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2. Source: Art Competitions provided by Artshow.com
Item: Neither Here nor There Photography Exhibit - Cincinnati, Ohio
$1000 best of show award. Deadline: August 26, 2014
5. Source: Art Competitions provided by Artshow.com
Item: CWA 45th National Exhibition - Pleasanton, California
$12,000 in awards. Deadline: September 5, 2014
7. Source: Art Competitions provided by Artshow.com
Item: 2014 Osceola Fall Arts Festival - Kissimmee, Florida
$20,000 in prizes. Deadline: September 19, 2014
8. Source: Art Competitions provided by Artshow.com
Item: 118th Annual Open Juried Exhibition - New York, NY
Over $10,000 in awards. Deadline: September 19, 2014
9. Source: Art Competitions provided by Artshow.com
Item: Works on Paper - Cohasset, Massachusetts
$1,200 in awards. Deadline: September 15, 2014
10. Source: Art Competitions provided by Artshow.com
Item: Joshua Tree National Park Art Exposition 2014 - Twentynine Palms, California
$6,000 in cash awards and an Artist-In-Residence award. Deadline: September 15, 2014
11. Source: Daily Campello Art News
Item: Opportunity for artists
Date: 23 July 2014, 5:30 am
My good bud Al Miner, who used to roam these regions, and who is also a kick-ass artist, and thus was included in the first volume of my books on DC area artists, is the juror for this show up in the Soviet Socialist Republic of Massachusetts.
Deadline: September 15, 2014 CALL FOR WORKS ON PAPER South Shore Art Center in Cohasset, MA, invites entries of original work that offer distinctive imaginative imagery using paper. Show dates October 24 - December 21, 2014. Opening Reception October 24 6-8pm Juried by Al Miner, Assistant Curator of Contemporary Art at the Museum of Fine Arts, Boston. $1200 in prizes - all work must be for sale. Entry fee. Details: 781-383-2787 OR https://client.smarterentry.com/SSAC
12. Source: Daily Campello Art News
Item: Gateway CDC Receives $100,000 from NEA
Date: 22 July 2014, 5:00 am
Good news in this news release!
National Endowment for the Arts (NEA) Chairman Jane Chu announced plans to award 66 Our Town grants totaling $5.073 million and reaching 38 states in the Our Town program's fourth year of funding. Gateway Community Development Corporation(CDC) is one of those recommended organizations and will receive $100,000 to fund Phase 3 of the Art Lives Here initiative. The goal of Art Lives Here is to boost vibrancy in the Prince George's County Gateway Arts District using a mix of short and long term projects to support existing small businesses, attract commercial in-fill, prepare for the next round of commercial development, and further strengthen our diverse and streetwise creative communities. In Phase 3, the initiative will launch a Creative Enterprise Incubator in the prominent retail space of the Artspace Artist Lofts on the Mount Rainier circle.

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

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

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

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

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

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

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

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

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

The NEA received 275 applications for Our Town this year. Recommended grant amounts ranged from $25,000 to $200,000. For a complete listing of projects recommended for Our Town grant support, please visit the NEA web site at arts.gov. Project descriptions, grants listed by state and by project type, and resources are available as well.
13. Source: Daily Campello Art News
Item: The DMV at AU this summer
Date: 18 July 2014, 4:00 am
Exhibits at the American University Museum at the Katzen Arts Center this summer focus on the art and artists and collectors in Washington, D.C. Exhibits open June 14 and run through Aug. 17.

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

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

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

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

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

This tactile sensibility is also evident in Newman’s conjunction of paintings and photographs. The central subjects of his paintings are round forms from nature, which Newman and his assistants meticulously recreated from photographs that he took himself or appropriated from NASA’s public archives. Newman then conjoined the objects with photographs using rare-earth magnets. Photographs that took just a click to create and paintings that took years to make join to represent nature’s fleeting beauty, its life through memory and desire, and its timeless eternal renewal.
14. Source: Daily Campello Art News
Item: Community Gateway Arch
Date: 16 July 2014, 5:30 am
Mayor Vincent C. Gray will join representatives of the D.C. Commission on the Arts and Humanities (DCCAH) in the dedication of the Community Gateway Arch on Friday, July 18, at a twilight ceremony, from 7:00 to 9:00 p.m. The program will take place outside the Unity Health Care Parkside Health Center facility, located at the corner of Hayes Street and Kenilworth Terrace NE.

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

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

Washington Glass School was selected through an open Call to Artists and panel process led by the DCCAH, through the D.C. Creates! Public Art Program selection committee, in partnership with the D.C. Primary Care Association (DCPCA), the Unity Health Care Foundation, the Ward 7 Community and ANC 7D07 Commissioner Willie H. Woods. Central to the selection of the public artwork and the community input process was the Ward 7 Arts Collaborative, led by artist and community arts advocate Wanda Aikens.
15. Source: Daily Campello Art News
Item: Scam Alert
Date: 15 July 2014, 4:30 am
Recently received a scam phone call from a heavily accented dude calling from the "Windows Security Center" -- this is a classic cold call scam -- the phone that showed up as coming from was (325) 477-7355.
16. Source: Daily Campello Art News
Item: Maryland State Arts Council Individual Artist Award
Date: 14 July 2014, 4:30 am
The deadline for 2015 Maryland State Arts Council Individual Artist Award applications is 4:30 PM on Thursday, July 24, 2014.

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

All applications must be submitted online. Applicants can click here to access the application, guidelines and technical assistance resources. 
17. Source: Daily Campello Art News
Item: Rita Moreno at the NPG
Date: 7 July 2014, 3:00 am
This Wednesday, July 9 at 7 p.m., Rita Moreno will be at the National Portrait Gallery for a special presentation.

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

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

Tickets for the program start at $15 and can be purchased online at http://bit.ly/RitaMNPG or through the Smithsonian Theaters Concessions and Attractions ticketing line at 1-866-868-7774. Tickets must be acquired in advance.
18. Source: Daily Campello Art News
Item: Virginia Museum of Fine Arts Fellowship program
Date: 2 July 2014, 3:30 am
The Virginia Museum of Fine Arts Fellowship program is a vital source of funding for the visual arts and art history in Virginia.  VMFA is committed to supporting professional artists and art students who demonstrate exceptional creative ability in their chosen discipline and, as such has awarded nearly $5 million to Virginia’s artists since the program’s creation over 70 years ago.
 
The VMFA Fellowship program was established in 1940 through a generous contribution made by the late John Lee Pratt of Fredericksburg, Virginia.  Offered through VMFA Statewide, Fellowships are still largely funded through the Pratt endowment, and supplemented by annual gifts from the Lettie Pate Whitehead Foundation and the J. Warwick McClintic, Jr. Scholarship Fund.  The Fellowship program has a long and established history of supporting Virginia’s artistic talent and has helped to further the careers and studies of many distinguished individuals, including recent recipients Rick Alverson of Richmond, Michelle Erickson of Hampton, and Megan Marlatt of Orange.
 
VMFA offers $8,000 awards to professional artists, $6,000 awards to graduate students, and $4,000 awards to undergraduate students.  Applicants may apply in the disciplines of Crafts, Drawing, Film/Video, Mixed Media, New/Emerging Media, Painting, Photography, Printmaking, Sculpture, and Art History (graduate students only).  All applicants must be legal residents of Virginia and student applicants must be enrolled full-time in degree-seeking programs. Applicants’ works are reviewed anonymously by distinguished jurors and awards are made based on artistic merit.  The deadline for Fellowship applications is Friday, November 7, 2014. 
 
We ask that you please encourage interested students and professional artists to apply. Full eligibility criteria, an application, and a printable PDF flyer can be found at www.VMFA.museum/fellowships
19. Source: The Guardian Culture Podcast
Item: The Truth podcast: Eat Cake
Date: 14 February 2011, 10:22 am
Can coconut cake + random phone calls = love? Find out in our alternative Valentine's Day radio drama from US producer Jonathan Mitchell
Enclosure (mp3)
20. Source: The Guardian Culture Podcast
Item: The Heckle 02: Mistaken identities
Date: 7 August 2007, 6:35 am
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.
Enclosure (mp3)
21. Source: The Guardian Culture Podcast
Item: Venice Biennale: Interview with Sophie Calle
Date: 15 June 2007, 6:35 am
The Guardian's Adrian Searle talks to artist Sophie Calle about her installation, Take Care of Yourself, on display at the Venice Biennale 2007.
Enclosure (mp3)
22. Source: - Features RSS Feed
Item: Kasimir Malevich's 'Black Square': What does it say to you?
Date: 15 July 2014, 7:00 pm

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?

23. Source: - Features RSS Feed
Item: Should galleries display more art by women?
Date: 7 July 2014, 2:12 pm

One of the Royal Academy of Arts’ most senior figures has called for a quota to ensure equality between the balance of male and female members. Eileen Cooper, the first woman to be appointed to the role of Keeper of the Royal Academy in 2011, also thinks that national collections should display more works by women artists.

24. Source: - Features RSS Feed
Item: Stunning photos from the National Geographic Travel photography contest
Date: 17 June 2014, 6:50 pm

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. 

25. Source: - Features RSS Feed
Item: Portfolio: Californian Austen Ezzell spent five months photographing football pitches around the globe for his project The World's Game
Date: 24 May 2014, 7:00 pm

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.

26. Source: - Features RSS Feed
Item: Aiko Tezuka, artist: 'History is interwoven in the fabric. I decided to mix cultures and to make layers'
Date: 22 May 2014, 10:00 am

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.

27. Source: - Features RSS Feed
Item: The supersized cultural life of Abu Dhabi
Date: 19 May 2014, 7:00 pm

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'."

28. Source: - Features RSS Feed
Item: Phyllida Barlow: The sculptor on splodges, what she learnt from her mother – and not teaching the YBAs
Date: 17 May 2014, 7:00 pm

I've been called 'the mistress of the splodge' [in recognition of her preference for sculpting rounded works], which I rather like. But even when critics are rude they have revealed things about my work that's accurate. [The Sunday Times art critic] Waldemar Januszczak once described a piece [for a show at the Serpentine Gallery, in 2010] as like snot thrown on the wall. But I think the disgustingness of a spillage or a splodge has its own beauty, and fascinates me.

29. Source: - Features RSS Feed
Item: Look out Lena Dunham, here comes mom! Laurie Simmons is set to direct a movie with a 'small role' for the creator of Girls
Date: 14 May 2014, 6:00 pm

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.

30. Source: - Features RSS Feed
Item: Ansel Krut at Jerwood: Interview with artist and first look at new paintings
Date: 13 April 2014, 7:00 pm

With paintings called “Arse Flowers in Bloom” and “Giants of Modernism (Carrot Head)”, it is easy to assume Ansel Krut’s work is light-hearted.

31. Source: - Features RSS Feed
Item: Huge ants are the stars of the show at the Saatchi Gallery
Date: 1 April 2014, 7:00 pm

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

32. Source: TAB Events - in category 2D: Painting
Item: Gesai#20 Bronze Winners Exhibition - Kim Zeluck

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

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

33. Source: TAB Events - in category 2D: Painting
Item: Ryuki Yamamoto Exhibition

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

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

34. Source: TAB Events - in category 2D: Painting
Item: Mission [Space X Art] -Beyond Cosmologies

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

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

35. Source: TAB Events - in category 2D: Painting
Item: Mitsutoshi Ban “Quadrophenia 3”

poster for Mitsutoshi Ban “Quadrophenia 3”
Mitsutoshi Ban “Quadrophenia 3”
at Art Trace Gallery (Kiyosumi, Ryogoku area)
(2014-07-26 - 2014-09-02)

Called “Drawing Ghost”, this live drawing performance to be shown to U-Stream outside of gallery hours will use the entire space, including floors and walls, as a canvas. Merchandise by Ken & Company, a label design shop run by artist Mitsutoshi Ban and Nakagawa, and clothing by Arcana Cirop, which features Ban’s works, will also be displayed and sold. The show will start at 19:00 each day, even when the gallery is closed, and run through late in the night.

36. Source: TAB Events - in category 2D: Painting
Item: Takehiko Inoue Interprets Gaudi’s Universe

poster for Takehiko Inoue Interprets Gaudi’s Universe
Takehiko Inoue Interprets Gaudi’s Universe
at Mori Arts Center Gallery (Roppongi, Nogizaka area)
(2014-07-12 - 2014-09-07)

This exhibition combines the artistic worlds of Antoni Gaudi, the groundbreaking architect responsible for sites including the Sagrada Familia, Park Guell, and Casa Milà, and the manga artist Takehiko Inoue, who is known for popular works such as “Slam Dunk”, “Vagabond”, and “Real”. Inoue has illustrated Gaudi’s youth in the countryside south of Barcelona, a time when he was called by the nickname “Tonet”. Appointed by the Spanish ambassador as a project to commemorate the 400th anniversary of diplomatic relations between Japan and Spain in December 2013, Inoue, who has deep ties with Spain, recreates Gaudi’s universe. Inoue’s works are also displayed along with drawings, furniture, models, and materials related to Gaudi. [Image: Takehiko Inoue “Tonet” (2013) ©I.T.Planning]

37. Source: TAB Events - in category 2D: Painting
Item: In Search of Modigliani— From the Avant-Garde to Classicalism

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

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

38. Source: TAB Events - in category 2D: Painting
Item: Big Sky Friendship

poster for Big Sky Friendship
Big Sky Friendship
at Towada Art Center (Greater Tokyo area)
(2014-04-19 - 2014-09-23)

This exhibition brings together artworks addressing the way that loose forms of communication can develop between strangers as a result of unlikely catalysts. In the aftermath of the Great East Japan Earthquake - “3.11.” disaster we were met with the refreshing and encouraging sight of people joining hands and helping each other, above and beyond the frameworks and rules provided by local governments or society. In those unprecedented circumstances it required courage for people to rely not on social systems or ideas of reciprocity, and instead reach out to strangers of their own accord. And yet the world that opens up when such courage is demonstrated, although it might be fleeting can be seen as being full of love. Sociologists such as Itoko Kitahara and Rebecca Solnit have called such impromptu communities a type of utopia. Nevertheless, as reconstruction projects proceed and things return to normal, it at least appears that they gradually disappear. In this exhibition we explore through artworks and other post-disaster activities exactly what those spaces, full of creativity and love, were. In the teaching of “form is emptiness,” which appears in the Buddhist Heart Sutra, the “emptiness” is the whole world and the “form” refers to everything in it. This is an attempt to address once again the strength of the people who attempt to overcome difficult days, amidst a world that is forever changing.

