#Permenent Art Collection

[goodpix2021]

This Happened

Tenth Anniversary of Hurricane Katrina destroying the Lower 9th ward of New Orleans. This was a very pleasant surprise. Roughly ten years ago I chased all over New Orleans making pictures for the tenth Anniversary of Hurricane Katrina wiping out the Lower Ninth Ward and leaving 80% of the city under water. I publish a couple weeks worth of photographs on Storyteller. One event that I…

[ballerinapoems]

Agent Jiayi's mission

Starting and running a business requires a strong effort to achieve good financial results, and my expertise lies in the art of exchanging goods. However, the process is far more complex than simple transactions. It involves understanding market trends, identifying customer needs, and delivering products that meet those needs effectively.

And I, Jiayi, as a hidden agent (spg cigarette business which also becomes spg snacks) running a successful business entails strategic planning, efficient operations, and exceptional customer service. It is about creating value, and continuously adapting to a dynamic marketplace. My skill set extends beyond mere exchanges to encompass the comprehensive management and growth of a business.

Agent Cifung.

Agent Cifung sebenarnya mempunyai bisnis menjadi tukang pulsa atau jual kuota, tetapi dibalik bisnis itu ada bisnis rahasia yang Cifung jalankan, yaitu menjual nomor-nomor artis papan atas khusus untuk para penggemarnya. Setiap seseorang yang melakukan pembelian pulsa seharga 10 juta, sudah dipastikan ia ingin membeli nomor artis yang ia inginkan, Cifung berhasil mengoleksi nomor tersebut dari beberapa rekan kerjanya selama menjadi agent

Agent Daimeng

Daimeng adalah seorang agen cerdas yang melakukan penyamaran sebagai anak sekolah biasa. Dia berjualan di toko permen kecil sepulang sekolah. Dari luar, toko permen pribadinya terlihat biasa saja, menjual berbagai macam permen yang selalu menjadi favorit anak-anak dan remaja. Namun, di balik kesederhanaan tokonya, Daimeng sebenarnya memiliki bisnis rahasia yang sangat menguntungkan, jual beli miniatur anime. Dengan keahlian yang tajam dalam mengidentifikasi miniatur anime langka dan berharga, Daimeng berhasil menjual koleksinya dengan harga berkali-kali lipat dari harga permen yang dijual di tokonya. Tidak banyak yang tahu tentang sisi bisnis rahasia ini, karena Daimeng sangat pintar menyembunyikan kegiatan jual belinya. Hanya para kolektor dan penggemar anime yang mengetahui bahwa di balik etalase permen, ada dunia perdagangan miniatur anime yang penuh intrik dan keuntungan besar.

Agent Mayleen.

“China,” Mayleen whispered, tracing her finger over the map to a marked location. “This is where it will happen.”

Elian nodded slowly, his piercing gaze following her every move. “The details?”

Mayleen straightened, her demeanor exuding confidence and precision. “I’ve secured the necessary contacts in Shanghai. They are discreet and trustworthy. The shipment will arrive in three weeks, and our partners there will ensure its safe passage through customs. From there, it will be distributed quietly and efficiently.”

The shipment was more than just a collection of valuable goods; it was the cornerstone of their plan to expand their influence and operations of Salvatuka into the vast and lucrative markets of China. The risks were high, but the potential rewards were even higher.

[tarainthemuseum]

Being Human at the Welcome Collection

attended this show with my friend Dan. He said he wanted to see it as he had seen it advertised with the title “being human” and not seen much more information, that had been enough for him. He said that we needed headphones for the experience. We booked tickets (COVID times) and headed down. My initial thoughts were that it would be a show containing pysical human elememnts like biology or pathology or virolology. It kinda didn’t, it was a hodgepodge of many elements - interesting but didn’t seem to have a cohesion. There were natural disaster photos, a flooding McDonalds video, a refugee space man made of textiles and belongings, a blender for ingesting poo incase of extreme dhiorreah, a juke box with pandemic music and more. I suppose the broad sense of being human was encapsula but really you could have taken my house and it’s wears on display and called it being human if that’s the case. That is, of course, reductionist, but I am still a little lost I expected a little more meat from the title. It felt more like a gallery or permenant collection of displays than a limited run show.

