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3. Source: Art Competitions provided by Artshow.com
Item: National Fiber Directions Exhibition 2015 - Wichita, Kansas
$7500 in cash and purchase awards. Deadline: December 29, 2014
4. Source: Art Competitions provided by Artshow.com
Item: Ceramics Biennial Exhibition 2014 - Manchester, New Hampshire
Over $2,000 in prize money. Deadline: September 15, 2014
5. Source: Art Competitions provided by Artshow.com
Item: Dave Bown Projects 9th Semiannual Competition - Online exhibition
$10,000 in cash prizes and purchases. Deadline: December 6, 2014
6. Source: Art Competitions provided by Artshow.com
Item: Hadassah-Brandeis Institute Artist Residency - Waltham, Massachusetts
$3000 stipend, $250 materials subsidy, studio, solo exhibition. Deadline: October 8, 2014
7. Source: Art Competitions provided by Artshow.com
Item: Rockies West National Watercolor Exhibition - Grand Junction, Colorado
$1,000 Best of Show/ $1,000 Best of Colorado. Deadline: December 1, 2014
8. Source: Art Competitions provided by Artshow.com
Item: 2015 Hunting Art Prize - Houston, Texas
$50,000 prize. Deadline: November 30, 2014
9. Source: Art Competitions provided by Artshow.com
Item: Yosemite Renaissance XXX - Yosemite, California
$4,000 in awards. Deadline: November 15, 2014
10. Source: Art Competitions provided by Artshow.com
Item: Au Naturel: the Nude in the 21st Century - Astoria, Oregon
$1000 in cash prizes; Up to $2000 in purchase awards. Deadline: November 7, 2014
11. Source: booktwo.org
Item: On the Rainbow Plane
Date: 4 July 2014, 8:38 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.

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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.

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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.”

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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.

12. Source: booktwo.org
Item: Spectacular Sports Visualisations
Date: 29 June 2014, 4:36 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.

13. Source: booktwo.org
Item: #Rorschcam NYC
Date: 11 March 2014, 10:35 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):

rorschcam2

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

14. Source: booktwo.org
Item: Planespotting
Date: 18 December 2013, 11:19 am

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

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

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

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

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

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

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

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

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

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

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

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

*

Photos are available at Flickr

15. Source: booktwo.org
Item: DIY Drone Shadows
Date: 6 December 2013, 9:30 am

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

Drone-Shadow-006

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.

Drone-Projection-01

Drone-Projection-02

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):

Drone-Shadow-Brazil-01

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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.

16. Source: booktwo.org
Item: Recent Work, November 2013: Render Ghosts, GPS, Landsat.
Date: 15 November 2013, 7:55 am

render-desert

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

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

Read the full piece over at EVP.

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

VE5_WhereYouAre_LR10

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

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

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

gps-container

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.

landsat

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.

17. Source: booktwo.org
Item: #OccupyTheCloud
Date: 31 October 2013, 11:06 am

“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.

18. Source: booktwo.org
Item: Australia: Drone Shadows, Diagrams, and Political Systems
Date: 5 September 2013, 8:03 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.

19. Source: The Guardian Culture Podcast
Item: The Truth podcast: Eat Cake
Date: 14 February 2011, 9:22 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, 5:35 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, 5:35 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: ArtScene with Erika Funke
Item: Michael Cloeren - July 22 2014
Date: 22 July 2014, 11:00 pm
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
Enclosure (mp3)
23. Source: Western Front
Item: Collective Works: Questions and Answers
Date: 20 July 2014, 12:38 pm

FREE

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

_______________________

Biographies

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

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

 

24. Source: Western Front
Item: LIQUID TRUST
Date: 19 July 2014, 1:35 pm

Tickets $5 / Free for WF Members

 

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

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

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POST-CONCERT TALK BACK SESSION + BOOK LAUNCH

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

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

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

__________________________________________

Biographies

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

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

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

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

 

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

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

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

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

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

         CurtainRazors   

25. Source: Western Front
Item: Life and People
Date: 18 July 2014, 12:39 pm

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

Artist Biographies

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

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

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

26. Source: Western Front
Item: New Forms 2014: Kevin Beasley Talk
Date: 16 July 2014, 4:30 pm

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

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

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

 

27. Source: Western Front
Item: Krista Belle Stewart
Date: 15 July 2014, 12:47 pm

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

28. Source: Indianapolis Museum of Art Blog
Item: Oscar Tusquets Blanca – The Gaulino Chair
Date: 16 August 2013, 2:21 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

 

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29. Source: Indianapolis Museum of Art Blog
Item: Straw Bale Gardening: A How-To Guide
Date: 5 June 2013, 8:00 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

 

 

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30. Source: AGO Art Matters
Item: Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist
Date: 15 August 2014, 10:19 am

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


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s website

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

31. Source: AGO Art Matters
Item: Conservation Notes: Looking at ephemera in Betty Goodwin’s notebooks
Date: 11 August 2014, 3:32 pm

Ephemera 2
Ephemera 3
Ephemera 5
Ephemera 6

Click arrows to see inside the notebooks.

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

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

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


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


Signature Partner of the AGO’s Conservation Program


32. Source: AGO Art Matters
Item: Artist’s statement: Christi Belcourt on The Wisdom of the Universe
Date: 7 August 2014, 2:51 pm
Christi Belcourt, The  Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 ©  2014 Christi Belcourt.

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

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

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

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

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

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

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

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

– Christi Belcourt


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

33. Source: AGO Art Matters
Item: Catching up with Chino Otsuka, 2013 Aimia | AGO Photography Prize finalist
Date: 29 July 2014, 11:22 am

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


*This interview was conducted via email in July 2014 and has been edited for style and brevity.
34. Source: AGO Art Matters
Item: Conservation Notes: Artist Betty Goodwin’s thoughts on paper
Date: 28 July 2014, 8:00 am

Marianne at work in the studio

Marianne at work in the studio


As Digital Special Collections Assistant in the AGO Library and Archives this summer, Marianne Williams is building new enclosures to preserve decades’ worth of sketchbooks and notebooks of the late Montreal-based artist Betty Goodwin.

Goodwin bequeathed more than 100 sketchbooks, notebooks, agendas and diaries to the AGO. Many of them were featured in the Gallery’s 2010/2011 exhibition Work Notes, which showcased Goodwin’s artistic practice and process. Once off display, the books were wrapped in acid-free tissue as a temporary storage measure, as seen above.


Click through slideshow to see all the steps

The first step in creating a new enclosure is measuring the dimensions of the notebook to the millimetre and then creating a custom-made box from archival-quality materials to house the book. Using these materials protects the notebook from acid normally found in paper materials that can yellow and deteriorate over time, causing brittleness and increased risk of damage.

The customized box, called an enclosure, is then labelled and tied together with cotton tape in order to secure all of the flaps. This protects the books from shifting around when being handled, prevents scratches or rips and ensures that any loose materials, like pressed flowers or loose leaves of paper, stay snug in their original places.

The individual book enclosures are then placed in larger boxes for storage in the AGO Library and Archives vault.

The re-housed notebooks will be kept in the AGO’s Edward P. Taylor Library and Archives, where curators and other researchers will have access to them to study and examine in the future.


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


Signature Partner of the AGO’s Conservation Program


35. Source: AGO Art Matters
Item: Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest
Date: 26 June 2014, 9:51 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.

36. Source: AGO Art Matters
Item: Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics
Date: 4 June 2014, 8:00 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)
37. Source: Digital Filmmaking Blog
Item: TTTOW - A unique film festival
Date: 22 August 2013, 1:40 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
38. Source: Digital Filmmaking Blog
Item: 10 Free Video Editing Software for Filmmakers
Date: 6 July 2013, 6:48 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
39. Source: Digital Filmmaking Blog
Item: Free stock footage, music from Video Blocks
Date: 11 January 2013, 9:54 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
40. Source: Digital Filmmaking Blog
Item: How Apple's new computers impact filmmaking
Date: 26 October 2012, 12:04 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?
41. Source: Digital Filmmaking Blog
Item: 6 Frequently Used Transitions Between Shots
Date: 1 October 2012, 4:04 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
42. Source: Digital Filmmaking Blog
Item: SXSW festival being streamed live
Date: 11 March 2012, 5:36 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.
43. Source: Digital Filmmaking Blog
Item: George Clooney honoured at Palm Springs Film Festival
Date: 23 November 2011, 8:20 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

Technorati Tags: ,
44. Source: Digital Filmmaking Blog
Item: Final Cut Pro X released
Date: 24 June 2011, 10:11 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
45. Source: Digital Filmmaking Blog
Item: Shortie Awards Youth Film Festival
Date: 6 May 2011, 4:28 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!
46. Source: Digital Filmmaking Blog
Item: Short Film: Damn Your Eyes
Date: 26 April 2011, 4:52 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
47. Source: Digital Filmmaking Blog
Item: Tribeca Film Festival Launches Online Version
Date: 23 March 2011, 6:50 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 .

48. Source: ArtRightNow News
Item: Emerging artists wanting to participate in the Splendid festival read on...(May 2011)
Date: 20 March 2011, 1:03 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.
49. Source: Digital Filmmaking Blog
Item: Salon Films launches filmmaker training program
Date: 10 January 2011, 9:02 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.
50. Source: ArtRightNow News
Item: Winners for the 2010 Gold Coast Indigenous Art and Design Award
Date: 19 November 2010, 10:47 am
Anthony Walker is the winner of the 2010 prize.
51. Source: Digital Filmmaking Blog
Item: Tribeca announces filmmaking grants
Date: 17 September 2010, 1:08 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.
52. Source: Digital Filmmaking Blog
Item: Taiwan's Tsai Liang is Asian Filmmaker of the Year
Date: 6 September 2010, 4:47 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.
53. Source: Digital Filmmaking Blog
Item: Latest Web startups for filmmakers
Date: 18 June 2010, 1:39 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.

54. 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, 5:57 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
55. Source: - Features RSS Feed
Item: Kasimir Malevich's 'Black Square': What does it say to you?
Date: 15 July 2014, 6:00 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?

56. Source: - Features RSS Feed
Item: Should galleries display more art by women?
Date: 7 July 2014, 1:12 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.

57. Source: - Features RSS Feed
Item: Stunning photos from the National Geographic Travel photography contest
Date: 17 June 2014, 5:50 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. 

58. 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, 6:00 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.

59. 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, 9:00 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.

60. Source: - Features RSS Feed
Item: The supersized cultural life of Abu Dhabi
Date: 19 May 2014, 6:00 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'."

61. 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, 6:00 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.

62. 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, 5:00 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.

63. Source: World Art News at IrishArt.com
Item: Lowry Art Trickery?
Date: 3 March 2009, 1:23 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
64. Source: World Art News at IrishArt.com
Item: Caged Art Recognised
Date: 1 March 2009, 4:44 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
65. Source: World Art News at IrishArt.com
Item: "Nazi" Picasso's Stay In NY
Date: 10 February 2009, 3:42 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
66. Source: World Art News at IrishArt.com
Item: Joe Boyle's Art at Waterfront Hall, Belfast
Date: 25 January 2009, 4:10 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
67. Source: World Art News at IrishArt.com
Item: Irish Art Thieves Took Taxi
Date: 9 November 2008, 11:43 pm
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
69. Source: International Art Competitions provided by Artshow.com
Item: Craft Forms 2014 - Wayne, Pennsylvania
$6,000+ in awards. Deadline: September 12, 2014
70. 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
73. Source: International Art Competitions provided by Artshow.com
Item: Hadassah-Brandeis Institute Artist Residency - Waltham, Massachusetts
$3000 stipend, $250 materials subsidy, studio, solo exhibition. Deadline: October 8, 2014
76. Source: International Art Competitions provided by Artshow.com
Item: 8th GICBiennale 2015 International Competition - Gyeonggi-do, South Korea
$48,100 Grand Prize with solo exhibition in 2017. Deadline: November 7, 2014
77. Source: International Art Competitions provided by Artshow.com
Item: Au Naturel: the Nude in the 21st Century - Astoria, Oregon
$1000 in cash prizes; Up to $2000 in purchase awards. Deadline: November 7, 2014
79. Source: International Art Competitions provided by Artshow.com
Item: Dave Bown Projects 9th Semiannual Competition - Online exhibition
$10,000 in cash prizes and purchases. Deadline: December 6, 2014
81. Source: Network Front | The Guardian
Item: Bring on the defeat of the EU-US free trade deal
Date: 2 September 2014, 11:52 am
The TTIP is an aggressive expression of the free market ideology that should have been binned with the financial crash

In spite of previous suggestions to the contrary, the proposed EU-US free trade deal will, after all, include the NHS, trade minister Lord Livingston admitted on Monday. The deal, known as the Transatlantic Trade and Investment Partnership or TTIP, is a priority of David Camerons government a once in a generation opportunity. But officials have been taken aback by the extent of public hostility.

At the heart of this opposition is the fear that the TTIP will give big business vast new powers over public services like the NHS, and undermine rights at work, environmental protection and food safety standards. call-on-cameron-to-exclude-nhs-from-us-trade-deal/" title="">According to a poll commissioned by Unite, 68% of people in marginal constituencies oppose the inclusion of the NHS as part of the deal. Even among Tory voters, just 23% supported its inclusion. Continue reading...

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82. Source: Network Front | The Guardian
Item: Man found guilty of sending menacing tweets to Labour MP Stella Creasy
Date: 2 September 2014, 11:16 am
Peter Nunn retweeted messages threatening to sexually assault MP after she backed Jane Austen banknote campaign

A man faces jail after sending abusive Twitter messages to Labour MP Stella Creasy after she supported a successful campaign to put Jane Austen on the £10 note.

Peter Nunn retweeted "menacing" posts threatening to rape the Walthamstow MP and called her a witch. He launched his "campaign of hatred" after she backed Caroline Criado-Perez's campaign to keep a woman on a British banknote. Continue reading...

