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emma-dennehy-presents · 2 years

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Celebrating Black Queer Icons:

Tourmaline

Tourmaline (formerly known/credited as Reian Gossett)is a trans woman that actively identifies as queer, and is best known for her work in trans activism and economic justice. Tourmaline was born July 20, 1983, in the Commonwealth of Massachusetts. Tourmaline's mother was a feminist and union organizer, her father a self defense instructor and anti-imprisonment advocate. Growing up in this atmosphere allowed Tourmaline to explore her identity and encouraged her to fight in what she believes in. Tourmaline has earned a BA in Comparative Ethnic Studies, from Colombia University. During her time at Colombia U, Tourmaline taught creative writing courses to inmates at Riker's Island Correctional Institute, through a school program known as Island Academy. Tourmaline has worked with many groups and organizations in her pursuit of justice. She served as the Membership Coordinator for Queers For Economic Justice, Director of Membership at the Sylvia Rivera Law Project, and as a Featured Speaker for GLAAD. Tourmaline also works as a historian and archivist for drag queens and trans people associated with the 1969 Stonewall Inn Uprising. She started doing this after noticing how little trans material was being archived, saying that what little did get archived was done so accidentally. In 2010 Tourmaline began her work in film by gathering oral histories from queer New Yorkers for Kagendo Murungi's Taking Freedom Home. In 2016 Tourmaline directed her first film The Personal Things, which featured trans elder Miss Major Griffin-Gracy. For the film Tourmaline was awarded the 2017 Queer Art Prize. Tourmaline served as the Assistant Director to Dee Rees on the Golden Globe nominated historical drama, Mudbound. Tourmaline has co produced two projects with fellow filmmaker and activist Sasha Wortzel. The first was STAR People Are Beautiful, about the work of Sylvia Rivera and Street Transvestite Action Revolutionaries. The second was Happy Birthday, Marsha, about Marsha P Johnson. Happy Birthday, Marsha had all trans roles played by trans actors. Tourmaline's work is featured or archived in several major museums and galleries. In 2017 her work was featured in New Museum's exhibit Trigger: Gender as a Tool and a Weapon. In 2020 the Museum of Modern Art acquired Tourmaline's 2019 film Salacia, a project about Mary Jones. In 2021 the Metropolitan Museum of Art acquired two of Tourmaline's works for display in Before Yesterday We Could Fly: An Afrofuturist Period Room. Tourmaline is also the sibling of:

Che Gossett

Che Gossett is a nonbinary, trans femme writer and archivist. Gossett specializes in queer/trans studies, aesthetic theory, abolitionist thought and black study. Gossett received a Doctorate in Women's and Gender Studies, from Rutgers University, in 2021. They have also received a BA in African American Studies from Morehouse college, a MAT in Social Studios from Brown University, and a MA in History from the University of Pennsylvania. Gossett has held a fellowship at Yale, and currently holds fellowships at Harvard, Oxford, and Cambridge. Gossett's writing has been published in a number of anthologies and they have lectured and performed at several museums and galleries of note, including the Museum of Modern Art and A.I.R. Gallery. Gossett is currently working on finishing a political biography of queer Japanese-American AIDS activist Kiyoshi Kuromiya.

I originally intended to do separate profiles for Che Gossett Tourmaline, but could not find sufficient information about Che Gossett, beyond their credentials and current academic activity. That means that this will be the last of these write ups for a bit. I plan on picking it back up in October for the US's LGBT History Month and UK's Black History month. With time to plan ahead and research more I hope to diversify my list geographically and improve formatting. I plan on starting to include cis icons as well, like Rustin Bayard. If you come across this or any other of these posts Ive made this month I would love feedback and suggestions for figures you would like to see covered.

#celebrating black queer icons #black history #black history month #black history is queer history #black history is american history #queer history #tourmaline #che gossett #trans film #trans history #stonewall inn #stonewall uprising #stonewall riots #queer #lgbtq #trans #transgender #nonbinary

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hyejungkook · 1 year

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Tomorrow I read with the fabulous Jenny Molberg and Anna V.Q. Ross for A Common Sense Reading Series! Thank you, Jordan Stempleman, for hosting us.

Details:

Saturday, October 14th at 7 PM at KCAI Gallery: Center for Contemporary Practice, 4415 Warwick Boulevard, Kansas City, MO 64111

Link to register: https://www.jordanstempleman.com/events/hyejung-kook-jenny-molberg-anna-vq-ross

Hyejung Kook’s poetry has appeared in POETRY Magazine, Denver Quarterly, Prairie Schooner, Pleiades, Verse Daily, and elsewhere. Other works include essays in Poetry as Spellcasting and The Critical Flame and a chamber opera libretto. Born in Seoul, Hyejung now lives in Kansas with her husband and their two children. She is a Fulbright grantee and Kundiman Fellow. Find her online at hyejungkook.tumblr.com.

Jenny Molberg is the author of Marvels of the Invisible (winner of the Berkshire Prize, Tupelo Press, 2017), Refusal(LSU Press, 2020), and The Court of No Record (LSU Press, 2023). Her poems and essays have recently appeared or are forthcoming in Ploughshares, The Cincinnati Review, VIDA, The Missouri Review, The Rumpus, The Adroit Journal, Oprah Quarterly, and other publications. She has received fellowships and scholarships from the National Endowment for the Arts, the Sewanee Writers Conference, Vermont Studio Center, and the Longleaf Writers Conference. She is Associate Professor and Chair of Creative Writing at the University of Central Missouri, where she edits Pleiades: Literature in Context. Find her online at jennymolberg.com.

Anna V. Q. Ross’s most recent book, Flutter, Kick, won the 2020 Benjamin Saltman Poetry Award from Red Hen Press and the 2023 Julia Ward Howe Award in Poetry. Her other books include If a Storm (winner of the Robert Dana-Anhinga Prize) and the chapbooks Figuring and Hawk Weather. A Fulbright Scholar, Massachusetts Cultural Council Fellow, and poetry editor for Salamander, her work appears in The Kenyon Review, Harvard Review, The Missouri Review, The Nation, and elsewhere. Anna teaches at Tufts University and through the Emerson Prison Initiative and lives with her family in Dorchester, MA, where she raises chickens. Find her at annaVQross.com.

Jordan Stempleman (host) is the author of nine collections of poetry including Cover Songs (the Blue Turn), Wallop, and No, Not Today (Magic Helicopter Press). Stempleman is the co-editor of The Continental Review, editor for Windfall Room, faculty advisor for the literary arts magazine Sprung Formal, and curator of A Common Sense Reading Series.

#poem #reading #KCAI #ACommonSenseReadingSeries #KC

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thirtysecondsmilano · 7 months

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Il Potere Incontestabile dei Video nell'Elevare il Fatturato Aziendale

Forbes, una delle più autorevoli voci nel mondo del business, ha sottolineato esplicitamente il ruolo fondamentale dei video nel contesto del marketing moderno. Nel suo articolo Forbes afferma categoricamente che "l'uso dei video nelle campagne di marketing aziendale è diventato un'arma potente per le imprese desiderose di successo." Questa citazione mette in luce l'importanza cruciale dei video nell'attuale panorama aziendale.

Inoltre ,le indagini condotte dalla prestigiosa Harvard Business School hanno corroborato queste affermazioni, rilevando un aumento medio del 20% nelle vendite per le aziende che integrano i video nelle loro strategie di marketing. Questo dato significativo è stato riportato direttamente da un rapporto pubblicato dalla Harvard Business School, sottolineando l'impatto tangibile dei video sulle performance aziendali.

Ma cosa rende i video così efficaci? La risposta risiede nella loro capacità di creare connessioni emotive e coinvolgere il pubblico in modo profondo ed immediato. I video offrono un mezzo potente per raccontare storie e trasmettere valori aziendali in modo chiaro e coinvolgente, suscitando emozioni che spingono il pubblico verso azioni concrete, come l'acquisto di prodotti o servizi.

L importanza di fare video

I dati raccolti dimostrano che il coinvolgimento del pubblico attraverso i video è un precursore diretto delle conversioni. Una volta che gli utenti si impegnano con un video, la probabilità che procedano all'acquisto aumenta in modo significativo. Questa dinamica evidenzia l'importanza di adottare una strategia video-savvy per le aziende desiderose di ottenere risultati tangibili nel mercato odierno.

Le prove raccolte da fonti autorevoli come Forbes e Harvard Business School sono inequivocabili: i video sono diventati un elemento indispensabile nelle strategie di marketing aziendale. Sfruttare appieno il potere dei video non è solo una mossa astuta, ma una necessità assoluta per le aziende che mirano a raggiungere il successo e a prosperare in un panorama competitivo in costante evoluzione.

Il Potere Rivoluzionario dei Video nel Marketing Aziendale: Forbes e Harvard Svelano le Evidenze

Numerose fonti autorevoli, tra cui Forbes e studi accademici di istituzioni come Harvard Business School, hanno documentato il significativo impatto dei video sull'engagement dei clienti e sull'aumento delle vendite, confermando un elevato tasso di ROI (Return On Investment).

Thirty Seconds Milano accreditata agenzia Video , da piu di un ventennio continua ad aiutare molte aziende in qualsiasi settore a raggiungere i propri obbiettivi, costruendo ad arte la creativita video su misura , riscuotendo molto successo da parte delle aziende.

I video professionali rappresentano un'opportunità senza precedenti per le aziende desiderose di prosperare nell'era digitale.

Fonti:

Istituto di marketing dei contenuti. "L'impatto del video marketing sulle campagne aziendali." 2023.

Pew Research Center. "Trends in Online Video Consumption." 2019.

Opinioni e citazioni di Seth Godin e Neil Patel.

Forbes. "Il potere del video marketing nelle campagne aziendali." 2021.

Harvard Business School. "Lo studio mostra un aumento delle vendite del 20% con l'integrazione video." 2020.

Content Marketing Institute, "L'impatto del video marketing sulle campagne aziendali", 2023.

Pew Research Center, "Tendenze nel consumo di video online", 2019.

Opinioni e citazioni di Seth Godin e Neil Patel.

#thirtysecondsmilano #produzione video milano #videoproduction #produzionevideomilano.com #video marketing #digital art #eventi milano #video corporate in italy

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tigerstrikesasteroidnetwork · 2 years

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NY / if you surrender

Dominique Duroseau, Took dis long to get here, and i still had to whisper. Black duck cloth, contractor bag, gaffer tape, laser etched text on leather, chain, gems, pins 14"x22"

if you surrender January 7 – February 11, 2023 The gallery will be open Sat & Sun from 1pm – 6pm and by appointment

Tiger Strikes Asteroid New York is pleased to present if you surrender, a group exhibition curated by Molly Davy and Daniel Johnson, featuring works by Sophie Chalk, Edi Dai, Dominique Duroseau, Sandra Erbacher, Lisa Kill, Jasmin Risk, and Anne Clare Rogers.

