#Stella Jones Gallery | Explore Tumblr posts and blogs

theholmwoodfoundation · 5 months ago

Text

THE HOLMWOOD FOUNDATION PILOT EPISODE CAST/CREW - PART ONE

REBECCA ROOT - MADDIE TOWNSEND/MINA HARKER

Rebecca trained at Mountview Academy of Theatre Arts. Theatre credits include A Midsummer Night’s Dream at Shakespeare’s Globe, The Curious Incident of the Dog in the Night-Time for the National Theatre (UK and Ireland tour); Rathmines Road for Fishamble at the Abbey Theatre, Dublin; Trans Scripts at the Edinburgh Festival Fringe and American Repertory Theater in Cambridge, Massachusetts; The Bear / The Proposal at the Young Vic; and Hamlet at the Gielgud Theatre and Athens International Festival. TV, Film and Video Game credits include Monsieur Spade, This Is Christmas, Irvine Welsh’s Crime, Hogwarts Legacy, Horizon Forbidden West, Heartstopper, Annika, The Rising, Sex Education, The Gallery, The Queen’s Gambit, Finding Alice, Creation Stories, Last Christmas, The Sisters Brothers, Colette, The Danish Girl, Flack, The Romanoffs, Moominvalley, Hank Zipzer, Boy Meets Girl, Doctors, Casualty, The Detectives, and Keeping Up Appearances. Radio credits include Clare In The Community, Life Lines, The Hotel, and 1977 for BBC Radio 4. Guest appearances include Woman’s Hour, Front Row, Loose Ends, Saturday Live, and A Good Read. She plays Tania Bell in the award-winning Doctor Who: Stranded audio dramas. Rebecca has also recorded numerous documentary narrations, audiobooks, and voice-overs. Rebecca is also a voice and speech coach, holding the MA in Voice Studies from Royal Central School of Speech and Drama.

SEAN CARLSEN - JEREMY LARKIN/ JONATHAN HARKER

Born in South Wales, Seán trained at the Royal Welsh College of Music & Drama. He has worked extensively in audio drama, television, theatre and film. Seán is perhaps best known to Doctor Who fans as Narvin in the Doctor Who audio series Gallifrey and has appeared on TV in Doctor Who - The Christmas Invasion and Torchwood. Recent TV credits include Mudtown (BBCiplayer/S4C), Dal y Mellt (Netflix), His Dark Materials (BBC1), All Creatures Great and Small (Channel 5), A Mother's Love (Channel 4) and Series 5 of Stella (Sky1). Films include supporting leads in Boudica - Rise of the Warrior Queen, cult horror The Cleansing, the lead in Forgotten Journeys and John Sheedy’s forthcoming film ‘Never Never Never’

SAM CLEMENS - ARTHUR JONES

Samuel Clemens trained at the Drama Centre London and is an award-winning director with over twenty years’ experience. Samuel has recently written and directed his debut feature film ‘The Waterhouse’ with Take The Shot Films & Featuristic Films and represented by Raven Banner Entertainment, which is due for release this coming year. In addition, he has directed fourteen short films, winning awards all over the world including shorts ‘Surgery (multi-award winning), A Bad Day To Propose (Straight 8 winner 2021), Say No & Dress Rehearsal’. Samuel also directs critically acclaimed number one UK stage tours and fringe shows (Rose Theatre Kingston, Swansea Grand, Eastbourne, Yvonne Arnaud, Waterloo East Theatre) and commercials include clients JD Sports, Shell and Space NK. Samuel is also a regular producer and director for Big Finish Productions & Anderson Entertainment. He has cast, directed, produced and post supervised numerous productions of ‘Doctor Who – (BBC), The Avengers (Studio Canal), Thunderbirds, Stingray (Anderson Entertainment), Callan, Missy, Gallifrey’& Shilling & Sixpence Investigate’ and many more. Samuel has directed world class talent such as, Sir Roger Moore, Ben Miles, Tom Baker, Sylvester McCoy, Alex Kingston, Frank Skinner, Rita Ora, Rosie Huntingdon-Whiteley, Rufus Hound, David Warner, Celia Imrie, Samuel West, Youssef Kerkour, Sophie Aldred, Ian McNiece, Colin Baker, Olivia Poulet, Stephen Wight, Jade Anouka, Mimi Ndwendi, Michelle Gomez, Peter Davidson, Paul O’Grady and many more. Samuel is one of the founding members and directors at Take The Shot Films Ltd and is Head of Artistic Creation and Direction. Lastly, Samuel is a regular tutor at The London Film Academy, The Giles Foreman Centre for Acting & The Rose Youth Theatre and is a member of The Directors Guild UK. As for upcoming projects, Sam is currently in pre-production on his next feature film “On The Edge of Darkness”, which is based on his dad’s stage play “Strictly Murder”.

ATTILA PUSKAS - DRACULA

Attila Puskás is a native Hungarian Voice Actor born in Transylvania – Romania, so Romanian is in his bag of tricks too, but most of his work is done in English, in a Transatlantic Eastern European Accent, but is quite capable of Hungarian, Romanian and International Eastern European accents, plus Standard American. His voice range is Adult to Middle Aged (30-40+) due to his deep voice. Vocal styles can range from authoritive, brooding to calming and reassuring and much more. He’s most experienced in character work, like Animations and Games, but his skills encompass Commercials to Narration as well. He’s received training through classes and workshops, pushing him to the next level to achieve higher standards. Now on a journey to perfect these skills and put them to good use!

PART TWO: HERE

PART THREE: HERE

#A lengthier look at our cast and crew!#The Holmwood Foundation #the holmwood foundation podcast #jeremy larkin #maddie townsend #Rebecca Root #Sean Carlsen #arthur f jones #production updates #Dracula #Sam Clemens #Attila Puskas #cast announcement #podcast #horror fiction podcast #fiction podcast #Q

50 notes · View notes

aspencovehq · 11 months ago

Text

bem vindos a aspen cove, AMREN, NORA DUNN (TINKER BELL), AMITY BLIGHT, MUSA, JUDE DUARTE, DORIAN GREY, NESTA ARCHERON, KAZ BREKKER, POWDER JINX, MATHIAS CRONQVIST, XADEN RIORSON, TAMLIN, VASILIA DRAGOMIR, ANGELICA TEACH, PHOEBE BUFFAY, NATALIE COOK, VICTOR FRANKENSTEIN, DAISY JONES, ALICE CULLEN, USAGI TSUKINO, BLOOM, DRACULAURA, VI (VIOLET), FELIX, AANG, FATHER BRAH, JOEY TRIBBIANI, ALEX RUSSO & STELLA. espero que aproveitem o seu tempo aqui e nem pensem em ir embora... sem dizer tchau! millie, pips, minnie, cady, dina, six, moony, cleo, maria, skitty, vegas, moony. vocês têm 24 horas para enviar o(s) tumblr(s) dos seus personagens. não se esqueça de seguir o passo a passo da checklist, e divirtam-se!

ei, aquele ali é JENNIE? não, é só AMREN, um personagem CANON de A CORTE DE ESPINHOS E ROSAS ouvi dizer que ELA tem VINTE E OITO ANOS, mora em aspen cove há DOIS ANOS e é uma EX DETENTA. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco SOTURNA e CAÓTICA sempre que a vejo andando pela cidade.

ei, aquela ali é LUCY BOYNTON? não, é só NORA DUNN (TINKER BELL), uma personagem CANON de PETER PAN. ouvi dizer que ELA tem VINTE E NOVE ANOS, mora em aspen cove há TRÊS ANOS e é uma MECÂNICA. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco CRIATIVA e ENCRENQUEIRA sempre que a vejo andando pela cidade.

ei, aquela ali é OLIVIA SCOTT WELCH? não, é só AMITY BLIGHT, uma personagem canon de THE OWL HOUSE. ouvi dizer que ELA tem VINTE E UM ANOS, mora em aspen cove há TRÊS ANOS e é uma ESTUDANTE DE MECATRÔNICA em PENINSULA COLLEGE e JOGADORA DE HANDEBOL. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco ATENCIOSA e ARROGANTE sempre que a vejo andando pela cidade.

ei, aquela ali é NHUNG HONG? não, é só MUSA, uma personagem CANON de THE WINX CLUB. ouvi dizer que ELA tem VINTE E DOIS ANOS, mora em aspen cove há TRÊS ANOS e é uma DJ em NEON HAZE e MUSICISTA. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco DIVERTIDA e TÍMIDA sempre que a vejo andando pela cidade.

ei, aquela ali é SASHA CALLE? não, é só VI (VIOLET), uma personagem CANON de ARCANE/LEAGUE OF LEGENDS. ouvi dizer que ELA tem VINTE E SEIS ANOS, mora em aspen cove há TRÊS ANOS e é uma FUNCIONÁRIA em BUTTER BLISS. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco OBSTINADA e AGRESSIVA sempre que a vejo andando pela cidade.