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83. Source: Network Front | The Guardian
Item: Tom Cleverley makes loan move from Manchester United to Aston Villa
Date: 2 September 2014, 10:34 am
Paperwork sent through at 1.15am on Tuesday
Everton failed with £5m bid for midfielder
Arsenal sign Danny Welbeck for £16m
deadline-day-sky-sports-swearing-sex-toy" title="">Sky sorry over swearing and sex toy

Tom Cleverley has been granted a season-long loan move to Aston Villa a day after the transfer deadline ended, despite the requisite paperwork being filed later than a two-hour extension granted by the Premier League.

Villa are thought to have pleaded to the Premier League board that, while it was around 1.15am on Tuesday with the transfer deadline having been at 11pm on Monday when the application to take Cleverley on a temporary basis was finally sent through, the wheels had been set in motion and the club had tried its utmost to process everything as quickly as possible. Continue reading...

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84. Source: Network Front | The Guardian
Item: County cricket as it happened
Date: 2 September 2014, 10:22 am

With Richard Gibson at the Riverside for Durham v Notts and Andy Wilson at Old Trafford for Lancashire v Yorkshire

Andy Wilson reports on a record-breaking performance

This Yorkshire team can now call themselves Roses record-breakers, and they could well be champions elect at some point in the next 24 hours.

Richard Gibson reports at tea

Tea on the third day at Chester-le-Street and the position of this match is that Nottinghamshire are 292 runs away from recording a new record chase at the ground. Inconveniently, they have lost a trio of top-order players along the way - Steven Mullaney, James Taylor and Samit Patel - while at least a dozen of Michael Lumbs runs have come through the slips.

Richard Gibson reports on a century at the Riverside

Paul Collingwoods highest County Championship score of the season - and first hundred in it for two years - has dictated that Nottinghamshire will have to complete a record first-class run chase at Chester-le-Street to maintain their hopes of keeping Yorkshire in range at the top of Division One.

Andy Wilson reports on a special game at Old Trafford

We are witnessing a game that will earn a prominent place in the long history of Roses cricket, especially in Yorkshire.

Richard Gibson reports from the Riverside

Gary Keedy hopes to remain Nottinghamshires chief cook and bottle washer beyond his current deal at Trent Bridge, and further wickets for the left-arm spinner in Durhams second innings will only enhance his chances of getting a new contract.

Andy Wilson sets up the day

A blissful morning at Old Trafford, with an end-of-term feeling, on the day most of the children in these parts have gone back to school. With the prospect of Yorkshire building on a lead that is already formidable, and of Adam Lyth aiming to complete his double century, perhaps its a decent time to ponder end-of-season awards.

Morning all,

Today we have Richard Gibson at the Riverside for Durham v Nottinghamshire and Andy Wilson at Old Trafford for Lancashire v Yorkshire. Here are their reports from yesterdays play:

Nottinghamshire veteran Gary Keedy panics the Durham ranks
Notts 39-year-old slow left-armer claimed four for 56 but Durhams captain, Paul Collingwood, steadied the ship with an unbeaten 38

Yorkshire have the advantage in Roses match against Lancashire
Adam Lyths unbeaten 182 put Yorkshire in control of the Roses match against Lancashire at Old Trafford, which they lead by 118 runs with five first-innings wickets remaining Continue reading...

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85. Source: Network Front | The Guardian
Item: Australia v South Africa: tri-series as it happened
Date: 2 September 2014, 10:02 am

PRIZE TIME

Daniel McDonald has proven that he has a genuine Australian postal address so he will recieve the book, even if his request that I slip in a few World Cup tickets was met with the same facial expression I had when I first looked at the ticket prices for said tournament.

Well, for a while there it looked as though Faf du Plessis was going to get the job done by himself but his wonderful innings of 126 was met with little support from teammates so Australia have won this game convincingly.

The Proteas innings was about du Plessis and du Plessis alone. Once the stout support of Ryan McLaren ended this game was effectively over and the Aussie bowlers spread the load well to force breakthroughs when they were required. Johnson, Maxwell, RIchardson and Marsh all finished with 2 wickets and only Mitch Starc really failed to fire when he was thrown the ball, primarily in his expensive second spell.

Tahir is here for a good time not a long time and the reintroduction of Maxwell sees him charge down the wicket and flog one high into the deep, but Mitch Marsh moves around to take the catch and tie up that Australian bonus point.

43rd over: South Africa 218-9 (Phangiso 2, Tahir 0)

Robert Wilson is back: Is it just me or is it becoming ever harder to judge which teams are the best one day teams (England excepted naturally).Would these two cane India? Or vice-versa? Does anyone know? I think it depends on the conditions. Australia would be close to favourites for their home World Cup but if it was played in India? Not a chance.

If you were expecting resistence from Morne Morkel, youre fresh out of luck. Johnson quite predictably cleans him up and this contest is almost done. Australia do though need to dismiss the Proteas for under 225 to claim the bonus point and progress to the final.

Faf du Plessis finally falls and fittingly enough for such a brilliant lone hand, he gets himself out when he steps back to Richardsons short ball and treads on his own stumps. Its the only way they would have got him to be honest.

Scaramouche, scaramouche, will you do the Phangiso? Those are the words probably not on the lips of Proteas fans right now but their side looks to be cooked.

41st over: South Africa 211-7 (du Plessis 124, Phangiso 0)

It has been confirmed that Daniel McDonald lives in Toowoomba and is not currently incarcerated. Unless any of you OBOers out there comes up with something brilliant in the next half hour hes going to get the Gideon Haigh book.

If Steyn can stick around here and stay off strike, this game is delicately poised. Mitchell Johnson is back into the attack with 3 overs of his alotment remaining, but despite his earlier venom, du Plessis will also rather fancy that pace on the ball. Its an attacking move from Bailey, who is strictly adhering to the theory that the best way to stop runs is to take wickets.

From Johnsons third delivery, Steyn bunts a single but Steve Smith swoops from mid-off to throw down the stumps with a literally stump-shattering throw and Steyn is gone!

40th over: South Africa 205-6 (du Plessis 119, Steyn 5)

Well, if anyone was going to get taken apart at the end of this innings it was Mitchell Starc so I cant say Im entirely surprised when du Plessis starts the over by pasting him for two huge sixes. Starc tries to bowl to his field threater, digging it in short, safe in the knowledge that he has men in the deep. Bailey might give him a spell now though I think.

39th over: South Africa 190-6 (du Plessis 105, Steyn 5)

Faf is on the war path now, cracking Richardson for a boundary and then Steyn does the same with slightly less grace than his colleague.

38th over: South Africa 181-6 (du Plessis 100, Steyn 1)

The McLaren wicket ended the 37th over and in the next Starc immediately has Steyn ducking a short ball that didnt get up to any great height. Moments later he gets pad on a misdirected Starc yorker and it skips away to the fine leg boundary.

Kane Richardson has been biding his time for a while now but returns with the task of breaking this impressive partnership between McLaren and du Plessis and he does it! Again a South African batsman perishes to a terrible stroke when McLaren suffers a rush of blood to the head and slogs one across the line and straight into the hands of Steve Smith at a wide mid wicket position.

That makes it very hard for du Plessis to get his side over the line.

36th over: South Africa 168-5 (du Plessis 97, McLaren 19)

Lyon bowls out his the last of his overs and as Im poring over the madness of Daniel McDonalds Simon Barnes fan fiction once more, du Plessis farewells the off-spinner with a towering six to move within three runs of his second ODI hundred in a week.

35th over: South Arica 159-5 (du Plessis 90, McLaren 17)

Mitchell Marsh returns in the hope of prizing out one of these batsmen with another howler but almost does so in conventional fashion when du Plessis chips an on-drive inches past the diving Steve Smith at short mid-wicket.

34th over: South Arica 156-5 (du Plessis 89, McLaren 15)

Lyon is back for his ninth over now and nearly nicks off McLaren with a superb, sharply-turning off break that probably could have afforded to turn a little less than four inches past the outside edge.

33rd over: South Arica 153-5 (du Plessis 88, McLaren 13)

Ive probably been hit in the nuts five times, says Faf du Plessis in a quite brilliant pre-recorded segment about The Beast, his homespun groin protector. Apprently the thing is comprised of three separate protectors but all I will say is that it looks rather gnarly and not all that hygenic, to be honest.

32nd over: South Arica 145-5 (du Plessis 81, McLaren 12)

Lyon continues for his eighth over and draws du Plessis into a quite bizarre stroke when he shapes to sweep and then pulls out at the last minute, playing a kind of French-pull, if you will, through is legs.

31st over: South Arica 134-5 (du Plessis 74, McLaren 8)

Talk about spotting a window of opportunity and nailing it; with Johnson given a breather by Bailey its Starcs turn to apply some pressure but du Plessis is at him immediately, biffing a huge six over long-on to relieve some of the pressure. Even McLaren looks more comfortable, especially when an Aaron Finch mis-field gifts him two where only one looked likely.

30th over: South Arica 123-5 (du Plessis 66, McLaren 5)

Lyon keeps wheeling away without much luck and he too seems to have McLarens measure without landing the knock-out blow required. McLarens faced 17 balls and looked likely to get out to at least half of them but just continues to tough it out. The required rate is now up around 8, too, and the task ahead is mountainous.

29th over: South Arica 118-5 (du Plessis 63, McLaren 3)

Johnson knows he has McLaren worried and strikes him a fearsome blow to the arm when the batsman cant get out of the way of a short one. It really cracks McLaren on the forearm and must have caused agonizing pain but he refuses to rub it or show any visible signs of pain. Well played, that man.

28th over: South Arica 118-5 (du Plessis 63, McLaren 3)

Lyon continues and almost claims du Plessis when the batsman gives Brad Haddin a sniff of a chance for another diving catch but he survives that nervous moment and plays a wonderful lofted sweep for four a ball later. du Plessis then finishes the over with another boundary of the same type, though its a little less attractive to the eye than the first.

If it was a Test I'd back Faf to save this but too many runs to get & too little batting to help #SAvAUS

27th over: South Arica 109-5 (du Plessis 55, McLaren 2)

Johnson is using some subtle variations to Faf du Plessis but there is no hiding his intentions to castle Ryan McLaren with a yorker. His first is off target and down the leg side for a wide but this will be a nervy period for the Proteas all-rounder.

26th over: South Africa 104-5 (du Plessis 52, McLaren 1)

Bailey is really going for the jugular so brings back Lyon in the hope that his number one spinner can kill this game off. Another thing that is worth mentioning at this point is that Ryan McLaren really struggled against Johnsons pace in the Test series 5 months back but then who didnt?

25th over: South Africa 102-5 (du Plessis 51, McLaren 0)

Ryan McLaren enters the fray now and at a point of the game when hed probably have expected to be cooling his heels. We know he can bat a little bit will he be able to absorb the pressure from Johnson and hang around long enough for du Plessis to do some damage at the other end?

Mitch Johnson returns with immediate effect, spooking Miller into a non-committal shuffle from which his stumps are splattered all over the place. The Proteas are in big, big trouble here.

24th over: South Africa 100-4 (du Plessis 50, Miller 3)

Bailey sticks with Maxwell and the new man David Miller starts off by pushing him wide of cover for two before doing some excavation work on this crumbly pitch. Faf du Plessis punctuates his half-century with a quick fist-bump from Miller but he knows this job is far from over.

Marsh has struck with more filth! This time he bangs one in short and straight and Duminy rocks back before lofting it straight down the throat of Ben Cutting at fine leg.

Thats perhaps poetic justice and karmic redress for the LBW call the over before and Duminy hangs his head in disappointment. The Aussies are frankly feral in response and though the danger man du Plessis remains, they think theyve got the upper hand here.

22nd over: South Africa 91-3 (du Plessis 46, Duminy 15)

Glenn Maxwell is back for another bowl and JP DUminy takes that as a sign he needs to get a wriggle-on. He dances down the wicket and flicks the off-spinner over mid-wicket for a typically attractive boundary. They really need to get after Maxwell here but Duminy nearly perishes when he walks across his stumps and appears to be trapped leg before wicket.

21st over: South Africa 83-3 (du Plessis 44, Duminy 10)

Something I didnt consider: Clint McKays beard maintenance failed to keep up to international standards last summer, says Nick Toovey.

20th over: South Africa 78-3 (du Plessis 43, Duminy 6)

Lyons been just as tight as Richardson but du Plessis gets him away for an ungainly boundary when he charges down the wicket and drives through cover with one hand. The required rate has crept up to 6.83 now, a fact that wont be lost on this calm and capable pair of batsmen.

19th over: South Africa 72-3 (du Plessis 38, Duminy 5)

Richardson continues with no small amount of energy and though hes rarely looked like making a breakthrough today, he is keeping it tight and playing his role in these middle overs. Im still not convinced that he should be there at the expense of Clint McKay but Lehmans pre-tour comments suggested that the big Victorian has possibly had his papers stamped.

18th over: South Africa 69-3 (du Plessis 37, Duminy 2)

As Nathan Lyon continues, Neil Manthorp reminds TV viewers that if Australia loses today, theyll need to beat Zimbabwe to reach the final, which might be news to Darren Lehmann and co because the final match is actually between the host nation Zimbabwe and the Proteas.

17th over: South Africa 66-3 (du Plessis 35, Duminy 2)

Kane Richardson returns to the attack for Australia and hes angling the ball across the left-handed Duminy, who scratches around before turning one down to fine leg for a single. The question is whether the latter can hang around with du Plessis and offer the support hell need in this chase.

16th over: South Africa 65-3 (du Plessis 34, Duminy 1)

JP Duminy arrives at the crease just as replays confirm that de Villiers had actually intended on clearing Bailey with that sweep but just sort of slapped it at head height, ensuring the easiest possible catch for the Aussie.

Lyon gets the breakthrough! He draws de Villiers forward and into a sweep, which the Proteas skipper lofts straight towards Bailey at backward square leg. Hes filthy with himself and so he should be. He just gave his wicket away and the Aussies have claimed a huge advantage in this match.

