 and here present them across two venues, Ginza Graphic Gallery and G8 Gallery.

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<![CDATA[Find Asia - Asia’s Creativities Meet in Yokohama]]> Found: residence

poster for Find Asia - Asia’s Creativities Meet in Yokohama
Find Asia - Asia’s Creativities Meet in Yokohama
at Yokohama Creative City Center (Yokohama, Kanagawa area)
(2014-08-01 - 2014-11-03)

Find Asia is brings together the art of Japan, China and Korea in a special art program designed as an associate event of the Yokohama Triennale 2014 and the Culture City of East Asia Yokohama 2014. Placing a spotlight on Asian creators YCC opens up its spaces to form a space of communication and exchange in a fluid dialogue which surpasses the divisions between artists and viewer, art collectors, directors and designers in a diverse sharing of perspectives. Program Contents (1) Find ASIA and myself This is an exhibition and residence program showcasing art from across East Asia. Artist unit L Pack transform the YCC café into the “Yokoso Cocowa Cafedesu”, resident artists hold open studios and exhibitions, while special event programs are joined by Yuko Mohri Hitoshi Toyoda and Norimizu Ameya. Residence Program JI Lei in Yokohama Residence: July 15 – September 14 Open Studio August 1 – September 5 Exhibition September 6 – November 3 The World of Satoru Aoyama Open Studio August 1 – August 26 (2) Space Space – Lounge Space Produced by Yokohama Creators (3F) Space Space is a multi-purpose space for visitors to relax in, while also being used as a talk event and schooling space, created by Yokohama based designers NosignerA place to get to know and enjoy art. (3) Information Center (1F Entrance) An information center providing visitors with all the details of the Yokohama Triennale and the events of the Culture City of East Asia program. Spatial design is provided by interior design brand PAP Design and accompanied by infographics creative(c)ities created by creators from 11 Asian cities currently staying in Yokohama.

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0832f9b3899239d4bd4ad11664ed138e
<![CDATA[9th Golden Eggs All Star Design Showcase]]> Found: submissions, submission

poster for 9th Golden Eggs All Star Design Showcase
9th Golden Eggs All Star Design Showcase
at Axis Gallery (Roppongi, Nogizaka area)
(2014-08-28 - 2014-09-07)

The annual exhibition aiming to connect students and society through design this year showcases selected work which highlights the future of design alongside individual submissions under the title of “Thank Nature - Design which learns from and draws upon the riches of nature” including various approaches to community and food design. [Related Event] Participating Students Presentation August 30(Sat) 14:00- September 2(Tues) 18:30-, September 4(Thurs) 18:30-

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<![CDATA[Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest]]> Found: jury
WINNER
WINNER
No Walls Between Us, Pablo Munoz, Vancouver (British Colombia)
FINALIST
FINALIST
Round dance on Parliament Hill, Fabric, Acrylic, Sharpie, 2013, Roxanne Martin, Sault Ste. Marie (Ontario)
FINALIST
FINALIST
Sans titre, Matthilde Cing-Mars, Trois-Rivières (Québec)
FINALIST
FINALIST
United, Leo Samilo, Surrey (British Colombia)
FINALIST
FINALIST
Untold truth, Bogdan Salii, Toronto (Ontario)
FINALIST
FINALIST
Complexity, Brianne Walker, Windsor (Ontario)

The Michaëlle Jean Foundation, the AGO and WorldPride Toronto 2014 are delighted to announce the winner of the 4th Wall Youth Solidarity Project online vote.

Selected as winner by more than a thousand Canadians of all ages from across the country, Vancouver-based artist and rights activist Pablo Muñoz receives $1,000 and will work with a seasoned public art practitioner to see his art mounted on the western wall of the AGO.

His work, No Walls Between Us, highlights the unique experiences of migrant and racialized LGBT youth. It was one of six pieces of art chosen by a jury to represent the theme of “Solidarity with Canada’s Two-Spirited and LGBTTIQQ Communities,” in an unprecedented exhibition celebrating WorldPride Toronto 2014.

On view at the AGO between June 22 and Nov. 15, 2014, the Youth Solidarity Exhibition will inspire Canadians to work together to promote safe, inclusive and healthy communities for Two-Spirited and LGBTTIQQ youth throughout the country. The other young artists featured in the exhibition are:

  • Mathilde Cinq-Mars, a multidisciplinary visual and animation artist from Trois-Rivière, Que. who has a BA from the University of Strasbourg;
  • Roxanne Martin, a digital artist from Sault Ste. Marie, Ont., and the great-niece of Cecil Youngfox, a trailblazing Anishinaabe painter and gay rights activist;
  • Bogdan Salii, a passionate visual artist from Toronto, Ont., who recently immigrated to Canada from Ukraine to pursue his dream of transforming his love for art into a lucrative business;
  • Leo Samilo, a nascent artist and recent high school graduate from Surrey, B.C’s Filipino community; and
  • Brianne Walker, a 17-year-old human rights activist from Windsor, Ont., and aspiring visual artist and filmmaker.

This project is actively supported by more than 55 human rights, faith-based, arts, newcomer, Aboriginal and health organizations across Canada. For a full list of project collaborators, click here.

About Pablo Muño
Colombian-born Pablo Muñoz arrived to Canada as a refugee in 2000. Today, he is an accomplished citizen whose artistic work extends from painting, design, performance art and writing, and his community work centers around immigrant and refugee youth issues, intersections of queer and racialized identities, and solidarity with indigenous communities. Over the past year, Pablo worked on the Make it Count campaign — a project that created community dialogues across the province addressing challenges faced by migrant youth. He is currently working as a story editor on a documentary telling the story of queer refugees coming into Canada. He also is a member of the Vancouver Foundation’s Education Granting Committee and the City of Vancouver’s Youth Advisory Committee.

The Youth Solidarity Project is funded in part by StreetARToronto, a program of the City of Toronto, as well as the K.M. Hunter Foundation.

About the 4th Wall program
In theatre, the “fourth wall” is an imaginary screen that creates a virtual separation between actor and spectator. There are many ways to cross the fourth wall and to make the invisible visible. The Michaëlle Jean Foundation chose to do so through the 4th Wall: Make the Invisible Visible program, in collaboration with several prestigious Canadian museums and art galleries. The goal is to invite young creators to break down the invisible walls that create solitudes between individuals and communities across Canada, by opening the doors of our major cultural institutions to emerging creators from marginalized backgrounds. The Foundation offers museum and art gallery space and bursaries to youth from disadvantaged backgrounds, often cut off from museums, so that they can produce original art that conveys their experiences, ideas and challenges. On display for the public to see, their work provokes debate and builds solutions. The first 4th Wall exhibition was launched on Feb. 5, 2014, at the Montreal Museum of Fine Arts, to mark Black History Month in collaboration with FRO Foundation.

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26 June 2014, 10:51 am ea30053a59b51a2b6d3048cc34f89f16
<![CDATA[Call for applications: An opportunity for Toronto-based MFA photography students]]> Found: opportunity, residency, submit

Are you or do you know a Toronto-based artist who is enrolled in or has recently graduated from an MFA program focusing on photography? If yes, the Aimia | AGO Photography Prize has an opportunity to share.

This August, one of the artists on the yet-to-be-announced shortlist for the 2014 Aimia | AGO Photography Prize will be in Toronto to participate in the Prize’s residency program. Each year, all four artists on the shortlist receive a fully funded, self-directed residency designed to deepen or enrich their respective practices.

credit

credit


The artist is designing a teaching-focused residency that will be open to five Toronto-based artists who are currently enrolled in or recently graduated from an MFA program with a focus on photography. From Aug. 18 to Aug. 29, the five students will work with the artist, both as a group and one-on-one, with the goal of eliciting critical dialogue about each student’s work and potentially producing new work.

There will be three to four group meetings, and the artist will meet with each of the students individually two to three times over the course of the two-week period. The students will work between the visits to develop ideas and/or create new work. Each student will receive a $500 honorarium to support production and expenses during the study period.

Applicants must be currently enrolled in an MFA program in Canada or internationally or have graduated from such a program after Jan. 1, 2013. Applicants must be based in Toronto between Aug. 18 and 29, 2014, and be available for regular meetings and studio visits during this time.

Although the artist’s identity won’t be publicly revealed until the Aug. 13 shortlist announcement, students under consideration for the program will be notified of the artist’s identity before their participation is confirmed.

Applications must include an artist statement, CV and portfolio of as many as 25 images and/or 10 minutes of video work with detailed credit information (title, date, medium, dimensions). Applications to the program are due July 9.

To submit an application or for more information, please contact Sean O’Neill, Manager, Aimia | AGO Photography Prize at sean_oneill@ago.net.

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23 June 2014, 1:29 pm a491661c35ba6532af13776369b282bc
<![CDATA[Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics]]> Found: residence

Click to play:

Download 81.4 MB MP3

Recorded: March 26, 2014, at the Art Gallery of Ontario
Duration: 01:29:05

In this podcast, hear AGO artist-in-residence Jim Munroe in conversation with artists Mark Connery, a Toronto-based comic and zine artist, and Jonathan Mak, a Toronto-based game developer, about their work, indie culture and how playfulness factors into their practices.

Jonathan Mak is a Toronto-based game developer working under the title Queasy Games. He recently collaborated with I am Robot and Proud (aka Shaw-Han Liem), a Toronto-based electronic music artist, on Sound Shapes for PS Vita and PlayStation®3. Sound Shapes features music by Beck, Deadmau5 and Jim Guthrie and graphics by Capy, Superbrothers, Pixeljam and Pyramid Attack.

Mark Connery is a Toronto-based producer of comics and zines. He is most known for the mini-comic adventures of Rudy. In addition to his own publications, his work has appeared in many group exhibitions and has been published in Exclaim!, Kiss Machine and in many small-press lit zines in Toronto and Vancouver.

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4 June 2014, 9:00 am 7ecbcd287d321df62d87955f8cbb5ea9
<![CDATA[In memoriam: A tribute to the memory of Lynne Cohen]]> Found: call, residency

The Art Gallery of Ontario shares in the loss of Lynne Cohen, one of Canada’s finest visual artists. Lynne’s remarkable body of work took us to extraordinary, often-foreboding places — places we would be unlikely to encounter in our daily lives, except through her compelling photographs. Her enigmatic, real-world photographs of interior environments, uninhabited by humans, alluded to her sense of wit and irony.

Lynne Cohen, Untitled (Column), 2009. © Lynne Cohen, 2010.

Lynne Cohen, Untitled (Column), 2009. © Lynne Cohen, 2010.

An internationally collected artist, Lynne was nominated for the Aimia | AGO Photography Prize (then called the Grange Prize) in 2009, and the AGO is proud to have exhibited her work alongside the nominees from Canada and Mexico. Lynne spent her Prize-sponsored residency in Mexico, inspired by interior spaces that became new installations of extraordinary photographs.

Lynne’s legacy will be remembered by all who admired her vision, dedication to students, loyalty to those who knew her and her incredible strength the past three years. Our deepest condolences to Andrews Lugg, her partner of 50 years, who was closest to Lynne in every way.

— Maia Sutnik, Curator, Special Photography Projects at the AGO

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15 May 2014, 1:48 pm e22ff6e59039f8515b186e701816c618
<![CDATA[Celebrate moms with us this May]]> Found: call

This year the AGO celebrates moms with special programming all over the Gallery. Here’s what’s on:

Maternité au lit jaune, or Madame Fontaine et le petit Noël, 1896. Denis, Maurice. Oil and graphite on canvas. 44.6 x 50.9 cm. Framed: 64.8 x 70 cm. Gift of Mrs. Judy Simmonds, 2008. © 2014 Art Gallery of Ontario.

Maternité au lit jaune, or Madame Fontaine et le petit Noël, 1896. Denis, Maurice. Oil and graphite on canvas. 44.6 x 50.9 cm. Framed: 64.8 x 70 cm. Gift of Mrs. Judy Simmonds, 2008. © 2014 Art Gallery of Ontario.

Mother’s Day brunch
Edit, May 9, 4 p.m. SOLD OUT
On Sunday, May 11, FRANK restaurant celebrates moms with a special Mother’s Day brunch buffet. The menu features an enormous selection of offerings including traditional breakfast fare, a seafood station, a carving station featuring roasted AAA tenderloin, a la carte [check accents] menus, kid-friendly options and more. Brunch will be served from 11 a.m to 3:30 p.m. at a cost of $75 per adult. Children ages 6-10 can dine for $20 and children under 5 eat for $12. Reservations are encouraged as space is limited. Please call 416-979-6688 or visit FRANK online for more information.

Mother’s Day tea at The Grange (members only)
Enjoy Mother’s Day with a deliciously modern version of a Victorian tea on May 11 (seatings at 11:30 a.m. and 1:15 and 3:15 p.m.). Members are invited to enjoy a wide variety of tea along with delicious scones, croissants, sandwiches, assorted desserts and a few surprises. Book tickets for this exclusive Mother’s Day event and spend the rest of the day exploring the Collection at the Gallery.

Mother’s Day card-making at AGO Family Sundays
Part of our Family Sunday programming on Sunday, May 4, includes card-making! Get ready to cut, paste and draw something special for Mom.

Mother’s Day gift ideas

Our shopAGO team has selected a range of items perfect for Mom. See some of them below and visit the shop’s special Mother’s Day display for more options.

Design Ideas
Design Ideas
Soapstones – 9
IMM Living
IMM Living
Duck Cake Plate Holder - 54
IMM Living
IMM Living
Swallow Wings Ring Holder - 19
Marina Babic
Marina Babic
Small Vine Silver Earrings - 175 Small Vine Silver/Gold Earrings - 195
Schleeh Design
Schleeh Design
Red Tail Wood Vase - 1,600
Atelier Trema
Atelier Trema
Assorted Ceramic Pears - 26
IMM Living
IMM Living
Duck Body Container - 27
Uta Ottmar
Uta Ottmar
Pebble Earrings - 50

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24 April 2014, 10:05 am 05e8900a884fe3b2943507937c70887d
<![CDATA[Kota Hirakawa “Fragile Dream of Paintings”]]> Found: residence

poster for Kota Hirakawa “Fragile Dream of Paintings”
Kota Hirakawa “Fragile Dream of Paintings”
at Bambinart Gallery (Chiyoda area)
(2014-06-21 - 2014-07-27)

Kota Hirakawa is an artist who has taken up the subjects of history and society as a focus for his practice, with works including “Trinitite” the black monochrome copies of Tsuguharu Fujita and Saburo Miyamoto’s war time paintings, and the “Where is Niraikanai” series produced during a residence in Okinawa, continuing to explore the subjects of war and art history. In the first part of this two part exhibition Hirakawa presents work developed in residencies in both Okinawa and Enoshima, tracing the memory of place and the imprint of the familiar everyday. Following this the second part features his “Memory and Record” series with an installation of black painted clocks sounding throughout the gallery. [Image: Kota Hirakawa “Where is Niraikanai-The white flag girl” (2014) 53.0×45.5cm]

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<![CDATA[Misa Hiramatsu + Mayumi Tanabe “Polymorphic”]]> Found: calls, call

poster for Misa Hiramatsu + Mayumi Tanabe “Polymorphic”
Misa Hiramatsu + Mayumi Tanabe “Polymorphic”
at SCAI The Bathhouse (Ueno, Yanaka area)
(2014-07-11 - 2014-08-02)

Misa Hiramatsu creates dramatic installations which evoke the specter of death through the transformation of everyday waste, pointing to the grotesque side of existence. Mayumi Tanabe meanwhile calls upon that sense of dizziness experienced when the weight of our tired body urges itself upon us, directing the formation of sculptural space through the melting forms of wax and vaseline. Here both artists call upon our physical senses in the processes of melting and rotting, as a metamorphosis assailed by the unknowable agent of time.

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<![CDATA[Unreliable Reality – The Where of This World]]> Found: call

poster for Unreliable Reality – The Where of This World
Unreliable Reality – The Where of This World
at Shiseido Gallery (Ginza, Marunouchi area)
(2014-07-18 - 2014-08-22)

“Me” is an artist collective comprised of Haruka Kojin along with Kenji Minamigawa and Hirofumi Masui, the latter two being members of the “expressive action squad” called “wah document.” Wah document’s main mission is to execute ideas for works of art collected from the public. In their first exhibition in Tokyo “Me” transform the space of Shiseido Gallery into an encounter with our unreliable realities, questioning the rules of science and our own existence, layering personal memories with sculptural contrivances which gradually displace us and call into question “where of this world” we live in. [Related Event] Gallery Talk Date: August 3(Sun) 14:00-16:00 Venue: Word Shiseido (Shiseido Bld. 9F) Admission: Free *Please refer to the official website for further details

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<![CDATA[Mission [Space X Art] -Beyond Cosmologies]]> Found: opportunity

poster for Mission [Space X Art] -Beyond Cosmologies
Mission [Space X Art] -Beyond Cosmologies
at Museum of Contemporary Art, Tokyo (Kiyosumi, Ryogoku area)
(2014-06-07 - 2014-08-31)

In the second decade of the twenty-first century both outer space, into which research and development progresses, and artists’ expressions of inner space are rapidly expanding/converging to constitute a parallel world. Coinciding with the 2014 space boom, this exhibition examines how outer space has been drawn infinitely closer to our daily lives, along with the inner space created by artists as a multiverse, surpassing individual cosmologies. Japan joined the exploration space after the war, and the since this time artists have also come to interpret our steps into the universe through their own particular expressions. This exhibition will present art installations; items connected with space exploration, such as parts of satellites and rockets (fairings); documents from the world of entertainment, such as literature, manga and anime; interactive exhibits; discussions and other events to explore the new possibilities that ‘reflect the expanding/converging world’. It will offer the opportunity to experience and consider ‘space’, not only as some different world or Utopia, but also as something that is ‘ordinary’ in a true sense. [Related Event] Shintaro Tanikawa Book Reading “The Next Universe” Date: June 29(Sun) 14:00-15:30 Venue: B2F Auditorium

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<![CDATA[Windows]]> Found: award

poster for Windows
Windows
at Diesel Art Gallery (Shibuya area)
(2014-02-21 - 2015-02-15)

Diesel Shibuya has recently launched a new initiative as part of its Home Collection inviting installations by architects and interior designers to be exhibited within the store. For the 4th version of this project, the innovative installation “Windows” has been created by Kimihiko Okada, an award winning architect working across a variety of fields.