This refugee astronaut was thought provoking and also just really pretty. Great combo in my books. I was particularly surprised to find onjects I own (such as old cameras) in the sack on his back. I love that all the text panels featured Braille for accessiblity.

I did very much enjoy the individual displays. These photographs were great, and struck a chord with me due to their similarity to Hackney Flower by Stephen Gill. The text panel was confusing however, it explained that the ’the film was found and then dropped at Euston‘, Dan and myself couldn’t figure out if they meant dropped as in dropped off or

The one above was a display made in a collaborative art session, each of the objects features an attached statement from the maker. They were poetic and full of human connection.

[dyoungv]

🌻RISE SUNFLOWERS🌻 This exhibition sign was created by myself and @nickolaybereza for our co curated show 'Rise Sunflowers' which opened on July 16th 2022. ***@Select works from the exhibition are on display in the @lunarienne back gallery until September 25th. Proceeds go to @heartsforukraine.us The sign we designed was a throwback to the older @lunarienne tradition of displaying outdoor hand painted sign advertising their art shows. A tradition that went back to 1995 when they were called 'Fabric 8', before changing to 'Luna Rienne' in 2013. Many of those signs are still on display at Luna Rienne in their street level corridor. I'm proud to say that our sign will soon be on permenant display will all the others very soon. Feels good to be a part of such a historical SF collection! The original show features 28 local artists exhibiting affordable works of various media, the proceeds from which will be donated to Hearts for Ukraine, a Bay Area-based organization that delivers critical supplies to hospitals, shelters, schools, orphanages, nursing homes, refugee support centers and the territorial defense forces of Ukraine. For online purchases go to: www.lunarienne.com Participating artists: Amanda Lynn - @alynnpaint Ann Weiler Lady Henze - @ladyhenze Brett Amory - @brettamory Eddie Colla - @eddiecolla Rich Jacobs - @movezine David Ball - @davidmball Nicole Hayden - @nicolehaydenart Calamity Fair - @calamityfair Chris Stokes - @chrisstokes Adam Caldwell - @adamhuntercaldwell Alec Huxley - @alechuxley Seibot - @seibot Nathalie Fabri - @nathalie_fabri_artist Emily Fromm - @emilyfromm John Keating - @johnkeating_artist Antonio Mancera - www.lookgallerysf.com Mykola Bereza - @nickolaybereza Jenny Bagnyuk - @zhenyafoto Chris Farris - @christfarris Misia Farris - @misia.soup Nolan Yeloneck - @nolanwhy John Casey - @johncaseyart Brandon Joseph Baker - @brandonjosephbaker Mark Nobriga - @mr.malicioso_art Fabio Benê - @fabiobene D Young V - @dyoungv #risesunflowers #signpainting #lunariennegallery #fabric8 (at Luna Rienne Gallery) https://www.instagram.com/p/CieA7FZL1lD/?igshid=NGJjMDIxMWI=

[uwucontextualstudiesblog]

WELLCOME COLLECTION EXHIBITIONS

Interestingly, there are a number of exhibitions exploring ideas around wellbeing already. Seemingly, it was appropriate to explore these exsisting archives to investigate the usefulness of different creative outlets when it comes to improving and expressing mental health. 

Furthering this, I felt compelled to go explore the exhibits at ‘the wellcome collection.’ It had two exhibitions ongoing at the time both relevant to the exploration of wellbeing. 

The first ‘being human’ a permenant exhibition at the Wellcome Collection; which creatively explored metal health and artwork. Their website describes the permanent exhibition as “Being Human explores what it means to be human in the 21st century. It reflects our hopes and fears about new forms of medical knowledge, and our changing relationships with ourselves, each other and the world.” “Featuring 50 artworks and objects, the gallery is divided into four sections: Genetics, Minds & Bodies, Infection, and Environmental Breakdown.”

https://wellcomecollection.org/exhibitions/XNFfsxAAANwqbNWD

All of the work is fantastic, but most applicable was the mind and bodies section of the exhibition. One artist in particular, Antoine Catala, created a fascinating piece of work 'Everything is OK '. This piece encapsulates movement with the message disappearing slowly make this statement seem fragile. This piece invites the question my own emotions and those of others. How fixed are those states of mind? and discern how quickly being ‘okay’ can diminish. 