15th over: South Africa 62-2 (du Plessis 34, de Villiers 5)

With Marsh gone from the attack and Lyon taking the pace off the ball, du Plessis decides that its Starcs turn to cop some stick. He advances down the pitch to the left-armer and lofts another highly effective drive over long-off for a boundary. It might be time for predictions on du Plessis. I dont want to mozz him but he looks a lock for another hundred the way hes hitting them right now.

14th over: South Africa 55-2 (du Plessis 28, de Villiers 4)

Nathan Lyon appears now and should be buoyed from his efforts against Zimbabwe, even if they coincided with outright calamity for his side. The Proteas pair is nurdling and lapping him to rotate the strike, but you also kind of wonder whether theyll rattack the off-spinner and try to break his spirit early in the piece.

13th over: South Africa 52-2 (du Plessis 27, de Villiers 2)

Faf is feeling cocky now and plays Starc over cover with a kind of top-spin lob for two. The South African 50 is up and we probably should start bracing for more pain from this Proteas pair, shouldnt we?

I've seen this one before. #SAvAUS

12th over: South Africa 49-2 (du Plessis 25, de Villiers 1)

Faf du Plessis has seen enough of Marsh now so he strolls down the track to a slightly short delivery, lofts it over the bowlers head and raises his back leg for a theatrical flourish. Better still is a follow-up three balls later, in which hes a little stiller and straighter to play an inside-out drive for six over deep extra cover. That might kick-start this innings slightly.

11th over: South Africa 37-2 (du Plessis 14, de Villiers 0)

Starc continues with the same miserly intent we saw in his first over. He concedes a single to du Plessis and appeals quite vigorously for an LBW ruling against de Villiers off his final delivery but the umpire is as interested in it as Starcs teammates, who just stand there in silence.

10th over: South Africa 36-2 (du Plessis 13, de Villiers 0)

If youre wondering what that huge gap is before the text on the eighth over summary, it was engineered on purpose to make you ponder the vast nothingness that awaits us all at some point. Until the darkness finally creeps in, at least weve got AB de Villiers to enjoy. Despite suffering what looked a nasty hamstring injury on Wednesday hes at the helm of this Proteas side today and now hes out there in the middle with his partner in crime from that big win.

Mitchell Marsh has appeared for a trundle and that move pays immediate dividends when he has Hashim Amla caught down the leg side with some absolute filth. He should be a bit sheepish to take a wicket with a ball like that but it was a magnificent diving catch from Brad Haddin, wholl Ill remind you is approaching his 37th birthday but dived in acrobatic fashion to take that one.

9th over: South Africa 35-1 (Amla 17. du Plessis 12)

Ill be honest, I lost a lot of that over to technical difficulties but Mitchell Starc has replaced Johnson and started well with a maiden.











8th over: South Africa 35-1 (Amla 17, du Plessis 12)

Faf du Plessis is batting out of his mind at the moment and crunches Richardson for an eye-catching boundary over long-off from a ball that pitched slightly back of a length.

7th over: South Africa 29-1 (Amla 16, du Plessis 7)

I was wrong, Johnson gets another crack at du Plessis and Amla and gets one through the gate of the latter when he drives lavishly at a wide out-swinger without moving his feet a millimeter. Hes living on the edge a little, Amla, but finishes with two down to fine leg.

6th over: South Africa 26-1 (Amla 14, du Plessis 6)

Richardson continues neatly but hes huffing, puffing and scratching away at the bowling foot-marks to try and get comfortable with his surroundings. His fifth ball is played uppishly and dangerously by Amla, whose lofted drive only just evades Steve Smith at deep cover and runs away for a boundary.

5th over: South Africa 21-1 (Amla 10, du Plessis 5)

Have The Australian Team reached Peak Beard? asks Nick Toovey, who resides in London and is a lovely bloke but still ineligible for todays stunning prize showcase. The facial hair approach was all the rage at The Ashes, but I fear we have become unbalanced, particularly in our bowling attack. Ideally, we would want a moustache & a full beard to open, and some designer stubble and a 5pm shadow to come in and change things up, with a couple of cleanskins to keep things tidy in the middle overs.

4th over: South Africa 20-1 (Amla 10, du Plessis 4)

Maxwell has done his job getting the early breakthrough so the ball is tossed to the tall, lushly-beared Kane Richardson. Hes promptly bopped through cover for four in almost effortless fashion by Amla but thats the only scoring in a tidy over from the South Australian.

Mitch Marsh shows us again what he can do. Let's hope he stays fit for many years. #awesomepowerhitting

3nd over: South Africa 16-1 (Amla 6, du Plessis 4)

At the risk of reaching a little, might Quinton de Kock have been a little unsettled by that aggressive Johnson throw in the first over? He certainly didnt appreciate Dale Steyns manic wicket celebration earlier and it was a very rash shot against Maxwell.

2nd over: South Africa 9-1 (Amla 3, du Plessis 0)

Faf du Plessis strides to the wicket now and carries with him the aura of his breakthrough ODI hundred from when these teams last met on Wednesday.

Oh my. George Bailey replicates the Proteas approach of applying pressure early with spin but Glenn Maxwells first delivery is promptly speared down leg side for four wides. A few balls later though and after tempting young de Kock forward, he draws a rash lofted drive which pops straight up in the air to present Steve Smith with a simple catch. Thats an awful start to the run chase for the Proteas.

1st over: South Africa 3-0 (Amla 2, de Kock 1)

And were back. Mitch Johnson takes the new ball for Australia and Hashim Amla gets off the mark by pushing a straight one through mid-on for a single.

Nowstep into the prize showcase

Look past the golf clubs, forget about the holiday in Fiji and focus your attention on the book thrown on that mahogany sideboard yes I have a prize for you but dont get excited because it really is just a book.

Evening all

Thank you Geoffrey, thank you Mitchell Marshs weighty cleft of willow and welcome to the second half of this game OBOers. Russell Jackson here taking you through the South African run chase and quietly hoping for a better Australian bowling performance than what we saw against Zimbabwe a few days back.

What a stunning closing display from Mitchell Marsh. Hes in the team to prove himself and he did that today in astonishing fashion.

He top-scored with his last shot: 86 from 51 balls, 5 fours and 7 sixes. Massive clean hits every one, and not a streaky shot amongst them.

Australia were really sputtering at 202 with six overs to go, but he put on 80 runs in those overs almost single-handed.

The closing overs went for 10, 8, 21, 16. 9 and 16. Marsh scored 64 of them. Australias total was previously built on an excellent and controlled 85 from Phil Hughes, 36 from Smith and 32 from Bailey.

So what does it mean?

The pitch looked tricky when South Africas spinners were operating, but can Nathan Lyon get the requisite part-time support from Smith, Finch and Maxwell to make life difficult for South Africa?

Was the pitch actually tricky or did Australia just handle it badly? Was Marshs innings completely anomalous, or will South Africa bat the same way?

Well find out when Russell Jackson takes over the call... now. Geoff Lemon out, thanks for playing.

50th over: Australia 282-7 (Marsh 86 Starc 1)

McLaren has the dubious pleasure of bowling the last over, and he keeps them to a pair of singles first up.

49th over: Australia 266-6 (Marsh 72 Johnson 1)

A good quiet start for Morkel, a single for Marsh, a dot and the Haddin wicket, and then once the batsmen had crossed Marsh could only get a single from the next excellent yorker. Johnson got a full bunger, thigh high, that he could have put anywhere, but could only bunt a single...

Haddin gets the strike, tries to join the party, but slices high and wide to deep cover. Morkels foot is checked on the review but theres possibly a millimetre of shoe somewhere near the back of the line.

48th over: Australia 257-5 (Marsh 65 Haddin 11)

Ryan McLaren comes to take on Marsh, who goes that flat-batted pull again, straight down the ground, nearly kills the umpire, and Miller at long on can only parry it into the rope.

47th over: Australia 241-5 (Marsh 50 Haddin 11)

SIX! Marsh is not afraid of Steyn, a mighty drive down the ground.

46th over: Australia 220-5 (Marsh 29 Haddin 11)

Tahir to finish his spell. Haddin tries a massive mow, Marsh is beaten twice in succession by the turn, then...

45th over: Australia 212-5 (Marsh 22 Haddin 10)

Steyn returns as well in the double change. He has three overs left, including this one, and the Aussies are shaky: first a wild Marsh swing that misses, then a desperate single that is very nearly a run out, then de Villiers brings a slip back in for Steyn and Haddin edges inches wide of him for four. Haddin gets a single, then finally theres a convincing shot as Marsh produces a stand-and-deliver cover drive, in the air all the way but safely between the field, to a Steyn half volley. Crash.

44th over: Australia 202-5 (Marsh 17 Haddin 5)

Tahir back for his penultimate over, and theyre not finding him any easier to target. Five singles, at least the 200 is up, but with only 36 balls remaining that shows you just how short Australia are.

43rd over: Australia 197-5 (Marsh 14 Haddin 3)

Theres a slip for Haddin versus Morkel, and big Morne looks to have too much heat just at the moment, Haddin wafting and missing. He and Marsh do manage to muster some singles, and Morkel helps by knocking over the non-strikers stumps for a no-ball, before Marsh gets a square drive away that gets inside the third man and reaches the rope. Which is actually a rope here in Zimbabwe, rather than a series of miniature billboards.

42nd over: Australia 188-5 (Marsh 8 Haddin 1)

Phangiso was forced back to bowl out his spell, and Bailey wanted to ruin his figures. They started with an exceptional pull shot to a fullish ball for four, but Phangiso had Bailey stumped next ball. Haddin comes in and can only find a single from four balls, and Aaron Phangiso finishes with 10 overs, 2/39 - a fantastic return.

The skipper was just starting to get going there, but Phangiso is having a day out and he gets another one. Bailey advanced, Phangiso got enough bounce and turn to beat the drive, and de Kock got his first ODI stumping.

41st over: Australia 183-4 (Bailey 28 Marsh 8)

Another change, Morkel on with Phangiso having an over to spare. Marsh is not enjoying Morkel, inside edging, flinching a little, heaving and missing. He gets one from the over, so does Bailey. Nine to go, they really have to get motoring soon.

40th over: Australia 181-4 (Bailey 27 Marsh 7)

SIX! And one of the biggest youve ever seen! That ball was lost, the umpire was coming out with replacements, but eventually someone from outside the ground retrieved it and sent it back to the middle.

39th over: Australia 170-4 (Bailey 18 Marsh 5)

If South Africa win this match theyll have Phangiso and Tahir to thank. The pair have controlled these middle overs exceptionally. There are five from this over, but Australia can only work singles and the odd two - when Marsh tries an aggressive shot Phangiso almost has another wicket, the ball lobbing toward deep cover with no power on the shot.

38th over: Australia 165-4 (Bailey 17 Marsh 1)

Marsh gets off the mark first ball against Tahir with a drive to long off, then Bailey is donated another leg-side ball that he sweeps even finer this time, the shot almost ending up behind the wicketkeeper as it rolls to the rope. Five from the over, run rate still meandering around 4.3.

37th over: Australia 160-4 (Bailey 13 Marsh 0)

That was almost Phangisos over - four dot balls, an edge for two - but Bailey got some leg-side width from the final ball and got down to sweep hard, fine, away from the fine leg for four.

36th over: Australia 154-4 (Bailey 7 Marsh 0)

Imran Tahir returns now and shows his class: after Bailey takes one from the first ball, Tahir ties down Mitch Marsh completely. Not willing to take a risk early in his innings, Marsh looks very uncomfortable against the leg spin. Hardly the first batsman to feel that way, of course. Is there anything most would less prefer to face than leggies first up?

35th over: Australia 153-4 (Bailey 6 Marsh 0)

Two Bailey singles and the Hughes wicket from the over, Phangiso now has an excellent 1/23 from seven overs, and the Powerplay backfired with 2/20. Mitchell Marsh is the next batsman, and the Australians have 15 overs to build a recovery for this innings.

Thats a shame for Hughes - well within reach of another ODI century, but he clearly felt responsible for getting the scoring going in the absence of other options, and the last over of the Powerplay. He came down the wicket to loft Phangiso, trying to swat him through midwicket, but didnt get all of it. The ball instead went straighter, toward long on, and Miller settled under it.

34th over: Australia 151-3 (Hughes 85 Bailey 4)

Baileys not going to hurt you, hes just come in, says the commentary of a guy who often has strike rates of over 200 when coming in late in the day. For now theyre just taking ones from McLaren, Hughes targeting third man, Bailey midwicket, only three singles in total. South Africa, though, nearly kill the umpire when firing in a thrown for an attempted run-out that canes Russell Tiffin in the leg.

33rd over: Australia 148-3 (Hughes 84 Bailey 2)

Bailey takes a scrambled single after three dots against Steyn, then Hughes decides perhaps he needs to take charge: he does so literally, charging Steyns shortish ball and absolutely swatting it through cover point for four, got every ounce of that ball. Then he shuffles a step forward to the next one, makes the angle more favourable for a fuller ball, and swats that away through backward square leg off his pads. Good range from Hughes, hes into the 80s.

32nd over: Australia 139-3 (Hughes 76 Bailey 1)

So Australia were going along steadily enough, but slowly - both Finch and Smith chewed up a lot of deliveries, going at strike rates of 58 and 44 respectively. Hughes has kept them in it by going at over 90. But by now theyre a fair way below where they need to be - a run rate of 4.3 against a side that chased nearly 7 an over with ease last time they met.

31st over: Australia 136-3 (Hughes 75)

The gamble didnt work. Australia need to consolidate now. Bailey will be next.

Here we go, Australia have taken the Powerplay already. Maxwell is here to explode or implode. Hughes nudges one to hand over the strike. He just needs to bat quietly through to the end. Anticlimax though as Maxwell gets a Steyn yorker and digs out a single.