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<![CDATA[“Unseen Daily Life” (Part1)]]> Found: residency

poster for “Unseen Daily Life” (Part1)
“Unseen Daily Life” (Part1)
at Tokyo Wonder Site, Hongo (Chiyoda area)
(2014-08-02 - 2014-09-28)

Tokyo Wonder Site features a two part exhibition of work from 6 Japanese and international artists all incorporating familiar everyday materials into their works. In the first volume of this program showcases the work of 3 artists who have recently joined TWS’s residency programs in Stockholm, Seoul and Tokyo, evolving new vantage points through their encounter with the culture of their host city and their daily living within this. The exhibition will also be accompanied by workshops which offer up the creative possibilities of environmental sound and everyday objects. (admission free/reservation required)

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<![CDATA[Stephen Mushin “Now, if, what, then - Farming Tokyo”]]> Found: opportunity

poster for Stephen Mushin “Now, if, what, then - Farming Tokyo”
Stephen Mushin “Now, if, what, then - Farming Tokyo”
at Spiral (Omotesando, Aoyama area)
(2014-08-18 - 2014-08-31)

Melbourne based artist Stephan Mushin presents a vision of Tokyo reconsiders the city from ecological perspectives of energy, the food chain, and recycling. His “Tokyo” is one of the biggest cities in the world, endowed with a rich food culture but also a massive producer of waste. He presents images of fictional yet realizable machines that would both enliven Tokyo and help to solve these environmental problems in fantastical, fun ways. Experiencing the artworks and accompanying discussions, visitors of all ages will be encouraged to deepen their imagination and creativity, and dream of a positive future. [Related Events] Wrorkshop for Children and Families Dates: August 18th (Monday) – 21st, 2014 (Thursday) 14:00-15:00/16:00~17:00 Target: 5-12years old and families Creative Ideas Bar A discussion forum will also take place during the exhibition, inviting key persons in the fields of art, design, and education from Australia and Japan. Offering the opportunity to hear about the latest developments in these fields in both countries, visitors and experts alike will exchange ideas and gain new outlooks on learning and creativity. Date: August 20th (Wednesday) 18:00-20:00 Target: Students, teachers, designers and artists

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<![CDATA[Spectacular Sports Visualisations]]> Found: calls, call, award, entre

The 2014 World Cup in Brazil marks the first time that goal-line technology has been used for FIFA’s international tournament and with that in mind National Football Museum commissioned me to give an overview of where these systems are coming from, and where they might be going. This essay was originally published at The Commentary Project.

When Google unveiled its long-awaited wearable computer, Glass, in June of 2012, it did so through what might be called a lifestyle montage, a series of extreme sports events performed by “some of the world’s top athletes”. The Glass-wearers first skydived out of an aeroplane, then took to mountain bikes to manoeuvre through the conference centre onto the event stage. Throughout, what was streamed to viewers in the auditorium and watching online was not footage of the athletes undertaking the events, but what the athletes themselves were seeing, their point of view. What is spectacular about Glass, despite its real power as a connected, networked object, and what almost all discussion of it concentrates on, is its camera, the ability to see from another’s viewpoint, and everything this reveals.

While miniature high-definition cameras such as the GoPro Hero – particularly popular with the extreme sports community, bracketed to helmets, handlebars and snowboards – have made POV shots possible for a while, there’s something about Glass’ head-mounted position which appeals, as if it were not a camera, but the eye itself. Basketball teams have been early adopters of Glass. The Sacramento Kings, Indiana Pacers and Orlando Magic have all used Glass to enhance the “fan experience” by sharing headsets between announcers, resting players, support staff and coaches, and relaying the feed to giant screens above the action – but the NBA has yet to permit the use of Glass on court during play itself.

Another function of these cameras, aside from both the focus on, and the freedom from, a human-centred viewpoint, is that they transform our idea not only of vision, but also of memory. Many wearable cameras are marketed as such, like ‘Memoto’ (now rebranded as ‘Narrative’) and ‘Autographer’, small wearable digital cameras clipped to the chest or hung round the neck which photograph the owner’s viewpoint almost continually, building a continuous stream of images and data called a ‘lifelog’. The promise of such devices is total recall (“we can remember it for you wholesale”) – a promise, of course, which is always illusory.

A more rugged version of Glass, Broadcast Sports Inc’s head-mounted Ref Cam, has been deployed by Major League Soccer in the US. While it looks like a massive pain to wear, its wide-angle lens, bobbing with the referee’s pace, seems to open up a correspondingly wide field of view from the centre of the field, which feels liberating after the surveillance-like gaze of stand-mounted cameras. This is in stark contrast to Sky Sports’ version in the UK, whose chest-mounted ref cam was derided by former England hooker Brian Moore, writing in the Telegraph that “apart from nausea nothing was added to the viewing experience and the only previously unseen footage was that of the sky or the top of the scrum.” Moore’s real point, however, was that there was a fundamental flaw in the idea that such cameras could capture more of the “truth” of the game unfolding in front of them: “What is seen on camera is not a true rendering of what is actually perceived in a stressful moment.” Moore even cited a 2010 science paper on the use of wearable cameras by the Hillsboro, Oregon, Police Department, which found that even when every moment of a police investigation was recorded digitally, this evidence still had the potential to mislead officers, the judiciary and juries because of “the lack of understanding of important factors like the field of view, focus of attention and interpretation” – which sounds, too, like the advice of a particularly astute sports coach.

Indeed, much debate which happens in sports commentary around technologies of vision and adjudication would not sound out of place in academic journals of both the sciences and the humanities. Sporting fields have become the testing grounds for these technologies, providing as they do enclosed, hermetic fields of view, and strictly managed rules of movement and engagement – the kind of laboratory only dreamt of by scientists developing surveillance and monitoring platforms for military and urban situations, their most common applications.

When the English and Australian cricket teams faced each other in the Ashes series of the Summer of 2013, much of the commentary-box discussion focussed on the use of the new Umpire Decision Review System (DRS), a suite of technologies which assist – or rather, overrule – the umpire adjudicating some of sports greatest unknowables, the LBW, and the snick. Of course, these technologies, intended to increase accuracy, only inflamed controversy as their own accuracy was questioned as much as the human umpires. LBW is, after all, an epistemological problem – the question of whether a ball which strikes the batsman would have struck the wicket were the batsman not there is a question for Plato, not for machines. Nevertheless, cameras and sensors descended from military targetting systems are trained on the wicket in order to determine the best possible answer, and the algorithms which make up this situation determine the outcome of games – much to the frustration of many players and spectators. As Test Match Special commentator Jonathan Agnew, echoing Moore, noted: “The problem with the introduction of technology is the expectation of 100% accuracy” – a simple observation, but one which cuts to the heart of applying such supposedly rigorous approaches to sport, a fundamentally human endeavour which thrives on close calls, points of view, and, ultimately, chance.

Digital cameras are always more than cameras: they do not just make images, they ‘see’ and process them. Every connected digital-imaging system is also a computer, observing and making decisions about what it sees. This distinction is particularly well illustrated by “freeD” technology, which stands for Free Dimensional Video, a proprietary imaging system which debuted at Yankee Stadium in the 2013 Baseball season. Video feeds from multiple 12-megapixel cameras around the ground are combined within a dedicated server to produce a three-dimensional “scene”, through which the director can manoeuvre a virtual camera to produce unlimited, even “impossible” points of view. The entirety of the game world is simultaneously captured and re-viewed as a simulation. As with Eadweard Muybridge’s development of high-speed photography, which first allowed us to perceive a galloping racehorse with all four feet off the ground, the augmentation of the eye with technological systems allows us to see sport in new ways.

This total release of the visible “point of view” from any “human” viewpoint corresponds to the perceived freeing of decision-making from human error. This summer, the Football World Cup will for the first time utilise goal-line technology to determine whether the ball has crossed the line. Several different systems competed for selection, including the version of Hawk Eye used in Premier League, but the one which was chosen is a German surveillance system called GoalControl 4D. A total of fourteen cameras mounted on the stadium roof capture the three-dimensional position of the ball to within a few millimetres, enabling not only accurate decisions about goal-line crossings to be immediately relayed to referees via wrist-mounted “smart watches”, but also stored, replayed, and endlessly reanalysed. As in Cricket, the deployment of such decision systems has been much debated and often opposed, most volubly by FIFA president Sepp Blatter who has stated that “Other sports regularly change the laws of the game to react to the new technology. … We don’t do it and this makes the fascination and the popularity of football”. In this too we hear the deeply felt but ultimately fruitless appeal to the idea of sport as a fundamentally human endeavour, not at risk from, but essentially composed of, human frailty and fallibility.

Fruitless, of course, because we apparently find ourselves incapable of resisting the technological promise of an ever greater, ever more incremental, approach to some impossible “truth”, a Zeno’s arrow fired by a linesman towards the centre of the field. In sport, this truth-of-outcome is inextricably linked to the truth-of-performance, wherein one competitor, one side, ‘deserves’ to win because they are better prepared, better trained, better deployed, better equipped with what, in military circles, is referred to as “battlefield awareness”, leading to “full spectrum dominance of the battlespace”. As such, the same technologies of surveillance and appraisal are applied not just to decision-making during play, but also to data-gathering for post-game analysis by commentators and coaches alike.

From the beginning of the 2011-12 season, the NBA started installing STATS LLC SportVU cameras in basketball arenas, a technology expected to be mandated by the end of 2014 (again, like the application of surveillance systems in civilian environments, what begin as experiments in technology are ultimately and almost always codified in law). The SportVU system consists, like GoalControl, of a network of cameras around the arena connected to a data-processing system which tracks not only the ball in play, but individually identifiable players as well. The system’s sophisticated algorithms are capable of determining not only positioning, but through situational analysis, the events produced by and at these locations, such as dribbles, passes, touches and shots. The data is used to produce official NBA stats for every game, but also – for teams which pay a subscription of around $100,000 per year – to analyse and determine optimal strategy for the players themselves.

In March 2013, the Grantland blog revealed that the Toronto Raptors were using the data to – among many other things – “build computerized “ghost defenders” that reacted in optimal ways to every offensive action. The team could then overlay camera recordings of actual game play to see how closely Toronto’s real players mirrored the actions of their ghosts.” Once again, the real-world action on the court is filtered and replayed through simulations in order to re-direct the action back in meatspace. This is what is really driving the adoption of seeing systems in sport: truth-of-outcome not only produced by truth-of-performance, but, through technological feedback, fine tuning that performance as well.

To see where such systems might go in the future, we need only look to their current limitations – and the parallels of and responses to those limitations in other, surveillance-saturated spheres. Cairos Systems was another German-based bidder for the World Cup goal-line job, using a system called GLT which embedded magnetic sensors into the frame of the goal, and into the ball itself (of course, Cairos also has a system, called VIS.TRACK, which tracks player performance data through a network of cameras). On their website, Cairos writes – unusually explicitly for a technology company, that “In football, there are many decisions and scenes that may be discussed controversially. In the end the truth often lies in the eye of the beholder. Penalty or not? Red card or a dive? Active or passive offside?” It goes on to state that whether or not the goal line is crossed is one decision which “is clearly defined by the rules and does not leave space for interpretation. The question whether or not a goal has been scored can be decided without any doubts due to the rules.” As such, this particular decision is particularly amenable to technological intervention.

The counter-examples given here – penalties, red cards, offside – are instructive, because they fit far better what Brian Moore called the “focus of attention and interpretation”, the contentious, context-is-everything moments of sporting contact. Once again, we are in the domain not of observation, but of inference. The claim is now being made, however, that many automated, intelligent surveillance systems cannot only determine what happened, they can infer intent; they not only look back, but forward.

A study by the universities of Bradford and Aberystwyth in conjunction with the UK Border Agency in 2011 used video cameras and high-definition thermal imagery – essentially the same technology used to detect the “hot spot” in cricket – alongside yet more algorithms to determine whether study participants were lying. Telling signals such as eye movement, dilated pupils and nose wrinkling are visible to the human/video eye, but thermal imagery also reveals subconscious swelling of the blood vessels around the eye, a sign of distress or fear which signals that untruths may be in play. The UKBA stressed, as they prepared to install such systems at UK airports in the summer of 2012, that the technology is only useful when paired with an experienced human judge – and by that logic, why should it not be deployed alongside positioning cameras in the stands of the World Cup, to assist referees in determining which of two participants in a contested foul is telling the truth?

Why, after all, should we wait for fouls and other offences, such as offside, to be committed? It should be just as easy to award penalties and free kicks on the basis of players’ intent, and would be much safer and fairer for all involved. Recently, the US Department of Homeland Security’s “Project Hostile Intent”, for example, secured funding for a host of technologies claiming to predict crime based on “suspicious” behaviour. One of them, another camera-server assemblage produced by BRS Labs, uses “a range of in-built parameters of what is ‘normal’, [and] can track up to 150 people at a time to build up a “memory” of suspicious behaviour to begin determining what is inappropriate.” They are currently being installed in more than 300 locations in San Francisco, with strong expressions of interest from other global cities – although, as yet, none from FIFA. But if such systems can be trusted to protect our lives and livelihoods from the threat of terrorist attack, then surely they can be trusted to prevent another Hand of God?

Blatter, Moore, and Agnew, are all, surprisingly or not, for better or worse, at the forefront of a debate which extends far beyond the playing field. When we see sport through the eyes of the machines, we fundamentally change the nature of sport – and reveal, too, the extent to which the rest of society is reformed by our drive to visualise and reframe it with these technologies. As in so many ways, sport itself becomes the lens through which we understand ourselves.

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29 June 2014, 5:36 am f03acc6964c1ddc19e1bffbf2547e41c
<![CDATA[#Rorschcam NYC]]> Found: call, residency

I just arrived in New York for a three-month residency at Eyebeam. I had a rough first week, but on Monday fellow resident Ingrid Burrington showed me the Department of Transport’s online traffic cameras for New York City. I’d wanted to do a new rorsch-thing for a while (see, previously, Rorschmap and Rorschmap: Street View Edition) – and, as the streetview version was a little love letter to London, I thought I could redeem myself with this city by making it something nice: so I did.

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#Rorschcam NYC takes hundreds of live New York traffic cameras, from all five boroughs, and makes what I call rorsches out of them; simple, reflected auto-images – or the network dreaming the city.

They look pretty great at night too (see this Flickr set for more screen captures – but they’re better live):

rorschcam2

Like the city itself, it’s a little grimmer, a little darker than London. And then you start to see the stories. Have fun exploring.

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11 March 2014, 11:35 am 9d893baf571b3918983210bdf10ccc4a
<![CDATA[Planespotting]]> Found: call, entre

Today is International Migrants Day. Last week, I wrote about the failed deportation of Isa Muaza. Yesterday, Unity Centre Glasgow announced that another appeal by Muaza’s legal team had failed, and he was rescheduled for deportation, alongside a large number of others, on Tuesday night.

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I heard at about 7pm that several detainees had been loaded onto vans at Harmondsworth Detention Centre and were on the move. I didn’t know where they were headed, but I knew that many previous flights had left from the private aviation area at Stansted Airport, a largely un-signposted collection of car parks and hangars on the western side of the airport. I arrived there at 8, just in time to see the first of several coaches and security vans, together with a police escort, arrive at the Inflite Jet Centre, a private customs and handling facility mostly used by private jets.

The coaches, five in all and probably from several different detention centres, arrived between 8 and 9, and were accompanied by silver vans bearing the logo of security company Tascor, formerly Reliance, who took over the role of deportation escorts from G4S in 2011 following the death of Jimmy Mubenga. Tascor has a page on its website called Our Values, where it boasts: “We steer clear of politics”. Most of the coaches were from WH Tours in Crawley, although one bore the bright yellow sun and jaunty typography of Just Go!

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It is profoundly uncomfortable watching anonymous people of colour being loaded on and off vans and planes in the middle of the night under tight security. When you know a little of the background of the detainees, when you read their claims of torture and violence, their long battles to secure asylum, the institutional racism and homophobia, it’s terrible. But even without knowing these things, the manner in which it is done should tell you everything you need to know. The British Human Rights lawyer Gareth Peirce writes in Dispatches from the Dark Side, on UK complicity in torture, that “what is in fact the law precisely mirrors instinctive moral revulsion” but that “in this country, the government hardly needs such acceptance, since here the additional and crucial factor is that the public is unlikely to be given sufficient information to trigger revulsion.” Hence the night, the private terminals, charter flights, the hired coaches. All of this is deliberate: it is a policy of not being seen.

The detainees were kept on the coaches for some time, and there appeared to be some confusion about when they were going to depart. It’s standard practice in this situation to bring extra “reserve” deportees to the airport without warning, a practice condemned as inhumane by some MPs and the Inspector of Prisons. Before deportation, each detainee is issued with a plane ticket which gives the flight time – 22:20hrs in this case – and a flight number. As the flights are chartered, the flight number – here PVT091 – is internal, so it’s impossible to find out more details about it, except by going to the airport. The Home Office has been running deportation charter flights for some time, under as much secrecy as they can get away with, and refuses to disclose the companies involved in case it damages their commercial relationships. The ongoing deportation of Nigerians on charter flights is called “Operation Majestic”, but there are regular flights to many other countries, including “popular destinations” such as Pakistan and Afghanistan. Corporate Watch published a comprehensive report on what they call collective expulsion last month.

Blog_02

On the tarmac by the jet centre sat a Titan Airways 767. Titan Airways is based at Stansted, and describes itself as “the UK’s most prestigious charter airline.” Its fleet ranges from small business aircraft to widebodied airliners:

Since it’s foundation in 1988, Titan Airways has grown into the UK’s most prestigious charter airline, specialising in bespoke air charter, tour operator programmes and high end / corporate air travel as well as airline sub charter and aircraft leasing. It brings the very best standards of care and comfort to all its passengers. Once safely aboard, they can relax and enjoy our superb in-flight service and a wide choice of cuisine and fine wines to complete the experience. Titan’s modern, reliable aircraft can operate from all major international and regional airports day and night, 365 days a year.

It’s cold, and wet, and dark, and some of the deportees have been sitting on board coaches for hours, while Tascor guards mill about, smoke and chat. As it approached midnight, there was more activity around the plane, and it appeared that all the deportees were on board as the coaches left the terminal compound empty and parked up outside. (The next day, Unity tells me that two people were taken off the flight at the last minute, but those people estimated that around 80 Nigerians and Ghanaians were on board, including Isa Muaza, who was taken straight to hospital on arrival in Lagos, and a woman who married a British citizen two years ago, and was not expected to be deported).

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You can watch flights taking off from the far side of the airport, from a muddy lane alongside the north end of the runway. On the way over to it, I was stopped by the Police, who had been told I had been seen around the private aviation area. They were happy that I was a ‘spotter’ looking for planes – and advised me to join Essex Police’s Plane Watch scheme – but also warned me that the private aviation section was a restricted area, and I shouldn’t go there.

At 00:27, the Titan Airways 767 roared down the Stansted runway and into the night. Moments before, its call-sign appeared on Flightradar: AWC48A. And from there, an aircraft registration number: G-POWD.

