#Sarah Ippolito
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Currently at VSF LA are Sarah Ippolito’s new colorful sculptures inspired by aquatic creatures for her exhibition Liquid Realm.
From the gallery-
The ocean is what makes the earth habitable, without the ocean life is not possible, “in a way we’re all sea creatures” – Sylvia Earle
Los Angeles-based Ippolito’s exuberantly biomorphic sculptures are inspired by time spent underwater, immersed in contemplation of the umwelt of aquatic creatures and the central role of the oceans in the health and wellbeing of people and our planet. Divided between the &Milk project space and the VSF courtyard, Ippolito’s exhibition considers the differing sensory environments and inhabitants of the sunlit shallows and the expansive open ocean. While the ocean covers more than 70% of the planet’s surface and contains roughly 97% of Earth’s biosphere, life underwater and the nature of the ocean often feels alien. Ippolito’s works bring some of this vibrancy and abundance onto dry land.
Color and texture are central to Ippolito’s work – her sculptures are recognizable not only for their uncanny and whimsical shapes, but for her use of bright color, evocative texture, and shifts in scale. For Ippolito, color expresses exuberance, optimism, and vitality. Intricate and tactile textured surfaces are dynamic and invite curiosity and engagement. Scale is used as a way to disrupt expected hierarchies, the viewer may feel they have been shrunk or the forms they look at magnified; each scale relationship impacts the experience of her body in space and in relationship to others. Scale is also a key in our relationship to the ocean – In its vastness, the ocean feels as unknowable as outer space and yet, somehow, it is also as familiar as our own backyards. The lively nature of Ippolito’s work is underscored by the use of active verbs in the titles for all of her new works: Filtering, Undulating, and Fanning their names describe the range of movement implied by their forms.
In the courtyard, Ippolito presents her first cast bronze sculpture. Standing at just about the same height as the artist, the form blends shapes and textures from a Salp spiral (phylum Chordata) and the tentacles of Portuguese man o’ war (phylum Cnidaria.) Both “creatures” are colonies of individual organisms. The bold cobalt-blue figure stands erect, its tentacles meandering and sensing its surroundings. Nearby an installation of hand-formed ceramic shapes represents a bloom of Phytoplankton – tiny single celled organisms that drift in the upper layer of the ocean using photosynthesis to transform carbon dioxide into oxygen. The word “plankton” comes from the Greek word for “drifter” or “wanderer.” It’s estimated that roughly 50% of the oxygen on Earth is produced by oceanic phytoplankton. Phytoplankton are the primary producers of the ocean – offering food for a range of organisms from small filter feeders like salps to massive whale sharks. Phytoplankton also play a crucial role in regulating the atmosphere in the biological carbon pump – absorbing carbon dioxide at the surface and as they die they sink to the bottom (marine snow) and sequester carbon in the deep ocean. The forms in this piece are inspired by the most abundant types of phytoplankton – the diatoms, dinoflagellates, green algae, cyanobacteria, and coccolithophores.
In &Milk a group of table-top scaled works and a large figural work inspired by a range of creatures from the phylum Cnidaria (sea anemones, jellyfish, coral, sea fans) and phylum Annelida (feather duster and tube worms) are on view. These are some of the earliest life forms to evolve on the planet after phytoplankton transformed the atmosphere of the Earth to one hospitable for animal life – appearing between about 635 million and 515 million years ago, they have survived 5 mass extinctions. Abounding with color, these animals are sometimes naturally pigmented or get their distinctive coloration from symbiotic algae that live in their tissues. They possess a unique form of intelligence; operating without a brain and sometimes with rudimentary eyes. With their flexible tentacles that are sensitive to the slightest touch and vibrations they reach into the open water to filter feed plankton or capture small prey.
By reimagining marine organisms and their adaptations, Ippolito invites viewers to explore the hidden wonders of our oceans and consider the interconnectedness of all life. Her creative practice, rooted in direct observation and scientific exploration, embodies the potential of art to spark environmental reflection. In a world where the health of our oceans is increasingly vital, Ippolito’s work reminds us of our deep connection to the vast liquid realm that defines our planet.
This exhibition closes 10/19/24.