Hughes repeats his glide to third man. Maxwell gets a massive inside edge along the ground to the keeper, just playing a forcing shot. Then he goes the big pull to a short ball to close things out - and it goes a mile up in the air before settling in de Kocks gloves up over the stumps.

30th over: Australia 133-2 (Hughes 73 Maxwell 1)

Interesting. Maxwell is in ahead of Bailey. The Aussies still have a Powerplay to come, and have to take it in the next few overs. Perhaps Australia want him out there to take advantage. A couple of singles finish a successful over for Tahir.

Thats the one they wanted. Smith had looked really good but he came down the track against Tahir, went the big drive and largely missed. De Kock fumbled the take and missed the chance for a stumping, but he did hold the ball to his body and the umpire ruled that Smith had edged the ball on its way through.

29th over: Australia 130-1 (Hughes 71 Smith 36)

The TV cameras lingering on Mitch Johnson, huddling under a blanket in the Australian gallery, as the commentators discuss beards. Their contention is that Steyn wasnt allowed to take his razor on the plane for his recent holiday, and couldnt afford to change sufficient rand into US dollars to replace it. Sounds plausible.

28th over: Australia 125-1 (Hughes 69 Smith 34)

A full bung from Tahir only goes for two from the bat of Hughes, but a single is all he can get thereafter, Tahir bowling a tricky over. These spinners have been steady, they just havent made the breakthrough. Steyn will come back to see if he can.

27th over: Australia 122-1 (Hughes 66 Smith 34)

Phangiso is able to tie Hughes down a bit now, four balls for an eventual single. The Australians finish with three.

26th over: Australia 119-1 (Hughes 64 Smith 33)

SIX! Should have been a wicket though, dear me. Morkel bowls a testing bouncer that nets Smith a leg bye, then tries to repeat it against Hughes and is hooked. Its a bit top-edgish, flies quickly away, a pretty good connection but theres a man in the deep - and it turns out Ryan McLaren is just three or four metres in from the rope, not standing on it. The ball clears him and drops over the rope by a few inches. Would have been an easy take if hed been in position. Hughes lives long and prospers.

25th over: Australia 111-1 (Hughes 57 Smith 33)

The Bee Gees More Than a Woman rings around the stadium, the unofficial anthem of the Australian team - a clever move by Darren Lehmann to inspire his batsmen between overs. Hes taken over the PA and is DJing from his laptop. I hear hes just downloaded Ableton.

24th over: Australia 109-1 (Hughes 56 Smith 32)

A jumpy over from Hughes this time, with a thick inside edge against Morkel that ricochets fortunately toward square leg rather than onto the stumps. Another ball tucks him up as it comes back in. He still finds his couple of singles, Smith does too, and Morkel donates them a late wide. Smith chips a dicey two runs to finish the over, lofted through midwicket with no real power, but into open pastures.

23rd over: Australia 103-1 (Hughes 54 Smith 29)

Another near run-out from Phangisos over as Hughes dabbed behind point, Smith set off and was sent back, and barely tumbled in ahead of the errant throw. Accuracy would have found him short. Three singles are all that result. Australia at about 4.5 runs per over, as long as they can maintain the wickets in hand then this rate is good for a while yet.

22nd over: Australia 100-1 (Hughes 52 Smith 28)

Milestone City as Morkel came back to bowl: the 50 partnership, Hughes half century, and the Australian 100 all came up with the six runs that Hughes and Smith scored in ones and twos.

Another ODI fifty in this series for Hughes, as he tucks Mornel Morkel through square leg for two.

21st over: Australia 94-1 (Hughes 47 Smith 27)

Gee, turn and some huge bounce for Phangiso as he bowled on off stump, Smith was forward trying to force, but that ball leapt up and inward and beat his stroke, hitting him on the body. Smith, though, had just played two stylish whips to midwicket, both involving a skip down the wicket. He looks in tremendous touch. Gets one more single to close.

20th over: Australia 89-1 (Hughes 47 Smith 22)

Nearly another boundary for Hughes, Morkel just keeps it in at third man after another very deft late cut against the spin of Tahir. Closing on a half century. Smith keeps accumulating with two singles. Going along nicely, these two.

19th over: Australia 84-1 (Hughes 44 Smith 20)

Phangiso keeps them to three runs that over. Apparently its cold in Harare, despite the bright sunshine on our televisions.

18th over: Australia 81-1 (Hughes 43 Smith 18)

An inelegant attempted cut from Hughes as he got Tahirs slider variation pushed through quickly outside off. Then another cry from Tahir as one came back in toward the leftie and threatened an inside edge. But the pressure releases with an edge down to third man for four. Hughes is finding a way against Tahir, hes now into the 40s.

17th over: Australia 75-1 (Hughes 38 Smith 17)

Double spin now as the left-armer Aaron Phangiso comes in, switching around and over the wicket as the left-handed and right-handed batsmen change strike. Hes only played a handful of ODIs, looks likely and enthusiastic - any OBO readers out there got the inside mail on Phangiso? Five more singles from the over.

16th over: Australia 70-1 (Hughes 35 Smith 15)

Its single city in this Tahir over: Hughes cuts, drives and sweeps, Smith pushes to the leg side. Tahir is yelping at the sweep but there are no alarms. Steady progress.

15th over: Australia 65-1 (Hughes 32 Smith 13)

Good contest developing between Smith and McLaren too. A cover-driven four, a couple of off-cutters that have Smith hopping and missing, then one too far to leg that Smith is able to clip for two runs.

14th over: Australia 58-1 (Hughes 31 Smith 7)

This will be very interesting. Imran Tahir on, the charismatic and compelling South African leg spinner. Steve Smith is a very accomplished player of spin, Phil Hughes has historically been a troubled one but has improved. Hughes gets a very short one to pull for a single, Tahir gets his length right to Smith and forces him to defend out the over.

13th over: Australia 57-1 (Hughes 30 Smith 7)

Smith displaying that high backlift of his, wafting the bat in its waiting position, then crisply bringing it through the ball. Hughes gets one too close to the body from McLaren but tries to cut anyway, it got past him as it moved back in. The end result of all that movement from both parties is a single to Hughes and a glanced double to Smith.

12th over: Australia 54-1 (Hughes 29 Smith 5)

They trade singles for a bit against Morkel, then Smith shows why hes at 3: he gets a full ball, steps forward and gracefully whisks it away through midwicket with a flourishing drive. Lovely play. The 50 is up.

11th over: Australia 47-1 (Hughes 28 Smith 0)

Its Steve Smith at 3. Finch had made a couple of runs that over before his dismissal, Hughes got a single to give Smith the strike. Smiths first ball is shovelled toward midwicket for doughnuts.

Finchs frustration gets the better of him, hes wasted 36 balls making his 16, then tried a wallop down the ground and could only slice it high and wide to cover, about two thirds of the way to the rope. Easy lobbing catch for Duminy. Whos at No3?

10th over: Australia 43-0 (Finch 14 Hughes 26)

The Songbird is getting very antsy now, aims a boom drive at Morkel but misses completely, flicks the next off his pads and tries for a single that isnt there, then finally connects when he gets an in-between short ball that he can help round the corner for 4. The next couple can only be defended, spearing at the stumps but bouncing up around handle height. Finch works the last away for 2 runs to long leg.

9th over: Australia 37-0 (Finch 8 Hughes 26)

Heres Ryan McLaren now in the double change. Hughes quickly gets two, flicked to deep square, then runs a single to third man. Finch drives one very close to the catching short midwicket but doesnt score. Gets an edged single from the final ball.

8th over: Australia 33-0 (Finch 7 Hughes 23)

Eight overs gone and SA really putting the brakes on Finch - hes 7 from 26, needs to keep calm and make those deliveries count by staying around. Morkel comes on to bowl, having put aside injury concerns, and the only runs from his opening over are two separate leg byes from lbw shouts, one against each batsman. Awkward angle and bounce from the Lighthouse.

7th over: Australia 31-0 (Finch 7 Hughes 23)

A single to Finch, a double to Hughes in that Steyn over.

6th over: Australia 28-0 (Finch 6 Hughes 21)

Another good over for Hughes, this time against Duminy. First ball he sweeps for four through backward square, then theres one of those wide balls where Hughes crouches right down low and plays the cut, rather than standing up high and trying to drive. He was doing a Pilates move there. That is a strange and brilliant shot that he plays.

5th over: Australia 20-0 (Finch 6 Hughes 13)

Another quiet one, a leg bye and a Hughes single. Finch copped one on the pad that drew an appeal, but was going high. Steyn has a bit of a Lord of the Rings look going with his new facial hair, if you have any monsters that need slaying.

4th over: Australia 18-0 (Finch 6 Hughes 12)

Nearly a run-out from the fifth ball of the over as Finch sets off from the non-strikers end, Hughes wasnt interested in that single to the on side, but a fortunate fumble from the field allowed Finch to get back. Three other singles from the over, Duminy continuing well, flighting them nicely and landing them well.

3rd over: Australia 15-0 (Finch 4 Hughes 11)

Hughes is looking good here, 11 from just 5 balls as he plays a nice late cut against Steyn for 3. Finch, on the other hand, looks awkward as he shuffles through four dot balls before scratching a single toward third man. No huge threat from Steyn as yet.

2nd over: Australia 11-0 (Finch 3 Hughes 8)

Knowing Australias recent travails with spin, de Villiers gets Duminy on straight away to bowl offies. He gets some turn immediately, and keeps them down to a deuce from a full toss.

1st over: Australia 9-0 (Finch 1 Hughes 8)

A nice start for Hughes, as he pulls Steyn for four through midwicket, then edges one through a vacant slip. Steyn bowling to a 7-2 field had little protection for the short ball.

So Michael Clarke is out of the side, of course, with injury - hes been sent home to Australia, and Steve Smith is in. Kane Richardson is in for Ben Cutting, Mitchell Johnson is back for James Faulkner.
Australia
Finch
Hughes
Smith
Bailey*
Marsh
Maxwell
Haddin
Johnson
Starc
Richardson
Lyon

South Africa
Amla
Kock
du Plessis
de Villiers*
Miller
Duminy
McLaren
Steyn
Phangiso
Morkel
Tahir

Ill be with you through the entire first innings, and would of course like to hear your thoughts on the game, the commentary, or the state of the broader world. Email me through your comments at geoff.lemon@theguardian.com and well talk.

It was some game. Had Zimbabwe taken their chance against South Africa a couple of days earlier they could well be in the final of this series. Their frustration at letting that chance slip seemed to influence how determined they were not to do the same against Australia. Prosper Utseya especially was not going to let another good bowling performance go to waste - he was fierce with the bat. That all means the Australians have to win this match in case Zim manage to upset SA when next they meet.

Hello sporting fans, friends, and people who like watching Australia be embarrassed. No doubt a few of the latter group will be here after recent events in this series, hoping to see another Down Under disaster, but the canary yellow mob could just as well take their frustration out on their great modern rivals. Geoff Lemon with you as we find out which it will be.

Geoff will be here shortly to take you through the first session of the day but before he arrives, why not remind yourselves how things have gone so far on the tour of Zimbabwe. In a nutshell, not swimmingly.

Theres probably not enough expletives in the English language at the moment for the way Im feeling. Its just embarrassing for everyone involved in the touring party, and I hope theyre hurting. They should be. Continue reading...

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86. Source: Network Front | The Guardian
Item: From Torres to Suárez: the hits and misses of transfer deadline day
Date: 2 September 2014, 9:50 am
Is Manchester Uniteds loan of Radamel Falcao going to make all the difference as they seek a Champions League return, or will it just be another in a long list of failed last-minute signings?
Transfer window club-by-club ins and outs
Interactive: how much have clubs spent?

Jim White has packed away his yellow tie and Premier League chairman are putting down their pens with quivering hands as the biannual jamboree that is transfer deadline day has come to a close, with a record £835m worth of transfers having been signed off.

The final day was a hectic muddle of desperate clubs attempting to squeeze one last vital transfer over the line. But is a last-minute buy ever worth it? Here are 10 deadline-day deals which had mixed results. Continue reading...

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87. Source: Network Front | The Guardian
Item: Crimea does not need gay people, says top official
Date: 2 September 2014, 9:33 am

Sergei Aksyonov tells Russian media that police and self-defence forces will be called if the LGBT community tries to organise gatherings. RFE/RL reports

Crimeas most senior official has said sexual minorities have no chance on the peninsula that Russia annexed from Ukraine in March.

Speaking about gay people during a Crimean government session on Tuesday, the regions de facto leader Sergei Aksyonov said we in Crimea do not need such people. Continue reading...

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88. Source: Network Front | The Guardian
Item: Ebola outbreak: call to send in military to west Africa to help curb epidemic
Date: 2 September 2014, 9:23 am
Head of Médecins sans Frontières urges UN to dispatch disaster response teams as cases and deaths continue to surge

Military teams should be sent to west Africa immediately if there is to be any hope of controlling the Ebola epidemic, doctors on the frontline told the United Nations on Tuesday, painting a stark picture of health workers dying, patients left without care and infectious bodies lying in the streets.

The international president of Médecins sans Frontières (MSF), Dr Joanne Liu, told member states that although alarm bells had been ringing for six months, the response had been too little, too late and no amount of vaccinations and new drugs would be able to prevent the escalating disaster. call-send-military-curb-epidemic">Continue reading...

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90. Source: Network Front | The Guardian
Item: Wayne Rooney promises England will start new chapter under captaincy
Date: 2 September 2014, 9:12 am
We have to put summer behind us, says striker
Hodgson feels Norway will provide a difficult game
England squad announcement: Rooney named captain
Wednesdays match could be record low at new Wembley
Norways Vegard Forren calls Rooney a bit chubby

Wayne Rooney has promised that England will start a new chapter when they play Norway at Wembley as they warm-up for their European Championship qualifier away to Switzerland on Monday.