39. Source: TAB Events - in category 2D: Painting
Item: Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists

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

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

40. Source: TAB Events - in category 2D: Painting
Item: 2D Work Award Winners Exhibition

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

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

41. Source: TAB Events - in category 2D: Painting
Item: “Art as a Haven of Happiness”

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

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

42. Source: TAB Events - in category 2D: Painting
Item: Hideo Ogiwara “Playing with Lines”

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

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

43. Source: TAB Events - in category 2D: Painting
Item: Find Asia - Asia’s Creativities Meet in Yokohama

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

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

44. Source: TAB Events - in category 2D: Painting
Item: Stephen Mushin “Now, if, what, then - Farming Tokyo”

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

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

45. Source: Brighton Culture
Item: ART: Where to buy artist-made Christmas gifts in Brighton
Date: 10 December 2011, 10:32 am

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

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

46. Source: What's New - Philadelphia Museum of Art
Item: New in the Galleries: 2014 Photography Competition Winners
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.
47. Source: What's New - Philadelphia Museum of Art
Item: New in the Galleries: Kamisaka Sekka
Kamisaka Sekka was a master of the historic Japanese artistic tradition known as Rimpa, a highly decorative style that originated in the 1600s. Called the father of Japanese modern design, he combined the traditional Rimpa aesthetic with his own innovative imagery and collaborated with artisans who utilized his designs in ceramics, lacquerware, and textiles. This installation highlights a selection of his prints.
48. Source: ArtCal Zine
Item: Burgers at the Laundromat
Date: 31 July 2009, 4:50 pm
ZelwiesBurger.jpg
Juliane Zelwies, Hamburger Diagram


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

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

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

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

49. Source: ArtCal Zine
Item: Triumph of the Will at Anthology
Date: 10 July 2009, 2:39 am
triumph_will_poster.jpg
via uncp.edu


Somewhere towards the beginning of Leni Riefenstahl’s The Triumph of the Will, in the middle of a long and tedious sequence of military men addressing the party congress on matters of public policy, Goebbels, in a suit, rises to the microphone to speak about propaganda. “May the bright flame of our enthusiasm never be extinguished,” he says, looking somewhat more comfortable in front of the crowd then you might imagine. “It alone gives the creative art of modern political propaganda its light and warmth. From the depths of the people it rose aloft. And into the depths of the people in must descend… It may be good to have power based on arms, but it is better and more joyful to win and to keep the hearts of the people.” It’s a telling moment, especially in light of Riefensthal’s insistence, for the remainder of her life, that Triumph was not and is not a propaganda film, but instead a work of ‘total art’ or of ‘cinema verite.’ Technically speaking, she is correct, insofar as Hitler had chosen her precisely for her pedigree as an artist, and she only agreed to make the film when he promised to keep Goebbels and his minions at the ministry entirely out of its production.

And yet, watching the film today, it is clearly not only a piece of propaganda, but the apogee of the genre. By turns horrifying and deadly dull, it is wholly without irony or self-reflection of any sort. Quite literally a masterpiece, it is responsible for creating an entire arsenal of cinematic techniques later employed by everybody from Josef Stalin to Barack Obama. In effect then, the distinction, between art and propaganda, which mattered so much to Reifenstahl in the films production, has in some sense vanished. Art not only became propaganda but perfected it, the distance she fought to maintain damning her all the more for preserving the unique power of her vision. Triumph plays at Anthology this Saturday at 6 and 8:30, its worth seeing, if you haven’t before; even if the technical achievements no longer impress, the relentlessness of thing remains striking and, god willing, singular.

50. Source: ArtCal Zine
Item: Kathleen Cullen on "Tattoo"
Date: 1 July 2009, 7:49 pm
NYC6 017.jpg
Installation view of Tattoo at Kathleen Cullen Fine Arts. Via gallery.


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

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

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

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

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

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

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

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

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

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

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

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

51. Source: AGO Art Matters
Item: Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest
Date: 26 June 2014, 10:51 am
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.

52. Source: AGO Art Matters
Item: Call for applications: An opportunity for Toronto-based MFA photography students
Date: 23 June 2014, 1:29 pm

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

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


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

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

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

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

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

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

53. Source: AGO Art Matters
Item: Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics
Date: 4 June 2014, 9:00 am

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.

Enclosure (mp3)
54. Source: AGO Art Matters
Item: In memoriam: A tribute to the memory of Lynne Cohen
Date: 15 May 2014, 1:48 pm

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

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

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

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

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

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

55. Source: AGO Art Matters
Item: Celebrate moms with us this May
Date: 24 April 2014, 10:05 am

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

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

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

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

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

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

Mother’s Day gift ideas

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

Design Ideas
Design Ideas
Soapstones – 9
IMM Living
IMM Living
Duck Cake Plate Holder - 54
IMM Living
IMM Living
Swallow Wings Ring Holder - 19
Marina Babic
Marina Babic
Small Vine Silver Earrings - 175 Small Vine Silver/Gold Earrings - 195
Schleeh Design
Schleeh Design
Red Tail Wood Vase - 1,600
Atelier Trema
Atelier Trema
Assorted Ceramic Pears - 26
IMM Living
IMM Living
Duck Body Container - 27
Uta Ottmar
Uta Ottmar
Pebble Earrings - 50
56. Source: Indianapolis Museum of Art Blog
Item: Oscar Tusquets Blanca – The Gaulino Chair
Date: 16 August 2013, 3:21 pm
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

 

Enclosure (jpg)
57. Source: Indianapolis Museum of Art Blog
Item: Straw Bale Gardening: A How-To Guide
Date: 5 June 2013, 9:00 am

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

 

 

Enclosure (jpg)
58. Source: World Art News at IrishArt.com
Item: Lowry Art Trickery?
Date: 3 March 2009, 2:23 pm
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
59. Source: World Art News at IrishArt.com
Item: Caged Art Recognised
Date: 1 March 2009, 5:44 am
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
60. Source: World Art News at IrishArt.com
Item: "Nazi" Picasso's Stay In NY
Date: 10 February 2009, 4:42 am
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
61. Source: World Art News at IrishArt.com
Item: Joe Boyle's Art at Waterfront Hall, Belfast
Date: 25 January 2009, 5:10 pm
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
62. Source: World Art News at IrishArt.com
Item: Irish Art Thieves Took Taxi
Date: 10 November 2008, 12:43 am
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
63. Source: Victoria & Albert Museum - Art, Design, Culture
Item: V&A CultureCast: July 2006 (no images)
Date: 10 July 2006, 5:00 am
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.
Enclosure (mp3)
64. Source: Victoria & Albert Museum - Art, Design, Culture
Item: V&A CultureCast: July 2006 (enhanced with images)
Date: 10 July 2006, 5:00 am
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.
Enclosure (m4a)
65. Source: TAB Events - in category 2D: Graphics
Item: 2014 Tokyo Art Directors Club Exhibition

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

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

66. Source: TAB Events - in category 2D: Graphics
Item: 2014 Tokyo Art Directors Club Exhibition

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

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

67. Source: TAB Events - in category 2D: Graphics
Item: The 67th Dentsu Advertising Awards

poster for The 67th Dentsu Advertising <span style=Awards" />
The 67th Dentsu Advertising Awards
at Advertising Museum Tokyo (Ginza, Marunouchi area)
(2014-07-18 - 2014-08-24)

The Dentsu Advertising Awards were launched in 1947 by Hideo Yoshida, the fourth president of Dentsu, with the objective of raising the status of advertising socially and culturally, together with advertisers and media circles, by improving advertising theory and executional skills, and by introducing outstanding works. 67 years have passed since then and we have experienced a tremendous number of changes in the world we live in. Economic and social globalization and digitalization in communication means are probably the most outstanding changes. In the midst of these changes, advertising is at a turning point. Nevertheless, Hideo Yoshida’s belief that “advertising is a vital means to unite business and people” remains sound and advertising keeps being an important pillar of business strategy through corporate communication activities.

68. Source: TAB Events - in category 2D: Graphics
Item: Find Asia - Asia’s Creativities Meet in Yokohama

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

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

69. Source: TAB Events - in category 2D: Graphics
Item: 9th Golden Eggs All Star Design Showcase

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

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

70. Source: TAB Events - in category 2D: Photography
Item: 2014 Tokyo Art Directors Club Exhibition

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

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

71. Source: TAB Events - in category 2D: Photography
Item: The Holy Lake

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

72. Source: TAB Events - in category 2D: Photography
Item: Kei Ono “New Text”

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

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

73. Source: TAB Events - in category 2D: Photography
Item: Masayuki Furukawa “Diary”

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

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

74. Source: TAB Events - in category 2D: Photography
Item: World Press Photo 14

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

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

75. Source: TAB Events - in category 2D: Photography
Item: Tamaki Shindo “Fly Over, Connect Paths”

poster for Tamaki Shindo “Fly Over, Connect Paths”
Tamaki Shindo “Fly Over, Connect Paths”
at Gallery Art Unlimited (Roppongi, Nogizaka area)
(2014-07-09 - 2014-08-09)

Tamaki Shindo recreates unknown landscapes from fragments of cut-up pictures of places she has photographed herself. She then photographs and enlarges these collages to reveal original scenes that are all the more mysterious. Transcending the digital age with time and labor-intensive analog techniques, her works are worlds of new creation that cannot be called simply photographs.

76. Source: TAB Events - in category 2D: Photography
Item: The Mysteries of the Moon

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

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

77. Source: TAB Events - in category 2D: Photography
Item: “Semamori - Stitched Amulets on the Back of Children’s Kimonos - “

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

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

78. Source: TAB Events - in category 2D: Photography
Item: TYIN Tegnestue Architects “Human - Architecture -“

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

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

79. Source: TAB Events - in category 2D: Photography
Item: Tsuneko Taniuchi “Micro-Events”

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

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

80. Source: TAB Events - in category 2D: Photography
Item: “Robert Doisneau: Paris— Les Alps, le Temps de Bonheur”

poster for “Robert Doisneau: Paris— Les Alps, le Temps de Bonheur”
“Robert Doisneau: Paris— Les Alps, le Temps de Bonheur”
at Kiyosato Museum of Photographic Arts (Greater Tokyo area)
(2014-07-05 - 2014-09-29)

Robert Doisneau, who passed away in 1994, is loved all the more today as a photographer who represented France. Renowned for his keen observational powers capturing irreplaceable and heart-piercing moments among townspeople and his playful sensibility, he is called “the fisherman of images” in his home country. Spinning tales of everyday drama, he is a photographer who built his own unique vision, and continues to charm people of all eras and places. His representative work, “The Kiss by the Hôtel de Ville” (1950), is surely one of the most famous photographs in the world. Doisneau produced some 450,000 negatives in his lifetime, and in recent years a variety of breakthroughs have allowed for exhibitions and publications using works from these archives, garnering him renewed acclaim.

81. Source: TAB Events - in category 2D: Photography
Item: “Unseen Daily Life” (Part1)

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

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

82. Source: TAB Events - in category 2D: Photography
Item: Ichiro Kojima “To the North, From the North”

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

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

83. Source: TAB Events - in category 2D: Photography
Item: Kiiro “Light Exhibition”

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

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

84. Source: AGO Art Matters
Item: Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest
Date: 26 June 2014, 10:51 am
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.

85. Source: AGO Art Matters
Item: Call for applications: An opportunity for Toronto-based MFA photography students
Date: 23 June 2014, 1:29 pm

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

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


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

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

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

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

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

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

86. Source: AGO Art Matters
Item: Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics
Date: 4 June 2014, 9:00 am

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.

Enclosure (mp3)
87. Source: AGO Art Matters
Item: In memoriam: A tribute to the memory of Lynne Cohen
Date: 15 May 2014, 1:48 pm

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

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

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

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

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

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

88. Source: AGO Art Matters
Item: Celebrate moms with us this May
Date: 24 April 2014, 10:05 am

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

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

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

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

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

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

Mother’s Day gift ideas

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

Design Ideas
Design Ideas
Soapstones – 9
IMM Living
IMM Living
Duck Cake Plate Holder - 54
IMM Living
IMM Living
Swallow Wings Ring Holder - 19
Marina Babic
Marina Babic
Small Vine Silver Earrings - 175 Small Vine Silver/Gold Earrings - 195
Schleeh Design
Schleeh Design
Red Tail Wood Vase - 1,600
Atelier Trema
Atelier Trema
Assorted Ceramic Pears - 26
IMM Living
IMM Living
Duck Body Container - 27
Uta Ottmar
Uta Ottmar
Pebble Earrings - 50
89. Source: TAB Events - in category 2D: Other
Item: Tamaki Shindo “Fly Over, Connect Paths”

poster for Tamaki Shindo “Fly Over, Connect Paths”
Tamaki Shindo “Fly Over, Connect Paths”
at Gallery Art Unlimited (Roppongi, Nogizaka area)
(2014-07-09 - 2014-08-09)

Tamaki Shindo recreates unknown landscapes from fragments of cut-up pictures of places she has photographed herself. She then photographs and enlarges these collages to reveal original scenes that are all the more mysterious. Transcending the digital age with time and labor-intensive analog techniques, her works are worlds of new creation that cannot be called simply photographs.

90. Source: TAB Events - in category 2D: Other
Item: Bologna Illustrators Exhibition 2014

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

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

91. Source: TAB Events - in category 2D: Other
Item: Depicting the Indelible Japanese Landscape: Hiroshige’s “The Fifty-three Stations of the Tokaido” and Contemporary Artists

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

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

92. Source: TAB Events - in category 2D: Other
Item: Find Asia - Asia’s Creativities Meet in Yokohama

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

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

93. Source: The Leonard Lopate Show from WNYC
Item: Great Art, Dismal Politics: A Tale of Two Italies
Date: 24 July 2014, 12:00 am

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

Enclosure (mp3)
94. Source: The Leonard Lopate Show from WNYC
Item: Racism, Blindness and Paralysis Could Not Stop the Unrelenting Rahsaan Roland Kirk
Date: 23 July 2014, 12:00 am

Director Adam Kahan discusses his documentary, “The Case of the Three Sided Dream,” about multi-instrumentalist Rahsaan Roland Kirk. Kirk was not only a musician but was also a fighter for racial equality and for fair treatment of disabled persons (he was made blind as an infant by a wrongly administered eye medication). He also started a political movement to get more jazz, which he called Black Classical Music, on television. At the apex of his career Rahsaan suffered a debilitating stroke, which left half of his body paralyzed, yet he continued to play, record and tour, with the use of only one hand, literally until the day he died. “The Case of the Three Sided Dream” is playing July 26 at Rooftop Films Brookfield Place (formerly World Financial Center).

 
Enclosure (mp3)
95. Source: The Leonard Lopate Show from WNYC
Item: Why We Hang on to Too Much Stuff – and How to Stop
Date: 22 July 2014, 3:09 pm

Hoarding is a disorder marked by the persistent need to hold onto things and extreme anxiety at the thought of having to part with objects, even things with no value or use. But even people who don’t have hoarding tendencies can find it difficult to get rid of things and to clear away clutter. Dr. Simon Rego, Director of Psychology Training and Director of the Cognitive Behavior Therapy Training Program at Montefiore Medical Center, and Collette Shine, who runs a professional organizing company called Organize and Shine and is the New York Chapter President of the National Association of Professional Organizers, discuss the psychology behind clutter and hoarding, why we find it so hard to let go of certain items, and what that reveals about our personality.