#Sarah Ippolito#VSF#VSF Gallery#Ceramic Art#Art#Sculpture#Art Installation#Art Shows#Cast Bronze#Ceramics#Environmental Art#Los Angeles Art Shows#Los Angeles Artist#Marine Life#Ocean Life#Aquatic Creatures#Sea Creatures#Various Small Fires#VSF Los Angeles
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One Year Later: Uncommon Universes Authors
Today I want to shout out all the UUP authors (or were-to-be UUP authors) and their epic releases, re-releases, and where you can find them and their books! A year ago many of us were saddened by the doors closing at Uncommon Universes Press, a beloved small press run by Janeen Ippolito, Sarah Delena White, and A.C. Williams. (Shoutout to them for running such a wonderful press for so many…
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#AmReading#A.C. Williams#Books#Brianna Tibbetts#Brigitte Cromey#C.M. Banschbach#C.W. Briar#H.L. Burke#Haylie Hanson#Janeen Ippolito#K. Michele Moseley#Kaitlyn Carter Brown#Kristina Mahr#Rebekah Shafer#Sarah Delena White#Uncommon Universes Press
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#Wynonna Earp#Purgatory#Episode One#Anna Quick#Chris Ippolito#Christina Merlo#David Haysom#Dominique Provost-Chalkley#Maria Fernandez Tongol#Melanie Scrofano#Michael Rolfe#Paolo Barzman#Patrick J MacEachern#Robert Nogier#Sarah Troyer#Shamier Anderson#Summer McBrien#Tim Rozon
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Official Clip of PURPLE HEARTS Starring Sofia Carson & Nicholas Galitzine | Coming July 29
Official Clip of PURPLE HEARTS Starring Sofia Carson & Nicholas Galitzine | Coming July 29
Netflix has released this first official sneak peek clip from its upcoming film PURPLE HEARTS starring Sofia Carson as “Cassie” and Nicholas Galitzine as “Luke,” featuring an original song from the film, “Come Back Home.” FILM RELEASE DATE: July 29, 2022 Director: Elizabeth Allen Rosenbaum Writers: Kyle Jarrow and Liz W. Garcia Producers: Leslie Morgenstein, p.g.a., Elysa Koplovitz Dutton,…
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#Anthony Ippolito#Chosen Jacobs#John Harlan Kim#Kat Cunning#Linden Ashby#Netflix#Nicholas Galitzine#Purple Hearts#Sarah Rich#Scott Deckert#Sofia Carson
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Purple Hearts - Romance movie
How is it possible to fall in love with your fake husband?
An American singer has diabetes, but she can't find a way to pay for the medicines she needs to live and the rent arrears because she is about to be evicted from her house.
So she decides to marry a military man who is about to go to war. Besides totally opposite thoughts and worlds, this "couple" has to deal with each other. But something happens, while she had to fake a fake relationship, she ends up falling in love, but a tragedy transforms this relationship into a real one.
I really enjoyed the movie, especially when they end up falling in love in a fake relationship. The plot, events, and dialogues have you hooked until you don't want the movie to end, and it has a WONDERFUL cast. I recommend it to everyone who likes a romantic movie. The inclusion of diabetics in this film was a very positive point. I love.
The film was released on July 29, 2022 (worldwide) and was directed by Elizabeth Allen Rosenbaum. The cast includes Sofia Carson, Nicholas Galitzine, Anthony Ippolito, Linden Ashby, John Harlan Kim, Kat Cunning, Chosen Jacobs, Scott Deckert, Sarah Rich, Breana Raquel, Nicholas Duvernay, Kaitlin Huwe. Not recommended for children under 14.
Trailer:
youtube
VIDEO: Netflix
IMAGE: filmspot
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导演: 伊丽莎白·艾伦 编剧: 丽兹·加西亚 / Kyle Jarrow 主演: 尼古拉斯·加利齐纳 / 索菲亚·卡尔森 / Anthony Ippolito / 林登·阿什比 / 约翰·哈伦·金 / 乔森·雅各布 / 卡特里娜·坎宁安 / 斯科特·德克特 / Breana Raquel / Jordan Drake / Leroy Edwards III / Sarah Rich / Josh Cruze / Nicholas Duvernay / 阿桑特·琼斯 / 黛比·范 / 斯利姆·克什里 / 亚历克斯·威克索 类型: 剧情 / 爱情 / 音乐 制片国家/地区: 美国 语言: 英语 上映日期: 2022-07-29(美国网络) 片长: 122分钟 IMDb: tt4614584
紫心之恋的剧情简介 · · · · · · 尽管存在许多分歧,受精神疾病困扰的创作歌手卡西和陷入困境的海军陆战队员卢克同意仅出于利益而结婚。但是当悲剧发生时,真实和虚假之间的��限开始变得模糊……
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Kat Cunning is going to appear in a movie called Purple Hearts that will be on Netflix next year (in 2022). 🎥 💜
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WOMEN OF THE RESISTANCE POSTER PORTFOLIO
Above: Flyer and 9 out of 38 posters featured in the portfolio.
September 7 – September 27, 2019
Alley Cat Books 3036 24th Street, San Francisco, CA
Reception: September 7, 6-9 pm
Closing event September 27, 6-9 pm
San Francisco Poster Syndicate has teamed up with the artists of the Women of the Resistance mural in Balmy Alley to produce a portfolio that seeks to bring further awareness to the important fight of the activists represented in the mural.
The portfolio complements the mural, which was completed in 2018, by creating screenprints of all 38 women portrayed. This project highlights this group of women who are powerful beacons of hope during these dark times and hopes inspire others to continue moving forward along their path of resistance.