The works in if you surrender explore the way bodies can be a site of translation, bridging the natural world to the inner self. Each artist uses their body to transform ideas into tangible forms, integrating themes of renewal, labor and power. Together, the works invite the viewer to reflect on the tension between intimacy and abstraction. The artists employ a range of mediums and techniques that ask viewers to let go for a little bit and see where you end up.

Sophie Chalk (b. Australia, they/them) is a transdisciplinary photographic artist working primarily with concepts of queer ecology and historical archive. Working across methods from 19th-Century historical alternative photographic processes to cameraless methods such as botanical printing and some of their own creation. Chalk’s work’s feature falsified archives of queer bodies through to ephemeral, color-shifting botanical prints created by misusing museum-grade chemistry. Their practice ultimately examines the role of the photographic in the contemporary landscape as a medium that has the potential to invite us to re-see and witness again.

Edi Dai is an interdisciplinary artist who weaves, spins, and grows small batches of naturally colored cotton, investigating the complexities hidden within objects considered to be quotidian in nature. Their practice questions how bureaucracy is used to uphold power structures that reinforce exploitative labor conditions and wage discrimination. Dai received an MFA in Painting and Printmaking from the Yale School of Art in 2019 and a BA in Studio Art from the University of California, Irvine in 2010. They are currently an Artist in Residence at 18th Street Arts Center.

Dominique Duroseau (b. Chicago) is a Newark-based artist born in Chicago, raised in Haiti. Her interdisciplinary practice explores themes of racism, socio-cultural issues, and existential dehumanization. Her exhibitions, performances and screenings include SATELLITE ART and PULSE Play, The Kitchen, The Brooklyn Museum, New Museum, El Museo del Barrio, The Newark Museum, Project for Empty Space. Her recent exhibitions and talks include: solo exhibition at A.I.R. Gallery, panelist at Black Portraiture[s] at Harvard and lecturer at Vassar. She has received artist residencies from Gallery Aferro, Index Art Center and the Wassaic Project. Duroseau holds a Bachelor of Architecture and a Master of Arts in Fine Arts.

Sandra Erbacher (b. Germany) is an interdisciplinary artist living and working in New Jersey and New York. She earned her MFA from the University of Wisconsin-Madison (2014) and her BFA from Camberwell College of Art (2009). She also holds a BA and MA in Sociology from Goldsmiths College, University of London. Erbacher has exhibited nationally and internationally at Cuchifritos, ISCP, Stellar Projects, the Atlanta Contemporary Art Center and the Chazen Museum of Art. Most recently, Erbacher won a Manhattan Graphics Center Scholarship (2022). She has also participated in the 2019 Artist Alliance Inc LES Studio Program and the 2017-18 Lower Manhattan Cultural Council Workspace Residency.

Lisa Kill (b. MN) makes collages and paperworks out of found materials such as receipts, dot-matrix paper and adhesive labels. Her work alludes to one-off prints which are processed with washes of inks, household chemicals and solvents. Kill received her Bachelors of Fine Arts from the Minneapolis College of Art and Design in 2015. She currently lives and works in Saint Paul, MN.

Jasmin Risk (they/them) is a NY-based interdisciplinary artist whose work uses textiles as support and material. Risk is interested in research-creation, and the metaphoric potentials of textiles. Their work repurposes found discarded textiles, and uses knitting, felting, and mending to examine trauma and reconsider healing. They are a CFDA scholar and an MFA Textiles candidate at Parsons.

Anne Clare Rogers (b. MN) has received fellowships to such residencies as Fine Arts Work Center in Provincetown, MA and Ox-bow school of Art in Saugatuck, MI. Rogers holds an MFA in Sculpture from the University of Texas at Austin and currently lives and works in Baltimore, MD.

Curated by

Molly Davy (b. MN, she/her) is a writer, researcher, and educator interested in the intersection of performance and the archive. Her work focuses on the relationship between natural and built environments, and the potentialities between Environmental Science and the Humanities. Davy is Associate Director, Operations and Part-Time Faculty at Parsons School of Design | The New School. She is Visiting Associate Professor in the department of Humanities and Media Studies at Pratt Institute where she teaches in collaboration with Architecture faculty. Davy holds an MA in Media Studies and Visual Culture from New York University and a BA in Art History and Gender Studies from St. Catherine University.

Daniel AnTon Johnson (b. DE, he/him) is an artist with a diverse practice based in photography, language, film, and video. His work examines how technology shapes notions of identity within popular culture and contemporary visual media. Johnson has taught and lectured at School of Visual Arts, Adelphi University, Rutgers University-Newark, and Columbia University, and mentored teens at ICP and The Harlem School of the Arts. Johnson holds an MFA in Photography, Video and Related Media from the School of Visual Arts, and an MA in English from Washington College. He currently resides in Brooklyn.

All that you touch You change. All that you Change Changes you.

Octavia Butler

Tiger Strikes Asteroid’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

photos by Dalia Amara

#ifyousurrender #tigerstrikesasteroid #tiger strikes asteroid

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blackkudos · 4 years

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Carrie Mae Weems

Carrie Mae Weems (born April 20, 1953) is an American artist who works with text, fabric, audio, digital images, and installation video, and is best known for her work in the field of photography. Her award-winning photographs, films, and videos have been displayed in over 50 exhibitions in the United States and abroad, and focus on serious issues that face African Americans today, such as racism, sexism, politics, and personal identity.

She said, "Let me say that my primary concern in art, as in politics, is with the status and place of Afro-Americans in the country." More recently however, she expressed that "Black experience is not really the main point; rather, complex, dimensional, human experience and social inclusion ... is the real point."

Early life and education

Weems was born in Portland, Oregon, in 1953, the second of seven children to Carrie Polk and Myrlie Weems. She began participating in dance and street theater in 1965. At the age of 16 she gave birth to her first and only child, a daughter named Faith C. Weems. Later that year she moved out of her parents’ home and soon relocated to San Francisco to study modern dance with Anna Halprin at a workshop Halprin had started with several other dancers, as well as the artists John Cage and Robert Morris. She decided to continue her arts schooling and attended the California Institute of the Arts, Valencia, graduating at the age of 28 with her B.A. She received her MFA from the University of California, San Diego. Weems also participated in the folklore graduate program at the University of California, Berkeley.

While in her early twenties, Carrie Mae Weems was politically active in the labor movement as a union organizer. Her first camera, which she received as a birthday gift, was used for this work before being used for artistic purposes. She was inspired to pursue photography after she came across The Black Photography Annual, a book of images by African-American photographers including Shawn Walker, Beuford Smith, Anthony Barboza, Ming Smith, Adger Cowans, and Roy DeCarava, who Weems found inspiring. This led her to New York City, and the Studio Museum in Harlem, where she began to meet other artists and photographers such as Coreen Simpson and Frank Stewart, and they began to form a community. In 1976 Weems took a photography class at the Museum taught by Dawoud Bey. She returned to San Francisco, but lived bi-coastally and was invited by Janet Henry to teach at the Studio Museum and a community of photographers in New York.

Career and work

In 1983, Carrie Mae Weems completed her first collection of photographs, text, and spoken word, called Family Pictures and Stories. The images told the story of her family, and she has said that in this project she was trying to explore the movement of black families out of the South and into the North, using her family as a model for the larger theme. Her next series, called Ain't Jokin', was completed in 1988. It focused on racial jokes and internalized racism. Another series called American Icons, completed in 1989, also focused on racism. Weems has said that throughout the 1980s she was turning away from the documentary photography genre, instead "creating representations that appeared to be documents but were in fact staged" and also "incorporating text, using multiples images, diptychs and triptychs, and constructing narratives." Sexism was the next focal point for her. It was the topic of one of her most well known collections called The Kitchen Table series which was completed in over a two year period, 1989 to 1990 and has Weems cast as the central character in the photographs. About Kitchen Table and Family Pictures and Stories, Weems has said: "I use my own constructed image as a vehicle for questioning ideas about the role of tradition, the nature of family, monogamy, polygamy, relationships between men and women, between women and their children, and between women and other women—underscoring the critical problems and the possible resolves." She has expressed disbelief and concern about the exclusion of images of the black community, particularly black women, from the popular media, and she aims to represent these excluded subjects and speak to their experience through her work. These photographs created space for other black female artists to further create art. Weems has also reflected on the themes and inspirations of her work as a whole, saying,

... from the very beginning, I've been interested in the idea of power and the consequences of power; relationships are made and articulated through power. Another thing that's interesting about the early work is that even though I've been engaged in the idea of autobiography, other ideas have been more important: the role of narrative, the social levels of humor, the deconstruction of documentary, the construction of history, the use of text, storytelling, performance, and the role of memory have all been more central to my thinking than autobiography.

Other series created by Weems include: the Sea Island Series (1991–92), the Africa Series (1993), From Here I Saw What Happened and I Cried (1995–96), Who What When Where (1998), Ritual & Revolution (1998), the Louisiana Project (2003), Roaming (2006), and the Museum Series, which she began in 2007. Her most recent project, Grace Notes: Reflections for Now, is a multimedia performance that explores "the role of grace in the pursuit of democracy."

In her almost 30-year career, Carrie Mae Weems has won numerous awards. She was named Photographer of the Year by the Friends of Photography. In 2005, she was awarded the Distinguished Photographer's Award in recognition of her significant contributions to the world of photography. Her talents have also been recognized by numerous colleges, including Harvard University and Wellesley College, with fellowships, artist-in-residence and visiting professor positions. She taught photography at Hampshire College in the late 1980s. She was awarded a MacArthur Foundation Fellowship in 2013. In 2015 Weems was named a Ford Foundation Art of Change Fellow. In September 2015, the Hutchins Center for African & African American Research presented her with the W. E. B. Du Bois Medal.

The first comprehensive retrospective of her work opened in September 2012 at the Frist Center for the Visual Arts in Nashville, Tennessee, as a part of the center's exhibition Carrie Mae Weems: Three Decades of Photography and Video. Curated by Katie Delmez, the exhibition ran until January 13, 2013, and later traveled to Portland Art Museum, Cleveland Museum of Art, and the Cantor Center for Visual Arts. The 30-year retrospective exhibition opened in January 2014 at the Solomon R. Guggenheim Museum in New York City. This was the first time an "African-American woman [was] ever given a solo exhibition" at the Guggenheim. Weems' work returned to the Frist in October 2013 as a part of the center's 30 Americans gallery, alongside black artists ranging from Jean-Michel Basquiat to Kehinde Wiley.

Weems' work is included in the collections of the Metropolitan Museum of Art and the Museum of Modern Art, New York; the Museum of Fine Arts, Houston, the Minneapolis Institute of Arts, the Cleveland Museum of Art, the Portland Art Museum, the Tate Museum in London and the Museum of Contemporary Art, Los Angeles. Weems has been represented by Jack Shainman Gallery since 2008.

A full-color, visual book, titled Carrie Mae Weems, was published by Yale University Press in October 2012. The book offers the first major survey of Weems' career and includes a collection of essays from leading and emerging scholars in addition to over 200 of Weems' most important works.