 

Enclosure (mp3)
96. Source: The Leonard Lopate Show from WNYC
Item: Building an Eco-Friendly Mushroom Tower at MoMA PS1
Date: 18 July 2014, 2:24 pm

David Benjamin, principal of the architectural firm The Living, tells us about his project, Hy-Fi, a cylindrical tower built our of bricks made from cornstalks and the root-like structures of mushrooms, called mycelium. Hy–Fi is this year’s winner of The Museum of Modern Art and MoMA PS1’s Young Architects Program, and it’s in the courtyard of MoMA PS1 through September 6.

Installation view of The Living’s Hy-Fi, the winning project of The Museum of Modern Art and MoMA PS1’s 2014 Young Architects Program. June 27-September 7, 2014.
Installation view of The Living’s Hy-Fi, the winning project of The Museum of Modern Art and MoMA PS1’s 2014 Young Architects Program. June 27-September 7, 2014.

 

Enclosure (mp3)
97. Source: The Leonard Lopate Show from WNYC
Item: The War That Gave Us 'Cooties'
Date: 16 July 2014, 4:22 pm

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

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

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

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

Enclosure (mp3)
98. Source: gmane.culture.media.idc
Item: Introduction
Date: 10 July 2014, 3:50 pm
Dear all:

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

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

I live in London and am doing a brief residency at the White Building this
summer. If you're interested, there's some more info on my collaborative
and individual projects here <
99. Source: gmane.culture.media.idc
Item: Introductions
Date: 3 July 2014, 1:49 pm
Hello all,

Apologies for the delay here. Fieldwork has left me terribly behind on
correspondence this summer.

I'm Dan Greene, a PhD candidate in American Studies at the University of
Maryland. My dissertation focuses on the hope that access to ICT and
ICT-related industries will help individuals, cities, and countries lift
themselves up by their own bootstraps. The Clinton administration built
this belief into a common sense as they steered the US into a supposedly
New Economy, deregulated the telecommunications industry, and replaced
welfare with workfare. Today it manifests on the one hand as a mission to
close the so-called digital divide, and on the other as an effort to
recruit or cultivate Richard Florida's creative class and save desperate
cities. The dissertation first traces the roots of this common sense to the
neoliberal political economy of the 1990s and the framing of the 'digital
divide' as a problem of getting computers to poor people rather than ending
poverty per se, and then tracks how th
100. Source: gmane.culture.media.idc
Item: Re: Introduction
Date: 1 July 2014, 5:18 pm
Hi Everybody — sorry for the very late introduction.

I'm a PhD student in the "Human and Social Dimensions of Science and
Technology"—just another name for Science & Technology Studies (STS)—at
Arizona State University. My program is situated within a kind of hybrid
think tank and university research center called the *Consortium for
Science, Policy & Outcomes* <http://cspo.org/>. I'm also affiliated with
the *Center for Nanotechnology in Society* <http://cns.asu.edu/> and
the *Frankenstein
Bicentennial Project* <http://frankenstein.asu.edu/>, both of which are
also based at ASU.

Broadly speaking, my research and writing focuses on the ethics, social
justice, political economy, and theory of technology. More narrowly, I'm
writing a dissertation on "smart cities" — specifically, I'll be describing
the discourses around them, giving a critical analysis of the
social/political/economic issues thereof, and advancing a theory called
"cyborg urbanization," which looks at the interfaces among
body-technol
101. Source: gmane.culture.media.idc
Item: The Sharing Economy
Date: 30 June 2014, 5:22 pm
Greetings from balmy New York City. It has been exciting to read through
all of your proposals and now the introductions, and posts to the mailing
list.

This is just as good a time as any to jump in and say hello, starting with
a reference to a short intervention that I just wrote for Public Seminar,
trying to decompress my thoughts about the so-called "sharing economy." I
will just leave it at that and see if there is anybody on the list who has
followed the protests against Uber, and the regulatory efforts concerning
Airbnb.

http://www.publicseminar.org/2014/06/the-politics-of-the-sharing-economy/#.U7FkPaiXvjA

~ Trebor

=============
R. Trebor Scholz
Associate Professor
Culture & Media Department
THE NEW SCHOOL
65 West 11th Street
New York, NY 10011
102. Source: gmane.culture.media.idc
Item: Re: Introduction
Date: 30 June 2014, 12:08 pm
TL;DR:
We will run a workshop for prototyping (interface) interventions into (digital) workspaces.

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

My design work often attempts to re-politicize interface both as a control mechanism and as an opportunity for agency. I'm researching, writing and designing tools and platforms that attempt to go beyond “User Generated Content” and suggest a more critical approach that could be thought of as “User Generated Interfaces”. For example I am cu
103. Source: gmane.culture.media.idc
Item: Re: Introduction
Date: 30 June 2014, 2:19 am
This will be my second digital labor conference. I'm happy to see how much
the concept has developed over the past five years.

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

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

--Frank


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


On Fri, Jun 27, 2014 at 5:06
104. Source: booktwo.org
Item: On the Rainbow Plane
Date: 4 July 2014, 9:38 am

I recently completed an installation at Farnborough in Hampshire, where I got to do something I’ve wanted to do for quite a while: draw a rainbow plane. (More images of the installation are available on Flickr.)

rainbow-plane

Farnborough is the home of British aviation, site of the first powered flight on British soil (by the American showman William Cody) in 1908, as well as the British Army Balloon School, the formation of the RAF, the Royal Aircraft Establishment, and the research facilities which produced the jet engine, carbon fibre and more. Much of the site of the RAE has now been cleared, but, thanks in large part to the efforts of the Farnborough Air Sciences Trust, several buildings have been saved, including the extraordinary wind tunnels and the magnificent, reconstructed airship shed, under which the installation is sited.

Like the Drone Shadows, the Rainbow Plane is a 1:1 outline of an aircraft – in this case, the Miles M.52, an experimental jet plane developed at Farnborough in the 1940s. The M.52 never flew, but several of its innovations, including the all-moving tailplane and the biconvex “Gilette” wing, were crucial to the success of the American effort to break the sound barrier with the Bell X-1.

The M.52 is shown here as if distorted by the characteristic pansharpening effect of satellite photography – as if viewed, in flight, from space. I’ve been fascinated by the “rainbow plane” effect visible in satellite maps for some time, and have collected many examples.

rainbow-plane-chicago

I’d seen many of these but didn’t really understand what I was looking at, until I started to process the imagery myself. After installing the Washington DC drone shadow, I purchased commercial satellite imagery of the city, in order to try to see my drone from space.

The image which I purchased came from Digital Globe’s WorldView-2, a 6000lb commercial observation satellite fired into space aboard a Delta II rocket from Vandenberg Air Force Base, California, in October 2009. Digital Globe was originally founded in 1992, ahead of the 1992 Land Remote Sensing Policy Act which permitted private companies to enter the satellite imaging business. It received its initial funding from Silicon Valley, and corporations in the US, Europe and Japan. Much of Google Maps imagery is purchased from Digital Globe.

dc

The image shows 25 square kilometres of Washington, D.C., photographed on the 26th August, 2013 – but it’s not a photograph. Observation satellites do not carry conventional cameras, but multispectral scanners which contain an array of sensors for recording data across a range of frequencies. WorldView-2′s scanner contains 8 sensors with a resolution of 1.85m per pixel: four in the visible spectrum, recording red, yellow, green, and blue, and four more, in the deep blue, the red edge, and in the inner and outer near-infrared, covering a total spectrum of more than twice the visual range of the human eye. One more sensor measures panchromatic intensity across the visible spectrum, allowing images to be sharpened to a resolution of 0.46m per pixel.

In order to make this image, it is necessary to combine data from different sensors, so a 5-3-2 image, in this case, composites data from the visible red, green and blue sensors into a single, “true colour” image (although there is nothing ‘true’ about this). This image is then used to add colour to the higher resolution but black-and-white panchromatic image, a process called “panchromatic sharpening.”

dc-drone-satellite-2

This is the process which produces the rainbow planes, which move fast enough to blur themselves across the satellites’ different chromatic sensors. It’s a glitch, but like all good glitches the rainbow plane is also a key to uncovering the functioning of the image-making machines, a glimpse into the way the machines see the world.

105. Source: booktwo.org
Item: Spectacular Sports Visualisations
Date: 29 June 2014, 5:36 am

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.

106. Source: KCRW's Art Talk
Item: Yvonne Rainer at the Getty Research Institute
Date: 29 May 2014, 9:05 pm

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

Enclosure (mp3)
107. Source: booktwo.org
Item: #Rorschcam NYC
Date: 11 March 2014, 11:35 am

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.

rorschcam1

#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.

108. Source: booktwo.org
Item: Planespotting
Date: 18 December 2013, 12:19 pm

Today is International Migrants Day. Last week, I wrote about the failed deportation of Isa Muaza. Yesterday, entreglasgow.org/?page_id=914">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

109. Source: booktwo.org
Item: DIY Drone Shadows
Date: 6 December 2013, 10:30 am

The Drone Shadow Handbook is available for sale. You can also download an electronic copy for free below.

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Last week I drew a Drone Shadow, number 006, in Brixton, London, for the premiere of Jeremy Scahill’s investigative documentary Dirty Wars. The work was commissioned by Picturehouse and Britdoc, who are distributing the film nationwide. You can read more on this site about the previous Drone Shadows in Istanbul, Brighton and Australia, as well as in Washington DC. There are more photos of the Brixton shadow at Flickr.

Dirty Wars is an excellent and powerful film investigating America’s covert wars in Afghanistan, Pakistan, Yemen, Somalia and elsewhere. Scahill visits the communities and families affected by the ever-expanding policy of special forces actions and drone attacks outside declared theatres of war, and digs deep into the politics and policies behind America’s version of ‘total war’. It is currently touring the UK and I urge you to see it – you can download it from the website if there’s no screening near you. I’ll be taking part in a discussion of the film at the Hackney Picturehouse this weekend.

As well as the Drone Shadow installation, I created a projection for Picturehouse which is touring the country with the film. It has so far appeared in London, Edinburgh, Glasgow, Newcastle, York, Liverpool, and elsewhere.

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The Drone Shadow is a piece of public art, undertaken in public space, for the purpose of public debate, originating in work performed at public protests. For some time, I’ve wanted to open up the project, so that anyone can draw one. With this in mind, I’ve created a handbook, which gives guidance on how to draw a drone shadow, including advice on measuring and materials, and schematics for four of the most common types of drone: the Predator, Reaper, Global Hawk, and Hermes/Watchkeeper.

Please consider supporting the Drone Shadow project by purchasing one or more printed handbooks: Buy Drone Shadow Handbook.

You can also download it free here: Drone Shadow Handbook [PDF, 572KB, CC BY-NC-SA] ↓

See the full handbook at Flickr →

Drone-Shadow-Handbook

For Dirty Wars, Britdoc and Picturehouse printed 2000 copies of this handbook (above), via the ever-excellent Newspaper Club, which are being distributed at screenings.

Several Drone Shadows have already been drawn based on these plans, including one in Detroit’s Eastern Market for The Gallery Project‘s ‘Drones’ exhibition (installed by Lea Bult) …

Drone-Shadow-Detroit

… and several around São Paulo, Brazil, as part of the IV Mostra 3M de Arte Digital (these are Elbit Hermes drones, in use with the Brazlian airforce – which has used them to film football matches. A variant, called the Watchkeeper, is currently on trial with the British Army):

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If you do use the plans to draw your own Drone Shadow, please have a read of the handbook, let me know about it, and send any feedback you have.

110. Source: booktwo.org
Item: Recent Work, November 2013: Render Ghosts, GPS, Landsat.
Date: 15 November 2013, 8:55 am

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

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

Read the full piece over at EVP.

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

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

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

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

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

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

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

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

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

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

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

111. Source: booktwo.org
Item: #OccupyTheCloud
Date: 31 October 2013, 12:06 pm

“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.

112. Source: booktwo.org
Item: Australia: Drone Shadows, Diagrams, and Political Systems
Date: 5 September 2013, 9:03 pm

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.

113. Source: ArtRightNow News
Item: Emerging artists wanting to participate in the Splendid festival read on...(May 2011)
Date: 20 March 2011, 2:03 pm
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.
114. Source: ArtRightNow News
Item: Winners for the 2010 Gold Coast Indigenous Art and Design Award
Date: 19 November 2010, 11:47 am
Anthony Walker is the winner of the 2010 prize.
115. Source: Networked_Performance
Item: Augment it Yourself (AiY) Deadline: July 1
Date: 15 June 2014, 7:09 pm

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

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

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

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

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

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

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

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

116. Source: Networked_Performance
Item: Turbulence Commission: “Shadow Play - Tales of Urbanization of China” by Lily & Honglei
Date: 3 June 2014, 8:00 pm

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

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

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

BIOGRAPHY

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

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

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

117. Source: Networked_Performance
Item: Augment it Yourself (AiY): Call for Proposals
Date: 9 May 2014, 12:42 pm

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

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

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

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

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

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

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

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

118. Source: The Temple News » Art
Item: They call it puppy love
Date: 8 April 2014, 2:30 am

Philly photographer Chris Sembrot photographs owners kissing their dogs.

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

119. Source: The Temple News » Art
Item: Art students answer the call
Date: 24 March 2014, 10:40 pm

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

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

120. Source: The Temple News » Art
Item: Residency leads to collaboration
Date: 19 November 2013, 7:40 am

Artist Katie Grinnan incorporated student work into her art.

The article residency-leads-collaboration/">Residency leads to collaboration by Alexa Bricker appeared first on The Temple News.

121. Source: The Temple News » Art
Item: A View from the Top
Date: 22 October 2013, 7:00 am

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

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

122. Source: The Temple News » Art
Item: Philly art contest asks users to Instagram
Date: 10 September 2013, 4:40 am

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

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

123. Source: Digital Filmmaking Blog
Item: TTTOW - A unique film festival
Date: 22 August 2013, 2:40 pm
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">submissions page.

Hurry, the submissions deadline is September 10, 2013!
Enclosure
124. Source: Digital Filmmaking Blog
Item: 10 Free Video Editing Software for Filmmakers
Date: 6 July 2013, 7:48 am



Money is, by definition, 
always a difficult issue for the low budget filmmaker.  The challenge is in getting as much of your meagre budget up on the screen as possible. Luckily, by the wonders of open source development, just about every $800 software package has its freebie equivalent.

