ArsRSS Calls and Opportunities http://net18reaching.org/artrss/ Current Term Specific News Feed en-us Thu, 21 Aug 2014 00:00:03 -0500 240 <![CDATA[2015 Hunting Art Prize - Houston, Texas]]> Found: deadline
$50,000 prize. Deadline: November 30, 2014

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<![CDATA[Yosemite Renaissance XXX - Yosemite, California]]> Found: deadline, awards, award
$4,000 in awards. Deadline: November 15, 2014

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<![CDATA[Au Naturel: the Nude in the 21st Century - Astoria, Oregon]]> Found: deadline, awards, award
$1000 in cash prizes; Up to $2000 in purchase awards. Deadline: November 7, 2014

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<![CDATA[8th GICBiennale 2015 International Competition - Gyeonggi-do, South Korea]]> Found: deadline
$48,100 Grand Prize with solo exhibition in 2017. Deadline: November 7, 2014

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<![CDATA[Old Florida Celebration of the Arts - Cedar Key, Florida]]> Found: deadline, awards, award
Over $16,000 in prize money and purchase awards. Deadline: November 15, 2014

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<![CDATA[23rd Southeast Regional Juried Fine Arts Exhibition - Niceville, Florida]]> Found: deadline, awards, award
$2,000 in cash awards and solo show for First Place. Deadline: November 1, 2014

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<![CDATA[Fine Contemporary Craft of the Southeastern US - Raleigh, North Carolina]]> Found: deadline, awards, award
$1,600 in awards. Deadline: September 22, 2014

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5fbdaedfc882f83ea71c546003eeff15
<![CDATA[3rd Clay and Glass Biennial Exhibition - Brea, California]]> Found: deadline, awards, award
$1,400 in awards. Deadline: October 31, 2014

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<![CDATA[Art Basel Miami Week 2014 | Cosmic Connections Exhibition - Miami, Florida]]> Found: deadline, awards, award
$3,000 in awards. Deadline: October 31, 2014

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<![CDATA[21st Annual Juried Art Exhibition: Contemporary Art - Los Angeles, California]]> Found: deadline, awards, award
$7,000 in awards. Deadline: October 30, 2014

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

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, 4:36 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):

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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, 10:35 am 9d893baf571b3918983210bdf10ccc4a
<![CDATA[Planespotting]]> Found: call

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.

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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, 11:19 am 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.

VE5_WhereYouAre_LR10

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, 7:55 am 8b6908130db927b884e2c503ebf340d0
<![CDATA[#OccupyTheCloud]]> Found: call

“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, 11:06 am 6fd0098c88ba4e8e6bcbd73e433df0d6
<![CDATA[Australia: Drone Shadows, Diagrams, and Political Systems]]> Found: calls, call

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, 8:03 pm 1f30a7ddd1481c51a55c7af95cee03d2
<![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, 9:22 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, 5:35 am c98463d1678f7b9315b468b8d649985e
<![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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22 July 2014, 11:00 pm 54af3239577bc7f2dbc733cef4149899
<![CDATA[Collective Works: Questions and Answers]]> Found: residence, award

FREE

In conjunction with their performance of LIQUID TRUST, international video installation artists Susanne Clausen and Pavlo Keresty of Szuper Gallery, and musician-in-residence and curator of Music and Movement Mondays Ben Brown introduce their approaches to collaboration, mixed media, and contemporary practices.

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Biographies

Szuper Gallery (London, UK and Munich, Germany) is a co-operation between Susanne Clausen and Pavlo Keresty that presents filmed and live performances, video installations, interventions, and curatorial projects that incorporate multi-media installations and crash choreography. Szuper Gallery has exhibited at various international venues including the Institute of Contemporary Arts (London), Kuntshalle Wien (Vienna), Whitechapel Art Gallery (London), Lenbachhaus Museum (Munich), Kunsthalle Helsinki (Helsinki), Western Front (Vancouver), Shedhalle (Zurich), and Zeh Gallery (Kiev).

Ben Brown is a Vancouver-based musician, composer, and member of the Juno award-winning group Pugs and Crows. He has collaborated with contemporary and ballet dancers including Justine Chambers, Heidi Bunting, Lee Su-Feh, Kenny Pearl, Edmond Kilpatrick, and Megan Walker Straight. He is a mainstay in Vancouver’s creative music scene, performing with Jill Barber, Michael Bates Quartet, The Unsupervised, The Crackling, and the C.R. Avery Band. He is the founder of a new weekly collaborative series between live musicians and dancers entitled Music and Movement Mondays. He has recently returned from a Canadian tour with Tony Wilson and the Pugs and Crows and his duo with Vancouver vocalist/pianist Alicia Hansen is set to release their new album entitled “Companion” in the fall, 2014.

 

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20 July 2014, 12:38 pm 16d9d1a59fd9e3fc29174843b45879dc
<![CDATA[LIQUID TRUST]]> Found: residence, award

Tickets $5 / Free for WF Members

 

Reflecting on accelerated states of labour, leisure, and social interaction Liquid Trust takes inspiration from the “trust molecule” or “love hormone” oxytocin, sometimes prescribed for anxiety and designed to increase an individual’s social integration and trust.  The video performance evolves from moving image tableaus with a live sound track which involves spoken word, music, and a choir to create the visual and acoustic spectacle.  Szuper Gallery (London, Munich) and Curtain Razors (Regina, SK) have been collaborating together since 2008 creating works in Canada and then touring internationally.

This is their third collaboration with video, sound, text, by the Szuper Gallery duo Susanne Clausen, and Pavlo Kerestey and spoken word created and performed by Michele Sereda of Curtain Razors, Regina, SK.  The performance also includes original composition by musician-in-residence Ben Brown performed with the China Cloud ensemble (Elisa Thorn, harp; Dominic Conway, saxophone; Colin Cowan, contrabass; Ben Brown, drums), and the Express Your Voice and VOICE OVER mind choirs.

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POST-CONCERT TALK BACK SESSION + BOOK LAUNCH

Liquid Trust marks the first in a series of post concert conversations inviting audiences to engage with the artists.  Join Ben Brown, Susanne Clausen, Pavlo Kerestey and Michele Sereda for an open conversation about their work alongside a book launch of Ballet. 

Ballet is a new publication by Szuper Gallery, featuring recent performance and exhibition projects at the Kunstmuseum Thun, Switzerland (CH), Mackenzie Art Gallery, Regina (CA), Perm Museum of Contemporary Art (Russia) and Museum of English Rural Life in Reading (UK.  Ballet documents Szuper Gallery’ongoing collaboration with Michele Sereda and Curtain Razors and contains video and installation stills, performance scripts and essays by Timothy Long, Dorothee Richter and Lars Gertenbach, and Susanne Clausen and paintings by Pavlo Kerestey.

Liquid Trust is supported by Saskatchewan Arts Board, Szuper Gallery, Curtain Razors, Arts Trend Company, SOCAN Foundation, BC Arts and Canada Council.

__________________________________________

Biographies

Szuper Gallery is a co-operation by Susanne Clausen and Pavlo Kerestey, who are based in London and Munich.  Szuper Gallery engages with filmed and live performances, video installations, interventions and curatorial projects.  In these works the performance and the installation are a site for post and meta-production in which the stream of film and performance images are placed into a critical sphere.  Installations resonate theatrical film sets and stages, where the development of the work can be experienced.  Performers and actors are choreographed within these sets, enacting texts and movements, thereby generating a structure of social, cultural and political references and associations within the work.

They have since co-operated with other artists, curators, writers.  They have exhibited in various international venues, including Institute of Contemporary Arts, London, 1999, Kunsthalle Vienna, Western Front 2005, MacKenzie Art Gallery, Regina, Perm Museum of Contemporary Art, Russia, National Museum of Art Ukraine 2013.

Curtain Razors encourages the practice of modern theatre by creating and presenting new ways of telling stories. Personal, intimate and experiential, Curtain Razors is Saskatchewan’s longest tenured experimental theatre company and encourages the practice of modern theatre in Saskatchewan, across Canada, and internationally. Artistic Director Michele Sereda is a multidisciplinary theatre and performance artist and the artistic director of Curtain Razors, an experimental theatre company that cultivates and engages in diverse modern performance events in Regina and beyond.  Traversing the worlds of theatre, visual art, movement, performance, and film Sereda works nationally and internationally with a direct focus on performance actions in site-specific arenas, one-off pubic events, and mixing together different mediums with different artists from different ethnic diverse backgrounds.

Current performance projects are a new work with Skookum Sound System Where The Thunderbird Lives that premiered at the Mackenzie Art Gallery, Regina, 2014, the newly formed Collective Performance Storytelling intercultural performance art ensemble with a new performance Trans-Actions at First Nations University of Canada October 2014, slated for the National Theatre in Tunis, Tunisia in 2015, and training with intercultural performance master Phillip Zarilli in Wales, UK.    She has been artist in residence at Payepot First Nation for the past four years creating large performance projects with the entire community.

 

China Cloud Ensemble is a new quartet comprised of musicians from Music and Movement Mondays. It includes Ben Brown, drums; Colin Cowan, contrabass; Elisa Thorn, harp; and Dominic Conway, saxophone.

Ben Brown is a Vancouver-based musician, composer, and member of the Juno award-winning group Pugs and Crows. He has collaborated with contemporary and ballet dancers including Justine Chambers, Heidi Bunting, Lee Su-Feh, Kenny Pearl, Edmond Kilpatrick, and Megan Walker Straight. He is a mainstay in Vancouver’s creative music scene, performing with Jill Barber, Michael Bates Quartet, The Unsupervised, The Crackling, and the C.R. Avery Band. He is the founder of a new weekly collaborative series between live musicians and dancers entitled Music and Movement Mondays. He has recently returned from a Canadian tour and is currently in recording sessions with Vancouver vocalist/pianist Alicia Hansen.

Dominic Conway has played in numerous jazz, rock, and R&B bands over the course of his eleven year career and has participated in the Vancouver International Jazz Festival as a member of The Bletchley Bombes and The Malleus Trio, both of which highlight his long running collaboration with drummer/composer Ben Brown.

Colin Edward Cowan is a Vancouver-based musician/comedian/curator. Current projects and collaborations include Colin Cowan and the Elastic Stars, as well as Dan Mangan, Analog Bell Service, Chris Kelly, Vows, White Knife, Tishomingo String Band, Rob Butterfield, Jenn Bojm, MALCOM JACK, and Tariq Hussain.

Elisa Thorn is a Vancouver-based harpist/curator. She currently composes and performs with her group Gently Party, and produces the Vancouver concert series Sound(E)scape, which brings together musicians with dancers, poets, puppeteers, and visual artists.


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19 July 2014, 1:35 pm 108d92b9366ec51542e5e81dbf65a098
<![CDATA[Life and People]]> Found: residency

Borrowing its title from Vancouver artist Barry Doupé’s new film, the result of a 2013 Western Front Production Residency, our fall exhibition includes Doupé’s new work alongside sculptures by Vancouver artist Mark DeLong and animated Gifs by Toronto-based Lorna Mills. Often focusing on pop culture material that occupies the fringes of the mainstream, each of these artists produces their work with an intensive, craft-like rigor. Obscuring representation and narrative, these works embody the funny, scary and banal qualities that make up the messy performance of daily life.

Artist Biographies

Mark DeLong (b. 1978, New Brunswick, Canada) is a self-taught artist. His work has been displayed at Acme Gallery, Los Angeles; Bee Studios, Tokyo;  Edward Thorp Gallery, New York; Abel Neue Kunst Gallery, Berlin; Perugi Art Contemporenea, Padova, Italy; Museum Of Contemporary Canadian Art, Toronto; Little Cakes, New York;  DeLong has collaborated with such artists as Paul Butler, Jason McLean and Geoffrey Farmer. His work has been seen in Border Crossings and Canadian Art Magazine and he has published books with Nieves, Switzerland; Seems Books, and TV Books in New York. DeLong currently lives and works in Vancouver, British Columbia.

Barry Doupé (b. 1982 Victoria, BC) is a Vancouver based artist primarily working with video and animation. He graduated from the Emily Carr University in 2004 with a Bachelor of Media Arts majoring in animation. His films use imagery and language derived from the subconscious; developed through writing exercises and automatic drawing. He often creates settings within which a characters’ self-expression or action is challenged and thwarted, resulting in comic, violent and poetic spectacles.  His films have been screened throughout Canada and Internationally including the Ann Arbor Film Festival (Ann Arbor, Michigan), International Film Festival Rotterdam (Rotterdam, the Netherlands), Anthology Film Archives (NY, New York), Lyon Contemporary Art Museum (Lyon, France), Pleasure Dome (Toronto, ON), MOCCA (Toronto, ON), Whitechapel Gallery (London, UK), Centre Pompidou (Paris, France) and the Tate Modern (London, UK).

Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990s. Her obsessive practice includes Ilfochrome printing, painting, super 8 film & video, and on-line animated GIFs incorporated into restrained off-line installation work. In addition to her practice as an artist, Mills has organized GIF installations for Sheroes (year(s)), Toronto; When Analog Was Periodical (2013) Berlin; and :::Zip The Bright::: (2013) at Trinity Square Video, Toronto. Her most recent solo exhibition, The Axis of Something (2013) was exhibited at Transfer Gallery in Brooklyn, New York. Lorna Mills also curated in 2014 a two-part video remake of John Berger’s 1972 BBC production, Ways of Seeing, retitled Ways of Something for Theoneminutes program at The Sandberg Institute in Amsterdam.

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18 July 2014, 12:39 pm bd461507b11d2e2e9a32b5f3b238aa3b
<![CDATA[New Forms 2014: Kevin Beasley Talk]]> Found: residency, residence

Western Front is pleased to present a talk by New York-based artist Kevin Beasley in conjunction with the 14th Annual New Forms Festival.

The physicality of sound is foundational to Beasley’s site-specific practice that works to expose a location’s historical weight by revealing the invisible aural materiality and protracted moments from both mythical and scientific time. Prior to his current residency at the Studio Museum in Harlem, he was an artist-in-residence at the International Studio and Curatorial Program (ISCP) in Brooklyn, NY. Beasley’s sculptural installations and performances have been included in recent internationally renowned exhibitions, such as at the 2014 Whitney Biennial, New York; the Walker Art Center, Minneapolis; the Museum of Contemporary Art Cleveland; and the Museum of Modern Art (MoMA), New York. He received his BFA from the College of Creative Studies, Detroit, and an MFA in Sculpture from Yale University in 2012.

For more information about the New Forms Festival, visit their website.

 

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16 July 2014, 4:30 pm 1c78e915254b7609eb31c3ee89127327
<![CDATA[Krista Belle Stewart]]> Found: residency

Vancouver-based artist Krista Belle Stewart will be producing a new media work along with research during her two-month residency. Her work engages the complexities of intention and interpretation made possible by archival material. The work approaches mediation and storytelling to unfold the interplay between personal and institutional history. Stewart has exhibited in numerous group exhibitions, most recently as part of Fiction/Non-fiction at the Esker Foundation (2013), Where Does it Hurt? at Artspeak (2014), and the Western Front production Music from the New Wilderness (2014). She is a member of the Upper Nicola Band of the Okanagan Nation.

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15 July 2014, 12:47 pm 77be7b811db753f0eb3fb3c904149d3e
<![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

 

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16 August 2013, 2:21 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, 8:00 am b7dfbe038892baee8e89a874f91645ef
<![CDATA[Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist]]> Found: calls, call

Together with our partners at Aimia, we were excited to announce the 2014 Aimia | AGO Photography Prize shortlist on Aug. 13. Below, learn about the four artists from around the world who were our jurors’ top picks, then head to the Prize website to see more of their work and choose your favourite.


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

“Our understanding of ourselves is deeply rooted in the spaces we occupy.”

David Hartt was born in Montreal and currently lives and works in Chicago. In his installations, which include photographs, videos, and sculptures, he explores how physical spaces reflect the ideas and beliefs of a particular time and place. By investigating the materials, symbols and histories that shape our surroundings, Hartt calls attention to the ways our built environments exist and evolve. After extensive research and site visits, he distils this material into complex and elegant installations.

Artist’s web page

On David’s work:
David Hartt by Aimee Walleston for Art in America
David Hartt: Stray Light at the Studio Museum in Harlem by Andrew Russeth for Gallerist


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

“The questions for me are about this very mysterious unit that is the picture. It brings on a set of assumptions and built-in ways of looking with which I am in constant battle.”

At the centre of Israel-born, Los Angeles-based artist Elad Lassry’s work is the question: “What is a picture?” His practice suggests that the photograph is an elusive “unit.” Lassry uses multiple aesthetic modes and technologies to create analog images, digital interventions, moving pictures, design applications and applied arts that seem utilitarian but produce complex visual sensations. His ongoing investigation leads him to refer back to and experiment with a variety of visual sources – textbooks, manuals, film stills, marketing materials and science texts – which at turns contradict and play off one another in his work. Lassry uses this dynamic to pinpoint what he calls a “contemporary condition” in which the photograph is a flexible entity, seductively powerful and yet untrustworthy. “Once the photograph is not what it appears to be,” Lassry asks, “what else is at stake?”

Artist’s web page

On Elad’s work:
Elad Lassry by Gillian Young for Art in America
Elad Lassry at David Kordansky via Contemporary Art Daily


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

“I’m interested in uncovering that binary – that in-between space that you can’t always pinpoint or articulate.”

Nandipha Mntambo was born in Swaziland and lives in Johannesburg. She originally trained as a sculptor and then expanded her practice to include photography, performance, and video. Her work investigates such dualities as male and female, attraction and repulsion, animal and human, European and African. Mntambo makes sculptures from cowhide, using her own body to mould the forms. In many of her videos and photographs, she appears wearing her sculptures, suggesting our capacity as individuals to shape the world around us, while also highlighting the forces that form us, including notions of race, gender and history.

Artist’s web page

On Nandipha’s work:
Nandipha Mntambo: Hide & Seek by Kudi Maradzika for AkAthemag
Visiting Artist Profiles – Nandipha Mntambo by Matthew Harrison Tedford for ArtPractical


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

“I want the viewer to ask, ‘What am I looking at? How is it made?’ Somehow, that provides a way of critically reading how images come to all of us through our daily lives.”

Lisa Oppenheim, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research, to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.

Artist’s website

On Lisa’s work:
Lisa Oppenheim by Shama Khanna for Frieze
Lisa Oppenheim: Elemental Process by Brian Sholis for Aperture

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15 August 2014, 10:19 am 822f14b9c0563690f281c6f80964a2e0
<![CDATA[Conservation Notes: Looking at ephemera in Betty Goodwin’s notebooks]]> Found: entries

Ephemera 2
Ephemera 3
Ephemera 5
Ephemera 6

Click arrows to see inside the notebooks.

Betty Goodwin’s notebooks and sketchbooks are both interesting documents of the artist’s process and important objects in their own right, offering insight into her daily life and art practice. The term “ephemera” refers to documents or items that were not necessarily meant to last long and are often made of materials that deteriorate quickly. The ephemera found in Goodwin’s notes comprise a variety of materials, including sticky notes, banana stickers, instant photographs, newspaper articles and pressed flowers. Making sure the sketchbooks are preserved in the exact condition that Goodwin left them, with ephemeral items intact where Goodwin placed them, allows researchers to see the artist’s thoughts on her own works.

In the late 1990s and early 2000s Goodwin, with the help of one of her studio assistants, revisited a number of her sketchbooks from the earlier days of her career, using sticky notes and metal clips to mark key pages, some of which date back to the 1960s. Some sketchbooks have pages that have been removed, with photocopies pasted back in their place, and some of these copied pages even re-appear in later sketchbooks, stuck onto pages or tucked in as loose leaves in agendas or diaries. Maintaining these re-arrangements, along with clips and the sticky notes, lets researchers see which of Goodwin’s own entries, sketches or notes she considered important.

The temporary nature of various ephemeral elements presents some challenges to conservation: the low-tack glue of sticky notes makes them vulnerable to detaching and metal clips will rust. However, each of the individually created enclosures made by Digital Special Collections Assistant Marianne Williams securely contains the ephemera in each volume and ensures no materials or information will be lost. Read about those here.


Curious about Conservation?
If you have a burning question about Conservation, leave a comment below. We’ll do our best to give you an answer in an upcoming Conservation Notes post.


Signature Partner of the AGO’s Conservation Program


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11 August 2014, 3:32 pm 8286761b0935e778998f572437dcdf39
<![CDATA[Artist’s statement: Christi Belcourt on The Wisdom of the Universe]]> Found: award
Christi Belcourt, The  Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 ©  2014 Christi Belcourt.

Christi Belcourt, The Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.

The AGO has commissioned and acquired an extraordinary painting entitled The Wisdom of the Universe by Christi Belcourt, a Métis visual artist and author who received the 2014 Ontario Arts Council Aboriginal Arts Award at a ceremony held here on July 30, 2014. Below, Belcourt discusses the ecological concerns that inspired the work.

AGO.116615.d02
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.
AGO.116615.d01
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.
AGO.116615.d
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.

In Ontario, over 200 species of plants and animals are listed as threatened, endangered or extinct. Of those, included in this painting are the Dwarf Lake Iris, the Eastern Prairie Fringed Orchid, the Karner Blue butterfly, the West Virginia White butterfly, the Spring Blue-eyed Mary, the Cerulean Warbler and Acadian Flycatcher.

Globally, we live in a time of great upheaval. The state of the world is in crisis. We are witness to the unbearable suffering of species, including humans. Much of this we do to ourselves. It is possible for the planet to return to a state of well-being, but it requires a radical change in our thinking. It requires a willingness to be open to the idea that perhaps human beings have got it all wrong.

All species, the lands, the waters are one beating organism that pulses like a heart. We are all a part of a whole. The animals and plants, lands and waters, are our relatives each with as much right to exist as we have. When we see ourselves as separate from each other and think of other species, the waters and the planet itself as objects that can be owned, dominated or subjugated, we lose connection with our humanity and we create imbalance on the earth. This is what we are witnessing around us.

The planet already contains all the wisdom of the universe, as do you and I. It has the ability to recover built into its DNA and we have the ability to change what we are doing so this can happen.

Perhaps it’s time to place the rights of Mother Earth ahead of the rights to Mother Earth.

– Christi Belcourt


This work is one of two paintings by Belcourt currently on display in the Gallery. In the video below, Belcourt discusses the other, entitled So Much Depends Upon Who Holds the Shovel (2008), which appears in our exhibition Before and after the Horizon: Anishinaabe Artists of the Great Lakes.

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7 August 2014, 2:51 pm dec498ffcd80dd636ed7ed2efb6b49a3
<![CDATA[Catching up with Chino Otsuka, 2013 Aimia | AGO Photography Prize finalist]]> Found: call, opportunity, residency, awarded, award

Chino Otsuka, <em>Imagine Finding Me</em>, 1975 and 2005, Spain, Japan, 2005, Chromogenic print, 305 mm x 406 mm.</

Chino Otsuka, Imagine Finding Me, 1975 and 2005, Spain, Japan, 2005, Chromogenic print, 305 mm x 406 mm.

Born in Tokyo and educated in the U.K., 2013 Aimia | AGO Photography Prize finalist Chino Otsuka uses photography and video to explore the fluid relationship between memory, photography, and time. She recently completed her residency at the Nikkei National Museum in Burnaby, B.C., which focused on researching Japanese picture brides and their forgotten stories. We caught up with Otsuka to discuss her residency research, work and experience.

AGO: While you were in Vancouver, you worked inside the archives and collection of the Nikkei National Museum & Cultural Centre. What did your research focus on, and what affect has working in Vancouver had on your work?

Chino Otsuka: The research I conduct is integral to the development of my work. For a while now I have been researching the history of Japanese emigrants. When I found out about the residency component of the AIMIA | AGO Photography Prize and was able to choose anywhere in Canada, I knew I wanted to go to the Nikkei National Museum. Since I had previously done similar research on a group of Japanese who went to the Netherlands in the mid-19th century, I wanted to see the museum’s collections and learn more about the history of Japanese-Canadian immigrants.

During the residency I had the opportunity to access and explore museum collections that are not normally seen or easily accessible. I knew very little about the history of Japanese immigrants in Canada, or the hardships and injustice that they suffered. I read and came across so many moving stories. All of this is a very important part of Japanese history, and I’m so surprised that many of these stories are untold outside of Canada.

As my research progressed I became more and more interested in the stories of young women who came over from Japan as a “picture brides,” young Japanese women usually between 17 and 19 years old who came to Canada as in the early 20th century. Their marriages were arranged by showing the prospective bride and groom photographs of each other. Most of these women travelled from Japan and saw their husband-to-be for the first time when they arrived in Canada. I was drawn to their innocence, ambition and courage — their journey. They all longed for a new life in their new country. Yet when they arrived in Canada the life they had imagined was completely different. Hardship and many tragedies would follow them. They struggled and endured so much.

I’ve looked through many photographs and artefacts in the collection and chose to focus especially on their journey to Canada. There is a sense of anticipation around the little moment in their life when they were dreaming about the future. I’ve been working with the old photographs as well as photographing their belongings that they brought with them from Japan.

With your residency now complete, can you speak to the effect that the overall experience has had on your work? Did your work move in a new direction during the residency? If so, how?

The residency has given me a new perspective on my practice, as well as time to explore and experiment with new ideas. The work I started during my residency is not quite finished yet. I’m done with the research and photographing and am now working with these materials through editing and finding ways to present them.

What has the residency allowed you to do in terms of your work and research?

In my work I mainly explore the notion of autobiographical memory, so the residency at the Nikkei National Museum has given me the opportunity to explore and research the history, the collective memory – how the individual memories weave together to tell a story.

