#Morley gallery

[maddensking]

ok guys, i need help.

where i can find screencaps from one day? i was looking in every gallery but they didn't make it.

or maybe somebody knows a program or something to take my own screencaps.

please, please, please.

[sonofshermy]

Pauline Boty by Lewis Morley September 1963, given to the National Portrait Gallery, London by Lewis Morley, 1996

[victusinveritas]

Douglas Morley Kirkland (August 16, 1934 – October 2, 2022) was a Canadian-born American photographer. He was noted for his photographs of celebrities, especially the ones he took of Marilyn Monroe several months before her death.

Kirkland was born in Toronto on August 16, 1934. He was raised in nearby Fort Erie, where his father managed a small store that sold suits. He later recounted how he developed his penchant for photography while perusing the Life magazines his father brought back from his store. Kirkland attended Seneca Vocational High School in Buffalo, New York, before immigrating to the United States permanently.

Kirkland first worked for a printing studio in Richmond, Virginia. He then served as Sherwin Greenberg's assistant for a year starting in 1957. He was subsequently employed by Look magazine. It was in that capacity that he was allocated a photo session with Marilyn Monroe in 1961. The photos, taken only a few months prior to her death, became some of the most noteworthy ones of her, thereby kick-starting his career.

Over the years, various notable persons later posed for Kirkland, from the great photography innovator Man Ray and photographer/painter Jacques Henri Lartigue to Dr. Stephen Hawking. Entertainment celebrities he photographed included Romy Schneider, Audrey Hepburn, Mick Jagger, Sting, Björk, Arnold Schwarzenegger, Morgan Freeman, Orson Welles, Andy Warhol, Oliver Stone, Mikhail Baryshnikov, Angelina Jolie, Leonardo DiCaprio, Coco Chanel, Marlene Dietrich, Brigitte Bardot, Judy Garland, Elizabeth Taylor, Sophia Loren, Catherine Deneuve, Michael Jackson, Paris Hilton, and Diana Ross. Kirkland's portrait of Charlie Chaplin is at the National Portrait Gallery in London.

Kirkland was contracted for work around the world and worked in the motion picture industry as a special photographer on more than 150 films. These included 2001: A Space Odyssey, The Sound of Music, Sophie's Choice, Out of Africa, The Pirate Movie, Butch Cassidy and the Sundance Kid, Romancing the Stone, Titanic, and Moulin Rouge!. Some of his famous film shots include John Travolta in the dance sequence from Saturday Night Fever, a portrait of Judy Garland crying, and the March 1976 Playboy pictorial of Margot Kidder. In 1995 Kirkland received a Lifetime Achievement Award from the American motion pictures Society of Operating Cameramen.

Kirkland's picture book, Titanic (1998), was the first of its kind to reach No.1 on the New York Times Best Seller list and did so on both the hardcover and paperback lists. He followed this with the book project titled A Life in Pictures, which was released in 2013. - Wikipedia

https://www.gadcollection.com/en/44-douglas-kirkland

[mybeingthere]

Nick Goss (b. Bristol, 1981) is an Anglo Dutch painter whose (essentially figurative) paintings suggest apparently contradictory readings. On one hand there is the recognisable specificity of objects and environments rooted in factual, documentary reality: a photographic starting point perhaps, or an archival image offering an intensely palpable sense of place or experience. 

On the other there is always something more liminal at play - an uncertainty and otherness that never quite explains itself.It is in this ambiguity and sometimes dreamlike strangeness that these images reveal their power and presence. They have an unreliable relationship to time, being connected to memory and a kind of nostalgia, and yet existing precisely in their own moment. They are built slowly in thin layers of often muted pigment over screen-printed images, with small shifts of focus that simultaneously coalesce and fragment. 