1. Lightworks

PC ( LINUX public beta released early 2013, MAC TBA)
An incredibly powerful editing package that is head and shoulders above all other freebie editing packages.  Just take a look at their website to see some of the high profile projects that have used Lightworks.  Lightworks has features that even some of the big packages don’t have without the addition of expensive plugins.  With a strong community supporting it, this is only going to get better.
Get Lightworks here

2. HyperEngine-AV – Equivalent to Adobe Premiere, Final Cut Pro

MAC/PC
A decent editing package.  A step up from the likes of imovie though still not up to the professional standards of the pricey packages.  For simple edits though, you could do a lot worse.
Get HyperEngine-AV here

3. Avidemux

MAC/PC/LINUX
One of the best free editing packages out there.  Avidemux allows you to do basic cutting, apply filters and work with a wide variety of different file types.  It gets better with each release.
Get Avidemux here

4. Windows movie maker, pinnacle videospin

PC
These lightweight freebie editors should not be overlooked entirely.  For quick edits and changes there’s no need for the big guns.
Get Windows Movie Maker
Get Pinnacle Videospin

5. Avid Free DV

MAC
This was a great idea but has sadly been discontinued by Avid.  Avid Free DV is a free version of their high end editing software, preserving the interface but removing many of the advanced features.  Great for simple editing whilst also learning your way around Avid.  Copies are still floating around online, though now it’s unsupported it is just going to get more out of date with time.  Get it while it’s still useful.
Get Avid Free DV here

6. MPEG Streamclip

MAC/PC
Another powerful, professional encoding and conversion tool.  It accepts even the most obscure video formats and can even download YouTube videos. It is widely used as a simple tool for transcoding unwieldly DSLR footage.
Get MPEG Streamclip here

7. ffmpeg

MAC/PC/LINUX
A powerful encoding tool that can read and convert just about any video file format.
Get ffmpeg here

8. DCP Builder – Equivalent to taking your project to an expensive post house

MAC/PC/LINUX
Want to screen your film at the utmost quality?  Modern digital projectors require something called a DCP (Digital Cinema Package).  Most post houses will charge you several thousands for the privilege, even for a short.  DCP Builder is free.
Get DCP Builder here

9. Open DCP

MAC/PC/LINUX
Another DCP package.  Personally I’ve had better results with this one than with DCP Builder.  But hey, they’re both free so give them both a shot and see what works best for you.
Get Open DCP here

10. Black Magic DaVinci Resolve Lite

MAC/PC/LINUX
A good colour correcting job can make your budget movie look a million dollars.  Black Magic now offer a lite version of their powerful colour correcting tool absolutely free!
Please feel free to add your own favourite free software that give an edge to the filmmaker.
Enclosure
125. Source: The Temple News » Art
Item: 3rd Street Gallery’s Philadelphia Community Exhibit puts local talent on display
Date: 30 January 2013, 12:29 pm

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

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

126. Source: Digital Filmmaking Blog
Item: Free stock footage, music from Video Blocks
Date: 11 January 2013, 10:54 am
Got an email yesterday about an upcoming company called Video Blocks that's offering free stock footage from their collection of over 50,000 video, motion backgrounds and production music - if you sign up for a 7-day trial.


The offer seemed really tempting so I did some research on Video Blocks and realized they were featured on TechCrunch too:


Anyhow, I still have to check them out. The 7-day trial offer is really tempting, the only catch is that they require your credit card info to complete the trial sign-up. This is so that if you forget to cancel your trial in 7 days you will be charged at their regular monthly fee of $79 per month. But this kind of marketing tactic is not new at all...many big and small retailers, including Netflix have used a similar model of internet marketing to generate leads.

In any case, if you're into video editing or post production this offer is really attractive. Even the monthly cost of $79 is quite a decent deal for the amount of stock footage and clips that Video Blocks have on offer. But if you think you're not at the stage where you can afford a recurring cost, just take up their 7-day free trial and remember to cancel before it ends!



Enclosure
127. Source: The Temple News » Art
Item: ‘RAW’ talent showcased in awards ceremony
Date: 13 November 2012, 6:40 am

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

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

128. Source: Digital Filmmaking Blog
Item: How Apple's new computers impact filmmaking
Date: 26 October 2012, 1:04 pm

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?
129. Source: Digital Filmmaking Blog
Item: 6 Frequently Used Transitions Between Shots
Date: 1 October 2012, 5:04 am

Film editing is all about making (mostly smooth) transitions from one shot to another. Here we briefly discuss the 6 frequently used transitions between shots:

1. CUT: The end of the first shot is attached to the beginning of the second shot. The most often used of all transitions, it creates an instantaneous change in one or more of the following: angle, distance, subject etc. In narrative films, normally only cuts are used within a scene.

2. MATCH CUT: A match cut (sometimes called a form cut) maintains continuity between two shots by matching objects with similar shapes or movements or both similar shapes and similar movements. One of the best known examples of a match cut is from 2001: A Space Odyssey (1968), in which a bone slowly tumbling end over end in the air is replaced by an orbiting spacecraft with a similar shape. Watch video below for reference:

3. JUMP CUT: A jump cut is a discontinuous transition between shots. For example, one shot shows a woman running on a beach towards the water, and the next shot shows her running away from the water. A jump cut is sometimes used to surprise or disorient viewers. It may also occur if the film print or video has missing footage. Many filmmakers and film schools associate a jump cut with bad editing.

4. FADE OUT, FADE IN: The first shot fades to darkness, (normally black); then the second shot fades in(by degree goes from darkness to illuminated image). The fade out, fade in can provide a short but meaningful pause between scenes and sequences. If this editing transition is doe slowly, it can serve as a leisurely transition.; if done rapidly, it is less noticeable or not noticeable at all. Perhaps because of the current popularity of fast pacing in films, this transition is used far less often than it used to be,

5. LAP DISSOLVE: The first shot fades out as the second shot fades in, overlaps the first, then replaces it entirely. Lap dissolves may be rapid and nearly imperceptible or slow and quite noticeable, creating a momentary superimposition of two images, sometimes suggesting similarities or even meaning.

lap dissolve

6. WIPE: A wipe seems to push one shot off the screen as it replaces it with the next shot. The wipe, which comes with many variations, has been popular in science fiction, serials and action movies. but it has also been used in such diverse films as It Happened on Night, (1934), The Maltese Falcon (1941), The Seven Samurai (1954), Ed Wood (1994) and Battlefield Earth (2000).

Many other transitions are used but much less often than these six mentioned above. We will post more on video editing techniques on the Digital Filmmaking Blog in the coming days,

Enclosure
130. Source: Digital Filmmaking Blog
Item: SXSW festival being streamed live
Date: 11 March 2012, 6:36 am
The South by Southwest multi-day gathering, also called the SXSW Festival, since it’s being livestreamed from Austin, TX, enabling viewers around the globe to feel the love even sitting in the comfort of their home. 



From March 9 - March 18, there’s a party going on, and you didn’t even need to fly there in order to attend. This event, which is popularly know by its acronym SXSW is streaming various live events, music and photos online here. Events are best viewed using Internet Explorer 9.

This year, more than 500 parties — a record — are on tap at venues around town. With its focus on music, film and interactive offerings, SXSW naturally attracts interest each year from record labels, film distributors and high-tech firms looking to make a big splash with lavish events featuring celebrities, freebies and, of course, lots of food and booze.

Overall, SXSW is known as a great creative mashup attracting filmmakers, distributors, music promoters, talent buyers, members of the national and international press, digital creatives, technology geeks, entrepreneurs, fans and fanatics. This year is the 19th time the South by Southwest film event is being held. The largest demographic represented among attendees are people in their 30’s (40%), followed by twenty-somethings (31%).

While it has a reputation for being hip, it aims to steer clear of being a stuffy, snobbish atmosphere, and based upon press testimonies , the South by Southwest gathering seems to have reached that goal in past years. And then some.

The interactive part of the festival continues for 4 more days through March 13th, while film viewing will last 8 more days through March 17th and for those who love the music events, there’s a great line up that will take folks out 9 more days, through March 18th.

A Microsoft gala last year at downtown's ACL Live venue, for example, reportedly cost $750,000. But the festival also appeals to other firms, including automakers, fashion designers, television networks and even the makers of Red Bull energy drink.

All are eager to reach the 20,000-plus trendsetters in town, hoping to generate buzz, which, in turn, generates sales.

 Visit the South by Southwest home page for a more comprehensive list of events and programs.
131. Source: Digital Filmmaking Blog
Item: George Clooney honoured at Palm Springs Film Festival
Date: 23 November 2011, 9:20 am

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

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132. Source: Digital Filmmaking Blog
Item: Final Cut Pro X released
Date: 24 June 2011, 11:11 am
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:



Enclosure
133. Source: Digital Filmmaking Blog
Item: Shortie Awards Youth Film Festival
Date: 6 May 2011, 5:28 am
awards.org/shortie_awards/Welcome_files/card-draft-5.jpg" />

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!
134. Source: Digital Filmmaking Blog
Item: Short Film: Damn Your Eyes
Date: 26 April 2011, 5:52 am

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.
Enclosure
135. Source: Digital Filmmaking Blog
Item: Tribeca Film Festival Launches Online Version
Date: 23 March 2011, 7:50 pm
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 .

136. Source: Digital Filmmaking Blog
Item: Salon Films launches filmmaker training program
Date: 10 January 2011, 10:02 am
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.
137. Source: Digital Filmmaking Blog
Item: Tribeca announces filmmaking grants
Date: 17 September 2010, 2:08 pm
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.
138. Source: Digital Filmmaking Blog
Item: Taiwan's Tsai Liang is Asian Filmmaker of the Year
Date: 6 September 2010, 5:47 am
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.
139. Source: Digital Filmmaking Blog
Item: Latest Web startups for filmmakers
Date: 18 June 2010, 2:39 am
As the author of the Digital Filmmaking Blog I often get emails about the launch of a new film camera or filmmaking scholarhip or film training program requesting to get featured on this blog. Often I find those things overtly promotional and commercial and decide to ignore them. But I would like to list a few good web startups for filmmakers:

1. Tyro TV: tyrotv.com is a website that's intended for emerging television and filmmakers. They are sponsoring a new kind of online film festival/contest. According to the site owner,


We give young filmmakers a topic and everything they need to create their own movie -- video, music, and sound effects. Then let them create the best short film they can using these materials. Because everyone's using the same "building blocks," contestants will be judged not by their budget but on their creativity and storytelling abilities.

Their first competition is called "The Marijuana Mash-Up." For this contest, they are asking contestants to “mash up” (that is, creatively condense and re-edit) an hour’s worth of hilariously dated drug education films from the 50s and 60s to create a short campaign commercial that convinces people to vote for or against legalizing marijuana. The contest is motivated by the California initiative that'll be on the ballot this fall, but young filmmakers across the country have passionate views on this issue, to say the least! Finalists will be named late in the summer and a winner just before the election.

2. Fleetflicks: FleetFlicks.com is trying to revive the short film as both art and entertainment. It's a place for filmmakers to expose their work to an international audience. The site hopes to spread the word to a diverse viewership and combat the stigma that the short film is only for crotch-punch and cat videos. The site has been up for a few months and has gathered a lot of followers, many of whom have uploaded their short films on the site.

3. Student Film Makers of India: SFMI is a site for student film from India where they can upload their films, make their profile and network with other film makers. The website has a decent design and has got quite a few members already who have uploaded their short films and animations there.

140. Source: Digital Filmmaking Blog
Item: Jumpstart Your Film and Television Career: 5 powerful TIPS on how to land more tv film jobs than you can handle
Date: 23 April 2010, 6:57 pm
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
141. Source: Culture, Arts and Entertainment
Item: The Carnegie Medal should create a separate award for teenage fiction
Date: 28 July 2014, 2:00 am
Our most venerable children's literary prize should not become dominated by books aimed at teenagers, says Lorna Bradbury






Enclosure (jpg)
142. Source: Art Zone Weekly Podcast
Item: Art Zone with Nancy Guppy 5/23/2014
Date: 23 May 2014, 4:00 am
In 1985, Nancy Nordhoff created Hedgebrook -- one of the few residency programs in the world exclusively dedicated to supporting the creative process of women writers.
Enclosure (m4v)
143. Source: Art Zone Weekly Podcast
Item: Art Zone with Nancy Guppy 10/4/2013
Date: 4 October 2013, 4:00 am
Art Zone celebrates Earshot Jazz Festival making it to a quarter century. Pippi Longstocking slides across the Seattle Children`s Theatre stage. Cuong Vu Trio improvises in the Art Zone studio. Singer Naomi Wachira talks lyrics. Kook Teflon brings in "psycho dolls," and we get a backstage postcard from the Seattle Stranger Genius Awards.
Enclosure (m4v)
144. Source: Vispo.com Multimedia
Item: New Directions in Digital Poetry -- Chris Funkhouser
Date: 21 January 2012, 4:50 pm
Funhouser's new book discusses, among other works, my pieces named Arteroids, dbCinema, and the Stir Fry Texts. Chris is also the author of the first book-length study of the history of digital poetry (called Prehistoric Digital Poetry).
145. Source: SeattleArtists.com Blog
Item: Canon In Action Photography Tour & Educational Roadshow Hits Seattle This Weekend
Date: 2 June 2014, 4:56 pm

CIA_Banner

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

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

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

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146. Source: SeattleArtists.com Blog
Item: Save Wallcotts, Your Local Art Store!
Date: 24 January 2014, 11:19 am

Wallcotts-Home-3

One of my favorite movies, albeit one of those cheesy teen-angst films, was Empire Records. Released in 1995, Empire Records is about a group of coming-of-age, eccentric record store employees who devise a plan to save their beloved independent record store. What does all this have to do with art you ask?

Nestled in the heart of Shorline, WA is a new little locally owned and operated community gift & art store called Wallcotts Décor & More. Louise, the owner of Wallcotts, opened the gift store in September, 2013 with six art enthusiasts, passionate about collaborating with local art talent and connecting artists with the local community. In addition to selling the work of local artists, Wallcotts encourages learning through art workshops and art "parties".

But much like Empire Records, this little independent art shop needs your help. We here at SeattleArtists.com are completely dedicated to supporting the local neighborhood art scene in every shape and form, so we’re happy to pass on and share this information. Wallcotts has started a fundraising campaign to raise money to support their operations. "Wallcotts Builds A Mosaic" is both an online crowdsourcing campaign on Indiegogo as well as a "Meet the Artist" fundraiser event to be held on Sunday February 16th from 5:30pm to 7:30pm.

They are looking for both supporters to contribute to their Indiegogo fundraising campaign, as well as artists to be a part of an auction at the event. "We created this campaign and event to reach out to the art supporters and enthusiast to contribute to a dream that can enrich a community."  The event will have several artist stationed with their work on display throughout our store, available to speak about their work as well as sell to interested buyers. This event will be open to the public. We will also be conducting a silent auction which will of course include local art pieces as well as donations by local companies in the area. The donations collected from the auction will go towards keeping our dream alive and our doors open.