In her essay “Chino Otsuka’s Time Machine” Michiko Kasahara writes that your “journeys into the past are not sentimental and do not display a nostalgic atmosphere,” yet much of your work explores issues of duality, history, memory and self. Can you elaborate on/explain your method? Do you agree with the writer’s statement?

I work with the past and many of my works show my past. How I take my works, restage and rework them is really about today, not yesterday.
My works are personal but by carefully selecting the images, and recreating them in the certain ways, I’m trying to engage the viewers’ internal dialogue of their experiences. I hope to make the images/stories resonate and trigger the viewers’ own memories.

Your work, specifically in the series “Imagine Finding Me,” is extremely personal with the subject being your own self and memory. The Aimia | AGO Photography Prize is awarded by public vote. As the subject of the work, what were your thoughts on it being considered in this way?

I visited the AGO during the exhibition while the voting was going on, and when I wandered around the museum strangers came up to tell me that they voted for me. I guess they recognized me from my work, and that was a really strange experience.


*This interview was conducted via email in July 2014 and has been edited for style and brevity.

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29 July 2014, 11:22 am 3bd46b2e3965663e39e76c1b7bb4c671
<![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, 9:51 am ea30053a59b51a2b6d3048cc34f89f16
<![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, 8:00 am 7ecbcd287d321df62d87955f8cbb5ea9
<![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, 1:40 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, 12:04 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, 8:20 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, 10:11 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, 4:28 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, 4:52 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, 6:50 pm 0c4b2e928c429528894ee3a1ebb2055c
<![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, 1:03 pm a0ec52e369c8df0b4b378ef64b241d2e
<![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, 9:02 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, 1:08 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, 4:47 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, 5:57 pm 0f5b78331581dc53a92c92be85a8445a
<![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, 6:00 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, 5:50 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, 6:00 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, 9:00 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, 6:00 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, 5:00 pm c4cc886e0508ab1a3658acb8507d12c2
<![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, 1:23 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, 4:44 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, 3:42 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, 4:10 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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9 November 2008, 11:43 pm 8b31fd7fd4d3a323e3af8af918d320de
<![CDATA[Neither Here nor There Photography Exhibit - Cincinnati, Ohio]]> Found: deadline, award
$1000 best of show award. Deadline: August 26, 2014

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71e6a82492a91704da7aabde9bb77247
<![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[81st Annual International Exhibition of Fine Art in Miniature - North Bethesda, Maryland]]> Found: deadline, awards, award
$6,000 in awards. Deadline: September 20, 2014

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fcd4e1e92946fefd53d708533592a33c
<![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[Art Basel Miami Week 2014 | Cosmic Connections Exhibition - Miami, Florida]]> Found: deadline, awards, award
$3,000 in awards. Deadline: October 31, 2014

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d3be483cbecefe1c644ce2efb54f8a6b
<![CDATA[8th GICBiennale 2015 International Competition - Gyeonggi-do, South Korea]]> Found: deadline
$48,100 Grand Prize with solo exhibition in 2017. Deadline: November 7, 2014

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e87a794202aa9643f3e70d218f35a762
<![CDATA[Au Naturel: the Nude in the 21st Century - Astoria, Oregon]]> Found: deadline, awards, award
$1000 in cash prizes; Up to $2000 in purchase awards. Deadline: November 7, 2014

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93a7ddc3abe2fc8a3c43956414915097
<![CDATA[Yosemite Renaissance XXX - Yosemite, California]]> Found: deadline, awards, award
$4,000 in awards. Deadline: November 15, 2014

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353a8cfbbf026e1e2fe656b07a9e56da
<![CDATA[Maribor v Celtic: Champions League play-off live!]]> Found: call, awarded, award, jury

8 min: Celtic attack again, with Stefan Johansen crossing into the Maribor box, where Anthony Stokes is outjumped for the header. The ball breaks as far as Miakel Lustig on the right, whose cross is intercepted and cleared.

Celtic open the scoring after Jo Inge Berget controls a beautiful pass into the left side of the Maribor penalty area and takes advantage of a lucky bounce off a defender and shoots low and hard towards the near post. Jasmin Handanovic gets down to the save, but the ball breaks kindly for Callum McGregor, who volleys into the empty net from the edge of the six yard box.

5 min: Celtic are given the freedom of their own half as they play the ball out of defence, with Maribor remaining compact inside their own half as the Scottish side move forward.

4 min: Marko Suler lumps the ball forward for Maribor, but Mikael Lustig clears as far as Callum McGregor.

2 min: Celtic pass the ball around the back, inside their own half. The balls played to left-backk Emilio Izaguirre on the left touchline and he moves it inside. After patient build-up, the balls played back out to Izaguirre on the left from the edge of the penalty area, but his attempted cross is cleared.

1 min: Celtic kick off, playing from left to right in the intimate surroundings of the Stadion Ljudski. Around 300 Celtic fans have made the journey to Slovenia for this evenings game.

Lou Roper mails in: Surely enquiring MBM minds will wish to know the most salient prospect for Celtics progress: which ineligible player have Maribor fielded? he wonders.

Not long now: The teams march out of the tunnel, with Charlie Mulgrew leading out Celtic in the absence of the injured Scott Brown. The Scottish champions wear their usual kit of green and white hoops, white shorts and green and white socks. Their hosts wear purpley-blue shirts with yellow collars and trim, with similarly coloured shorts and socks.

Oof!

@guardian_sport @bglendenning no thanks. Rather wait see what score the lawyers come up with. #sameoldcelticalwayscheating

John McEnerney writes: Tight tie this one for The Hoops! he says. Tavares a Brazilian born striker and Ibraimi an attacking midfielder will be the main danger men. Celtic need to box clever here tonight; an early away goal would do nicely and solid defending.

Gordon-watch: As a Sunderland fan, I have to say that its nice to see club old boy Craig Gordon back between the sticks after several years out with injury. Good luck to him.

An email from Simon McMahon: Evening Barry, he writes. Its not every day you get to see a picture of a current Dundee United player during a Champions League MBM. Congratulations Gary Mackay-Steven, and another first for the Guardian.

Tonights match is being played in Maribors Stadion Ljudski, which is located on the left bank of the river Drava in the district of Koroska Vrata in Maribor, Slovenias second city. The capacity is just shy of 13,000. Interesting fact: the main stand boasts a 129m long and 18m high concrete arch that is protected by the institute for the Protection of Cultural Heritage of Slovenia as an architectural and historical landmark.

In the Sky Sports studios: Charlie Nicholas is working as a pundit and is nonplussed, if not a little bewildered by Celtics selection. He seems mystified by the absence of Kris Commons from the Celtic starting XI and feels Anthony Stokes shouldnt be playing on his own up front. He insists that the Republic of Ireland international needs a runner alongside him to bring out his best.

Maribor (4-4-2): Handanovic, Stojanovic, Rajcevic, Suler, Viler, Vrsic, Filipovic, Dervisevic, Bohar, Tavares, Ibraimi.

Subs: Cotman, Mejac, Sallalich, Zahovic, Mendy, Arghus, Mertelj.

Early team news: Scott Brown (hamstring), James Forrest (hamstring) and Adam Matthews (calf) all miss out for Celtic, while Efe Ambrose flew out to join his team-mates today after being cleared to play in tonights match by Uefa.

The Celtic centre-back was sent off in the first leg of Celtics win over Legia Warsaw, but was left out of the travelling party for tonights match because club officials were unsure whether hed officially served his one-match ban after sitting out the second leg at Murrayfield, which was later wiped out and awarded to Celtic 3-0 after Legia fielded an ineleigible player.

Maribor manager Ante Simundza speaks: Weve been preparing for this very important match in our usual way, he said in his pre-match press conference. Fortunately we have no injuries, we are 100% motivated and focused. We know very well the weaknesses and strengths of our visitors from Glasgow.

With their new coach they play a more Scandinavian game with a lot of fast running and with very dynamic players all around the pitch. The Celtic coach is young and new, meaning his ideas are maybe not so visible yet. We are ready for their aggressive style. But first we have to impose our style of play on them. It is true that Celtic lost 6-1 to Legia over two legs but they had a lot of bad luck and missed a lot of chances. This result must not influence our players.

Barry will be here shortly. Continue reading...

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20 August 2014, 1:54 pm 75d9512a3b196bc980c1585d066c644f
<![CDATA[Michael Brown shooting: attorney general meets with Ferguson students live]]> Found: calls, calling, call, awarded, award, jury

As a grand jury convenes for the first time on the shooting of Michael Brown, the St Louis Post-Dispatch has provided a rigorous explanation of how a grand jury works in St Louis County:

Defense lawyers often view the grand jury as a rubber stamp of the prosecutor. The old saying about a grand jury could indict a ham sandwich if a prosecutor wants is actually believed to have originated with a former New York court of appeals judge, Solomon Wachtler. He was telling a reporter about the influence prosecutors had over grand juries.

Its no joke, said James Cohen, an associate professor at Fordham University School of Law in New York. That (quote) vividly places the power of the prosecutor in context.

The Guardians correspondents in Ferguson report on the tussle between St Louis county prosecutor Bob McCulloch and Missouri governor Jay Nixon:

McCulloch, whose impartiality has been repeatedly called into question, threw down what amounted to a challenge to Nixon, saying that he would recuse himself from the inquiry if the governor demanded he do.

Nixon responded by saying that he would not make such a demand. But in a late-night statement on Tuesday that stopped well short of a ringing endorsement, the governor reiterated that McCulloch could step down if he wished.

Heres the pool report on Eric Holders meeting at Florissant Valley Community College:

Among the handful of students who met with Holder was Molyrik Welch, 27, who said her brother died following an encounter with Ferguson police in 2011.

Welch said the 31-year-old man, Jason Moore, died of cardiac arrest after officers allegedly used a stun gun during a disturbance call.

US attorney general Eric Holder has just left Florissant Valley Community College, where he met with students. Hes now headed to a meeting with community leaders, per reports from local media.

Holder emerges from meeting at #ferguson community college pic.twitter.com/SqoJ8LI67g

Former Marine Lyle Jeremy Rubin cataloged the equipment police have deployed on the streets of Ferguson and how they are used, including stun grenades, gas canisters and armored vehicles. His explanations on the use and effects of wooden projectiles and more can be read on The Nation.

Again, the wounds are nasty. All these injuries remind me of the after-affects of Simunition training for Marine officers at The Basic School, except worse. Like the stun grenade, employing wooden pellets as a form of riot control was spearheaded by the British decades ago, mainly in Hong Kong. As the ACLU makes clear, considerable litigation has proceeded in the aftermath of such tactics, including suits brought by protesters in Oakland who bore the brunt of these measures around the beginning of the Iraq War. Longshoremen on their way to work also suffered and sued accordingly. As a result, the Oakland police department caved and beating residents with wooden projectiles as a means of crowd management was rendered illegal.

Brian Schellman of St. Louis PD confirms these were shot at protesters. They are "less lethal wooden baton rounds" pic.twitter.com/5hV2t0cJwo

White house aides told the Washington Post that President Barack Obama, Eric Holder and Obama adviser Valerie Jarrett briefed 1,000 African American community leaders about the situation in Ferguson as part of an effort to help keep the situation calm and focused.

More from The Post on the White Houses behind-the-scenes work on the protests:

NAACP President Cornell William Brooks, who has been in frequent touch with the White House, said that having the attorney general visit the site of an ongoing investigation is extra rare. . . . The U.S. governments pursuit of justice for this family is huge.

The civil rights groups said they would continue to press the Obama administration to implement broader reforms aimed at ending racial profiling among law enforcement officers and scaling back the militarization of local police forces.

Heres where things stands as we continue to provide coverage on the demonstrations in Ferguson.

US attorney general Eric Holder has arrived in Ferguson, where he will meet with Department of Justice employees and community leaders for a briefing on the federal investigation into the shooting of Michael Brown. Its unusual for federal officials to become this involved in this type of a case and is causing tension between investigators on each side.

Tensions in Ferguson wont subside anytime soon says Slates Jamelle Bouie, who has been reporting from Ferguson, where he says everyone has a story about their interactions with the police.

Whats important to understand is that these incidents and interactions reflect upon themselves. Too often the policemans club is the only instrument of the law with which the Negro comes into contact, wrote Howard University criminologist Kelly Miller in a 1935 op-ed. This engenders in him a distrust and resentful attitude toward all public authorities and law officers.

If youre trying to grasp the looting that has struck Ferguson throughout the demonstrations, theres some of your answer. For as much as there are bad apples and provocateurs in any mass gathering, its also true that theres a deep distrust of law enforcement across the black community that stems from decades of unfair treatment. Thats our life. We black. We get pulled over everyday, said two young demonstrators who declined to give their names, but were adamantas chants of Hands up, dont shoot filled the airthat they were out here for Michael Brown and they would do it however they [the police] wanted to do it.

Guardian reporters Rory Carroll and Chris McGreal have been reporting on the scene in Ferguson. Heres a round up of their photos from Tuesday.