The 38 screenprints in the portfolio includes one poster dedicated to each of the women plus a screenprint reproduction of the mural printed by Sun Night Editions. All prints in an edition of 20 were printed on Cougar Natural Smooth 100# Cover paper. The portfolio case is bound and designed by Sam Companatico with assistance from Asa Nakata, also has an explanatory graphic of the mural that shows who is represented, who the artist is and where the activist is in the mural. The portfolio is available for $350. Individual prints from the series will also be available at the exhibition for $45 each.
Artists include: Sarah Aineb, Juan R. Fuentes, Mafer Hernandez, Joanna Ruckman, Michael Keum, Fernanda Parker, Elmíto González, Michelle Williams, Lucia Ippolito, Art Hazelwood. Steph Kudisch, Jer Garver, Adrianna Adams, Megan Wilson, Adan Tope Ruckman-Gallegos & Jessica Beard, Lauren D'Amato, Michelle Rios, Aambr Newsome, Carlos Rodriguez Alvarez, Sonia "G" Molina, Carlos Rodriguez Alvarez, Rachael Sterner, Christopher Statton & Christina de la Cruz, Whitney Humphreys, Lisa Ann Nikkel, Yazmin Madriz, Gladys Ochoa, and mural photographs by Daniel Valencia.
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13 Various Ways To Do Benjamin Moore Beach Plum | benjamin moore beach plum
NEW CANAAN, CT — Hundreds of aggressive New Canaan High Academy acceptance accomplished third division High Honors and Honors status, academy admiral announced.
To accomplish High Honors status, a apprentice charge advance a 90 boilerplate during the quarter, according to academy officials. To accomplish Honors status, they charge advance an 85 average.
Below is the abounding account of names, alphabetically by grade. Congratulations to all the students:
Grade 12 High HonorsRiana Afshar, Fallon Arnone, Maria Estelle Asker, Alexis Axon, Brooke Barber, Claire Batchelor, Ryan Benevento, Audrey Bloom, Olivia Bognon, Caitlin Bradley, Claire Brunner, Alexandra Budnick, Brian Campe, Jackson Camporin, Alexandra Carlson, Isabelle Carpenter, Christopher Carratu, Mario Castaldo, Tara Chugh, Naomi Cimino, Bartholomew Codd, Helen Culpepper, Sophie Curcio, Elise Curren, Leila Dann, William Dantini, Griffen Dayton, Elizabeth DeMarino, Vivian Ding, Heather Doherty, Elizabeth Dolan, Emma Dunlap, Katherine Dunn, Mia Fedeli, Tessa Fieldman, Kiera Joanne Finnerty, Taylor Frame, Charlotte Gardner, Paula Graham, Liam Griffiths, Drew Guida, Amanda Hall, Alexandra Harte, Brian Hartz, Grace Higgins, Elizabeth Hirai, Nicholas Hoge, Steven Hoge, Sofia Ippolito, Andrew Jameson, Alyssa Khoo, Emily Knight, Cella Kove, Elizabeth Kuchinski, Zachary LaPolice, Allison Leopold, Katherine Lisecky, Natalie Lopez, Ryan Lytle, Thomas Marshall, Jordan McDonald, Anna Thérѐse Mehra, Alexander Meintzer, Andrew Mihailoff, Andrew Morse, Hudson Neleman, Theodore Nelson, Teresa Oliveira, Bennett Ong, Sophia Palamenti, Cortland Parrott, Dylan Pescatore, Martina Pincione, Alexa Pittaro, Lucy Potter, Sophie Potter, Olivia Prazenka Moor, Kristen Raffaele, John Renda, Charles Richardson, Megan Rigione, Skyler Risom, Colin Russo, Karoline Sauan Gregorian, Luciana Savini, Riley Seelert, Katharine Shaughnessy, Mark Silber, Fiona Stevens, Georgia Stewart, Maggie Streinger, Hannah Suthons, Thomas Suthons, Andrew Symon, Isha Teredesai, Caroline Tuffy, Michael Turiano, Emma Uzgiris, Dustin Valenti, Sofia Vallejo Luna, Colin Vetterli, Meredith Waldron, Thomas Welch, Justin Wietfeldt, Eric Wills, Sophia Yee, Emma Youngman