We can see G-POWD on approach to Lagos a little after 6am. Two hours later, it’s on the move again, making the hop westwards from Lagos to Accra, the capital of Ghana, where it makes another stop. And then at 11am it appears to lift off back in the direction of London – at time of writing, it is probably somewhere over North Africa.

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When I got back to my car around 1, I had a flat battery, and had to wait for a repair man. When he arrived, and I explained what I was doing in this godforsaken place, he told me he’d been at the Inflite Terminal recently too, to jump-start a brand-new Tascor transporter van, whose driver told him these flights happen all the time, and nobody knows about it, not even most of the people who work at the airport. “Makes you think,” he said. “Makes you think.”

*

Photos are available at Flickr

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18 December 2013, 12:19 pm e89e215eac93545ed6af598bc198fd46
<![CDATA[Recent Work, November 2013: Render Ghosts, GPS, Landsat.]]> Found: call

render-desert

For some time, I have been threatening to write about the Render Ghosts. I was asked to contribute something to Electronic Voice Phenomena, an online literature and art project by Mercy and Penned in the Margins, and so I wrote about my recent trip to New Mexico, in search of the Render Ghosts:

I first noticed the Render Ghosts on the hoardings surrounding a new development near Finsbury Square. On the balconies of some vast, virtual tower, two pixelated figures looked out over a darkened London, a perfect red-pink gradient sunset behind them. He had short dark hair and stubble, wore a black jacket and blue jeans. She had a cropped red bob, white jacket, and a purple knee-length skirt. I didn’t know who they were, but I started seeing them everywhere.

Read the full piece over at EVP.

I also have a short essay and illustrations in the wonderful new Visual Editions‘ book of writing and maps, Where You Are, which also includes contributions from Joe Dunthorne, Geoff Dyer, Olafur Eliasson, Sheila Heti, and more.

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To ask “Where You Are” invites a series of responses: cartographic, historical, social, spiritual, situational; discursive or prescriptive. The GPS system is a monumental network that provides a permanent “You Are Here” sign hanging in the sky, its signal a constant, synchronised timecode. It suggests the possibility that one may never need be lost again; that future generations will grow up not knowing what it means to be truly lost.

The book is available to order now, but you can read the essay, and see the illustrations (much beautified by the designers at Bibliothèque), alongside all the other contributions on the Where You Are website.

The astute among you might notice a strong similarity between the diagrams in Where You Are and the piece I made for Container some months back:

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This 3D-printed object is the same thing under discussion in Where You Are:

This is a model of the Global Positioning System (GPS), a constellation of 24 satellites, in six orbital groups of four satellites, each orbital plane at 55 degrees inclination, and 60 degrees right ascension to its neighbour, 20,200 kilometres above the surface of the earth; a machine we are all living inside.

I’d had the original model sitting on my desk for some time before Tim asked me for a contribution to Container. In trying to draw and understand the GPS system as an abstract machine, I’d modelled the constellation in Sketchup – it was a natural step to flip-flop this nest of intersecting cones of influence back into the physical realm again, so that I could roll it between my fingers, as Einar and I did with airfix models of the drones, before the shadows (Einar’s own thinking about GPS, with Timo and Jørn, led to the Satellite Lamps project.) I call this the “Close Encounters” method.

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A while back, I started the Laaaaaaandsat tumblr, which automatically posts, several times a day, every image released by the USGS Landsat observation programme – an ongoing, comprehensive survey of the planet by another satellite, 700km above the earth’s surface.

The endless stream of off-kilter images – reoriented so North is ‘up’ – remains a endless source of pleasure. So when Aperture magazine asked for 200 words on “What Matters Now” in photography, I thought of this little robot cameraman in the sky. 200 words is not enough, but it’s in the new issue.

NASA’s Landsat is the longest-running program dedicated to photographing the Earth from space, and has created millions of images since its inception in 1969. The first satellite, Landsat 1, was launched on July 23, 1972, atop a Delta 900 rocket from Vandenberg Air Force Base in California. Its mission was to photograph the whole Earth using three cameras which see both visible light and the near-infrared, and a four-channel multispectral scanner. The scanner was the project’s greatest innovation as it reveals hidden details about the planet’s surface, producing data and imagery used for everything from disaster relief, to agriculture, to studying climate change.

In February of this year, the program continued with the launch of Landsat 8. This incarnation features a more powerful scanner which sees in the ultraviolet; the panchromatic; the shortwave, near-, and thermal-infrared; revealing the presence of dust and smoke, of chlorophyll, of sub-surface rock formations, and the shape of clouds. The satellite captures four hundred images every day, creating a complete picture of the planet every sixteen days. Every one of these images is in the public domain, allowing every one of us to use, benefit from, and marvel at this ever-growing, ever-changing automated portrait of our planet.

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15 November 2013, 8:55 am 8b6908130db927b884e2c503ebf340d0
<![CDATA[#OccupyTheCloud]]> Found: call, entre

“Occupy the Cloud”, an installation for Open Heart Surgery, The Moving Museum, 180 Strand, October – December 2013.

Occupy-Long

“Occupy the Cloud” is an installation of three banners on the facade of 180 Strand, a brutalist office block on a main road in central London. The banners are made of pixelated, virtual skies taken from architectural renderings, like those which adorn nearby building sites. They feature three symbols: the lightning bolt through a circle of the international squatters’ movement; the @-symbol used to denote digital location or direction (and acquired in 2010 by MoMA); and the Cloud symbol, which has come to stand for the vast and remote data storage and processing capabilities of corporations and governments. (I have previously made the assertion, both humorously and more directly that the Cloud is a lie.) The banners themselves occupy an uneasy position between corporate branding, and protest.

When I was asked to contribute to the Moving Museum’s London show, I initially intended to make work based on my ongoing Render Ghosts project, which examines the effects of software designs and processes on society and the built environment (I’ve previously written about this for Domus). One plan was to create flags for the Render Ghosts, who are the people who appear in architectural visualisations, to mark their occupation of that liminal space between the real and the virtual, the physical and the digital, the present and the future.

A couple of things focussed the work. The first was a site visit to 180 Strand, a vast and currently empty building in central London, surrounded by major streets, and major developments (the next site on the street, surrounded by hoardings, boasts “a luxurious new development of stunning apartments and penthouses”). The second was my experience of censorship in Australia last month. I realised it would be possible to make a very public work; and there was no point in being subtle.

Occupy-Banners

In the last few months we’ve learned much about the extent to which supposedly secure “cloud” services have been infiltrated by our security services without oversight or consent. The latest revelations detail explicitly how data passed between Google and Yahoo servers is directly intercepted. But anyone who saw the hundreds of metal barriers which were used to fill Paternoster Square by its corporate owners in February 2012 to prevent peaceful protestors approaching the London Stock Exchange is unlikely to assume that we can trust corporations to act in our best interests any more than governments. Indeed, some of them are starting to act like governments, and no less opaquely than the traditional nation-states.

At the same time, the UK government’s primary response to rising house prices and rental costs, a lack of affordable housing, local councils moving residents out of the city, and a steep rise in homelessness, has been to criminalise squatting, a practice which has a long and radical tradition in this country.

The Levellers and the Diggers of the 17th Century occupied public lands and cultivated them for the public benefit – the state and the landowners conspired to imprison and execute them. It was a young Leveller, John Lilburne, whose false imprisonment and torture lead directly to the establishment of the principle of human rights in English law, and the founding documents which became the US Constitution and Bill of Rights. It is those same rights and laws which have been so violently abused over the last decade to permit exactly the same tortures and renditions which Lilburne was subjected to. The brutal reactions to peaceful public protest in the UK, from Occupy to anti-war marches and the student protests, reveal the illusion of “public” space once again.

As I write this, the UK government is debating its own oversight of the intelligence and security services. The MP Tom Watson, as well as linking the abuse of secrecy powers to the CIA’s drone assassination programme, just made the assertion that “An individual’s data is like their vote: individually minor, privately performed, and hugely powerful when aggregated. We should no more tamper with an individual’s data than tamper with their vote.” In my essay earlier this Summer for Matter magazine, Ring of Steel, I attempted to show how our technological systems tend towards secrecy, and are complicit in abuses of state power, and blanket, undemocratic surveillance. In his essay Turnkey Tyranny, Surveillance and the Terror State, Trevor Paglen states that “[b]y exposing NSA programs like PRISM and Boundless Informant, Edward Snowden has revealed that we are not moving toward a surveillance state: we live in the heart of one.” Paglen asserts that networked technologies as they are employed now do “not merely provide the capacity for “turnkey tyranny”—they render any other future all but impossible.” Powerful organisations which are cavalier with democratic rights are also cavalier with personal data and privacy: the two are linked, directly.

The depredations of corporations and governments on the internet reveal that it, too, is only a potential commons: not a zone of freedom, but one of conflict and power. We have re-discovered the efficacy of spatial protest: we can take the banks to protest unjust tax arrangements, but can we occupy the datacentres over the same issues?

It’s hard to shift these debates from the physical sphere to the digital and back again, to make the necessary connections. But as a friend pointed out about the online harassment debate in the UK, the only way to make sense of it was to remove the prefix “online”, and the issue becomes much clearer. In order to act fully and democratically in the world, we need to recognise that that world does not end at the screen, that the shadowy infrastructure of the network and the cloud is both a political territory and as viable and vital a platform for activism and action as the piazza and the high street. We need to fully account for the imbalances in power produced by the shifting of vast computing resources offboard, offshore, and out of sight.

The entreaty to “Occupy the Cloud” is a call to link these spheres of action, to recognise the central role that technology plays in shaping, producing, and sustaining contemporary politics; and to develop the tactics for action and the frameworks for understanding which will allow us to intervene for a more democratic future.

Occupy-Banner-1

Occupy-Banner-2

Occupy-Banner-3

More pictures at Flickr.

Purchase an “Occupy the Cloud” t-shirt. 30% of profits will be donated to Shelter.

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31 October 2013, 12:06 pm 6fd0098c88ba4e8e6bcbd73e433df0d6
<![CDATA[Australia: Drone Shadows, Diagrams, and Political Systems]]> Found: calls, call, entre

slq-drone

This week I was due to install another Drone Shadow, this one in Brisbane, Australia (that’s a planning mock-up, above). I had been invited by the Brisbane Writers Festival, and we had received permission from the Queensland State Library to install the work on their premises. Unfortunately, due to the actions of Arts Queensland, the department of the State Government with overall responsibility for the arts, it has been impossible to proceed with the work. The actions of Arts Queensland in this case have been both incredibly frustrating and boringly familiar: they have stalled, dissembled, obfuscated and lied, all in the service of silencing an artistic work and preventing a proper debate occurring, either about the work, or the government’s censorship of it. (For the record, there is a full account of my dealings with Arts Queensland available here.)

I’ve often been asked if I have got into any kind of trouble for creating the Drone Shadows before, and the answer has always been no. This is despite the fact that we have drawn them in Istanbul, during a period when the Turkish government was in negotiation to purchase Predator drones from the US, and in Washington DC – right next to the White House – at the height of the US drone war. But apparently the image – the bare outline – of a drone was too much for the government of Queensland.

In Istanbul we drew a Predator, in DC a Reaper. In Brisbane I proposed to draw a Global Hawk, the largest military unmanned aircraft currently in service. Late last year it was revealed that the United States flew secret Global Hawk spy missions from Air Force bases in Australia in 2001-2006. The programme was revealed by a group of amateur aviation historians who tracked the Global Hawks arriving and taking off. When they revealed details of the flights, they were visited by Australian defence security officials who demanded they not reveal details of the flights. An Australian senator who proposed to notify the public of the flights was silenced by the US Air Force, which demanded the flights remain classified.

Since then, Australia has been in prolonged negotiations with the US to purchase Global Hawks itself, announcing an AU$1 billion programme in 2004, rising to AU$3 billion in 2012. The latest election, which takes place quite coincidentally this Saturday, has led to further fierce debates over Australian defence and the drone program.

Australia’s domestic drone program is primarily aimed at “securing borders”, and its preference for maritime versions of the Global Hawk is due to the need for surveillance of immigration by sea. This program aims to ensure, in the words of Prime Minister Kevin Rudd in July 2013, that “any asylum seeker who arrives in Australia by boat will have no chance of being settled in Australia as refugees”, by shifting the problem to neighbouring countries such as Papua New Guinea. There is also a long history of asylum claimants being housed at former Air Force bases – and a long history of government objection to artworks dealing with the subject: see for example the story of Escape from Woomera, a political computer game about a detention camp in a remote Australian Defence Force base in South Australia.

One of the many reasons given by Arts Queensland for their opposition to the installation of the Drone Shadow was the opening at the Queensland Museum next door of an exhibition of thousands-year-old artefacts from Afghanistan, to which members of the local Afghan community had been invited. Arts Queensland expressed their view (after several weeks of denying any such issue) that this community might be made uncomfortable by the work. The community was never consulted, and the Museum itself raised no objection. Arts Queensland called it a “raw issue”. Indeed it is.

Australia’s Defence Forces have been involved in the war in Afghanistan since 2001. This contribution has included ships, manned aircraft, ground troops – and, more recently, drones.

The Royal Australian Air Force has been using drones in Afghanistan since 2009, when it first started to deploy the Israeli-built Heron drone, a twin-hulled surveillance drone the size of a light aircraft. At a 2012 promotional event on Australia’s Gold Coast, a short drive from Brisbane, Australia’s most senior military drone commander stated that the drone program was “like crack cocaine, a drug, for our guys involved – [they] just can’t get enough of it.”

woomera

These drones are in fact still owned by the Israeli manufacturer, and leased via a Canadian company – as Australia’s ABC News put it: “Israeli-owned drones, leased by Canadians, flown by Australians, fighting a war against Islamist insurgents in Afghanistan”. The RAAF drone teams are trained by Canadian and Israeli civilians at Amberley in Queensland, on the outskirts of Brisbane. Before they deploy to the field, they spend hours test-flying the drones over a simulated Afghan village, constructed in 2011, on the Woomera test range, close by the notorious refugee detention centre. (Picture above: a Heron drone parked at Woomera Air Base, South Australia, via Google Earth.)

The RAAF’s Herons are nominally unarmed, but they are equipped with lasers which allow them to mark targets for incoming airstrikes or artillery – the networking of contemporary military forces means that the formal distinctions between the capabilities of different weapons systems are increasingly meaningless. The drones are a key part of the “kill chain”, the process by which targets are selected and attacked by the entire system, and the ADF also calls on US and British armed Reaper drones to support its ground troops in battle.

In describing the contours of Australia’s relationship with drones, we see how, once again, such relationships extend beyond the individual aircraft to encompass far wider issues including domestic politics, international relations, warfare, immigration and networked technologies.

Drones are avatars of the the political process: they are instantiations of a set of ideologies and beliefs, made visible by their reification in electromechanical systems. When we talk about drones, we are really talking about the politics that demand, shape, and deploy them, and the politics which are made possible by them. This politics reflects the drones themselves: it is a politics of violence, of obfuscation, of radical inequality of sight and action, and it is sustained by that obfuscation and that inequality.

No wonder then that politicians are afraid of even artistic representations of the drone. No wonder they cite feelings of “discomfort” at even mentioning them, although in projecting this discomfort onto an immigrant population – without consultation – they reveal even more clearly the complicity of the technology in war and social oppression.

The Drone Shadow is not just a picture of a drone. It is a diagram of a political system. Every time we draw one, we use it to cast light on the actors who would prefer that the reality of their intentions and actions remain hidden.

This is the nature of networked technology today: it is the product of an embedded politics which it simultaneously obscures, through its apparent sophistication, and renders startlingly visible, through its explicit form. That invisibility is the intention of power; rendering it visible is the intention of art.

In the present case, power in all its petty exercise has done its utmost to render such a debate invisible. That it has succeeded for the moment, with the barest minimum of opposition from the cultural institutions which should oppose such exercises at every step, is saddening. It is also, I have to believe, unlikely and impossible to remain the case for long.

*

If you would like to draw your own Global Hawk shadow, you can download a schematic for the installation here.

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5 September 2013, 9:03 pm 1f30a7ddd1481c51a55c7af95cee03d2
<![CDATA[Bologna Illustrators Exhibition 2014]]> Found: submissions, submission

Bologna Illustrators Exhibition 2014
at Itabashi Art Museum (Tokyo: Others area)
(2014-07-05 - 2014-08-17)

Founded in 1967 the annual Bologna Illustrators Exhibition is renowned as the largest picture book illustrators competition in the world and now in its 48th year it received 3000 submissions in 2014, from which 75 artists from 23 different countries were especially selected, including 15 artists from Japan, which are shown here at Itabashi Art Museum along with the work of Taro Miura and Satoe Tone who have achieved high success since previously being selected for this competition. *For information on related events please refer to the official website.

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<![CDATA[Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists]]> Found: opportunity

poster for Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists
Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists
at Bernard Buffet Museum (Greater Tokyo area)
(2014-07-19 - 2014-09-28)

The Musée Bernard Buffet is holding an exhibition of the Hoeido edition of “The Fifty-three Stations of the Tokaido” by the ukiyo-e master Hiroshige Utagawa (1797-1858) and works by contemporary artists who have been inspired by him. The Hoeido edition of “The Fifty-three Stations of the Tokaido,” regarded as the artist’s ultimate masterpiece, presents scenes along the highway as they change over the seasons and over time with abundant lyricism. The prints in this series are also known for the rich variety with which Utagawa depicts the human figure in the landscapes at each location. The world these prints creates, abounding in its rich sense of humanity, continues to capture the hearts of artists today. Leiko Ikemura (1951- ) is an artist who lives and works in Europe, where she continues her fundamental questioning of human existence. After the 2011 Tohoku earthquake, she began engaging in a dialogue with Hiroshige’s “The Fifty-three Stations of the Tokaido,” which could be said to depict the essential, primordial landscapes of Japan. That experience has led to her creating poems and a new series of drawings. Samurai warriors coexist with contemporary individuals in the Yamato-e style miniatures of Akira Yamaguchi (1969- ). In them, Yamaguchi engages in a dialogue with styles from the past while humorously applying the spirit of modern criticism. Yamaguchi creates new landscapes based on places that have caught his eye in the Mishima area, such as the Mishima Taisha and other shrines, expressed through his own interpretations of them. “Hiroshige is my hero!” says Kazuyuki Takezaki (1976- ). Staying in the Mishima area, he has become enthralled with the landscapes along the Genpe and Kakita rivers and has created paintings and built installations inspired by phenomena he has observed there. This exhibition is an opportunity to rediscover the fascination of Utagawa’s “The Fifty-three Stations of the Tokaido,” to experience the work of several contemporary artists, and to contemplate the indelible, essential landscapes within each of us. [Related Event] Workshop “Let’s Make a Landscape with Takezaki-san!” Date: Jul. 21 (Mon, public holiday) 13:00–15:30 Participants: 18 (Young children through Junior High Students) Admission: ¥1000 Please see the venue’s website for reservations, details, and information on more related events.