The recently appointed captain and his coach admitted that there was a lingering sense of disappointment following Englands disappointing World Cup campaign, with Roy Hodgson emphasising that they needed to bring back the feelgood factor to restore the faith of the fans. Continue reading...

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91. Source: Network Front | The Guardian
Item: Back to our roots: would humans be better off eating a paleolithic diet?
Date: 2 September 2014, 7:42 am
Raw foodists and other campaign groups are eager for us to return to the sort of food our ancient ancestors ate. But how much truth is there in their various claims, and is there any real benefit for us in the 21st century?

A friend is reading a new book called Go Wild: Free Your Body and Mind from the Afflictions of Civilisation. It has inspired him to go a bit "paleo", diet-wise. It says, for instance, that humans were not meant to eat grains. I don't want to dis a book that could help people become more mentally and physically healthy, but the notion that human beings were somehow designed (by God? by Mother Nature?) to only ever eat or do certain things, and that these things were dictated in some heyday hundreds of thousands of years ago, comes up a lot, and smells a little like baloney to me.

Raw foodists claim we were not meant to eat anything cooked. Some vegetarian campaign groups are adamant the "natural human diet", as eaten by our ancestors, is herbivorous. Paleo dieters say we were designed to eat lots of meat and veg, and agree with the gluten-free clan that eating grains was never part of the master plan for human nutrition. Are any of them right? Continue reading...

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92. Source: Network Front | The Guardian
Item: Transfer deadline day: Sky Sports sorry over swearing and sex toy incident
Date: 2 September 2014, 7:31 am
Ofcom considers investigation after viewers complain about foul language from rowdy supporters outside clubs grounds

Sky Sports News has apologised after it broadcast swearing and scenes of a fan waving a sex toy during its transfer deadline day coverage.

Communications watchdog Ofcom could launch an investigation after viewers complained about foul-mouthed outbursts being broadcast live. Continue reading...

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93. Source: Network Front | The Guardian
Item: North Korea aims for political gold at Asian Games
Date: 2 September 2014, 7:29 am

Dozens of athletes are preparing to travel to South Korea to compete in the Asian Games as part of Pyongyangs latest sports diplomacy push

Its a hot, sunny morning at the newly refurbished Sosan Football Stadium in Pyongyang. Two womens football teams head to the sidelines of the artificial turf, leaving only a row of archers to continue their practice before several senior sports ministry officials. So sure are they of their aim or, perhaps, so impromptu is the decision to have them shoot here that there are no barriers behind the targets, posted on simple squares of straw.

The archers have a lot of responsibility on their shoulders. In just over a week, they will be sent on a mission to win gold for their leader in what could well be the biggest sporting event of their lives and a major propaganda campaign for their nation the Asian Games in Incheon, South Korea.

The games, a kind of mini-Olympics held every four years, come after months of haggling between the two Koreas over everything from national flags to the Norths outrage over joint military exercises by South Korean and US troops, which it has called a rehearsal for nuclear war.

But the event also comes as the North is making a strong push to develop itself into a sporting nation reminiscent of East Germany and other socialist nations during the Cold War. North Korean leader Kim Jong-un has poured funds into improving sports facilities in the capital and, on a smaller scale, the provinces, giving momentum to what the state-run media has frequently touted as a hot wind of sports blowing across the nation. Continue reading...

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94. Source: Network Front | The Guardian
Item: How transfer deadline day unfolded in the rest of Europes big leagues
Date: 2 September 2014, 7:13 am
It may not have had the same level of drama as the Premier League but clubs in Italy, Spain, Germany, France and Portugal still splashed the cash

With everyones attention on another record summer of spending by Premier League clubs, Monday was also transfer deadline day in the majority of Europes domestic leagues.

And while the majority of the continents big-hitters had wrapped up their business much earlier, there were still plenty of last-minute deals that helped push the total spent by clubs in Spain, Italy, France and Germany past the £1bn mark. Continue reading...

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95. Source: Network Front | The Guardian
Item: Chinese authorities offer cash to promote interethnic marriages
Date: 2 September 2014, 7:06 am
Incentives offered to couples in parts of China's troubled Xinjiang region in effort to assimilate culturally distinct Uighur minority

Parts of China's troubled north-west region of Xinjiang have begun offering cash to interethnic couples as part of a drive to assimilate the culturally distinct Uighur minority.

Qiemo county, part of the 460,000 sq km Bayinguoleng autonomous Mongolian prefecture, announced the policy in late August, calling it a "big celebratory gift package" for couples in which one member is an ethnic minority and the other is Han Chinese. Continue reading...

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96. Source: Network Front | The Guardian
Item: FBI investigating hack of naked photos of Jennifer Lawrence and others
Date: 2 September 2014, 6:24 am

Jennifer Lawrences lawyers contact law enforcement over a flagrant violation of privacy and Kirsten Dunst attacks Apple

The FBI is investigating the hacking of celebrity nude photos, including those of Academy Award winner Jennifer Lawrence, it has confirmed.

Images of more than 100 actors, singers and celebrities including what appear to be nude photos and videos have been leaked by a hacker using the internet forum 4chan.

Thank you iCloud���� Continue reading...

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97. Source: Network Front | The Guardian
Item: Met criticised for trying to deflect publicity from discrimination case
Date: 2 September 2014, 5:44 am
Tribunal awards £37,000 to former PC Carol Howard, who was 'bullied, harassed and victimised'

Scotland Yard tried to deflect negative publicity surrounding the case of a police officer who had suffered race and sexual discrimination by releasing details of her arrests over a domestic dispute, employment tribunal judges have found.

Firearms officer PC Carol Howard received more than £37,000 after she was discriminated against for being a black woman. Continue reading...

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98. Source: Network Front | The Guardian
Item: Eleanor Catton sets up grant to give writers 'time to read'
Date: 2 September 2014, 4:12 am
Booker-winning author of The Luminaries uses New Zealand Post prize money to encourage 'the first step' to good writing

Eleanor Catton, the youngest ever winner of the Man Booker prize, has announced that she will put the money from her latest awards win towards establishing a grant that will give writers "time to read".

Continue reading...

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99. Source: Network Front | The Guardian
Item: Dethroned Burmese beauty queen demands apology in return for pageant crown
Date: 2 September 2014, 3:38 am
Miss Asia Pacific World winner May Myat Noe says she has done nothing wrong to cause her to be stripped of title

A dethroned beauty queen from Burma has refused to return her jewel-encrusted $100,000 (£60,000) crown until pageant organisers apologise for calling her a liar and a thief.

May Myat Noe the 2014 Miss Asia Pacific World winner told a news conference she had done nothing wrong to cause her to be stripped of the title. Continue reading...

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100. Source: Network Front | The Guardian
Item: While Nato swills champagne, its Putin who calls the shots
Date: 2 September 2014, 3:37 am

This weeks lavish Nato summit wont change the fact that it has been outmanoeuvred and humiliated in Ukraine by a puffed-up Putin

This weeks absurdly lavish Nato summit in Wales could not be worse timed. It will be a public display of the impotence of what preens itself as the worlds most powerful alliance. Vladimir Putin, its historic foe, has been allowed to engineer its humiliation. He lies, he bullies, he invades, he shrugs off sanctions. He knows Nato will not go to war. He can therefore gain a buffer zone of Russian interest along his borders with added domestic glory.

In the matter of detail, Putin is right. The Russian-speaking area of east Ukraine should have been granted internal autonomy after the coup that toppled the corrupt but elected Kiev regime backed by the east. The message is spreading across an ever-more integrated Europe, that dissident provinces are calmed only through greater self-government. Look at the Kosovans, the Basques, the Scots. Continue reading...

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101. Source: Network Front | The Guardian
Item: Dog rescued from Somerset rocks by RNLI after 10 days video
Date: 2 September 2014, 3:28 am
A dog is rescued by the Royal National Lifeboat Institution in Somerset on Sunday after it was stranded on a seafront ledge. The spaniel, called Sprig, had been lost for almost 10 days. The the owners had been organising search parties before the lifeboat crew found the him near a lighthouse on the coastline Continue reading...
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102. Source: Network Front | The Guardian
Item: Football transfer rumours: did anyone want Tom Cleverley or Anderson?
Date: 2 September 2014, 2:56 am
Todays tittle-tattle isnt really tittle-tattle, because there isnt really any tittle-tattle.
Daniel Taylor: How on earth will Van Gaal fit Falcao in?
Jamie Jackson: United show little faith in youth
deadline-day-live" title="">Transfer deadline day: as it happened

Well that was all good fun wasnt it? Well, perhaps not fun per se. A heinous grind of rumours, half-truths, paperwork and top bantz involving funsters waving special private bedroom time accoutrements in the faces of increasingly weary Sky Sports News presenters, perhaps.

The transfer window is closed for another summer, meaning we can all shut up and concentrate on something of a little more importance for the next few months, rather than obsessing over which footballer might be swapping clubs for whatever nebulous reason, eh? Continue reading...

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103. Source: Network Front | The Guardian
Item: Radamel Falcao promises Manchester United will have a great season
Date: 2 September 2014, 2:43 am
Colombians move to Old Trafford confirmed after deadline
Falcao: We were waiting until last minute but I didnt lose faith
Striker joins United for season in £16m loan deal

Radamel Falcao has promised his arrival at Manchester United in a £16m season-long loan will be the catalyst for a great season.

The striker finally completed his move in the early on Tuesday morning, nearly three hours after the 11pm deadline on 1 September. United have picked up only two points from their opening three games. Continue reading...

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104. Source: Network Front | The Guardian
Item: 2014 Samuel Johnson prize longlist in pictures
Date: 2 September 2014, 2:00 am

Two surgeons, an accidental professor and a songwriter are among the contenders for the UKs most prestigious award for nonfiction
Continue reading...

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105. Source: Network Front | The Guardian
Item: David Levene: Eyewitness in pictures
Date: 2 September 2014, 2:00 am

David Levene, the award-winning Guardian photographer, has been a regular contributor to the Eyewitness series since its inception in 2005. He has chosen a selection of his favourite images to display at the flagship Foyles bookshop on Charing Cross Road, where a free exhibition, curated by Mark Davy of Futurecity, will run from 2 September until 26 October 2014 Continue reading...

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106. Source: Network Front | The Guardian
Item: Artists over 50: better late than ever?
Date: 2 September 2014, 2:00 am
As a new exhibition of late-period Turners opens at Tate Britain, curator Sam Smiles asks if it's time art outgrew its obsession with age

By the end of the year Britain will have seen three major exhibitions devoted to the work of artists at the end of their careers Matisse, Turner and Rembrandt. Add to these the poignant last paintings currently on view in Tate Modern's Malevich exhibition, and we have an extraordinary opportunity to reflect on the phenomenon of late work in the visual arts. It's a common belief, after all, that the last works of great creative artists are more profound than anything they produced in the rest of their careers. So-called "late work" is often the most radical and the most mysterious art of its time, quite at odds with contemporary voices, and we have come to relish it for just this intransigence and non-conformity.

Yet the idea that late works are especially significant would have astonished our forebears. Less than 200 years ago, late-life creativity was almost a contradiction in terms. The traditional view was of a three-stage development from apprenticeship to mastery and then to creative decline if the artist managed to survive into old age. Continue reading...

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107. Source: Network Front | The Guardian
Item: How financial ombudsman is trying to stop payday loans spiral out of control
Date: 2 September 2014, 1:00 am
Ombudsman's new team aims to resolve disputes with lenders in 14 days and lessons learned will be spread across service

On one side is a borrower who takes out a payday loan of £100, makes no attempt to repay it and does not answer the lender's calls. On the other is the lender who not only nearly trebles the debt by adding £175 in default charges but also makes 128 unsuccessful attempts to collect the money directly from the borrower's bank account, charging a fee every time. Within five months the amount owed has ballooned to £900.

Who is being fair and reasonable here? the lender, the borrower, or neither of the above? Continue reading...

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108. Source: Network Front | The Guardian
Item: Feisty, flounce and bossy: the words used to put women down
Date: 1 September 2014, 11:19 am

Do you ever hear men described as hysterical? Do people say they whine or nag? Thought not. Here are eight sexist words wed like to never hear from again

Feisty? My least favourite word. Have you ever heard a man described as feisty, said Daisy Lewis, who plays the schoolteacher Sarah Bunting in Downton Abbey, in an interview . Have you heard a male character described as feisty? I think not. Ah, feisty. It sounds like a compliment for some reason, it always makes me think of those women in the second world war, wearing dungarees, lipstick and a new-found confidence in changing a wheel when really it just puts down a whole gender. In their guide to improving the media coverage of female politicians, the Womens Media Centre lists feisty as one of the words that should be avoided (it categorises it with spunky, which is surely a word that nobody should use, ever), describing it as normally reserved for individuals and animals that are not inherently potent or powerful. The guide goes on to quote Michael Geis, author of the Language of Politics: One can call a pekinese dog spunky or feisty, but one would not, I think, call a great dane spunky or feisty. Continue reading...

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109. Source: Vispo.com Multimedia
Item: New Directions in Digital Poetry -- Chris Funkhouser
Date: 21 January 2012, 3:50 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).
110. Source: Victoria & Albert Museum - Art, Design, Culture
Item: V&A CultureCast: July 2006 (enhanced with images)
Date: 10 July 2006, 4:00 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.
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111. Source: Victoria & Albert Museum - Art, Design, Culture
Item: V&A CultureCast: July 2006 (no images)
Date: 10 July 2006, 4:00 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.
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112. Source: The Leonard Lopate Show from WNYC
Item: Why a Potential New Cancer Treatment Was Covered Up
Date: 27 August 2014, 9:22 am

The War On Cancer, launched in the early 1970s, led to an influx of new ideas in fighting the disease. Memorial Sloan-Kettering Cancer Center, America's leading cancer research center at the time, was assigned the task of testing an unconventional therapy called “Laetrile”  to determine if it was a legitimate therapy. Ralph W. Moss was hired as a science writer at Sloan-Kettering in 1974, and one of his first assignments was to write a biography about Dr. Kanematsu Sugiura, one of the Center’s leading research scientists and the original co-inventor of chemotherapy. Moss discovered that Dr. Sugiura had been studying “Laetrile” in laboratory mice, with unexpectedly positive results. Moss tells how he worked as a loyal employee at Sloan-Kettering while at the same time helping to anonymously leak information about “Laetrile” to the American public. Moss is the subject of the documentary “Second Opinion,” which opens August 29 at the Cinema Village.