Grade 11 High HonorsAshley Abate, Chloe Adams, Pahal Ahuja, Saimanish Akavaramu, Alexis Angermueller, Harrison Appelt, Oliver Arrix, Matthew Balkun, Julia Bazata, Evan Beiles, Matthew Benevento, William Besgen, Gabriella Bisesi, Aidan Blair, Charles Borthwick, William Bozzella, Gavin Bramwit, Caroline Brooks, Charles Brossy, Reid Brown, Blaine Burke, Nicolas Butler, Colin Byrne, Emma Caione, Ryan Caione, Bryce Campbell, Christopher Canet, Henry Cannon, Steven Capelo, Julia Carpi, Alexa Carrillo, Darby Carroll, Christian Carson, Annabelle Catlin, John Catlin, Alexandra Cioffi, Benjamin Clay, Wesley Cloud, Lydon Cooney, Ryan Corbett, Gretchen Crane, Daisy Crystal, James Dathan, John Dayton, Edmund DeClue, Sarah DiCosmo, Hannah Doka, Noah Dorfsman, Mason Dorman, Demetria Dresser, John Eccleston, Marina Forni, Charlotte Frank, Andrew Frederick, William Galvan, Boden Gammill, Charlotte Gelhaus, Edward Gentner, Eren Geray, Emma Gibbens, Riley Gibbons, Alexandra Gillespie, Ava Gjertsen, John Goetz, Benjamin Graham, Andrea Gravereaux, Madison Grenauer, Meghan Griffiths, William Grigsby, Elyssa Grogan, Jack Grogan, William Haddad, Maddie Haley, Lindsay Hall, Addison Hanrattie, McKenna Harden, Oliver Harris, John Harrison, Sophie Havens, Fiona Hickey, Anna Higgins, Shea Hobbs, Annika Holmberg, Colton Howe, William Hynes, Samuel Ives, Ethan Jones, Shannon Jordan, Sophia Karimnejad, August Kelliher, Dylan Kortman, Neya Krishnan, Alexandra Kurz, Dhiraj Kuttichirayil,
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Key Art And Trailer For PURPLE HEARTS Starring Sofia Carson
Key Art And Trailer For PURPLE HEARTS Starring Sofia Carson
Netflix has released these Official key art and trailer for their new film PURPLE HEARTS Film Release Date: July 29 Director: Elizabeth Allen Rosenbaum Writers: Kyle Jarrow and Liz W. Garcia Producers: Leslie Morgenstein, p.g.a., Elysa Koplovitz Dutton, p.g.a. Executive Producers: Paul O. Davis, Elizabeth Allen Rosenbaum, Amy Baer, Sofia Carson, Laura Char Carson, Hugo Grumbar, Tim Haslam Cast:…
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#Anthony Ippolito#Chosen Jacobs#John Harlan Kim#Kat Cunning#Linden Ashby#Nicholas Galitzine#Purple Heart#Sarah Rich#Scott Deckert#Sofia Carson
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Writers/Curators Digital Art
1. Joanne Mcneil - independent/
2. Jon Ippolito -
3. Christiane Paul - Whitney/
4. Lev Manovich -
5. Patrick Lichty -
6. Mark Tribe - Rhizome.org/
7. David Quiles Guillo - The Wrong Biennale
8. Nora O Murchu - writer/curator
9. Luigina Ciolfi - Human/Computer interaction
10. Tina Sauerlaender - Curator and Writer - digital and internet culture
11. Faith Holland - Curator,
12. Michael Borras a.k.a Systaime
13. Kelani Nichole - Transfer Gallery
14. Zoe Salditch
15. Gene Mchugh - night.house
16. Jennifer Chan - artist/writer
17. Attilia Fattori Franchini
18. DIS Magazine
19. Omar Kholeif
20. Judy Ditner
21. Nadim Samman
22. Bonaventure Soh Beijing Ndikung
23. Hanne Mugaas
24. Courtney Malick
25. Nora N. Khan *
26. Nicholas O’brien
27. Melissa Loughnan
28. Orit Gat *
29. Lindsay Howard *
30. Sarah Cook, Dundee, Neon sarahcook.info
31. Gary Zhexi Zhang
32. Keith J. Varadi
33. Nicholas O’Brien [digital art]
34. Alex Gartenfeld
35. Domenico Quaranta
36. Jon Davies
37. Lalin Akalan
39. Kim Stewart [Glasgow]
40. Diana Poulsen
41. Jason Eppink [Curator of Digital Media at MOMI]
42. Omar Kholeif
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PARSIPPANY — The Parsippany High School Class of 2018 graduated on Thursday, June 21. 216 students received their diplomas after the Conferment of the Degrees by Principal Denis Mulroony. The diploma’s were presented to the Board of Education.
133 students, or 61.6% will be attending four year colleges, 61 students or 28.2% will be attending two year colleges, 12 students or 5.6% will be attending career education, 6 students for 2.8% will be employed and 4 students, or 1.8% will be joining the military.
The Class of 2018 Officers were Ethan Kaplan, President; Udhay Khullar, Vice President; Harris Ansari, Secretary and Rachel Wang, Treasurer.