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cc8ad9d2cefad0ef1801b75a3f3d19fb
<![CDATA[Find Asia - Asia’s Creativities Meet in Yokohama]]> Found: residence

poster for Find Asia - Asia’s Creativities Meet in Yokohama
Find Asia - Asia’s Creativities Meet in Yokohama
at Yokohama Creative City Center (Yokohama, Kanagawa area)
(2014-08-01 - 2014-11-03)

Find Asia is brings together the art of Japan, China and Korea in a special art program designed as an associate event of the Yokohama Triennale 2014 and the Culture City of East Asia Yokohama 2014. Placing a spotlight on Asian creators YCC opens up its spaces to form a space of communication and exchange in a fluid dialogue which surpasses the divisions between artists and viewer, art collectors, directors and designers in a diverse sharing of perspectives. Program Contents (1) Find ASIA and myself This is an exhibition and residence program showcasing art from across East Asia. Artist unit L Pack transform the YCC café into the “Yokoso Cocowa Cafedesu”, resident artists hold open studios and exhibitions, while special event programs are joined by Yuko Mohri Hitoshi Toyoda and Norimizu Ameya. Residence Program JI Lei in Yokohama Residence: July 15 – September 14 Open Studio August 1 – September 5 Exhibition September 6 – November 3 The World of Satoru Aoyama Open Studio August 1 – August 26 (2) Space Space – Lounge Space Produced by Yokohama Creators (3F) Space Space is a multi-purpose space for visitors to relax in, while also being used as a talk event and schooling space, created by Yokohama based designers NosignerA place to get to know and enjoy art. (3) Information Center (1F Entrance) An information center providing visitors with all the details of the Yokohama Triennale and the events of the Culture City of East Asia program. Spatial design is provided by interior design brand PAP Design and accompanied by infographics creative(c)ities created by creators from 11 Asian cities currently staying in Yokohama.

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<![CDATA[TTTOW - A unique film festival]]> Found: opportunity, submissions, submission, deadline
TTTOW or Taxi Takes on The World is a unique film festival where anyone across the world can participate. All you need is a camcorder (a smartphone will do!), a taxi ride and the ensuing conversation with the taxi driver - recorded and sent to the organizers. 




Yes, its as simple as that. But what exactly is this film festival about? 

The Taxi Takes on the World is a crowd sourced interactive documentary about conversations between drivers and passengers from inside taxis all around the globe. This user generated project aims to harness honest grassroots interactions and present the world’s ‘video takes’ on matters that affect us all. 


“Talks inside taxis are usually between people of diverse backgrounds and so offer a variety of perspectives. These ‘takes’ have the power to blur boundaries and bridge cultures. The Taxi Takes on the World will showcase crowd sourced video stories that mainstream media ignores about times when people find common ground and break stereotypes about the ‘other’. Mobile technology allows a democratization of media which aligns with my work’s vision for how new media will shape our future. This film festival will be part of a traveling film festival and offers a great opportunity to showcase citizens’ stories of brotherhood” - Vandana Sood - Giddings, Creator, Founder, Executive Director.

Date & Venues


The film festival will be held from The 21ST of September 2013 to the 2nd of October 2013 in Jammu and Kashmir, New Delhi, Punjab and Manipur. Kashmir and Manipur are both conflict states of India. 

This film festival is a partnership between The Taxi Takes on the World project and Standing Together to Enable Peace, Trust (STEP) a non-profit organization established in New Delhi in 2009.

Themes


The film festival will focus on certain broad themes:

  • Religious and ethnic conflict
  • War and terror
  • Race
  • Gender
  • Class
  • Culture

Each of these broad global topics has regional nuances that the mainstream media often overlooks. Through the prism of the taxi, where every day people from often widely disparate backgrounds meet, this film festival will tell a story about how, given the right space, we all can understand each other and speak a common language.

Where & How to

Need guidance on how to go about it? Check out this short prezi that suggests the kind of questions you can ask to begin a conversation and start your take. Find the application procedure, rules & regulations all on the TTOW submissions page.

Hurry, the submissions deadline is September 10, 2013!

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22 August 2013, 2:40 pm d0adb23994c64fad4eae2c21551a7229
<![CDATA[How Apple's new computers impact filmmaking]]> Found: calling, call

The new Macbook Pro and iMac announced by Apple on October 24 heralds a major shift in the way PCs will be designed and have a cumulative impact on digital filmmaking.



Below are some of the major upgrades that affect the digital filmmaking process:

1.    No Optical Drive: Both the new Macbook Pro with retina display and the new iMac have done away with the DVD drive, with Apple calling it  obsolete in the age of blazing broadband speeds when movies and television can be easily streamed online or downloaded. The new iMac does have 2 Thunderbolt ports and 4 USB 3.0 ports to allow connection of external hard drives and other devices. Seeing that Apple is usually the trendsetter in computer design, we can expect competitors like HP and Dell to follow suit. This could spell the death knell for the DVD industry, and moviemakers will now be looking to go completely digital. Of course, home theatre systems and bluray players will ensure that the home video market doesn’t completely evaporate in the near future, but the transition to a more 'online' movie watching experience is surely on its way.  

2.    Much better screen resolutions: The new iMac has a full HD display (1,920 × 1,080 pixels) for the 21.5” version and 2,560 × 1,440 pixel for the 27” version. It certainly translates into a better film/video watching experience and the computer being used for watching movies and gaming more than ever. The Macbook Pro with Retina display boats of a tantalizing 2,560 x 1,600 at 227 pixels per inch. This one has four times the screen resolution of the previous 13-inch version of the MacBook Pro.

3.    Super powerful processors: The new 21.5” iMac starts with a config of Intel Core i5 Quad Core 2.7 Ghz Processor with 8GB RAM , 1GB dedicated NVIDIA graphics and 1TB hard disk. Even the Macbook Pro with Retina display is all about performance, speed and graphics. It boasts of an Intel dual-core i5 Ivy Bridge processor clock at 2.5 Ghz (minimum) For graphics it has the Intel HD 4,000 graphics support. The RAM is 8 GB and its all-flash storage has three configurations available: 256 GB, 512 GB, or 768 GB. Such top-end configurations in the base models bode well for popular film editing applications like Final Cut Pro.  Apple will be looking to release an even more powerful version of its flagship video editing app to utilize the full potential of its new line of computer devices.

The rise of smartphones and tablets coupled with faster broadband speeds have already given a fillip to the various kinds of digital filmmaking, both in terms of production and post production.  Apple’s new line of smart computers will be prove to be another turning point, particularly because the optical drive has been dropped across its iMac and Macbook Pro ranges.

What do you think of Apple’s new devices, and their potential impact on filmmaking?

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26 October 2012, 1:04 pm 011880692e3f5039023c6a19fbf277a8
<![CDATA[George Clooney honoured at Palm Springs Film Festival]]> Found: awards, award

George Clooney will receive the Chairman's Award for his acting work in The Descendants and his directing of The Ides of March at the 2012 Palm Springs International Film Festival.

The award will be presented on January 7 at PSIFF's annual Awards Gala, a black-tie event that always hands out an array of awards to luminaries who figure to be in the Oscar race.

Like the awards given at the Santa Barbara International Film Festival in late January, the Palm Springs event has become a valuable stop on the Oscar campaign trail. Previous recipients of the Chairman's Award include Dustin Hoffman, Nicole Kidman and Ben Affleck.

Oscar-nominated actress Michelle Williams will also be rewarded for her portrayal of Marilyn Monroe in “My Week With Marilyn,” which is already generating Oscar buzz.

Williams, 31, will receive the Desert Palm Achievement Actress Award at the Palm Springs International Film Festival awards gala at the Palm Springs Convention Center. Previous recipients include Academy Award winners Natalie Portman, Marion Cotillard, Charlize Theron and Kate Winslet.

“My Week With Marilyn,” which opens Wednesday in limited distribution, premiered Oct. 9 at the New York International Film Festival. Directed by Simon Curtis, the film was presented Nov. 6 as part of the AFI Fest at Grauman's Chinese Theatre in Hollywood, where Monroe put her hand and footprints in cement in 1952.

The Palm Springs International Film Festival runs Jan. 5-16 2012 at various venues in Palm Springs

Sources: mydesert.com & Reuters

Technorati Tags: ,

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23 November 2011, 9:20 am ac83454604d81558e40a5489757995b8
<![CDATA[Final Cut Pro X released]]> Found: calls, call
Apple has released Final Cut Pro X, the latest version of its professional video-editing software and one of the most popular programs for digital filmmaking.
Its actually been two days since FCP X was launched, and of course there’s been a strong buzz about it in the market. Video professionals were not only impressed with the new features, but with the new price too. Final Cut Pro X is available in the Mac App Store for $299.99. Compare that to 2009, when the fully loaded Final Cut Studio retailed for $999.99.

Final Cut Pro X is a big update for the powerful editing suite, in no small part because it is now (finally) built with 64-bit support. That means that the app will be able to take advantage of the additional memory space in Mac OS X Snow Leopard and the upcoming Mac OS X Lion.

Installing Final Cut Pro X
Since the only way to get Final Cut Pro X is through the Mac App Store, installation is easy: You just click "Buy" in the store, and the app's icon appears in your Finder, ready to run. You'll be able to install it on five Macs, and you receive updates automatically. The program requires at least a Core 2 Duo-based Mac running Snow Leopard, a decent video processor, 2.4GB of disk space, and 2GB RAM (4GB recommended).


The big new feature is called the Magnetic Timeline, which takes a trackless approach to editing. Like Adobe, Apple has also put a lot of effort into what it calls Content Auto-Analysis, which is another way of saying that the software uses meta-tags to better organize and import content, based on shot type, media format and other information.

Check out this video Apple released to show off the new features in Final Cut Pro X:



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24 June 2011, 11:11 am 828ed496d384fb6fa2923179133ff492
<![CDATA[Shortie Awards Youth Film Festival]]> Found: submit, awards, award, entries


Hollyn Randolph just mailed me in about the forthcoming Shortie Awards film festival.

The Shortie Awards film festival will be held June 5, 2011 in Arlington, VA a suburb of Washington D.C. The Shortie Awards recognizes original short film productions created by student filmmakers, ages 7-18, and their teachers.

This year we have entries from 26 states and 14 countries and India has 36 entries which is the largest number from outside of the US.
Apparently the last date for submitting the entries was April 1, 2011. But we can look forward to the screenings and the winners. Those who live around Arlingtom and Washington DC should attend the event!

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6 May 2011, 5:28 am eaf309efd7724c81c4b80892e456a4ca
<![CDATA[Short Film: Damn Your Eyes]]> Found: awards, award

David Guglielmo, an alumni of School of Visual Arts, New York emailed me his short film titled Damn Your Eyes.
damn your eyes

Damn Your Eyes a Spaghetti Western-influenced revenge film shot on the Sony EX1 digital camera in the NY Metropolitan area for $5,000. It has been successful at film festivals and recently won two awards.


WINNER: "Best Student Film" at Royal Flush Festival '09
WINNER: "Best More Than Horror Short" at Buffalo Screams Horror Festival '10


I liked the visual quality of the film: the lighting, the locations, set, framing, composition etc. The DoP used the Sony EXI camcorder given to him pretty well. Most of the actors did a really professional job and that took the movie experience a notch higher. The screenplay could have been written better. Some of the moments in the movie were clichéd and boring but on the whole it is a decent production. What do you think of the movie? Please watch and comment (feed subscribers will need to visit the blog to watch it).

David Guglielmo must be congratulated for doing his excellent direction. Considering he is relatively new to this profession, he has done a laudable job that commands appreciation.
 Digital filmmaking is indeed growing from strength to strength.

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26 April 2011, 5:52 am 776bfdbc7b6be1364d824c007ec92690
<![CDATA[Tribeca Film Festival Launches Online Version]]> Found: submit
I had recently blogged about Tribeca Film Festival's announcement of filmmaking grants for funding documentaries of social significance. Well now it has gone a step further further launched an online version of the increasingly popular movie fest.

According to Hollywood Reporter, the 2011 Tribeca Film Festival, which kicks off from April 20 and ends on May 1 in New York city, will have a new online component where audiences will be able to watch live streams of events and interact with other audience members.

Online audiences will also be allowed to submit questions to a host of festival executives and other notable guests and access detailed information on all of the online fest filmmakers. There will also be a Future of Film blog that will include posts from film and technology experts.

If you want to know about the screenings at Tribeca 2011, check out the Tribeca Film Festival 2011 film guide .

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23 March 2011, 7:50 pm 0c4b2e928c429528894ee3a1ebb2055c
<![CDATA[Salon Films launches filmmaker training program]]> Found: opportunity
Salon Films will launch a cross-border training program for young Singapore and Hong Kong filmmakers, and a funding initiative in connection with the Hong Kong government subsidy for filmmakers.

The training program is organized with the Media Development Authority of Singapore to bring budding Singaporean filmmakers to work in Hong Kong and China.

The program began in Hong Kong, in partnership with the Academy of Film of the Hong Kong Baptist University, and continues in Beijing, Shanghai, Suzhou, in cooperation with the China Film Foundation and CCTV, and will conclude in the Hengdian studio, lasting three weeks in each city.

The film crew is shooting a documentary to commemorate the 20th anniversary the establishment of economic relations between China and Singapore.

"Asian culture shares common origins," Wang said, "The training program is aimed at providing an opportunity for young filmmakers across Asia to meet, exchange ideas, and make films that speak to our mutual cultural roots."

To capitalize on the current prevalence of Hong Kong-Chinese co-productions and the growing film industry in China, the program also intends for young filmmakers and film students to obtain hands-on practical experience in China.

Film students at the Academy of Film of the Baptist University will also join the Salon team in Beijing and Hengdian.

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10 January 2011, 10:02 am 2c1f2abad90e1b3a777f8cf10e1b2292
<![CDATA[Tribeca announces filmmaking grants]]> Found: submission, deadline, award
The Tribeca Film Institute announced Wednesday its submission period for grants is now open. TFI will award more than $500,000 in filmmaker support through 2011 and more than $100,000 through its new TFI Documentary Fund, presented by HBO.


The Gucci Tribeca Documentary Fund provides finishing grants totaling $100,000 to feature-length documentaries that highlight and humanize topics of social significance. The TFI Sloan Filmmaker Fund will award up to $140,000 to support compelling narrative filmmaking that explores scientific, mathematic and technological themes.

The Tribeca All Access Program will continue cultivating relationships between filmmakers from traditionally underrepresented communities and film industry executives, and provide each 2011 participant with $10,000. And, the TFI Latin America Media Arts Fund will support film and video artists working in narrative or documentary film and living in Mexico, Central and South America.


“We are excited to expand the reach and depth of our programming to support individual artists in the field,”
 said TFI artistic director Beth Janson.


The early submission deadline is Nov. 8; final deadline is Dec. 8. More info: tribecafilminstitute.org.

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17 September 2010, 2:08 pm 0d32c63914b979f28151b88278a36904
<![CDATA[Taiwan's Tsai Liang is Asian Filmmaker of the Year]]> Found: awards, award, jury
South Korea's most prestigious film festival said Wednesday it has chosen Taiwanese director Tsai Ming Liang as its Asian Filmmaker of the Year.


The Pusan International Film Festival praised Tsai's work over the past three decades for pioneering unexplored areas that overcome the limitations of the art film industry.

"His 30-year-long devotion to filmmaking has greatly influenced Asian cinema and made considerable contributions to enhance the global status of Asian cinema," it said in a statement.


"He is renowned for seeking fresh ways of communicating with his audience... We can find the root of his endless spirit of challenging himself and the borderlines of art in his earlier works in the 1990s."

Malaysian-born Tsai is best known for "Vive L'Amour" that won the Golden Lion (best picture) award at the Venice Film Festival in 1994, and "The River" that won the Silver Bear/Special Jury Prize at the 1997 Berlin International Film Festival.


The 52-year-old has also won numerous awards with other films.

He is considered a leading exponent of the "Second New Wave" -- a group of Taiwanese directors in the 1990s who produced films with realistic and sympathetic portrayals of life rather than melodramas or action pictures.


The festival, held in the southern port city of Busan since 1996, will be staged from October 7-15 this year.

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6 September 2010, 5:47 am 3096856fd18a45600538a63171daf7c9
<![CDATA[Jumpstart Your Film and Television Career: 5 powerful TIPS on how to land more tv film jobs than you can handle]]> Found: opportunity
This is a guest post by Ian Agard of ianagard.com. Ian is a Toronto based writer/director/film producer who loves to entertain and inspire people through his movies and his filmmaking blog.



As you probably know, one of the most desirable yet challenging industries to make a living from is in the film and television industry.

By far, the most commonly asked question I receive from people throughout my six years working as actor, screenwriter, director and film producer is...how do you get into the industry and make a living?

As a film producer; I have interviewed, hired and worked with several casts and crews while making my films. It becomes quite easy to notice the difference between individuals who struggle to find film/tv work and those who make a comfortable living.

Is it about luck?

Or

Who you know?

I would like to share with you 5 POWERFUL TIPS that will help you jumpstart your film/tv career and get you on the road towards landing more paying industry work than you can handle.


TIP Number One: Be Willing To Work For Free

I know, you probably didn’t want to hear that but it’s imperative that you are willing to either work for free or very low pay. It’s a sacrifice that many in the entertainment industry must do when starting out, however, you’ll have the opportunity to meet others in the business as well as learn on the job. Taking “free” jobs quickly leads to full time careers.


TIP Number Two: Attitude Is Everything

This is one of the most important tips regarding developing a successful film/tv industry career. More important than your talent, your experience or your education; your attitude will determine how far you will rise within your career.
It will determine if people will refer job opportunities to you or hire you again for future projects. You must be a flexible, professional, team oriented person who is committed to “serving” the story/project to the best of your ability.

Production sets are full of egos, there’s no need for one more.

TIP Number Three: Recognize and seizure opportunity

You’ve probably heard the old saying luck is when preparation meets opportunity. I like to believe in a slightly different statement, luck = opportunity + willingness.
A certain film/tv industry work opportunity might present itself to you; you’re prepared...but are you willing to maybe work for free, work for low pay, work 12 hour days, be team-oriented, be flexible and agreeable or go the extra mile to help the project succeed.

TIP Number Four: Network and be visible

The reality of the film/TV industry is that most production jobs are never advertised. Those positions are usually filled through word of mouth and pre-established relationships. That’s why it is extremely important for you to always be committed to meeting new like-minded people.
The best places to meet and connect with people who share your zeal and passion are:

1) Onset while shooting a movie or television show
2) Through industry specific classes
3) At film festivals

TIP Number Five: Always be learning

As humans, we are learning machines. We are most alive and functioning closest to our potential when we are learning, adapting, adjusting and finding new ways, approaches and techniques to improve our lives (and our careers)in some way.