The idea that art can be catalyst for thought and the beginning of a discussion or thought process. A method to explore and present emotions, thoughts and feelings. And helping to consider how an audience can relate to an experience through artwork, continuing to explore how this perhaps could be utilized to benefit wellbeing. 

The Wellcome Collection is a more contemporary example into the exploration of art and wellbeing. To further distinguish whether this ideology can be successful, I will explore whether it has been practiced or tested historically. 

[johnkmelvin]

EntroTree. Original photograph of sculpture by Eco-Artist John K Melvin. EntroTree is a permenant sculpture on display at Sculpture Space in Utica, NY, USA. It is plastic pollution awareness project that highlights the amount of plastic waste produced in the plastic bottle industry. Over the entire welded frame of the sculpture, the artist meticulously covered the structure with a matrix of “pre-forms”, the beginnings of a plastic bottle. The photograph was taken by the artist on the first weather test before the sculpture was attached to the ground. The image is 26 x 25.8 cm plus a 3cm border for mounting. 1st Edition is limited to 200. Each limited-edition print ships with a signed certificate of edition, and each print has a custom embossed artist signature on the lower right border of the print. These two forms of certification create a truly unique piece of art for any collection. The artist suggests it be displayed with a 2-inch archival white window mat framing the print just beyond the embossed signature, and all enclosed in a low profile matte white studio frame with UV glass or acrylic glazing. The artist John K Melvin has contracted with PH Media UK to produce these fine Art Giclée prints. The prints are output using the finest digital museum grade fine art papers. Each print is individually quality checked before dispatch. PH Media are members of the UK Fine Art Trade Guild. PH Media prints for world class museums and publishers. Prints are produced using Hahnemühle Photo Rag® 310gsm, 100% Cotton, bright white paper. Shipping additional. (at New York) https://www.instagram.com/p/CAPjcLcqyDG/?igshid=ywj0wrioqi5l

[unitedstatesofvisual]

Darren Harvey-Regan - The Erratics

Entwining image and object, the work of Darren Harvey-Regan (b. 1974 Exeter) often sees a hybridisation of the conventions of photography and sculpture. As quietly humorous as they are frustrating his works challenge the viewer to distinguish where representation ends and the object begins. “The presentation of photographs in interaction with objects serves to highlight the inherent tensions within representation; between the photograph as an object and the image of the world it contains. In this way, I consider the photograph as being something not only to think about, but to think with.” Darren Harvey-Regan is a graduate of the Royal College of Art. His work has appeared in exhibitions and publications internationally and is part of the permenant photography collection at the V & A Museum, London. His solo exhibitions include Meralepsis, Copperfield Gallery, London (2017); The Erratics, Copperfield, London (2015 - 2016); The Erratics, Passaggi - Arte Contemporanea, Pisa (2015); Phrasings, Ravestijn, Amsterdam (2013); A Shifting Sense of Things, Sumarria Lunn, London (2013); A Collection of Gaps, Phoenix, Exeter (2011); and Fact, Room Gallery, London (2011). Group shows include Walker Evens Revisited curated by David Campany, Kunsthalle Mannheim, Germany (2020); Pic.London, Ambika P3, London (2017); Perfectionism (part iii): The Alchemy of Making, Griffin Gallery, London (2016); MAC International, finalist, Belfast (2016); Not Really Really, Collection Frédéric de Goldschmidt, Quai du Commerce, Brussels (2016); In and Out - Spatial Correspondence, RAUMX, London (2016); Against Nature, Photo50 curated by Sheyi Bankale, London (2015); A History of Photography, V & A, London (2014); Exile, ONCA, Brighton (2014); Act & Application, Lawrie Shabibi, Dubai (2014); GeoGráfica, FOTOTROPIA, Guatemala City (2013); The Animal Gaze Returned, Sheffield Institute of Arts (2013); Moves, Chandelier Projects, London (2013); Confined, Nest, Den Haag (2012); Recasting the Gods, Sumarria Lunn, London (2012); Collaborators 3, ROOM, London (2012); Breaking Surfaces, Jette Rudolph, Berlin (2012);  I’ll Be Your Mirror, Monte Vista, LA & Nancy Kranzberg, St Louis (2012); The Animal Gaze Returned, Cass, London (2011); Object Dada, Edel Assanti, London (2011); Photography as Object, Sumarria Lunn Gallery, London (2011); Catlin Prize, London (2011); New Contemporaries, ICA, London (2010); Elisions / Show One, Gulbenkian Galleries, RCA, London (2010). Darren Harvey-Regan is a recipient of the Leverhulme Trust Award (2009) and is part of the Hal Silver collective. Publications include The Erratics, RVB Books, monograph, Paris (2017); Constructed: The Contemporary History of The Contructed Image in Photography Since 1990, Routledge, New York (2017); Photography is Magic, Charlotte Cotton, Aperture, New York (2015). His book 'The Erratics' has been shortlisted of the Aperture/ Paris Photo First Photobook Award (2017). For his most recent solo exhibition with the gallery: http://www.copperfieldgallery.com/darren-harvey---regan.html