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113. Source: The Leonard Lopate Show from WNYC
Item: Pies, Crisps, and Cobblers: Making the Most of Your Summer Fruit
Date: 26 August 2014, 12:45 pm

Melissa Clark offers tips on what to do with all the fruit that’s in season right now—peaches, plums, apricots, melons, berries and more! She's a New York Times Dining Section columnist and cookbook writer, and her most recent cookbook is Cook This Now: 120 Easy and Delectable Dishes You Can't Wait to Make.

Some Tips from Melissa Clark

Plum season is  just beginning! They’re great to bake with. Always taste the fruit before you add the sugar—if the fruit is a little tart, add more sugar; if it’s sweet, use less.

Make a tart with a mixture of different plum varieties. Melt down a little jam, brush it across the top to make it sweet and glossy.

Leave the peach skins on or peel them? It’s a matter of great debate. Clark tends to leave them on, but if the skin is tough, you can peel them—sometimes you can just pull off the skin when the peach is ripe. Plum skins have all the flavor!, so never peel plums!

Peach pies can be runny when the fruit is very juicy. Use tapioca, corn starch, or flour to thicken a runny fruit pie. Toss a couple teaspoons with the fruit before you add it to the crust. If you use corn starch to thicken a pie, remember that you must bring it to a boil to activate the corn starch as a thickening agent.

When you make a fruit pie, bake it long enough so that it’s bubbling over (always put your pie dish on top of a cookie sheet when you bake it, because it will spill over and this way you won’t have to clean your oven). Put foil on the crust if you’re worried about it getting too dark.

To make a pie crust without dairy, you can use coconut oil in place of butter. Put it in the fridge, get it really cold, work quickly so it doesn’t warm up when you’re making the crust.

If you want to mix fruits, all stone fruit will go well together—peaches, plums, apricots, nectarines, cherries.

A listener recommends making a cold soup with summer fruit: Use an assortment of whatever fruit is around, especially blueberries, cook it in water, (use about 1/3-2/3 water to fruit), blend it, thicken with corn starch, bring back to a boil, add a little sugar, lemon. Served it chilled with sour cream or plain yogurt or, as Leonard recommends, crème fraiche.

Grill fruit: You can just stick halved big peaches and nectarines. Smaller fruits can go in a grill basket. You can also skewer the fruit, baste with honey butter or olive oil and salt, put on the grill until it’s lightly browned.

Make watermelon gazpacho! Use watermelon in place of tomatoes.

"Don’t be afraid of jam,” Clark said. The worst thing that can happen is that it gets moldy after a while—which you can see—but you can’t get sick from jam like you can when other canned goods go awry.  To make a quick jam, boil the fruit with sugar until it looks thick. She said, “When it looks like jam, it is jam.” Then put it in a hot jar when it’s hot, turn it over, and put it in the fridge. It’ll keep in the refrigerator for many months.

To jazz up a fruit salad, drizzle the fruit with a little balsamic vinegar, a drizzle of honey, maybe add some fresh lemon thyme.

The grater trick: When you’re using tomatoes for sauce or salsa or anything that calls for cooking down the tomatoes, instead of peeling tomatoes halve the tomato across the equator and grate the flesh, holding the skin side. All you’re left with in the end is the skin, which you can discard.

 

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114. Source: The Leonard Lopate Show from WNYC
Item: Diet Tips from the Far Reaches of the Globe, Gardening Tips from a New York City Green Thumb
Date: 24 August 2014, 11:00 pm

On today’s Show: Gerard Lordahl, Director of GrowNYC’s Open Space Greening Program, talks about transitioning from summer to fall gardening and takes your calls! We’ll look at what anthropologists think of the popular Paleo Diet--and whether it really is a healthier way to eat. Lear deBessonet tells us about directing Shakespeare’s “The Winter’s Tale,” at The Public Theater, along with Todd Almond, who plays Antigonus and wrote the show’s music and lyrics. And William D. Cohan reveals the backstory of JPMorgan Chase’s landmark mortgage settlement—one of the largest financial settlements of all time.

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115. Source: The Leonard Lopate Show from WNYC
Item: Starting Life as a Playwright After 12 Years in Prison
Date: 21 August 2014, 11:00 pm

Actor and writer Joe Assadourian talks about his new one-man, off-Broadway comedy “The Bullpen,” based on his experiences in prison. Released on parole after serving 12 years for attempted murder, Assadourian developed the show over two years, both inside and outside the state prison system. Assadourian had never seen a play before he went to prison, but he began writing scenes when he was serving time, and has received two PEN Prison Writing Awards. "The Bullpen" is playing at the Playroom Theater.

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116. Source: The Leonard Lopate Show from WNYC
Item: Dysfunction and Danger: A Bus Station and a Spy in the Middle East
Date: 20 August 2014, 11:00 pm

WNYC’s transportation reporter Jim O’Grady checks out the Port Authority’s over-crowded, dysfunctional Midtown bus terminal. Pulitzer Prize-winning biographer Kai Bird tells the story of the life and death of Robert Ames, one of the most important operatives in CIA history. Mark Chiusano talks about his debut collection of short stories—all set in Brooklyn—called Marine Park. We’ll speak with independent scientists who’ve seized control of a 1970s-era satellite. Plus: a look at the exploitation of pro-wrestlers, who have no health insurance benefits, no job security, and are under-compensated for doing dangerous work.

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117. Source: National Gallery of Art | Audio
Item: A Sense of Place-Winslow Homer and the Maine Coast
Date: 12 August 2014, 8:00 am
August 2014 - Franklin Kelly, senior curator of American and British paintings, National Gallery of Art. On view from July 3, 2005 through February 26, 2006, Winslow Homer in the National Gallery of Art presented a survey of 53 paintings, watercolors, drawings, etchings, and wood engravings by American artist Winslow Homer (1836-1910) in the Gallery's collection. The exhibition spanned Homer's entire career, from his early Civil War painting Home Sweet Home (c. 1863) to late watercolors of tropical landscapes and his hunting scene Right and Left (1909), completed less than 2 years before his death. In this lecture recorded on January 8, 2006, Franklin Kelly describes the importance of the Maine coast in Homer's life and art. Homer spent his last 27 years living and working in a small, rugged spot called Prouts Neck, located on the Atlantic coast in southern Maine. Through works featured in the exhibition and archival photographs, Kelly illustrates how the Maine coast was an inspiring source of material to Homer throughout his career.
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118. 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, 8:00 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.
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119. Source: National Gallery of Art | Audio
Item: Image of the Black in Western Art, Part III
Date: 4 March 2014, 7:00 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.
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120. 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 21, 2014: Vermeer painted less than forty pictures during his career and this one, Young Woman Seated at a Virginal, is believed to be one of his last. It is also the only remaining canvas by this great Dutch master to be in private hands. The Museum is immensely grateful to the Leiden Collection for the exceedingly rare opportunity to display this work; indeed, it has been almost ten years since a painting by Vermeer has been on view in Philadelphia.
121. Source: National Gallery of Art | Audio
Item: Jeff Wall on His Work
Date: 3 September 2013, 8:00 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.
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122. Source: National Gallery of Art | Audio
Item: Bronislava Nijinska: A Choreographer's Journey
Date: 20 August 2013, 8:00 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.
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123. Source: National Gallery of Art | Audio
Item: Conversations with Collectors: Robert and Jane Meyerhoff
Date: 5 March 2013, 7:00 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.
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124. Source: National Gallery of Art | Audio
Item: William H. Johnson
Date: 19 February 2013, 7:00 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.
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125. Source: National Gallery of Art | Audio
Item: Artists in Residence: Henry O. Tanner in the Holy Land
Date: 12 February 2013, 7:00 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.
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126. Source: National Gallery of Art | Audio
Item: Roy Lichtenstein's Kyoto Prize Lecture of 1995
Date: 29 January 2013, 7:00 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.
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127. Source: National Gallery of Art | Audio
Item: Architecture and Art: Creating Community
Date: 12 June 2012, 8:00 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."
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128. Source: National Gallery of Art | Audio
Item: Solving the East/West Conundrum in Modern Chinese Art
Date: 1 May 2012, 8:00 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.
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129. 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, 8:00 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.
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130. 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, 7:00 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
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131. Source: National Gallery of Art | Audio
Item: Conversations with Artists-Compositions and Collaborations: The Arts of Lou Stovall
Date: 21 February 2012, 7:00 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.
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132. Source: National Gallery of Art | Audio
Item: Nazi Loot in American Collections
Date: 21 February 2012, 7:00 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.
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133. Source: National Gallery of Art | Audio
Item: Florence: Days of Destruction
Date: 13 December 2011, 7:00 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.
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134. Source: National Gallery of Art | Audio
Item: Morse at the Louvre
Date: 15 November 2011, 7:00 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.
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135. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 6: Painting and Violence
Date: 30 August 2011, 8:00 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."
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136. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 5: Severed Representations
Date: 30 August 2011, 8:00 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.
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137. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 4: Absorption and Address
Date: 23 August 2011, 8:00 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.
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138. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 3: The Invention of Absorption
Date: 16 August 2011, 8:00 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.
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139. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 2: Immersion and Specularity
Date: 9 August 2011, 8:00 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.
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140. Source: National Gallery of Art | Audio
Item: The Moment of Caravaggio: Part 1: A New Type of Self-Portrait
Date: 2 August 2011, 8:00 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.
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141. Source: National Gallery of Art | Audio
Item: Calling the Earth to Witness: Paul Gauguin in the Marquesas
Date: 31 May 2011, 8:00 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)
142. Source: National Gallery of Art | Audio
Item: Elson Lecture 1998: I. M. Pei in conversation with Earl A. Powell III
Date: 12 April 2011, 8:00 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)
143. Source: National Gallery of Art | Audio
Item: Film Design: Translating Words into Images
Date: 25 January 2011, 7:00 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.
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144. Source: National Gallery of Art | Audio
Item: Martin Puryear: "Sculpture that Tries to Describe Itself to the World"
Date: 28 September 2010, 8:00 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)
145. Source: National Gallery of Art | Audio
Item: Graft by Roxy Paine
Date: 8 December 2009, 7:00 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)
146. Source: National Gallery of Art | Audio
Item: Rauschenberg's Experiments in Printmaking
Date: 27 November 2007, 8:41 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)
147. Source: National Gallery of Art | Audio
Item: Telling the Edward Hopper Story
Date: 3 September 2007, 8:00 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.
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148. Source: BLOUIN ARTINFO
Item: 15 Must-See Fall Museum Shows in NYC
Date: 29 August 2014, 6:00 am

“Sebastian Errazuriz: Look Again” at multiple locations, beginning September 5

Sebastian Errazuriz has been causing controversy for over 15 years, and his upcoming three-part retrospective — which includes the protean designer-cum-artist’s first museum solo show — offers a survey of past provocations and things to come. Opening at the Carnegie Museum of Art in Philadelphia on September 5, and at New York’s Cristina Grajales Gallery and Salon 94 on September 12, the exhibitions showcase different elements of Errazuriz’s body of work. Expect to find “sculptural furniture” like the kaleidoscopic “The Space Between the Void” cabinet at Grajales’s SoHo space, and his “functional sculpture” pieces uptown. Meanwhile, the Carnegie is showing objects from both series, proving that you can, in fact, have the best of both worlds. — Anna Kats

Also like Life: The Films of Hou Hsiao-hsien” at the Museum of the Moving Image, September 12 – October 17

Taiwanese director Hou Hsiao-hsien gets a richly deserved retrospective — the first comprehensive look at his career in the United States since 1999 — at the Museum of the Moving Image, from September 12 through October 17. A seminal figure of the Taiwanese New Wave, Hou has created a body work that stretches from autobiographical portraits of his childhood to examinations of his country’s troubled history (subjects that often overlap within the same narrative). Aside from the scarcity of these works (most of which have never been distributed in this country) and their genius, maybe the most important reason to check out the series is that it presents all of Hou’s work on film — including two new 35mm prints, “Good Men, Good Women” (1995) and “Flowers of Shanghai” (1998) — which unfortunately we have to seek out now instead of expect. — Craig Hubert

From the Margins: Lee Krasner and Norman Lewis, 1945-1952” at the Jewish Museum, September 12 – February 1, 2015

These two artists are just as integral to the history of Abstract Expressionism as any of their peers, yet their unique contributions have been overshadowed by figures like Krasner’s husband, Jackson Pollock. This dual exhibition seeks to spotlight the distinctive and thematically linked work of Krasner and Lewis, homing in on their similarly pictorial styles, which are infused with personal and cultural references that connect their work to the social issues of the time. The show also draws attention to their shared status as minorities in the mainstream art world. — Alanna Martinez

Thread Lines” at the Drawing Center, September 19 — December 14

There’s been a lot of buzz around textile-based artworks lately, with some exemplary pieces making their way into major museum surveys — a great example being Sheila Hicks’s cascading fiber column piece in the last Whitney Biennial. Hicks, along with 15 other artists who create textile-related work, will be included in a show at the Drawing Center that frames their works as acts of drawing. As part of the show, Anne Wilson is set to stage a two-month-long performance in which she converts the gallery’s four main columns into a weaving loom and ultimately produces a five-by-thirty-four foot sculpture. We are also particularly looking forward to the contributions of Jessica Rankin, Lenore Tawney, and Louise Bourgeois. — Ashton Cooper

“Funk, God, Jazz, and Medicine: Black Radical Brooklyn,” Presented by Creative Time and Weeksville Heritage Center, September 20 — October 12