'We young, we strong, we pushing all night long' Nary a hooligan in sight. #ferguson pic.twitter.com/vwmvsA2y31

Doris Davis, witness to latest St Louis shooting: if he had a knife they cd hve shot him in leg. Didn't need to kill pic.twitter.com/lXRd8XUjhA

Last nights protests were more peaceful than other nights, but they were not absent confrontations between police and demonstrators. Activist Rosa Clemente says she and a group of protesters were harassed by police. Clemente shared her experience in an essay in Ebony:

Let me be clear: we did nothing to provoke this. The first hour we were there, we merely walked and talked to folks--people were moving as they were told they had to and chanting. I caught up with Amy Goodman of NPR, and Trymaine [Lee]. Right before that, I had talked to clergy members. As a prayer vigil came together, I observed that the police seemed to get very agitated because people were being still. I stood watch. Talib and Jessica [Care Moore] were in a circle with young people who began to notice who they were and it seems that there was going to be an impromptu cipher. I kept my eye on the crew we were with; the amount of police officers was just as many as protestors.

As a long time activist against police brutality I have been trained by elders and my organization Malcolm X Grassroots Movement to be alert, stay focused. So I was keenly aware when something shift. I stepped to Talib [Kweli] and said, Something is about to go down.

There is no database of police shootings in the US, so Deadspin is trying to create one to overcome the information gap. Its asking for help from the public and is open to suggestions on better ways to compile the data. Deadspin explains:

There is no central infrastructure for handling that information and making it public. Researchers, confronted with the reality that there are over 17,000 law enforcement agencies in the country, arent even sure how youd go about setting one up. No one is keeping track of how many American citizens are shot by their police. This is crazy. This is governmental malpractice on a national scale. Wed like your help in changing this.

Local news channel Fox2Now has a camera trained on US attorney general Eric Holder and his entourage, which have both made it to Missouri.

Attorney General Holder arrives in St. Louis. #stl http://t.co/Som2OT8wiA pic.twitter.com/UjKzQ428mx

Economic injustices and inequality institutionalized racist attitudes, says The Guardians financial columnist Suzanne McGee . She broke down the economic inequalities black people in the US face:

According to the 2012 US census, African Americans represent 14.2% of the population nationwide, but 28.1% of this group lives in poverty compared to 11.1% of the total population. Of families with children, that number jumps to a third, compared to 18.8% of families of all races. Unemployment, whether short or long-term, runs at double the rate that white workers experience. If youre black, youre significantly more likely to have to spend more than 30% of your monthly income on either rent or monthly occupancy costs.

What all this adds up to, in the long run, is a crippling disadvantage a yawning wealth gap between the races. One study shows that while a white family turns every $1 of income into $5 of wealth, for the typical African American family that $1 translates into a mere 69 cents of wealth. White Americans make up 64% of the countrys population, but own 88% of its wealth; todays typical white household is likely to be 20 times more affluent than its black counterpart. As long as that remains the case, the white economic elite perpetuates itself, and continues to make the rules deciding, for instance, what the criteria are for hiring cops in Ferguson.

Ferguson city leadership has been fairly quiet during the protests, but on Tuesday, the city of Ferguson called for nighttime quiet and reconciliation in a document that also promised that the city would work to increase diversity in its police force and to acquire dash cameras and vest cameras for police officers.

Mayor James Knowles discussed these initiatives with the St Louis Post-Dispatch in an interview published today.

Missouri politicians are meeting with US attorney general Eric Holder today during briefings on the situation in Ferguson. This includes representative Emanuel Cleaver and state senator Claire McCaskill, who updated Holder on the situation last week in a phone call she made from a tire store.

Now. First of a series of listening sessions with young people from the community. No press, no cameras, just listening. #Ferguson

Best news from last night, no shooting by violent instigators hidden among the peaceful protesters and no tear gas from police.

A petition for a proposed Mike Brown Law has reached the signature threshold needed to get a response from the White House on the online open government initiative We The People. Anyone can create a petition on the website, but only petitions that get at least 100,000 signatures will receive a response from the administration.

More than 127,000 people have signed the petition, which calls on lawmakers to create a bill that would require law enforcement to wear cameras. The request states:

Create a bill, sign into law, and set aside funds to require all state, county, and local police, to wear a camera.The law shall be made in an effort to not only deter police misconduct(i.e. brutality, profiling, abuse of power), but to ensure that all police are following procedure, and to remove all question, from normally questionable police encounters. As well, as help to hold all parties within a police investigation, accountable for their actions.

Rebecca Carroll says in an editorial for The Guardian that white people need to use their privilege to dismantle racism:

You are the ones who created this godforsaken racist system by using your circumstantial power and privilege 400 years ago to institutionalize white supremacy. Now use that power and privilege you still have, 400 years later, to dismantle it.

And please dont quibble about whether you have any direct lineage to the architects of racism. You are benefitting from it, so you have a direct responsibility to figure out how to undo it. Because maybe youve seen what happens when we black people try to undo it in 2014 they call in the National Guard.

It is unusual for an US attorney general to push for a federal investigation into a case like the Michael Brown shooting, but Eric Holders aggressive efforts are indicative of a strong personal interest in the case, says the LA Times.

Holder is the countrys first African American attorney general and has become known for his involvement in civil rights cases since taking office in 2009. However, federal involvement in local cases tends to cause tense competition, and it looks like this situation is no exception.

Holder is betting that federal action will quiet the nightly violence, according to one Justice Department official, who spoke anonymously because of the delicacy of the situation in Ferguson and at the department.

He believes maybe showing the flag will help quell the tension, the official said. The attorney general has always been about race, and it happens here that the victim is black and the police officer is white. Yet one wonders how much that is playing a part in his extraordinary decision to go ahead with this.

A small group of protesters have gathered outside the Justice Center in Clayton, Missouri, where the grand jury is meeting today.

Praying @ protest in front of Justice Center in #Clayton before Grand Jury meeting. @FOX2now #MichaelBrown pic.twitter.com/Q4lVZrwBn4

Almost as many police as protesters at rally outside prosecutor McCulloch's office, calling on him to step aside. pic.twitter.com/xF5Et7rTO0

Images of armored military vehicles on the streets of Ferguson have inspired renewed criticism of a Department of Defense program that gives excess military surplus to local law enforcement, but The Guardians Spencer Ackerman says that is eclipsed by the size and scope of a Department of Homeland Security program.

During the current fiscal year, DHS plans to award $1.6bn in grant money for state, local and tribal agencies, mostly to aid them with counterterrorism, border security and disaster preparedness, it announced last month. By contrast, the Defense Departments 1033 program to transfer surplus military gear gave out less than $500m worth of equipment in fiscal 2013.

Two grant programs in particular, awarded through the Federal Emergency Management Agency (Fema), provide the lions share of the DHS money: the State Homeland Security Program and the Urban Areas Security Initiative.

A grand jury for the Michael Brown shooting case is convening for the first time today, but St Louis County prosecutor Bob McCulloch said it could take two months for his office to present all of its evidence. Our target date is hopefully by the middle of October, McCulloch said in a Wednesday morning radio interview.

Some have questioned McCulloch impartiality in the case because of his past comments and close ties to local law enforcement. Last week, he criticized Missouri governor Jay Nixon for taking the duty of policing protests from the St Louis County police force. He is also the son of a police officer who was killed in the line of duty by a black assailant and his mother and brother have careers in law enforcement.

Protesters chant hands up, dont shoot in this video from the tenth straight night of protests in Ferguson.

Focusing on peoples resistance instead of police repression dehumanizes black life, says Nyle Fort, in an editorial for The Guardian:

But thats the crux of white supremacist racial logic: the problem with black people is well, black people not mass incarceration and the deindustrialization of urban America, not educational inequality and generational poverty, not 400 years of slavery, lynchings, and Jim Crow. To be black in America is to be victimized and then made responsible for our victimization. We built this country. But, apparently, it is we who are lazy and dependent. We are bullied politically, socially and economically. But it is we who are called thugs.

There is never an excuse for violence against police, President Obama said. Yet there are endless excuses for state violence against black people. For mass incarceration, theres the war on drugs. For poverty and unemployment, theres a culture of laziness and government dependence. For the educational gap, theres the burden of acting white. For Eric Garner: loosies. And for Michael Brown, there are stolen cigarillos, jaywalking or anything the police can say to shift the narrative from their white supremacist practices to black ghetto culture.

The most recent overnight protests in Ferguson were relatively calm following several nights of chaotic demonstrations. There were no gunshots, Molotov cocktails or tear-gas - a peaceful night by Ferguson standards, said Chris Campbell and The Guardians Rory Carroll in their report on the protests.

In the early hours of Wednesday, however, there were reports of glass bottles being thrown and altercations between the crowd and police. More from Campbell and Carroll:

For most of the night a crowd several-hundred strong marched without incident under the gaze of police, who stayed further back than previous nights.

By 11pm Antonio French, a local alderman, was upbeat. We just want to get a few peaceful nights in a row to restore faith that people are getting back to normal, he said.

Welcome to our live coverage of the situation in Ferguson, Missouri, where unarmed black teenager Michael Brown was killed by police on 9 August. The shooting sparked raging protests in the 21,000 person town, but demonstrations were relatively subdued on Tuesday night and into Wednesday morning.

US attorney general Eric Holder is due in Ferguson today to check on a federal investigation into the shooting that has put about 40 FBI employees and members of the Department of Justices civil rights division on the ground to canvass residents and gather evidence on the case. Continue reading...

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20 August 2014, 1:52 pm aee4a39780b9b358760cc1d35f9f5946
<![CDATA[Are celebrity perfumes finally starting to fade away?]]> Found: awards, award
Elizabeth Arden blames its fall in sales on the waning popularity of branded fragrances. One Direction's all-conquering Our Moment might have something to say about that

Cosmetics giant Elizabeth Arden has reported a 25% drop in share prices and a worrying 28% fall in sales. It partly attributes its misfortune to the waning popularity of celebrity perfumes, notably its own offerings from Britney Spears, Justin Bieber and Taylor Swift. The dire figures have prompted financial pages to speculate that the age of the endorsed fragrance may be drawing to a close.

If only. Celebrity perfumes brought in £18bn worldwide in 2013 (£225m in the UK alone), a total boosted significantly by sales of One Direction's debut scent, Our Moment officially the fasting-selling perfume of all time which shocked the beauty industry not only by having a relatively tolerable smell, but also by outselling such iconic fragrances as Chanel No 5 and Christian Dior's Miss Dior last Christmas. (The Perfume Shop sold one bottle a minute over the festive period.) I was present at this year's Fragrance Foundation UK awards (known as "the Perfume Oscars") when Our Moment was announced as the winner of the evening's biggest award, beating "proper" perfume houses such as Giorgio Armani and Prada. To say the industry audience was openly stunned would be an understatement. Continue reading...

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20 August 2014, 12:03 pm 361d5c21de107b88fc6157411e783299
<![CDATA[Gentlemen, the cravat is back]]> Found: call, residence
The cravat will make you distinguished once more. Go on, pour yourself a stiff Madeira and give it a try

The BBCs own stylish grandfather-in-residence, Nicholas Parsons, has a clarion call for all charming gentlemen its time for real men to wear cravats again. The 90-year-old Just a Minute presenter told the Edinburgh book festival that he has recently rediscovered the joys of this natty alternative to a tie. In a push against Call me Dave Camerons open neck and suit policy, Parsons warns against baring too much Ive seen people with beautifully tailored jackets on, with an open shirt, there with an awful Adams apple. I quite agree, especially for anyone with Camerons schoolboy-soft features look no further than anchoring that cherubic chin with a cravat.

The cravat has been languishing in sartorial purgatory for too long. It has a long and illustrious history the forerunner to the modern tie, born in 17th century Croatia as a military scarf (cravat comes from the French Baroque slang for Croatian), making its way through the courts of Europe, where eventually it was adopted into standard court dress. This was not the cravat we think of today more a lacy neckpiece but the macaronis and then Beau Brummell went a long way to convert it, as it was in their variations on tying the cravat that the tie was born and named as such. Continue reading...

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20 August 2014, 11:12 am 359313740a023785c36f9ac0d3a3eb9b
<![CDATA[Bank of England split 7-2 over interest rates - as it happened]]> Found: call

Monetary Policy Committees unanimity crumbles with two policymakers voting to raise interest rates to 0.75%, but first hike may still not come this year

Investors turned more cautious after several days of gains, with the prospect of an earlier than expected rate rise in the UK hitting shares in London. Details in Nick Fletchers closing market report. European markets also paused for breath but ahead of the release of the US Federal Reserves latest minutes, Wall Street has moved higher. The closing scores in Europe showed:

Thats probably all that we (or anyone else!) has to say about the Bank of Englands minutes right now.

For full coverage and reaction, scroll back to 9.30am.

The split at the heart of the Bank of England highlights how hard it is to interpret the state of the UK economy, argues Professor John Thanassoulis of Warwick Business School.