Weems lives in Fort Greene, Brooklyn and Syracuse, New York, with her husband Jeffrey Hoone. She continues to produce art that provides social commentary on the experiences of people of color, especially black women, in America.

Weems is one of six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, on view at the Solomon R. Guggenheim Museum from May 24, 2019, through January 12, 2020.

Select exhibitions

Presentations of her work have included exhibitions at:

Women in Photography, Cityscape Photo Gallery, Pasadena, CA, 1981

Multi-Cultural Focus, Barnsdall Art gallery, Los Angeles, CA, 1981

Family Pictures and Stories, Multi-Cultural Gallery, San Diego, CA, 1984

People Close Up, Fisher Gallery, University of Southern California, Los Angeles, CA, 1986

Social Concerns, Maryland Institute of Art, Baltimore, MD, 1986

Past, Present, Future, The New Museum, New York, NY, 1986

Visible Differences, Centro Cultural de la Raza, San Diego, CA, 1987

The Other, The Houston Center for Photography, Houston, TX, 1988

A Century of Protest, Williams College, Williamstown, MA, 1989

Black Women Photographers, Ten.8, London, England, 1990

Who Counts?, Randolph Street Gallery, Chicago, IL, 1990

Biological Factors, Nexus Gallery, Atlanta, GA, 1990

Trouble in Paradise, MIT List Visual Arts Center, Boston, MA, 1990

Whitney Biennial, The Whitney Museum of American Art, New York, NY, 1991

Of Light and Language, Pittsburgh Center for the Arts, Pittsburgh, PA, 1991

Pleasures and terrors of Domestic Comfort, MOMA, New York, NY, 1991

Calling Out My Name, CEPA Gallery, Buffalo, NY (traveled to PPOW gallery, New York, NY), 1991

Disclosing the Myth of Family, School of the Art Institute of Chicago, Chicago, IL, 1992

Schwarze Kunst: Konzepte zur Politik und Identitat, Neue Gesellschaft fur dingende Kunst, Berlin, Germany, 1992

Dirt and Domesticity: Constructions of the Feminine, Whitney Museum of American Art, at Equitable Center, New York, NY, 1992

Art, Politics, and Community, William Benton Museum of Art, University of Connecticut, Mansfield, CT (traveled to Tyler School of Art, Temple University, Philadelphia, PA), 1992

Mis/Taken identities, University Art Museum, University of California, Santa Barbara, CA (traveled to Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremen im Forum Langenstraße, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark; Western Gallery, Western Washington University, Bellingham, WA), 1992–1994

Photography: Expanding the Collection, Whitney Museum of American Art, New York, NY, 1992–1994

Sea Island, The Fabric Workshop, Philadelphia, PA, 1993

Carrie Mae Weems (traveling exhibition), The National Museum of Women in the Arts, Washington, DC, 1993

And 22 Million Very Tired and very Angry People, Walter/McBean gallery, San Francisco Art Institute San Francisco, CA, 1993

Enlightenment, Revolution, A Gallery Project, Ferndale, MI, 1993

Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC; Herter Art Gallery, University of Massachusetts, Amherst, MA, 1993–1994

The Theatre of Refusal: Black Art and the Mainstream Criticism, Fine Arts Gallery, University of California, Irvine, CA (traveled to University of California, Davis, CA; and University of California, Riverside, CA), 1993–1994

Women's Representation of Women, Sapporo American Center Gallery, Sapporo, Japan (traveled to Aka Renga Cultural Center, Fukuoka City, Japan; Kyoto International Community House, Kyoto, Japan; Aichi Prefectural Arts Center, Nagoya, Japan; Osaka Prefectural Contemporary Arts Center, Japan; Spiral Arts Center, Tokyo, Japan), 1994

Imagining Families: Images and Voices, The Smithsonian Institution, Washington, DC, 1994–1995

Black Male, Representations of Masculinity in Contemporary American Art, The Whitney Museum of American Art, New York, NY, and The Armand Hammer Museum of Art, Santa Monica, CA, 1994–1995

Carrie Mae Weems Reacts to Hidden Witness, J. Paul Getty Museum of Art, Malibu, CA, 1995

Projects 52, Museum of Modern Art, New York, NY, 1995

StoryLand: Narrative Vision and Social Space, Walter Phillips gallery, The Banff Center for the Arts, Banff, Canada, 1995

Embedded Metaphor, Traveling exhibit, curated by Nina Felshin, 1996

Inside the Visible, Institute of Contemporary Art, Boston, MA; The National Museum of Women in the Arts, Washington, D.C., international traveling exhibition, 1996

Gender - Beyond Memory, Tokyo Metropolitan Museum of Photography, Tokyo, Japan, 1996

2nd Johannesburg Biennale, Africus Institute for Contemporary Art, Johannesburg, South Africa, 1997

Bearing Witness: Contemporary Works by African-American Artists, traveling exhibition, 1998

Taboo: Repression and Revolt in Modern Art, Gallery St. Etienne, New York, NY, 1998

Tell me a Story: Narration in Contemporary Painting and Photography, Center National d'Art Contemporain de Grenoble, Grenoble, France, 1998

Recent Work: Carrie Mae Weems 1992–98, Everson Art Museum, Syracuse, NY, 1998–1999

Who, What, When, and Where, Whitney Museum of American Art at Phillip Morris, New York, NY, 1998–1999

Ritual & Revolution, DAK'ART 98: Biennale of Contemporary Art, Galerie National d'Art, Dakar, Senegal, 1998–1999

It's Only Rock and Roll, traveling exhibition, 1999

Claustrophobia: Disturbing the Domestic in Contemporary Art, traveling exhibition, 1999

Histories (Re)membered, The Bronx Museum of Art, New York, NY, 1999

Carrie Mae Weems: The Hampton Project, Williams College Museum of Art, Williamstown, MA, 2000–2003

Looking Forward, Looking Back, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2000

Material and Matter: Loans to and Selections from the Studio Museum Collection, The Studio Museum in Harlem, NY, 2000

The View From Here: Issues of Cultural Identity and Perspective in Contemporary Russian and American Art, Tretyakov Gallery, Moscow, Russia, 2000

Strength and Diversity: A Celebration of African-American Artists, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, 2000

Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Anacostia Museum and Center for African American History and culture, Washington, DC, 2000

History Now, touring exhibition beginning at the Liljevalchs Konsthall and Riksutstallningar, Stockholm, Sweden, 2002

Pictures, Patents, Monkeys, and More... On Collecting, traveling exhibition curated by Independent curators International, Institute of Contemporary Art, Philadelphia, PA, 2002

The Louisiana Project, Newcomb Art Gallery, Tulane University, New Orleans, LA, 2003

Cuba on the Verge, International Center of Photography, New York, NY, 2003

Crimes and Misdemeanors: Politics in U.S. Art of the 1980s, Lois & Richard Rosenthal center for Contemporary Art, Cincinnati, OH, 2003

Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, TX, 2004

Beyond Compare: Women Photographers on Beauty, BCE, Toronto (traveling exhibit), 2004

African American Art - Photographs from the Collection, Saint Louis Art Museum, Saint Louis, MO, 2005

Figuratively Speaking, Miami Art Museum, Miami, FL, 2005

The Whole World is Rotten, Jack Shainman gallery, New York, NY, 2005

Common Ground: Discovering Community in 150 Years of Art, Corcoran Gallery of Art, Washington, DC, 2005

Out of Time: A Contemporary View, Museum of Modern Art, New York, NY, 2006

Black Alphabet: Contexts of Contemporary African-American Art, Zacheta national gallery of Art, Warsaw, Poland, 2006

Hidden in Plain Sight, Metropolitan Museum of Art, New York, NY, 2007

Embracing Eatonville, University of Michigan Museum of Art, Ann Arbor, MI, 2007

The 21st century, The Feminine Century, and the century of Diversity and Hope, 2009 International Incheon Women Artists' Biennial, Incheon, South Korea, 2009–2010

Colour Chart: Reinventing Color, 1950 to Today, Tate Liverpool, UK, 2009–2010

Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, UK, 2009–2010

From Then to Now: Masterworks of Contemporary African American Art, Museum of Contemporary Art, Museum of Contemporary Art, Cleveland, OH, 2009–2010

Carrie Mae Weems: Estudios Sociales, Centro Andaluz de Arte Contemporáneo, Seville, Spain, 2010

Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, NY, 2010

Slow Fade to Black, Jack Shainman Gallery, New York, NY, 2010

The Record: Contemporary Art and Vinyl, Nasher Museum, Durham, NC, 2010

Myth, Manners and Memory: Photographers of the American South, De La Warr Pavilion, East Sussex, UK, 2010

Off the Wall: Part 1 – Thirty Performative Actions, Museum of Contemporary Art, Cleveland, OH, 2010

The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1991, Neuberger Museum of Art, Purchase College, Purchase, New York, NY, 2010

Posing Beauty: African American Images From the 1890s to the Present, Newark Museum, Newark, NJ, 2010

Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, Bronx, NY, 2010

Unsettled: Photography and Politics in Contemporary Art, Philadelphia Museum of Art, Philadelphia, PA, 2010

Carrie Mae Weems: Three Decades of Photography and Video, Frist Center for the Visual Arts, Nashville, TN, 2012

This Will Have Been: Art, Love & Politics in the 1980s, Walker Art Center, Minneapolis, MN, 2012

La Triennale: Intense Proximity, Palais de Tokyo, Paris, France, 2012

Havana Biennial, Havana, Cuba, 2012

The Maddening Crowd (video installation), McNay Art Museum, Sa Antonio, TX, 2012

Carrie Mae Weems: Three Decades of Photography and Video, Portland Art Museum, Portland, OR; Cleveland Museum of Art, Cleveland, OH; Cantor Center for the Visual Arts, Stanford, CA, 2013

Feminist And..., The Mattress Factory, Pittsburgh, PA, 2013

Seven Sisters, Jenkins Johnson Gallery, San Francisco, CA, 2013

Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum. New York, NY, 2014

P.3 Prospect New Orleans, The McKenna Museum, New Orleans, LA, 2014

Color: Real and Imagined, Pippy Houldsworth Gallery, London, England, 2014

Carrie Mae Weems: The Museum Series, Studio Museum in Harlem, New York, NY, 2014

Wide Angle: American Photographs, University of Kentucky, Lexington, KY, 2014

The Memory of Time, The National Gallery of Art, Washington, DC, 2015

Triennale di Milano, Milan, Italy, 2015

Winter in America, The School (Jack Shainman Gallery), 2015

An Exhibition of African American Photographers from the Daguerreian to the Digital Eras, Marshall Fine Arts Center at Haveford College, Haveford, PA, 2015

Represent: 200 years of African American Art, Philadelphia Museum of Art, Philadelphia, PA, 2015

Under Color of Law, The Philip and Muriel Berman Museum of Art and Ursinus College, Collegeville, PA, 2015

