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scatteredinspirations · 3 years ago

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ABOUT SKYLER : Falling on my face again, so I know I'm right on track.

CHARACTER BASICS

FULL NAME: Skyler Rhodes Cameron

NICKNAME(S): Sky, Rhodes

AGE: Twenty-Three

GENDER & PRONOUNS: Cisfemale, She/Her

FACE CLAIM: Sydney Sweeney

EYE COLOR: Blue

HAIR COLOR: Blonde

HEIGHT: 5′3″

WEIGHT: 110 lbs.

DATE OF BIRTH: February 12th, 1998

ZODIAC SIGN: Aquarius

LEVEL OF EDUCATION: Masters of Fashion Design

LANGUAGES SPOKEN: English, French, & Italian

HOGWARTS HOUSE: Hufflepuff

OCCUPATION: Mermaid Impersonator & Costume Designer, Aspiring Actress

HOBBIES: Singing, Baking, Shopping, Yoga, Photography, Guitar, Drums, Acting

HOMETOWN: Manhattan, New York (Upper East Side)

NEIGHBORHOOD: Newtown

FAMILY

MOTHER: Diana Cameron (née Carmichael)

FATHER: Liam Cameron

LITTLE SISTER: unnamed, 21

CHARACTER HISTORY

Skyler was born and raised in the Upper East Side of New York with both her parents and younger sister. Her Mom, a well known face around the world for retiring from the modelling world to style them met a man traveling the globe as a musician. Liam was no where near as successful as his wife, but somehow two opposites managed to maintain a marriage and start a very creative family.

The Cameron girls grew up surrounded by music and lavish parties, it wasn’t long until Skyler realized how much she loved to sing. Her sister and father would play instruments and she’d dance around the living room and sing for them, loving that this seemed to turn into a weekly tradition. She fell in love with being in the spotlight, though she quickly stuck to only singing in the shower once she saw how talented her sister was with music as a way to give each of them something to allow them to shine differently but together.

As a young girl Skyler would sneak into her mother’s closet when they had a gala or late night function the girl’s weren’t old enough to attend and spend hours staring at the shoes, perfecting the art of walking in heels by the age of 5.

The sneaking continued as she’d venture into her mom’s workshop and “borrow” designs off her rack for parties, being sure to put the items back before morning.

Skyler was always drawn to fashion, wearing it, creating it…you name it. She was happy to pick up another passion that’d look good on her college applications alongside acting, getting the chance to design costumes for her onstage performances didn’t hurt either.

When she was finally able to go to all the events she’d study what everyone was wearing, learning what was popular and using it to start designing her own clothes in secret, not wanting her mother’s influence to smother her.

She never thought she was any good, so for a while she stuck to drawing anything she could: fruit, people, nature. anything that didn’t involve clothes, but she always found herself coming back.

It wasn’t until she met (wanted muse connection) that he truly got her to start honing her craft and focusing on what mattered to her most.

As Skyler entered university in Miami, she saw her dreams shifting, seeing as fashion would lead her directly under her mother’s shadow and that’s something she’s still striving to steer far away from. She’s always loved her mother’s designs but knew a developed career would involve Skyler working under her and not getting to experience the real world on her own.

Soon after she landed a master in fashion, Skyler decided it’d be best to spread her wings beyond New York, thus deciding it was a perfect time to take on The Keys.

PRESENT DAY UPDATES

If there’s a party you’ll be sure to find her there, especially with a drink in hand.

She only fully trusts one person in her life: her sister.

She’s her sister’s opposite. being very outgoing, playful, and down to try anything once, the could charm her way in and out of anything she wanted.

She’s always felt this bit of responsibility to make her mother proud and constantly feels that pressure which is one of the main reasons she put fashion on the back burner.

Where she goes, trouble tends to follow due to the blonde’s overwhelming sense of adventure and curiosity.

She land her first acting role, working behind the scenes at the aquarium until she landed a prime time spot as a featured mermaid impersonator.

In order to accommodate her body type, she needed to make many of her costumes by hand since it’s a hard life when you have large breasts and a small torso and now takes on the role of handling costumes for everyone.

She’s the type that her family has money but she’s not going to show it and you’ve never know, deciding a home in Newtown would be the perfect place to blend in.