No matter how many years working experience you might have within the film/TV industry it would be hugely important for you to maintain a beginner’s mindset. A beginner looks constantly for one new tibit, one or more ways to expand on their current expertise.

To learn more valuable tips and in-depth advice, listen to my MP3 60 minute audio interview with film and television expert and veteran Stephen Dranitsaris at: www.ianagard.com/tv-film-jobs

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23 April 2010, 6:57 pm 0f5b78331581dc53a92c92be85a8445a
<![CDATA[Giuseppe Penone and Steven Holl among winners of top Japanese art prize]]> Found: awards, award
Praemium Imperiale Awards given annually to artists and arts organisations for lifetime achievement

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18 July 2014, 5:59 am 6f4c9b63c0ac895dc7e0fb8e792b52b5
<![CDATA[Art Zone with Nancy Guppy 5/23/2014]]> Found: residency
In 1985, Nancy Nordhoff created Hedgebrook -- one of the few residency programs in the world exclusively dedicated to supporting the creative process of women writers.

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23 May 2014, 4:00 am c7bcadaaa46df50100bf901d9d357355
<![CDATA[Art Zone with Nancy Guppy 10/4/2013]]> Found: awards, award
Art Zone celebrates Earshot Jazz Festival making it to a quarter century. Pippi Longstocking slides across the Seattle Children`s Theatre stage. Cuong Vu Trio improvises in the Art Zone studio. Singer Naomi Wachira talks lyrics. Kook Teflon brings in "psycho dolls," and we get a backstage postcard from the Seattle Stranger Genius Awards.

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4 October 2013, 4:00 am 400c81b24edf1342c42a7a5f09a97906
<![CDATA[Wie Gand Photography]]> Found: call
Wie Gand have some very creative photography work in their portfolio, these which I guess I'd call 'Urban Detail' photography were my faves:





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19 October 2012, 9:04 am 0118ecf6741925fc82acaeee9a8fd692
<![CDATA[They call it puppy love]]> Found: call

Philly photographer Chris Sembrot photographs owners kissing their dogs.

The article They call it puppy love by Erin Edinger-Turoff appeared first on The Temple News.

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8 April 2014, 2:30 am 261254b911f75c78f5275203d2c70409
<![CDATA[Art students answer the call]]> Found: call

Two Tyler students organized the “Call + Response” show.

The article Art students answer the call by Alexa Bricker appeared first on The Temple News.

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24 March 2014, 10:40 pm b9e46040fd3f252a40cde32a01045e47
<![CDATA[Residency leads to collaboration]]> Found: residency

Artist Katie Grinnan incorporated student work into her art.

The article Residency leads to collaboration by Alexa Bricker appeared first on The Temple News.

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19 November 2013, 7:40 am d972cc21ef1092d3030948723d5ad79c
<![CDATA[A View from the Top]]> Found: calls, call

Conrad Benner’s blog calls attention to Philly’s street art culture.

The article A View from the Top by Patricia Madej appeared first on The Temple News.

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22 October 2013, 7:00 am ab22eb0314161cf2be5d7d6f820607e1
<![CDATA[Philly art contest asks users to Instagram]]> Found: calls, call

Visit Philly is teaming up with the campaign With Art Philadelphia for a contest that calls for some creativity. The organization is utilizing social media by encouraging Instagram and Twitter users to take photos of Philadelphia art and apply the hashtag “#PhillyArtContest.” Caroline Bean, the director of social media at Greater Philadelphia Tourism Marketing Corporation, helped make the new photo contest come alive.…

The article Philly art contest asks users to Instagram by Chelsea Finn appeared first on The Temple News.

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10 September 2013, 4:40 am 1c36f7c1b192bef403a011270d66bf79
<![CDATA[3rd Street Gallery’s Philadelphia Community Exhibit puts local talent on display]]> Found: submit

Local artists of any skill level could submit art to the gallery's Philadelphia Community Exhibit, which opens to the public today, Jan. 30.

The article 3rd Street Gallery’s Philadelphia Community Exhibit puts local talent on display by Cheyenne Shaffer appeared first on The Temple News.

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30 January 2013, 12:29 pm dedc6f2fab4e4f28c26b1f2276af465e
<![CDATA[‘RAW’ talent showcased in awards ceremony]]> Found: awards, award

The RAW Awards will showcase design talent in Philadelphia, with winners advancing to compete on a national level.

The article ‘RAW’ talent showcased in awards ceremony by Taylor Farnsworth appeared first on The Temple News.

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13 November 2012, 6:40 am e65a42447086a34bf10b9436822cb259
<![CDATA[Kasimir Malevich's 'Black Square': What does it say to you?]]> Found: opportunity

The painting itself sits in a relatively darkened room at Tate Modern, where a major retrospective of the career of its creator, Kasimir Malevich from Kiev, opens today. Given that the painting is black from top to toe and hip to hip, and that it is often said to represent a pivotal moment in the history of abstraction and the art of the 20th century, this strikes the onlooker as an odd decision. Why not be given the opportunity to see it as clearly as possible?

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15 July 2014, 7:00 pm 952c9347a0546661a97d3effee8139fa
<![CDATA[Stunning photos from the National Geographic Travel photography contest]]> Found: entries

Extraordinary entries for a travel photography competition were unveiled on Tuesday – including a man canoeing past dripping globules of molten lava, and a giraffe towering through a window to polish off some crumbs left on a plate. 

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17 June 2014, 6:50 pm 9d2882cb3b45845552bed56285415344
<![CDATA[Portfolio: Californian Austen Ezzell spent five months photographing football pitches around the globe for his project The World's Game]]> Found: calls, call

The United States is hardly known for its love of "the beautiful game", seemingly more in thrall to the pleasures of baseball and American football. But for Californian Austen Ezzell, football – or soccer, as he calls it – was always his sport of choice.

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24 May 2014, 7:00 pm 8153139ab600c402475101472fdbcd8f
<![CDATA[Aiko Tezuka, artist: 'History is interwoven in the fabric. I decided to mix cultures and to make layers']]> Found: residency

Aiko Tezuka came to Europe from her native Japan in 2010, first to London and then to Berlin, on a Künstlerhaus Bethanien Residency. She now lives and works in a flat in the fashionable Neukölln area in southeast Berlin.

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22 May 2014, 10:00 am 5ce1d899b2f5a0d8dc056b122de1ed64
<![CDATA[The supersized cultural life of Abu Dhabi]]> Found: call

They do things (slightly) differently in the Emirates. Today, the Al Raha Beach Theatre in Abu Dhabi will host the grand final of the most popular TV talent contest not just in the UAE but across much of the Arab world. Its elimination format, which attracts up to 15 million viewers, in many ways resembles the spotlit stage ordeals of Pop Idol, The Voice or The X Factor. There's even a diva-like psychologist – Nadia Buhannad – on hand to interrogate the quivering (and mostly male) contestants. "They call me intimidating," Dr Buhannad recently told the local press. "I say, 'Queen of Intimidating'."

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19 May 2014, 7:00 pm 3468bb8e9de9134e7513e497f234ae36
<![CDATA[Look out Lena Dunham, here comes mom! Laurie Simmons is set to direct a movie with a 'small role' for the creator of Girls]]> Found: award

Creativity definitely runs in Girls star and creator Lena Dunham's family. Her mum, Laurie Simmons, has been nominated for the prestigious Prix Pictet photography award, along with 10 other leading photographers from all over the world, who are competing for the prize of £67,000. The winner will be announced on 21 May at London's Victoria & Albert Museum, followed by an exhibition of their work.

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14 May 2014, 6:00 pm c4cc886e0508ab1a3658acb8507d12c2
<![CDATA[Huge ants are the stars of the show at the Saatchi Gallery]]> Found: call

The visitor to Pangaea: New Art from Africa and Latin America at the Saatchi Gallery is confronted by sculptures of huge ants, crawling all over the walls of the first room. They are monstrous – the size of human babies. They clamber over one another, desperate to gorge on some hidden patch of honey. Some are solitary, others cluster in corners. They call to mind Kafka's travelling salesman Gregor, who transformed into an insect overnight and spent the rest of his days crawling up and down his bedroom walls.

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1 April 2014, 7:00 pm f12463889440c0214e4b13cf61bbf94b
<![CDATA[New Works by Albert Samreth and Gor Soudan]]> Found: call, residency

poster for New Works by Albert Samreth and Gor Soudan
New Works by Albert Samreth and Gor Soudan
at Yamamoto Gendai (Shirokane, Hiroo area)
(2014-07-12 - 2014-07-26)

Through partnership with The Backers Foundation, AIT has previously hosted artists and curators from Africa, Asia, South America and the Middle East and here as part of the 7th joint residency programme, an exhibition is accompanied by research, production and cultural exchange through educational sessions. Albert Samreth (Born in 1987, Los Angeles, USA) is an emerging conceptual artist who has developed a studio practice based around engaging with natural and systematic processes. For this exhibition, Samreth will present a new series of paintings created by either the effects of Tokyo’s heavy summer rainfall or made by the sunlight in a natural photographic process. The remainder of his work for the show will be derived from graphic scores related to his concurrent project for the International Moscow Biennale of Young Art, where he will be teaching songs to an African Grey Parrot. Gor Soudan (Born in 1983, Kisumu, Kenya) is a self-taught conceptual artist based in Nairobi, Kenya. For this exhibition, Soudan will present pieces from his “Drawing in Space” series alongside linear drawings and an installation constructed in his Tokyo studio using a variety of locally-sourced, natural materials.

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9898bda4008b10df15051b6d2c3ecc42
<![CDATA[Summer Show]]> Found: award

poster for Summer Show
Summer Show
at Maki Fine Arts (Chiyoda area)
(2014-07-05 - 2014-07-27)

Maki Fine Arts presents a group show of new and recent work from the 4 artists Shu Ikeda, Atsushi Tawa, Wataru Yamakami and Kazuhito Tanaka. Well-known for his photographic cut outs Ikeda features a collection of work previously un-exhibited in Japan, Tawa showcases a new body of abstract prints, Tanaka presents a range of photography which shifts between the line of abstract and figurative, while 2013 winner of the Tokyo Midtown Audience Award Yamakami unveils recent painting work.

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<![CDATA[“I Can’t Understand It, But It Interests Me” Photo Exhibition]]> Found: call

“I Can’t Understand It, But It Interests Me” Photo Exhibition
at Crossroad Gallery (Shinjuku area)
(2014-07-17 - 2014-07-27)

An open-call exhibition of photographs that puzzle yet intrigue. With Nagoya-based photographer Ryu Ueno making a guest appearance.

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305a2762834526856502a6f95ba552f4
<![CDATA[2014 Tokyo Art Directors Club Exhibition]]> Found: call, award, jury

poster for 2014 Tokyo Art Directors Club Exhibition
2014 Tokyo Art Directors Club Exhibition
at Creation Gallery G8 (Ginza, Marunouchi area)
(2014-07-04 - 2014-07-28)

The Tokyo Art Directors Club was first formed in 1952 and is currently made up of 80 art directors. This association has come to hold an annual open call award exhibition in which the latest innovations in advertising and design are selected by the jury panel to present the very forefront of communication design in Japan. This exhibition is split over two venues, with work of general creators shown as Gallery G8 and the work of ADC members showcased at Ginza Graphic Gallery.

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734d69814d0740cf2f5487d7dd329d8e
<![CDATA[The Holy Lake]]> Found: entre

poster for The Holy Lake
The Holy Lake
at Entre Deux (Ichigaya, Kagurazaka area)
(2014-05-31 - 2014-07-31)

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6e034d2aa191ab837eec2e77bc12fe17
<![CDATA[Masayuki Furukawa “Diary”]]> Found: opportunity

poster for Masayuki Furukawa “Diary”
Masayuki Furukawa “Diary”
at Voilld (Ebisu, Daikanyama area)
(2014-07-18 - 2014-08-03)

The London-based photographer Masayuki Furukawa has done advertising, commercial, music video, and magazine work in Japan and abroad. His first exhibition is a special opportunity to see a portion of his enormous body of work from all over the world. A film Furukawa made in collaboration with director Eri Sawatari will also be screened.

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6b8b5327ea7e69563a7fd387b6038015
<![CDATA[World Press Photo 14]]> Found: submit, awarded, award, entries

poster for World Press Photo 14
World Press Photo 14
at Tokyo Metropolitan Museum of Photography (Ebisu, Daikanyama area)
(2014-06-07 - 2014-08-03)

Each year, World Press Photo invites photographers throughout the world to participate in the World Press Photo Contest, the premier international competition in photojournalism, with prize winning work going on to tour across 100 cities across the world. In 2014, 5,754 photographers from 132 countries submitted 98,671 entries. This year the grand prize has been awarded to John Stanmeyer for “Djibouti City, Djibouti”, depicting African migrants on the shore of Djibouti City at night raising their phones in an attempt to catch cheap yet weak signal from neighboring Somalia, revealing an earnest pursuit of communication with relatives left in surrounding counties. Venue: B1F Exhibition Space [Related Event] Photo Documentary Workshop Date: July 19(Sat) 10:00-, July 20(Sun) 10:00-, July 21(Mon) 10:00- Instructors: Q Sakamaki (photographer), Toshiki Toyama(Aera Photo Director) Suitable for professional photojournalists, editors all those wishing to become so Venue: 1F Atelier (Creative Space) Admission: ¥20000 For further information please refer to the official website. [Image: John Stanmeyer]

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dc0e989b4ae1aa79de09aa16a647f7c1
<![CDATA[The Mysteries of the Moon]]> Found: opportunity

poster for The Mysteries of the Moon
The Mysteries of the Moon
at Konica Minolta Plaza (Shinjuku area)
(2014-07-15 - 2014-08-10)

Through 3-D models, panels, and images, this exhibition introduces basic knowledge of the moon and astronomical phenomena, as well as mysteries surrounding them, providing “views” of the moon not normally seen. Ahead of the total lunar eclipse coming up on October 8th, this is an opportunity to deepen your understanding of this familiar celestial body. [Related Event] Ask Anything Corner Speakers: Eiichiro Kokubo (Professor of Theoretical Astronomy, National Astronomical Observatory of Japan), Junya Terazono (Assistant Professor at the University of Aizu, Research Center for Advanced Information Science and Technology) Date: Aug. 2 (Sat) 14:00–16:00 Venue: Konica Minolta Plaza Gallery A Talk by Junichi Watanabe (National Astronomical Observatory of Japan Vice President) Date: Aug. 10 (Sun) 14:00–16:00 Please see the venue’s website for details.

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2545bd908ec649a08964508f522d4a0f
<![CDATA[“Semamori - Stitched Amulets on the Back of Children’s Kimonos - “]]> Found: award

poster for “Semamori - Stitched Amulets on the Back of Children’s Kimonos - “
“Semamori - Stitched Amulets on the Back of Children’s Kimonos - “
at LIXIL Gallery 1 & 2 (Kyobashi, Nihonbashi area)
(2014-06-05 - 2014-08-23)

Introducing the special forms of kimono popular up to the early Showa period with “Semamori” emblems designed to protect a child’s well-being and “Hyakutoku-kimono” created from cloth gathered from 100 people in a particular form of prayer, this exhibition features various examples and documents relating to this form of kimono, along with photographic produced by Miyako Ishuchi since winning the Shiju Hosho award. 「Related Event] Lecture “The World of Semamori” Date: July 29(Tues) 18:30-20:00 Speaker: Yukari Saji(director of Koriyama City Museum of Art) Venue: AGC Studio (Tokyo Chuo-ku Kyobashi 2-15-18 Kyobashi Souseikan 2F * 1 min from LIXIL) Admission: Free For further information on reservations please refer to the official website

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57e350e33a65aaed5ccc0066cfdb9ab4
<![CDATA[TYIN Tegnestue Architects “Human - Architecture -“]]> Found: awarded, award

poster for TYIN Tegnestue Architects “Human - Architecture -“
TYIN Tegnestue Architects “Human - Architecture -“
at Gallery Ma (Roppongi, Nogizaka area)
(2014-07-10 - 2014-09-20)

believing in architecture as a resource for improving the living of local people the young Norwegian architect unit TYIN Tegnestue Architects, consisting of Yashar Hanstad and Andreas Grontvedt Gjertsen, continue to develop projects in provincial regions, from the borders of Thailand and Myanmar to the rainforests of Sumatra, often collaborating with local residents and drwing on the support of staff and students of the university of Trondheim – NTNU. In 2012 they were awarded the Global Award for Sustainable Architecture and have shown a clear commitment to architecture rooted in social development. This exhibition features maquettes, photographs and moving images from their “Human Toolkit” projects. [Related Event] TYIN Tegnestue Architects Lecture “People Projects Processes” Date: July 10(Thurs) 18:30-20:30 Venue: Tsuda Hall Capacity: 490 participants *For details on reservations please refer to the official website.

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be711a63531218763252592fd0ce5151
<![CDATA[Tsuneko Taniuchi “Micro-Events”]]> Found: call, residence

poster for Tsuneko Taniuchi “Micro-Events”
Tsuneko Taniuchi “Micro-Events”
at Maison Hermès (Ginza, Marunouchi area)
(2014-07-18 - 2014-09-21)

Since 1995 Tsuneko Taniuchi has been enacting “Micro Events”, playing out through performance the various layers of society and their functions. Taking up the role of a variety of contemporary female characters, she has been known to take up the form of the “Bunny girl” in passing off ironical comments on the VIP system of art fairs and other such events, while at other times she has brought her room into the gallery and made it her living space pointing to the issues of residence rights in the city, often confronting social questions through her eclectic performances which mix acting with action, reality with fiction, conversation with exclusion, engagement and games, art and the kitsch, weaving between ideas and values in an examination of one’s right to be one’s self. 「Related Events] Micro Event No. 45 “6 Female Characters + 1 Woman / 7 Days” Taking on the roles of waitress, boxer, gymnast, ganguro, ninja and a homeless person the artist will perform her role each day, with the exception of Sunday when she will be her mere self, exchanging things her characters have made with visitors. Dates: Everyday Mon-Sat 17:00-19:00 Sun 14:00-16:00 Micro Event No. 46 “Wedding Tokyo” The latest event in Taniuchi’s Wedding Series, which has been developed since 2002, and has seen over 250 ceremonies to date. An open call is made for men and women to marry the artist and a series of 20 ceremonies will take place in the gallery. Date: August 3(Sun) For further details please refer to the official website.