30 Americans, Detroit Institute of Arts, 2015

Grace Notes: Reflections for Now, Spoleto Festival, Spoleto, Italy, 2016

The Ethelbert Cooper Gallery of African & African American Art. Cambridge, MA, 2016

Viewpoints, Henry Art Gallery, University of Washington, Seattle, WA (February 18–June 18, 2017)

We Wanted a Revolution: Black Radical Women, 1965–85, Brooklyn Museum, Brooklyn, NY (April 21–September 17, 2017)

Blue Black, Pulitzer Arts Foundation, St. Louis, MO (June 9–October 7, 2017)

Matera Imagined: Photography and a Southern Italian Town, American Academy in Rome, Rome, Italy (2017)

...And the People, Maruani Mercer, Knokke, Belgium (August 5–September 4, 2017)

Medium, Zuckerman Museum of Art, Kennesaw State University, Kennesaw, GA (August 29–December 3, 2017)

Carrie Mae Weems: Ritual and Revolution, Block Museum of Art, Northwestern University, Evanston, IL (September 12–December 10, 2017)

Dimensions of Black, Manetti Shrem Museum of Art, University of California, Davis, Davis, CA (September 17–December 28, 2017)

Posing Beauty in African American Culture, Mobile Museum of Art, Mobile, AL (October 6, 2016 – January 21, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, California African American Museum, Los Angeles, CA (October 13, 2017 – January 14, 2018)

Edward Hopper Citation of Merit in the Visual Arts Recipient Exhibition, Carrie Mae Weems: Beacon, Nyack, NY (November 10, 2017 – February 25, 2018)

Making Home: Contemporary Works From the DIA, Detroit Institute of Arts, Detroit, MI (December 1, 2017 – June 6, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, Institute of Contemporary Art, Boston, MA (June 27–September 30, 2018)

Be Strong and Do Not Betray Your Soul: Selections from the Light Work Collection, Light Work, Syracuse, NY (August 27–October 18, 2018)

Carrie Mae Weems: Strategies of Engagement, McMullen Museum of Art, Boston College, Boston, MA (September 10–December 13, 2018)

Family Pictures, Milwaukee Art Museum, Milwaukee, WI (September 14, 2018 – January 20, 2019)

Heave, 2018 Cornell University Biennial, Cornell University, Ithaca, NY (September 20, 2018–November 5, 2018)

Carrie Mae Weems: Strategies of Engagement, Allentown Art Museum, Allentown, PA (January 13, 2019–May 5, 2019)

Carrie Mae Weems II Over Time, Goodman Gallery, Johannesburg, South Africa (September 7, 2019–October 5, 2019)

Awards

2005: Distinguished Photographers Award

2007: Anonymous Was A Woman Award

2013: Congressional Black Caucus Foundation's Lifetime Achievement Award

2013: MacArthur Fellow, "Genius" Award

2014: BET Visual Arts Award

2014: Lucie Award

2015: ICP Spotlights Award from the International Center of Photography.

2015: Ford Foundation Art of Change Fellow

2015: W.E.B. Du Bois Medal from Harvard University

2015: Honorary Doctorate from the School of Visual Arts

2016: National Artist Award, Anderson Ranch Arts Center

2016: Roy and Edna Disney Cal Arts Theatre

2016: College Arts Association

2016: DeFINE ART

2016: Art of Change Fellow, Ford Foundation

2017: Honorary Doctor of Fine Arts degree from Syracuse University

2017: Inga Maren Otto Fellowship, The Watermill Center

2019: Honorary Fellowship of the Royal Photographic Society, Bristol.

Publications

Carrie Mae Weems : The Museum of Modern Art (N.Y.), 1995.

Carrie Mae Weems : Image Maker, 1995.

Carrie Mae Weems : Recent Work, 1992––1998, 1998.

Carrie Mae Weems: In Louisiana Project, 2004.

Carrie Mae Weems: Constructing History, 2008.

Carrie Mae Weems : Social Studies, 2010.

Carrie Mae Weems : Three Decades of Photography and Video, 2012.

Carrie Mae Weems: Kitchen Table Series, 2016.

#04/20

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159sutton · 5 years

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January/February 2020

January / February 2020

Wintergarden January 10 – February 14, 2020

Opening Saturday January 11, 5-7PM

Wintergarden is a three-person show of Providence-based visual artists. In the midst of post-solstice frosted grey days, the works exhibited in Wintergarden explore how color, expressed through a variety of material processes, can offer a flame of pleasure. Gleaning energy from the studio in place of the sun, these works express a particular seasonal caretaking and optimism akin to Victorian wintergardens and glasshouses—intended to nourish plants for medicine and gratification during dormant cycles.

Judd Schiffman's large wall mural scenes are constructed from individually glazed ceramic pieces, fixed to the wall in a rhythmic sequence. The characters are animals or creatures, the boundaries they live within are rocks or feathers or other abstract shapes. Within their frames, the stories suggest something archetypal: lessons to learn, or experiences memorialized. Through a collaborative process with his wife Athena and daughter Frances, the artist composes narratives reflecting the inner life of the contemporary family, exploring rites of passage, and grappling with the complexities of being a father. Schiffman's work investigates themes of masculinity, discovery of self, sexuality, and family, and all the nuanced guilt, confusion, and elation that exist in tandem.

In Heather Leigh McPherson's vibrant low-relief works, cast epoxy acts as both a painting support and container for the textiles and drawings embedded within. It selectively renders drawings transparent, emphasizing the shallow depth of a single piece of paper and turning recto and verso into one body. McPherson’s work visually vibrates and flows, capturing the motion of a liquid in the form of a solid and exploring materials’ capacities to act and be acted upon. From more referential bits and pieces—religious imagery, cartoon facial expressions, hands reaching—these works unfold to visualize flickering experiences of wisdom and stupidity that spring from the eyes, the mind, and the body.

Scott Alario's recent experiments include multi-panel photographic vignettes. The photographs are printed on canvas and floated in handmade frames. The frames' design and construction draws inspiration from kids’ divided dinner plates, creating intentional boundaries between related images. The emphasis on the materiality of the images as objects, as well as the pictures' container, revisits a theme in Alario's work with his immediate family: a desire to control an experience versus the messiness of a lived one. Something equally age-old shows up in the content of the imagery: the infinite versus the finite, shown visually in the photographs as nods to the cosmic.

show dates: Jan 11 - Feb 14 2020

bios:

ALARIO (b. 1983) photographs depart from a process in which he, his partner, and their children work together to stage perform and edit each work. Alario's experimental approach to portraiture includes the use of multiple exposure, color separation, and macro lenses, to document the movement and actions of the young members of his family: "I’m looking for: unseeable squirming, shifting, and growth, arms flailing in ecstasy, or light slowly moving across our walls." Alario received an MFA in Photography from the Rhode Island School of Design in 2013 and a BFA from the Massachusetts College of Art in 2006. His work has been discussed in The New Yorker, American Photo, Collector Daily, Time Lightbox, and Vice.com,and is included in the collection of the RISD Museum, Providence, RI, among others.

McPHERSON (b. 1984) makes painting, sculpture, and animation. Recent solo exhibitions include Tip of The Nose at GRIN Providence, High Bottom at Actual Size Los Angeles, 30 Special Colors at Greenlease Gallery in Kansas City and Anytime Concept at Vox Populi in Philadelphia; she was also included in the 2016 deCordova New England Biennial. McPherson has been on the full-time faculty of Providence College since 2009, where she teaches courses on painting, studio research, and contemporary art history. McPherson holds a bachelor's degree from Washington University in St. Louis and a master's from Rhode Island School of Design.

SCHIFFMAN (b. 1982) is a Providence, Rhode Island-based artist working primarily in ceramics. He has lectured at Harvard University Ceramics and Brown University, and participated in residencies at the Zentrum Fur Keramiks in Berlin, Germany and Arch Contemporary in Tiverton, Rhode Island. Schiffman received his MFA from the University of Colorado in 2015, and his BA from Prescott College in 2007. Schiffman’s work has been exhibited in New York City, Los Angeles, CA, Portland, OR, Boulder, CO, Beacon, NY, Providence, RI, Fall River, MA, and Berlin, Germany. In 2016, he received an emerging artists award from the National Council for the Education of Ceramic Arts. Schiffman is currently a Visiting Assistant Professor of Ceramics at Providence College.

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lincolncollection · 5 years

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Creating Lincoln: Sculptor Daniel Chester French

Born in New Hampshire in 1850, Daniel Chester French would grow up to be one of the most famous U.S. sculptors of his time. In 1867, French moved with his family to Concord, Massachusetts where he became a neighbor and friend of Ralph Waldo Emerson and the Alcott family. May Alcott is said to have been the influence pushing French to become a sculptor.

French spent his early training and education with William Rimmer for anatomy and William Morris Hunt for drawing. He then spent a year studying at the Massachusetts Institute of Technology as well as in Florence at the studio of Thomas Ball. In 1875, French gained his first accolades and appreciation for his statue “Minute Man.” This statue was commissioned by the town of Concord, MA and was created to commemorate the battle of Lexington and Concord that had occurred 100 years prior.

Shortly after the sculpture creation, French opened his first studios: initially in Washington D.C., then moving to Boston, and finally to New York. With the World’s Colombian Exposition of 1893, French’s reputation began to grow as his “Statue of the Republic” gained national acclaim. French then followed this sculpture with other memorable works including: the “First Division Monument” and the “Butt-Millet Memorial Fountain” in Washington; “John Harvard,” Cambridge, Massachusetts; bronze doors for the Boston Public Library; and “The Four Continents” at the US Custom House, New York, which is now the Alexander Hamilton US Custom House.

French’s most popular work is the Lincoln Memorial, which was one of many projects that he collaborated with architect Henry Bacon on. For Indiana, French is known for creating the statue of Beneficence at Ball State University. In 1893, French became one of the founding members of the National Sculpture Society and then was appointed a Fellow of the American Academy of Arts and letters in 1913. In 1917, French and his colleague, H. Augustus Lukeman designed the Pulitzer Prize medal- French specifically designed the side with Benjamin Franklin on it (Image from Pulitzer.org).

French was known for his collaborations. Besides working with those listed above, French also collaborated with Edward Clark Potter on the statue of George Washington in Paris, the statue of General Grant in Philadelphia, and the statue of General Hooker in Boston. He also worked Walter Leighton Clark and helped to found the Berkshire Playhouse, which later became the Berkshire Theater Festival. (Photo: Library of Congress, LC-USZ62-10017)

French received an honorary Master of Arts from Harvard after his creation of the statue of Emerson. He continued to sculpt and teach, including sculptor Edith Howland was one of French’s students. Howland was also known for studying under another famous Lincoln sculpture, Augustus Saint-Gaudens. French is also remembered for his estate and summer art studio, Chesterwood, that was designed by his friend and architect, Henry Bacon.