ei, aquela ali é BRUNA MARQUEZINE? não, é só JUDE DUARTE, uma personagem CANON de THE CRUEL PRINCE / THE FOLK OF THE AIR. ouvi dizer que ELA tem VINTE E SETE ANOS, mora em aspen cove há UM ANO e é uma FLORISTA em KABLOOM e INSTRUTORA DE AUTO DEFESA em FAST PACE GYM. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco OBSTINADA e VIOLENTA sempre que a vejo andando pela cidade.

ei, aquele ali é SONG JOONG KI? não, é só DORIAN GRAY, um personagem CANON de O RETRATO DE DORIAN GRAY. ouvi dizer que ELE tem 573 ANOS (APARENTA TRINTA E CINCO), mora em aspen cove há TRÊS ANOS e é um PROPRIETÁRIO em GOLDEN GALLERY & MUSEUM (GGM). ele TEM suas memórias, o que pode justificar o fato dele ser um pouco CHARMOSO e EGOCÊNTRICO sempre que o vejo andando pela cidade.

ei, aquela ali é KATIE MCGRATH? não, é só NESTA ARCHERON, uma personagem CANON de MAASVERSE / ACOTAR. ouvi dizer que ELA tem VINTE E OITO ANOS, mora em aspen cove há DEZ MESES e é uma CURADORA DE LIVROS em THE TURNING PAGE. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco ESTRATEGISTA e FRIA sempre que a vejo andando pela cidade.

ei, aquele ali é LEE SOO HYUK? não, é só KAZ BREKKER, um personagem CANON de SIX OF CROWS. ouvi dizer que ELE tem TRÊS ANOS, mora em aspen cove há TRINTA E DOIS ANOS e é um PRÓPRIETÁRIO em DIRTY JOE’S. ele NÃO TEM suas memórias, o que pode justificar o fato dele ser um pouco ESPERTO e AGRESSIVO sempre que o vejo andando pela cidade.

ei, aquela ali é ANYA TAYLOR-JOY? não, é só POWDER JINX, uma personagem CANON de ARCANE. ouvi dizer que ELA tem VINTE E CINCO ANOS, mora em aspen cove há SEIS MESES e é uma ARTISTA INDEPENDENTE e MECÂNICA em MECHANIC CLOVER (oficina dela). ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco BRINCALHONA e INSTÁVEL sempre que a vejo andando pela cidade.

ei, aquele ali é BEN BARNES? não, é só MATHIAS CRONQVIST (DRÁCULA VLAD TEPES), um personagem CANON de CASTLEVANIA. ouvi dizer que ELE tem 932 ANOS, mora em aspen cove há TRÊS ANOS e é um PADRE na ST. PATRICK’S CATHOLIC CHURCH. ele TEM suas memórias, o que pode justificar o fato dele ser um pouco OBSTINADO e INSENSÍVEL sempre que o vejo andando pela cidade.

ei, aquele ali é TAYLOR ZAKHAR PEREZ? não, é só XADEN RIORSON, um personagem CANON de THE EMPYREAN. ouvi dizer que ELE tem VINTE E CINCO ANOS, mora em aspen cove há SEIS MESES e é um INSTRUTOR na FAST PACE GYM. ele NÃO TEM suas memórias, o que pode justificar o fato dele ser um pouco DISCIPLINADO e AUTORITÁRIO sempre que o vejo andando pela cidade.

ei, aquele ali é MATTHEW NOSZKA? não, é só TAMLIN, um personagem CANON de MAASVERSE / ACOTAR. ouvi dizer que ELE tem +500 ANOS, mora em aspen cove há DOIS ANOS e é PROPRIETÁRIO da KABLOOM. ele TEM PARTE de suas memórias, o que pode justificar o fato dele ser um pouco EDUCADO e INTOLERANTE sempre que o vejo andando pela cidade.

ei, aquela ali é DANIELA NIEVES? não, é só VASILISA DRAGOMIR, uma personagem CANON de VAMPIRE ACADEMY. ouvi dizer que ELA tem VINTE E TRÊS ANOS, mora em aspen cove há UM ANO e é ESTAGIÁRIA no RICHARDSON & FLINCH LAW. ela TEM PARTE de suas memórias, o que pode justificar o fato dela ser um pouco DOCE e INGÊNUA sempre que a vejo andando pela cidade.

ei, aquela ali é SOFIA CARSON? não, é só ANGELICA TEACH, uma personagem CANON de PIRATES OF THE CARIBBEAN. ouvi dizer que ELA tem VINTE E NOVE ANOS, mora em aspen cove há DOIS ANOS e é uma ADVOGADA AMBIENTAL em RICHARDSON & FLINCH LAW. ela TEM suas memórias, o que pode justificar o fato dela ser um pouco INDEPENDENTE e MANIPULADORA sempre que a vejo andando pela cidade.

ei, aquela ali é LILI REINHART? não, é só PHOEBE BUFFAY, uma personagem CANON de FRIENDS. ouvi dizer que ELA tem VINTE E SETE ANOS, mora em aspen cove há OITO MESES e é uma MASSAGISTA em THE OASIS SPA. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco CRIATIVA e SEM FILTRO sempre que a vejo andando pela cidade.

ei, aquela ali é MADDIE PHILLIPS? não, é só NATALIE COOK, uma personagem CANON de AS PANTERAS. ouvi dizer que ELA tem VINTE E OITO ANOS, mora em aspen cove há TRÊS ANOS e é uma PROFESSORA DE QUÍMICA em ASPEN COVEN HIGH. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco CARISMÁTICA e DISTRAÍDA sempre que a vejo andando pela cidade.

ei, aquele ali é JONATHAN BAILEY? não, é só VICTOR FRANKENSTEIN, um personagem CANON de FRANKENSTEIN. ouvi dizer que ELE tem TRINTA E DOIS ANOS, mora em aspen cove há TRÊS ANOS e é um MÉDICO CIRURGIÃO em ASPEN COVE GENERAL. ele TEM suas memórias, o que pode justificar o fato dele ser um pouco INTELIGENTE e ARROGANTE sempre que o vejo andando pela cidade.

ei, aquela ali é EMILY ALYN LIND? não, é só STELLA, uma personagem CANON de WINX CLUB. ouvi dizer que ELA tem VINTE E UM ANOS, mora em aspen cove há TRÊS ANOS e é uma COSTUREIRA e ESTUDANTE DE MODA em PENINSULA COLLEGE. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco ENTUSIASMADA e SEM FILTRO sempre que a vejo andando pela cidade.

ei, aquela ali é ELLA PURNELL? não, é só DAISY JONES, uma personagem CANON de DAISY JONES & THE SIX. ouvi dizer que ELA tem VINTE E CINCO ANOS, mora em aspen cove há UM ANO e é uma CANTORA. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco LEAL e EXPLOSIVA sempre que a vejo andando pela cidade.

ei, aquela ali é LOLA TUNG? não, é só ALICE CULLEN, uma personagem CANON de THE TWILIGHT SAGA. ouvi dizer que ELA tem DEZENOVE ANOS, mora em aspen cove há SEIS MESES e é uma ESTUDANTE DE MODA em PENINSULA COLLEGE. ela não tem suas memórias, o que pode justificar o fato dela ser um pouco SOCIÁVEL e INGÊNUA sempre que a vejo andando pela cidade.

ei, aquela ali é MINATOZAKI SANA? não, é só USAGI TSUKINO, uma personagem CANON de SAILOR MOON. ouvi dizer que ELA tem VINTE E SEIS ANOS, mora em aspen cove há UM ANO E CINCO MESES e é uma BERÇARISTA em LUCKY DUCKLINGS. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco BONDOSA e MEDROSA sempre que a vejo andando pela cidade.

ei, aquela ali é ELLIE BAMBER? não, é só BLOOM, uma personagem CANON de THE WINX CLUB. ouvi dizer que ELA tem VINTE E DOIS ANOS, mora em aspen cove há NOVE MESES e é uma FLORISTA em KABLOOM. ela NÃO TEM suas memórias, o que pode justificar o fato dela ser um pouco ALTRUÍSTA ] e INGÊNUA sempre que a vejo andando pela cidade.

ei, aquela ali é GRACIE ABRAMS? não, é só DRACULAURA, uma personagem CANON de MONSTER HIGH. ouvi dizer que ELA tem VINTE E QUATRO / MIL E SEISCENTOS ANOS, mora em aspen cove há DOIS ANOS e é uma HERDEIRA em aspen cove. ela TEM suas memórias, o que pode justificar o fato dela ser um pouco AMIGÁVEL e DRAMÁTICA sempre que a vejo andando pela cidade.

ei, aquele ali é PEDRO PASCAL? não, é só FELIX, um personagem CANON de DETONA RALPH. ouvi dizer que ELE tem QUARENTA E CINCO ANOS, mora em aspen cove há TRÊS ANOS e é um FAZ-TUDO. ele NÃO TEM suas memórias, o que pode justificar o fato dele ser um pouco PRESTATIVO e IRRITANTE sempre que o vejo andando pela cidade.