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43b62bde2d8df2e73ea2c0eb702fd75f
<![CDATA[Kei Ono “New Text”]]> Found: award

poster for Kei Ono “New Text”
Kei Ono “New Text”
at Place M (Shinjuku area)
(2014-07-28 - 2014-08-03)

[Related Event] Society of Photography Award Party Date: August 2(Sat) 17:00- Admission: ¥2000

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a59797e3cd3fbb8d0ca5542ab6eb96af
<![CDATA[“Unseen Daily Life” (Part1)]]> Found: residency

poster for “Unseen Daily Life” (Part1)
“Unseen Daily Life” (Part1)
at Tokyo Wonder Site, Hongo (Chiyoda area)
(2014-08-02 - 2014-09-28)

Tokyo Wonder Site features a two part exhibition of work from 6 Japanese and international artists all incorporating familiar everyday materials into their works. In the first volume of this program showcases the work of 3 artists who have recently joined TWS’s residency programs in Stockholm, Seoul and Tokyo, evolving new vantage points through their encounter with the culture of their host city and their daily living within this. The exhibition will also be accompanied by workshops which offer up the creative possibilities of environmental sound and everyday objects. (admission free/reservation required)

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73ac8cd2b9c042bce6d6135989e56288
<![CDATA[Ichiro Kojima “To the North, From the North”]]> Found: entry

Ichiro Kojima “To the North, From the North”
at Izu Photo Museum (Greater Tokyo area)
(2014-08-03 - 2014-12-25)

This exhibition marks the 50th anniversary of Ichiro Kojima’s death. Born and raised in the northern city of Aomori, Kojima was the eldest son in a family that ran a toy and photography supply store. He learned photography under the influence of his father, and began to publish his work in photography magazines. His subjects were everyday landscapes on the Tsugaru and Shimokita peninsulas, but his work stood apart from the mainstream realism of that era and soon gained notice for its poetic and compositional sensibilities. With strong encouragement from the pioneering photojournalist Yonosuke Natori, Kojima mounted his first exhibition, Tsugaru, in Tokyo in 1958. Following this strong start, he moved to Tokyo in 1961 to pursue a career as a professional photographer, going on to present further exhibitions of work. However, having emerged on the scene with photographs of his home country, he now faced great difficulty to produce work in a new environment. After the death of Natori, his main supporter in Tokyo, Kojima returned to Aomori. From here he embarked on a new project in Hokkaido, but he began to feel ill after repeated exposure to severe conditions and sadly died at the early age of thirty-nine. This exhibition features his small photograph prints from his “Trump” series, along with works from his two major exhibitions and those which reflect his love of the North, shining new light on the short life of this artist. [Related Events] Panel Discussion To Document the North: Considering Ichiro Kojima Picking up on questions raised by the 2009 Ichiro Kojima retrospective exhibition at the Aomori Museum of Art, this discussion will examine the question of what “The North” meant to Kojima. Participants: Hiroshi Oshima (photographer) Keizo Kitajima (photographer) Shino Kuraishi (professor, Meiji University) Shigemi Takahashi (chief curator, Aomori Museum of Art) Masashi Kohara (researcher, Izu Photo Museum) Date/Time: September 28 (Sun.) 2:30–4:00 Place: Clematis no Oka Hall (near the museum) Free (exhibition ticket required for entry), limited to 100. Gallery Talk A curator will provide commentary on the exhibition. Date/Time: Saturdays at 2:15 (approx. 30 minutes) August 30, October 25, November 15, December 20

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66dd26dcae9563f2e6fe82f4012c75af
<![CDATA[Kiiro “Light Exhibition”]]> Found: award

poster for Kiiro “Light Exhibition”
Kiiro “Light Exhibition”
at Emon Photo Gallery (Shirokane, Hiroo area)
(2014-08-19 - 2014-09-20)

Kiiro has consistently pursued cosmos flowers throughout his photographic career for their touching, understated fragility that hides an indomitable robustness, and for the way in which they awaken distant memories. Kiiro’s premier work “Opera” received a prestigious International Fine Art Photography award. With “Light,” Kiiro continues to express a unique lyricism born of his enchantment with the various properties of flowers, and expressed through a deft mastery of the photomontage format. “Light” comes to us as a continuation of the Japanese aesthetic, so skillfully depicted in his second series “Elegance of Silence.” Various hues are captured with light particles that spread to every corner of each layered print, woven together in a way reminiscent of a tapestry. [Related Event] Dance Performance by “Flowers” featuring Yumi Yoshimoto Dates: August 23rd (Sat) 16:00 -16:40 (doors open at 15:30), September 12 (Fri) 19:30 - 20:10(doors open at 19:00)

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cf2d0e1bc02da6142aac4d1eb51a3d66
<![CDATA[Yvonne Rainer at the Getty Research Institute]]> Found: opportunity

Hunter Drohojowska-Philp says the show provides a rare opportunity to better understand a rigorous and complex artist.

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29 May 2014, 9:05 pm 6dc7c0eba27ed17dbfad6b558a289ef6
<![CDATA[Meeker Sheepdog Classic Art Contest - Meeker, Colorado]]> Found: deadline, awards, award
Over $3,000 in awards. Deadline: July 26, 2014

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712237452b5b00802e8914b0848dc89c
<![CDATA[The Soul of a Woman - Morehead City, North Carolina]]> Found: deadline, awards, award
$1,300 in awards. Deadline: August 10, 2014

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85b041ae174178b5493d763709c9b43c
<![CDATA[18th Mini Print International - Ithaca, New York]]> Found: deadline, awards, award
$1,300 in awards. Deadline: August 15, 2014

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1d39e371bbe2b95c0823a5cd324bf9b3
<![CDATA[International Juried Smart Device Photography Exhibit - Brooklyn, New York]]> Found: deadline, awards, award
$1500 Cash Awards. Deadline: August 16, 2014

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106e048f1bf8ee6be09d6eec0f3abf6f
<![CDATA[Lines into Shapes - Estes Park, Colorado]]> Found: deadline, awards, award
Up to $4,000 in awards. Deadline: August 31, 2014

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16d70db8c943bce2a436dfd883351288
<![CDATA[A Show of Heads - Hudson, New York]]> Found: deadline, awards, award
$2200 in Direct Art Print Awards. Deadline: August 31, 2014

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afa2f921c37a1c0ae0e9a0d01f348d3e
<![CDATA[Japan Media Arts Festival - Tokyo, Japan]]> Found: deadline, awards, award
1,100,000 JPY in awards. Deadline: September 2, 2014

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7362079c9550a5ef8aa145f42bc83e3b
<![CDATA[CWA 45th National Exhibition - Pleasanton, California]]> Found: deadline, awards, award
$12,000 in awards. Deadline: September 5, 2014

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761fd8b144b8cab7b595b4a8df805bc3
<![CDATA[Small Wonders: A Fine Art Small Works Exhibition - Annapolis, Maryland]]> Found: deadline, awards, award
$1,000 in awards. Deadline: September 10, 2014

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579325a27ca4b3423e786d5b9ed9b0d3
<![CDATA[Craft Forms 2014 - Wayne, Pennsylvania]]> Found: deadline, awards, award
$6,000+ in awards. Deadline: September 12, 2014

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8bba200271c0ccf826dfd87d25d4e274
<![CDATA[Joshua Tree National Park Art Exposition 2014 - Twentynine Palms, California]]> Found: residence, deadline, awards, award
$6,000 in cash awards and an Artist-In-Residence award. Deadline: September 15, 2014

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dadbae2cb5cfb8224bd862245fdbe120
<![CDATA[Endangered: Art for Apes - Online contest and exhibition]]> Found: deadline, awards, award
$8,250 in awards. Deadline: October 3, 2014

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eded5608ea82174e7041faa5f063e23a
<![CDATA[Computational Fashion Master Class: Call for Participants]]> Found: call
Hours: 
Mon-Fri, 4-8pm; Sat-Sun, 10am-6pm
Cost: 
$1500 ($800 Students/Recent Grads)
Venue: 
NYU Polytechnic School of Engineering (MAGNET)
Eyebeam Programming?: 
Eyebeam
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Image: 3D printed garment by Sabina Sagadiyeva printed with Shapeways. Credit: Amber De Vos for Patrick McMullan

APPLICATION NOW CLOSED

Eyebeam and Shapeways are pleased to announce the first Computational Fashion Master Class. In this ten-day intensive course, participants will:

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6 May 2014, 3:04 pm c283db01273a861f529fa0f54319fe21
<![CDATA[Computational Fashion Master Class: Call for Participants]]> Found: calls, call
Activity Details
Call Type: 
Collaboration
Start Date: 
07/18/2014
Time Commitment: 
July 18-26, 2014
On-site: 
On Site
Call Details
events
05/06/2014 - 06/25/2014
Status: 
Current

Computational Fashion Master Class
July 18-26, 2014


Mon-Fri, 4-8pm
Sat-Sun, 10am-6pm
Tuition Cost: $1500 ($800 Students/Recent Grads)

APPLY NOW

Eyebeam and Shapeways are pleased to announce the first Computational Fashion Master Class. In this ten-day intensive course, participants will:

read more

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6 May 2014, 2:53 pm dfb65e457a9a52c4fe8a3620fd56adfc
<![CDATA[Communications Director]]> Found: calls, call, residence
Activity Details
Call Type: 
Job
Start Date: 
09/17/2012
Time Commitment: 
3 days/wk
On-site: 
On Site
Call Details
get involved
09/04/2012 - 09/16/2012
Status: 
Current

Eyebeam Art + Technology Center is looking for a part time (3 days/week) Communications Director to start August 1. Eyebeam Art + Technology Center is the nation's leading center for art and technology, offering artists and creative technologists paid residences in its Chelsea facility, in addition to a wide range of public programs.  

We are looking for a creative self-starter who can work closely with our staff and artists to tell the Eyebeam story. The candidate should be able to engage with audiences through both traditional and social media. Great writing skills, a good design sense, an ability to think strategically, and a collaborative approach are essential.  

Other criteria include: 

Contact E-mail: 

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13 June 2012, 5:20 pm 214843703e12e61d1f6be9700733cfa8
<![CDATA[Eyebeam 2012 Fall / Winter Residency Call]]> Found: calls, call, residency, deadline
Activity Details
Call Type: 
Residency
Start Date: 
09/17/2012
On-site: 
On Site
Call Details
get involved - residencies
05/24/2012 - 06/22/2012
Status: 
Current

FALL/WINTER 2012 RESIDENCY CALL

APPLICATION DEADLINE: All applications must have been received via online application by 12:00PM (noon) June 22, 2012. All applicants will be informed of their application status by August 13, 2012.

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23 May 2012, 10:43 am b268b68f90324b4c9dd68ec706372f66
<![CDATA[Eye To Eyebeam]]> Found: opportunity

Eye To Eyebeam is a series on Eyebeam's residents and fellows. It includes interviews, photos, and other news and is authored by Eyebeam intern Katherine DiPierro. These interactive posts offer visitors the opportunity to learn more about Eyebeam's diverse community of creative practitioners.

Each week, you'll see interviews profiling individual Eyebeamers. Artists who have already engaged in conversation about their projects include:

Project Created: 
September 2011

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11 October 2011, 12:43 pm a2a09a3ef20e97c75d80e1253a23818e
<![CDATA[Great Art, Dismal Politics: A Tale of Two Italies]]> Found: award

The child of Italian immigrants and an award-winning scholar of Italian literature Joseph Luzzi tells his family’s story and links it to Italy’s north-south divide and the country's passion for art, food, and family. His book My Two Italies gives an account of his Calabrian father’s time as a military internee in Nazi Germany—where he had a love affair with a local Bavarian woman. Luzzi also looks at Italy’s contradictions—it has produced some of the world’s greatest art but it also suffers from corruption, political fragmentation, and an enfeebled civil society.

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24 July 2014, 12:00 am e66874c72c70496454aef640b0a1dc25
<![CDATA[The War That Gave Us 'Cooties']]> Found: call

World War I began 100 years ago, and our word maven, Patricia T. O’Conner, looks at the words that came out of that war—like blimp, doughboy, cooties. She’ll also answer questions about language and grammar. An updated and expanded third edition of O’Conner’s book, Woe is I: The Grammarphobe's Guide to Better English in Plain English, is available in paperback, as is  Origins of the Specious, written with Stewart Kellerman.

If you have a question about language and grammar, leave a comment or call us at 212-433-9692!

O'Conner and Leonard discussed a number of words and phrases that originated—or became popular—during WWI, including:

taxiing (as in a plane on a runway)
trench coat
zero hour
liaise
tailspinnosedive
cushy (to mean comfortable or easy)
shell shock
dud
hush hush
pushing up daisies
in a funk

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16 July 2014, 4:22 pm 6235339fd34983e59f8c7a37f7156a5c
<![CDATA[Questions for Akhil Sharma]]> Found: call

What are some of your favorite books/who are some of your favorite authors?

The writer who has been most important to me is Ernest Hemingway, in particular his short stories and the two masterpieces: The Sun Also Rises and A Farewell to Arms. At one point I had read him so closely that he was my ideal of what writing has to be to be good.

The current writers I am reading avidly to see what I can learn are Lorrie Moore and Tobias Wolff. They are both extraordinary writers. Also, when you read them, you begin to get a sense of the writer's personality and in their personalities, in how they respond to situations with both laughter and seriousness, there appear to be solutions as to how to live one's life.

The writer that I think everybody should read is Joseph Roth. This great Austro Hungarian writer has a style that is ironic like Flaubert and yet with a direct moral engagement like Tolstoy. I especially recommend Radetzky March and The Tale of the 1102nd Night

What have you read or watched lately that you were moved or inspired by?

I am reading Eugene Oenegin by Pushkin again and his language is both plain and plastic and this is infecting my writing to a tremendous extent. Reading him I begin to see that what we mean by consistency of style can sometimes be a lack of conviction that the reader will follow along.

Do you have favorite words? Least favorite words? What are they and why?

There are words that I feel my characters overuse: shame, belly, sadness. I say that they overuse them, but their lives are difficult and they are working through things.

The words that I wished I had more often in my writing are: cheerful, laughing, kind, teased. 

 I want to have more of these words in my writing because I think these words would add to the complications and richness of the worlds that I create.

Do you have writing rituals? Where and when and how do you write?

I write with a stopwatch. If a phone call comes I stop my stopwatch. If I check my email I stop my stopwatch. The idea is to keep myself honest so that I know how much work I actually did in any single day.

I have a desk in my apartment which is crowded with all sorts of books and scraps of paper. When I was working on my novel, drafts of my novel sat on the floor around me.

Every time a project is over I clean my desk and the relief is like getting a very short haircut in the summer. 

 

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15 July 2014, 5:03 pm 7748633b6354d7f579bd05124db3bccc
<![CDATA[Canon In Action Photography Tour & Educational Roadshow Hits Seattle This Weekend]]> Found: opportunity, award

CIA_Banner

This weekend, June 7th & 8th, Canon is bringing their Canon in Action Tour to Seattle! The tour will be taught by Canon Explorers of Light Jack Reznicki and Jim Divitale, along with Amina Moreau of Stillmotion.
 
Jack is best known for his commercial work with companies like Hyatt and Time Magazine, as well as teaching at the School of Visual Arts in New York City. 
 
Jim’s digital photography is featured in magazines like Rangefinder and Professional Photographer and lectures at WPPI, Imaging USA, and Photoshop World.
 
Amina is the cofounder of Emmy Award-winning Stillmotion, whose client list includes Apple and CBS.
 
There is going to be a Saturday seminar and a few Sunday workshops on June 7th and 8th.
 
The Saturday seminar’s goal is to teach imaging essentials and help you understand and expand your creative options. Thoroughly understanding photography principles like ISO and aperture is essential to putting your photography ideas to practice. The Saturday seminar will cover lens choice, camera settings and features, light exposure, portraits, landscapes, HD video, and a whole lot more. We’ll learn quality vs. quantity of light, incorporating video into your image making process. Jack, Jim, and Amina are going to let you discover the possibilities in your camera so that you can discover the possibilities in your photography.
 
The Sunday workshop is an opportunity to practice your new skills, work with live models, and try out professional Canon equipment. We’re going to have interactive discussions and hands-on exercises so attendees will receive feedback for every milestone hit. The workshop is designed to give attendees the tools to create visually stunning and engaging videos and photography.

The photography portion of the workshop is going to let you practice the concepts of flash photography, like functions of Speedlites and ETTL. Since light can be unpredictable, Jim and Dave are going to work with the class on mastering light using flash.

Camera movement, audio capture, and shot sequencing are the main points the video portion of the workshop will cover. Filmmakers use this knowledge every day as the foundation to any well-made video.
 
It’s going to be a weekend packed with learning! Head over to CanonInAction.com and use the discount code CIAMZED10 for $10 off Saturday tickets!

512x340-newsletter-banner

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2 June 2014, 4:56 pm bed8f75c9c1339a7d316ebc9f05ae44b
<![CDATA[The Sixty-Second A. W. Mellon Lectures in the Fine Arts: Out of Site in Plain View: A History of Exhibiting Architecture since 1750: Framed and Hung: Architecture in Public from the Salon to the French Revolution, Part 1]]> Found: entry
Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In first lecture, originally delivered at the National Gallery of Art on April 7, 2013, architectural historian Barry Bergdoll, presents diverse techniques of architectural display developed since the mid-18th century. Far from being poor substitutes for the real experience of architecture as a spatial art in situ, these techniques have been integral to architecture's stake in the evolving discourses of modernity. This lecture considers the entry of architects into the exhibition venues of the mid-18th century and radical new ideas for architecture under the French Revolution.

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5 November 2013, 8:00 am 977d6df13e9a41f3c53db49ebc1e7407
<![CDATA[Seattle Artist Ulrich Pakker Receives UNESCO Art Award]]> Found: award

We’d like to congratulate Ulrich Pakker for being selected to receive the UNESCO art award for "Inspiring Peace and Humanity Through Art and Science". Ulrich is also a premier gallery member of SeattleArtists.com.

"I am honored to be receiving this UNESCO art award from Dr. Sheree Wen, U.S. National Commissioner for UNESCO (United Nations Educational, Scientific and Cultural Organization).  It has been a great year and this is certainly the crowning glory." says Ulrich Pakker.

If you’d like any more information on the UNESCO award or on what Ulrich has been working on lately, please visit http://www.RPArt.com.

Seattle Artist Ulrich Pakker receives UNESCO art award

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8 October 2013, 3:39 pm 4ea58d95e29d6589eb44d448a6aff0f8
<![CDATA[Jeff Wall on His Work]]> Found: calls, call
September 2013 - Jeff Wall, artist. Canadian-born photographer Jeff Wall first became interested in photography in the mid-1960s. He was struck by the perfectionism that characterized the practice at that time—the idea that photographs should, and must, document the world as it is. Photography seemed to be strict reportage, instead of allowing for collaboration between the photographer and subject (as with cinematography). Films were composed of a series of still photographs, but the potential for collaboration within a single photograph had not yet been realized. In this lecture recorded at the National Gallery of Art on April 17, 1999, Wall discusses his work and his relation with what he calls cinematography. He works with performers and prepares the composition to create an image of something that he has actually seen. Through the large-scale photographs for which he is best known, Wall seeks to tell a fragment of a story and allow spectators to finish the story for themselves.