To learn more about Daniel Chester French and his influential friends, and to see images of Chesterwood, check out Harold Holzer’s article on his book “Monument Man: The Life and Art of Daniel Chester French” in “Lincoln Lore” available online here: https://www.friendsofthelincolncollection.org/lincoln-lore/an-interview-with-harold-holzer-on-monument-man/

#lincoln #Daniel Chester French #sculpture #AbrahamLincoln #HaroldHolzer #Chesterwood

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lesser-known-composers · 2 years

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Arthur Foote (1853-1937)

#Arthur Foote

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glimmerbugart · 1 year

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Watercolor Villages Galore!

Such imagination in the Saturday Whimsical Watercolors 1 Class I can’t even wrap my head around it!

These photos represent a smattering of the fabulous and imaginative paintings that came out of class last week! The colors, doodles, collage, words and details are absolutely OUT OF THIS WORLD!!

Here are some more photos of the creativity:

This past Saturday we worked on using less paint and more water for a less saturated look. We also worked on learning how to paint different mushrooms and how to create adorable collage characters to add to our work. It’s always a lot of fun in this class, filled with painting, tunes and lots of laughs!

#Studio Art Class #Artist Studio Harvard MA #Art Studio Littleton MA #art studio #art studio in Harvard MA #Art Studio #harvard ma art studio #Harvard MA Art Studio #Littleton MA Art Studio #Watercolor #watercolor class Harvard MA #watercolor classes #watercolor art class #Watercolor Paintings #adult watercolor class #Online Watercolor Class #beginner watercolor classes #Beginner Watercolor Class

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what-if-rpg · 3 years

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Welcome to the family, RY! Your application to CASPAR ANDERSON was accepted. We’re really happy to have you around! Make sure to read the beginners checklist, and remember, have fun! We can’t wait to roleplay with you! Have fun!

IN CHARACTER

CHARACTER NAME: Caspar Luke Anderson CHARACTER AGE & DATE OF BIRTH: 25 / 12th May OCCUPATION: Actor, Musician, Voice Actor. FACE CLAIM: Jeremy Shada HOMETOWN & CITY WHERE LIVES NOW: Newton, MA and Manhattan, NY. SEXUAL ORIENTATION & GENDER: Bi-sexual, He/Him RELATIONSHIP STATUS: Single. POSITIVE TRAITS: Ambitious, energetic, kind. NEGATIVE TRAITS: Over-thinker, untrusting, judgemental CHARACTER QUOTE/LYRIC: “I became the person everyone wanted me to be” - Taylor Swift, Miss Americana. ANYTHING ELSE?: Anderson cousin.

HEADCANONS

The first born of two well known names in Hollywood, Caspar immediately had a lot of expectations set for him. Surely he was to follow in his parents footsteps? Anything else would be out of the question. From an early age he was put through tap and ballet lessons, vocal training and starred in the occasional photoshoot. He’s spent most of his life in front of the camera and with that came a certain sense of persona you had to uphold for the world to see.

School was his favorite place to be. He loved the extra curricular classes, volunteering to participate in Band, Baseball and Track. With the amount of pressure he had from his family, it was nice to turn away from the expected Musical Theatre Society or Glee Club and try something else.

His first major role came not in front of the camera but in a studio. It was where he fell in love with voice acting. A kid left alone in a booth to run lines in whatever way he wanted, it was like a dream. Being cast in the role of Finn from Adventure Time, he began to grow respect for his work, rather than just his surname. Even to this day, his favorite part of being on a project was the fans. There isn’t a lot Caspar won’t do for his fans and audience.

After that, alongside his studies and journey through High School, he was recording lines in booths for various productions. Marvel cartoons, Dreamworks animations and Video Games. He spent a year of Middle School being tutored so he could stay on set in Los Angeles. At fifteen was when he first stretched out to Broadway, a small role in Newsies secured him pretty of homework learning lines as Davey’s younger brother, Les. It’s not been the conventional life for Caspar but in truth, it’s all that he knows how to do.

After graduating he found himself with a bit of freedom in his hands. His parents were no longer controlling his life and he finished his last contracted job a few months into Summer. Towards the end of High School he’d set his heart on College, he’d devoted any spare time to his application process and finally his call was answered with a place on Harvard’s Theatre course. It was finally a breath away from home and he grew to be more independent while there.

It was during this time he fell in love with Vine. First, posting small comedy sketches before sharing his musical talents with the world. Six second song covers became the focus late at night in his dorm room. Between semesters, he ventured with a small label to play numerous gigs around the country. There was a chance to meet faces behind the thousands of comments on his posts and he wasn’t going to deny that opportunity. That small road trip was definetly the moment of freedom he was looking for away from his parents to develop his art.

Graduating College, Caspar began to work on building his credits. He had plenty of run-ins with big auditions, his most notable being a runner-up for the role of Peter Parker in 2016. Yet now was the chance to shine. He eventually did find his way into the superhero world as the voice of Peter Parker in Marvel’s What If? and onto screen with a title role on Dear Mr. Student Body President. In 2020, his role in Julie and The Phantoms propelled him further into the world of art.

At 25, he’s doing his best to continue growing his name, not just for who his parents are but for the work he’s produced. As of Febraury 2022, he’s gearing up to take on the role of Evan Hansen on Broadway. A four month run in the Big Apple was a breath of fresh air, never being satisfied with one project he is always looking for the ‘next best thing’ -- in a way, he feels he needs to prove himself, to prove he’s worthy of the name he was born with.

CONNECTIONS

ELAINE AND MARCUS ANDERSON (Parents): With Parents who held high names in the entertainment business, it had always been a struggle to live up to the expectations thrust upon him. His father was a notable manager in the industry and his mother a talk-show host. He’d benefitted from their jobs, meeting plenty of his idols while attending award shows and company parties. His relationship with his father is distanced, due to his absence and he’s generally closer to his mom. YOUNGER SISTER (UTP): He’s always know life with someone by his side, the age gap between them is close, leaving most people to think they’re twins. Caspar has always taken a stance for his sister. He’d die fighting to protect her, often getting into plenty of trouble at school on her behalf. With parents consumed with work, who else was going to step up? BLAINE and COOPER ANDERSON (Cousins): Caspar saw his cousins on the holidays. He looked up to them both for different reasons. He saw the mirrored path with Cooper when it came to the desire for acting and the same passion for musin with Blaine. He does love his cousins and is always happy to see them whenever he’s able.

#Caspar Anderson #Jeremy Shada #RP #RPG #Glee RP #Glee RPG #Accepted

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giancarlonicoli · 3 years

Link

12 ago 2021 18:48

COME VIVERE, E MALE, SENZA FEDERICO ZERI - CI DICE ANCORA CHE LA STORIA DELL'ARTE È STORIA E BASTA: CHE L'OCCIDENTE E L'ORIENTE SI INCROCIANO DI CONTINUO. AVVERTE CHE SOLO SVILUPPANDO IL NOSTRO OCCHIO RIUSCIREMO A CAPIRE CHI SIAMO - ANNA OTTANI CAVINA: ‘’VISITING PROFESSOR A HARVARD E ALLA COLUMBIA, NON È MAI STATO CHIAMATO DA UNA UNIVERSITÀ ITALIANA. DA FREELANCE AVEVA UN'AUTOREVOLEZZA CHE SI ERA COSTRUITO DA SOLO. ERA UNA FIGURA LIBERA, CONTROCORRENTE. AVEVA UN DISTACCO ARISTOCRATICO DA OGNI SISTEMA, NON ANDAVA A BUSSARE ALLE PORTE’’

Dario Pappalardo per "Robinson - la Repubblica"

Nei video su YouTube, Federico Zeri continua a tenere la sua lezione. Non dalla cattedra che non ha mai avuto, ma dalla scrivania della sua Villa di Mentana, tra i marmi e le cartelline di fotografie. Continua a googlare nella sua testa - lo fa da quando il termine ancora non esisteva - a trovare connessioni tra le immagini, tra maestri del colore riconosciuti o pittori anonimi, dimenticati dai documenti.

Ci dice ancora che la storia dell'arte è storia e basta: che l'occidente e l'oriente si incrociano di continuo sulle tavole delle icone, tra i polittici dipinti e le sculture degli imperatori. Avverte che solo sviluppando il nostro occhio riusciremo a capire chi siamo.

Zeri avrebbe compiuto 100 anni il 12 agosto. Di lui resta un archivio strepitoso - Internet ante litteram - che era già nella sua mente e che oggi è oggetto delle ricerche di studiosi e appassionati nel mondo. Quel patrimonio culturale è stato custodito dalla storica dell'arte Anna Ottani Cavina, che per 14 anni ha diretto la Fondazione Zeri, di cui ora è presidente onoraria, all'università di Bologna.

Con il critico e una ristretta cerchia di amici ha condiviso i viaggi e un'amicizia costante, fatta di discrezione: «Ci davamo del lei», dice. Chi era Federico Zeri? «La storia di Federico Zeri è quella di un irregolare di genio. Molti l'hanno conosciuto in tv, ma lui ha vissuto decenni di studio alfieriano fra biblioteche e musei con una sete ossessiva di conoscenza.

Si laurea a Roma nel 1945 con Pietro Toesca, guida i soldati americani alla scoperta della capitale, conosce le lingue, la botanica, la chimica ed entra in dialogo con i poli antagonisti della storia dell'arte: Roberto Longhi e Bernard Berenson, che raggiunge a I Tatti, la villa di Fiesole, pedalando sulla bici di Anna Banti».

Il più citato nella storia dell'arte italiana del Novecento rimane però Roberto Longhi. «Ma Federico Zeri ha sùbito una dimensione internazionale. Conosce il mondo anglosassone come nessuno in quegli anni: 18 traversate alla volta degli Stati Uniti. Parla e scrive un inglese perfetto. A 36 anni è chiamato dal Metropolitan Museum di New York per costruire il catalogo dei dipinti italiani, quattro volumi.

Poi il catalogo della Walters Art Gallery di Baltimora e il Census of Italian Paintings nelle collezioni pubbliche americane. Incrocia elementi di diversa natura - storia, filologia, iconografia - per restituire identità ai dipinti. È il consulente di grandi collezionisti, da Vittorio Cini ad Alessandro Contini Bonacossi, da Luigi Magnani a Gianni Agnelli a Paul J. Paul Getty: la sua connoisseurship diventa strumento di conoscenza storica».

Non lavorava per il mercato? «Non aveva piedistalli accademici, era un libero studioso. È stato l'advisor del grande antiquario Daniel Wildenstein. In mezzo alle fotografie di Zeri abbiamo recuperato 323 perizie, battute a macchina su carta termofax, molto lontane da quelle paginette oracolari, ontologiche, cui ci ha abituato il mercato. Ogni perizia, di tre/quattro pagine, ha la densità di un saggio.

Zeri sposta l'attribuzione e la data, decifra la scritta, individua l'emblema araldico, coglie gli indizi più labili e nascosti. Uno scavo molto serio per dare nome a un dipinto e ricostruire il tessuto storico. Senza potersi avvalere di Internet, aveva una capacità di connessione straordinaria. Scansionate nel cervello, tutte quelle immagini gli permettevano collegamenti che noi oggi facciamo con il computer».