WANTED CONNECTIONS

muse : open. her number one support system, made her realize how amazing she was at fashion design. if it wasn’t for him she’d probably still be sketching trees.

best friends : open. open. open. these people are always there for her when she needs them.

fwb/hookups/flings : open. open. being a girl who isn’t one for relationships unless it clicks, it leaves the girl with a lot of free time. she get’s bored easily so there’s more than one but it’s always fun and carefree, just like her.

revenge hookup : open. started as a fling to get back at one of her exes and now the two just can’t seem to stay away from each other.

childhood friend : open. their mother’s quickly became friends, always visiting skyler’s mother’s store to get the best designer clothes they could. which led to the two talking while their moms did, getting close and spending time together at events.

protective friendship : open. the person who always comes to her rescue, won’t let anyone mess with her or talk bad about her in their presence. often is seen throwing skyler over his shoulder and carrying her out of parties before she does something dumb.

bad influence : open. the two always have a good time out together, fueling each other’s bad decisions, daring one another to do something crazier.

good influence : open. tries keeping her head on straight and out of trouble.

cuddle buddy : open. a sort of confidant relationship that usually revolves around them spilling their guts or talking shit, cuddling with no cares in the world. possible that the cuddling could lead to something more romantic.

sexual tension : open. the two can’t seem to stay away from each other and though nothing sexual has happened yet…they’re never far from crossing over that line.

close friends : open. open.

skinny love : open.

exes : open. open.

party friends : open. open. the people who wouldn’t been seen far away from skyler at a party. having drinks in their hands and/or having a good time on whatever dance floor they could find.

partner in crime : open. the first person skyler ever got high with. trouble is always guaranteed when the two are together.

occasional drug buddy : open. when skyler gets high, she likes to do it around someone else, this person allows her to feel comfortable and have a good time. often seen calling her to smoke as well.

supplier : open. this person supplies her with whatever when she needs it.

mermaid friends : co workers.

#&&. skyler x about #sevenmiles.intro

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fubarexpo · 6 years ago

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/’fu:bar/ 2018

Select:

Exhibition

Performances

Lectures

Workshops

SAT Oct 6th

8pm – /’fu:bar/ 2018 EXPO & FESTIVAL OPENING @ Gallery Siva [AKC Medika, Pierottijeva 11, Zagreb]

8pm – Sabato Visconti [US] – #Glitchbooth [interactive installation @ Siva]

9pm – Lovely Insomnia [HU] – Live Set/DJ Set [performance @ Siva]

SUN Oct 7th

6pm-10pm – Exhibition @ Siva

7pm – Ramiro Polla [BE] – FFglitch [lecture @ Siva]

8pm-10pm – Mark Klink aka srcXor [US] – 3d glitching [teleworkshop @ hacklab01]

MON Oct 8th

6pm-10pm – Exhibition @ Siva

2pm-5pm – Holographic_thought_process [FR] – Video Dirty Mixer [workshop @ hacklab01]

6pm – Nikša Gligo [HR] – Can glitch music be music at all? [lecture @ Siva]

8pm – Magno Caliman [NL] – screenBashing [performance @ Siva]

TUE Oct 9th

6pm-10pm – Exhibition @ Siva

2pm – Random Pixel Order [FR] – The Archive [open studio @ Siva]

6pm – Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques [lecture @ Siva]

8pm – FRGMNT [DE] – SSB - Sequenced Noise Beauty [performance @ Siva]

WED Oct 10th

6pm-10pm – Exhibition @ Siva

2pm-5pm – FRGMNT [DE] – SNU noise machine [workshop @ hacklab01]

6pm – Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages [lecture @ Siva]

8pm – Paul Vivien [FR] – 99% [performance @ Siva]

THU Oct 11th

6pm-10pm – Exhibition @ Siva

6pm – ROUND TABLE @ Siva

8pm – Nada Hasan [EG] – Experimental Desires [safe passage] [performance @ Siva]

FRI Oct 12th

6pm-10pm – Exhibition @ Siva

6pm – GUIDED EXHIBITION TOUR @ Siva

8pm – Tabache & Lady oN [IT] – cHroma flux [performance @ Siva]

9pm – “Ondes noires” screening & FESTIVAL CLOSING @ Siva

Sabato Visconti [US] – #Glitchbooth SAT Oct 6th – 8pm [interactive installation @ Siva]

#Glitchbooth> is a live interactive video installation where participants have their best selves captured in 1-to-2 minute video portraits. The video portraits are glitched using a corrupted DivX encoder and processed for live screening so that participants can see their glitch selves. Modeled after the photo booths found in weddings and events, #Glitchbooth considers "Selfie Culture" as a social practice that is conditioned by the structures of digital technologies and distribution channels.