At times they slide towards abstraction in form, but never in mood, which almost always remains resolutely tangible.Nick Goss has exhibited widely in Europe and America and has work in many distinguished collections including the Metropolitan Museum of Art; Dallas Museum of Art; Cleveland Museum of Art and the Zabludowicz Collection, London. Recent exhibitions include: The Undercurrents at Mathew Brown, Los Angeles; Margaritas at the Mall, Contemporary Fine Arts, Berlin; Nine Mile Burn at Josh Lilley, London and Morley’s Mirror at Pallant House Art Gallery. His first exhibition at Ingleby will open in October 2023.

https://www.inglebygallery.com/.../411-nick-goss/overview/

[biktopia-arts]

Nick Goss (b. Bristol, 1981) is an Anglo Dutch painter whose (essentially figurative) paintings suggest apparently contradictory readings. On one hand there is the recognisable specificity of objects and environments rooted in factual, documentary reality: a photographic starting point perhaps, or an archival image offering an intensely palpable sense of place or experience. On the other there is always something more liminal at play - an uncertainty and otherness that never quite explains itself.

It is in this ambiguity and sometimes dreamlike strangeness that these images reveal their power and presence. They have an unreliable relationship to time, being connected to memory and a kind of nostalgia, and yet existing precisely in their own moment. They are built slowly in thin layers of often muted pigment over screen-printed images, with small shifts of focus that simultaneously coalesce and fragment. At times they slide towards abstraction in form, but never in mood, which almost always remains resolutely tangible.

Nick Goss has exhibited widely in Europe and America and has work in many distinguished collections including the Metropolitan Museum of Art; Dallas Museum of Art; Cleveland Museum of Art and the Zabludowicz Collection, London. Recent exhibitions include: The Undercurrents at Mathew Brown, Los Angeles; Margaritas at the Mall, Contemporary Fine Arts, Berlin; Nine Mile Burn at Josh Lilley, London and Morley’s Mirror at Pallant House Art Gallery.

Smickel Inn, Balcony of Europe, Ingleby's first solo exhibition with Goss, which includes a number of new paintings and watercolours, is currently on view at the gallery. To celebrate the show, a new 116pp publication, Smickel Inn, has been published by Ingleby, Matthew Brown and Anomie.

[gogmstuff]

More pre-crinoline dresses (from top to bottom) -

1843 Harriet Parker (1809–1897), Countess of Morley by Richard Buckner (Saltram - Plympton, Plymouth, Devon, UK). From artuk.org; removed spots and vertical flaws with Photoshop 1558X1892.

1844 Elizabeth Mikhailovna by Vladimir Hau (State Russian Museum - St. Petersburg, St. Petersburg Federal City, Russia). From Wikimedia 3888X4784.

ca. 1844 Anna Benardaki, née Kipouro by Carl von Steuben (Hermitage) From the museum's Web site decreased temperature 2408X2914 @150 8Mp.

1845 Anna von Minarelli-Fitzgerald by Anton Einsle (National Gallery of Ireland - Dublin, Ireland). From their Web site; fixed spots & edges w Pshop 1987X2480.

1847 Young lady in profile with an enamelled bangle, a snake bracelet and a bracelet with turquoises by Anton Einsle (auctioned by Dorotheum). From their Web site.

1847 Elisabeth Alexandrine de Ficquelmont, Princess Edmond von Clary-und-Aldringen by Franz Schrotzberg (location ?). From Wikimedia; trimmed & fixed spots with Pshop 1446X1472.

1848 Young lady in a white dress by Frédéric Millet (auctioned by Koller Auctionen). From tumblr.com/costumedufilm 747X970.

1840s Herzogin Adelheid von Nassau, geborene von Anhalt-Dessau, in der Spielbank im Kurhaus Wiesbaden by ? (probably Spielbank Wiesbaden - Wiesbaden, Hesse, Germany). From Wikimedia 2413X3400.

1840s Vera Samoilova by by Henri-Eugene Pluchart (location ?). From equestrianculture.com/custom_type/visual-equestriennes/ 1686X2262.

[blogmorley]

Project 3 Retrospective

Okay so I really struggled with this project, especially at the start. I wasn’t sure from which perspective we were working from (that being either the client of a design firm or a design firm designing for a client) and that's my fault. A lot of the pitfalls of this project for me were a result of distraction, absence, and not communicating with my instructor. I think maybe it’s just because it’s the end pf the semester, but I’ve felt so burnt out over the last couple weeks.

For this project, once I figured it out that is, I created an brand identity for Gallery Morley, an art gallery that aims to bolster creativity through partnerships with local artists and through it’s work with both high school and college art programs. I used deep, rich primary colours to quickly and easily designate the focus on creativity and the arts. I put a particular focus on the colour blue, but only because it’s my favourite colour. 