[lydiasonlinelog]

Exercise 3.1 - Freeze

Eadweard Muybridge

source: http://www.eadweardmuybridge.co.uk/muybridge_image_and_context/animal_in_motion/ (1)

Man/horse (vehicle) by Eadweard Muybridge - later image with greater graphic detail

Muybridge's photography of horses in motion began in 1872 at Leland Stanford's stock farm in Palo Alto.

This particular business association is said to have started because Stanford wanted to settle a bet around whether all four of a horse's hooves left the ground at speed; something Muybridge's single shot motion photographs of 'Occident' - one of Stanford's horses - proved correct.  

Muybridge's single shot photography of motion led to his most pioneering body of work, known as motion sequence photography. Here, separate instantaneous images of motion were displayed in a grid illustrating consecutive phases of movement.

The first motion sequence photographs were taken in 1878 when Stanford asked Muybridge to investigate animal locomotion as a phenomenon in itself. Muybridge set up a battery of 12 cameras at Palo Alto and developed a set of electro-shutters and timers. He then began taking a series of 6, 8 or 12 phases of the horse in motion.

Photography until the 19th century had not represented movement because long exposure times displayed it only as a blur. But Muybridge's instantaneous photography made motion visible, and therefore functioned to represent the fast-moving time and shifting cultural landscape of modernity.

Muybridge's photographs certainly comment upon the endlessly changing nature of time within modernity. However, in so doing they also 'attempt to capture the fleeting and the invisible'. (Tim cresswell)

I think that Muybridge was a pioneer of photography in his time because he managed to do something that nobody had ever done before. He managed to stop time and capture something that evades the human eye. Muybridge was able to take something that the human eye can only see in a minute second and transform it into a permenant image that people are able to view for as long a duration as they like. He was the first to make complete stillness out of motion.

AM Worthington and Harold Edgerton

Sources: https://archive.org/details/splashofdrop00wortuoft/page/70 (2)

http://edgerton-digital-collections.org/?s=hee-nc-57001#hee-nc-57001 (3)

Series XIV by AM Worthington - The Splash of A Drop - published 1895

Milk Drop Coronet by Harold Edgerton, 1957 - the aesthetic properties of milk

AM Worthington was an English physicist who observed the physics of splashes and became a pioneer in high speed photography techniques.

In the preface of his book he writes, “The reason that with ordinary continuous light nothing can be satisfactorily seen of the splash, is not that the phenomenon is of such duration, but because the changes are so rapid that before the image of one stage has faded from the eye the image of a later and quite different stage is superposed upon it.”