Sabato Visconti — a Brazilian-born photographer and new media artist based in Western Massachusetts. He was born in São Paulo, grew up in Miami, and studied Political Science at Amherst College. Sabato’s work seeks to reconfigure traditional understandings of photography for the post-internet era, where photographic and cinematic practices become absorbed by digital processes, hybridized media, online networks, and machine intelligence. His work captures the subject in the face of ecological turbulence driven by the dysfunctions of vast impersonal systems. Sabato began experimenting with glitch processes in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since then, his work with glitch and digital media has been awarded the ArtSlant Prize IX and has been shown in places like Tate Britain, ICA Boston, SPRING/BREAK Art Show in New York City, LACDA, the FILE Festival in São Paulo, as well as galleries throughout the world. His work has also been published in TIME Magazine, WIRED, The New York Times, AI-AP’s "Latin American Fotografia 4" Anthology, and in Photographer’s Forum annual "Best of Photography" books for eight straight years. sabatobox.com

Lovely Insomnia [HU] SAT Oct 6th – 9pm – Live Set/DJ Set [performance @ Siva]

Gábor Hufnágel — a Hungarian electronic music composer/producer. He’s currently studying electronic music and digital arts at University of Pécs. He describes his music as a fusion of polyrhythms, rich textures and field-recordings. His process often involves algorithmic techniques and aleatoric elements.

During his studies he was influenced by the works of the 20th century electroacoustic composers but he always felt the contemporary experimental music scene closer to him. His upcoming debut album (from which he will play a live set at /’fu:bar/) would like to explore the relation of these two and contribute to abolish the boundaries, elitism and controversy which still surrounds these topics. His works are also heavily emotion-centered, dynamic in terms of tempo as he also tries to unfold the possibilities of contrasts in music.

Ramiro Polla [BE] – FFglitch SUN Oct 7th – 7pm – [lecture @ Siva]

FFglitch is a precision multimedia editing tool based on FFmpeg. When you glitch a file using a hex editor, it's like getting a tattoo with a radioactive axe. You might get some cool results, but you have very high chances of dying from blunt trauma or some cancerous genetic mutation. FFglitch, on the other hand, is more like genetic engineering. You manipulate your genes to naturally grow your tattoo. FFglitch produces valid bitstream, so Facebook or YouTube won't choke on your files. It is so precise it can barely be considered glitching at all...

Ramiro Polla — likes hacking things. He was an FFmpeg developer for 5 years, but now he got better... ffglitch.org

Mark Klink aka srcXor [US] – 3d glitching SUN Oct 7th – 8pm-10pm – [teleworkshop @ hacklab01]

Demonstrating methods for glitching .obj files, using text editors and spreadsheets. Mark will also discuss the standard triangle and edgeloop patterns that are used to form most 3d models and then demonstrate remeshing techniques which can ultimately produce more interesting glitches. If time is available, we’ll discuss other 3d file formats and ways they might be glitched.

Mark Klink — has been and done many things: swept floors, worked in a factory, been an athlete, a minor government official, a lifeguard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures. srcxor.org

Holographic_thought_process [FR] – Video Dirty Mixer MON Oct 8th – 2pm-5pm – [workshop @ hacklab01]

Building of a video dirty mixer, which "mixes" two analog video sources the bad way, resulting in a glitched output. A good case study to talk about composite sync signal and how messing with it can yield wonderful results.

Bastien Lavaud — imagines and creates electronics devices for arts. Audio, video and DIY enthusiast, he shares his creations on his website by providing information on how to build them, and makes demonstration of it in the realisation of video clips/VJing under the alias Holographic Thought Process. syntonie.fr

Nikša Gligo [HR] – Can glitch music be music at all? MON Oct 8th – 6pm – [lecture @ Siva]

The answer to this question depends on what we consider music. Looking back in history we find the expressions like musica mundana, musica humana, and musica instrumentalis. But the meaning of musica there is equal to harmonia, i.e. accord and has nothing to do with the narrower meaning of harmony in the tonal theories. My aim here is to point out that glitch music belongs to all these kinds of music which do not imply traditional, constant determinants of music as art. Glitch music belongs to the same group as "furniture music" (Erik Satie), "paper music" (Josef A. Riedl), "noise music" (Italian futurists), "prose music"/"music to read" (Dieter Schnebel), "eye music" (Luciano Berio), "son organisé" (Edgard Varèse), "organization of sounds" (John Cage), "sound art"... If we want to avoid "sound art" as something that doesn’t belong to music in the most general sense, then we are obliged to think about music in plural ("musics"). Glitch music would then be just one of them with its own theory, aesthetics and meaning.