ei, aquele ali é EVAN MOCK? não, é só AANG, um personagem CANON de AVATAR, A LENDA DE AANG. ouvi dizer que ELE tem VINTE E UM ANOS, mora em aspen cove há SETE MESES e é um ESTUDANTE em PENINSULA COLLEGE. ele TEM PARTES DE suas memórias, o que pode justificar o fato dele ser um pouco ANIMADO e AVOADO sempre que o vejo andando pela cidade.

ei, aquele ali é HARRY SHUM JR? não, é só FATHER BRAH, um personagem CANON de CRAZY EX GIRLFRIEND. ouvi dizer que ELE tem TRINTA E DOIS ANOS, mora em aspen cove há DOIS ANOS e é um PADRE em ST. PATRICK'S CATHOLIC CHURCH. ele NÃO TEM suas memórias, o que pode justificar o fato dele ser um pouco POSITIVO e INCONSEQUENTE sempre que o vejo andando pela cidade.

ei, aquele ali é MILO MANHEIN? não, é só JOEY TRIBBIANI, um personagem CANON de FRIENDS. ouvi dizer que ELE tem VINTE E SEIS ANOS, mora em aspen cove há SEIS MESES e é um ATOR DE COMERCIAL. ela NÃO TEM suas memórias, o que pode justificar o fato dele ser um pouco PROTETOR e GARANHÃO sempre que a vejo andando pela cidade.

ei, aquele ali é SELENA GOMEZ? não, é só ALEX RUSSO, um personagem CANON de FEITICEIROS DE WAVERLY PLACE. ouvi dizer que ELA tem VINTE E TRÊS ANOS, mora em aspen cove há SEIS MESES e é um ESTUDANTE DE MODA em PENINSULA COLLEGE e ESTAGIÁRIA em SILK & SATIN. ela TEM suas memórias, o que pode justificar o fato dele ser um pouco CORAJOSA e TEIMOSA sempre que a vejo andando pela cidade.

#aceitos.#TÁ BOM PRA VCS???????????#gente pfvr se eu esqueci de alguém me avisemkkkkkk #foi gente demais eu to até desorientada

3 notes · View notes

nappynewz · 6 years ago

Text

9 Black Art Galleries To Check Out That Are Putting The Work Of Black Artists On Full Display

Black gallerists are integral to the Black art economy.

Photo credit:Stella Jones Gallery

We sing the praises of many visual artists. However, much credit is due to the facilitators of Black art for amplifying the names and works of artists we might not otherwise be familiar with. Black gallerists have pushed African American art, making it accessible and consumable for Black communities…

View On WordPress

#Band of Vices #Black Art #Black Artist #Black Gallerists #Galerie Myrtis #Hearne Fine Art #Mackey Twins Art Gallery #Neema Gallery #Richard Beavers Gallery #Rush Arts Philadelphia #Stella Jones Gallery #Zucot Gallery

15 notes · View notes

juliaswickcrs · 3 years ago

Photo

TESS BECK + THE MULTIVERSE

( remake of x )

Introduced as a one-off love interest for Peter Parker following his breakup with Mary Jane Watson, Tess Beck soon evolved into a fan favorite, with her backstory and investigative skills bringing in a unique demographic of comic books readers whenever she made an appearance.

The daughter of Quentin Beck and the mutant Beautiful Dreamer, Tess Beck is the best friend of Mary Jane Watson and long-time girlfriend and eventual wife of Harry Osborn. Briefly joining the rogues gallery under the alias Stasis, her popularity surged and the character has made several appearances in Spider-Man Adaptations.

Beck has been portrayed three separate times, although each with different names and varying origin stories.

Her first appearance was in 2002′s Spiderman, directed by Sam Raimi as Theresa Beck. Played by Linda Cardellini, fans were ecstatic to see her character grace the big screen, her interactions with Bruce Campbell’s character leading many to speculate the latter was actually Mysterio. Raimi kept largely to the character’s comic canon, portraying Beck as a loner at Midtown High, whose jealously toward Mary Jane and sardonic humor eventually led to a relationship with Harry Osborn and her arc as the villain Stasis in Spiderman 3. Which was received poorly due to the lack of screen time and development given to the character as a whole.

The character later returned under a new name as Emma Beck--portrayed by breakout star Stella Maeve--in The Amazing Spiderman. An extroverted journalist who was speculated to have ties to Matt Murdock, Marc Webb intended for Emma Beck to have a much bigger storyline in The Amazing Spiderman 2, but unfortunately it had to be cut due to time constraints. Emma Beck was also intended to be the next love interest for Peter Parker in The Amazing Spiderman 3, replacing Mary Jane Watson after the death of Gwen Stacy. However, the sudden cancellation of the series promptly put an end to that plan.

The most recent version of the character has appeared in Marvel’s Captain America: Civil War and Spiderman: Homecoming as the best friend of Michelle Jones (MJ) and a high school rival of Peter Parker’s. Prompted by the recent backlash following the cancellation of TASM3 and script leaks that ignited fan’s rage, Kevin Feige announced that Danielle Rose Russell would be playing the character in the Marvel Cinematic Universe, and that she would play an important role in the future of the franchise. Tessa Beck has been rumored to show up in Wandavision, in addition to her upcoming appearance in Spiderman: Far From Home, with many fans believing Beck will be the key to introducing mutants to the MCU.

taglist: @honeyandsunflowers @foxesandmagic @booty-boggins @iron-parkr @jewelswrites-ish @hayley-marshalls @a-song-of-quill-and-feather @ocfairygodmother

181 notes · View notes

biohazzard121 · 3 years ago

Photo

Summer is just around the corner for most of us, & i know with the new Werewolf DLC coming al ot of poses makers will probably be working on Poses for them, [Me Included] But i wanted to wait to see who the sims are gonna end up in Gallery best guest like Vampires/Mermaids with human form as primary and Secondary showing human/Alter ego. Anyway off track. So for the past few days i’ve been working on Summer Heat it was a pose i wanted to do to show off a couple of sims i was actually quite proud of,

“Issac Jones Visited Sulani, Not only did he fall in love with the Island itself but he fell hard for a local Girl called Crestella “Stella’ Roe, she was a local primary school teacher with a secret. she was a mermaid. the relationship blossomed and they both gain a few skills. He became a lifeguard. then one cool summer evening Issac plucked up the courage & asked Stella to marry him, at first she said no, Human & Mermaid it could never be, her father wouldn’t allow such a union, Issac was heart broken for a while, and Stella couldn’t stand it, so confessing her love to Issac she showed him why she had said No, Issac smiled, deep down he knew, he’d started to suspect when Stella used to disappear late at night, she refused to swim in the water with him. Issac & Stella are engaged and don’t care what people think about the union”.

Anyway that was the sims version i wanted to upload, but when i threw them back into CAS, after gaining the skills, moving them in together getting them engaged etc. The game said they where CC sims.

Now when i’m pose testing i REMOVE all my mods i just have a folder that says Resource & The current pose NOTHING else, but i’ve noticed that SpellCasters are the same once they start learning their skills and spells.....

Any The “Summer Heat Pose” will be available soon currently its only Male/Female [Tester Pose] & Requires the NO Randomization Mod to work. i’m adding more files, so the sims will have a pose choice but it will not be generic not at the moment Limited time, Sorry.

#Biohazzard121 #Sims 4

4 notes · View notes

2dtcnjspring · 5 years ago

Text

Balance & Unity

Balance

Balance (some equal distribution of visual weight) is a universal aim of any composition. The vast majority of image we look at have been consciously balanced by the artist. However, this does not mean that there is no place for purposeful imbalance.

When dealing with pictorial balance, most of the time, this refers to horizontal balance, the right and left side of the image.

The simplest type of balance- to create and recognize- is symmetrical balance (one side mirrors the other). With symmetrical balance shapes are repeated in the same positions on either side of a central vertical axis.

Georgia O’Keeffe

Symmetrical balance (always contains an apparent symmetry) This symmetry can be: predictable, formal or stable.

Conscious symmetrical repetition can be exactly what you are looking for to create prefect balance, but this predictability can sometimes create static images - we sometimes call this formal balance. This most notably happens in architectural balance. Consider how this might re-enforce the function.

Frank Stella, Gran Cairo, synthetic polymer on canvas, 7'½" square, 1962 Whitney Museum of American Art, New York

Morris Louis

Asymmetrical Balance Balance is achieved with dissimilar objects that have equal visual weight or equal eye attraction. Similar visual noise/weight.

Visual balance is maintained as both sides of the composition provide a visual emphasis. Often asymmetrical balance feels more casual and less predictable - we sometimes call this informal balance.

Katsushika Hokusai, South Wind and Clearing Weather, Colore woodcut, 10 x 15" c. 1820-1830. Metropolitan Museum of Art, New York

Vincent van Gogh

Asymmetrical Balance by Shape A shape can potentially counter balance a large shape.

Francisco Goya, The Parasol, cartoon for tapestry, Oil on canvas, 3'5" x 4'11", 1777. Prado Museum, Madrid, Space

Asymmetrical Balance by Texture Any visual (or photographic) texture with a variegated dark and light pattern holds more interest for the eye than does a smooth, unrelieved surface.