Heres his take on todays Minutes:

The economy is recovering as GDP has been growing; house prices have been rising and unemployment has been falling. Thus in the near term one would expect inflation to start picking up. This will occur as the labour market tightens so that workers can start to bargain for higher wages.

This all points to inflation rising and an early initial rate rise. And yet this months inflation figure is down. This could suggest that the economic picture is worse than the above analysis suggests.

In other news, Argentinas plan to issue new local-law bonds to its creditors to resolve its default conundrum hasnt been well received in the markets (see 8.59am for details).

The value of some Argentinian government bonds has fallen, suggesting investors see them as even riskier today.

Jefferies: Execution risk should be high and initial participation quite low." #Argentina

JPMorgan: It's also a poor option because restructured bondholders have to be willing to accept local custodian and capital control risk.

Away from the drama of the 7-2 vote, todays minutes show that the Monetary Policy Committee is scrutinising every piece of economic data that comes their way.

There has been nothing in the recent data to make any of the seven MPC members voting to keep rates on hold change their minds. Indeed, since the August meeting official figures have shown inflation falling to 1.6% and earnings growth dipping to 0.6%. The international outlook has darkened, with activity in the eurozone coming to a halt in the second quarter and tension mounting in the Ukraine.

Whats more, the message that the Bank is moving closer to a rate rise may make it harder to raise borrowing costs. Consumers may start to spend less in anticipation of their mortgage costs rising, while a stronger pound will make imports cheaper and thus bear down on inflation.

The Institute of Directors, which represents Britains bosses, is delighted to see two hawks emerge at the Bank of England.

The IoD suggested that the seven MPC members who voted for no-change are wrong to focus their attention on weak wage growth (!), and should crack on with raising rates -- ideally before Christmas

Looking ahead over the next two years, as the economy continues to expand, the Bank of England will need to normalise interest rates. The IoD has called for rate rises to begin this year, aiming to reach a level of around 3% by the end of next year. The majority of MPC members still favour the status quo, but the minutes released today show that opinion in favour of rate rises has gained a foothold in the Committee.

The MPC argues that they are awaiting strong growth in wages before acting. However, we believe that monetary policy must be put back on a more normal footing first, before we begin to monitor inflation and other factors to see if further action is needed. Our research shows that wage rises are on the way, but they will be tied to improved corporate performance and therefore should not be the Banks primary focus when deciding when to end this period of extraordinary monetary policy.

Professor Danny Blanchflower, a former (dovish) member of the MPC, reckons the two hawks have blundered.

Data released since Augusts rate decision suggests no-change was the right call, he argues.

@FerroTV data out since the vote on falling CPI producer prices agent's scores and falling real wages make Weale & McCafferty look clueless

Jonathan Pryor, head of FX dealing at Investec Corporate and Institutional Treasury, says the 7-2 split is a surprise, given how dovish the Banks Inflation Report was last week.

This vote is likely to leave UK businesses scratching their heads about the direction of sterling and the best way to guard against potential volatility over the coming weeks and months.

UK interest rates are now more likely to rise before the next general election than not, according to Ladbrokes latest odds.

Ladbrokes has cut the odds on the first rate hike coming before May 2015, having seen the minutes of this months MPC meeting. Spokesman Alex Donohue explains:

Todays MPC minutes have shaken up our rate market significantly.

The latest news from Threadneedle Street now points to a pre-election rise being the most likely outcome.

The market has flip-flopped, we were 4/6 no rise 11/10 a rise prior to today's news.

Were running a poll, asking when readers think the first UK interest rate rise will come:

The British Chambers of Commerce has criticised Martin Weale and Ian McCafferty for voting to raise interest rates at this months MPC meeting.

While the large majority of committee members still believe in the existing policy of keeping interest rates low, it is disappointing that two members voted for an immediate increase at the last MPC meeting.

With inflation well below target and wage growth stagnating, any increase in interest rates at the moment would be premature. The economic recovery is still not secure and growth amongst UK businesses must be fostered in a low interest rate environment.

There are still big question marks for businesses on when the rise might come.

Businesses cannot plan for growth on the basis of vague or conflicting statements - policy makers can do more to provide certainty for businesses, enabling them to make informed decisions for the future.

While eurozone builders struggle, UK manufacturers remain upbeat about their prospects.

The CBIs monthly survey of the sector found that 37% of firms had boosted their output over the last quarter, while 25% said it had fallen. Nine sectors reported that the pace of growth had slowed in the past three months, but sixteen sectors anticipate growth over the coming quarter.

We also have another slice of worrying economic news from the eurozone to digest.

Construction output across the euro area fell by 0.7% in June, for the second month running, adding to Mays 1.4% decline.

Eurozone construction output down by 0.7% in June: Germany: +1.2% France: +0.2% Portugal: -1.6% Spain: -2.9% pic.twitter.com/ywvE2pFw9h

Looking for a full round-up of economist reaction to this mornings Bank of England minutes? Your search is over....

Heres our news story on todays Bank minutes, by economics editor Larry Elliott:

The first increase in interest rates from the Bank of England since 2007 has moved a decisive step closer after two members of Threadneedle Streets key policy committee broke ranks and voted for dearer borrowing.

Minutes of the meeting of the Banks monetary policy committee meeting show that two of the nine members Martin Weale and Ian McCafferty called for rates to be pushed up by a quarter point to 0.75%.

I'm surprised that 7-2 was a surprise, 9-0 this time round would have been a surprise surely!? #BOE

The emergence of two hawks on the Monetary Policy Committee makes a rate rise in 2014 a little more likely, says Christian Schulz, senior economist at Berenberg bank.

He cites three caveats, however.

(1) Dissenters do not always signal an imminent majority shift: there was a run of dissenting votes in 2011 as well, but the majority of the MPC stuck to the dovish course then.

(2) Wage growth has slowed even more according to data releases since the meeting, with weekly earnings falling by 0.2% yoy in June.

The City is now pricing in the first UK rate rise in January 2015, compared with February 2015 yesterday, Reuters reports:

Alastair Winter, chief economist at investment bank Daniel Stewart, points out that the Bank of England is likely to raise interest rates at a gradual pace.

So, change is in the air after all! Over the last two months I have become increasingly convinced that it was merely a matter of months before the first rate hike came.

The gap between the majority on the MPC and the so-called hawks has been and still is narrow. Martin Weale was already a suspect and now Ian McCafferty has come out.

James Knightley of ING has produced a very handy summary of todays Bank of England minutes:

The minutes to the August Bank of England monetary policy meeting showed that the committee voted 7-2 in favour of keeping Bank Rate at 0.5% with Martin Weale and Ian McCafferty both voting for a 25bp interest rate rise. This is the first time there wasnt a unanimous decision in just over three years. The committee voted 9-0 in favour of leaving QE at £375bn.

The two dissenters argued that the degree of spare capacity had diminished sufficiently and that a tightening labour market created a prospect that wage growth would pick up. They also noted that wages were a lagging indicator and it was desirable to anticipate labour market pressures by raising Bank Rate in advance of them. Even after a 25bp rate rise they argued that monetary policy would remain extremely supportive. It would also help facilitate the MPCs aspiration that the rises in Bank Rate should only be gradual.

Yesterdays low inflation numbers, the lack of wage growth and concerns about Eurozone growth the UKs largest trade partner, suggest that in the absence of upside activity data shocks the majority will continue to opt for the status quo in the next few months. Indeed, it currently looks more likely to be February when we see the first rate rise than our current published forecast of November.

This isnt the first time that Martin Weale has called, in vain, for a rate rise.

Back in 2011, he voted for a quarter-point rise, but subsequently changed his mind as the world economy was rocked by the eurozone crisis.

Martin Weale first voted for a UK Base Rate rise in January 2011 but stopped doing so in August 2011. So 3 years later he is back! #BoE

Alex Edwards, head of the corporate desk at UKForex, says the latest Bank minutes send a confusing message to investors, households and business owners as to when to expect the next rate rise.

Yesterdays inflation figures indicate that this could happen next year, but these minutes might suggest it could be before the New Year.

We should remember that this Monetary Policy Committee meeting took place before the latest inflation data, which showed a surprise fall in the consumer prices index to 1.6% in July, from 1.9% in June.

That drop in inflation bolsters the case for leaving interest rates unchanged for longer, and may have surprised the MPC.

#BoE thought June CPI rise unlikely to be due to delayed summer sales discounting.."reasons to suppose increase might be more lasting"-wrong

So, who might be next to join McCafferty and Weale in voting for a rate rise?

Jeremy Cook of World First suggests it could be chief economist Andy Haldane, or even deputy governor Ben Broadbent.

That's the hawks taken care of. Who moves next from the centre ground? Haldane or Broadbent possibly. Think it will remain 7-2 for a while

Standing room only at Haldane and Broadbent's next speeches

Martin Weale and Ian McCafferty were outvoted because other Bank of England policymakers believe there is insufficient evidence of inflationary pressures to justify a rate rise.

They want to leave interest rates at their record low of 0.5% until there are clear signs that wages are rising.

Given the risk that an increase in labour supply or persistent concerns over job security would result in weak wage growth continuing for longer, there would be merit in waiting to see firmer evidence that solid increases in pay growth were in prospect before tightening policy.

The minutes show that Ian McCafferty and Martin Weale both argued that the UK economy was strong enough to justify an immediate rise in bank rate.

They believe that earnings across the UK economy are likely to pick up in the months ahead, meaning the Bank of England should start to tighten monetary policy now.

For two members, in particular, economic circumstances were sufficient to justify an immediate rise in Bank Rate. These members noted that the continuing rapid fall in unemployment alongside survey evidence of tightening in the labour market created a prospect that wage growth would pick up.

They noted that it was possible that wages were lagging developments in the labour market to some extent. If that were true, wages might not start to rise until spare capacity in the labour market were fully used up. Since monetary policy, too, could be expected to operate only with a lag, it was desirable to anticipate labour market pressures by raising Bank Rate in advance of them.

The Bank minutes are online here.

This is the first time that Britains monetary policy has been split over interest rates since 2011 (rates have been unchanged at 0.5% since March 2009).

The Minutes explains that Mark Carney invited the MPC to vote on the proposition that Bank Rate should be maintained at 0.5%, and that it should leave its quantitative easing bond-buying programme unchanged at £375 billion.

Regarding Bank Rate, seven members of the Committee (the Governor, Ben Broadbent, Jon Cunliffe, Nemat Shafik, Kristin Forbes, Andrew Haldane and David Miles) voted in favour of the proposition.

Ian McCafferty and Martin Weale voted against the proposition, preferring to increase Bank Rate by 25 basis points.

The pound has jumped half a cent against the US dollar, to $1.6665.

Breaking: The Bank of Englands Monetary Policy Committee was split over interest rates!

Two members, Martin Weale and Ian McCafferty, broke with consensus and voted to raise borrowing costs by 25 basis points, to 0.75%, at the meeting earlier this month.

Minutes of the MPC Meeting held on 6 & 7 August reveal 7-2 split on #BankRate and a unanimous vote on Asset Purchases

Martin Weale, one of the external members of the MPC, is seen as the most likely hawk to vote to raise rates....

according to BNPParibas Carbey is right at the dovish extreme of MPC spectrum. could be outvoted at time of 1st hike pic.twitter.com/LDtpssaTVI

Just five minutes until the Bank of England minutes are released.....

Marc Ostwald of ADM Investor Services explains what to watch for:

Dissent cannot be ruled out within the MPC minutes, even if the consensus looks for 9-0, though that consensus appears to favour Martin Weale as the dissenter, despite the prior evidence, which suggests that Weale can appear voice hawkish opinions, but talking the talk does not translate (de facto) into walking the walk.

Be that as it may, the focus will be on the background debate to last weeks Inflation Report, which will inevitably highlight that MPC views on the economy remains very divergent. Of more interest perhaps, will be the discussion on market rate trajectories and indeed MPC guidance, even if MPC opinions will hardly have been unitary. But perhaps most attention (as ever) should be devoted to the MPC Agents reports, as signals from non-construction related sectors have been decidedly mixed, and even construction appears to be hitting supply related buffers, be that in terms of labour skills or raw materials constraints.

European stock markets have dipped in early trading, with Carlsbergs profit warning not helping sentiment.

The German, French and UK indices are down between 0.2% and 0.3%.

The euro has hit a new 11-month low against the US dollar this morning, down 0.2% to $1.3295.

It weakened after a survey of Dutch consumer confidence fell to minus 6, from minus 2 in July.

#Euro takes a beating today following disappointing Dutch data. $EURUSD now at 1.3294

The Ukraine crisis has hit Danish beer maker Carlsberg, in a worrying illustration of how geopolitical tensions could hurt the global economy.

Carlsberg warned investors that operating profits this year will fail to meet 2013s levels, due to deteriorating sales in Russia.

In order to mitigate the risks as much as possible, several changes have been and will be made in our Eastern European business, including structural changes. These include considerations related to brewery closures.

#Argentina offers bond swap to circumvent #US court prompted default. Effort to improve standing but with economy reeling, unlikely to work

The Argentinian default battle has taken another twist overnight.