Riguardando i suoi interventi in video appare sicuro nello smascherare i falsi con esiti clamorosi. «Usava parole di spietata precisione, definitive. Nel 1983 sul kouros del Getty, la statua greca ritrovata in sette pezzi che quadravano a perfezione, afferma a gran voce che è un falso. Cacciato dai trustees del museo, otterrà finalmente ragione nel 1990, alla comparsa sul mercato di un secondo kouros gemello. A favore delle telecamere del tg, nel 1984 afferma senza esitazione che le "teste di Modigliani": "So' du' paracarri".

La sua capacità di definizione proviene da un lungo processo investigativo e da una conoscenza delle forme e della loro evoluzione in un arco temporale vastissimo. Ma anche da studi incrociati. Persino dalla botanica».

La botanica? «Smaschera la cosiddetta Madonna di capitan Cook attribuita a Raffaello, riconoscendo nel dipinto una Cycas revoluta, una palma originaria delle terre oceaniche esplorate da Cook 250 anni dopo la morte di Raffaello. In questo campo la sua conoscenza capillare si saldava a un amore sconfinato per la natura che aveva motivazioni nel mondo antico e pagano, prima che la sacralità del regno vegetale fosse scalzata dall'avanzare del cristianesimo».

Era diventato una maschera televisiva, un influencer ante litteram. «I suoi affondi sono impudenti, a volte pittoreschi fra palandrane e jellabah, ma nel segno della denuncia. Conosce le potenzialità del mezzo: "Rispondendo alle buffonate con le buffonate, non ho esitato a travestirmi, ad apparire in scenari assurdi, a costruirmi una personalità che Salvador Dalí, che ho conosciuto di persona, non avrebbe sconfessato"».

Non ha scritto molti libri. «"Rimpiango tutti i libri che non ho scritto", diceva. Il suo Pittura e Controriforma è ancora un libro esplosivo, prima risposta italiana agli studi marxisti di Frederick Antal. Ma Zeri è una stella di prima grandezza, al di là dei suoi scritti, dove ha forgiato una lingua scabra e laconica, estranea alla cerchia longhiana: "una lingua elegante, costruita a colpi di rinunce, dove il poco tiene il posto del molto e lo riassume", come gli riconosceva Giovanni Testori».

Che ricordi ha dei viaggi con lui? «Viaggiava in luoghi remoti, allora poco accessibili, su autobus di linea. Si muoveva fra le rovine della città carovaniera di Palmyra - dove arrivammo nel 1988 con i cammelli - come se davvero quelle rovine lui le avesse abitate, quando ancora non c'era il deserto. "Non ci sono più le gazzelle!". Queste parole di Zeri non le dimentico. Aveva negli occhi la Palmyra del III secolo: leoni e gazzelle cacciati dall'imperatore Aureliano nei territori della regina Zenobia, come li aveva descritti Ammiano Marcellino».

Si lanciava in territori estremi per l'epoca. «Amava i crocevia delle culture, le civiltà alla periferia dell'Impero. Non era ancora caduto il muro di Berlino e si andò a Tallinn, in Estonia, alla ricerca di un retablo di Michael Sitow, poi a Mistra, fra le rovine medievali dei Paleologi, in Siria e in Turchia, dove si è recato più volte, mentre colleghi illustri non avevano mai visto Costantinopoli. A differenza di Roberto Longhi, che in Giotto riconosceva l'origine della nostra cultura visiva, Zeri individuava le nostre radici nell'Oriente e nella contaminazione dei due mondi».

Non ha mai avuto una cattedra in Italia. «Visiting professor a Harvard e alla Columbia University, non è mai stato chiamato da una università italiana. Da freelance aveva un'autorevolezza che si era costruito da solo. Era una figura libera, controcorrente. Aveva un distacco aristocratico da ogni sistema, non andava a bussare alle porte.

Si rifugiò lontano dalla città: a Mentana, fuori Roma, nella villa dove aveva montato la sua collezione di reperti in una passeggiata socratica di incontro con le ombre del passato. La lettura più penetrante è dell'archeologo Antonio Giuliano: Zeri veniva a noi da un mondo antico, cui sentiva di appartenere; da qui la sua solitudine intellettuale e il suo rapporto lacerante con il presente».

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architectnews · 3 years

Text

Pell Bridge pedestrian and cycling lanes

Pell Bridge cycling lanes, Rhode Island design, RISD Interior Architecture students proposal images

Pell Bridge pedestrian and cycling lanes, Rhode Island

August 12, 2021

Location: Rhode Island, USA

RISD Interior Architecture students propose innovative designs for adding pedestrian and cycling lanes to iconic Pell Bridge.

Crossing the Pell photos : Jo Sittenfeld, Courtesy Rhode Island School of Design

Pell Bridge cycling and pedestrian lanes

The Pell Bridge measures 2.1 miles across and rises to a peak that stands 400 feet off the water to allow Navy aircraft carriers to pass underneath the roadbed below. Students began by creating a 3D model of the existing bridge structure.

Providence, RI, August 2021 – Rhode Island School of Design’s Interior Architecture students have created innovative design proposals to add pedestrian and cycling lanes to Pell Bridge, an iconic suspension bridge connecting Newport and Jamestown, RI.

When the state of Rhode Island completed the iconic Newport Bridge in 1969, the massive steel-framed suspension bridge connecting Jamestown and Newport stood as a testament to economic and technological progress. Measuring 2.1 miles across (about the length of Central Park in NYC) and rising to a peak that stands 400 feet off the water in order to allow Navy aircraft carriers to pass underneath the roadbed below, the bridge offers motorists spectacular views of Narragansett Bay.

In 2019, when the state celebrated the 50th anniversary of the structure (which has been renamed the Claiborne Pell Bridge after the longtime US senator), Senator Sheldon Whitehouse and other forwardthinking government leaders wondered if there was a way to make the bridge accessible to pedestrians and cyclists. They also hoped to reroute access on the Newport side, where the on-ramp now divides the economically disadvantaged North End from the more affluent areas of the city. Rendering displays the media arts possibilities that adding a secondary structure would allow. Courtesy Rhode Island School of Design.

Professor Liliane Wong, who heads up RISD’s Interior Architecture department, posed the design challenge to graduate students in a spring studio focused on adaptive reuse. “Proposing change to an icon like the Pell Bridge is difficult,” Wong notes. “Our goal was to help acclimate the public to something new using virtual reality to create an immersive 3D experience.”

Eight graduate students—Shuyi Guan MLA 22, Nupoor Maduskar MA 21, Saira Margarita Paz Nepomuceno MA 21, Seung Hwan Oh MLA 22, Demi Okunfulure MA 21, Sofia Paez MA 21, Mohan Wang MLA 22 and Yu Xiao MLA 22—formed cross-disciplinary teams of two and developed stunning visions for adding a suspended lower level to the bridge that would allow for pedestrians and cyclists as well as arts venues, parks, cafes and even a floating fish market.

With guidance from Wong and faculty members Michael Grugl, Andrew Hartness and Wolfgang Rudorf, students considered everything from intense wind conditions to expected sea level rise to new, lightweight composite materials in their plans. They studied successful projects launched elsewhere, like the Lightpath in Auckland, New Zealand and Superkilen Park in Copenhagen, Denmark, with an eye toward environmental impact, social equity and feasibility.

Okunfulure and Wang proposed a system that would harness solar and wind energy via photovoltaic and piezoelectric components to power the bridge’s lights as well as 275 homes (see image, above). They describe their methodology as “a holistic approach to the future of bridge design that captures energy through infrastructure.”

Maduskar and Xiao played off the area’s historic fisheries and envisioned a new floating fish market and a series of floating eco-islands along the span that would create new habitats for fishes and spur a new type of fishing tourism. The project pays homage to the state’s fishing economy by incorporating an architectural vocabulary of nets that play with natural elements such as light, wind and gravity.

Nepomuceno and Oh also hope to boost the local economy with their proposal and to embrace tourism with a welcome center, docking points for sailboats and a spectacular outdoor theater on the bridge viewable from a new floating amphitheater. Paez and Guan responded to concerns about high winds with an enclosed 3Dprinted structure created from carbon fiber and wrapped with a translucent composite membrane. These groundbreaking construction methods would be safer, quicker and less costly.

In late May the class presented their ideas to Whitehouse’s team using cardboard VR viewers and a tour of the site created with Pano software, offering a visceral sense of what it would mean to cross the Pell on foot. “I am completely in awe of the vision and talent of these RISD students,” says Whitehouse. “They reimagined what the Pell Bridge could be. I hope Rhode Islanders will be inspired by these designs as we look to include more innovative elements in future infrastructure projects.”

Funding from the Champlin Foundation allowed the Interior Architecture students to purchase VR/AR headsets, a stationary bike and other equipment needed to create an immersive exhibition presenting the four design schemes at RISD’s Sol Koffler Graduate Student Gallery (on view August 2–6, 1–5 pm). Plans are also in the works for the exhibition to travel to a series of other Rhode Island venues. The goal is to inspire citizens and encourage government leaders to adopt elements of the student designs for implementation.

Wong was on hand to introduce the project to visitors at the exhibition opening. “Whatever the long-term outcome of their proposals, I couldn’t be more proud of the students in this class,” she says. “As the culminating learning experience in a post-professional program, the studio supports RISD’s commitment to sustainability—a pillar of our strategic plan—and pushed them to consider real-life parameters such as communities divided by economic disparity, the threat of sea level rise and the positive and negative effects of tourism on the city. These are exactly the kinds of issues that successful professionals contend with in practice.”

Rhode Island School of Design

RISD’s mission, through its college and museum, is to educate students and the public in the creation and appreciation of works of art and design, to discover and transmit knowledge and to make lasting contributions to a global society through critical thinking, scholarship and innovation. The college’s strategic plan NEXT: RISD 2020–2027 sets an ambitious vision for educating students for the future and bringing creative practices to bear on the creation of just societies, a sustainable planet and new ways of making and knowing.

RISD’s immersive model of art and design education, which emphasizes critical making through studio-based learning and robust study in the liberal arts, prepares students to intervene in the critical challenges of our time. Working with exceptional faculty and in extraordinary specialized facilities, 2,225 students from 60 countries engage in 44 full-time bachelor’s and master’s degree programs. RISD’s 30,000 alumni worldwide testify to the impact of this model of education, exemplifying the vital role artists and designers play in today’s society. Founded in 1877, RISD (pronounced “RIZ-dee”) and the RISD Museum help make Providence, RI among the most culturally active and creative cities in the region. Find more information at risd.edu.