You can support Wallcotts’ Indiegogo campaign by visiting: http://www.indiegogo.com/projects/wallcotts-builds-a-mosaic

The "Meet the Artist" Fundraiser Event will be Sunday Feb. 16th 530pm-730pm. To participate or attend the February event, please contact Wallcotts directly at:

Wallcotts Decor & More
18336 Aurora Ave.N Suite 105
Shoreline, WA 98133
(In Gateway Plaza with Menchie’s & Little Caesars)

Website: www.wallcotts.com
Email: louise@wallcotts.com
Phone: (206) 629-5170

147. Source: SeattleArtists.com Blog
Item: Seattle Artist Ulrich Pakker Receives UNESCO Art Award
Date: 8 October 2013, 3:39 pm

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

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

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

Seattle Artist Ulrich Pakker receives UNESCO art award

148. Source: TAB Events - in category 3D: Installation
Item: Misa Hiramatsu + Mayumi Tanabe “Polymorphic”

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

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

149. Source: TAB Events - in category 3D: Installation
Item: Unreliable Reality – The Where of This World

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

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

150. Source: TAB Events - in category 3D: Installation
Item: Mission [Space X Art] -Beyond Cosmologies

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

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

151. Source: TAB Events - in category 3D: Installation
Item: Takehiko Inoue Interprets Gaudi’s Universe

poster for Takehiko Inoue Interprets Gaudi’s Universe
Takehiko Inoue Interprets Gaudi’s Universe
at Mori Arts Center Gallery (Roppongi, Nogizaka area)
(2014-07-12 - 2014-09-07)

This exhibition combines the artistic worlds of Antoni Gaudi, the groundbreaking architect responsible for sites including the Sagrada Familia, Park Guell, and Casa Milà, and the manga artist Takehiko Inoue, who is known for popular works such as “Slam Dunk”, “Vagabond”, and “Real”. Inoue has illustrated Gaudi’s youth in the countryside south of Barcelona, a time when he was called by the nickname “Tonet”. Appointed by the Spanish ambassador as a project to commemorate the 400th anniversary of diplomatic relations between Japan and Spain in December 2013, Inoue, who has deep ties with Spain, recreates Gaudi’s universe. Inoue’s works are also displayed along with drawings, furniture, models, and materials related to Gaudi. [Image: Takehiko Inoue “Tonet” (2013) ©I.T.Planning]

152. Source: TAB Events - in category 3D: Installation
Item: Big Sky Friendship

poster for Big Sky Friendship
Big Sky Friendship
at Towada Art Center (Greater Tokyo area)
(2014-04-19 - 2014-09-23)

This exhibition brings together artworks addressing the way that loose forms of communication can develop between strangers as a result of unlikely catalysts. In the aftermath of the Great East Japan Earthquake - “3.11.” disaster we were met with the refreshing and encouraging sight of people joining hands and helping each other, above and beyond the frameworks and rules provided by local governments or society. In those unprecedented circumstances it required courage for people to rely not on social systems or ideas of reciprocity, and instead reach out to strangers of their own accord. And yet the world that opens up when such courage is demonstrated, although it might be fleeting can be seen as being full of love. Sociologists such as Itoko Kitahara and Rebecca Solnit have called such impromptu communities a type of utopia. Nevertheless, as reconstruction projects proceed and things return to normal, it at least appears that they gradually disappear. In this exhibition we explore through artworks and other post-disaster activities exactly what those spaces, full of creativity and love, were. In the teaching of “form is emptiness,” which appears in the Buddhist Heart Sutra, the “emptiness” is the whole world and the “form” refers to everything in it. This is an attempt to address once again the strength of the people who attempt to overcome difficult days, amidst a world that is forever changing.

153. Source: TAB Events - in category 3D: Installation
Item: Windows

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

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

154. Source: TAB Events - in category 3D: Installation
Item: Metal Art Museum Hikarinotani Permanent Exhibition

poster for Metal Art Museum Hikarinotani Permanent Exhibition
Metal Art Museum Hikarinotani Permanent Exhibition
at Metal Art Museum Hikarinotani (Greater Tokyo area)

Our permanent exhibition, held on the first floor, features the work of metal-cast artists Hotsuma Katori and Shinobu Tsuda. Both being born in the same period, in the Hokuso area of Chiba Prefecture, the two were opposites in artistic viewpoints; Katori emphasized tradition while Tsuda called for revolution. Works on display will be rotated every three months.

155. Source: TAB Events - in category 3D: Installation
Item: “Unseen Daily Life” (Part1)

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

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

156. Source: TAB Events - in category 3D: Installation
Item: Stephen Mushin “Now, if, what, then - Farming Tokyo”

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

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

161. Source: International Art Competitions provided by Artshow.com
Item: Lines into Shapes - Estes Park, Colorado
Up to $4,000 in awards. Deadline: August 31, 2014
162. Source: International Art Competitions provided by Artshow.com
Item: A Show of Heads - Hudson, New York
$2200 in Direct Art Print Awards. Deadline: August 31, 2014
163. Source: International Art Competitions provided by Artshow.com
Item: Japan Media Arts Festival - Tokyo, Japan
1,100,000 JPY in awards. Deadline: September 2, 2014
166. Source: International Art Competitions provided by Artshow.com
Item: Craft Forms 2014 - Wayne, Pennsylvania
$6,000+ in awards. Deadline: September 12, 2014
167. Source: International Art Competitions provided by Artshow.com
Item: Joshua Tree National Park Art Exposition 2014 - Twentynine Palms, California
$6,000 in cash awards and an Artist-In-Residence award. Deadline: September 15, 2014
170. Source: Network Front | The Guardian
Item: Russia ordered to pay $50bn to Yukos investors - business live
Date: 28 July 2014, 7:30 am

Permanent Court of Arbitration in The Hague rules in favour of investors in defunct Russian oil giant Yukos, 10 years after it was forced into bankrupcy.

Shares in Rosneft, which bought many of Yukos's assets a decade ago, have fallen almost 2.8% today following the court ruling.

Rosneft shares have now fallen 14% since the end of June, as the geopolitical crisis over Ukraine escalated.

Here's one of the many assets which Yukos lost when it collapsed a decade ago under the weight of Moscow's tax demands:

Mikhail Khodorkovsky, the former boss of Yukos, has just issued a statement on today's court ruling.

It is with a feeling of satisfaction that I have learned about the award by the Permanent Court of Arbitration.

It is the first independent tribunal to have considered the YUKOS case in its entirety, to have examined the evidence and to have heard witness testimony. The findings were predictable for any unbiased observer of the disgraceful Basmannyi travesty of justice: from beginning to end, the YUKOS case has been an instance of unabashed plundering of a successful company by a mafia with links to the State.

Former Yukos boss @khodorkovsky on Hague ruling: `It is with a feeling of satisfaction that I have learned about the award.'

Former Yukos boss @khodorkovsky on Hague ruling: `It's sad the recompense will have to come from State's coffers not from pockets of Mafiosi

Former Yukos boss @khodorkovsky on Hague ruling: `I am not a party to legal proceedings and I don't seek to benefit financially from outcome

Over in Israel, Yukos investor and business magnate Leonid Nevzlin says he's 'pleased' with today's verdict (as I guess one would be):

Russia has 180 days to meet the ruling, according to lawyers representing the Yukos shareholders. After 15 January 2015, interest will start racking up.

Just out of interest, what exactly would be the Russian state property in other countries Yukos could seize if Russia doesn't pay?

Russia had already pledged to fight the ruling, Associated Press reports:

Russian Foreign Minister Sergey Lavrov, commenting earlier Monday, said Russia will be appealing the ruling.

"Authorities who are representing Russia in this trial will use all possible legal means to defend their position," Lavrov said.

Yukos's corporate structure does look rather complex, including a swathe of holding companies and international divisions (there's a blurry chart at the end of the ruling)

Also, here's a Yukos company structure from deep within the arbitration rulings. pic.twitter.com/wlbBENADB4

Judging by the company's complex corporate structure, I'm not surprised the tax structure was complicated at #Yukos

I've just recropped the images in the last entry, so refreshing your browser should make them a little clearer.

Having made its ruling, the Permanent Court had to determine a fair value for Yukos's assets today.

It decided that Yukos did bear some responsibility for its demise, and cut the total payout by 25%.

Vladimir Putin may have accidentally handed Yukos the proof it needed that the sale of its assets to Rosneft was politically motivated.

Speaking at a press conference in 2004, the Russian president told reporters that the state was "looking after its own interests", having seen valuable assets snaffled on the cheap in Russia's 1990s privatisation drive.

From Yukos ruling - tribunal ready to accept Rosneft wasn't acting for Russian state... then Putin himself ruins it pic.twitter.com/UTHTJT6XJe

In their defence, the Russian authorities had insisted that Yukos had "fraudulently evaded billions of dollars of tax" between 1999 to 2004, by setting up 'sham trading shells' in Russian regions with lower tax rates.

They accused its oligarch owners of building their investments through "illegal acts and bad faith" conduct.

Yukos abused the low-tax region program, and evaded Russian corporate profit tax in violation of the bad faith taxpayer doctrine, by implementing what Yukos referred to internally as its tax optimization scheme.

Pursuant to this scheme, Yukos established dozens of sham trading companies in low-tax regions that had no business purpose, and then shifted its own profits to the sham trading companies. These sham trading shells had no genuine economic substance and served no purpose other than to reduce Yukos tax liabilities, an arrangement described by Yukos own lawyers as constituting unlawful tax evasion.

After having now traversed, at some length, the treatment of Yukos by Russian tax authorities, the bailiffs and the courts, and having considered the totality of the evidence, especially the VAT evidence, the Tribunal has concluded that the primary objective of the Russian Federation was not to collect taxes but rather to bankrupt Yukos and appropriate its valuable assets.

Today's ruling has some fascinating detail about the intersection between politics and business in Vladimir Putin's Russia.

On page 62, for example, former chief economic advisor Andrei Illarionov told the court that Yukos was "one of the most dangerous enemies for those who did not want to see Russia a free country.

According to Dr. Illarionov, the arrests of Messrs. Khodorkovsky and [chief executive] Lebedev and the dismantlement of Yukos were politically and economically motivated.

Yukos intended merger with Western oil majors was seen as a national betrayal and a hurdle to expropriation. Dr. Illarionov describes the 19 February 2003 meeting at the Kremlin between President Putin and business leaders, at which Mr. Khodorkovsky made a presentation on corruption, to which President Putin responded that everyone knew how various assets, including Yukos, were acquired, and told Mr. Khodorkovsky: I return the ball in your corner.

Tim Osborne, director of GML (the Yukos shareholders), says:

We are thrilled with this decision, although we know it is not the end of the road.

It is unlikely Mr. Khodorkovsky will benefit financially from the verdict, as he contends he handed over his stake to a partner, Leonid B. Nevzlin, who lives in Israel, in 2005.

The victorious Yukos investors are holding a press conference in London now. My colleague Jennifer Rankin is tweeting from it:

Hague court rules against Russia in Yukos case, seized assets via "a devious and calculated expropriation".

Judgement finds Russian courts "bent to the will" of Russian authorities. #yukos

yukos compensation ruling could spell trouble for bp, shareholders considering its assets, "nobody is safe" says head s-h group.

Good day for ousted Russian billionaires....Former Yukos s/h wins $50bln in damages against Russia

The court ruling over the Yukos case is online here.

It's over 600 pages long. The size of the compensation payment comes on page 521.

Tthe Tribunal has decided to award Claimants post- award interest on the damages of USD 50,020,867,798 for which the Tribunal has found Respondent liable.

Rosneft, which ended up with many of Yukos's energy assets after the company collapsed, is denying that any wrongdoing took place.

It doesn't expect to pay any of the $50bn compensation claim.

Reuters is snapping more details of the Yukos ruling:

Russia has been ordered to pay $50bn to the shareholders in former oil company Yukos, to compensate them for the loss of valuable assets a decade ago.

Yukos award v Russia $50bn, unanimous ruling, 20 times largest ever arb award in Hague.. running now

Michael Heise, chief economist of fund manager Allianz, is worried about the deteriorating relations between Russia and the West, saying "the situation is very dangerous."

"An escalation carries large risks for the economy.

"There is a big risk from further sanctions although one has to accept that clear (diplomatic) signals are needed."

If there has been any good news in the Ukraine conflict or in Gaza I missed it, but while the rubble has weakened somewhat over the last week, even the Turkish Lira has held up.

That speaks to the dominance of the risk-friendly global backdrop as low US rates and continued, albeit modest global growth trump almost anything else.

European leaders are reportedly considering further restrictions on Russias access to capital markets and this is likely to remain a talking point this week.

Russia's MICEX stock index has dropped by 0.75% so far today, as the prospect of new sanctions loom over Moscow.

It's a somewhat subdued start to trading in Europe, where the main stock markets have all risen a little.

In London, the FTSE 100 has gained 15 points or 0.25%, led by consumer giant Reckitt Benckiser (+3%) which announced plans to spin off its pharmaceuticals arm this morning.

Shares in Ryanair have jumped 5% in early trading, as traders welcome its raised profit forecasts.

Budget airline Ryanair has added to the optimism in the markets this morning, by hiking its profit forecasts.

After hitting investors with some nasty profit warnings in 2013, CEO Michael O'Leary was on more comfortable ground this morning.

"We are overrun with growth offers from primary European airports whose incumbent flag and regional carriers continue to cut capacity and traffic,"

The Nikkei's rally was also driven by hopes that Japanese car makers will report decent earnings this week.

Ryota Sakagami, chief equity strategist at SMBC Nikko Securities, predicted that the index could "quickly push toward 16,000 [points], possibly by the end of August."

Japan's stock market has hit its highest level since late January, driven by economic optimism and the prospect of decent company earnings.

The Nikkei has closed at 15529, up 71 points, a point not reached since late January.

Asia late... Shanghai up 2.4% HK up 1.1% Nikkei ends 0.5% up ASX down 0.1% in rolling close Taiex ends down 0.2% Sensex down 0.5% $NIK $HSI

"Geopolitical concerns remain as the conflict in the Ukraine does not look like it will end soon, but there is some relief spreading that the impact will be contained,"

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

Glaxo has opened up the possibility of breaking up the company and is open to spinning off consumer healthcare unit as standalone company

On a similar note Reckitt Benckiser is to pursue a demerger of pharmaceuticals unit with a separate UK listing Continue reading...

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171. Source: Network Front | The Guardian
Item: A book for the beach: The Sea Around Us by Rachel Carson
Date: 28 July 2014, 7:20 am
For the reluctant but curious holidaymaker, this combination of science and scintillating prose provides fascinating insights into the mysteries of the tides

Sunbathing bores me, I'm too old to build sandcastles, and I neither swim nor surf. For me, the inevitable summertime trip to the beach is not about any of these things; it's an opportunity to inhabit, however briefly, the margin where land and sea engage in a constant, ever-changing relationship that is one of the great drivers of life on, and the life of, the planet. It's a zone of interchange between the three great planetary ecosystems of earth, air and ocean and one which played a crucial role in the evolution of life itself. A trip to the seaside is an opportunity to contemplate the sea in all its multifaceted glory.

However, if, like me, you're no expert, you'll need a guide to take along, someone who knows the science of the sea and can communicate it clearly and alluringly. You're unlikely to find anything better than Rachel Carson's 1951 The Sea Around Us, the first, and still perhaps the best science bestseller. It wasn't her first attempt at capturing the oceans between the covers of a book; 10 years earlier she had published Under the Sea Wind, a set of short stories in which sea life is narrated through the eyes of birds and fish. This first book was a critical but not a commercial success and disappeared until the success of The Sea Around Us brought it back into print. Continue reading...