Excuse me if I get a little nervous, I usually have more poise.

However, I really feel that we are living a moment of great injustice in Argentina.

Argentina's New Law To Dodge Debt Default http://t.co/kKGXRtkib7

An ambitious plan to merge two of Britains biggest construction firms appears to have failed.

The considerable risks associated with the proposed business plan, including the strategy to significantly reduce the scale of the UK Construction business when it is poised to benefit from a recovery in the market.

Over in Germany, the latest survey of factory gate prices has brought little respite to Europes low inflation problem.

The German Producer Prices index, which tracks how much firms receive for their wares, fell by 0.1% last month, and was 0.8% lower than July 2014. It was driven down by falling energy prices.

GERMANY JULY PPI M/M: -0.1% V 0.0%E; Y/Y: -0.8% V -0.7% PRIOR pic.twitter.com/94ZviS7KBM

German PPI another stunning example of the European version of inflation. Deflation.

ING also suspects the minutes could show an 8-1 split, although theres little change of a majority voting to raise rates until 2015.

They write:

Todays minutes to the August MPC meeting may see the first member voting for tighter policy. However, low inflation and stagnant wages suggest a majority in favour of rate hikes is some way off.

Joe Bond of city firm Abshire Smith reckons one member of the MPC may have jumped off the fence at this months meeting (which took place two weeks ago).

@GuyHardingSky: @Joe_Trading odds of seeing any dissent in today's minutes? Potential for 1 member today, though more likely next month

Good morning, and welcome to our rolling coverage of the financial markets, the economy, business and finance.

The focus will be on the BoE MPC meeting minutes, where the market will be looking for any signs that some members are getting hawkish. Continue reading...

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20 August 2014, 11:09 am be2877595d08f3b11e62832265985987
<![CDATA[Edinburgh comedy awards 2014: the nominees in full]]> Found: awards, award

Former nominees James Acaster and Sam Simmons, and last years best newcomer, John Kearns, are on the seven-strong shortlist for the main prize at the Edinburgh comedy awards

Edinburgh comedy awards: explore all the winners interactive

The standup James Acaster has received his third consecutive nomination at the Fosters Edinburgh comedy awards. Acasters set, which takes in loopholes, undercover cops and Pret a Manger bananas, is one of seven in the running for this years prize for best comedy show at the Edinburgh festival. The eccentric Australian standup Sam Simmons, who was previously nominated in 2011, is also in the running with his show Death of a Sails-Man, which revolves around his hallucinations on a desert island, and is told with bursts of hip-hop music and DIY props.

Last years best newcomer winner, John Kearns, is nominated for his show Shtick, in which he riffs on the oddball persona he introduced in his 2013 fringe performance. Liam Williams, a best newcomer nominee last year, is on the shortlist for his Free Fringe show Capitalism, which Guardian comedy critic Brian Logan declared in a five-star review a shatteringly funny set from a comic whos not ashamed to take the business of being alive seriously. Continue reading...

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20 August 2014, 9:16 am f63a0d0b63af43e5fcb986f821e07992
<![CDATA[White supremacy is the real culprit in Ferguson. The excuses just prove it]]> Found: calls, call, jury

To be black is to be a victim and then get blamed for it. To focus on the peoples resistance more than police repression devalues black life

Weve had enough of the police brutality, of the colorblind mythologies and post-racial rhetoric, of the sweet-talk, of the calls for non-violence; of mass incarceration and systemic poverty, of trigger happy cops and crying black mothers, of the Eric Garners and Renisha McBrides, the Michael Browns and Tarika Wilsons; of black tears and white terror. Dr Martin Luther King Jr said in 1968: A riot is the language of the unheard. Today, nearly 50 years later, black America demands to not only be heard but heeded by any means necessary.

This week in Ferguson, Missouri, there has been more backlash over the resistance of a few black (and some white) protestors than the violence of white police. Meanwhile, according to organizers on the ground, it has mainly been (white) outsiders inciting violence to promote their own agenda. As the writer Sarah Kendzior tweeted: White people coming to STL to provoke police violence against black residents and get them blamed. More than blamed: black people are left to bear the brunt of the political mess white infiltration leaves behind, be it by the National Guard or outside organizers. Continue reading...

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20 August 2014, 5:45 am 750ef7558ab9a2173515d882a40efd88
<![CDATA[Edinburgh comedy awards: explore all the winners interactive]]> Found: awards, award

From Cambridge Footlights in 1981 to Bridget Christie in 2013, explore the history of the Fosters Edinburgh comedy awards. Find out who won, who they beat and how the art of comedy changed each year. When did standup come to the fore rather than sketch humour? Who was the first female winner? Who won in the year that Jack Dee, Lily Savage and Frank Skinner were in the running? The various nominees include a minor royal and the narrator of Peppa Pig... The winners of this years awards will be announced on 23 August Continue reading...

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20 August 2014, 3:45 am 16b2f8792f4bf1a0f08ba89effa23dd5
<![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, 4:00 am fcc19779ff82a9ae2204dc9125804c34
<![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, 4:00 am 7f45194f7191090b5a3e8a16ef4292f4
<![CDATA[How Words on a Page Become Images in Our Minds]]> Found: call, award

Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? As readers, our ability to create an image of a character doesn’t really depend on our ability to see a  picture of them. Peter Mendelsund, Knopf's associate art director, explores how we visualize images from reading works of literature. He combines his profession as an award-winning designer, his first career as a classically trained pianist, and his love of literature to write a provocative and unusual investigations into how we understand the act of reading—What We See When We Read. He’ll also talk about the art of book design, and his book Cover.

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20 August 2014, 12:34 pm 782502291ec93a93e49e6500cc6e5b7e
<![CDATA[Surveillance State, Real and Imagined: Reading George Orwell's 1984]]> Found: award

George Orwell's chilling novel 1984 imagines a totalitarian surveillance state. Last year sales of the book soared after Edward Snowden revealed the United States' large-scale program to collect phone data of millions of American citizens. George Packer, New Yorker staff writer and author of the National Book Award-winning book The Unwinding, will be here August 19 to discuss 1984. Pick up a copy and see if you find parallels between Orwell's dystopian future and our current reality.

Leave your comments and questions below to get the conversation started!

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19 August 2014, 9:19 am 6ea8f2532d907462ee24e62926f1e306
<![CDATA[Recipe: Mark and Talia Kurlansky's Haitian Grilled Octopus]]> Found: call

Grilled Octopus

This dish actually should be made with conch, which the Haitians call lambi. Conch, though, is hard to get, not only where I live but everywhere. In Haiti, fishermen have become so accustomed to taking young, undersize conch that they no longer even remember what a full-size adult looks like. The mature conch has a broad lip that extends far beyond the coiled body. Look at the piles of shells bleached white and pink in the Haitian sun that accumulate where fishermen work, and you will not find one fully mature shell.

Octopus is arguably better food than conch. Stories of how it is tough and must be beaten to break down the fiber and make it edible are not true. However, this is true of conch. So why isn’t more octopus eaten? Simply because fishermen hate them. Octopus are hard to kill and they do not lie peacefully on the deck of a fishing boat or even in a tank. They wander. They like to get into things. They crawl into bags and gear. They hang from the ceiling of the pilothouse. They crawl into the engine hatch. They are a nuisance, but a tasty nuisance.

If you follow this simple recipe, the octopus will not be tough. Have the fish store remove the organ sack and the ink sack, cut off the beak in the center, and cut out the eyes.

 

1 medium-size octopus, about 6 to 8 pounds uncleaned

juice of 6 limes

3 tablespoons peanut oil

a pinch of salt

3 turns of black pepper

1 garlic clove, peeled and minced

3 thin slices of white onion, rings separated and cut in half

1 Scotch bonnet pepper, minced

Plunge the octopus into boiling water and keep it there for 10 seconds. Let it cool down and then do the same thing again. See Talia’s sidebar for more on this process. Then let it simmer in water just below bubbling for 1 hour.

Cut the octopus into bite-size pieces and mix the pieces with the lime juice, peanut oil, salt and black pepper, garlic, onion slices, and Scotch bonnet pepper. Serve chilled.

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18 August 2014, 9:17 am bcd0a598a739c2dab9783046c2315ef6
<![CDATA[The Gurus of How-To Help You Keep Your Home Ship Shape]]> Found: call

Our gurus of how-to, Al Ubell and Larry Ubell, give advice on home repair issues--from dripping sinks to leaking roofs and more.

Call 212-433-9692 with your questions or leave them in the comments below!

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12 August 2014, 11:00 pm 8501c967e21ec4c7010e29abb69f3a4e
<![CDATA[Simple, Delicious, Three-Ingredient Recipes for Summer Foods]]> Found: call, award

Four-time James Beard Award-winning food writer and chef Rozanne Gold shares simple, three-ingredient recipes that make the most of summer’s fruits and vegetables. Her latest cookbook is Radically Simple: Brilliant Flavors with Breathtaking Ease: 325 Inspiring Recipes.

 

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12 August 2014, 2:13 pm b05ab4947d6337649071c552239d87c1
<![CDATA[Vermeer’s Young Woman Seated at a Virginal]]> Found: opportunity
October 26, 2013 - September 21, 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[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, 8:00 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, 8:00 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, 7:00 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, 7:00 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, 7:00 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, 7:00 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, 8:00 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, 8:00 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, 8:00 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, 7:00 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, 7:00 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, 7:00 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, 8:00 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, 8:00 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, 8:00 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, 8:00 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, 8:00 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, 8:00 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, 8:00 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, 7:00 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, 8:00 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, 7:00 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, 8:00 am b0e81bbdb22d778cef5c101b2de22f13
<![CDATA[Arch Street]]> Found: opportunity, residence
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The Fabric Workshop and Museum was founded in 1977 with a visionary purpose: to stimulate experimentation among leading contemporary artists and to share the process of creating works of art with the public. Providing studio facilities, equipment, and expert technicians, FWM originally invited artists to experiment with fabric, and later with a wide range of innovative materials and media. From the outset, FWM also served as an education center for Philadelphia’s youth who, as printing apprentices, learned technical and vocational skills along with approaches to creative expression.
 
Today, FWM is recognized as an internationally acclaimed contemporary art museum, uniquely distinguished as the only institution in the United States devoted to creating work in new materials and new media in collaboration with artists coming from diverse artistic backgrounds—including sculpture, installation, video, painting, ceramics, and architecture. Research, construction, and fabrication occur on-site in studios that are open to the public, providing visitors with the opportunity to see artwork from conception to completion. In fact, the FWM’s permanent collection includes not only complete works of art, but also material research, samples, prototypes, and photography and video of artists making and speaking about their work. FWM seeks to bring this spirit of artistic investigation and discovery to the wider public and to area school children in particular, to ensure and broaden their access to art, and to advance the role of art as a catalyst for innovation and social connection. FWM offers an unparalleled experience to the most significant artists of our time, students, and the general public.
 
The FWM has developed from an ambitious experiment to a renowned institution with a widely-recognized Artist-in-Residence Program, an extensive permanent collection of new work created by artists at the Museum, in-house and touring exhibitions, and comprehensive educational programming including lectures, tours, in-school presentations and student apprenticeships.
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20 August 2014, 9:26 am 71affb69acadd577a75dec3065966410
<![CDATA[VIDEO: Foundland Collective Examines Syria Through an Artist's Lens]]> Found: call, residency
VIDEO: Foundland Collective Examines Syria Through an Artist's Lens

NEW YORK — In a small studio space in Brooklyn, Foundland, a collective comprised of Ghalia Elsrakbi and Lauren Alexander, are putting large issues from a half a world away under a microscope. Outside their studio, in the International Studio & Curatorial Program’s presentation space, they’ve mounted their first-ever exhibition in the United States, “Escape Routes and Waiting Rooms.”

Elsrakbi and Alexander are participating in a summer residency at ISCP, the first sponsored by Edge of Arabia in partnership with Art Jameel with goals to connect Middle Eastern artists with new audiences. 

The collective focuses their work on analysis concerning political and social issues, such as immigration, emigration and integration. Since 2011, they’ve been focusing on how those issues have been unfolding online, specifically how social media has been used as a platform for political expression. Foundland says this exhibition was born out of a six-month residency in Cairo. The duo moved closer to Elsrakbi’s native Syria to investigate personal stories of mobility and migration in a country where freedom of movement is strictly limited.

 “’Escape Routes’ is really referring to our experience of watching people who are displaced from Syria move to Egypt, witnessing a kind of displaced community forming outside of Cairo,” says Alexander, who is from South Africa but based in Amsterdam. “In the other parts of the exhibition, we try to relate more to the idea of ‘Waiting Rooms’ the status of people who are waiting with the hope that they could possibly return home but probably with their current situation being a permanent situation.”  

Foundland uses a white tent — modeled on actual tents used in the Za’tari camp in Jordan, one of the largest Syrian refugee camps in the world — as a symbol for a “Waiting Room” for an unknown future. Projected on the tent are drawings collected from social media connections.