I used a simple layout for the design brief, using Helvetica Neue for it’s modern and clean applicability and played with the positive/negative spacial tug-of-war of black and white for the margins of the pages, as well as the page numbers. The brand identity is marked by a simple geometric square with Gallery Morley tucked into the bottom left corner. This design was not only simple clean, but also made it easily transferable to apparel and small goods, as can be seen in the series of mockup images found within the design brief.

Overall I enjoyed this project and course, as I’ve always had an interest in advertisements, the communication of design, and how the combination of good design and targeted marketing can attract and influence people. That being said, I take issue, especially in the last couple years, with the pervasiveness of advertising and design, the co-opting of design by profit-motivated firms who might use imagery from and/or social movements in general to make a quick buck. On the other hand, I think the only thing that can push back against something like that is good design. 

[1977records]

BGMDJ

2024.9.26.THR

19-24pm Charge 1000 yen

at Debris Daikanyama @debrisdaikanyama

Lodio @nobutada_lodio_yaita chillsuke @chillsuke James Banbury @james_component @themagusproject @bloodwineorhoney nina　@h_nina

Lodio DJ / 1977 Records / Art Vinyl .Tokyo主宰。約30年パンク関連グッズを販売。 2015年からはレコードを1枚から製作出来るサービスをスタート。 また2024年4月に原宿にオルタナティブ・スペースPUNKTUREをオープンさせる。 Has been selling punk-related goods for about 30 years. In 2015, he started a service where records can be produced from a single copy.Also opened the alternative space PUNKTURE @punkture.jp in Harajuku in April 2024. https://1977records.com https://artvinyl.tokyo https://www.punkture.jp

chillsuke bonjour recordsのMD兼企画を担当。 Nu DISCOが好き。 MD and planner of bonjour records. Loves Nu DISCO.

James Banbury 作曲家、プロデューサー、DJであるジェームス・バンブリーは、レイヴ・アーティスト（The Magus Project）としてスタートし、90年代の大半を不機嫌なUKcバンド、The Auteursで「チェリスト」として過ごす。 2000年代��はSnow Patrol, U2, and Goldfrappといったアーティストのストリングスのアレンジやプログラミングを手がけ、Art of Noiseのポール・モーリー（Infantjoy）とグループを結成。 2010年からは香港に拠点を移し、主にテレビ音楽の制作や、Blood Wine or Honey（現在も活動中）のメンバーとして活動している。 2020年にThe Magus Projectを復活させ、2022年に香港のSilk Road SoundsからThen / Now EPをリリース。昨年末には、東京を拠点に活動するアーティスト、ロブ・キドニーとトラック「NRG MOB」をドロップ。 現在は東京を拠点に活動し、アートギャラリーのような空間でクラブミュージックをプレイしている。 Composer, producer and DJ James Banbury started off as rave artist (The Magus Project) and spent much of the 90s in the grumpy UK band The Auteurs as ‘the cellist’. During the 2000s he arranged strings and programmed for artists like Snow Patrol, U2, and Goldfrapp, and formed a group with the Art Of Noise’s Paul Morley (Infantjoy). In 2010 he moved to Hong Kong, mostly creating TV music, and as a part of the group Blood Wine or Honey (still active). In 2020 he revived The Magus Project and in 2022 released Then / Now EP on HK’s Silk Road Sounds. He dropped the track NRG MOB with Tokyo based artist Rob Kidney late last year. He is now based in Tokyo and likes playing club music in art galleries.

niia 青山にある某有名ブランドショップスタッフ。 Staff of a well-known brand shop in Aoyama.

[distinktionsfetzen]

Check out Ivan Morley, From “Tragegedy” (sic) (2023), From David Kordansky Gallery

[nessocoffee]

Savoring Every Sip: Exploring the Rich Coffee Culture Near Morley

The Local Gems:

Morley boasts a variety of local coffee gems, each with its unique charm. "Bean Haven," a quaint corner cafe, is a favorite among locals for its laid-back atmosphere and expertly crafted espresso. The aroma of freshly ground beans welcomes patrons, inviting them to unwind with a cup of their signature blend. The friendly baristas at Bean Haven are known for their personalized recommendations, ensuring every cup is tailored to suit individual preferences.