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172. Source: Network Front | The Guardian
Item: Outraged by 'poor doors'? See how you like the alternatives
Date: 28 July 2014, 6:27 am

We may recoil from the idea of housing developments with separate entrances for the rich and the rest, but they are just a symptom of a much bigger problem in London

Like business class air travel or first class train carriages, apartment blocks with backstreet entrances - so-called "poor doors" - and worse facilities for residents of their cheaper flats hit a raw nerve. In London, they set in stone - or, more likely, steel and glass - the very standard class status of some Londoners compared with others, many of whom don't actually live in London at all and are just passing through.

But while their symbolism repels, the sobering fact is that "poor doors" at least open onto homes you don't need to be a millionaire to inhabit. They are the least endearing aspect of trade-offs between private developers and London boroughs and mayors, which have long been vital for augmenting the inadequate supply of homes that Londoners on low and even middle incomes can afford.
Continue reading...

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173. Source: Network Front | The Guardian
Item: Gaza crisis: UN security council statement urges ceasefire
Date: 28 July 2014, 5:14 am

Statement agreed by all 15 council members increases pressure as fighting subsides on the eve of Eid holiday

The United Nations has called for an immediate and unconditional ceasefire in Gaza as fighting between Hamas and Israel subsided overnight following a series of ceasefire announcements by both sides, each of which was rejected by the other amid mutual blame and recrimination.

The UN security council issued a presidential statement just after midnight in New York, as the Muslim holiday of Eid al-Fitr, which marks the end of the holy month of Ramadan, was beginning. The move will increase pressure on Israel and Hamas to agree a long-term truce to end the conflict, now in its 21st day. Continue reading...

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174. Source: Network Front | The Guardian
Item: Tulisa Contostavlos considered suicide after Mazher Mahmood drugs sting
Date: 28 July 2014, 4:49 am
In BBC3 documentary former X Factor judge says entrapment by Sun reporter known as 'fake sheikh' left her an emotional wreck

Tulisa Contostavlos has said she contemplated taking her own life after falling victim to a tabloid cocaine sting which led to a trial that collapsed last week.

In a BBC3 documentary being aired on Monday night called Tulisa: the Price of Fame, the 26-year-old X Factor judge said she had suffered depression and had taken a potentially lethal concoction of painkillers and alcohol after an elaborate sting by the Sun on Sunday reporter Mazher Mahmood last year. Continue reading...

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175. Source: Network Front | The Guardian
Item: Bullying and hypocrisy Andy Coulsons reign at the News of the World
Date: 28 July 2014, 4:03 am

In 2005, Andy Coulson was the award-winning editor of the News of the World, presiding over a culture of ruthless exploitation. In the second extract from his new book Hack Attack, Nick Davies examines a world where there was only one rule get the story at any cost
The pervasive power of Rupert Murdoch: the first extract from Hack Attack

Andy Coulson had a good view from his office. Sitting at his desk, he could look out through his glass wall and see the beating heart of the News of the World. Right in front of him was the back bench the row of desks where he would often sit with his lieutenants, filtering all the material that was being pumped into the paper from news agencies and freelancers and from his own staff, making the decisions that shaped the paper.

Beyond the back bench, he could see the picture desk and then the news desk where several executives ran the news reporters who were cramped together in a group on the far side of the room and, next to them, the sub-editors who would check their stories and write their headlines. Around the edges of the newsroom were the feature writers, the sports writers, offices for a few other executives and a special cubicle for the royal editor, Clive Goodman. This was Coulsons world, and he ruled it. But that wasnt the best part of the view. Continue reading...

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176. Source: Network Front | The Guardian
Item: First world war a century on, time to hail the peacemakers
Date: 28 July 2014, 2:00 am
On the 100th anniversary of the start of the Great War, we should remember those who tried to stop a catastrophe

If we were still naming wars as colourfully as they used to the War of the Spanish Succession, the War of Jenkins' Ear we should call the one that began 100 years ago today the War of Unintended Consequences.

No one, certainly, intended to create what Winston Churchill would later call a "crippled, broken world". Austria-Hungary, which declared war on 28 July 1914, merely wanted to dismember Serbia, where irredentists were stirring up ethnic Serbs in Austrian territory. Continue reading...

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177. Source: Network Front | The Guardian
Item: Top 10 dive bars in New York City: readers tips
Date: 28 July 2014, 2:00 am

Looking for a (cheap) drink and some fun in New York? Guardian readers suggest dive bars where the focus is on boozing and atmosphere not the decor

Has your favourite been missed out? Dont let us go dry, just add your tip in the comments below

Calling itself New Yorks most famous dive bar, Rudys walks it likes it talks it: the beer is cheap, the hotdogs are free; Rolling Stone called its jukebox the best in the city and the seats are held together by duct tape! The 6ft pig outside first drew us, as rain-soaked tourists, in, and we found regulars as diverse as the city itself and friendly bar staff who regaled us with tales of the bars more colourful celebrity patrons, from Al Capone to a pre-drinking age Drew Barrymore.
627 9th Avenue, +1 646 707 0890, rudysbarnyc.com
hecticplanet Continue reading...

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178. Source: Network Front | The Guardian
Item: Tom's Fantastic Floating Home review the inventor who does it the hard way
Date: 28 July 2014, 2:00 am
Why kit out your houseboat with a padlock when you can come up with a security system that involves going into space?

Tom Lawton is an inventor, and a father. He has already fathered two children Barney and Rufus. And he has already invented a few inventions, like a recordable alarm clock, a 360-degree lens for a smartphone camera, and honking handlebars ("handlebars that honk", he explains) for a child's scooter.

Now he's inventing a boat. Well, boats have been invented obviously. He gets that. But then he's making some modifications, turning it into a houseboat/floating experimental test bed I'm not sure what the hell it is, to be honest. Tom's head, turned inside out, floating on the water, something like that? They're calling it Tom's Fantastic Floating Home (Sunday, Channel 4). Continue reading...

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179. Source: Network Front | The Guardian
Item: Fracking push gets go-ahead across UK as ministers tighten safeguards
Date: 27 July 2014, 7:10 pm
Drilling will be allowed in national parks in 'exceptional circumstances' but ministers retain power to veto plans

Ministers will give the go-ahead on Monday for a big expansion of fracking across Britain that will allow drilling in national parks and other protected areas in "exceptional circumstances".

The government will invite firms to bid for onshore oil and gas licences for the first time in six years, with about half of the country advertised for exploration. Ministers are also clarifying the rules on when drilling can take place in national parks, areas of outstanding natural beauty (AONBs) and world heritage sites, following calls by environmental campaigners for an outright ban on drilling in them. Continue reading...

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180. Source: Network Front | The Guardian
Item: New York Times says US must 'repeal prohibition' of federal marijuana ban
Date: 27 July 2014, 5:00 pm
  • 'Grey Lady' editorial calls for dropping of 44-year ban
  • Rating of drug with LSD and heroin 'an increasing absurdity'

One of Americas most influential newspapers, the New York Times, on Sunday called the federal ban on marijuana a laughing stock and urged the White House to drop the law and give permission for states to legalise the drug.

Marijuana for recreational use went on sale in Colorado on 1 January; Washington state followed suit this month and Oregon and Alaska will vote on the issue in the November midterm elections. Earlier this month New York became the 23rd state, along with the District of Columbia, to allow cannabis for medical use. Continue reading...

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181. Source: Network Front | The Guardian
Item: The Guardian view on the campaign to end female genital mutilation: keep up the momentum
Date: 27 July 2014, 3:27 pm
Huge progress has been made since the Guardian launched its petition to end FGM in February, but there is much more to be done.

The point at which a movement gathers critical momentum can be hard to detect. But sometime between February, when the Guardian launched its petition to end FGM, and last Tuesdays Girl Summit when top politicians, lobbyists and campaigners, like Fahma Mohamed from Bristol and Jaha Dukureh from Gambia via the US, met in London to mobilise global support, the mood was transformed. Doors were opened. Political leaders found space in their diaries. From being a disconcerting concern of development specialists and feminists, the campaign to end FGM is now at the centre of a broad worldwide campaign to tackle violence against girls and women.

This years achievements have been remarkable. More than 250,000 people signed the Guardian petition. In April the then education secretary Michael Gove met Fahma Mohamed and agreed to ask every school to find a way to educate pupils about FGM. In the US, the Obama administration has acceded to Jaha Dukurehs call for a new survey to update the incidence of FGM. And at last weeks summit, David Cameron and Nick Clegg promised new legislation to end it. Continue reading...

182. Source: Network Front | The Guardian
Item: The energy-efficient way to punish Putin and protect the planet
Date: 27 July 2014, 2:16 pm

For once Europes greens and securocrats can join forces by reducing the EUs dependence on imports of Russian gas

Europe has a Russia problem, as Herman van Rompuy, the president of the European council, recognised on Friday by sending out the latest draft of the proposed sanctions. Nick Clegg is right that Russia should lose the 2018 World Cup, but that is Fifas call. In those areas where it has clout, the EU is going to be tougher than most predict. The shooting down of MH17 has dramatised Russias role, and made it harder for European leaders to duck the consequences.

Astonishingly, the MH17 incident does not appear to have even interrupted Russian arms supplies to the Ukrainian rebels. Petro Poroshenko, Ukraines new president, believes Russia is continuing to supply weaponry and according to western intelligence sources, he is right. Whether Putin wants to annex the Donbas Luhansk and Donetsk as well as Crimea is moot. Some argue that he sees Russian interests as equally well served by a fractured and weak Ukraine. Whatever the objective, the means are clear and hard to misinterpret. Continue reading...

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183. Source: Network Front | The Guardian
Item: DPP to examine treatment of witnesses after abuse victim's death
Date: 27 July 2014, 2:10 pm
Alison Saunders looking to 'rebalance process' after classical musician killed herself after testifying about childhood trauma

The director of public prosecutions (DPP) said she recognised the "real issue" over whether victims and witnesses are treated fairly after the death of a sex abuse victim sparked calls for reform.

Alison Saunders said she was examining ways to "rebalance" the process in order to reduce the stress caused by the prospect of appearing in court. The coroner who conducted the inquest into the death of concert violinist Frances Andrade is writing to Saunders calling for specific changes to avoid further such incidents. Continue reading...

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184. Source: Network Front | The Guardian
Item: Liberia: top doctor becomes latest Ebola victim
Date: 27 July 2014, 1:03 pm
Dr Samuel Brisbane becomes first doctor in west African nation to die, as second US healthcare worker is infected

One of Liberia's most high-profile doctors has died of Ebola, a government official said on Sunday, and a second US healthcare worker has been infected in what the World Health Organisation (WHO) is calling the largest outbreak ever recorded of the disease.

Dr Samuel Brisbane is the first Liberian doctor to die in an outbreak, which the WHO says has killed 129 people in the west African nation. A Ugandan doctor working in the country died this month. Continue reading...

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185. Source: Network Front | The Guardian
Item: Traditional treatment for depression is not always the answer
Date: 27 July 2014, 11:00 am
In the face of a Tory call for cuts to benefits for those who go without treatment, it is important to know how brutal some methods can be and why refusing them can be valid

It might seem odd to hear someone who has had most of their adult life blighted by depression describe themselves as lucky but, in reality, I have been very lucky. I've managed to hold down full-time jobs since my mid-twenties and barring one episode in 2010, which saw me signed off work for three weeks while I waited for new medication to kick in I've managed to restrict my periods off work to a week or less. I've also been blessed with very understanding and sympathetic employers who never made me feel like my absences were an inconvenience or a burden. So, like I say I've been lucky.

But everyone who deals with the day-to-day realities of depression is aware that your luck can change I know full well that it could strike again at any moment, and do so with a severity I have yet to encounter. That Sword of Damocles is one that we just have to live with. One thing is certain: if I ever find myself in a situation where I am out of work for a considerable amount of time, then I really will know that my luck's run out if the Conservative party go ahead with mooted plans to slash the sickness benefits of depression sufferers who refuse treatment, because, as it stands, I am one of the refuseniks. Continue reading...

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186. Source: ArtScene with Erika Funke
Item: Michael Cloeren - July 22 2014
Date: 23 July 2014, 12:00 am
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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187. Source: Photography Blog
Item: Anthony Kurtz Senegal Street Photography
Date: 6 November 2012, 7:44 am
Anthony Kurtz has unloaded some new work to his Behance profile called Senegal Street Photography

Anthony Kurtz Senegal Street Photography

Anthony Kurtz Senegal Street Photography

Anthony Kurtz Senegal Street Photography

Anthony Kurtz Senegal Street Photography

Anthony Kurtz Senegal Street Photography

See the whole selection here
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188. Source: Photography Blog
Item: Vikas Vasudev Photography
Date: 26 October 2012, 9:42 am
Vikas Vasudev is a photographer from Mumbai, India who has taken some great shots on his journey to a remote forgotten land called Baltistan, deep on the edge of northern India.








See the full set here
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189. Source: Photography Blog
Item: Wie Gand Photography
Date: 19 October 2012, 9:04 am
Wie Gand have some very creative photography work in their portfolio, these which I guess I'd call 'Urban Detail' photography were my faves:





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190. Source: Photography Blog
Item: Matthias Haker Decay Photography
Date: 15 October 2012, 11:33 am
Matthias Haker has some amazing shots of pretty amazing places, the set is called decay and some of the colours are stunning:










Full portfolio here
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191. Source: AGO Art Matters
Item: Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest
Date: 26 June 2014, 10:51 am
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.

192. Source: AGO Art Matters
Item: Call for applications: An opportunity for Toronto-based MFA photography students
Date: 23 June 2014, 1:29 pm

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

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


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

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

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

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

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

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

193. Source: AGO Art Matters
Item: Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics
Date: 4 June 2014, 9:00 am

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.