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The 2018 Graduating Class
Sebastian Abreu Kensy Abdias Acosta Matthew Eric Afonso Mildred S. Agenor Abdul Vasi Ahmedi Kandarp J. Ajvalia Khalid M. Alzubi Hailey Rose Amato Jay P. Amin Alexander Angulo Mohammad Harris Ansari Haydar Yusuf Aran Sarah Isabel Arias Zabihilla Asat Harmond Atienza Mirzakerim Tarik Ayaz Tia Antoinette Ayton Srah Azizi Arzoo Bakhtiary Luisa Teresa Barone Jared Robert Bazarai Claudia Valarie Bennett Justin Joel Bermudez Juan Sebastian Bernal Kate S. Bernauer Mathew Botros Abdoullah Bouzaitoun Juliana Branda Vanessa Bravo-Nieto Gerard Joseph Burder Cyvyl Salvanera Cabaccang Michele Cacciapaglia Isabella Francesca Cattiottolo Jason Francis Calabrese Joseph Calabrese Nicole Marie Calabrese Derrique M. S. Campbell Fabio Castillo Alex John Cavaluzzo Savannah Madison Cerrato Albert Ye Chen Shyann Lynn Cheney Sydney Lyn Clark Edward Donald Cogan Kelly Anne Coombs Brenda Cordasco Elijah X. Crawford Juliana Rose Davanzo Ivan Francisco DeLeon Assunta Celeste De Martinis Julia Del Viscio Andrea Delgado Gabriella Marie DeMary Richard Anthony DeMary Michael L. DeMonico Cameron Antonio Dines Sarah Elizabeth DiPippa Thomas Diez Joseph Romolo DiPinto Destiny Stella Duffaut Nicole Lynn Dugan Amr Elsaid Christopher Ray England-Ippolito Ethan Daniel Fang Ithaly Feliz Riley Catherine Ferguson Vincenzo Generoso Ferrara Jason B. Finkle Camren Anneliese Fitzsimmons Vaishnavi Gandhi Nicholas Peter Garafano Justin I. Garcia Sean Peter Gentile Aahna Ghosh Bryan William Gong Ryan Thomas Goodreds Bethany Rose Goordman Malcolm Isiah Green Sioux Anne Green Madena Hamidi Zara Hassan Marc Hoeltge Rachel Ann Hoffman Kaitlyn Holler Kevin Nathaniel Holst Ahmed Homsi Leslie Sofia Huatarunco Anya Rose Hughes Fatima Arizo Iqbal Andrea Rose Jacoby Aastha Jaggi Romel Jamna Ralph L. Jean-Francois Angeline Sara Jiju Anthony Wayne Johnson Maxwell Alexander Johnson Ramanand M. Kachhia Ethan D. Kaplan Ragan Grace Kelley Udhay Khullar Joseph M. Klein Julia Margaret Kloss Bon June Koo John Mark Krevis Patrick William LaFerrera Michael Vincent Lai Samantha Lin Lee Olivia Ruth Leon Alice Jane Limanova Sabrina Link Robert Burke Litz Christopher Benito Lupo Noah Jack Lustig Purvang Mahadevia Pranav Praful Makadia Mahrukh Abdul Malik Shobin Paul Manappuram Maliha A. Mannan Kaitlyn Ashlee Martinez Anthony Karl Martucci Aidan Rose McMaster Alivia Marie Mercuro Kyle Meth Daniel V. Miller Christian Alberto Minaya Rahul Kiran Mody Dunya Mohamed Bernasia Ebony Moore Jeremy Michael Mostillo Sunaina Mukherjee Hamza Abbas Naqvi Isabella G. Nicoletti Karissa Marie Nussbaum Ogulcan Odabas Jared Lucas Osgood Shane Joseph Osgood Ali Haydar Ozdemir Mansi A. Parikh Aditi Patel Aneri Patel Bhumiben M. Patel Dirgh Harshadkumar Patel Lipi Patel Priya Minesbkumar Patel Priyam Shailesh patel Ria S. Patel Sagar Patel Sima Patel Lauryn K. Patracuolla Nilab Pazhmon Kyla Samantha Penus Kyle Edward Phillips Nelson Yoset Pichardo Daniel Joseph Pico Cielito Jaecob M. Ponce De Leon John Carlos Portillo Faith Marie Preziosi Vincent T. Prezioso Anoosha Qureshi Shakhzoda Rakhimova Kyra Mary Reich Moustafa Riad Isis Carolina Rodas Prado Malia Rodriguez Steven Rodriguez Daniel I. Rodriguez-Appelgren Daniel Bennett Ruggiero Bahaadeen Saied Tahir Samad Zahra Mariam Sarwari Brenda Lynn Sauer Skylar Madison Schey Brandon Schweizer Everton Fitzroy Scott Alexander Serban Ankit Shah Diti J. Shah Khushbu Shah Neil Vipul Shah Affan Shaikh Adam J. Shandra Skyler Rose Sharpell Stephanie Shen Abhi N. Sheth Samantha Shimabukuro Mario Joseph Sinatra Kaitlyn Arlene Sklow Kendrick C. Slaman Lauren Emily Slevin Christopher Francis Smith Julia Rose Smith Zachary Logan Snell Maansi Solanki Karissa Zavanna St. Jean Kerri St. Victor Amanda Nicole Stover Devion Sharif Stover Danielle Strano Matthew J. Strumolo Frank Anthony Sullivan Sophia Tamayo Alice H. Tatrous Tatiana Isabel Tello Burlew Justin Ryan TerWaarbeek David Ton Peter Hao Tran Tiffany Lee Trifari Gary C. Tsui Jeet Vaishnay Sean Patrick Van Vliet Philip Sunny Varghese Rachael S. Wang Alexa Rae Weissberg Adam Joseph Welch Matthew Thomas Wilson Ryan Michael Wisniewski Brielle Elizabeth Wyka Talia Ruth Wynzel Ellen X. Xu Ali Yaqoobi Adam Ye Christopher Michael Yi Kevin Zhengen Zheng Annie A. Zhong
PHS Class of 2018 is dismissed! PARSIPPANY — The Parsippany High School Class of 2018 graduated on Thursday, June 21. 216 students received their diplomas after the Conferment of the Degrees by Principal Denis Mulroony.