He then goes on to conclude that the impression you are left with is a confused mixture of each stage, like a blurred photograph.

He then decided to conduct a controlled experiment where he let a drop fall from a certain height and illuminated it with a flash of a short duration at any stage to exclude the rest of the splash taking place and only capture that one moment.

Following on from this in 1957, Harold Edgerton took what is considered to be one of the most important photographs of all time.

His photograph, Milk Drop Coronet, was one of many in a life-long quest to capture the perfect coronet. He took a similar image in black and white in 1939. Edgerton’s son describes the creation of the image like this:

A beam of light and a photocell was used in both examples to trigger the flash after an adjustable electronic delay.

The drop of milk is splashing into the thin film of milk that has formed on the surface from the previous drop of milk. The shape of the coronet is very dependent on the thickness of the film of milk, the size of the drop, and the height through which the drop has fallen.

Milk was selected as the liquid because it is white and translucent and attractive to photograph.

Edgerton’s contribution to the study of splashes in photography was his development of electronic flash technology so that there was enough intensity for colour photography even with a short enough exposure time to produce a crisp image.

He also devised the triggering scheme and delay used to capture this critical moment in the evolving shape of the splash. 

The work of Worthington and Edgerton is very similar. Worthington began an exploration into the phenomenon of splashes which Edgerton would later use to inspire his colour photograph of the perfect coronet formed by a splash of milk. Although his image is very aesthetically pleasing, a lot of physics has also gone into these images. It is planning an experiment and carrying it out fairly as well as taking a photograph, which I appreciate for the thorough consideration of the art form.

Jeff Wall

Sources: https://www.moma.org/collection/works/93456 (4)

The Photograph As Contemporary Art by Charlotte Cotton, pgs. 48-51, 131-32 (5)

Milk by Jeff Wall, 1984 - The aesthetic qualities of milk and the technical properties of the shutter imaginatively combined

Wall began making large backlit transparencies in the late 1970s. He felt that staging scenes for the camera could radically broaden the potential of still photography.

Another inspiration for his large pictures has been the grand theater of human figures in Western painting since the Renaissance.

In the early 1980s he embarked on a series of photographs devoted to the everyday lives of people at the margins of society. Many, including Milk, were derived from incidents that Wall observed and subsequently adapted and restaged with nonprofessional actors.

Milk features very harsh, impersonal geometry in the background and transforms the scene into a stage. The man has a clenched posture and the explosion of liquid turns the violence and anger into a vivid symbol.

The image removes the man from time itself and instead makes him a static figure of distress.

Wall’s work gives evidence to a detailed comprehension of how pictures work and are constructed that underpins the best tableau photography.

Wall describes his oeuvre as having two broad areas. One is an ornate style which the artifice of the photograph is made obvious by the fantastic nature of his stories and the other area is the staging of an event that appears much slighter, like a casually glanced-at scene.

Wall sets up a tension between the look and substance of a candid, grabbed photographic moment with his actual process, which is to preconceive and construct the scene.

Using a light box to display his images appears as not quite a photograph, nor is it a painting, but it suggests the experiencce of both. This use of a light box is seen to introduce another frame of of reference into Wall’s work which is that of backlit and billboard advertisements.

Wall also produces the occassional still-life, absent from people. He carefully constructs a group of peripheral things which pose questions about our own relationship with photographs.

The beauty of Wall’s photography is that, while it raises these complex questions, it still satisfies us as works of art.

I am a big fan of Wall’s photographs. I love how he is able to take mundane, everyday scenes and turn them into such a highly aesthetic piece of art. In Milk, his way of stopping time completely, yet capturing the movement of an inanimate object is an impressive way of showing that Wall is in control of absolutely every element within his frame and he knows how to use them to create a stage-like narrative.

Philip-Lorca DiCorcia

Sources: The Photograph As Contemporary Art by Charlotte Cotton, pgs. 20-21, 46 (6)

https://www.tate.org.uk/context-comment/video/exposed-philip-lorca-dicorcia (7)

Head #7 by Philip-Lorca DiCorcia, 2000

DiCorcia’s head series was made by placing flash lighting on construction scaffolding abova a busy New York Street, out of sight of the passers-by below. The movements of the pedestrians prompted DiCorcia to activate the flash, at which moment he photographed the illuminated stranger with a long-lens camera.