Enclosure (mp3)
194. Source: AGO Art Matters
Item: In memoriam: A tribute to the memory of Lynne Cohen
Date: 15 May 2014, 1:48 pm

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

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

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

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

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

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

195. Source: Eyebeam RSS Feed
Item: Computational Fashion Master Class: Call for Participants
Date: 6 May 2014, 3:04 pm
Hours: 
Mon-Fri, 4-8pm; Sat-Sun, 10am-6pm
Cost: 
$1500 ($800 Students/Recent Grads)
Venue: 
NYU Polytechnic School of Engineering (MAGNET)
Eyebeam Programming?: 
Eyebeam
Thumbnail
Image: 3D printed garment by Sabina Sagadiyeva printed with Shapeways. Credit: Amber De Vos for Patrick McMullan

APPLICATION NOW CLOSED

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

call-for-participants" target="_blank">read more

196. Source: Eyebeam RSS Feed
Item: Computational Fashion Master Class: Call for Participants
Date: 6 May 2014, 2:53 pm
Activity Details
Call Type: 
Collaboration
Start Date: 
07/18/2014
Time Commitment: 
July 18-26, 2014
On-site: 
On Site
Call Details
events
05/06/2014 - 06/25/2014
Status: 
Current

Computational Fashion Master Class
July 18-26, 2014


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

APPLY NOW

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

calls/computational-fashion-master-class-call-for-participants" target="_blank">read more

197. Source: AGO Art Matters
Item: Celebrate moms with us this May
Date: 24 April 2014, 10:05 am

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

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

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

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

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

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

Mother’s Day gift ideas

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

Design Ideas
Design Ideas
Soapstones – 9
IMM Living
IMM Living
Duck Cake Plate Holder - 54
IMM Living
IMM Living
Swallow Wings Ring Holder - 19
Marina Babic
Marina Babic
Small Vine Silver Earrings - 175 Small Vine Silver/Gold Earrings - 195
Schleeh Design
Schleeh Design
Red Tail Wood Vase - 1,600
Atelier Trema
Atelier Trema
Assorted Ceramic Pears - 26
IMM Living
IMM Living
Duck Body Container - 27
Uta Ottmar
Uta Ottmar
Pebble Earrings - 50
198. Source: Exhibitions - Philadelphia Museum of Art
Item: Vermeer’s Young Woman Seated at a Virginal
Date: 26 October 2013, 12:00 am
October 26, 2013 - September 30, 2014: Vermeer painted less than forty pictures during his career and this one, Young Woman Seated at a Virginal, is believed to be one of his last. It is also the only remaining canvas by this great Dutch master to be in private hands. The Museum is immensely grateful to the Leiden Collection for the exceedingly rare opportunity to display this work; indeed, it has been almost ten years since a painting by Vermeer has been on view in Philadelphia.
199. Source: Eyebeam RSS Feed
Item: Communications Director
Date: 13 June 2012, 5:20 pm
Activity Details
Call Type: 
Job
Start Date: 
09/17/2012
Time Commitment: 
3 days/wk
On-site: 
On Site
Call Details
get involved
09/04/2012 - 09/16/2012
Status: 
Current

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

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

Other criteria include: 

Contact E-mail: 

calls/communications-director" target="_blank">read more

200. Source: Eyebeam RSS Feed
Item: Eyebeam 2012 Fall / Winter Residency Call
Date: 23 May 2012, 10:43 am
Activity Details
Call Type: 
Residency
Start Date: 
09/17/2012
On-site: 
On Site
Call Details
get involved - residencies
05/24/2012 - 06/22/2012
Status: 
Current

FALL/WINTER 2012 RESIDENCY CALL

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

calls/eyebeam-2012-fall-winter-residency-call" target="_blank">read more

201. Source: Eyebeam RSS Feed
Item: Eye To Eyebeam
Date: 11 October 2011, 12:43 pm

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

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

Project Created: 
September 2011

read more

202. Source: BLOUIN ARTINFO
Item: Brothers In Law: Royalty Pains
Date: 26 July 2014, 7:45 am

All is not cool in California. The state’s Resale Royalty Act, which gave artists or their agents (including their heirs) a 5 percent royalty on any resale of their art over $1,000 if the seller resided in California or the transaction took place there, was struck down by a federal court in 2012. The law was both welcomed and reviled, depending on whom you asked: Proponents claimed the law gave much-deserved compensation to artists for their efforts, especially for work bought cheaply and later sold at a big profit; critics countered that artists did not deserve special treatment and that the law put a damper on the art market while benefiting successful artists who didn’t need help. The gulf between these two views was—and remains—as wide as the Pacific.

Now a move is afoot to make resale royalty the law of the land. The first proposal by New York Congressman Jerrold Nadler, called the Equity for Visual Artists Act of 2011 (EVAA), mandated a 7 percent royalty for works sold at big auction houses (but, interestingly enough, not online auction sites) for $10,000 or more, with half going to the artist and the balance into an account set up to help fund purchases by nonprofit museums. The EVAA sought to prohibit the artist or the artist’s successor from waiving the royalty right.

That proposal failed to garner support when it was introduced three years ago. But Nadler now chairs the intellectual property subcommittee of the House Judiciary Committee and put out a new version of the bill, dubbed the American Royalties Too (ART) Act, which was picked up by Representative Louise M. Slaughter of New York as a cosponsor this past March.

Before we address the problems we see with the legislation—and the reasons why many in the art world are up in arms over this issue—a little historical background is in order.

Resale royalty, also known as droit de suite (literally, “follow-up right”), originated in France in 1920, when lawmakers there became incensed that works by artists such as Gauguin and Cézanne sold for vast sums while the artists themselves often died penniless. The law passed by the French parliament in 1920 currently gives artists 3 percent of the total price of their works sold through private transaction or public auction. Moreover, since the right can’t be waived, artists cannot sell art without passing on the requirement to pay royalties each time the work is sold on the secondary market.

Today, every European country except Switzerland has followed suit and adopted a version of droit de suite. In Italy, artists may claim between 2 and 10 percent of the profit (not total price) made on sales of their works. In Germany, artists may collect 5 percent of the total price on works sold at public auction or through a dealer. The laws in some countries—such as Denmark, France, and the U.K.—provide for “collecting societies” that gather royalties from sellers and distribute them to artists.

In 1976 the otherwise laid-back state of California became the only one in the country to pass a version of droit de suite. But in the 2012 case Estate of Graham v. Sotheby’s, Inc., a federal court in Los Angeles declared that, because the statute regulated art sales outside of California, the law violated the Commerce Clause of the U.S. Constitution, which reserves to Congress the power to regulate interstate commerce. In Estate of Graham, various artists’ estates and artists filed a class action lawsuit against Christie’s, Sotheby’s, and eBay for not paying California’s resale royalty and for concealing information that would trigger the law, such as hiding the fact that the seller lived in California.

In finding the law unconstitutional, the court in Estate of Graham pointed out that the California law regulated transactions occurring anywhere in the United States, so long as the seller resides in California, and that even the artist, who is the intended beneficiary of the law, need not be a citizen of, or resident of, California. The plaintiffs in Estate of Graham, who include New York-based Chuck Close, are currently appealing the court’s decision.

Supporters say that resale royalties are well deserved by visual artists, especially since their counterparts in other creative fields, like authors and composers, typically earn royalties on their works each time they are sold or played during a lengthy copyright term. Proponents also argue that the act will give artists an incentive to create, and that artists should share in the success of their careers as early works appreciate in value.

Critics point out that, whether or not one supports the philosophical position that artists should receive royalties on future sales, the proposed legislation is ill conceived and for a number of reasons would actually do more harm than good.

First, the proposal only affects sales at public auction, thereby discriminating against auction houses in favor of dealers and pushing the art market further toward private (read: less transparent) treaty sales. At the extreme, sales might move to locations that don’t impose resale royalties—hello, Hong Kong! And with an expansion of the language in the law to include online auctioneers and houses pulling in $1 million or more on fine art in the past year, the potential impact is vast.

A second criticism is that, since the new legislation would apply to sales over $5,000, it would not help the proverbial starving artist, whose works presumably sell below that level. In fact, in France almost 70 percent of all resale royalties reportedly go to the estates of just four artists, all of whom were reputedly quite well fed: Braque, Léger, Matisse, and Picasso. Indeed, the art Act might actually hurt emerging artists by dissuading collectors from taking a chance on their works—or by encouraging dealers to pay artists less for their work than they might otherwise.

Third, because of the secretive nature of the art world, there is little hard data available on the effect of resale royalties, including the number or frequency of resales or how often royalties are paid in jurisdictions that have adopted the right. The U.S. Copyright Office actually recommended against adoption of resale royalties in 1992 because of the lack of “sufficient empirical data.” More recently, in December 2013, the Copyright Office suggested that Congress might consider endorsing resale royalty rights, but only with “caution.”


Fourth, such a law would arguably penalize buyers who take a chance on less-established artists, as they end up paying out more as the work appreciates. As one of our smarter colleagues has observed, the proposed act isn’t so much a royalty payment to artists as a tax on collectors.

Finally, say critics—and, in the interest of full disclosure, we are in that camp—the art Act is simply a bad fit for the Anglo-U.S. common law system, which, with some few exceptions, codifies the free alienability of property and freedom of contract. This is in contrast to European “civil law,” which recognizes moral rights that are naturally inherent in creative persons. Nevertheless, the U.K. and Australia recently enacted their own resale royalty laws.

For now, whether there is enough support in Congress to carry Representative Nadler’s legislation into law is an open question. The proposed droit de suite certainly won’t be happening tout de suite. That is sweet news for those of us who believe in a free-market approach to the art trade.

Charles and Thomas Danziger are the lead partners in the New York firm Danziger, Danziger & Muro, specializing in art law. Go to Danziger.com for more information.

Nothing in this article is intended to provide specific legal advice.

A version of this article appears in the July/August 2014 issue of Art+Auction magazine.

Charles and Thomas Danizger
Published: July 26, 2014
203. Source: BLOUIN ARTINFO
Item: Autumn Year Round: Anton Corbijn On “A Most Wanted Man”
Date: 24 July 2014, 2:19 pm

“I want to learn,” the photographer and filmmaker Anton Corbijn told me, humbly. “It’s an adventure for me making films.”

We were sitting in an office in Midtown Manhattan discussing his new film, “A Most Wanted Man,” which arrives in theaters on July 25. Based on the book of the same name by master spy novelist John le Carre, the ensemble thriller — headed by Philip Seymour Hoffman in the last complete role he filmed before his death, and featuring Willem Dafoe, Rachel McAdams, Robin Wright, and the German actress Nina Hoss — represents a departure for Corbijn, best known for his stark black-and-white photographs of musicians and accompanying music videos, and whose previous two films — “Control” (2007) and “The American” (2010) — were internal portraits of isolated men increasingly shut off from the world.

“I don’t want my films to look like a photographer made a movie,” Corbijn said, referencing a common criticism of his first film, “Control,” a biopic about the final days of Joy Division signer Ian Curtis. “A Most Wanted Man” posed a challenge and offered an opportunity to try something different. He was conscious of moving away from the meticulous compositions of his previous films and made an effort to use more handheld cameras to loosen the film up and give it a sense of urgency. He understands that, as a photographer, there are compositional modes that are easy to fall back on, and he sees his films as offering a way to break those habits.

“I’m very much trying to have the visual part of it play a more secondary role,” he admitted, noting that John le Carre’s story is told through a twisting structure and relies on dialogue to push the narrative. “After ‘The American,’ which was fiction, I wanted to do something based on facts,” he said. Le Carre’s book was of interest to the filmmaker in that it deals with the intertwined interests of international spy agencies in the post-9/11 landscape of Hamburg, Germany, presents a critique of American foreign policy, and asks questions about how far governments are willing to go in the name of fighting international terrorism.

Corbijn’s shift in style also represents his desire to scale down. “I’ve photographed a lot of painters in the last 10 years and it’s always just me,” he said. “I like to visit somebody and take a picture without being hindered by other people around. Photography’s a very simple thing. I don’t need much.” Corbijn is interested in documentary as a genre and as a way of working, he said, for these same reasons, even though he is beginning to find comfort in collaborating with a large group of people who you can trust to take care of their specific roles in a production. 

One of those collaborators is Benoit Delhomme, the director of photography. Like John le Carre’s more famous narratives of Cold War disillusionment — most notably the George Smiley trilogy of books — “A Most Wanted Man” requires a melancholy tone, and Delhomme casts the film with muted colors and the glow of streetlights and desk lamps. The film was supposed to shoot over the summer, Corbijn said, but he convinced the producers to push it to the fall to capture some of the natural seasonal colors.

“I felt that it was an optimal tale to tell in that time of year,” he said. “For mankind, it’s definitely autumn year round.”

A bleak view, but one that is fitting for the film at hand. The closest we get to heroes in le Carre’s work are disheveled, chain-smoking spies, broken down by years of bureaucratic pressure and institutional deception with little prospects of any kind of domestic life. And Corbijn, in his film and photographic work, displays an attraction to loner figures. Instead of outcasts, he sees this type of character as something more relatable.

His next, already completed film, “Life,” is about the Magnum Photos photographer Dennis Stock’s relationship with the screen icon James Dean, one of popular culture’s most celebrated loners. In person, Corbijn is soft-spoken, almost shy, and mentions his familiarity, especially at a young age, with spending time alone. Does he see a connection between his characters and the role of an artist?

“I get the sense we’re all loners in the end,” he replied quietly. “We quite often pretend not to be because it makes it more comfortable, mentally.”

As our conversation came to a close, I asked Corbijn if the film is somehow different now, altered in some way that is out of his control, due to Philip Seymour Hoffman’s tragic death. He paused for a moment, staring at the ground. “I don’t know how to respond to that yet,” he said. “I myself find it much harder to watch it.”

“I’m very happy that we finished the film before Philip died so we didn’t have any awkward choices to make,” he added. “We only now have to deal with the effect of how people watch the film. But you know, his performance is everything. You can just look at the film and look at the performance, that’s reason enough to see the film.”

Anton Corbijn's "A Most Wanted Man"
Published: July 24, 2014
204. Source: BLOUIN ARTINFO
Item: Sean Landers and the Seriousness of Adorable Animals
Date: 24 July 2014, 12:51 pm

“Is it possible to do a porcupine?” pondered Sean Landers, enumerating the North American mammals that he has yet to immortalize in a painting. “Beaver. Raccoon. Possum. Elk. Wooly mammoth — that would be great.” So far he’s assembled a veritable menagerie of mostly four-legged subjects, including several deer, a bison, and two violent rams. But, this being Sean Landers we’re talking about, they’re not straight-forward depictions of wild beasts in their natural environments; all of them sport tartan-patterned fur or skin, their natural camouflage replaced by lovingly rendered Scottish designs. In his West Village studio there’s a seal, happily cavorting beneath the waves, as well as a half-finished fox. Landers is surprisingly earnest about the works which, while absurd and funny, are much more than visual puns. “I generally want to paint cute animals, I guess,” he said. “And this helps me be able to do it. It’s just weird enough to get me a little purchase on this tenuous slope.”

These tartan animals — the subject of a forthcoming November exhibition at Petzel in New York — have their genesis in a stew of inspirations, from 1940s paintings by Rene Magritte to Landers’s own ruminations on mortality and artistic legacy. The Magrittes in question are a series of works known as the “Vache” paintings, completed in 1948 for a show in France; tartan and tartan-like patterns played a significant part in many of the compositions. “Magritte was invited to do a show in Paris,” Landers explained. “He’d been ignored there his whole career, yet he was the world’s leading Surrealist. He had an ax to grind — he wanted to do a ‘fuck you’ show to Paris, so he made purposefully ‘bad’ paintings. They weren’t valued at all, until people of my generation — me and a couple others — started to champion them.” His tartan animals, Landers said, are “an homage to what I admire about that series, but also a way to remind myself that to be free, to discover new things, is the best way to make work that will last and be interesting for a long time.”