Jan Vermeer, Woman with a Lute, oil on canvas, 201/4" x 361/2", 1663-64. Metropolitan Museum of Art, New York

Asymmetrical Balance by Position Balance by position often lends an unusual unexpected quality to the composition. The effect seems casual and unplanned but also can, at first glance, seem to be imbalanced drawing the viewers eye in for a closer look.

Edgar Degas, Dancers practicing at the bar, oil on canvas, 293/4" x 32", 1877. Metropolitan Museum of Art, New York

Balance by Eye Direction The last element for achieving asymmetrical balance. Eye direction is carefully plotted, not only for balance but also for general compositional unity. When larger images or shapes direct the eye to a smaller shape or image forcing the smaller image or shape to function as a focal point.

Pierre Fix-Masseau, Exactitude, Gouache, 393/8" x 421/2", after a poster of 1929, Metropolitan Museum of Art, New York

Radial Balance Here all the elements radiate in a circle out from a common point. The sun with its emanating rays or flowers are familiar symbols that expresses the basic idea. The major compositional advantage in radial balance is the immediate and obvious creation of a focal point.

Damien Hirst

Andy Goldsworthy

Allover Pattern Works that exhibit an equal emphasis over the whole format - the same weight or eye attraction literally everywhere. Generally a work that is uniform throughout. It’s official name is Crystallographic Balance but we will refer to it in class as Allover Pattern.

Jasper Johns, Numbers in color, Encaustic and newspaper on canvas, 5'61/2" x 4'11/8", 1959. Albright Knox Art Gallery, Buffalo, New York

Jackson Pollock, Lavender Mist, oil on canvas, oil, enamel, and aluminum on canvas, 7'3" x 9'10" 1950. National Gallery of Art, Washington, D.C.

Damien Hirst

Eva Hesse

*What we see is that many compositions end up employing serval balance techniques simultaneously - these principles frequently overlap and are used together.*

Robert Mangold:

http://www.pbs.org/art21/watch-now/segment-robert-mangold-in-balance

Unity Unity implies that a congruity or agreement exists among the elements of a design; they look as though they belong together, as though some visual connection beyond mere chance has caused them together. This is also called harmony. To successfully have unity, you must see the whole pattern before you see the individual elements. What is the total pattern?

Rene Magritte

Proximity An easy way to gain unity in a composition is to make separate element look as if they below together, proximity is the easiest way to accomplish this. Group elements together rather than leaving them isolated. This makes the work seem intentional.

Paul Wonner, Dutch still life with Stuffed Birds and Chocolate, acrylic on canvas, 6 x 4’, 1981.

Michael Jones McKean

Unity through Repetition The most widely used device for achieving unity is repetition. The elements that repeat can be almost anything, a color, shape, texture, a direction or angle.

Sara Cwynar

Andy Warhol, Sixteen Jackies, acrylic and silkscreen ink on canvas, 20 x 16" each canvas, 1964.

Andy Warhol

Continuation Another way to achieve unity is through continuation which is a more subtle device than proximity or repetition. Continuation means that something continues – usually a line, an edge or a direction from one form to another. The viewers eye is carried smoothly from one to the next.

Edgar Degas, The tub, Pastel, 231/2"x 321/2", 1886. Loure, Paris

Unity with Variety There are ways of creating Unity without falling into the trap of a perfectly symmetrical image. The goal is to obtain unity in an image but allow the image to branch out into variations that enliven the image.

How does a checker board pattern feel compared to the below?

Piet Mondrian, Composition with Red, yellow and Blue, oil on canvas, 25 7/8" x 27 ¼", 1937-42. Tate Gallery, London.

Wassily Kandinsky, Several Circles, No.323, oil on canvas, 4'71/8" square, 1926. Solomon R. Guggenheim Museum, new York

Gerhard Richter

Balance & Unity Project Requirements and Restrictions

Physical works must be 11x14 inches, the size of the bristol paper (2 collages each 11x14″: One dealing with balance and one dealing with unity)

Collages must utilize images altered in photoshop using crop tool, selection tool, adjustments: hue/saturation, light/value, etc. Print (in color or black & white) and be collaged into the final works. You may also incorporate found images from magazines, newspapers, fabric, drawing, line, etc into your final collage. *Take your Photoshop image size into consideration when printing.

You must use a 50/50 balance of digitally altered images to found images.

Fill the entire page of your collage. No white of the paper should be showing

Glue only (be neat), no tape

Must be presentation ready

Also must be posted to blog

Must have a titles

Must be accompanied by explanation on blog

Student Examples:

REBLOGGING UNITY PROJECTS:

Browse through your classmate’s blogs (blog links are found on our class tumblr under Student tumblrs - you should already be following one another). Reblog 1 of your classmates Unity projects onto your blog and discuss the effectiveness of this 2D element. Make sure it is a 250 words minimum post about your classmate's project. Things to consider: Is it successful? Can you tell the work is about the idea of Unity? Where and how could the work be stronger? etc.

#balanceandunity #reblogging #balance #unity

4 notes · View notes

trascapades · 2 years ago

Text

🖤🎨#ArtIsAWeapon

Thank you @RichardBeaversGallery for compiling this list of Black-owned art galleries!