For those seeking a more contemporary vibe, Coffee Shop in Morley Leeds "Brew & Beyond" is a modern coffeehouse that doubles as a co-working space. With sleek interiors and an extensive menu featuring artisanal blends and specialty drinks, Brew & Beyond is a haven for digital nomads and coffee connoisseurs alike. The menu is a testament to the diversity of coffee styles, from classic cappuccinos to bold pour-overs.

Roastery Revelations:

Morley's coffee scene extends beyond cafes to embrace the art of roasting. "Roast Master Collective" stands out as a prime example, offering visitors a behind-the-scenes look at the coffee roasting process. The intoxicating aroma of freshly roasted beans permeates the air as customers witness the meticulous craftsmanship involved in creating the perfect roast. Coffee Places in Leeds Coffee aficionados can purchase freshly roasted beans to take home, ensuring they can savor the experience long after leaving the roastery.

Cultural Connections:

Beyond the beans, Morley's coffee culture is deeply intertwined with the community's rich tapestry. "Culture Cup," a coffee shop with a purpose, not only serves exceptional brews but also actively supports local artists. The walls adorned with rotating exhibitions create a gallery-like atmosphere, making it a hub for creatives and coffee lovers alike. With every cup purchased, patrons contribute to the flourishing local art scene.

[ultraheydudemestuff]

Mary A. Patterson Memorial Building

213 E. 4th St.

East Liverpool,   OH

The Mary A. Patterson Memorial building was built in 1924 by East Liverpool, Ohio industrialist Monroe Patterson as a memorial to his late wife, Mary Patterson. The structure was a home for working women from 1932 until 1984. It is now part of Kent State University and functions as a learning center featuring a community room and an art gallery. Monroe Patterson came to East Liverpool from Ironton where he was in the general contracting business. After arriving, Mr. Patterson along with his brother-in-law, Phillip Morley opened a foundry. At first the foundry manufactured light equipment and serviced the potteries and other clay industries.

     Mr. Patterson married Mary A. Thompson of Smith's Ferry, Pa. in September 1883. The couple had two children but both died in infancy. Mr. and Mrs. Patterson were generous benefactors to many different activities in the community. Often their-donations were anonymous.  After the sudden death of his wife in 1921, Monroe decided to build a good Christian home for working girls that would serve the needs of the community and would also be a fitting memorial to his wife.  Articles of Incorporation were drawn up for the Mary A. Patterson Memorial Christian Home Association. Monroe supervised the initial stages of the construction himself. However, he died in 1924 before the work was completed.     The shell of the building was completed in 1925 but the interior was not finished till 1932 after many delays and problems in the construction.  The building was erected at a cost of $315,000. It is 84 feet by 124 feet. The white tiled swimming pool in the basement is 60 feet by 22 feet.  In 1932 forty bedrooms, the lounge, and two small writing rooms were furnished, and the home was opened to the public. The first executive secretary received a monthly salary of $60.00. The first swimming instructor was paid $12.50 a week. A fee of 25 cents per person was charged for using the pool with an additional seven cents for a towel and one cent for soap. For several years there was a dining room on the lower floor.

     By 1952 there were 116 furnished rooms, a lounge, and an auditorium. Many organizations in the community used the auditorium for meetings, receptions and recitals. The Red Cross and the Columbiana County Motor Club both held office space on the first floor for many years.   As more apartments in the community became available for women, and the building became older and less attractive and less equipped to meet the need of young people, the occupancy rate began to go down. Many of the retired women were able to move to senior housing. The cost of repairs and renovation was much too high for the board to handle and the trustees of the building realized that they could not keep the building open. The building closed in 1984.  

    The Mary Patterson Building was added to the National Register of Historic Places on November 14, 1985.  After the building had been closed for one year, it reverted to the Patterson heirs.  It was purchased by the Friends of the East Liverpool Campus (of Kent State University) in 1989 and was partially renovated in 1993. In 1996, $956,000 was raised from the community to transform the building into a state-of-the-art learning center. In addition to the private donations, Kent State University and the State of Ohio contributed a total of $2 million in additional funds to complete the project. The building was re-opened in May 2000.