Landers is quite conscious of artistic longevity — about how paintings can become “arrows across time,” striking future generations long after their creator is dead. He sounded borderline doleful when imagining the existence his tartan creatures could have, discovered by curious humans several hundred years from now. He’s equally sincere when talking about certain inclusions of text in the paintings — like “Some Choose To Believe It,” a lyric from “The Rainbow Connection,” performed by Kermit, which Landers has adopted as a sort of anthem about how artists forge connections with audiences. This gives a certain pathos to the tartan series itself, especially when Landers explains that he incorporated his own irises into the painting of a polar bear, adrift on a chunk of iceberg. (That polar bear refers back to a similarly lonely clown in a rowboat that was included in Landers’s last, clown-centric exhibition at Petzel.) Another autobiographical reference is embedded in a portrait of a howler monkey holding a bottle that contains a furled sheet of yellow legal paper, a nod to the “shockingly honest things” that Landers would write down and then exhibit in the 1990s.

Several of the tartan animal paintings have partner versions: Canvases depicting rows of books, with a small version of the animal itself captured in a crystal ball on the shelf. The spines of those books are covered with words spelling out a sort of exegesis of the original painting it refers to. “As paintings age and artists die off, their stories about why they made things disappear,” Landers said, perhaps suggesting that the bookshelves are a way to carry those origin-story narratives into posterity.

One of the biggest mammals Landers has completed — and the subject of the largest painting he’s ever made, some 30-feet long — is a massive version of Moby Dick, his skin battle-scarred beneath its tartan ornamentation. That painting will most likely reside on one wall in the back room of Petzel (which has a nice resonance with another very American picture — Robert Longo’s huge charcoal drawing of the Capitol Building — which hung in the same place). Moby Dick might be paired with some underwater scenes of shipwrecks — one of Landers’s unofficial maxims is, “Whenever you’re given the opportunity to paint a sunken ship, you should take it” — moody, murky scenes featuring rocks etched with slogans like, “Is art humanity’s best answer to death?” At one point he had painted in an octopus with a chisel, a character that he erased from the composition, but who might well resurface on his own canvas at a later date. “You can’t do all your ideas all at one time,” Landers said, sounding perhaps a bit disappointed that this is not the case.

When you get down to it, are these tartan-clad animals — from the lithe, pinkish lynx to the horse galloping across a beach — just different versions of Sean? “Are they all me? In a sense, yeah,” he said. “If you think of a painting as a time capsule — they’re wrapping a bit of myself into the medium. It’s a little piece of myself, going forward.”

Sean Landers at his West Village studio.
Published: July 24, 2014
206. Source: Western Front
Item: Reflections on Music from the New Wilderness: A Dialogue between Ellen Waterman and Tyler Kinnear
Date: 21 May 2014, 6:58 pm

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

-Ellen Waterman, in dialogue with Tyler Kinnear

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

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

- Tide pool at Third Beach (Stanley Park)

- Boardwalk in Pacific Rim National Park (Vancouver Island)

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

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

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

 

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

 ___________________________________________________

Questions

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

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

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

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

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

______________________________

Bios

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

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

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Music from the New Wilderness Program

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

 

 

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

 

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

 

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

 

207. Source: Western Front
Item: Living Improvisation: Workshop with Lee Pui Ming
Date: 27 March 2014, 1:00 pm

$10 / FREE Western Front members

Advance registration required. 

To register contact: newmusicadmin@front.bc.ca

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

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

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

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

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

208. Source: Western Front
Item: Scoring Sound: Vancouver Draw Down Festival
Date: 26 March 2014, 7:51 pm

Grand Luxe Hall, Western Front

FREE

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

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

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

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

Roundhouse Community C<span style=entre" src="http://front.bc.ca/thefront/wp-content/uploads/2012/04/RoundhouseLogoWebTiny.jpg" width="60" height="46" /> 

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

209. Source: RSS - The Art Newspaper
Item: Getty gong for Lord Rothschild
Date: 25 July 2014, 1:14 pm
J. Paul Getty medal awarded to the UK arts patron for achievements in philanthropy and conservation
210. Source: RSS - The Art Newspaper
Item: Leading museum directors and celebrities call on Italian government to ban giant ships from Venice
Date: 23 July 2014, 8:11 am
Petition signed by actors Rob Lowe, Cate Blanchett and Michael Caine as well as Richard Armstrong and Nicholas Penny
211. Source: National Gallery of Art | Audio
Item: The Sixty-Third A. W. Mellon Lectures in the Fine Arts: Past Belief: Visions of Early Christianity in Renaissance and Reformation Europe, Part 6: Constantine and Conversion: The Roles of the First Christian Emperor
Date: 13 May 2014, 9:00 am
May 2014 - Anthony Grafton, Princeton University. In this six-part lecture series entitled Past Belief: Visions of Early Christianity in Renaissance and Reformation Europe, Anthony Grafton focuses on the efforts of artists and scholars to recreate the early history of Christianity in a period of crisis in the church from the 15th to the 17th century. In this sixth lecture, entitled "Constantine and Conversion: The Roles of the First Christian Emperor," originally delivered at the National Gallery of Art on May 11, 2014, Professor Grafton argues that in their retelling of the dramatic and exemplary life of Constantine, scholars and artists forged new forensic, historical, and multidisciplinary approaches. They used philological and antiquarian evidence to unpack a layered and incoherent body of evidence that exposed the apocryphal legends of what has been called an "inherited conglomerate." Protestant and Catholic writers concurred in their assessment that Constantine's reign marked a radical transformation of art and religion and was thus a historical moment of great consequence—yet one or two began to see Constantine in less dramatic terms, as the human, political figure that he was. The erudition and imagination of these scholars and artists in the early modern period produced sophisticated and acute views of the early church, from which we can still profit today.
Enclosure (mp3)
212. Source: National Gallery of Art | Audio
Item: Image of the Black in Western Art, Part III
Date: 4 March 2014, 8:00 am
March 2014 - Panel discussion includes David Bindman, emeritus professor of the history of art, University College London; Ruth Fine, curator (1972–2012), National Gallery of Art; Henry Louis Gates Jr., Alphonse Fletcher University Professor and director of the W.E.B. Du Bois Institute for African and African American Research, Harvard University; Richard J. Powell, John Spencer Bassett Professor of Art and Art History, Duke University; and Sharmila Sen, executive editor-at-large, Harvard University Press. Moderated by Faya Causey, head of academic programs, National Gallery of Art. In the 1960s, art collector and philanthropist Dominique de Menil began a research project and photo archive called The Image of the Black in Western Art. Through the collaboration of Harvard University Press and the W.E.B. Du Bois Institute for African and African American Research, the project nears its completion. This panel discussion commemorates the publication of the penultimate volume of the series, The Image of the Black in Western Art: The Twentieth Century: The Impact of Africa (vol. 5, part 1). The last two volumes in the series mark the 20th-century transition from the depiction of people of African descent by others to their self-representation in the US and elsewhere. In this program recorded on February 23, 2014, at the National Gallery of Art, the panelists discuss the implications of this dramatic shift in the emphasis of the volumes.
Enclosure (mp3)
213. Source: National Gallery of Art | Audio
Item: The Sixty-Second A. W. Mellon Lectures in the Fine Arts: Out of Site in Plain View: A History of Exhibiting Architecture since 1750: Framed and Hung: Architecture in Public from the Salon to the French Revolution, Part 1
Date: 5 November 2013, 8:00 am
Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and professor, Columbia University. In first lecture, originally delivered at the National Gallery of Art on April 7, 2013, architectural historian Barry Bergdoll, presents diverse techniques of architectural display developed since the mid-18th century. Far from being poor substitutes for the real experience of architecture as a spatial art in situ, these techniques have been integral to architecture's stake in the evolving discourses of modernity. This lecture considers the entry of architects into the exhibition venues of the mid-18th century and radical new ideas for architecture under the French Revolution.
Enclosure (mp3)
214. Source: National Gallery of Art | Audio
Item: Jeff Wall on His Work
Date: 3 September 2013, 9:00 am
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.
Enclosure (mp3)
215. Source: National Gallery of Art | Audio
Item: Bronislava Nijinska: A Choreographer's Journey
Date: 20 August 2013, 9:00 am
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.
Enclosure (mp3)
216. Source: National Gallery of Art | Audio
Item: Conversations with Collectors: Robert and Jane Meyerhoff
Date: 5 March 2013, 8:00 am
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.
Enclosure (mp3)
217. Source: National Gallery of Art | Audio
Item: William H. Johnson
Date: 19 February 2013, 8:00 am
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.
Enclosure (mp3)
218. Source: National Gallery of Art | Audio
Item: Artists in Residence: Henry O. Tanner in the Holy Land
Date: 12 February 2013, 8:00 am
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.
Enclosure (mp3)
219. Source: National Gallery of Art | Audio
Item: Roy Lichtenstein's Kyoto Prize Lecture of 1995
Date: 29 January 2013, 8:00 am
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.
Enclosure (mp3)
220. Source: National Gallery of Art | Audio
Item: Architecture and Art: Creating Community
Date: 12 June 2012, 9:00 am
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."
Enclosure (mp3)
221. Source: National Gallery of Art | Audio
Item: Solving the East/West Conundrum in Modern Chinese Art
Date: 1 May 2012, 9:00 am
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.
Enclosure (mp3)
222. Source: National Gallery of Art | Audio
Item: Conversations with Artists: Joel Shapiro, Thoughts on the Organization of Form in Modern Sculpture
Date: 13 March 2012, 9:00 am
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.
Enclosure (mp3)
223. Source: National Gallery of Art | Audio
Item: A Sense of Place—Norman Lewis in Harlem: "An Inquiry into the Laws of Nature"
Date: 28 February 2012, 8:00 am
February 2012 - Ruth Fine, curator of special projects in modern art, National Gallery of Art. In this podcast recorded on January 15, 2006, Ruth Fine discusses the Harlem-based life and career of Norman Lewis in honor of the Martin Luther King Jr. federal holiday weekend. Lewis was born in Harlem in 1909 and died in New York at the age of 70. Except for short periods spent elsewhere, New York and, in one way or another, the Harlem community remained Lewis' home base throughout his life. Harlem changed radically during the artist's lifetime, becoming the cultural center of black America. He is considered by many to be the first African American artist fully engaged by abstraction. Lewis' drawings, paintings, and prints date from the 1930s to 1970. Supporting himself as an elevator operator, house painter, short-order chef, merchant marine, tailor, and taxi driver, Lewis worked steadily at his art. "I have sustained myself in whatever the moment called for and done what has been necessary to just exist." Lewis' art and attitudes were highly influential on the next generation of African American artists, including Melvin Edwards, Sam Gilliam, and William T. Williams
Enclosure (mp3)
224. Source: National Gallery of Art | Audio
Item: Nazi Loot in American Collections
Date: 21 February 2012, 8:00 am
August 2012 - Nancy Yeide, head of the department of curatorial records and files, National Gallery of Art, and the Ailsa Mellon Bruce Curatorial Sabbatical Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art. The looting of cultural property by Nazi forces has been called the "Greatest Theft in History." In total, the Nazis looted more than 200,000 individual items, including paintings, sculptures, and tapestries, during World War II, primarily from Jewish owners in the occupied countries. In this lecture recorded on February 2, 2003, at the National Gallery of Art, Nancy Yeide provides the provenance of famous cases to explore how some looted art ended up in American collections and museums. Yeide also discusses how Hermann Göring, founder of the Gestapo and commander of the German Air Force, used his political and military power to amass the largest private art collection in Europe.
Enclosure (mp3)
225. Source: National Gallery of Art | Audio
Item: Conversations with Artists-Compositions and Collaborations: The Arts of Lou Stovall
Date: 21 February 2012, 8:00 am
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.
Enclosure (mp3)
226. Source: National Gallery of Art | Audio
Item: Florence: Days of Destruction
Date: 13 December 2011, 8:00 am
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.
Enclosure (mp3)
227. Source: National Gallery of Art | Audio
Item: Morse at the Louvre
Date: 15 November 2011, 8:00 am
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.
Enclosure (mp3)
228. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 5: Severed Representations
Date: 30 August 2011, 9:00 am
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.
Enclosure (mp3)
229. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 6: Painting and Violence
Date: 30 August 2011, 9:00 am
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."
Enclosure (mp3)
230. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 4: Absorption and Address
Date: 23 August 2011, 9:00 am
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.
Enclosure (mp3)
231. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 3: The Invention of Absorption
Date: 16 August 2011, 9:00 am
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.
Enclosure (mp3)
232. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 2: Immersion and Specularity
Date: 9 August 2011, 9:00 am
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.
Enclosure (mp3)
233. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 1: A New Type of Self-Portrait
Date: 2 August 2011, 9:00 am
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.
Enclosure (mp3)
234. Source: National Gallery of Art | Audio
Item: Calling the Earth to Witness: Paul Gauguin in the Marquesas
Date: 31 May 2011, 9:00 am
May 2011 - June Hargrove, professor of 19th-century European painting and sculpture, University of Maryland at College Park. Professor June Hargrove discusses artist Paul Gauguin's struggle in the final months of his life, after moving to the Marquesas Islands, to show the world his contributions to the creative process. Recorded on May 15, 2011, and held in conjunction with the exhibition Gauguin: Maker of Myth, this lecture examines the paintings from 1902 and attests that, for all his talk of savagery and cannibalism, Gauguin created some of his most serene masterpieces during this time.
Enclosure (mp3)
235. Source: National Gallery of Art | Audio
Item: Elson Lecture 1998: I. M. Pei in conversation with Earl A. Powell III
Date: 12 April 2011, 9:00 am
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.
Enclosure (mp3)
236. Source: National Gallery of Art | Audio
Item: Film Design: Translating Words into Images
Date: 25 January 2011, 8:00 am
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.
Enclosure (mp3)
237. Source: National Gallery of Art | Audio
Item: Martin Puryear: "Sculpture that Tries to Describe Itself to the World"
Date: 28 September 2010, 9:00 am
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.
Enclosure (mp3)
238. Source: National Gallery of Art | Audio
Item: Graft by Roxy Paine
Date: 8 December 2009, 8:00 am
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.
Enclosure (mp3)
239. Source: National Gallery of Art | Audio
Item: Rauschenberg's Experiments in Printmaking
Date: 27 November 2007, 9:41 am
November 2007, Backstory - Guest: Charles Ritchie, associate curator of modern prints and drawings, National Gallery of Art, Host: Barbara Tempchin. Robert Rauschenberg has been at the forefront of American art for more than 50 years. His bold, innovative experiments in printmaking are the focus of an exhibition called Let the World In: Prints by Robert Rauschenberg from the National Gallery of Art and Related Collections. In this Backstory, host Barbara Tempchin and Charles Ritchie, exhibition curator, discuss the impact Rauschenberg's prints have had on artists worldwide. Produced in conjunction with the exhibition Let the World In: Prints by Robert Rauschenberg from the National Gallery of Art and Related Collections.
Enclosure (mp3)
240. Source: National Gallery of Art | Audio
Item: Telling the Edward Hopper Story
Date: 3 September 2007, 9:00 am
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.
Enclosure (mp3)