UJAMAA

BLACK OWNED ART GALLERIES

Compiled by Richard Beavers Gallery, December 2022

Above Art Studios, NJ | @aboveartstudios

Addis Fine Art, LDN | @addisfineart

Anderson Brickler Gallery, FL | @andersonbricklergallery

Annie’s Art Gallery, MD | @anniesartgallery

Anthony Gallery, IL | @galleryanthony

Artlanta Gallery, GA | @artlantagallery

Akwaaba Gallery, NJ | @akwaabagallery

Arnika Dawkins, GA | @arnikadawkins

Art Lead Her, NY | @artleadher

Art for the Soul Gallery, MA | @artforthesoulgallery

Art of Noize, DC | @artofnoizedmv

Art Melanated, CA | @artmelanated

Astah’s Art Gallery, NJ | @astahsartgallery

Axiom Fine Art Gallery, LA | @axiomartgallery

Band of Vices, CA | @bandofvices

Baar Art, | @barartjourney

Bill Hodges Gallery, NY | @billhodgesgallery

Bisong Art Gallery, TX | @bisongart

Black Artists+Designers Guild | @badguild

Black Art In America, GA | @blackartinamerica_

Black Gotham, NY | @blackgotham

Black Wall Street Gallery, NY | @bws.gallery

BlkMrkt, NC | @blkmrktclt

Boom Concepts, PA | @boom_concepts

Bridge Art Gallery, DE | @bridgeartgallery

Calabar Gallery, NY | @calabargallery

Cane Roots Art Gallery, USVI | @canerootsartgallery

Carter Fine Art Services | @carterfineart

Chela Mitchell Gallery, DC | @chelamitchellgallery

Ciera Britton Gallery, NY | @cierrabrittongallery

Cindy Rucker Gallery, NY | @ruckergallery

Curtiss Jacobs Gallery, NY | @curtissjacobsgallery_harlem

Dada Art Gallery, LDN | @thedadagallery

Daisha Board Gallery, TX | @daishaboardgallery

Dominque Gallery, CA | @dominique.gallery

Dorsey’s Art Gallery, NY | @dorseysfineartgallery

Dupp & Swat, NC | @duppandswat

E&S Gallery, KY | @eandsgallery

Essie Green Gallery, NY | @essie.green.gall

11:Eleven Gallery, DC | @11eleven_gallery

5 Points Art Gallery & Studios, WI | @5ptsartgallery

Galerie Myrtis, MD | @galeriemyrtis

Gallery 90220, CA | @gallery90220

Gallery Chuma, SC

Gallery Guichard, IL | @gallery_guichard

Gallery Kendra Jayne Patrick, NY | @gallerykendrajaynepatrick

Ground Floor Gallery, NY | @groundfloorbk

Hausen, NY | @welcometohausen

Hannah Traore Gallery, NY | @hannahtraoregallery

Harper Galleries of Art, MI | @harpergoaai

Hearne Fine Art, AR | @hearnefineart

HMAAC, TX | @houstonmaac

Homme DC, DC | @homme_dc

Housing, NY | @housingny

Jac Forbes Gallery, CA | @jacforbes

Jenkins Johnson, NY | @jenkinsjohnsongallery

Johnathan Carver Moore, CA | @johnathancarvermoore

June Kelly Gallery, NY | @junekellygallery

KAWD Art Gallery, LA | @kawdartgallery

Kente Royal Gallery, NY | @kente_royal_gallery

Knowhere, MA | @knowhereart

Left of Center Art Gallery, NV | @leftofcentergallery

Legendary Art Gallery, IL | @legendaryartgallery

Long Gallery, NY | @longgallery

Mackey Twins Art Gallery, NY | @mackeytwinsart

Mahogany Gallery, WI | @mahoganygallery

Mariane Ibrahim Gallery, IL | @marianeibrahimgallery

Martyr Sauce, WA | @martysauce

Medium Tings, NY | @mediumtings

Mehari Sequar Gallery, DC | @meharisequargallery

Mitochondria Gallery, TX | mitochondria.gallery

Moody Jones Gallery, PA | @moodyjonesgallery

Muse GR, MI | @mymusegr

Nicola Vassell Gallery | @nicolavassellgallery

N’Namdi Center for Conetemporary Art, MI | @nnamdicenter

N’Namdi Contemporary, FL | @nnamdi_gallery

Neema Gallery, SC | @neemagallery

NoName Gallery, PA | @nonamegalleryphilly

Norwest Gallery of Art, MI | @norwestgallery

Overdue Recognition Gallery, MD | @overduerecognitionart

Peg Alston Fine Arts, NY | @pegalston

Pencil on Paper Gallery, TX | @pencilonpapergallery

Prizm Art Fair, FL | @prizm

Residency Art Gallery, CA | @residencyart

RichesArt Gallery and Studio, TX | @richesartgallery

Richard Beavers Gallery, Brooklyn

Richard Beavers Gallery, Soho | @richardbeaversgallery

Rush Arts Philanthropic, PA | @rushartphilly

Sabree’s Gallery of the Arts, GA | @sabreesgallery

September Gray Fine Art, GA | @septembergrayart

SK ArtSpace, NY | @sk.ArtSpace

Skoto Gallery, NY | @skoto_gallery

Stella Jones Gallery, LA | @stellajonesgallery

Superposition, CA | @superpositiongallery

Terrance Osbourne Gallery, LA | @terranceosborne

The Bishop Gallery, NY | @thebishopgallery

The Compound Gallery, NY | @compoundgallery

The Heath Gallery, NY | @heathgallery

The Sold Firm, DE | @thesoldfirm

The Spite Haus, PA | @thespitehaus

Thelma Harris Gallery, CA | @thelmaharrisgallery

Tripoli Gallery, NY | @tripoligallery

Urban Art Gallery, PA | @urbanartgallery

Wa Na Wari, WA | @wanawariseattle

Waller Gallery, MD | @wallergallery

WaterKolours Fine Art Gallery, TN

Welancora, NY | @welancora

Worth Gallery, | @worth_gallery

Youth Concept Gallery, FL | @youthconceptgallery

Zimstone Gallery, DC | @jeffbrown_zimstonegallery

ZuCot Gallery, GA | @zucotgallery

#BlackOwnedArtGalleries

#BlackArtGalleries #BlackGallerists #BlackArt #BlackArtists #BlackGirlArtGeeks #BlackArtLovers #BlackArtCollectors

0 notes

jnlfinearts · 4 years ago

Conversation

Thanks for another amazing exhibit to

Ms. Beryl Johns

Dr. Stella Jones and

Dr. Eloise Johnson

at Stella Jones Gallery in New Orleans, LA

#@stellajblackart StellaJonesGallery

0 notes

puephung-fy · 4 years ago

Text

[1.24] Citation

A. (2018), (N/A), Instagram, 22 March, https://www.instagram.com/p/Bgo-2DZgeph/, [Accessed: 17 Jan 2021]

The Art Story, (2018), Rococo, https://www.theartstory.org/movement/rococo/, [Accessed: 28 Dec 2020]

B, E. (2020), Customer board, Instagram, 25 November, https://www.instagram.com/p/CIB7bEAlhtO/, [Accessed: 17 Jan 2021]

Bishop, K. (2018), Fast (Conscious) Fashion, https://www-lsnglobal-com.ezproxy.bcu.ac.uk/fashion/article/22395/fast-conscious-fashion, [Accessed: 7 Jan 2021]

Brain, E. (2019), H&M Norway Called out for “Greenwashing” Conscious Collection Marketing. https://hypebeast.com/2019/8/h-m-conscious-collection-greenwashing-sustainability-norwegian-consumer-authority, [Accessed: 19 Dec 2020]

Britannica, (2020), Hippie, https://www.britannica.com/topic/hippie, [Accessed: 31 Dec 2020]

Britannica, (2020), Rococo, https://www.britannica.com/art/Rococo, [Accessed: 31 Dec 2020]

Cecilie Bahnsen, (N/A), Fall Winter 2018 Show, https://ceciliebahnsen.com/explore/collection/fall-winter-2018-campaign/, [Accessed: 19 Jan 2020]

ClickAmericana, (N/A), Woodstock: What people said the famous music festival was REALLY like (1969), https://clickamericana.com/eras/1960s/woodstock-through-the-eyes-of-the-attendees-1969, [Accessed: 17 Jan 2021]

DEW E DEW E, (N/A), 2021 S/S, http://www.seoulfashionweek.org/highlights/view/450/2021SS/DEW_E_DEW_E/, [Accessed: 19 Jan 2021]

DifferenceBetween.com, (2013), Difference Between Serif and Sans Serif, https://www.differencebetween.com/difference-between-serif-and-vs-sans-serif/, [Accessed: 14 Jan 2021]

Esthe, (2019), The art of layering through ruffles, pleats and velvet details, Instagram, 16 October, https://www.instagram.com/p/B3rDkR_ApUw/, [Accessed: 18 Jan 2021]

Hill, M. (2020), What is Circular Fashion?, https://goodonyou.eco/what-is-circular-fashion/ , [Accessed: 2 Jan 2021]

Holland, G. and Jones, R. (2017), Fashion Trend Forecasting, 1st Edition, London: Laurence King Publishing.

IKE, (N/A), 2020 S/S, http://www.seoulfashionweek.org/designers/view/537/2020SS/IKE/, [Accessed: 19 Jan 2021]

Juma, N. (2020), 60 Fashion Quotes Celebrating Design and Your Favorite Designers, https://everydaypower.com/fashion-quotes/, [Accessed: 18 Jan 2021]

KettleFire, (2020), Typography Explained: A Quick Guide to Font Terminology, https://kettlefirecreative.com/typography-explained-font-terminology/, [Accessed: 14 Jan 2021]

Kim, J. (2019), (N/A), Instagram, 30 June, https://www.instagram.com/p/BzVdLuNnxqJ/, [Accessed: 14 January 2021]

Matoshi, T. (2020), (N/A), Instagram, 11 August, https://www.instagram.com/p/CDwRCw2nsnl/, [Accessed: 15 Jan 2021]

Nudie Jeans, (N/A), The Sustainable Product, https://www.nudiejeans.com/sustainability/sustainable-products#repair-kit, [Accessed: 2 Jan 2021]

Phelps, N. (2020), Dolce & Gabbana Fall 2020 Ready-to-Wear, https://www.vogue.com/fashion-shows/fall-2020-ready-to-wear/dolce-gabbana/slideshow/collection#36, [Accessed: 18 Jan 2021]

Phelps, N. (2019), Giambattista Valli Fall 2019 Couture, https://www.vogue.com/fashion-shows/fall-2019-couture/giambattista-valli/slideshow/collection#30, [Accessed: 15 Jan 2021]

Pithers, E. (2020), The 11 Biggest Autumn/Winter 2020 Trends, https://www.vogue.co.uk/fashion/gallery/autumn-winter-2020-fashion-trends, [Accessed: 3 Dec 2020]

Stella McCartney, (N/A), Fibres from Forests, https://www.stellamccartney.com/experience/en/sustainability/themes/materials-and-innovation/fibres-from-forests/, [Accessed: 3 Jan 2021]

V&A Museum, (N/A), The Baroque Style, https://www.vam.ac.uk/articles/the-baroque-style, [Accessed: 7 Jan 2021]

WGSN, (N/A), WGSN (All features), https://www-wgsn-com.ezproxy.bcu.ac.uk/fashion, [Accessed: 24 Nov 2020]

Whelan, J. (2019), The Revolution Will Not Be Serifised: Why Every Luxury Brand’s Logo Looks the Same, https://www.businessoffashion.com/opinions/luxury/the-revolution-will-not-be-serifised-why-every-luxury-brands-logo-looks-the-same-burberry-balmain-balenciaga, [Accessed: 14 Jan 2021]

0 notes

wallpaperpainter · 5 years ago

Text

Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings

STATEN ISLAND, N.Y. — When I anticipate of the Dutch Colonial house, I see the big red barn, like in children’s books or in paintings of upstate landscapes. They are one of the best characteristic architectural styles of American homes. Dutch Colonial homes got their name from American settlers advancing from the Netherlands in the aboriginal to mid-1600s. They connected to body this appearance home through the mid-1800s. This appearance is best boundless in New York, New Jersey, and Pennsylvania back that’s breadth the majority of Dutch settled.

The best acclaimed affection of a Dutch Colonial abode is its broad, double-pitched roof that slopes analytic collapsed and advanced at the top and again changes angles and slopes about beeline down. Additionally accepted as a gambrel roof or a barn roof. It was acclaimed by Andrew Cogar, artist and admiral of Historical Concepts, that “The able use of framing with the two-pitched roofs accustomed for the attic to become accessible active space, lending this appearance to advance into rural and burghal subtypes.” It additionally enabled homeowners a way to get about taxes on two-story homes. The Federal Direct Tax annal of 1798 appearance that gambrel-roofed houses were classified as one story. What a deal!