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3 September 2013, 9:00 am d721a9ec8ccc1bbfb462fe7e23015280
<![CDATA[Bronislava Nijinska: A Choreographer's Journey]]> Found: awarded, award
August 2013 - Lynn Garafola, professor of dance, Barnard College, Columbia University. Bronislava Nijinska, the sister of famed ballet dancer and choreographer Vaslav Nijinsky, was a pioneer of the modern tradition of ballet. In spring 2013, Lynn Garafola was awarded a Guggenheim Fellowship to support her research on Nijinska. In this lecture recorded on July 7, 2013, at the National Gallery of Art, Garafola shares her latest research and thoughts about how Nijinska's life and work not only illuminated modern ballet history, but 20th century culture as a whole. In 1913 Nijinska was evicted from her brother's production The Rite of Spring for getting married, an act that he perceived as a betrayal. Afterward, although she was no longer dancing for her brother, Nijinska still played a crucial role in the dissemination of modernism. The longevity of her career eclipsed that of her brother's, and her work influenced numerous dancers and choreographers. Held in conjunction with the exhibition Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view at the Gallery from May 12 to October 6, 2013, this lecture was supported in loving memory of Shirley Casstevens.

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20 August 2013, 9:00 am 5df47cc9e8e21a5bb8095e5e029c95e4
<![CDATA[Conversations with Collectors: Robert and Jane Meyerhoff]]> Found: residence
March 2013 - Robert and Jane Meyerhoff, collectors, in conversation with Irving Blum, collector and co-founder of the Ferus Gallery, Los Angeles. To celebrate the exhibition opening of The Robert and Jane Meyerhoff Collection: 1945-1995 at the National Gallery of Art on March 31, 1996, the Meyerhoffs joined Irving Blum to discuss the history and practice of their collecting. On view through July 21, 1996, the exhibition presented 194 works, almost their entire collection of post-World War II art. The Meyerhoffs' acquisitions have been based wholly on their belief in the quality of individual works and not on any preconceived theory or plan. If they were passionate about an artist, they collected his or her work in depth. Their private residence has a room dedicated to each of the following artists: Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Robert Rauschenberg, and Frank Stella. The collection is both a tribute to the extraordinarily high level of accomplishment by these artists and to the Meyerhoffs' intuition.

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5 March 2013, 8:00 am f0a4c93d5c20dbb46eab7a09cf4f7c65
<![CDATA[William H. Johnson]]> Found: awarded, award
February 2013 - Gwendolyn H. Everett, assistant professor, department of art, Howard University Gwendolyn H. Everett, scholar and author of the award-winning children's book Li'L Sis and Uncle Willie: A Story Based on the Life and Paintings of William H. Johnson, provides an overview of William Henry Johnson's (1901-1970) career as part of the Five African American Artists lecture series recorded on August 3, 2003. Everett traces Johnson's determination to become an artist, despite a humble upbringing in South Carolina, to his years at a segregated elementary school where art was not part of the formal curriculum. In 1918, during the first Great Migration, Johnson moved to New York to pursue artistic training unavailable in the South. While living in Harlem and working several jobs to support himself, he was accepted into the prestigious National Academy of Design. Noted watercolorist Charles Webster Hawthorne provided critical mentorship at the academy, hired Johnson to work at the Cape Cod School of Art, and sponsored his further training in Europe. Johnson supplemented this sponsorship with prizes awarded by the academy and funds earned working for Ashcan School painter George Luks. In 1920s Paris, Johnson lived in the former studio of James McNeill Whistler and became acquainted with Henry O. Tanner, an African American expatriate artist who had achieved international acclaim and who would become a pivotal figure in Johnson's rise to prominence. Follow along as Everett illustrates Johnson's journey—marked by determination, strengthened by hard work, and bolstered by the support of influential artists—that led him to become one of the greatest American artists of the 20th century.

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19 February 2013, 8:00 am 2321c0b603bb514a53c5b2125b31d6d6
<![CDATA[Artists in Residence: Henry O. Tanner in the Holy Land]]> Found: residence
February 2013 - Gwendolyn H. Everett, lecturer, National Gallery of Art. As part of the Artist in Residence lecture series, Gwendolyn H. Everett focused on Henry Ossawa Tanner's (1859-1937) visits to the Holy Land, and how this travel affected the later religious paintings for which he achieved international recognition. In this podcast recorded on August 9, 1987, Everett explains the formative influence of Tanner's upbringing in an educated, religious family in post-Civil War Philadelphia. Tanner's father was a minister and, later, a bishop in the African Methodist Episcopal Church, and his mother administered a Methodist school. Tanner enrolled in the Pennsylvania Academy of Fine Arts as the only African American student in 1879, graduating in 1885. His professor, the artist Thomas Eakins, encouraged a progressive method of study from live models instead of plaster casts, which profoundly affected Tanner. after 1891 Tanner resided primarily in France; by 1895 his paintings were mostly of biblical themes, and in 1897 he made his first trip to the Holy Land, where his firsthand experience led to mastery of religious subject matter. He visited the region several times to explore mosques and biblical sites, and to complete character studies of the local population, as he had learned from Eakins. Tanner invigorated religious painting with modernism and with his deeply rooted faith, achieving renown in the international art world.

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12 February 2013, 8:00 am 5ff28065373059eb12f69c3052526c1d
<![CDATA[Roy Lichtenstein's Kyoto Prize Lecture of 1995]]> Found: award
January 2013 - Harry Cooper, curator and head, department of modern art, National Gallery of Art, with original slides courtesy of the Roy Lichtenstein Foundation © Estate of Roy Lichtenstein. On November 11, 1995, Roy Lichtenstein was in Japan to receive the Kyoto Prize from the Inamori Foundation. In accepting the award, he delivered a lecture on the evolution of his work since his Pop breakthrough of 1961. Thanks to the generosity of the artist's estate and foundation, Harry Cooper, the National Gallery of Art's curator of modern art, presented this lecture at the Gallery, with the original slides, on January 9, 2013—in honor of Roy Lichtenstein: A Retrospective, the first major exhibition of the artist's work since his death in 1997. The exhibition was on view at the Gallery from October 14, 2012, to January 13, 2013.

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29 January 2013, 8:00 am 4baccc949c7ba076f8003aa2557ce3ce
<![CDATA[Architecture and Art: Creating Community]]> Found: call, award
June 2012 - David Adjaye, principal architect, Adjaye Associates; Elizabeth Diller, principal architect, Diller Scofidio + Renfro; Tom Finkelpearl, executive director, Queens Museum of Art; Sarah Lewis, art historian, author, and curator; and Robert Storr, chairman of FAPE's Professional Fine Arts Committee and dean of the Yale School of Art. In collaboration with the Foundation for Art and Preservation in Embassies (FAPE) and in the spirit of its Leonore and Walter Annenberg Award for Diplomacy through the Arts, the National Gallery of Art hosted this annual panel discussion on May 15, 2012. Featuring noted architects David Adjaye and Elizabeth Diller, and moderated by Robert Storr, the program focused on how architecture and art bring people together in public spaces. Adjaye currently serves as the lead designer for the Smithsonian National Museum of African American History and Culture, which is slated to open on the National Mall in 2015. Diller, along with Ricardo Scofidio and Charles Renfro, recently completed the Lincoln Center for the Performing Arts Redevelopment Project. Also participating were Tom Finkelpearl, executive director of the Queens Museum of Art, which broke ground last year on an expansion that will double its size; and Sarah Lewis, a PhD candidate at Yale University who is currently finishing RISE, a book that "explores the advantage of resilience and so-called failure in successful creative human endeavors."

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12 June 2012, 9:00 am caa2c9eb0c6710abdb7351b947b51a4c
<![CDATA[Solving the East/West Conundrum in Modern Chinese Art]]> Found: call
May 2012 - Martin J. Powers, Sally Michelson Davidson Professor of Chinese Arts and Cultures and former director, Center for Chinese Studies, University of Michigan. At the beginning of the 20th century, artists in China found themselves in a no-win situation: if they made use of Chinese brushwork, their art was considered "traditional," and if they adapted European or modernist methods, it was called "derivative." We may call this the East/West conundrum in modern Chinese art. Against the background of a long history of cultural competition in China, Martin J. Powers explores several ways in which Chinese artists managed to transcend the East/West conundrum in recent decades. Professor Powers delivered this lecture in both English and Mandarin on February 19, 2012, at the National Gallery of Art.

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1 May 2012, 9:00 am 3a4a845ef21b3ae449ff290350060e5e
<![CDATA[Conversations with Artists: Joel Shapiro, Thoughts on the Organization of Form in Modern Sculpture]]> Found: opportunity
March 2012 - Joel Shapiro, artist. Following the installation of Joel Shapiro's Untitled (1989) in the National Gallery of Art Sculpture Garden with other major post–World War II sculptures, the artist received an invitation to curate an exhibition of his work alongside the 19th-century sculpture of Jean-Baptiste Carpeaux. In this podcast recorded on March 9, 2003, Shapiro explains that the upcoming exhibition gave him on opportunity to focus on the continuity of thought in sculpture. Although certain ideas for form in sculpture seem radical and contemporary, their ideas have already been discovered and worked with in earlier times. Shapiro finds that the development of form seems to repeat itself, although it is ever-changing, more or less focused, and contextualized by the era in which it was created.

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13 March 2012, 9:00 am 897af458bedcf0ef2e084562c9199daf
<![CDATA[Conversations with Artists-Compositions and Collaborations: The Arts of Lou Stovall]]> Found: opportunity
February 2012 - Lou Stovall, artist, in conversation with Ruth Fine, curator of special projects in modern art, National Gallery of Art. As part of the National Gallery of Art summer lecture series Five African American Artists: Johnson-Tanner-Johnson-Stovall-Thomas, Lou Stovall participated in a Conversations with Artists program with Ruth Fine on August 3, 2003. "Compositions and Collaborations: The Arts of Lou Stovall" is a rare opportunity to hear Stovall discuss his own work and his collaborations with other artists, and to listen as he responds to questions from the audience. Stovall has been a major figure in the Washington, DC, arts community since the early 1960s, when he arrived at Howard University for his BFA program. In 1968 Stovall founded Workshop, Inc., a professional printmaking studio, where he has collaborated with more than 70 artists over the years. In addition to his own drawings and silkprints, and his collaborative printmaking projects, Stovall is a published essayist and poet.

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21 February 2012, 8:00 am dc89585113d3f4ba620b7d08ebcfc144
<![CDATA[Florence: Days of Destruction]]> Found: calling, call
December 2011 - Bryan Draper, Collections Conservator, University of Maryland Libraries; Norvell Jones, retired Chief of the Document Conservation Branch, National Archives; and Sheila Waters, calligrapher. Recalling the 45th anniversary of the catastrophic flood of Florence in 1966, the National Gallery of Art, in association with the University of Maryland Libraries presented a rare screening of Franco Zeffirelli's Florence: Days of Destruction (Per Firenze) on November 5, 2011. The famed Italian director's sole documentary is a heartfelt call to action containing the only known footage of the flood, accented by Richard Burton's voiceover commentary. The film is in the collection of the University of Maryland Libraries, College Park. Program speakers included Bryan Draper, Collections Conservator, University of Maryland Libraries; Norvell Jones, retired Chief of the Document Conservation Branch, National Archives; and Sheila Waters, calligrapher, who participated in the conservation efforts in post-flood Florence.

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13 December 2011, 8:00 am 55fdbbdb3b91564fd0607107315be7dc
<![CDATA[Morse at the Louvre]]> Found: award
November 2011 - A two-time Pulitzer Prize winning author and recipient of the National Book Award, David McCullough discusses his new book, The Greater Journey: Americans in Paris. In this podcast recorded on September 26, 2011, at the National Gallery of Art, McCullough tells the story of America's longstanding love affair with Paris through vivid portraits of dozens of significant characters. Notably, artist Samuel F. B. Morse is depicted as he worked on his masterpiece The Gallery of the Louvre. McCullough spoke at the Gallery in honor of the exhibition A New Look: Samuel F. B. Morse's "Gallery of the Louvre," on view from June 25, 2011, to July 8, 2012. The exhibition and program were coordinated with and supported by the Terra Foundation for American Art.

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15 November 2011, 8:00 am faae24724cfa6fcc69ed79e62dc15f12
<![CDATA[The Moment of Caravaggio: Part 5: Severed Representations]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the fifth lecture, originally delivered at the National Gallery of Art on May 12, 2002, Professor Michael Fried discusses how the "violent" birth of the full-blown gallery picture (as seen in Judith and Holoferenes) is figured in Caravaggio's art as beheading or decapitation, an allegory for the act of painting.

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30 August 2011, 9:00 am 208bee2a69d85d49b78f340bed2b3b43
<![CDATA[The Moment of Caravaggio: Part 6: Painting and Violence]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the sixth lecture, originally delivered at the National Gallery of Art on May 19, 2002, Professor Michael Fried argues that Caravaggio's art should be understood not simply as a monument to a revolutionary style of pictorial realism, but also as an investigation into the psychic and physical dynamic that went into its making. Fried evokes this dynamic with concepts introduced in earlier lectures, including immersion and specularity, absorption and address, painting and mirroring, and optical and bodily modes of realism�what he calls "the internal structure of the pictorial act."

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30 August 2011, 9:00 am b5197218cd11ab04954958eaaa0238f6
<![CDATA[The Moment of Caravaggio: Part 4: Absorption and Address]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the fourth lecture, originally delivered at the National Gallery of Art on May 5, 2002, Professor Michael Fried explores how two polar entities in Caravaggio's art--absorption and address--lead to the emergence of the gallery picture.

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23 August 2011, 9:00 am f1bea4046aff5167520c8b61b34e737a
<![CDATA[The Moment of Caravaggio: Part 3: The Invention of Absorption]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the third lecture, originally delivered at the National Gallery of Art on April 28, 2002, Professor Michael Fried argues that Caravaggio's depiction of his figures as so deeply engrossed in what they are doing, feeling, and thinking is revolutionary.

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16 August 2011, 9:00 am cd4ace497aa4170fb490a18d6de77f85
<![CDATA[The Moment of Caravaggio: Part 2: Immersion and Specularity]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the second lecture, originally delivered at the National Gallery of Art on April 21, 2002, Professor Michael Fried addresses Caravaggio's engagement with the act of painting, and contrasts that with specular moments of detachment. Fried argues that this divided relationship lies at the heart of Caravaggio's most radical art.

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9 August 2011, 9:00 am 18d65c3b572afe708aed2e326ce3bd8e
<![CDATA[The Moment of Caravaggio: Part 1: A New Type of Self-Portrait]]> Found: calls, call
August 2011 - Michael Fried, J. R. Herbert Boone Professor and director of the Humanities Center, The Johns Hopkins University. In a series of six lectures, Michael Fried offers a compelling account of what he calls "the internal structure of the pictorial act" in the revolutionary art of Michelangelo Merisi da Caravaggio. The accompanying publication, The Moment of Caravaggio, is available for purchase from the Gallery Shops. In this audio podcast of the first lecture, originally delivered at the National Gallery of Art on April 14, 2002, Professor Michael Fried opens the lecture series with a discussion of Caravaggio's Boy Bitten by a Lizard. He argues for its significance as a disguised self-portrait of the artist in the act of painting.

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2 August 2011, 9:00 am 794cf03fc2b84c9a5b50476a47409eb4
<![CDATA[Elson Lecture 1998: I. M. Pei in conversation with Earl A. Powell III]]> Found: awarded, award
April 2011 - I. M. Pei, architect, in conversation with Earl A. Powell III, director, National Gallery of Art Legendary architect I. M. Pei appears in conversation with Gallery director Earl A. Powell III to commemorate the 20th anniversary of the opening of the East Building of the National Gallery of Art. In this podcast recorded on March 26, 1998, Pei discusses the evolution of the East Building�s design and construction from the time Pei was awarded the commission until the building was dedicated by President Jimmy Carter on June 1, 1978.

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12 April 2011, 9:00 am fb5219651d35827281a6a2a1345c2e2f
<![CDATA[Film Design: Translating Words into Images]]> Found: award
January 2011 - Patrizia von Brandenstein, Academy Award�winning production designer. Production designers define the appearance of a film, bringing to life written scripts by working with producers, directors, and their crews to achieve the desired look of a picture. Academy Award winner Patrizia von Brandenstein shared her practical knowledge of production design and used clips from several of her films, including Amadeus (1984), Six Degrees of Separation (1993), and The Last Station (2010), to illustrate the result of many years of research and visual interpretation.

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25 January 2011, 8:00 am 7013b1fdf9ab32517260ffbd49995951
<![CDATA[Martin Puryear: "Sculpture that Tries to Describe Itself to the World"]]> Found: opportunity
September 2010 - Ruth Fine, curator of special projects in modern art, National Gallery of Art. In this podcast recorded on June 22, 2008, for the Martin Puryear retrospective exhibition opening at the National Gallery of Art, curator Ruth Fine discusses the work of District of Columbia native Martin Puryear. The retrospective included 46 sculptures made between 1975 and 2007. The first exhibition in the Gallery's history to be installed in both the East and West Buildings, it provided a unique opportunity to view Puryear's sculpture in modern and classical settings. Fine discusses the installation process for Puryear's work at the Gallery, designed in collaboration with the artist, as well as the intentions behind the placement of sculptures.

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28 September 2010, 9:00 am 34d1a812d7c4996e580c69657338ea89
<![CDATA[Graft by Roxy Paine]]> Found: calls, call
December 2009, Behind the Scenes - Molly Donovan, associate curator, department of modern and contemporaryart, National Gallery of Art, Washington. In 2009 the National Gallery of Art commissioned American sculptor Roxy Paine to create a stainless steel Dendroid, as the artist calls his series of treelike sculptures, for the Sculpture Garden. In this podcast produced on the occasion of the completed work�the first contemporary sculpture installed in the Sculpture Garden in the nearly 10 years since it opened�associate curator Donovan talks to host Barbara Tempchin about Graft.

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8 December 2009, 8:00 am 0bf543506e49330314f518a1ea4791b6
<![CDATA[Telling the Edward Hopper Story]]> Found: award
September 2007, Backstory - Guest: Carroll Moore, film and video producer, National Gallery of Art. The iconic paintings and artistic impact of Edward Hopper are the subject of a new documentary film that accompanies the exhibition Edward Hopper on its Boston-Washington-Chicago tour. Award-winning producer Carroll Moore speaks with Tempchin about the making of this illuminating film.