[scottwbeattie]

Review: Iron Man Epic Collection 11: Duel of Iron

A bit sillier than I remember, but great nevertheless

My previous reviews have all been for Epics where most (if not all) of the issues are new to me, however, I'd already read all of the single issues in Duel of Iron prior to owning the Epic. So I think my perspective has altered slightly based on reading these for the second time.

I had forgotten (or had been so caught up in the good parts) how silly a lot of the villains are in Iron Man 11. In general, and, I say this as a massive Iron Man fan, Iron Man's rogues' gallery isn't great considering he's a founding Avenger and has been around since 1963. Even graded on a curve, many of these antagonists in these issues fall short. Foes like the Brothers Grimm and Vibro are basically goofy, one-off Silver Age villains, except that these comics are from the 80's not the 60's. There's also the cartoon-ish Zodiac crime organization, which tries to kill Iron Man in ways that feel like they'd be more at home in Looney Tunes (putting TNT in the van engine! Blowing up a bridge!) than the serious title that this was intended to be.

That said, the issues in this collection work, because the true conflict is actually James Rhodes and Tony Stark battling their own inner demons. Carrying on from the previous collection, James Rhodes is still serving as Iron Man, however, the armor seems to be giving him increasingly severe headaches which, in turn, make him more erratic. Meanwhile, Tony Stark, having lost literally everything in his battle with Obadiah Stane, is living on the streets as a homeless alcoholic. Tony's alcoholism reaches a turning point in the harrowing #182 (one of my favorite Iron Man issues), and he eventually attains sobriety. Yet when he joins Rhodey, Clytemnestra and Morley Erwin's fledgling tech startup company, it triggers Rhodey's sense of jealousy and his behavior becomes even more unpredictable and violent. Eventually, Tony is forced to don an older version of armor in order to stop his friend in the excellent #192 (another favorite of mine).

I love the way that O'Neil writes Tony and Rhodey. It's quite clever how the Iron Man armor represents something that gives them purpose and maybe even happiness, but both also believe that it's the source of their inner demons. The reader saw in this volume just how far he had fallen, and it makes sense that, since he thinks the armor exacerbated his personal problems, he would also be terrified to put it back on. When he finally does (albeit briefly) 10 issues later, the moment is that much more powerful. I’m less in love with the way that O’Neil resolved Rhodey’s headaches, but I did like that he sought out Henry Pym and Shaman of Alpha Flight to help him. I love when characters appear in other titles without it becoming a crossover. Those types of small interactions are what the Marvel Universe does best.

I knew penciler Luke McDonnell from the great Suicide Squad comics of the late 80's long before I read any of these issues. He's a very solid, no-frills storyteller. Given his clear, straightforward layouts and reliability (he even draws the Annuals in addition to the regular issues), I can see him being a favorite of Jim Shooter-era Marvel.

Duel of Iron is a great read, although I'm not sure how much you'd get from it if you hadn't read the previous volume (Iron Man: The Enemy Within). If they're read together, it makes one of the best character deconstructions ever done in comics, especially since O'Neil cleans up his own mess and puts a mentally stronger Tony back in the suit by the end of his run. We're still waiting for the conclusion of O'Neil's run with Iron Man 12, but would it also be too much for to ask for a reprint of Iron Man 10?

[morleyartscholars]

Its been a busy few weeks preparing for the show City Storeys and Folk Tails!

In the process I experienced my first ceramic disappointment, opening the kiln to find two of my large sculptures in pieces. Understandably I was quite upset and embarrassed! but I am more than happy to say they have been transformed in to something I'm very excited to share with you all.

The work will be on display at Morley Gallery from 11th September to 1st October.

[wordacrosstime]

Especially When It Snows

by Michael Spring

This is a brief and true story of heartache and injustice, a tragedy that stretched over generations. It is one of those stories that prods at your sleep, etches itself into views and places, and finally leaves you shouting at the moon.

My part in the story is simply that of an observer. I have traced down some of the links, read some of the poetry, wept silently at the rank injustice that surrounded these few connected individuals. The only good thing to come out of it was the poetry – a few desperate quanta of light, somehow not gathered into the black hole - but let me begin the story where I started.

The Only Blonde in the World is a painting by an artist called Pauline Boty. It’s part of the collection of works held by Tate Britain, and its subject is Marilyn Monroe. I’d walked by it a few times, liked its confident presence and its understated enthusiasm for a woman who in her own lifetime became more legend than reality.