“We approached people with the simple question: could you draw the house that you left behind?” explains Alexander.

“Talking about the house that you left behind is something that is very present in any discussion you open with them,” adds Elsrakbi.

The other major installation is staged around the dinner table of a Syrian family — Elsrakbi’s own. It depicts a schematic map of her family’s movements, where most of its members have migrated over time.

“We’ve tried to give a different perspective on what you really see in the media. It’s quite clear that the conflict is very heavy and it’s bloody and this is what really dominates the image,” says Elsrakbi. “We choose to work with metaphors like a dining table and a tent to bring those little small stories that you don’t hear so much closer to the audience. It’s very difficult to find ways to tell these in the media… art makes space for this.”

As part of the collective’s summer residency as ISCP, they are also investigating Little Syria, the first major Arabic community set up in Lower Manhattan in the late 1800s. The duo will explore the immigration patterns from Arab countries to the United States during that time. They’ll dig into history to discover what the community of Little Syria meant to Manhattan: who were the big figures involved, how did it unfold and, ultimately, how did most of the area get demolished in the end to make way for Battery Park. 

“There are a small group of people that are very passionate about putting this area back on the map, particularly people who are interested in Arabic literature and how that has played into the understanding or lack of understanding around what we see today,” says Alexander. “For example, people who were writing in the late 1800s, early 1900s really spoke about connecting East and West in quite an optimistic way, about how the two places interact with each other. These sorts of things are also lost in history. These are things we want to look into: what did this people say about it and what can we learn from that today.”

“Foundland: Escape Routes and Waiting Rooms" is on view through September 26th at the International Studio & Curatorial Program.

“Foundland: Escape Routes and Waiting Rooms"
Published: August 20, 2014

]]>
20 August 2014, 9:07 am 5477dbd556e33db04d5ce8a1325df02e
<![CDATA[Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist]]> Found: calls, call

Together with our partners at Aimia, we were excited to announce the 2014 Aimia | AGO Photography Prize shortlist on Aug. 13. Below, learn about the four artists from around the world who were our jurors’ top picks, then head to the Prize website to see more of their work and choose your favourite.


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

“Our understanding of ourselves is deeply rooted in the spaces we occupy.”

David Hartt was born in Montreal and currently lives and works in Chicago. In his installations, which include photographs, videos, and sculptures, he explores how physical spaces reflect the ideas and beliefs of a particular time and place. By investigating the materials, symbols and histories that shape our surroundings, Hartt calls attention to the ways our built environments exist and evolve. After extensive research and site visits, he distils this material into complex and elegant installations.

Artist’s web page

On David’s work:
David Hartt by Aimee Walleston for Art in America
David Hartt: Stray Light at the Studio Museum in Harlem by Andrew Russeth for Gallerist


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

“The questions for me are about this very mysterious unit that is the picture. It brings on a set of assumptions and built-in ways of looking with which I am in constant battle.”

At the centre of Israel-born, Los Angeles-based artist Elad Lassry’s work is the question: “What is a picture?” His practice suggests that the photograph is an elusive “unit.” Lassry uses multiple aesthetic modes and technologies to create analog images, digital interventions, moving pictures, design applications and applied arts that seem utilitarian but produce complex visual sensations. His ongoing investigation leads him to refer back to and experiment with a variety of visual sources – textbooks, manuals, film stills, marketing materials and science texts – which at turns contradict and play off one another in his work. Lassry uses this dynamic to pinpoint what he calls a “contemporary condition” in which the photograph is a flexible entity, seductively powerful and yet untrustworthy. “Once the photograph is not what it appears to be,” Lassry asks, “what else is at stake?”

Artist’s web page

On Elad’s work:
Elad Lassry by Gillian Young for Art in America
Elad Lassry at David Kordansky via Contemporary Art Daily


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

“I’m interested in uncovering that binary – that in-between space that you can’t always pinpoint or articulate.”

Nandipha Mntambo was born in Swaziland and lives in Johannesburg. She originally trained as a sculptor and then expanded her practice to include photography, performance, and video. Her work investigates such dualities as male and female, attraction and repulsion, animal and human, European and African. Mntambo makes sculptures from cowhide, using her own body to mould the forms. In many of her videos and photographs, she appears wearing her sculptures, suggesting our capacity as individuals to shape the world around us, while also highlighting the forces that form us, including notions of race, gender and history.

Artist’s web page

On Nandipha’s work:
Nandipha Mntambo: Hide & Seek by Kudi Maradzika for AkAthemag
Visiting Artist Profiles – Nandipha Mntambo by Matthew Harrison Tedford for ArtPractical


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

“I want the viewer to ask, ‘What am I looking at? How is it made?’ Somehow, that provides a way of critically reading how images come to all of us through our daily lives.”

Lisa Oppenheim, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research, to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.

Artist’s website

On Lisa’s work:
Lisa Oppenheim by Shama Khanna for Frieze
Lisa Oppenheim: Elemental Process by Brian Sholis for Aperture

]]>
15 August 2014, 10:19 am 822f14b9c0563690f281c6f80964a2e0
<![CDATA[Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist]]> Found: calls, call

Together with our partners at Aimia, we were excited to announce the 2014 Aimia | AGO Photography Prize shortlist on Aug. 13. Below, learn about the four artists from around the world who were our jurors’ top picks, then head to the Prize website to see more of their work and choose your favourite.


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

“Our understanding of ourselves is deeply rooted in the spaces we occupy.”

David Hartt was born in Montreal and currently lives and works in Chicago. In his installations, which include photographs, videos, and sculptures, he explores how physical spaces reflect the ideas and beliefs of a particular time and place. By investigating the materials, symbols and histories that shape our surroundings, Hartt calls attention to the ways our built environments exist and evolve. After extensive research and site visits, he distils this material into complex and elegant installations.

Artist’s web page

On David’s work:
David Hartt by Aimee Walleston for Art in America
David Hartt: Stray Light at the Studio Museum in Harlem by Andrew Russeth for Gallerist


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

“The questions for me are about this very mysterious unit that is the picture. It brings on a set of assumptions and built-in ways of looking with which I am in constant battle.”

At the centre of Israel-born, Los Angeles-based artist Elad Lassry’s work is the question: “What is a picture?” His practice suggests that the photograph is an elusive “unit.” Lassry uses multiple aesthetic modes and technologies to create analog images, digital interventions, moving pictures, design applications and applied arts that seem utilitarian but produce complex visual sensations. His ongoing investigation leads him to refer back to and experiment with a variety of visual sources – textbooks, manuals, film stills, marketing materials and science texts – which at turns contradict and play off one another in his work. Lassry uses this dynamic to pinpoint what he calls a “contemporary condition” in which the photograph is a flexible entity, seductively powerful and yet untrustworthy. “Once the photograph is not what it appears to be,” Lassry asks, “what else is at stake?”

Artist’s web page

On Elad’s work:
Elad Lassry by Gillian Young for Art in America
Elad Lassry at David Kordansky via Contemporary Art Daily


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

“I’m interested in uncovering that binary – that in-between space that you can’t always pinpoint or articulate.”

Nandipha Mntambo was born in Swaziland and lives in Johannesburg. She originally trained as a sculptor and then expanded her practice to include photography, performance, and video. Her work investigates such dualities as male and female, attraction and repulsion, animal and human, European and African. Mntambo makes sculptures from cowhide, using her own body to mould the forms. In many of her videos and photographs, she appears wearing her sculptures, suggesting our capacity as individuals to shape the world around us, while also highlighting the forces that form us, including notions of race, gender and history.

Artist’s web page

On Nandipha’s work:
Nandipha Mntambo: Hide & Seek by Kudi Maradzika for AkAthemag
Visiting Artist Profiles – Nandipha Mntambo by Matthew Harrison Tedford for ArtPractical


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

“I want the viewer to ask, ‘What am I looking at? How is it made?’ Somehow, that provides a way of critically reading how images come to all of us through our daily lives.”

Lisa Oppenheim, who lives and works in New York, creates photographs and videos that connect historical imagery and techniques with the present moment. Her process often begins with online research, to source images that she reinterprets using old and new technologies. Oppenheim also employs unusual materials as negatives – fabric, lace, slices of wood – directly recording the objects’ specific textures to create near-abstract compositions. Through her experiments with analog darkroom and digital methods, Oppenheim gives photographic images new forms and new contexts, inviting us to question and to wonder.

Artist’s website

On Lisa’s work:
Lisa Oppenheim by Shama Khanna for Frieze
Lisa Oppenheim: Elemental Process by Brian Sholis for Aperture

]]>
15 August 2014, 10:19 am 822f14b9c0563690f281c6f80964a2e0
<![CDATA[Conservation Notes: Looking at ephemera in Betty Goodwin’s notebooks]]> Found: entries

Ephemera 2
Ephemera 3
Ephemera 5
Ephemera 6

Click arrows to see inside the notebooks.

Betty Goodwin’s notebooks and sketchbooks are both interesting documents of the artist’s process and important objects in their own right, offering insight into her daily life and art practice. The term “ephemera” refers to documents or items that were not necessarily meant to last long and are often made of materials that deteriorate quickly. The ephemera found in Goodwin’s notes comprise a variety of materials, including sticky notes, banana stickers, instant photographs, newspaper articles and pressed flowers. Making sure the sketchbooks are preserved in the exact condition that Goodwin left them, with ephemeral items intact where Goodwin placed them, allows researchers to see the artist’s thoughts on her own works.

In the late 1990s and early 2000s Goodwin, with the help of one of her studio assistants, revisited a number of her sketchbooks from the earlier days of her career, using sticky notes and metal clips to mark key pages, some of which date back to the 1960s. Some sketchbooks have pages that have been removed, with photocopies pasted back in their place, and some of these copied pages even re-appear in later sketchbooks, stuck onto pages or tucked in as loose leaves in agendas or diaries. Maintaining these re-arrangements, along with clips and the sticky notes, lets researchers see which of Goodwin’s own entries, sketches or notes she considered important.

The temporary nature of various ephemeral elements presents some challenges to conservation: the low-tack glue of sticky notes makes them vulnerable to detaching and metal clips will rust. However, each of the individually created enclosures made by Digital Special Collections Assistant Marianne Williams securely contains the ephemera in each volume and ensures no materials or information will be lost. Read about those here.


Curious about Conservation?
If you have a burning question about Conservation, leave a comment below. We’ll do our best to give you an answer in an upcoming Conservation Notes post.


Signature Partner of the AGO’s Conservation Program


]]>
11 August 2014, 3:32 pm 8286761b0935e778998f572437dcdf39
<![CDATA[Conservation Notes: Looking at ephemera in Betty Goodwin’s notebooks]]> Found: entries

Ephemera 2
Ephemera 3
Ephemera 5
Ephemera 6

Click arrows to see inside the notebooks.

Betty Goodwin’s notebooks and sketchbooks are both interesting documents of the artist’s process and important objects in their own right, offering insight into her daily life and art practice. The term “ephemera” refers to documents or items that were not necessarily meant to last long and are often made of materials that deteriorate quickly. The ephemera found in Goodwin’s notes comprise a variety of materials, including sticky notes, banana stickers, instant photographs, newspaper articles and pressed flowers. Making sure the sketchbooks are preserved in the exact condition that Goodwin left them, with ephemeral items intact where Goodwin placed them, allows researchers to see the artist’s thoughts on her own works.

In the late 1990s and early 2000s Goodwin, with the help of one of her studio assistants, revisited a number of her sketchbooks from the earlier days of her career, using sticky notes and metal clips to mark key pages, some of which date back to the 1960s. Some sketchbooks have pages that have been removed, with photocopies pasted back in their place, and some of these copied pages even re-appear in later sketchbooks, stuck onto pages or tucked in as loose leaves in agendas or diaries. Maintaining these re-arrangements, along with clips and the sticky notes, lets researchers see which of Goodwin’s own entries, sketches or notes she considered important.

The temporary nature of various ephemeral elements presents some challenges to conservation: the low-tack glue of sticky notes makes them vulnerable to detaching and metal clips will rust. However, each of the individually created enclosures made by Digital Special Collections Assistant Marianne Williams securely contains the ephemera in each volume and ensures no materials or information will be lost. Read about those here.


Curious about Conservation?
If you have a burning question about Conservation, leave a comment below. We’ll do our best to give you an answer in an upcoming Conservation Notes post.


Signature Partner of the AGO’s Conservation Program


]]>
11 August 2014, 3:32 pm 8286761b0935e778998f572437dcdf39
<![CDATA[Artist’s statement: Christi Belcourt on The Wisdom of the Universe]]> Found: award
Christi Belcourt, The  Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 ©  2014 Christi Belcourt.

Christi Belcourt, The Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.

The AGO has commissioned and acquired an extraordinary painting entitled The Wisdom of the Universe by Christi Belcourt, a Métis visual artist and author who received the 2014 Ontario Arts Council Aboriginal Arts Award at a ceremony held here on July 30, 2014. Below, Belcourt discusses the ecological concerns that inspired the work.