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Hello ! Any questions about Lucrezia Borgia became "happy" with their marriages? Some of your children left an opinion about their mother? Thank you !
hi sweet anon! thank you so much for your ask and i’m sorry for taking so long... several things are happening to me and my intention was not keep you waiting like this! i ended up losing myself and my desire for perfection didn't help either, since when lucrezia is involved, i really want to write/ do something worthy, you know? she is my queen *cries* ok, i will cut the drama ~~help idk if i will be able to live up to her but i will try my best:
well, lucrezia’s husbands are:
giovanni sforza, lord of pesaro
alfonso of aragon, duke of bisceglie and prince of salerno
alfonso d'este, duke of ferrara
first of all, it’s a pity not to have more access to documents/ letters written by lucrezia herself about her deep feelings and thoughts especially surrounding her marriages. however, i do believe that early in her life, she have known how important a good alliance (through marriages) was to her and her family survival - as her impeccable education suggests. so.. it’s difficult to establish a real “happiness zone” about the set of marriages as a whole but there is a great chance of lucrezia having happiness and safety (which was equally important, obviously). we can get an idea of moments like this with a quote about her first marriage with sforza:
“Lucrezia, meanwhile, remained safely in Pesaro where life was pleasant enough in the princely palace in the main square and at the beautiful Villa Imperiale on the hill of San Bartolo above the city. Pesarese society, although less cosmopolitan than that of Rome, was far from being dull and provincial. It was, above all, secure: the French army, pouring southward without meeting any resistance, was intent on reaching Rome and taking Naples. In Rome, her father was isolated, supported only by Cesare. Juan was still in Spain, Jofre and Sancia in Naples.” - Sarah Bradford
it's good to keep in mind that political alliances at the time were constantly changing, which clearly influenced happiness in a marriage, even if couples loved/ respected each other. btw, regarding the annulment of lucrezia's marriage with sforza, there is not necessarily evidence of an extremely deep feeling of sadness on the part of lucrezia. including, so far, scholars point out that lucrezia's most beloved husband was alfonso of aragon:
“If Lucretia really loved her husband, as there is every reason to suppose she did, his end must have caused her the greatest anguish [...] None of the reports of the day describe the circumstances in which she found herself immediately after the murder, nor events in the Vatican just preceding it [...] August 30th, Lucretia, accompanied by a retinue of six hundred riders, set out from Rome for Nepi, of which city she was mistress. There, according to Burchard, she hoped to recover from the perturbation which the death of the Duke of Biselli had caused her.” - Ferdinand Gregorovius
in relation to her third and last marriage (with d’este), we cannot fail to consider the political importance that this respective alliance has brought. no evidence that i have come across so far has shown me any disgust on the part of lucrezia towards her third husband:
“This moment was the turning point in Lucretia's life [...] what must she now have felt when the opportunity to ascend the princely throne of one of Italy's oldest houses was offered her! She was to become the wife of a prince famous [...] for his good sense and earnestness. She had seen him once in Rome, in her early youth, when she was Sforza's betrothed.” - Ferdinand Gregorovius
“Lucrezia consented in mid-1501 to the proposal advanced by Alexander VI that she marry the heir to the Este duchy in Ferrara. Armed with a rich dowry of some three hundred thousand gold ducats (roughly comparable to between thirty and forty million dollars today), Lucrezia arrived in Ferrara in February 1502, becoming duchess after the death of her father-in-law, Ercole I d'Este, in January 1505. After at least fifteen pregnancies, ten of which ended in the birth of a child, she died of the complications of childbirth on 24 June 1519.” - Diane Ghirardo
while the marriage of lucrezia and sforza did not generate any descendant, she had a son with alfonso of aragon (rodrigo of aragon) and more children with d'este like: ercole II d'este, ippolito II d'este and leonora d'este! some attribute giovanni borgia (infans romanus) to lucrezia but he was officially recognized as son of rodrigo in 1501! so... one more fact that we will never be sure, i suppose:
“Later, after Alexander's death, the little Giovanni Borgia passed for Cesare's son; he had, moreover, been described as such by the Pope in numerous briefs. It is not known who was the mother of this mysterious child. Burchard speaks of her merely as a "certain Roman." If Alexander, who described her as an "unmarried woman," told the truth, Giulia Farnese could not have been its mother. It is possible, however, that the Pope's second statement likewise was untrue, and that the "Infante of Rome" was not his son, but was a natural child of Lucretia. The reader will remember that in March, 1498, the Ferrarese ambassador reported to Duke Ercole that it was rumored in Rome that the Pope's daughter had given birth to a child. This date agrees perfectly with the age of the Infante Giovanni in September, 1501. Both documents regarding his legitimation, which are now preserved in the Este archives, were originally in Lucretia's chancellery. She may have taken them with her from Rome to Ferrara, or they may have been brought to her later. Eventually we shall find the Infante at her court in Ferrara, where he was spoken of as her "brother." These facts suggest that the mysterious Giovanni Borgia was Lucretia's son--this, however, is only a hypothesis.” - Ferdinand Gregorovius
unfortunately, lucrezia had little time with her son rodrigo, since she went to live in ferrara quite soon. several meetings reportedly have been scheduled but do not appear to have occurred. apparently, lucrezia kept in touch with her son through letters and even requested that rodrigo were raised by the family of alfonso of aragon, but rodrigo died before her in 1512. ercole II d’este became duke of ferrara like his father and had some children, including a daughter named lucrezia (like his mother) but apart from that, i couldn't find any more substantial details about the relationship of lucrezia and her children... i hope to be able to find more information in the future! i would definitely be happy to share!