Pell Bridge pedestrian and cycling lanes in Rhode Island images / information received 120821

Location: 60 Waterman Street, Providence, Rhode Island, USA

Rhode Island Buildings

Rhode Island Architecture

North Hall, 60 Waterman Street, Providence Architect: NADAAA photograph : John Horner North Hall in Rhode Island

Brown University Performing Arts Center Building Design: REX Architecture image courtesy of architects Brown University Performing Arts Center in Providence

Performing Arts Center for Brown University, College Hill Campus Design: REX Architecture render © LUXIGON Performing Arts Center for Brown University

Joukowsky Institute for Archaeology and the Ancient World Design: Anmahian Winton Architects photo © Peter Vanderwarker Joukowsky Institute for Archaeology and the Ancient World in Providence, RI

A New House on College Hill Design: Friedrich St.Florian Architects photograph : Warren Jagger House in Providence

Providence Architecture, Rhode Island

Brown University Performing Arts Center in Providence

Developments in Neighbouring States

Connecticut Architecture

Massachusetts Architecture

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American University Buildings

Harvard University Graduate Housing, Massachusetts Kyu Sung Woo Architects Harvard University Graduate Housing

Natick Collection, Natick, Massachusetts Beyer Blinder Belle Massachusetts Building

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LA / By Ear

Images: (left) Kirsten Lamb, Studio wall with Moon, Observatory, Arctic Landscape, Parabolic Curves (#8), 30 x 22 in, acrylic on canvas, 2021 (right) Matthias Moravek, Storm, contained in a square, 79" x 79", (200 x 200cm), charcoal on paper, 2022

By Ear Part 1: April 14-May 7 Tiger Strikes Asteroid LA 1206 Maple Ave #523, Los Angeles, CA Artist reception: April 14, 6-8pm [Image List and Audio]

Teil 2: May 13- May 28 Axel Obiger, Brunnenstraße 29, 10119 Berlin Artist reception: May 13, 7-10pm

In music, playing by ear is a term for performing a piece from memory and intuition rather than from a proper score. By Ear takes inspiration from this concept and uses it as a model for collaboration between visual artists from Berlin and Los Angeles/New York. Delayed for almost two years, the exhibition at Tiger Strikes Asteroid Gallery will showcase works created by Berlin based artists following concepts from LA/NYC based artists in the orbit of Tiger Strikes Asteroid. Each artist in the exhibition has made a new artwork based solely on audio descriptions of an existing artwork created by artists from the other city. It is an exercise in interpretation and imagination and willfully limited communication in an age defined by fluid and constant contact. It is a way for artists to be generous with their ideas, diminish their ego and try to harmonize with a fellow artist from another culture.

This project has been generously supported by the Checkpoint Charlie Foundation.

By Ear: (part 1) @ TSA LA, 1206 Maple Ave #523, Los Angeles, CA

Work by: Thilo Droste, Juliane Duda, Nathalie Grenzhaeuser, Harriet Gross, Gabriele Kuenne, Matthias Moravek, Enrico Niemann, Maja Rohwetter

Concepts by: Johanna Braun, Vanessa Chow, Vita eruhimovitz, Jacob Feige, Laura Greengold, Kirstin Lamb, Michael Niemetz, Liz Nurenberg, Kari Reardon, Jackie Rines & Chris Ulivo

By Ear: (Teil 2) @ Axel Obiger, Brunnenstraße 29, 10119 Berlin Work by: Johanna Braun, Vanessa Chow, Vita Eruhimovitz, Jacob Feige, Laura Greengold, Kirstin Lamb,

Michael Niemetz, Liz Nurenberg, Kari Reardon, Jackie Rines & Chris Ulivo

Concepts by: Thilo Droste, Juliane Duda, Nathalie Grenzhaeuser, Harriet Gross, Gabriele Kuenne, Matthias Moravek, Enrico Niemann, Maja Rohwetter

Artist Bios

Christopher Ulivo www.christopherulivo.com @christopherulivo

(b.1977, Brooklyn, NY, USA) lives and works in Ventura, California. He is an artist, educator and member of Tiger Strikes Asteroid Los Angeles. Ulivo received a BFA from the Tyler School of Art, Temple University, and an MFA from Rhode Island School of Design. His work, mostly egg tempera paintings, imagine the confluences and collisions of fate, myth, personal lineage and the unintended consequences of unlimited wish fulfillment. The resulting paintings are visually dense and darkly humorous. In the course of his career, he has both exhibited and organized shows across the United States and Europe including: The Benkai Museum,Athens, Felix Art Fair, Los Angeles, the RISD Museum, Susan Inglett Gallery, NY, SPRING/BREAK NY & LA, the Brooklyn Academy of Music and the Museum of Contemporary Art Santa Barbara as well as some pretty questionable places.

Kirstin E. Lamb Providence, RI and Pawtucket, RI http://kirstinlamb.squarespace.com insta: @kirstin.lamb

Kirstin is a painter living in Providence, Rhode Island and working in Pawtucket, Rhode Island. Kirstin studied painting at the Rhode Island School of Design, graduating with an MFA in 2005, and she received her AB in Visual Art and Literatures in English from Brown Univeristy in 2001. Kirstin’s work has been shown in venues across the country and abroad, recently showing at the Spring Break Art Fair in NY, Periphery Space at Paper Nautilus in Providence, RI, the Wassaic Project in Amenia, NY, the Fruitlands Museum in Harvard, MA and Providence College Galleries in Providence, RI, among others. She has attended residencies at the Atlantic Center for the Arts, Vermont Studio Center, Bunker Projects, the Wassaic Project, the Kimmel Harding Nelson Center for the Arts, The Ora Lerman Trust Soaring Gardens Artist Residency, and the Sam and Adele Golden Foundation. Kirstin recently completed a two-year contract curator position at The Yard, Williamsburg, a coworking space in Brooklyn that hosts solo and group shows quarterly, and has begun planning online and new curatorial projects in New England. Kirstin gratefully acknowledges the role that her 2020 Rhode Island State Council for the Arts grant has played in her newest work. Her work is in the collections of Fidelity Investments, Boston, MA, the Fruitlands Museum, Harvard, MA, and Providence College, Providence, RI, among others.

Liz Nurenberg www.liznurenberg.com @liznurenberg

Liz Nurenberg (b. 1978) is a Los Angeles based artist. She received a Bachelor of Fine Arts from Grand Valley State University (2003) and a Master of Fine Arts from Claremont Graduate University (2010.) Liz is an Associate Professor in the Foundation department at Otis College of Art and Design. She is a member of Tiger Strikes Asteroid Los Angeles. Liz was awarded a fellowship to Ox-Bow School of Art and Artist Residency, a Helen B. Dooley Fellowship at Claremont Graduate University, and received a California Community Foundation Emerging Artist Grant. She has exhibited her work nationally and internationally at such venues as the Holter Museum (Helena, Montana), Pasadena Armory Center for the Arts (Pasadena, CA), Elephant Art Space (Los Angeles, CA), HilbertRaum Gallery (Berlin, Germany), and the Torrance Art Museum.

Jacob Feige jacobfeige.com @jacobfeige

Jacob Feige is a visual artist working primarily in painting. He has exhibited his work in solo exhibitions at Rule Gallery, Marfa and Denver, David Richard Gallery, New York, Lombard Freid Projects, New York, and Movement, Worcester, UK. Other exhibitions have been held at Wasserman Projects, Detroit, Chambers Fine Art, Beijing, Watergate Gallery, Seoul, the John H Baker Gallery, West Chester University, and the Brooklyn Academy of Music, among other venues. Reviews of his work have appeared in Artforum, Freize, The New Yorker, and Art in America. The Phaidon Press anthology of contemporary abstract painting, Painting Abstraction, edited by Bob Nickas, includes a section on his work. In 2011 he co-founded Title Magazine, an online publication of art criticism, essays, and artists projects in Philadelphia, co-editing the publication through 2016. In 2018 he was artist-in-residence at the Princeton Cyprus Expedition, Polis Chrysochous, Cyprus. He received his undergraduate degree in visual art and the humanities from Carnegie Mellon University and an MFA in painting from the Cranbrook Academy of Art. He is currently Associate Professor of Art at Stockton University, New Jersey.

Kari Reardon karireardon.com instagram: ohhhshute

Kari Reardon is a Los Angeles based artist originally from Minneapolis Minnesota. She received her BFA from the School of the Art Institute of Chicago and completed her MFA in 2012 from the California Institute of the Arts (CalArts). Since 2016 she has been an active member of the artist-run exhibition space Tiger Strikes Asteroid, Los Angeles.

Kari is also an educator and teaches a wide range of sculpture courses at California State University Northridge, her favorite being bronze and aluminum casting. A recipient of numerous grants, residencies and fellowship, she has shown her works throughout the US and internationally, including at the Getty Villa, Torrance Art Museum, Fellows of Contemporary Art Gallery, Elephant Art Space (all in Los Angeles, CA), HilbertRaum Gallery (Berlin, Germany), and One mess gallery (Vienna Austria). Her larger-scale sculptures can be seen at the Skokie Northshore Sculpture park in IL, Josephine Sculpture Park in KY as well as in Gigondas, France.

Vita Eruhimovitz www.vitaeruhimovitz.com @vita_eruhimovitz

Vita Eruhimovitz was born in Ukraine, grew up in Israel and currently lives and works in Los Angeles. Vita holds a BFA from Shenkar College (2012) and an MFA from Washington University in Saint Louis (2015). Vita’s background in science and technology inspires and informs her practice. Her work has been shown nationally and internationally, including at the Mildred Lane Kemper Museum, the Contemporary Art Museum in Saint Louis, Museum of Design Holon in Israel, Brattleboro Museum in Vermont, and at the San Diego Art Institute Museum. Her work has also been shown with Walter Wickiser gallery, Denise Bibro gallery, the Chashama Art Space, Black and White gallery, The Governors Island Art Fair in NYC, Wonzimer gallery in Los Angeles, and more. Vita has been awarded artist in residence at Vermont Studio Center, Herzliya Artist Residence, Israel, Trestle Art Space, NYC, Playa, OR, and more.

Erin Harmon @erinjoyharmon

Erin Harmon was raised in the suburbs of Southern California where natural desert is sated by hundreds of miles of aqueducts to produce obsessively groomed lawns. After graduating from San Diego State University with a BA in Studio Art, she received her MFA in Painting from Rhode Island School of Design. Erin currently lives in fertile Tennessee where kudzu and coal sludge can swallow everything in their path. She has exhibited her work nationally in both group and solo exhibitions at venues including Field Projects, NY; Sarah Doyle Gallery, Providence RI; Atlanta Artists Center & Gallery, Atlanta GA; the Brooks Museum of Art, Memphis, TN; and the Attleboro Arts Museum, Attleboro, MA and LAUNCH Gallery, LA. Erin has been invited to produce commissions for organizations including Ballet Memphis, The Women’s Foundation of Greater Memphis, and the Memphis in May International Festival. Currently she holds the James F. Ruffin Chair of Art at Rhodes College and a founding member of Tiger Strikes Asteroid Los Angeles. While not a gardener in the traditional sense, Harmon cultivates seeds of interest with a variety of influences. Her observed environment, bonsai trees, mid-century modern design, classic Disney movies, 1970’s psychedelic black-light posters, Baroque theaters, and science fiction all influence her work.