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3 September 2007, 9:00 am b0e81bbdb22d778cef5c101b2de22f13
<![CDATA[Turrell Awarded National Medal, Winklevii Invest in Paddle8, and More]]> Found: calling, call, awarded, award
Turrell Awarded National Medal, Winklevii Invest in Paddle8, and More

— Turrell Nabs National Medal: James Turrell is set to receive the National Medal of the Arts from President Obama next week at the White House. Turrell is being honored for “capturing the powers of light and space” in a way that “builds experiences that force us to question reality, challenging our perceptions not only of art, but… of the world around us.” Other honorees include Linda RonstadtBill T. Jones, and Maxine Hong Kingston. [LAT]

— Winklevii Invest in Paddle8: Cameron and Tyler Winklevoss, the twins famous for their very public fight with Facebook founder Mark Zuckerberg, have announced their investment in online auction house Paddle8. The twins are also well known for their support of the burgeoning digital currency bitcoin, which Paddle8 hasn’t committed to as an accepted form of currency yet, but has considered as an idea for future sales. Tyler said in an email to Fast Company, “The art market is global and like many global markets it currently feels the pain, inefficiencies, and high-costs of our current payment systems. Bitcoin rethinks the way we transfer value. It is borderless, frictionless, and instant and should be able to bring these qualities to art transactions just like any other transaction.” [FastCo]

— Met Head Becomes US Citizen: British-born Metropolitan Museum of Art director Thomas P. Campbell was among those who became US citizens in a naturalization ceremony hosted at the museum yesterday. Campbell and 74 others pledged allegiance in the American Wing’s Charles Englehard Court. “I am humbled and proud to be sharing this day with my fellow new citizens and delighted to be in this magnificent space for this occasion,” Campbell said. [GalleristWSJ]

— Museum for African Art Cuts Budget: The budget for the still-under-construction Museum for African Art has been cut by $40 million from its previous $135 million estimate, due to difficulty raising the funds. [NYT]

— Is Art Theft Really the Third Biggest Criminal Trade? A June 2014 conference at NYU’s School of Law named art theft the third highest-grossing criminal trade in the world over the past 40 years, according to Newsweek, but Art Market Monitor’s Marion Maneker points out that “grossing” doesn’t acknowledge that most art thieves actually don’t make big bucks off their loot since it’s hard to sell stolen goods. [NewsweekArt Market Monitor]

— Celebs Ban Together Against Venice Ships: Celebrities Cate BlanchettSusan Sarandon, and Calvin Klein have penned a letter to Italy’s Prime Minister Matteo Renzi and Ministry of Culture Dario Franceschini calling for a ban against cruise ships in Venice. [Speakeasy]

— Gallerist has an interesting look at artist assistant jobs. [Gallerist]

—  The DC Commission for the Arts and Humanities has cancelled Mia Feuer’s climate change art installation, which was set to be installed in the Anacostia River. [Grist]

— The Albany Museum of Art’s director Karen Kemp has resigned. [Albany Herald]

ALSO ON ARTINFO

Luxembourg Picks Filip Markiewicz for Venice Biennale

Christopher Williams Goes Label-Free at MoMA

Review: Ryan Lauderdale and Jessica Sanders at Kansas

Check our blog IN THE AIR for breaking news throughout the day.

 James Turrell poses for a photo beside his work "Skyspace Third Breath (2005)"
Published: July 23, 2014

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23 July 2014, 10:08 am 1a7482ec207f5d0cf38cd7e49d8f686b
<![CDATA[Review: Ryan Lauderdale and Jessica Sanders at Kansas]]> Found: calling, call

Ryan Lauderdale and Jessica Sanders, the two Brooklyn artists on view at Kansas (through August 2) in New York this summer, pair their recent works and reach the ends of the instant-gratification aesthetics spectrum. While Lauderdale’s tongue-in-cheek nouveau-riche design opposes Sanders’s muted monochromes and elemental mediums, both artists approach materiality with timeliness in mind. 

Lauderdale presents sculptures that are all high-contrast spiked angles and glaring lights. Created in the of-the-moment visual style reminiscent of mid 1980s interior décor, works such as Jog Lamp (unless otherwise noted, all works 2014) are pre-recession severe, recalling ostentatious trends of monochrome, metal, and sharply cut glass; diagonal details provide extra intensity. Hall Monitor and Black Lamp, both 2013, are two other sleek, glossy highlights, their polished bite slyly tempered by the conspicuous matte black power cords feeding the unsubtle fluorescent tubes illuminating them. By aggregating aspirational images from an endless Internet feed, Lauderdale’s reprise of “dead objects”—designs quickly deteriorating in relevance—stack amusing styles destined for the time capsule on top of each other, resulting in non-utilitarian objects that call to mind mall architecture or car detailing, consumer designs that rely on rapid disposal for growth.

Hung close enough to bathe in these sculptures’ artificial glow, Sanders presents two united groups of paintings whose material intelligence radiates. “Crumple” and “Saturation,” serial studies in materiality and tonal gradation, literally display wrinkles of time and stress. Stretching high-quality, lightweight gray linen normally reserved for suiting over wooden frames, Sanders covers each canvas in hot beeswax, then crumples the fabric haphazardly. Once cooled, the wax is roughly carved away, and the entire process is repeated. Works such as Crumple A38Crumple A39, and Crumple A40 show how the artist’s process can give depth to seemingly two-dimensional works. Her “Saturation” paintings resemble Helen Frankenthaler’s canvases—here, the wax settles over the sand-colored fabric smoothly, easy elegant pours spreading over each square. Warm, rounded, tactile, this body of work more clearly demonstrates the organic abstraction of her processes. 

A version of this article appears in the October 2014 issue of Modern Painters magazine. 

Review: Ryan Lauderdale and Jessica Sanders at Kansas
Select Photo Gallery: 
Lauderdale & Sanders at KANSAS
Published: July 22, 2014

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22 July 2014, 2:21 pm 4e0a8a86743ead084787a6e76959e6da
<![CDATA[Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest]]> Found: jury
WINNER
WINNER
No Walls Between Us, Pablo Munoz, Vancouver (British Colombia)
FINALIST
FINALIST
Round dance on Parliament Hill, Fabric, Acrylic, Sharpie, 2013, Roxanne Martin, Sault Ste. Marie (Ontario)
FINALIST
FINALIST
Sans titre, Matthilde Cing-Mars, Trois-Rivières (Québec)
FINALIST
FINALIST
United, Leo Samilo, Surrey (British Colombia)
FINALIST
FINALIST
Untold truth, Bogdan Salii, Toronto (Ontario)
FINALIST
FINALIST
Complexity, Brianne Walker, Windsor (Ontario)

The Michaëlle Jean Foundation, the AGO and WorldPride Toronto 2014 are delighted to announce the winner of the 4th Wall Youth Solidarity Project online vote.

Selected as winner by more than a thousand Canadians of all ages from across the country, Vancouver-based artist and rights activist Pablo Muñoz receives $1,000 and will work with a seasoned public art practitioner to see his art mounted on the western wall of the AGO.

His work, No Walls Between Us, highlights the unique experiences of migrant and racialized LGBT youth. It was one of six pieces of art chosen by a jury to represent the theme of “Solidarity with Canada’s Two-Spirited and LGBTTIQQ Communities,” in an unprecedented exhibition celebrating WorldPride Toronto 2014.

On view at the AGO between June 22 and Nov. 15, 2014, the Youth Solidarity Exhibition will inspire Canadians to work together to promote safe, inclusive and healthy communities for Two-Spirited and LGBTTIQQ youth throughout the country. The other young artists featured in the exhibition are:

  • Mathilde Cinq-Mars, a multidisciplinary visual and animation artist from Trois-Rivière, Que. who has a BA from the University of Strasbourg;
  • Roxanne Martin, a digital artist from Sault Ste. Marie, Ont., and the great-niece of Cecil Youngfox, a trailblazing Anishinaabe painter and gay rights activist;
  • Bogdan Salii, a passionate visual artist from Toronto, Ont., who recently immigrated to Canada from Ukraine to pursue his dream of transforming his love for art into a lucrative business;
  • Leo Samilo, a nascent artist and recent high school graduate from Surrey, B.C’s Filipino community; and
  • Brianne Walker, a 17-year-old human rights activist from Windsor, Ont., and aspiring visual artist and filmmaker.

This project is actively supported by more than 55 human rights, faith-based, arts, newcomer, Aboriginal and health organizations across Canada. For a full list of project collaborators, click here.

About Pablo Muño
Colombian-born Pablo Muñoz arrived to Canada as a refugee in 2000. Today, he is an accomplished citizen whose artistic work extends from painting, design, performance art and writing, and his community work centers around immigrant and refugee youth issues, intersections of queer and racialized identities, and solidarity with indigenous communities. Over the past year, Pablo worked on the Make it Count campaign — a project that created community dialogues across the province addressing challenges faced by migrant youth. He is currently working as a story editor on a documentary telling the story of queer refugees coming into Canada. He also is a member of the Vancouver Foundation’s Education Granting Committee and the City of Vancouver’s Youth Advisory Committee.

The Youth Solidarity Project is funded in part by StreetARToronto, a program of the City of Toronto, as well as the K.M. Hunter Foundation.

About the 4th Wall program
In theatre, the “fourth wall” is an imaginary screen that creates a virtual separation between actor and spectator. There are many ways to cross the fourth wall and to make the invisible visible. The Michaëlle Jean Foundation chose to do so through the 4th Wall: Make the Invisible Visible program, in collaboration with several prestigious Canadian museums and art galleries. The goal is to invite young creators to break down the invisible walls that create solitudes between individuals and communities across Canada, by opening the doors of our major cultural institutions to emerging creators from marginalized backgrounds. The Foundation offers museum and art gallery space and bursaries to youth from disadvantaged backgrounds, often cut off from museums, so that they can produce original art that conveys their experiences, ideas and challenges. On display for the public to see, their work provokes debate and builds solutions. The first 4th Wall exhibition was launched on Feb. 5, 2014, at the Montreal Museum of Fine Arts, to mark Black History Month in collaboration with FRO Foundation.

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26 June 2014, 10:51 am ea30053a59b51a2b6d3048cc34f89f16
<![CDATA[Call for applications: An opportunity for Toronto-based MFA photography students]]> Found: opportunity, residency, submit

Are you or do you know a Toronto-based artist who is enrolled in or has recently graduated from an MFA program focusing on photography? If yes, the Aimia | AGO Photography Prize has an opportunity to share.

This August, one of the artists on the yet-to-be-announced shortlist for the 2014 Aimia | AGO Photography Prize will be in Toronto to participate in the Prize’s residency program. Each year, all four artists on the shortlist receive a fully funded, self-directed residency designed to deepen or enrich their respective practices.

credit

credit


The artist is designing a teaching-focused residency that will be open to five Toronto-based artists who are currently enrolled in or recently graduated from an MFA program with a focus on photography. From Aug. 18 to Aug. 29, the five students will work with the artist, both as a group and one-on-one, with the goal of eliciting critical dialogue about each student’s work and potentially producing new work.

There will be three to four group meetings, and the artist will meet with each of the students individually two to three times over the course of the two-week period. The students will work between the visits to develop ideas and/or create new work. Each student will receive a $500 honorarium to support production and expenses during the study period.

Applicants must be currently enrolled in an MFA program in Canada or internationally or have graduated from such a program after Jan. 1, 2013. Applicants must be based in Toronto between Aug. 18 and 29, 2014, and be available for regular meetings and studio visits during this time.

Although the artist’s identity won’t be publicly revealed until the Aug. 13 shortlist announcement, students under consideration for the program will be notified of the artist’s identity before their participation is confirmed.

Applications must include an artist statement, CV and portfolio of as many as 25 images and/or 10 minutes of video work with detailed credit information (title, date, medium, dimensions). Applications to the program are due July 9.

To submit an application or for more information, please contact Sean O’Neill, Manager, Aimia | AGO Photography Prize at sean_oneill@ago.net.

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23 June 2014, 1:29 pm a491661c35ba6532af13776369b282bc
<![CDATA[Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics]]> Found: residence

Click to play:

Download 81.4 MB MP3

Recorded: March 26, 2014, at the Art Gallery of Ontario
Duration: 01:29:05

In this podcast, hear AGO artist-in-residence Jim Munroe in conversation with artists Mark Connery, a Toronto-based comic and zine artist, and Jonathan Mak, a Toronto-based game developer, about their work, indie culture and how playfulness factors into their practices.

Jonathan Mak is a Toronto-based game developer working under the title Queasy Games. He recently collaborated with I am Robot and Proud (aka Shaw-Han Liem), a Toronto-based electronic music artist, on Sound Shapes for PS Vita and PlayStation®3. Sound Shapes features music by Beck, Deadmau5 and Jim Guthrie and graphics by Capy, Superbrothers, Pixeljam and Pyramid Attack.

Mark Connery is a Toronto-based producer of comics and zines. He is most known for the mini-comic adventures of Rudy. In addition to his own publications, his work has appeared in many group exhibitions and has been published in Exclaim!, Kiss Machine and in many small-press lit zines in Toronto and Vancouver.

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4 June 2014, 9:00 am 7ecbcd287d321df62d87955f8cbb5ea9
<![CDATA[In memoriam: A tribute to the memory of Lynne Cohen]]> Found: call, residency

The Art Gallery of Ontario shares in the loss of Lynne Cohen, one of Canada’s finest visual artists. Lynne’s remarkable body of work took us to extraordinary, often-foreboding places — places we would be unlikely to encounter in our daily lives, except through her compelling photographs. Her enigmatic, real-world photographs of interior environments, uninhabited by humans, alluded to her sense of wit and irony.

Lynne Cohen, Untitled (Column), 2009. © Lynne Cohen, 2010.

Lynne Cohen, Untitled (Column), 2009. © Lynne Cohen, 2010.

An internationally collected artist, Lynne was nominated for the Aimia | AGO Photography Prize (then called the Grange Prize) in 2009, and the AGO is proud to have exhibited her work alongside the nominees from Canada and Mexico. Lynne spent her Prize-sponsored residency in Mexico, inspired by interior spaces that became new installations of extraordinary photographs.

Lynne’s legacy will be remembered by all who admired her vision, dedication to students, loyalty to those who knew her and her incredible strength the past three years. Our deepest condolences to Andrews Lugg, her partner of 50 years, who was closest to Lynne in every way.

— Maia Sutnik, Curator, Special Photography Projects at the AGO

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15 May 2014, 1:48 pm e22ff6e59039f8515b186e701816c618
<![CDATA[Celebrate moms with us this May]]> Found: call

This year the AGO celebrates moms with special programming all over the Gallery. Here’s what’s on:

Maternité au lit jaune, or Madame Fontaine et le petit Noël, 1896. Denis, Maurice. Oil and graphite on canvas. 44.6 x 50.9 cm. Framed: 64.8 x 70 cm. Gift of Mrs. Judy Simmonds, 2008. © 2014 Art Gallery of Ontario.

Maternité au lit jaune, or Madame Fontaine et le petit Noël, 1896. Denis, Maurice. Oil and graphite on canvas. 44.6 x 50.9 cm. Framed: 64.8 x 70 cm. Gift of Mrs. Judy Simmonds, 2008. © 2014 Art Gallery of Ontario.

Mother’s Day brunch
Edit, May 9, 4 p.m. SOLD OUT
On Sunday, May 11, FRANK restaurant celebrates moms with a special Mother’s Day brunch buffet. The menu features an enormous selection of offerings including traditional breakfast fare, a seafood station, a carving station featuring roasted AAA tenderloin, a la carte [check accents] menus, kid-friendly options and more. Brunch will be served from 11 a.m to 3:30 p.m. at a cost of $75 per adult. Children ages 6-10 can dine for $20 and children under 5 eat for $12. Reservations are encouraged as space is limited. Please call 416-979-6688 or visit FRANK online for more information.

Mother’s Day tea at The Grange (members only)
Enjoy Mother’s Day with a deliciously modern version of a Victorian tea on May 11 (seatings at 11:30 a.m. and 1:15 and 3:15 p.m.). Members are invited to enjoy a wide variety of tea along with delicious scones, croissants, sandwiches, assorted desserts and a few surprises. Book tickets for this exclusive Mother’s Day event and spend the rest of the day exploring the Collection at the Gallery.

Mother’s Day card-making at AGO Family Sundays
Part of our Family Sunday programming on Sunday, May 4, includes card-making! Get ready to cut, paste and draw something special for Mom.

Mother’s Day gift ideas

Our shopAGO team has selected a range of items perfect for Mom. See some of them below and visit the shop’s special Mother’s Day display for more options.

Design Ideas
Design Ideas
Soapstones – 9
IMM Living
IMM Living
Duck Cake Plate Holder - 54
IMM Living
IMM Living
Swallow Wings Ring Holder - 19
Marina Babic
Marina Babic
Small Vine Silver Earrings - 175 Small Vine Silver/Gold Earrings - 195
Schleeh Design
Schleeh Design
Red Tail Wood Vase - 1,600
Atelier Trema
Atelier Trema
Assorted Ceramic Pears - 26
IMM Living
IMM Living
Duck Body Container - 27
Uta Ottmar
Uta Ottmar
Pebble Earrings - 50

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24 April 2014, 10:05 am 05e8900a884fe3b2943507937c70887d
<![CDATA[Vermeer’s Young Woman Seated at a Virginal]]> Found: opportunity
October 26, 2013 - September 30, 2014: Vermeer painted less than forty pictures during his career and this one, Young Woman Seated at a Virginal, is believed to be one of his last. It is also the only remaining canvas by this great Dutch master to be in private hands. The Museum is immensely grateful to the Leiden Collection for the exceedingly rare opportunity to display this work; indeed, it has been almost ten years since a painting by Vermeer has been on view in Philadelphia.

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26 October 2013, 12:00 am f2ec8e0659a64fabafccc1b8f6592d37
<![CDATA[ART: Where to buy artist-made Christmas gifts in Brighton]]> Found: opportunity

Still struggling with the seasonal shopping? It doesn't all have to be trawling through Amazon or fighting the crowds at Churchill Square. Christmas is the perfect opportunity to support the arts and buy something truly special. Here are three of the best places in Brighton to buy creative Christmas gifts.

The post ART: Where to buy artist-made Christmas gifts in Brighton appeared first on Brighton Culture.

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10 December 2011, 10:32 am 3ace158fdd854ffc3bea34b33a717291
<![CDATA[New in the Galleries: 2014 Photography Competition Winners]]> Found: submissions, submission
Enjoy these winning images from the 2014 Photography Competition, organized by the Women’s Committee of the Philadelphia Museum of Art. Selected by noted photographer Larry Fink, gallery director and publisher Darius Himes, and the Brodsky Curator of Photographs Peter Barberie, these compelling works are now part of the Museum’s permanent collection. The competition, which received more than 780 submissions from established and emerging artists from all over the world, was designed to foster the discovery of new talent internationally.

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