again: i apologize for the wait and i really hope this ask hasn't been boring and confusing!
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导演: 伊丽莎白·艾伦 编剧: 丽兹·加西亚 / Kyle Jarrow 主演: 尼古拉斯·加利齐纳 / 索菲亚·卡尔森 / Anthony Ippolito / 林登·阿什比 / 约翰·哈伦·金 / 乔森·雅各布 / 卡特里娜·坎宁安 / 斯科特·德克特 / Breana Raquel / Jordan Drake / Leroy Edwards III / Sarah Rich / Josh Cruze / Nicholas Duvernay / 阿桑特·琼斯 / 黛比·范 / 斯利姆·克什里 / 亚历克斯·威克索 类型: 剧情 / 爱情 / 音乐 制片国家/地区: 美国 语言: 英语 上映日期: 2022-07-29(美国网络) 片长: 122分钟 IMDb: tt4614584
紫心之恋的剧情简介 · · · · · · 尽管存在许多分歧,受精神疾病困扰的创作歌手卡西和陷入困境的海军陆战队员卢克同意仅出于利益而结婚。但是当悲剧发生时,真实和虚假之间的界限开始变得模糊……
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Filling in the Blank Spaces through the eyes of Exhibition Coordinator Sara England
Sara Nicole England is an MA candidate in Art History at Concordia University and Research Assistant at Obx Labs/AbTeC/IIF. Her thesis research examines public displays of labour in turn-of-the-twentieth-century industrial tourism in the United States. Sara is part of KAPSULA Magazine, a digital publication and online platform for critical and experimental writing. She has a BFA in Criticism and Curatorial Practice from OCAD University in Toronto, Ontario.
***
I joined AbTeC last June to assist with the coordination of Filling in the Blank Spaces, the first-ever retrospective of the research and creative work of AbTeC held at the Leonard and Bina Ellen Gallery from November 4th to December 2nd, 2017. I came to this project with an interest in AbTeC’s collaborative approaches and the ways technologies and media were being remixed, modified and, sometimes, created from the ground up to strengthen and complement Indigenous cultures and communities. Taking part in Indigenous-led projects is an important part of situating my research and myself as an academic and settler on unceded Indigenous lands; I’m grateful for the opportunity to be part of the amazing work of AbTeC.
(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)
Mounting an exhibition of over twenty years of media production was no small feat! I started the project with what any art historian would do: I referred to Concordia’s library and online databases to research examples and methods of curating new media and digital art. Texts by Sarah Cook, Christiane Paul, Beryl Graham, and Sara Diamond, and projects like CRUMB (Curating Resource for Upstart Media Bliss) laid out the landscape of cyber culture and digital art curating in the 1990s and early 2000s, and offered a theoretical framework for thinking through modes of participation in media art exhibitions.
I quickly learned that the history of new media production moves fast—really fast—and I wasn’t going to find an exhibition model or guidebook that provided all the answers or accounted for the breadth of AbTeC’s experimentation with media; even within the short span of a decade, curatorial models for digital art were often outdated by the time they were published. Relatedly, the term “new media” has stayed the same but the practices that it defines are continuously expanding and evolving; indeed, what we group under the umbrella of new media, and the curatorial strategies for its display, is ever expanding too. Continuous experimentation may be the connecting thread.
(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)
The research and creative work featured in Filling in the Blank Spaces maps out a history of new media in and of itself, with Indigenous artists, academics, technologists and others, at the forefront. For example, the pioneering project CyberPowWow (1997-2004) was one of the first ever online art galleries, combined with a chat room, and incorporating live events that later would be termed “mixed-reality” events. Jason Edward Lewis and Skawennati’s Thanksgiving Address: Greetings to the Technological World (2002) was made with Flash, a nearly defunct application. Listening to it today, the artists remarked on how bad sound compression was at the turn of the millenium. “I sound like I have a lisp!” said Skawennati. The exhibition presents AbTeC’s present-day work, too: Activating AbTeC Island (an open invitation to visit AbTeC’s virtual land in Second Life) (2008-2017) expands some of the ideas first explored in CyberPowWow while computer games produced in the Skins Workshops use new media techniques like modding to bring Indigenous storytelling and representation to game culture; Virtual Reality works by Scott Benesiinaabandan and Postcommodity created in AbTeC’s artist residencies and Illustrating the Future Imaginary (a series of postcards with artwork by Indigenous artists) imagine our world seven generations into the future. AbTeC’s dedication to thinking about the future means that AbTeC is not only part of a history of media history, but also defining and creating its future.