AGO.116615.d02
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.
AGO.116615.d01
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.
AGO.116615.d
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.

In Ontario, over 200 species of plants and animals are listed as threatened, endangered or extinct. Of those, included in this painting are the Dwarf Lake Iris, the Eastern Prairie Fringed Orchid, the Karner Blue butterfly, the West Virginia White butterfly, the Spring Blue-eyed Mary, the Cerulean Warbler and Acadian Flycatcher.

Globally, we live in a time of great upheaval. The state of the world is in crisis. We are witness to the unbearable suffering of species, including humans. Much of this we do to ourselves. It is possible for the planet to return to a state of well-being, but it requires a radical change in our thinking. It requires a willingness to be open to the idea that perhaps human beings have got it all wrong.

All species, the lands, the waters are one beating organism that pulses like a heart. We are all a part of a whole. The animals and plants, lands and waters, are our relatives each with as much right to exist as we have. When we see ourselves as separate from each other and think of other species, the waters and the planet itself as objects that can be owned, dominated or subjugated, we lose connection with our humanity and we create imbalance on the earth. This is what we are witnessing around us.

The planet already contains all the wisdom of the universe, as do you and I. It has the ability to recover built into its DNA and we have the ability to change what we are doing so this can happen.

Perhaps it’s time to place the rights of Mother Earth ahead of the rights to Mother Earth.

– Christi Belcourt


This work is one of two paintings by Belcourt currently on display in the Gallery. In the video below, Belcourt discusses the other, entitled So Much Depends Upon Who Holds the Shovel (2008), which appears in our exhibition Before and after the Horizon: Anishinaabe Artists of the Great Lakes.

]]>
7 August 2014, 2:51 pm dec498ffcd80dd636ed7ed2efb6b49a3
<![CDATA[Artist’s statement: Christi Belcourt on The Wisdom of the Universe]]> Found: award
Christi Belcourt, The  Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 ©  2014 Christi Belcourt.

Christi Belcourt, The Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.

The AGO has commissioned and acquired an extraordinary painting entitled The Wisdom of the Universe by Christi Belcourt, a Métis visual artist and author who received the 2014 Ontario Arts Council Aboriginal Arts Award at a ceremony held here on July 30, 2014. Below, Belcourt discusses the ecological concerns that inspired the work.

AGO.116615.d02
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.
AGO.116615.d01
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.
AGO.116615.d
Christi Belcourt, <em>The Wisdom of the Universe</em> (detail), 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 © 2014 Christi Belcourt.

In Ontario, over 200 species of plants and animals are listed as threatened, endangered or extinct. Of those, included in this painting are the Dwarf Lake Iris, the Eastern Prairie Fringed Orchid, the Karner Blue butterfly, the West Virginia White butterfly, the Spring Blue-eyed Mary, the Cerulean Warbler and Acadian Flycatcher.

Globally, we live in a time of great upheaval. The state of the world is in crisis. We are witness to the unbearable suffering of species, including humans. Much of this we do to ourselves. It is possible for the planet to return to a state of well-being, but it requires a radical change in our thinking. It requires a willingness to be open to the idea that perhaps human beings have got it all wrong.

All species, the lands, the waters are one beating organism that pulses like a heart. We are all a part of a whole. The animals and plants, lands and waters, are our relatives each with as much right to exist as we have. When we see ourselves as separate from each other and think of other species, the waters and the planet itself as objects that can be owned, dominated or subjugated, we lose connection with our humanity and we create imbalance on the earth. This is what we are witnessing around us.

The planet already contains all the wisdom of the universe, as do you and I. It has the ability to recover built into its DNA and we have the ability to change what we are doing so this can happen.

Perhaps it’s time to place the rights of Mother Earth ahead of the rights to Mother Earth.

– Christi Belcourt


This work is one of two paintings by Belcourt currently on display in the Gallery. In the video below, Belcourt discusses the other, entitled So Much Depends Upon Who Holds the Shovel (2008), which appears in our exhibition Before and after the Horizon: Anishinaabe Artists of the Great Lakes.

]]>
7 August 2014, 2:51 pm dec498ffcd80dd636ed7ed2efb6b49a3
<![CDATA[Catching up with Chino Otsuka, 2013 Aimia | AGO Photography Prize finalist]]> Found: call, opportunity, residency, awarded, award

Chino Otsuka, <em>Imagine Finding Me</em>, 1975 and 2005, Spain, Japan, 2005, Chromogenic print, 305 mm x 406 mm.</

Chino Otsuka, Imagine Finding Me, 1975 and 2005, Spain, Japan, 2005, Chromogenic print, 305 mm x 406 mm.

Born in Tokyo and educated in the U.K., 2013 Aimia | AGO Photography Prize finalist Chino Otsuka uses photography and video to explore the fluid relationship between memory, photography, and time. She recently completed her residency at the Nikkei National Museum in Burnaby, B.C., which focused on researching Japanese picture brides and their forgotten stories. We caught up with Otsuka to discuss her residency research, work and experience.

AGO: While you were in Vancouver, you worked inside the archives and collection of the Nikkei National Museum & Cultural Centre. What did your research focus on, and what affect has working in Vancouver had on your work?

Chino Otsuka: The research I conduct is integral to the development of my work. For a while now I have been researching the history of Japanese emigrants. When I found out about the residency component of the AIMIA | AGO Photography Prize and was able to choose anywhere in Canada, I knew I wanted to go to the Nikkei National Museum. Since I had previously done similar research on a group of Japanese who went to the Netherlands in the mid-19th century, I wanted to see the museum’s collections and learn more about the history of Japanese-Canadian immigrants.

During the residency I had the opportunity to access and explore museum collections that are not normally seen or easily accessible. I knew very little about the history of Japanese immigrants in Canada, or the hardships and injustice that they suffered. I read and came across so many moving stories. All of this is a very important part of Japanese history, and I’m so surprised that many of these stories are untold outside of Canada.

As my research progressed I became more and more interested in the stories of young women who came over from Japan as a “picture brides,” young Japanese women usually between 17 and 19 years old who came to Canada as in the early 20th century. Their marriages were arranged by showing the prospective bride and groom photographs of each other. Most of these women travelled from Japan and saw their husband-to-be for the first time when they arrived in Canada. I was drawn to their innocence, ambition and courage — their journey. They all longed for a new life in their new country. Yet when they arrived in Canada the life they had imagined was completely different. Hardship and many tragedies would follow them. They struggled and endured so much.

I’ve looked through many photographs and artefacts in the collection and chose to focus especially on their journey to Canada. There is a sense of anticipation around the little moment in their life when they were dreaming about the future. I’ve been working with the old photographs as well as photographing their belongings that they brought with them from Japan.

With your residency now complete, can you speak to the effect that the overall experience has had on your work? Did your work move in a new direction during the residency? If so, how?

The residency has given me a new perspective on my practice, as well as time to explore and experiment with new ideas. The work I started during my residency is not quite finished yet. I’m done with the research and photographing and am now working with these materials through editing and finding ways to present them.

What has the residency allowed you to do in terms of your work and research?

In my work I mainly explore the notion of autobiographical memory, so the residency at the Nikkei National Museum has given me the opportunity to explore and research the history, the collective memory – how the individual memories weave together to tell a story.

In her essay “Chino Otsuka’s Time Machine” Michiko Kasahara writes that your “journeys into the past are not sentimental and do not display a nostalgic atmosphere,” yet much of your work explores issues of duality, history, memory and self. Can you elaborate on/explain your method? Do you agree with the writer’s statement?

I work with the past and many of my works show my past. How I take my works, restage and rework them is really about today, not yesterday.
My works are personal but by carefully selecting the images, and recreating them in the certain ways, I’m trying to engage the viewers’ internal dialogue of their experiences. I hope to make the images/stories resonate and trigger the viewers’ own memories.

Your work, specifically in the series “Imagine Finding Me,” is extremely personal with the subject being your own self and memory. The Aimia | AGO Photography Prize is awarded by public vote. As the subject of the work, what were your thoughts on it being considered in this way?

I visited the AGO during the exhibition while the voting was going on, and when I wandered around the museum strangers came up to tell me that they voted for me. I guess they recognized me from my work, and that was a really strange experience.


*This interview was conducted via email in July 2014 and has been edited for style and brevity.

]]>
29 July 2014, 11:22 am 3bd46b2e3965663e39e76c1b7bb4c671
<![CDATA[Catching up with Chino Otsuka, 2013 Aimia | AGO Photography Prize finalist]]> Found: call, opportunity, residency, awarded, award

Chino Otsuka, <em>Imagine Finding Me</em>, 1975 and 2005, Spain, Japan, 2005, Chromogenic print, 305 mm x 406 mm.</

Chino Otsuka, Imagine Finding Me, 1975 and 2005, Spain, Japan, 2005, Chromogenic print, 305 mm x 406 mm.

Born in Tokyo and educated in the U.K., 2013 Aimia | AGO Photography Prize finalist Chino Otsuka uses photography and video to explore the fluid relationship between memory, photography, and time. She recently completed her residency at the Nikkei National Museum in Burnaby, B.C., which focused on researching Japanese picture brides and their forgotten stories. We caught up with Otsuka to discuss her residency research, work and experience.

AGO: While you were in Vancouver, you worked inside the archives and collection of the Nikkei National Museum & Cultural Centre. What did your research focus on, and what affect has working in Vancouver had on your work?

Chino Otsuka: The research I conduct is integral to the development of my work. For a while now I have been researching the history of Japanese emigrants. When I found out about the residency component of the AIMIA | AGO Photography Prize and was able to choose anywhere in Canada, I knew I wanted to go to the Nikkei National Museum. Since I had previously done similar research on a group of Japanese who went to the Netherlands in the mid-19th century, I wanted to see the museum’s collections and learn more about the history of Japanese-Canadian immigrants.

During the residency I had the opportunity to access and explore museum collections that are not normally seen or easily accessible. I knew very little about the history of Japanese immigrants in Canada, or the hardships and injustice that they suffered. I read and came across so many moving stories. All of this is a very important part of Japanese history, and I’m so surprised that many of these stories are untold outside of Canada.

As my research progressed I became more and more interested in the stories of young women who came over from Japan as a “picture brides,” young Japanese women usually between 17 and 19 years old who came to Canada as in the early 20th century. Their marriages were arranged by showing the prospective bride and groom photographs of each other. Most of these women travelled from Japan and saw their husband-to-be for the first time when they arrived in Canada. I was drawn to their innocence, ambition and courage — their journey. They all longed for a new life in their new country. Yet when they arrived in Canada the life they had imagined was completely different. Hardship and many tragedies would follow them. They struggled and endured so much.

I’ve looked through many photographs and artefacts in the collection and chose to focus especially on their journey to Canada. There is a sense of anticipation around the little moment in their life when they were dreaming about the future. I’ve been working with the old photographs as well as photographing their belongings that they brought with them from Japan.

With your residency now complete, can you speak to the effect that the overall experience has had on your work? Did your work move in a new direction during the residency? If so, how?

The residency has given me a new perspective on my practice, as well as time to explore and experiment with new ideas. The work I started during my residency is not quite finished yet. I’m done with the research and photographing and am now working with these materials through editing and finding ways to present them.

What has the residency allowed you to do in terms of your work and research?

In my work I mainly explore the notion of autobiographical memory, so the residency at the Nikkei National Museum has given me the opportunity to explore and research the history, the collective memory – how the individual memories weave together to tell a story.

In her essay “Chino Otsuka’s Time Machine” Michiko Kasahara writes that your “journeys into the past are not sentimental and do not display a nostalgic atmosphere,” yet much of your work explores issues of duality, history, memory and self. Can you elaborate on/explain your method? Do you agree with the writer’s statement?

I work with the past and many of my works show my past. How I take my works, restage and rework them is really about today, not yesterday.
My works are personal but by carefully selecting the images, and recreating them in the certain ways, I’m trying to engage the viewers’ internal dialogue of their experiences. I hope to make the images/stories resonate and trigger the viewers’ own memories.

Your work, specifically in the series “Imagine Finding Me,” is extremely personal with the subject being your own self and memory. The Aimia | AGO Photography Prize is awarded by public vote. As the subject of the work, what were your thoughts on it being considered in this way?

I visited the AGO during the exhibition while the voting was going on, and when I wandered around the museum strangers came up to tell me that they voted for me. I guess they recognized me from my work, and that was a really strange experience.


*This interview was conducted via email in July 2014 and has been edited for style and brevity.

]]>
29 July 2014, 11:22 am 3bd46b2e3965663e39e76c1b7bb4c671
<![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, 9:51 am ea30053a59b51a2b6d3048cc34f89f16
<![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.

]]>
26 June 2014, 9:51 am ea30053a59b51a2b6d3048cc34f89f16
<![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, 8:00 am 7ecbcd287d321df62d87955f8cbb5ea9
<![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.

]]>
4 June 2014, 8:00 am 7ecbcd287d321df62d87955f8cbb5ea9
<![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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