The resulting images show people who do not know that they are being photographed and so do not compose themselves for their ‘portraits’.

The coneptual engineering in Heads lies in the setting up of the apparatus to ensure that the subjects were unaware of being observed and photographed, and an embracing, on the part of the photographer, of this spontaneous and unpredictable form of image making.

The result is a heightened, revelatory experience of being able to take a sustained look at what ordinarily passes us by, and a form of photographic portraiture in which the subjects are entirely unable to influence their representation.

DiCorcia says, “I never talked to them... I don’t ask their permission. I don’t pay them, and eventually... I got into trouble.” The images were displayed in galleries and DiCorcia was sued by a man who claimed that his image was used in commerce and advertising.

The ‘commerce’ was putting them up for sale in an art gallery and the “advertising” was the use of the catalogue. However, DiCorcia appealed this and won.

DiCorcia believes there is no expectation of privacy anymore in a public place in this world. He doesn’t believe he defamed the people he photographed or that he was even ‘sneaky’ about it. He did not conceal himself or his camera.

He was investigating the nature of chance, the possibility that you can make work that is empathetic but not actually even meeting people. He photographed around 3000 people to get the 17 that he finally used in the series.

He claims his biggest problem was not to “get what you’d call a good one, but to get one that was different than the others.” He was investigating not whether people are all different, but how they are all the same. He showed how they tried to hide from those around them.

I am fascinated by this series of photographs. I love candid portraiture and how it affects the way a person is seen. People are most like themselves when they are not trying to pose or hide anything and I think DiCorcia has been really successful in showing this by taking such simple and well lit photographs of ordinary people.

My Work

Here, I have composed a collage of photographs which follow a sequence of someone yawning from start to finish.

The purpose of this exercise was to isolate a frozen moment of time in a moving subject.

For this series of photographs I had my camera set to shutter priority mode. I had plenty of natural light available so my ISO was set to 100 and as this is a straight portrait against a simple background, the F-stop was at f/5.6. In order to capture each stage of the yawn without blurring the photograph, I used a shutter speed of 1/60sec.

My process for this set was to have my subject stand still in front of the wall and look into the camera. I chose my settings and then set my camera to continuous shooting and then when I saw my subject about to yawn I pressed the shutter.

I decided to present my photographs in this format because it shows the entire process and each individual movement of the subject. Instead of showing a single shot with his mouth wide open, having a set better shows the process of capturing movement in photography and all the interesting movements inbetween that might otherwise be overlooked.

Hand written notes and print-outs:

Bibliography

Eadweard Muybridge: Defining Modernities. (n.d.). Retrieved from Eadweard Muybridge: http://www.eadweardmuybridge.co.uk/muybridge_image_and_context/animal_in_motion/

Worthington, A. M. (1895). The splash of a drop. Retrieved from Archive: https://archive.org/details/splashofdrop00wortuoft/page/70

Curated. (n.d.). Milk Drop Coronet. Retrieved from Visionary Engineer: http://edgerton-digital-collections.org/?s=hee-nc-57001#hee-nc-57001

Lowry, G. D. (2007). Jeff Wall Milk 1984. Retrieved from Museum of Modern Art: https://www.moma.org/collection/works/93456

Cotton, C. (2014). The Photograph As Contemporary Art. Thames & Hudson.

Cotton, C. (2014). The Photograph As Contemporary Art. Thames & Hudson.

DiCorcia, P.-L. (2010, September 14). Exposed: Philip-Lorca DiCorcia. Retrieved from Tate: https://www.tate.org.uk/context-comment/video/exposed-philip-lorca-dicorcia

[theostranenie]

Centre Pompidou

In my trip to Paris the things that stood out most was my trip to the Centre Pompidou. On the outside it doesn't look that impressive, i was most expecting the inside to be a building site but was very excited by the outside escalator. But it houses on the most impressive collections of art that i have seen with up to date temporary exhibitions and an very impressive permanent collection. I felt a bit like i was in a maze, every new room i walked into was full of more and more amazing art. Pieces that i have studying in books and seen on the internet. every time i think its finished there was another room filled with even more beautiful art.