Staten Island has abounding Dutch Colonial homes advance throughout the neighborhoods. Abounding in Great Kills breadth like this one. (Staten Island Advance/Jan Somma-Hammel)

The Guyon-Lake-Tysen Abode was congenital in 1740. There is a archetypal a bisected door, in a appearance that was after alleged

Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings – dutch landscape paintings | Allowed to my own website, in this particular time I’ll explain to you regarding keyword. And today, this is actually the first image:

Tulips and sky – dutch landscape paintings | dutch landscape paintings

Think about impression above? can be which wonderful???. if you feel therefore, I’l d teach you several graphic again down below:

So, if you want to have these fantastic graphics regarding (Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings), just click save link to save the shots in your laptop. These are available for down load, if you love and wish to get it, click save symbol in the page, and it will be directly downloaded to your laptop.} At last if you like to secure unique and the latest picture related to (Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings), please follow us on google plus or bookmark this blog, we try our best to present you regular update with fresh and new graphics. We do hope you love staying right here. For most up-dates and recent information about (Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings) pictures, please kindly follow us on tweets, path, Instagram and google plus, or you mark this page on book mark area, We attempt to present you update regularly with fresh and new photos, like your searching, and find the right for you.

Here you are at our website, articleabove (Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings) published . Nowadays we’re pleased to declare that we have discovered an awfullyinteresting topicto be discussed, namely (Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings) Most people searching for info about(Learn All About Dutch Landscape Paintings From This Politician | Dutch Landscape Paintings) and certainly one of these is you, is not it?

csm_Lempertz-25-25-Paintings-and-Drawings-25th-25th-C-Cornelius .. | dutch landscape paintings

Landscape Painting in the Netherlands | Essay | The Metropolitan .. | dutch landscape paintings

Landscapes in oil paint and watercolor; landscape paintings .. | dutch landscape paintings

Let’s go for a Walk: Dutch Landscape Painting in the 25th Century – dutch landscape paintings | dutch landscape paintings

paintersjob – dutch landscape paintings | dutch landscape paintings

Image result for 25th century dutch landscape paintings (With .. | dutch landscape paintings

Dutch Polder Landscape, Art Painting by Johan Hendrik Weissenbruch – dutch landscape paintings | dutch landscape paintings

Idyllic Dutch landscape in springtime – dutch landscape paintings | dutch landscape paintings

Charles Leickert | Romantic Landscape painter | Tutt'Art .. | dutch landscape paintings

sunset sky – dutch landscape paintings | dutch landscape paintings

Dutch Landscape by Lelia Sorokina – dutch landscape paintings | dutch landscape paintings

Spencer Alley: 17th-century Paintings from the Netherlands – dutch landscape paintings | dutch landscape paintings

Dutch Landscape Painting by Jan Van Den Hurk, Mid-25th c – dutch landscape paintings | dutch landscape paintings

Upcoming Events Dutch Landscapes from the Golden Age – dutch landscape paintings | dutch landscape paintings

17th Century Dutch Oil Painting Landscape, School of Jacob .. | dutch landscape paintings

Landscape at Sunset. Artist: Aert van der Neer (Dutch, Gorinchem .. | dutch landscape paintings

19th century American Paintings: Hugh Bolton Jones – dutch landscape paintings | dutch landscape paintings

Dutch Accent Gallery — Dutch landscape painting by artist Stella.. | dutch landscape paintings

Dutch winter landscape by Charles Leickert – dutch landscape paintings | dutch landscape paintings

William Edward Webb (1862-1903), Peel Harbour, Isle of Man .. | dutch landscape paintings

John Falconer Slater (1857 – 1937), A Calm Sea for sale – dutch landscape paintings | dutch landscape paintings

Nature in art: Defined and processed | dutch landscape paintings

Painting titled ‘View of Dordrecht’ by Aelbert Cuyp (25-25 .. | dutch landscape paintings

Gallery Talk: 25th-Century Dutch Landscape Painting | Harvard Art .. | dutch landscape paintings

Painter Legend https://i1.wp.com/www.painterlegend.com/wp-content/uploads/2020/06/tulips-and-sky-dutch-landscape-paintings.jpg?fit=993%2C679&ssl=1

#landscape painting #dutch landscape painters #dutch landscape painters 17th century #dutch landscape

0 notes

creativinn · 5 years ago

Text

ORGAN: Cultivate presents (Far from the) Turmoil, an on-line art exhibition…

It is all rather simple, an art exhibition, a group show, a slide show, some art, some artists invited, an on-line art exhibition, and down at the bottom, those oh so vital links. These on-line group shows aren’t a response to the current virus-avoiding lockdown we find ourselves enduring right now, they’re not meant as an alternative while we can’t hold physical gallery shows, they’re something that fits in alongside everything else we do as Cultivate. (Far from the) Turmoil then, a simple gathering of artists and an art show curated once more by Cultivate founders Sean Worrall and Emma Harvey, an invitation extended to a fellow artist or two to come join us and to be part of an on-line art exhibition. Hopefully you will find some art or an artist that excites you enough to go to those links down there and find out more, it is all about those links. (sw, May 2020)

Welcome then, welcome to the 8th Cultivate on-line show, 155th artist-led exhibition or event from Cultivate. Do please click on an image to enlarge it and to run the slide show, it works best if you treat it as a slide show. (and yes I know we haven’t finished labelling all the art, that some of the pieces only have the artist name on them right now, come back later, we ran out of time, the full details will be there in a minute)

LINKS TO THE ARTISTS, do please use those links now, that is the real point here, the pointing you in the direction of some artists…

ALLY ZLATAR AMANDA CHILDS ANA LIPPS BEN FENTON BETH J ROSS DAVID IAN BUCKLEY DEVI SEETHARAM EMMA HARVEY FERGUS HARE FRED FABRE GARETH BUNTING GIRL SHIT GLISKA HANNAH ANDREWS HELEN GRUNDY IOANA ELECFI JAIRO ZALDUA / NICOLA JANE GREEN JAN ANSELL KELLY WU LAURA ANDREWS LAYA NAVARO LIZ GRIFFITHS MARBLEU MIA-JANE HARRIS MICHELLE RINOW PAUL SAKOILSKY PETER A LEIGH RHIANNON LEWANDO RUTH PHILO SAM LEE SEAN WORRALL STELLA CHRISTOFI STELLA WHALLEY STUART JONES SUZIE PINDAR TARYN O’REILLY TIM GOFFE TONY BERKMAN TWINKLE TROUGHTON VALERIYA VAKUTINA

DONATE – We bring all this art, music and underculture to you for free, we really don’t want to clutter up our pages with annoying adverts, no one wants that, but it does take up a lot of time, hours and hours of time. If you should feel like supporting Organ and making a small donation to help keep all this flowing that would be delightful, thank you.

This content was originally published here.

0 notes

womenofcolor15 · 5 years ago

Text

Remy Ma & Papoose Reveal The Key To #BlackLove At The Most Painfully Romantic Movie Of The Year – 'The Photograph'

Remy Ma & Papoose - the #BlackLove prototype - laced an audience with some relationship gems before seeing the romantic drama, The Photograph, starring Issa Rae and LaKeith Stanfield. Soak it all in inside...

View this post on Instagram

Picture perfect love A timeless type of love! #BlackLove #SeethePhotograph in theaters Feb. 14. Valentines Day @thephotographfilm Saw the screening of this movie and it inspired @papoosepapoose to ask me to go on a date. I said ”like a 1st date”...he’s says “no, like the 10th date” I say “why not the 1st” he says “ cuz u ain’t let me **** on the 1st date” #RemAndPap

A post shared by Remy Ma (@remyma) on Feb 3, 2020 at 7:38pm PST

Ever since Remy Ma came home from doing a prison bid, she and her husband Papoose have shown the world what #BlackLove looks like. They make it known everything isn’t picture perfect in their relationship, however, they’re both perfect for each other – flaws and all. And that's what really matters. Having someone in your corner who roots for you and love you unconditionally.

Naturally, Rem & Pap were chosen to kick off the screening of the romance drama The Photograph in NYC. Before the movie started, the married couple hit the stage to thank everyone for coming out and then Pap dropped some relationship keys that we all could use – even in friendships.

Check it:

View this post on Instagram

This movie tho... | Y’all need to RUN to the theater on February 14th to see this. Think The Notebook meets Brown Sugar & Love Jones, but make it fabulous af in 2020. We needed this @issarae. #SeeThePhotograph

A post shared by TheYBF (@theybf_daily) on Feb 3, 2020 at 7:08pm PST

Love them!

Valentine's Day is coming up, so folks are getting into their feels for the ones they love.

youtube

Before The Photograph hits the box office on February 14th, stars Issa Rae, LaKeith Stanfield, Lil Rel Howery, Chanté Adams, and writer/director Stella Meghie sat down for an intimate conversation about Black Love and the return of Black romantic cinema to the big screen. It's def needed AND appreciated.

On Valentine’s Day, Issa Rae (HBO’s Insecure, Little) and LaKeith Stanfield (FX's Atlanta, Sorry to Bother You) connect in a romance where a woman must learn from the secrets in her mother’s past if she is to move forward and allow herself to love and be loved.