Four site-specific commissions in the Bedford–Stuyvesant, Crown Heights, and Weeksville neighborhoods of Brooklyn make up this month-long project. Artist Xenobia Bailey will collaborate with Bed-Stuy’s Boys & Girls High School to create funk-inspired furniture; Cinematographer Bradford Young will work with the Bethel Tabernacle AME Church to make a video installation; artist collective Otabenga Jones & Associates will work with the Central Brooklyn Jazz Consortium to create an outdoor radio station; and artist Simone Leigh will collaborate with the Stuyvesant Mansion, where she will create a medical clinic. — AC

Puddle, pothole, portal” at SculptureCenter, October 2 – January 5, 2015

“Early 20th century cartoons, Who Framed Roger Rabbit?, and Saul Steinberg all mark moments that reflected on and anticipated the wonky world we are living in,” says SculptureCenter's Ruba Katrib, elaborating on “Puddle, Pothole, Portal,” the exhibition she co-curated with artist Camille Henrot. For the show, which inaugurates SculptureCenter's expanded building from October 2 through January 5, 2015, “we were really interested in how digital technologies are changing notions of physical and virtual space, the expansion of the screen, and how that has impacted the relationship between sculpture and drawing,” Katrib explains. The works that address those overlapping concerns, however indirectly, include bronze lobster claws protruding from the walls by Maria Loboda; the over-the-top, slapstick paintings of Jamian Juliani-Villani; a number of what Katrib terms “sculptural kinetic emoticons” by Antoine Catala; and sculptures by Mick Peter, which will be sited in the institution's new outdoor courtyard. Central to the exhibition are several works on paper from the 1960s and '70s by Steinberg himself, including a grim-but-colorful fantasia depicting a massacre in front of a bank, an abstract sculpture cozied up in bed, and a psychedelically-charged landscape of lakes beneath a rainbow. “It's been really interesting to see how many different perspectives there are about Steinberg,” Katrib says of the artist who, among many other things, contributed over 80 covers to the New Yorker. “He was really prolific, and a lot of his work was circulated widely through mass media, so that's created a strong impression of him that doesn't totally encompass his range.” Fans and newcomers alike will have an additional chance to dig into Steinberg's ouevre at a 100th anniversary exhibition opening September 11 at Pace/MacGill Gallery uptown. — Scott Indrisek

“Crossing Brooklyn : Art from Bushwick, Bed-Stuy, and Beyond” at the Brooklyn Museum, October 3 — January 4

Capitalizing on Brooklyn’s status as a hub of artistic activity, the Brooklyn Museum is set to bring together 35 Brooklyn-based artists and collectives in a survey that will take place not only at the museum, but in off-site locations and public spaces. Lest it be accused of exploiting the buzzy nature of its namesake borough, the museum has purposely included a cross-generational selection of artists and skipped some of Brooklyn’s better-known residents. We are particularly excited about the inclusion of Deana Lawson’s unconventional nudes, Nina Katchadourian’s hilarious video work, and Aisha Cousins’s garments. The museum isn’t calling it a biennial, but if the exhibition ends up being a success we can easily see “Crossing Brooklyn” becoming an every-two-years tradition. — AC

Robert Gober: The Heart Is Not a Metaphor” at MoMA, October 4 – January 18

Robert Gober may have made his name with sinks and legs, but this MoMA retrospective, opening October 4, shows his reach beyond the expected sculptural protrusions. The survey moves from early graphite drawings of simple things (household products, dishes in a drying rack) to oil paintings and black-and-white photographs of fairgrounds, animals, commercial signage, and domestic tableux. Gober's three-dimensional awakening came in the '80s, with series of now iconic sinks, playpens, and furniture, as well as distorted or marred body parts, many of them topped off with real human hair. Later sculptures tirelessly mimic the appearance of real objects—fruit in a bowl, yellow lightbulbs in their casing. Accompanying preparatory sketches provide a glimpse inside the artist's mind, as he turns the everyday into something vaguely sinister, or at least difficult to fathom. — SI

Egon Schiele: Portraits” at Neue Galerie, October 9 – January 19, 2015

This will be the first U.S. exhibition to focus solely on Schiele’s portraiture, with important loans like “Portrait of Gerti Schiele” (1909) from MoMA, “Portrait of the Artist’s Wife, Standing (Edith Schiele in Striped Dress)” (1915) from the Gemeentemuseum, the Hague, and “Self-Portrait with Peacock Waistcock, Standing” (1911) from the collection of Ernst Ploil, among others. The show will feature nearly 125 paintings, drawings, and sculptures, and incorporate early 20th-century exhibition design tropes from Austria. Divided into six sections, “Portraits” will also look at the evolution of Schiele’s style before and after his imprisonment in 1912. — AM

ZERO: Countdown to Tomorrow, 1950s-60s” at the Guggenheim, October 10 – January 7, 2015

“In the last decade or so, there has been a strong interest in looking back at the art of the 1960s, and this exhibition seeks to elucidate an important, and in many respects lesser known, chapter in that history,” says Valerie Hillings, curator of “ZERO: Countdown to Tomorrow,” opening October 10 at the Guggenheim. “Artists in the ZERO network shared with their contemporaries in Europe and the United States a conscious reaction against the expressive mode of painting—known variously as Abstract Expressionism, Art informel, and Tachism—that dominated avant-garde art of the late 1940s and 1950s. They didn’t want to focus on thick paint and gestural marks that emphasize the artist’s touch, and they also didn’t think that painting was the only option. The ZERO artists sought out and used alternative locales for showing their work including the desert — a move that anticipated aspects of Land Art. They created works that were immersive and experiential, thereby contributing to the emergence of installation and performance. They embraced nontraditional materials ranging from the everyday — light bulbs, mirrors, nails — to the natural (air, fire, sand).” The expansive survey also features plenty of motors, feathers, Plexiglas, cardboard, and soot, artfully handled by an international cast that includes Enrico Castellani, Gunther Uecker, Piero Manzoni, and Yves Klein. — SI

Bill Morrison: Compositions” at the Museum of Modern Art, October 14 – November 24

The artist Bill Morrison’s prodigious body of work, constructed out of nitrate film in various states of disintegration, gets a mid-career retrospective at the Museum of Modern Art in October. Born out of deep archival research, his works explore the slippery relationship between the fragility of physical film and memory, and are backed by evocative soundtracks from the likes of Vijay Iyer, Michael Gordon, and others. Lately, Morrison has been focusing on historical events like the Great Mississippi Flood of 1927 and on the coal mining communities of northeast England, crafting found-footage deconstructions out of the images that have survived. In addition to his various full-length and short films (including the startling and deeply emotional “Decasia”), the retrospective will feature live film/music performances featuring composer Dave Douglas, cellist Maya Beiser, and the musician Bill Frisell. — CB

Death Becomes Her: A Century of Mourning Attire” at the Metropolitan Museum of Art, October 21 – February 1, 2014

Perfectly timed for Halloween, the Costume Institute’s fall focus is on the macabre, examining funeral attire and mourning fashions as they changed over the course of a century. With 30 pieces from the 19th and the 20th centuries, the show will deal with the influence of high fashion on the traditions of death and burial, which dictated everything from the standard of fabrics to acceptable tones of black. Don’t expect a simple affair: the museum plans to set each of the dark ensembles against a bright, white backdrop. — AM

“Zero Tolerance” at MoMA PS1, October 26 — March 8, 2015

Klaus Biesenbach gets hyper-topical over at MoMA PS1 with “Zero Tolerance,” a group show opening October 26 that investigates the international push toward “draconian laws that restrict the rights of its citizens under the guise of improving quality of life.” Press materials cite New York's “zero tolerance” mindset of the '90s (which lives on in stop-and-frisk and the hot-button issue of the so-called “Broken Windows” policy), as well as recent events in Brazil, Turkey, and Russia. The eclectic roster includes Rirkrit Tiravanija; Joseph Beuys; Song Dong; artist and controversial Berlin Biennale curator Artur Żmijewski; Francis Alys; Sharon Hayes; L.A.-based collective ASCO; and dick-painting provocateurs Voina. — SI

New Territories: Laboratories of Art and Design in Latin America” at the Museum of Arts and Design (MAD), November 4 – April 6

For “New Territories,” new Museum of Arts and Design director Glenn Adamson sent curators to South America, “to act as investigative journalists,” he says. To that end, the show’s curator Lowery Stokes Sims and assistants traveled the continent in search of the best local artists, designers, and craftspeople, whose work will be on display at MAD from November 4. The show promises a roster of talented — and relatively unknown — makers, who are defining the directions that art and design in the region pursue. As Adamson sees it: “You’ve heard of the Campana brothers — this is everyone else.” — AK

Uneven Growth: Tactical Urbanisms for Expanding Megacities” at MoMA, November 22 – May 10, 2015

MoMA’s upcoming urbanism exhibition, curated by Pedro Gadanho, posits that architects, designers, and urban planners can and should collaborate with politicians to stave off catastrophe as the world’s most bustling cities grow into megalopolises. The museum set six interdisciplinary teams the task of developing new architectural proposals for Hong Kong, Istanbul, Lagos, Mumbai, New York, and Rio de Janeiro. The resulting proposals, which address the role that design can play in ensuring that spatial growth doesn’t further aggravate the growth of social inequalities, will be on view at MoMA from November 22. — AK

15 Must-See Fall Museum Shows in NYC
Published: August 29, 2014
149. Source: BLOUIN ARTINFO
Item: Collector Profile: Harry and Mary Margaret Anderson
Date: 28 August 2014, 6:00 am

When Hunk Anderson was a senior at Hobart College in Geneva, New York, in 1948, he and two enterprising classmates started providing meals for students who were hungry after dining-hall hours. Initially investing $500 each, the three partners grew Saga, their grassroots business, into the nation’s largest college food-service contractor. In 1962 they moved their headquarters to Menlo Park, California, adjacent to Stanford University.