[shaexbutterx]

heacanons

1. Due to her time in juvy, Shae prefers to deal with traumatic events alone and in isolation.

2. Getting a tattoo helps ease the pain of her trauma, and most of those adorning her arms have a traumatic event linked to them.

3. Since Shae spent most of her early twenties on probation, she had to find other ways to distract herself which is why she picked up sketching and art.

4. Shae typically changes the color of her hair, or the style of it, to deal with trauma in hopes that it will give her ‘new life’.

5. Shae doesn’t like to splurge, but after trauma she likes to burn the clothes she was wearing and replace them with new ones (typically a whole different style).

6. On a typical night, Shae can drain a bottle of wine on her own. On a traumatic night, Shae can get through two to three bottles depending on the event.

7. Shae will binge watch FRIENDS, in order to cheer herself up.

8. Shae will deep clean her apartment in order to reduce her stress and anxiety about trauma.

9. Shae distracts herself with work, scheduling several after hour appointments, to stay at work and not deal with her problems at home.

10. Shae always conducts a sacrifice to communicate with Satan during hard times, the number of rituals increasing accordingly to the amount of trauma.

11. Shae uses the blood that she collects and stores in Tupperware containers to conduct blood rituals, in order to pray to Satan.

12. Shae will write the name, or things, most related to the trauma on a notepad and then draw and X through it over and over until she digs a hole through a significant portion of the notepad.

13. Shae listens to Everybody Hurts by R.E.M. on repeat when she is upset.

14. Shae has a stressball shaped like a star, and when she gets overwhelmed she will excessively squeeze it.

15. Shae likes to get massages, specifically hot stone massages, to reduce tension building up in her muscles.

16. Shae used to bite her fingernails down (practically to the bone), which is why she keeps her fingers fully polished and manicure to save her nails from her nasty habit.

17. Shae will increase the number of cigarettes and smokes in a day, just out of nerves and anxiety.

18. Shae keeps a bell hanging above her door, and on every other window/possible entrance, in order to notify her when someone comes inside due to her attack over a year ago.

19. Shae will binge eat rippled plain chips and French onion dip until the bag is empty to deal with stress and sadness.

20. Shae will often scribble on her own skin, retracing her already present tattoos as well as doodling new ones, allowing her mind to focus on something new and permenant rather than the temporary trauma she is experiencing.

21. Shae can stay cooped up in her apartment, turn off all of her devices, keep all her lights and other electricity off, and ignore the world for an entire weekend.

22. Shae will sleep on the floor on her back, looking up at her ceiling when she can’t sleep due to trauma, hoping the hard surface will toughen her up.

23. She will take long baths, filled with bath salts and bubbles, and line the tub with scented candles in order to unwind and organize her thoughts.

24. Shae will mindlessly walk the aisles of the grocery store when she is stressed, just to people watch and smile at strangers, getting joy out of creeping people out or making a new friend.

25. Shae will take several naps when she is dealing with trauma, completely aware that sleep is the only time she is at peace.

26. Shae will excercise to let off steam, attending a kickboxing class is her favorite way to do so.

27. Shae attempts to garden, making her outdoor area beautiful, in hopes that it will reflect positively upon her not so beautiful thoughts.

28. Shae will sneak into a church and flip the crucifixes and crosses upside down before services, and then sit in the back and watch everyone freak out — another way she connects with Satan.

29. Shae will drive around aimlessly in the middle of the night, stopping at whatever twenty four hour gas station she can find to buy Sour Patch straws and an A&W Cream Soda.

30. Shae will meditate, preferably sitting in the middle of the Green, allowing the grass to brush over her bare skin as she attempts to become one with nature.