I was reminded of it when I – by accident – wandered around the small exhibit dedicated to Marilyn Monroe at the National Portrait Gallery in 2012. There was a photo there of Pauline Boty with her painting. I decided to try to find out some more.

Pauline Boty was beautiful, like the subject of her painting (Michael Seymour and Lewis Morley’s photos of her are in the National Portrait Gallery). Her friends called her the Wimbledon Bardot for her resemblance to the legendary Brigitte. She was talented too, and followed up her time at Wimbledon Art College by moving to the Royal College of Art. And there she started painting and drawing her contemporary heroes – Monroe, Jean-Paul Belmondo, the Rolling Stones – as well as assembling collage and other multi-media works that emerged from her course, nominally concerned with stained glass.

In London, she took wing. Her work featured in an exhibition, Young Contemporaries, with Robyn Denny, Richard Smith and Bridget Riley. With her fellow artist Derek Bolshier, she was accepted, after auditioning, to appear as a dancer on the TV Show of the moment – Top of the Pops. She got to know Peter Blake, later to design the cover of the Beatles’ Sergeant Pepper LP, Bob Dylan, Kenneth Tynan, David Frost. She was one of the few women amongst the pop art movement, and she was also an actress, good enough and photogenic enough to get a cameo role in Alfie as one of Michael Caine’s girlfriends.

And then she fell in love.

After 10 days of knowing Clive Goodwin, they decided to get married and in 1965, unexpectedly and at the age of 28, she found she was pregnant. She also found that she had cancer.

She refused all treatment, and instead determined to have her baby, a girl, who became known as Boty Goodwin. Pauline Boty died five weeks after the birth.

Boty was brought up by Clive and her grandparents, often staying with the family of the left-wing poet, Adrian Mitchell, whose daughters became firm friends.

12 years after her mother’s death, her father (the publisher of Black Dwarf and a successful TV and film producer) was in Hollywood, meeting with Warren Beatty in a big hotel there to discuss the forthcoming film Reds. Clive Goodwin felt unwell and in the lobby was sick and collapsed. Hotel staff and police who were called thought he was drunk – he’d actually had just one glass of wine – and threw him into a cell where he died alone, of a brain haemorrhage.

Boty grew up and emerged as a talented woman like her mother. She completed a first degree at the University of California in Los Angeles. (The eventual settlement from her father’s death had made her financially independent). And when she came back to the UK, she stayed with Adrian Mitchell and his family. She was offered post-graduate scholarships at UCLA in two subjects, literature and fine art.

Returning to California, she was given heroin at a party, and died of an overdose in her sleep.

In response, Adrian Mitchell wrote some heart-wrenching poetry, the best of which is Especially when it snows, which should be read in full, but contains these lines of heartbreak:-

especially when it snows and down the purple pathways of the sky the planet staggers like King Lear with his dead darling in his arms

It would be hard to make up such a tale of injustice and suffering, a tale in which so many bright lights are extinguished with a callousness that makes me think that if there is a god, I want nothing to do with him.

The Only Blonde in the World is part of the collection at Tate Britain. The poetry of the late Adrian Mitchell is published by Bloodaxe in the UK. You can search on YouTube to see and hear Adrian Mitchell reading his anti-war poem, Tell me lies, at the Albert Hall in 1965.

Image (c) Estate of Michael Seymour 1962, from National Portrait Gallery Collection NPG x88193. Extract from Especially When It Snows (c) Estate of Adrian Mitchell / Bloodaxe.

Michael Spring

wordsacrosstime

15 January 2021

[spine-tinglers]

S02E04: The Academy

Night Gallery (6th October 1971)

[newyorkarttours]

Alex Bradley Cohen at Nicelle Beauchene Gallery

Young Chicago-based artist Alex Bradley Cohen channels the vibrant color and inventive perspectives of David Hockney’s 80s paintings in expressively distorted portraits of friends and family now on view at Nicelle Beauchene Gallery. Against a fiery orange carpet and cool blue background beyond the terrace, this subject comes across as both guarded and open, inviting viewers to engage further. (On the Lower East Side through Nov 10th). Alex Bradley Cohen, Morley Music, acrylic on canvas, 36 x 24 inches, 2018.