When famed photographer Christina Eames unexpectedly dies, she leaves her estranged daughter Mae Morton (Rae) hurt, angry and full of questions. When a photograph tucked away in a safe-deposit box is found, Mae finds herself on a journey delving into her mother’s early life and ignites a powerful, unexpected romance with a rising-star journalist, Michael Block (Stanfield).

From writer-director Stella Meghie (The Weekend, Jean of the Joneses) from her original screenplay comes a sweeping love story about forgiveness and finding the courage to seek the truth, no matter where it may lead you. It's produced by Will Packer.

The film also stars Chanté Adams (Roxanne Roxanne) as Mae’s young mother Christina, Y’lan Noel (HBO’s Insecure) as Christina’s secret love, and Rob Morgan (Mudbound) as Isaac Jefferson, a New Orleans fisherman with a mysterious connection to Mae’s mother.

Peep their convo above.

BONUS:

View this post on Instagram

@lapalmemagazine cover shoot Styled by @1800dhawk #Repost @1800dhawk wearing Jacket: @malanbreton Boots: @ganordominic Hat: @sarahsokolmillinery Jewelry: @czbykennethjaylane #RemyRunway #RemyMa #ShesComing #AreYouReady

A post shared by Remy Ma (@remyma) on Feb 4, 2020 at 12:21pm PST

Remy Ma turned up the heat on the magazine circuit with her LAPALME magazine February 2020 cover and spread. And she ATE that ish. Sis looked fierce AF for the pictorial.

View this post on Instagram

For @lapalmemagazine Clothing @ernestonaranjo Jewelry @sisterlovemjb Styled by @1800dhawk #RemyRunway #RemyMa

A post shared by Remy Ma (@remyma) on Feb 5, 2020 at 10:01am PST

Remy Ma - LAPALME Magazine (2020) pic.twitter.com/A5PTwOdHvx

— MOZART (@MozartAzalea) February 1, 2020

Remy's "Melanin Magic" was A1. If you watch "Love & Hip Hop" then you saw the scene with Remy and her homie Fat Joe while she was shooting the pictures for the magazine cover and shoot. Peep the behind-the-scenes clip below:

View this post on Instagram

My BTS Video for @remyma during our @lapalmemagazine shoot @lapalmemedia Photographer: @dicksonmosesphotography Other artist : @papoosepapoose @fatjoe Creative director: @travisdemetri @kevin_lapalme @iamisiuwa Makeup: @yeikaglow Hair: @tb_hairstylist Stylist: @1800dhawk Assistant stylist: @djackstyles Publicist: @erndukes Location: @goldbarnewyork Production assistant : @shawn_point0 @coripher #remyma #fatjoe #lapalmemagazine #lapalmemedia #vh1 #loveandhiphopnewyork

A post shared by Felix- Content Creator (@travelplg) on Feb 2, 2020 at 10:26am PST

The Photograph hits theaters on Valentine's Day! You HAVE to go see it.

Swipe through our gallery below to see your faves at the The Photograph's ATL screening last night!

Photo: Getty

FAB FLIX OF THE DAY:FRIDAY, FEBRUARY 7TH!

[Read More ...] source http://theybf.com/2020/02/07/blacklovegoals-remy-ma-papoose-reveal-the-key-to-blacklove-at-the-most-painfully-romantic

0 notes

aestheticallynoir · 6 years ago

Text

@ Stella Jones Gallery. New Orleans, LA.

#blackaesthetics #blackart

0 notes

mozgoderina · 8 years ago

Text

Some Thoughts About Richard Serra and Martin Puryear (Part 2: Puryear)

Like Serra, Puryear went to Yale’s famed M.F.A. program (1969–71), but he attended five years after Serra had graduated. In fact, Serra and Robert Morris were visiting artists while he was a student there. During his time at Yale, he studied with the sculptor James Rosati and took a course on African art with Robert Farris Thompson and a course on pre-Columbian at with Michael Kampen. Before attending Yale, Puryear had studied at Catholic University of America, Washington D.C. (1959–63), where he got a B.A in Arts; worked in the Peace Corps (1964–66) in Sierra Leone in West Africa; attended the Swedish Royal Academy of Art (1966–68); and took a backpacking trip with his brother in Lapland, above the Arctic Circle. By the time he attended Yale, Puryear was what the poet Charles Baudelaire would have characterized as “a man of the world.”

From the outset of his career, Puryear refused to give up what he knew and studied in order to align his work with the prevailing aesthetic. Some people believe they should do whatever it takes to fit in, while others accept that they will never fit in and do not try. There is the assimilationist who wants to be loved by everyone, and there is the person who knows that this kind of acceptance comes with a price. In Michael Brenson’s article, “Maverick Sculptor Makes Good” (New York Times Magazine, November 1, 1987), this is how Puryear described his response to Minimalism:

I never did Minimalist art. I never did, but I got real close…. I looked at it, I tasted it and I spat it out. I said, this is not for me. I’m a worker. I’m not somebody who’s happy to let my work be made for me and I’ll pass on it, yes or no, after it’s done. I could never do that.

For me, what is interesting is the nimbleness, stubbornness, determination and intelligence with which Puryear negotiated the aesthetic choices available to him in the late 1960s, a veritable minefield that stretched between the entrepreneurial and the confessional, formalist purity and identity politics.

Historically speaking, Puryear studied art in America and Sweden, lived in and traveled through Scandinavia, Europe and Africa, and worked in the Peace Corps in Sierra Leone during the convulsive 1960s. Culturally speaking, during this tumultuous decade of war, assassinations, desegregation and race riots, America witnessed the rise of Pop Art, Minimalism, Color Field Painting, Painterly Realism, Land Art and the Black Arts Movement, which was started by LeRoi Jones in Harlem in 1965, after Malcolm X was assassinated. The Black Arts Movement advanced the view that a Black poet’s primary task was to produce an emotional lyric testimony of a personal experience that can be regarded as representative of Black culture — the “I” speaking for the “we.” I doubt any of this escaped Puryear’s attention. Faced with these choices, his decisions were bold, adamant and, to my mind, inspiring.

According to Robert Storr, in his 1991 essay, “Martin Puryear: The Hand’s Proportion”:

Of major sculptors active today, Puryear is, in fact, exceptional in the extremes to which he goes to remove the personal narrative from the aura of his pieces. Nevertheless, he succeeds in charging them with an intense and palpable necessity born of his absolute authority over and assiduous involvement in their execution. The desire for anonymity is akin to that of the traditional craftsman whose private identity is subsumed in the realized identity of his creations rather than being consumed in the pyrotechnic drama of the artistic ego. As embodied in Puryear’s sculpture, however, this workmanlike reticence allied to an utter stylistic clarity is as puzzling and as evocative as a Zen koan.

Given the choices open to him between 1960 and ‘70, I don’t find Puryear’s “workmanlike reticence” puzzling, but exceptional. Recognizing that neither skill nor ideas were enough, he rejected becoming a formalist using outside sources to make shiny objects, refused to rely purely on his skill, recognized that craft was a storehouse of cultural memory, and chose not to become an “I” speaking for a “we.” Choosing the latter would have likely required that he evoke his ancestry while making art that alleviated liberal guilt. Influenced by Minimalism’s emphasis on primary structures, which were supposedly objective and non-referential, Puryear inflected his pared-down forms with the possibility of a shared or communal state as well as with a marginalized history that is both haunted and haunting.

In Puryear’s work, it is not an “I” using the form to speak, but a diverse and complex “we” speaking through the form. I think that in his devotion to craft (or his “workmanlike reticence”), which he always puts at the service of his forms, Puryear is attempting to draw upon this storehouse of cultural memory, in order to channel all the anonymous workers and history that preceded him. It is their eloquence, tenderness and pain that he wants to tap into because he understands that he cannot speak for them. The work functions as testimony and homage whose meanings (or narratives) don’t necessarily fit neatly together.

I cannot stress this enough. Puryear goes beyond simply remembering those who are invisible or marginalized, a “we” that is pushed to the sidelines; he also enlarges the definition of “we” through his work. As underscored by such titles as “Some Lines for Jim Beckwourth” (1978), “Ladder for Booker T. Washington” (1996) and “Phrygian Plot” (2012), this “we” isn’t defined by a single race, culture or history. (Jim Beckwourth, 1798-1866, who was bi-racial, was freed by his father and master and became a renowned explorer and fur trader; later in his life, he was the author of an as-told-to autobiography (written down by Thomas D. Bonner) about his life among different cultures and races: The Life and Adventures of James P. Beckwourth: Mountaineer, Scout and Pioneer, and Chief of the Crow Nation of Indians [New York: Harper and Brothers; London: Sampson, Low, Son & Co., 1856].) In this regard, Puryear has never been an essentialist in his materials, approach to art, or subject matter. By not following in anyone’s footsteps, aligning himself with a pre-established aesthetic, or branding his work, Puryear has gained for himself what all artists and poets are said to desire most: artistic freedom.