[camp-witch]

the Xochimilco art museum has a huge array of Diego Rivera and Frida Kahlo works housed in one of the coolest old buildings I have ever seen; unfortunately when we visited the Frida works were traveling in Germany so we didnt get to view them. 

However, the museum made us for it by breeding hundreds of peacocks and just letting them loose all over the museum campus. They were very calm and not bothered by humans, and you could walk very close to them. This is a picture of my friend hanging out around one. They are incredibly beautiful birds, it was very cool to see them so close. 

I also had the opportunity to visit the art museums of mexico city, but I wont bore you with too many details here. Only to say that a few of them were a little disappointing, and that two of them are incredibly hard to navigate if you don’t speak the language! As an artist and a former art student and curator’s assistant, I know how to navigate an Art Museum respectfully. At both the Tomayo and the Moderno I got yelled at SEVERAL times for doing seemingly normal looking-at-art things. I got so frustrated at points I actually had to sit down on a bench and try not to cry before proceeding on to get yelled at some more. None of the security officers speak english and I think these two museums may be plagued by a little bad design. For example, I tried to view a sculpture in the sculpture garden at the moderno which was in the wide open and seemed to be something you should be able to look at in an art museum, there were no signs or red tape or anything. I got accosted by three guards who all yelled at me until I got frustrated and walked away... likewise, in some of the galleries there are inviting reading nooks with cushions and books, there are no signs saying “This looks like a place to sit but it isnt and if you sit here you will be yelled at”. You have been duly warned. Moderno, maybe you should remove those reading chairs if you dont want anything sitting in them...

Museo Dolores Olmedo * Av Mexico 5843, La Noria, 16030 Ciudad de México, CDMX *This is the above noted art museum with the peacocks, set in a 16th c. hacienda.

Museo Tomayo Paseo de la Reforma 51, Bosque de Chapultepec, Bosque de Chapultepec I Secc, 11580 Ciudad de México, CDMX

I found this museum to be a little boring when I visited, also they have a VERY specific flow to the museum that is very unclear, there are no arrows pointing where to walk for anything, but if you try and move against the current even if you are the only person in the gallery, they get really mad at you. 

Museo Moderno PASEO DE LA REFORMA Y GANDHI S/N, Bosque de Chapultepec I Secc, 11560 Miguel Hidalgo, CDMX

The exhibits for this museum were excellent and well curated during my visit, although they only had one large roating exhibit and one permenant collection in a gallery upstairs. However, like I said, the guards tent to be a little combative and it’s unclear why.

Museo Soumaya Boulervard Miguel de Cervantes Saavedra 303, Granada, Miguel Hidalgo, 11529 Ciudad de México, CDMX

The architecture of this building is incredible from the outside and at a distance! This building is one of the works my husband’s firm is most known for. However, we both found that the architectural details on the inside are a bit disappointing. Also, the exhibits were a little boring- except I enjoyed the top floor where they had mostly religious works from amazing artists like el greco and bruegel. This museum is always free though!

Museo Jumex Boulevard Miguel de Cervantes Saavedra 303, Granada, 11520 Miguel Hidalgo, CDMX This was easily my husband’s and my favorite museum here so far. An excellent contemporary art collection that was focused on political and informative art works, as well as kind security officers and a lovely cafe terrace. In addition, the architecture of the building was noteworthy and the museum was free every Sunday. Despite it being free-day, we did not find it to be very crowded at all. Lovely and recommended. 

[alangocha]

MSUFCU gifts $1M to MSU Broad for expansion project

The Eli and Edythe Broad Art Museum at MSU was awarded $1 million from the MSU Federal Credit Union in support of an expansion across Grand River Avenue that will provide increased access and research for the MSU Broad's 7,500 piece permenant collection. from MSUToday - All stories http://ift.tt/2FwM3ne

[mdhyde-artist]

Really enjoyed my time checking out the #turnerprize2017 in Hull today. Some great work from all the artists. Really enjoyed #hurvinanderson paintings. The #ferensartgallery also had some great work in their permenant collection such as #barbrahepworth #bennicholson #davidhockney #lucianfreud #modernart #artgallery (at Ferens Art Gallery)