As pioneering West Coast art collectors, Harry W. Anderson, who still goes by his beefy nickname, and his wife, Mary Margaret, known as Moo, have shown the same sort of American pluck and ingenuity that made Saga so successful. “We were absolute novices,” says Hunk, recalling a 1964 visit to the Louvre. “On our way home from Paris, we decided to see if we could become knowledgeable about art and put together a dozen paintings and sculptures.” They began a process of self-education that blossomed into a passion around which they have structured their lives for 50 years. The result: one of the most significant private collections of postwar American art in the world, with more than 800 works displayed throughout their ranch-style home in the Northern California Bay Area—built in 1969 with art installation in mind—and a nearby nine-building office campus designed in 1964. (Saga was sold to Marriott in 1986, but Hunk retained his office and continues to exhibit art throughout the hilltop complex, renamed Quadrus.)
In 2011 the Andersons promised 121 works to Stanford, which will unveil the Anderson Collection at Stanford University, a dedicated museum for the gift, in September. “We will miss them,” says Moo, referring to prized canvases by Jackson Pollock, Mark Rothko, Sean Scully, and Terry Winters, along with 86 other works that will come from the walls of their home and office. “But then new kids will be coming in. It will be exciting.”
Sitting at their kitchen table, where they have entertained visitors including Richard Diebenkorn, Philip Guston, and Frank Stella, Hunk, 91, and Moo, 87, who met at a local yacht club during college, are unpretentious and gregarious, looking more like the golfers they are than like arterati. The lack of formality is just part of the disarming charm that has won the couple close relationships with artists, dealers, and academics. But they also do their homework. Initially attracted to the Impressionists at the Louvre, they began their self-education by consulting catalogues, then acquired Fourth of July Parade, circa 1886, by Alfred Cornelius Howland, a peer of Winslow Homer. They went on to buy a smattering of works by European Impressionists including Monet, Pissarro, and Renoir.
The couple’s collecting became more focused in the late 1960s after they met Albert Elsen, a Rodin scholar at Stanford who steered them toward modern and contemporary work. “We became enamored with the first internationally acclaimed American art movement and set our sights on the Abstract Expressionists,” says Hunk, who sat in with Moo on some of Elsen’s introductory classes and took his advice to consider only museum-quality works. With more resources available for art after Saga went public in 1968, the Andersons developed a wish list, identifying, for instance, which Pollocks were in private hands. With the help of dealer and collector Eugene Thaw, they stalked Lucifer, 1947, for a couple of years before acquiring it from an entertainment mogul. The quintessential drip painting hung, along with works by Josef Albers and Ad Reinhardt, in the bedroom of their daughter Mary Patricia, a.k.a. Putter. Moo notes that although Putter got to choose the works that hung in her room, she was completely indifferent to the art as a child. Now an art adviser, she has since come around, but like the contents of many children’s bedrooms, her impressive choices are being moved by the Andersons out of the house—as part of the gift to Stanford.
In addition to Thaw, Elsen introduced the Andersons to New York Museum of Modern Art painting and sculpture curator William Rubin. In the early 1970s, Rubin sold the couple five major works from his own collection—a sculpture by David Smith and canvases by Willem de Kooning, Adolph Gottlieb, Rothko, and Clyfford Still. The collectors acquired two 70 other canvases by Still at the time, the largest of which they donated to the San Francisco Museum of Modern Art in 1974. The gift caught the attention of the notoriously cantankerous and controlling artist. “He was very curious to know who, all of a sudden, had three paintings,” remembers Moo, who received a call from Still’s wife that year saying they were visiting San Francisco and wanted to see the Andersons if they would send a car. “Of course, I was the car,” says Moo, who still motors around Palo Alto in her 1979 Porsche 911.
Despite Still’s hauteur, the Andersons were tickled to have the artist hold court in their home. “I’m not sure if they recognized anybody else” in the collection, jokes Hunk. “The emphasis was on Clyfford Still.” Patricia Still asked them to shade their walkway so no direct sunlight would hit 1957-J No. 1, 1957, the towering canvas acquired from Rubin, hanging alongside works by Rothko and Louise Nevelson. The Andersons did as instructed. “We had to,” says Moo. “They came back and checked on us.”
The Andersons had far more easygoing friendships with Guston, whom they championed for having the courage to shift from abstract to figurative work when critics initially panned him, and Diebenkorn, whom they affectionately call Dick, and whose work they collected in depth. They were introduced to the Santa Monica-based artist by Stanford faculty member and painter Nathan Oliveira, who was also instrumental in directing the collectors’ attention toward California artists such as David Park and Peter Voulkos. Balancing New York School artists with their West Coast counterparts appealed to the Andersons as it reflected their own move from New York.
The Andersons work primarily with galleries. “Once you find their taste is the same as yours, you keep going back to them,” says Moo, noting that dealers including Edith Halpert, Robert Elkon, and Martha Jackson “were very influential to us, teaching us how to look, recommending books.” In the last couple of decades, Putter has introduced them to younger generations of galleries and artists. She was instrumental in getting them to take another look at Susan Rothenberg, who Hunk initially thought was “just fooling around with horses.” She steered them toward Nick Cave as well as California artist David Allan Peters and Sam Richardson. Putter also helped select the 121 works going to Stanford. Long before they decided to create a gift, “Moo and I had always thought about which 100 works would form a core collection of the second half of the 20th century, both east and west,” says Hunk, explaining it was a game they played when thinking about their collection. About a decade ago, Putter became a part of those discussions, causing the number to swell as she advocated for artists including Lynda Benglis, Squeak Carnwath, Jay DeFeo, and Nancy Graves. “It’s a family affair,” Hunk says.
The Andersons have always been committed to sharing their collection with others. From early on, they have regularly opened both their house and the office to groups and students. In 1975 they initiated an intern program, giving Stanford Ph.D. candidates the opportunity to work with the collection, which continues today. More than 30 graduate students have participated, including Neal Benezra, now director at SFMOMA, who was one of the first interns to work with the couple in their home. “I don’t think mentor is too strong a word,” the director says of his relationship with Hunk. Unlike many students pursuing doctoral degrees, Benezra was not pulled toward a career in academia. “The opportunity to work with such important collectors gave me direct exposure to works of art and, ultimately, museums,” he says. “It’s a different kind of art history. Working with Hunk every day, I learned about the real world of art.”
Bay Area institutions have long benefited from the Andersons’ generosity. In 1992 the couple donated 30 important Pop works by artists including Claes Oldenburg, James Rosenquist, and Andy Warhol to SFMOMA. In 1996 they gave more than 650 contemporary prints to the Fine Arts Museums of San Francisco. When considering where to bestow their core collection, Hunk says they were impressed by the Stanford Arts Initiative, begun five years ago to construct new facilities and integrate the arts throughout campus life. “It is creating art as a discipline equal with engineering, humanities, medicine, and so forth, which we wanted to be a part of,” says Hunk. The university’s willingness to build and operate a new light-flooded facility by Ennead Architects, where the collection would stand alone, was instrumental in the choice. “It’s worthy of that,” Hunk says of the gift.
“The Andersons have historically made donations to SFMOMA and the Fine Arts Museums of San Francisco,” says Jason Linetzky, who was the collectors’ curator and has become director of the Anderson Collection. “This one to Stanford now completes a triangle of seeing how these gifts work in different institutions. Anyone coming to the Bay Area will have an opportunity to see the full extent of the holdings.”
After the 61 works come down from the house and another 60 from Quadrus, the couple look forward to the opportunity to rethink their home. The monumental Sam Francis canvas over the living room fireplace, facing off with the Morris Louis over the couch, will be replaced with canvases
by Helen Frankenthaler and David Hockney from the office campus. A figurative work by Park in the family room will take the spot of Lucifer in the dining room, alongside the sole Still and lone de Kooning they are keeping. The wide hallway in the bedroom wing, which will lose Serpentine, 1961, by William Baziotes—one of Putter’s favorites—and canvases by Ellsworth Kelly, Agnes Martin, and Robert Motherwell, will be rehung with original works on paper and prints, as was originally intended for the space when the house was built. Still active collectors, the Andersons are particularly excited to bring in some of the younger artists they have acquired recently, including Mark Fox, Julie Mehretu, and Kate Shepherd.
Hunk, who still goes to the office every day, says he has relished managing the collection full-time since selling his business in 1986. “It keeps us motivated,” he says. “It keeps us interested. It’s one of our hopes and desires that this is going to do the same for other people who are going to be able to see this collection at Stanford. I think it has had a direct influence over our relationships, as well as our longevity.”
A version of this article appears in the July/August 2014 issue of Art+Auction magazine.

Harry W. "Hunk," Mary Margaret "Moo" Anderson, and their daughter, Mary Patricia
Published: August 28, 2014
150. Source: BLOUIN ARTINFO
Item: Review: "The Congress"
Date: 27 August 2014, 4:18 pm

“The Congress,” a bewildering live-action/animation hybrid from Israeli director Ari Folman, is a film with a lot on its mind — maybe too much. Adapted from “The Futurological Congress,” a 1971 science-fiction novel by Stanislaw Lem, the film strips almost everything out of the original text except the bare necessities, trading its critique of the utopianism of youth culture for a jumbled meditation on the future of celebrity in a world of fickle and slippery identities.

Robin Wright stars as a version of herself, an actress who is hitting the glass ceiling. She is growing older, and her reputation as a difficult collaborator has hurt her standing in Hollywood. She lives in a bunker near the airport with her two children, one of whom is suffering from a rare disease that threatens deafness. Her only visitor is her agent (Harvey Keitel), who one day shows up at her door with a curious offer. A studio wants to meet with her about a secret project. When she arrives, she discovers the plan: as technology advances, there will be no more need for actors; instead, performers will be paid hefty sums to be scanned, so that their moving images can be reproduced in any ways deemed useful, forever and ever.

After some reluctance, Wright agrees. This all happens in the first hour. Then the film shifts gears. We’re now 20 years in the future, and the world we see is animated. We learn that in the intervening years Wright’s scanned image has become more popular than she ever was, starring in a franchise of grotesque action flicks. She arrives at something called The Futurological Congress, an event hosted by the studio to unveil their new technology, which allows anybody to switch identities — from a superhero to your favorite movie star in a matter of seconds — and they want Wright to sign up, essentially licensing her image not just to the movie studio but to the world.

From there, the film goes down a rabbit hole of convoluted twists and turns. A character named Dylan Truliner (voiced by Jon Hamm) arrives to steer Wright through the animated maze, and the narrative jumps years, maybe even centuries—it’s hard to tell. By this point, the story has veered wildly off track, and it feels like the viewer, not Wright, is stuck is a brightly colored and confusing world.

You have to give credit to Folman for even attempting such an ambitious project, or at least somehow convincing people to give him money to make it. But the problem with too much ambition is that the work of art often becomes simply about that and nothing else, scale and density for their own sake. Here, the ambition also deflates the critiques of the commodification of women’s bodies and the lust for immortality, which begin as brash and clever and, by the end, have transformed into a puddle of incoherence.

Toward the end, the action shifts back to live-action, and the viewer is reminded of the film they were once watching. But it’s too late. “The Congress,” by trying to cram so many ideas into its future-world, gets buried under the weight of them.

“The Congress” opens August 29 in Los Angeles and September 5 in New York City.

Robin Wright in "The Congress" (2014)
Published: August 27, 2014
151. Source: AGO Art Matters
Item: Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist
Date: 15 August 2014, 10:19 am

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


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s website

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

152. Source: AGO Art Matters
Item: Meet the artists of the 2014 Aimia | AGO Photography Prize shortlist
Date: 15 August 2014, 10:19 am

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


David Hartt

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Elad Lassry

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Nandipha Mntambo

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s web page

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


Lisa Oppenheim

Image courtesy of the artist.

Image courtesy of the artist.

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

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

Artist’s website

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

153. Source: AGO Art Matters
Item: Conservation Notes: Looking at ephemera in Betty Goodwin’s notebooks
Date: 11 August 2014, 3:32 pm

Ephemera 2
Ephemera 3
Ephemera 5
Ephemera 6

Click arrows to see inside the notebooks.

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

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

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


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


Signature Partner of the AGO’s Conservation Program


154. Source: AGO Art Matters
Item: Conservation Notes: Looking at ephemera in Betty Goodwin’s notebooks
Date: 11 August 2014, 3:32 pm

Ephemera 2
Ephemera 3
Ephemera 5
Ephemera 6

Click arrows to see inside the notebooks.

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

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

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


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


Signature Partner of the AGO’s Conservation Program


155. Source: AGO Art Matters
Item: Artist’s statement: Christi Belcourt on The Wisdom of the Universe
Date: 7 August 2014, 2:51 pm
Christi Belcourt, The  Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 ©  2014 Christi Belcourt.

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

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

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

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

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

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

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

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

– Christi Belcourt


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

156. Source: AGO Art Matters
Item: Artist’s statement: Christi Belcourt on The Wisdom of the Universe
Date: 7 August 2014, 2:51 pm
Christi Belcourt, The  Wisdom of the Universe, 2014, acrylic on canvas, 171 × 282 cm, purchased with funds donated by Greg Latremoille, 2014 ©  2014 Christi Belcourt.

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

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

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

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

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

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

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

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

– Christi Belcourt


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

157. Source: AGO Art Matters
Item: Catching up with Chino Otsuka, 2013 Aimia | AGO Photography Prize finalist
Date: 29 July 2014, 11:22 am

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


*This interview was conducted via email in July 2014 and has been edited for style and brevity.
158. Source: AGO Art Matters
Item: Catching up with Chino Otsuka, 2013 Aimia | AGO Photography Prize finalist
Date: 29 July 2014, 11:22 am

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


*This interview was conducted via email in July 2014 and has been edited for style and brevity.
159. Source: AGO Art Matters
Item: Conservation Notes: Artist Betty Goodwin’s thoughts on paper
Date: 28 July 2014, 8:00 am

Marianne at work in the studio

Marianne at work in the studio


As Digital Special Collections Assistant in the AGO Library and Archives this summer, Marianne Williams is building new enclosures to preserve decades’ worth of sketchbooks and notebooks of the late Montreal-based artist Betty Goodwin.

Goodwin bequeathed more than 100 sketchbooks, notebooks, agendas and diaries to the AGO. Many of them were featured in the Gallery’s 2010/2011 exhibition Work Notes, which showcased Goodwin’s artistic practice and process. Once off display, the books were wrapped in acid-free tissue as a temporary storage measure, as seen above.


Click through slideshow to see all the steps

The first step in creating a new enclosure is measuring the dimensions of the notebook to the millimetre and then creating a custom-made box from archival-quality materials to house the book. Using these materials protects the notebook from acid normally found in paper materials that can yellow and deteriorate over time, causing brittleness and increased risk of damage.

The customized box, called an enclosure, is then labelled and tied together with cotton tape in order to secure all of the flaps. This protects the books from shifting around when being handled, prevents scratches or rips and ensures that any loose materials, like pressed flowers or loose leaves of paper, stay snug in their original places.

The individual book enclosures are then placed in larger boxes for storage in the AGO Library and Archives vault.

The re-housed notebooks will be kept in the AGO’s Edward P. Taylor Library and Archives, where curators and other researchers will have access to them to study and examine in the future.


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


Signature Partner of the AGO’s Conservation Program


160. Source: AGO Art Matters
Item: Conservation Notes: Artist Betty Goodwin’s thoughts on paper
Date: 28 July 2014, 8:00 am

Marianne at work in the studio

Marianne at work in the studio


As Digital Special Collections Assistant in the AGO Library and Archives this summer, Marianne Williams is building new enclosures to preserve decades’ worth of sketchbooks and notebooks of the late Montreal-based artist Betty Goodwin.

Goodwin bequeathed more than 100 sketchbooks, notebooks, agendas and diaries to the AGO. Many of them were featured in the Gallery’s 2010/2011 exhibition Work Notes, which showcased Goodwin’s artistic practice and process. Once off display, the books were wrapped in acid-free tissue as a temporary storage measure, as seen above.


Click through slideshow to see all the steps

The first step in creating a new enclosure is measuring the dimensions of the notebook to the millimetre and then creating a custom-made box from archival-quality materials to house the book. Using these materials protects the notebook from acid normally found in paper materials that can yellow and deteriorate over time, causing brittleness and increased risk of damage.

The customized box, called an enclosure, is then labelled and tied together with cotton tape in order to secure all of the flaps. This protects the books from shifting around when being handled, prevents scratches or rips and ensures that any loose materials, like pressed flowers or loose leaves of paper, stay snug in their original places.

The individual book enclosures are then placed in larger boxes for storage in the AGO Library and Archives vault.

The re-housed notebooks will be kept in the AGO’s Edward P. Taylor Library and Archives, where curators and other researchers will have access to them to study and examine in the future.


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


Signature Partner of the AGO’s Conservation Program


161. Source: AGO Art Matters
Item: Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest
Date: 26 June 2014, 9:51 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.

162. Source: AGO Art Matters
Item: Canadian migrant-rights activist Pablo Muñoz wins WorldPride 2014 National Youth Solidarity art contest
Date: 26 June 2014, 9:51 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.

163. Source: AGO Art Matters
Item: Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics
Date: 4 June 2014, 8:00 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)
164. Source: AGO Art Matters
Item: Listen: Jim Munroe, Mark Connery and Jonathan Mak talk video games and comics
Date: 4 June 2014, 8:00 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)
165. Source: e-flux » Announcements
Item: An Appetite for Painting
Opening on 12 September and running over the Christmas period to 4 January 2015, this exhibition offers a unique opportunity for museum visitors to see recently produced paintings by leading international and Norwegian painters. Fifty-three paintings, most of which were made in the past three years, show the work of 13 painters, some of whom have never exhibited in Norway before.  The exhibition is also the first dedicated presentation of contemporary painting for over ten years and is the culmination of three years of research, which included two conferences about contemporary painting.
166. 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.