With “Cedar Lodge” (1977), which Puryear built shortly after his studio in the Williamsburg area of Brooklyn burned down on February 1, 1977, he completed the first of what might be defined as a sanctified space. At the same time, “Cedar Lodge” feels temporary. In fact, the artist dismantled and destroyed the piece after it was exhibited at the Corcoran Gallery of Art, Washington D.C., perhaps because there was no place for him to store it.

In “Self” (1978), which Neal Benezra describes in his 1993 essay, “’The Thing Shines, Not the Maker’: The Sculpture of Martin Puryear” as “a dark monolithic form,” Puryear is able to convey the illusion of a solid, heavy form “planted firmly in the earth,” and therefore partially hidden. And yet, as one learns from looking at the sculpture, the self is not inherited, a byproduct of nature, but something that is made, created out of what is at hand. According to the artist:

It looks as though it might have been created by erosion, like a rock worn by sand and weather until the angles are all gone. Self is all curves except where it meets the floor at an abrupt angle. It’s meant to be a visual notion of the self, rather than any particular self–the self as a secret entity, as a secret hidden place.

In these early sculptures, Puryear began further defining a path that distinguished him from every movement as well as from his elders and peers; he was on his own path. Central to his decision is a belief in interiority; sacred spaces; a self-created private self; survival and temporariness. At the same time, knowledge of craft, which has cultural roots, and a study of history play a significant role in Puryear’s work. What is deemphasized in these works is the “I” or artistic ego.

Puryear’s philosophical position occupies the opposite end of the spectrum from the influential one taken by Andy Warhol: “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.”

Or, for that matter, Frank Stella: “What you see is what you see.”

In works such as “Bower” (1980) and “Where the Heart Is (Sleeping Mews)” (1981), which was inspired by a Mongolian yurt, the artist alludes to the movable house, a temporary sanctuary that can be quickly transported from one place to another. At the same time, as Elizabeth Reede notes in a footnote to her essay, “Jogs and Switchbacks” (2007):

"Puns are not uncommon in Puryear’s titles. A mews is a hawk house, and the title Sleeping Mews is a pun on Constantin Brancusi’s Sleeping Muse (1910)."

In using puns, Puryear recognizes that neither language nor meaning is fixed or stable, that everything is contingent. Seemingly mobile, Puryear’s sculptures both critique and share something with Serra’s take on the relationship between viewer and object, which I cited earlier:

"The historical purpose of placing sculpture on a pedestal was to establish a separation between the sculpture and the viewer. I am interested in creating a behavioral space in which the viewer interacts with the sculpture in its context."

Rejecting the pedestal, Puryear places his works directly on the floor. Often composed of both an exterior form, such as a sensual, layered skin or a skeletal, enclosing structure, and an inaccessible but visible interior space, the sculptures invite the viewer’s interaction; they evoke a behavioral space in which a possible intimacy can occur. Whereas Serra’s space tends to privilege an authoritarian shepherding of the viewer through a carefully designed, architectonic structure, Puryear’s work seems to invite the viewer’s speculation as it creates a space of reflection. Made at the beginning of a decade dominated by the “death of the author,” the denigration of craft and skill, the promotion of entrepreneurship, and the elevation of appropriation, Puryear’s “Bower” and “Where the Heart Is (Sleeping Mews)” represented a direct challenge to mainstream art and thinking.

Here, the difference between Serra’s site-specific installations and Puryear’s sculptures cannot be clearer or more telling. In sculptures such as “C.F.A.O. “(2006-2007), “Ad Astra” (2007), “Hominid” (2007-2011), “The Rest” (2009-2010) and “The Load” (2012), Puryear uses wheels he has had in his possession for many years as well as rounded posts and a wheelbarrow to convey the sculpture’s mobility; it is something that can be moved from one place to another, from an open public space to a hidden one, if necessary.

“Ad Astra” is a sculpture incorporating two wheels that the artist found fourteen years earlier on a farm in France. A crystal-like form defines the body of the wagon, which has been described as chariot-like. A tripod has been built into the axle; and from the tripod a stripped-down tree trunk rises more than sixty feet into the air.

In his 2007 retrospective at the Museum of Modern Art, New York, Puryear placed “Ad Astra” and “Ladder for Booker T. Washington” in the museum’s five-story-high Marron Atrium. It seems to me that Puryear placed these works there for a number of reasons, which have less to do with their size and more to do with the dialogue they uphold between history and aspiration, adaptability and inflexibility, particularly with regard to human rights and equality.

Booker T. Washington, who was bi-racial, is a complex figure in America, at once revered and reviled. Considered a racial accommodationist, he rejected the pursuit of racial equality in favor of vocational training. As the first principal of Tuskegee Institute, a school founded after the Civil War for African-Americans, he helped establish the reputation of the school as well as secured its financial stability. Meanwhile, the thirty-six-foot crooked ladder, which alludes to ambition, objectives, to what Washington called “racial uplift,” and to Jacob’s Ladder (or the staircase to heaven that Jacob dreams about in the Bible), is nearly a foot wide at the bottom and a little more than an inch wide at the top. At the Museum of Modern Art, “Ladder for Booker T. Washington” was suspended in the air by wires so that it hung three feet off the ground, becoming a doubly impossible ladder to climb.

By playing with the relationship between perspective and the actual physical length of the piece as it recedes into the distance, Puryear assembled a visual conundrum in which the viewer could not tell if the artist manipulated its rate of diminishment or if it was in fact naturally thinning into space. Instead of stripping all possible illusionism from the work, which, according to Krauss, is one of Serra’s highest achievements, Puryear employs illusionism to carefully orchestrate the misalignment of the visual and the physical, resulting in a perceptual paradox. In doing so, he synthesizes formal issues with his knowledge of history to create a form from which a variety of different and contradictory meanings can be teased out. In “Ladder for Booker T. Washington,” Puryear has used a simple, recognizable form to develop a prolonged mediation on American history and racial relationships. It is a piece that raises a multitude of questions rather than offers solutions.

In an interview in the Brooklyn Rail with David Levi Strauss, Puryear, speaking about “Ad Astra,” stated:

There are two Latin phrases the title derives from: Ad astra per ardua, meaning “to the stars through difficulty,” and Ad astra per aspera, which translates as “to the stars through rough things or dangers.”

The ungainly wagon, which is at rest, underscores that one must be prepared to undertake any journey toward fulfillment despite the obstacles. At the same time, there is something impractical about the wagon with this tree trunk rising into the air and seemingly vanishing into infinity. Meanwhile, the body of the wagon evokes a crystal, a form that is both organic and geometric. We think of it as transparent and, as the Greek root (krustallos) suggests, cold or made of rock. By making it out of wood, Puryear has undermined our associations with the crystal-like form, complicating any single or simple reading of the sculpture.

Along with such works as “C.F.A.O.,” “Hominid,“ “The Rest,” and “The Load,” all of which have wheels or rounded, post-like forms suggesting mobility, “Ad Astra” challenges the long held idea of a sculpture as a stationary form, pedestal or no pedestal. A stationary form (whether sculpture or monument) suggests a belief in stability and eternalness, ownership and entitlement. As Percy Bysshe Shelley ends his sonnet, “Ozymandias”:

And on the pedestal these words appear: My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!’ Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.

Ozymandias, who possesses the giant artistic ego, commands others to do his work.

Like “Ad Astra,” Puryear’s bronze wagon, “The Rest,” with its nearly black patina, rests on its backside, its pull-bar jutting into the air. Has the journey come to a halt, been interrupted, or will this form of transportation, which evokes the wagons used to transport runaway slaves along the underground railroad, be needed again to carry something through enemy territory?

“The Load” is a two-wheeled wagon that holds a cage-like wooden cube made of an open-lattice grid. Inside the painstakingly constructed grid is a giant eyeball made of white glass with a black circle (or pupil) in one section. Is it an open box for prisoners? Viewers can peer into the black circle and discover their reflection in a mirror, which allows them to investigate the ribbed dome from inside, temporarily becoming a “prisoner.” In this case, it is as if the giant eyeball (or hapless witness) has entrapped us.

In his reversal of the viewer’s position (from witness to victim), his challenges to permanence, stability and ownership, his recurring evocations of mobility, migration and survival, his meditations upon history, particularly colonialism, his reminder that craft is a form of memory, Puryear effectively challenges the status quo that believes in sculpture as a stationary object (a sign of stability); the death of the author and craft; the primacy of entrepreneurship; and a euro-centric view of art history culminating in a celebration of the purely formal. More than continuing a tradition of sculpture, Puryear effectively re-imagines it. In doing so he asks us to examine what we take for granted and why. This is the lively and heated conversation that Puryear and Serra are having through their work. Perhaps it is time to begin weighing in.

Source: Hyperallergic / John Yau. Link: Some Thoughts About Martin Puryear Illustration: Martin Puryear [USA] (b 1941) ~ 'Untitled I', 2002. Aquatint on Rives Lightweight Buff paper (12 x 15 cm). Moderator: ART HuNTER.

#art #contemporary art #martin puryear #sculpture #article #brainslide bedrock great art talk #hyperallergic

7 notes · View notes