So, we made up the rules as we developed the show. To be sure, there are guiding questions that emerge with any exhibition, especially an interactive and largely virtual one: how will visitors move through the space? How do we get visitors to interact and engage critically and with curiosity? And more specific to the nature of this exhibition: how do we get visitors to recognize the layers of intervention, production, and collaboration when their interactions are mostly at the level of the interface? How do we invite—and empower—visitors to become “users,” “players,” and, in certain instances, “decision makers?”
One of the aspects of Filling in the Blank Spaces that I found interesting is how it acknowledged a material history of technology. In New Media in the White Cube and Beyond, Jon Ippolito writes, “… new media art can survive only by multiplying and mutating.” In some instances, mutation and multiplication were built into the works. Poetry for Excitable [Mobile] Media (P.o.E.M.M.) (2007-2014), a series of interactive and digital poems by Lewis, was an experiment in how digital texts perform across multiple screens and how these interactions between text and device dictate different modes of readership and bodily engagement. In other cases, the artwork had outlived its media and thus required new hosts. CyberPowWow ran as a “canned version,” meaning it operates offline, and was displayed on a virtualized Windows XP program, which ran off a globular iMac G4. The layers of intervention, here, mark a history of technological changes and reveal relations between new and old media in order to contextualize the technological milieu in which CyberPowWow was created.
(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)
Imagining Indians in the 25th Century (2001), a website that imagines a character who visits significant moments in Indigenous history—created by Skawennati before the age of tablets and touchscreens—was displayed on an iPad in the exhibition. Most of the works in the exhibition behaved independently from their media or means of display. I think this is a valuable curatorial strategy—working without consistency across old and new media—as a way to get people to think beyond the interface and develop a media awareness that attends to both the material and immaterial components of media art. As a form of media literacy, the strategy is not apart from the aims of AbTeC.
For much of the exhibition I also acted as a docent in the gallery, introducing visitors to the work, assisting them with questions, and, most importantly, encouraging them to interact with the various components. This experience was gratifying because I was able to witness and take part in people’s experiences with and responses to the retrospective. I learned that many visitors often needed an invitation to touch the works and to participate fully in the experience. Despite the relative ubiquity of the technology used in the show, this further demonstrated the uniqueness of the exhibition.
The exhibition asked visitors to think about their expectations of a gallery and how artwork should perform. It required active engagement rather than passive viewership (though I’m inclined to think all artwork asks for active participation) and people had to do the work.
(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)
Many did! It was amazing to see visitors, who had never played a computer game before, defeat the evil archaeologist in Ienién:te and the Peacemaker’s Wampum or express wonder when they discovered that their avatar could fly in Activating AbTeC Island, the gallery installation of AbTeC’s virtual land in Second Life. Creating the circumstances for discovery and surprise, for me, is the main goal of exhibition production, and I think we pulled it off!
Jason and Skawennati engaged with me as a collaborator, encouraging creative input and providing ample time and significant resources for me to ask questions, learn about their practices, and flesh out ideas. During this time I was also able to learn how to use the computer-modeling program SketchUp to plot exhibition layouts. Some of the images you can see here.
(Credit: Paul Litherland/Studio Lux © Bina Ellen Art Gallery, Concordia University, 2017)
Like all of AbTeC’s projects, many people contributed to the making of the exhibition: among many other contributors, Mikhel Proulx added an archival and historical component to the exhibition by organizing an archive section and writing an exhibition essay; Sabine Rosenberg made the technical magic possible; Valerie Bourdon designed the beautiful exhibition title and vinyl game instructions; Roxanne Sirios and Nancy Townsend designed a visitor-friendly environment within the virtual land AbTeC Island and even created AbTeC avatars for visitors to inhabit; and a team of research assistants activated the exhibition as gallery docents and led the workshop series. Filling in the Blank Spaces is the result of years of dedicated artistic production, research, and collaboration. The making of the exhibition reflects that process, and was made possible by the contributions of an enthusiastic and imaginative team at AbTeC. I can’t wait for what’s next!
Notes
1. Jon Ippolito, “Death by Wall Label,” ed. by Stephanie Fay and Christiane Paul in New Media in the White Cube and Beyond, ed. by Christiane Paul (Berkeley, Los Angeles, London: University of California Press, 2008), 106.
#AbTeC#IIF#Concordia University#leonard & bina ellen art gallery#montreal#indigenous futures#indigenous futurism#future imaginary
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