Jackie Rines Insta: jackierines

Jackie Rines is a Los Angeles-based artist who primarily works in clay at a large scale. Her recent work addresses status symbols and power dynamics through the use of humor, opulence, and various genres of home décor that span from McMansions and Dictator Style to home goods readily available at outlet malls. Prior to attending UCLA for her MFA, Rines lived in Detroit. She has been awarded a Jerome Fellowship at the Northern Clay Center in Minneapolis and has been a resident at Henry Street Settlement in New York City.

Vanessa Chow Insta: vanessachowstudio

Vanessa Chow was born in Hong Kong and currently lives and works in Los Angeles. She received her M.F.A. from the Rhode Island School of Design. Vanessa makes work that is low tech, human scale. Her subject matter is usually inspired by the hundred of hours spent looking and being in the Pacific Ocean. She is interested in things that are profoundly handmade and things that are sustainable to the environment. Exploring the element of play is a common theme in her work. She has exhibited in spaces like the Armory Center for the Arts, LAM Gallery, Steve Turner Gallery among others in Los Angeles as well as venues in New York City and Hong Kong.

Laura Greengold lauragreengold.com insta: @lauragreengold

(B.1976, New Haven CT, USA) lives and works in Brooklyn, NY. Greengold works with oil, marble dust, animal skin, and pigments to document the often taken for granted shared human experience of the dream world. Realizing we spend nearly half our lives in the dream state, Greengold uses her memory of this nightly passage as the wellspring for her work. Greengold received her MFA from Yale University in 2000, and a BFA from the School of the Art Institute of Chicago in 1998. Her most recent solo exhibition was at Monya Rowe Gallery, NYC. Greengold's past work includes a series of paintings that attempt time-travel, painted for her grandmother to see in her youth. This series of paintings: 'Spooky Action at a Distance’, will be exhibited in Sol Lewitt’s Connecticut designed Synagogue, Rodfe Zedek in the Fall of 2022. Greengold received the Alice Kimble English Traveling Fellowship, from Yale University and the Vermont Studio Center Fellowship. Greengold has exhibited her work nationally in both group and solo exhibitions at venues including SRO Gallery, Brooklyn, NY, Elga Wimmer Gallery, New York and 33 Bond Gallery, New York.

Matthias Moravek www.matthiasmoravek.de Insta: @matthias_moravek

When nature becomes form. Matthias Moravek’s paintings, drawings and sculptures are an intensive and playful analysis of content, form and colour, exploring the wide range between abstraction and figuration. In his recent works he draws inspiration from natural phenomena such as forests, jungles, clouds and vulcanos and their cultural perception.

Matthias Moravek (*1976 in Muehlacker, Germany) studied painting at the State Academy of Fine Arts in Karlsruhe and then moved to Berlin where he graduated from the University of Arts (UdK). He has since received grants and scholarships that have provided him with opportunities to work and exhibit in Berlin, Ahrenshoop (Germany), Istanbul, Saint-Louis (Senegal) and Los Angeles. His works have been part of many national and international group and solo exhibitions in galleries and museums and can be found in numerous private collections. Matthias Moravek lives and works in Berlin.

Solo exhibitions (selection): „Revue Tropique“, Galerie Greulich, Frankfurt/Main, 2022, „Prospect Park“, Axel Obiger, Berlin, 2021, „Menagerie“, Galerie Greulich, Frankfurt/Main, 2020, „Carte Blanche“, Axel Obiger, Berlin, 2019, „Perceptions and Sensations“, Galeri Miz, Istanbul, 2014 // Group exhibitions (selection): „Wildnis“, Städtische Galerie Lichtenberg, Berlin 2020„Co/Lab“, TAM Torrance Art Museum, 2018, „Interdisciplinary“, Galeri Miz, Istanbul, 2014, „Jetzt“, Galerie Anja Knoess, Cologne, 2015

Thilo Droste www.thilodroste.de @thilo.droste

Thilo Droste (b. 1977) lives and works in Berlin. His works often follow an intense examination of existing situations and conditions, themes and different contexts. The conceptual works show thoughtfulness and sensuality also in the choice of medium and material. Even the truth has to bend in its claim to truth, honestly and persistently he questions the ordinary with subtle resistance, not with a grand revolutionary gesture. He counters the complexity of the content process with a humorous lightness of execution. Wit, refined simplicity and technical skill characterize the appearance of his work.

His life path has all the set pieces (residencies, exhibitions in museums and galleries, and purchases from international collections) of a serious artist‘s career.

Juliane Duda

Juliane Duda (1967 *in Ost-Berlin), visual artist, lives and works in Berlin. Her works can be found in public and private collections. Since 2019 she is co-operator of Axel Obiger-Raum für zeitgenössische Kunst // Exhibitions: Solo/Duo at Weltecho, Chemnitz; Galerie Christa Burger, München; IPC E Gallery, Sarajevo; Galerie Fiebach&Minninger, Köln; Deutschlandhaus, Berlin; Gallery Rhodes+Mann, London; Konrad-Adenauer-Stiftung, Berlin; Goethe-Institut, Moskau. Group at Kunstverein Ruhr, Essen; Biennale Halberstadt, Mokpo Art Center, Korea; Polnische Biennale, Stettin; Museum Festung Rosenberg, Kronach; Neue Galerie mobil, Dachau; Schloss Gottorf, Schleswig; Höhler Biennale, Gera; Haus der Kunst, München; Walkmühle, Wiesbaden; Kunsthalle Villa Kobe, Halle; Overbeck-Gesellschaft, Lübeck; ICA, London; Museum Ostdeutsche Galerie, Regensburg; Akademie der Künste, Berlin; Plattform der BerlinBienale; P.S.1, New York. // Scholarships, awards: Recherchestipendium Peter Moennig Foundation, Stipendium Künstlerhaus Schloss Wiepersdorf, Bridge Watch-Stipendium der Stiftung Corymbo, Stipendium Künstlerhaus Schöppingen, Marion Ermer Preis, Auslandsstipendium für Moskau des Senats von Berlin.

Gabriele Künne [email protected] www.gabrielekuenne.de

Gabriele Künne lives and works in Berlin. She is a member of Axel Obiger since 2012.

In her work abstract form-and sign systems play a basic role. Objects and sculptures are building an associative system.Over the last 10 years ceramics played a increasing role as a material for sculptural work. She received numerous grants and prizes and her work is found in many public and private collections.

From 1991-98 she studies at the HdK Berlin Fine Art and received the masters degree in 1998. Since then, her work is shown in project spaces, institutions and galleries in Germany, Poland, Sweden and Switzerland.

Solo shows: 2020 shifted through, Axel Obiger, Berlin / 2019 Naturtalent, Kunstverein Neukölln, Berlin / 2017 Gabriele Künne - Installation, object, painting, Kunstverein Neustadt/Wstr./ Paradoxie des Haufens, Museum Rockenhausen.

Group shows: 2020 Amorph, Galerie im Saalbau, Kulturamt Neukölln / 2019 Almost Sparkling, B-LA-Connect, Axel Obiger Berlin / 2020 Paper on Paper, paper gallery Manchester, GB / 2018 CO/LAB, Torrance Art Museum / Import Export, Produzentengalerie Dresden

Maja Rohwetter www.majarohwetter.de

Maja Rohwetter develops her work in the media transfer of collage, painting and computer graphics. In her idiosyncratic pictorial spaces, familiar and unfamiliar forms and different painterly and digital levels of representation intertwine.

She researches in the field of a contemporary visual language that incorporates visual experiences in virtuality and reality in equal measure.

Maja Rohwetter (* 1970 ) grew up in Bünde/Westphalia. She has lived and worked in Berlin since 1993. She is one of the artist runnig "Axel Obiger" project space since 2011. After studies in Philosophy, Art and Romance Studies at the University of Osnabrück, she studied Fine Arts at the Berlin University of the Arts from 1993 to 1999 and at the Royal College of Fine Arts, Stockholm (Kungliga Konsthögskolan) in 1997. After her master's degree in 1998 at the HdK Berlin, she passed her First State Examination in 1999.

After the Second State Examination in Fine Arts in 2005, she worked as a freelance artist in Berlin. Travel and residency scholarships have taken her to Sweden and Finland.

She recieved several grants and her artistic work is shown in institutions and galleries in Germany, Finland, Austria and Sweden. In addition to her painting, she teaches media design and media theory.

Soloshows (selected): 2020 voir dire, Axel Obiger. Berlin/ 2019 “soft facts”, Domeij Gallery, Stockholm, S/2016 „„thread“ (with Isabel Kerkermeier), Axel Obiger, Berlin, Germany / „PARCOURS“, Domeij Gallery, Stockholm, Sweden/ 2013 „the delicate balance of terror“, (with Knut Eckstein) Galerie Axel Obiger, Berlin, Germany / „extrawelt“, Galerie Kunst2, Heidelberg, Germany/ 2011 „Space Oddity“, Stene Projects, Stockholm, Sweden

Groupshows (selected) ; 2021„Pop Up“, Haus Kunst Mitte, Berlin, D / 2020 „amorph“, Saalbau Neukölln Berlin, D/ „Schwarz + Weiß“, Künstlerinnen des VdBK 18 67 Käthe Kollwitz Museum, Berlin, D/ 2019 „Halbschatten 02“, Kunstverein Neukölln Berlin, D/„Inner Landscapes“, HilbertRaum, Berlin,,D

Harriet Groß www.harrietgross.com @harriet.r.gross

Harriet Groß is a Berlin based visual artist working in the field of drawing and installation. For her work she has awarded numerous grants by Senat for Culture and Europe ( 2022, 2015), Stiftung Kunstfond Bonn (2020), RCA London(1998),European Heritage Days,Kiev, Ukraine(1987). Harriet shows her work national and internationally in often site specific installations: Käthe Kollwitz Museum Berlin (2021), Haus des Rundfunks Berlin, (2021), Kunstverein Würzburg (2020), Haus am Kleistpark (2020), Guardini Galerie Berlin (2022;2020;2019), Gallery of Deutsche Werkstätten Hellerau (2018), CoLab III, Torrance Art Museum, Los Angeles, USA (2018), Vincenz Sala Berlin (2019;2016), Chateau Chapel Weimar (2017), Japanese German Center Berlin (2014), Deutsches Klingenmuseum Solingen (2013), CGM Metz, France (2010), Mina Dresden Gallery, San Francisco, USA (2008), Galerie Manes, Prague, Czechia; Saarländische Galerie Berlin (2007), CGAC, Santiago de Compostela, Spain (2003). Her work is part of numerous private and public collections including Kupferstich Kabinett and Graphic Design Collection Staatliche Museen Berlin, Herzogin Anna Amalia Bibliothek Weimar, Centro Galego de Arte Contemporanea Santiago de Compostela, Spain. She received her Master of Visual Art at Hochschule der Künste Berlin and a Degree of Medicine at the Freie Universität Berlin. Harriet is a co-founder of Axel Obiger.

#byear #tigerstrikesasteroid #tiger strikes asteroid

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