Nikša Gligo — born in Split in 1946. Croatian musicologist. He graduated in English and comparative literature from Zagreb University (1969) and in musicology from Ljubljana University (1973). He later studied with Koraljka Kos at Zagreb University (MA 1981) and with Andrej Rijavec at Ljubljana University, gaining the PhD in 1984 with a dissertation on problems of new music. He was awarded scholarships to study at the universities of Cologne, Berlin (with Carl Dahlhaus and Rudolf Stephan) and Freiburg (with Hans Heinrich Eggebrecht). He has taught at the Zagreb Academy of Music since 1986. He is the ordinary member of the Croatian Academy of Arts and Sciences and of Academia Europaea in London. Gligo is concerned with the aesthetics, semiotics and terminology of 20th-century music and the use of computers in musicology. His project on the standardization of 20th-century Croatian music terminology resulted in his book Pojmovni vodič kroz glazbu 20. stoljeća, which is relevant to both musicology and linguistics, and for which he received the Croatian National Award in the Humanities.

Magno Caliman [NL] – screenBashing MON Oct 8th – 8pm – [performance @ Siva]

screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance. It utilises SuperCollider (a sound oriented programming language) for it's sound components, and C (a general purpose programming language) for it's visual elements. By using the very basic functionality, present in pretty much all programming languages, of printing characters on the screen back to the user, the visuals are created by printing characters such as backslashes and underlines in rapid succession, and at the same time freezing the whole system several times per second, creating the illusion of animated motion; something neither C nor the printing function were originally intended to do. (...) After a certain threshold, the system becomes erratic, up to a point where it is no longer possible neither to gain control, nor to foresee the end of the performance, which happens at the onset of the machine processor capability, when it indubitably fails and crashes, or there is no alternative but to force shut both the visual and audio generators. The current version of the performance, to be played at fu:bar, adds a new layer of error, with the use of a laptop not connected to a power outlet. The amount of charge left in the battery at the beginning of the performance is chosen in order to determine the duration of the piece, which ends with the involuntary shut down of the machine.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, now present himself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in his works for the last few years: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman

Random Pixel Order [FR] – The Archive TUE Oct 9th. – 2pm – [open studio @ Siva]

Random Pixel Order is a project started in 2015 by Clara R/ and Guillaume Cartis - a crossover collective between IT and micro-edition. The project aims to bring the two closer and comprehend how they can mutually develop. Torn between glitch / dev / analog hacking on the one hand and illustrations / graphic novel / zine on the other, the collective choses to do both. The Archive is a digital art zine collection, every publication with its little background story, a particular technique used (sometimes multiple). The collection is open to digital art in general and holds a multitude of techniques - glitch (sonification, 3D glitches, pixel sorting,...), creative coding, web found images, bitmap and MS Paint drawings, scanner movement, digital collage... Different print techniques are also used - some are fully digital prints, some are screenprint or riso, others mix printing techniques. The entire collection of 50 zines will be presented at /’fu:bar/ 2018. Anyone involved with the festival is invited to participate to author a new zine on the spot.

Clara R/ — founded RandomPixelOrder in 2015 with Guillaume Cartis while she was an undergraduate student in mathematics and computer science in Bordeaux, France. Seeing that much code everyday and being fascinated by mathematical functions, she couldn't keep herself from trying to apply those new knowledges to something visual and fun. She experimented on different techniques along the time, going from classic 2D glitch and datamoshing at the very beginning to generative coding and 3D glitch. During this few years, Clara has been implicated on creating projects that build the bridge between zines and computer. Today, as the collective is exploring new physical supports, Clara is opening herself to more interactive techniques as Arduino and video game making. Now she continues her master degree in graphic computer science, robotic and video game while making posters and fanzines. Guillaume Cartis — after a few self-published zines, founded RandomPixelOrder in 2015 with Clara Rigaud aiming to create a bridge between digital and zine making. Exploring different glitch art techniques, he introduced himself to 3D, video editing and film making. In 2016 he joined Disparate, an associative zine store, where he works on Bordeaux Zinefest organisation and workshops. During those years he started to get into risography, screen printing, scenography and awkward electronic music. facebook.com/randompixelorder/

Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques TUE Oct 9th – 6pm – [lecture @ Siva]

The twentieth century and the beginning of the twenty-first can be labeled as a century of media art. Not only filmmakers, but also painters, sculptors, graphic artists, architects, stage designers and many others have been experimenting with media technologies since its very beginning. This lecture will present a brief historical review of the use of media technology imperfections as an artistic expression. By using the example of Media in Motion Berlin-Zagreb GbR (Ingeborg Fülepp and Heiko Daxl, 1990 to 2012) video production, the lecture will present a multiplicity of artistic image editing approaches, which were realized by a symbiosis of analogue film, video and digital errors in specific video works. At the end of the lecture, visitors will be able to see a selection of the best works of Media in Motion art production.

Ingeborg Fülepp — Born in Zagreb, lives and works in Rijeka, Zagreb and Berlin. Studied film editing (at the Academy for Theatre, Film and Television in Zagreb; today Academy of Dramatic Art - ADU) and post graduate studies, film, video and interactive media at Harvard University (Ed.M) and at Massachusetts Institute of Technology, The Media Lab. Taught film editing at the Academy of Dramatic Art (ADU), Zagreb in 1978 - 1993. Lectures in USA, Great Britain, Netherlands, Austria and Germany since 1983, as well as at the New Media Department at the Academy of Applied Arts (APURI, Rijeka) since 2013, where she founded, and leads the Center for Innovative Media CIM since 2017. She’s an active participant of many international scientific gatherings, exhibitions and festivals, and participates in several EU projects as an associate or a jury member. Worked as a film and video editor on many productions. Received a multitude of scholarships and awards as an independent artist. Own artistic practice involves film, interactive multimedia projects, video art and video installations, of which some were shown in the New National Gallery in Berlin, Museum of Contemporary Art (MSU) in Zagreb, Museum of Modern and Contemporary Art (MMSU) in Rijeka, as well as in many private and national galleries around the world. As a curator, an art director and a media art event organizer - she has ran a non-profit Media in Motion GbR, Berlin-Zagreb with Heiko Daxl, and has organized numerous international exhibitions and gatherings. fuelepp.com

FRGMNT [DE] – SSB - Sequenced Noise Beauty TUE Oct 9th – 8pm – [performance @ Siva]

The performance is a ~30 minutes live improvisation with advanced self made electronics. This involves the SNU (Special Noise Unit, FM-synth), sequencers, ring modulators and unique ultrasonic instruments (transmitters & "bat ears"). The main Units (SNU & sequencer I put under open license & distribute docu after the concert).

Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org

FRGMNT [DE] – SNU noise machine WED Oct 10th – 2pm-5pm – [workshop @ hacklab01]

In this workshop, participants will be shown how to build the SNU (Special Noise Unit), an experimental sound circuit which uses illegal states falling between 1 and 0, and drives the digital chip it uses into an in-between world of uncertainty, resulting in complexity and uncontrollable behaviour, but also a playable instrument. Bio:

Magno Caliman [NL] – Error making and "not-knowing": some particularities of the relation between artists and programming languages WED Oct 10th – 6pm – [lecture @ Siva]

Computer programmers working in non-artistic applications and artists using programming languages to support an artistic practice might seem, at first, to be making use of the same tools (computational devices), and therefore can be thought of having similar practices. In this lecture we will draw parallels between the modes of operation of this two use cases. Specifically, we will comment on how artists are in a position not conceivable to the professional programmer: one where error making, trial-and-error, and "not knowing" some of the underling technical aspects of the practice are not only expected, but sometimes necessary in both the day-to-day experimental practice, as well as in the learning of those computational tools.

Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, I now present myself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in my works for a few years now: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman/

Paul Vivien [FR] – 99% WED Oct 10th – 8pm – [performance @ Siva]

Loading… Loading… a transfer, a life, a movie, everything needs a time to prepare itself before it’s ready, before it becomes perceptible and pleasant. And when it’s ready, hurray! We can consume it. Why do we need it to be ready? Why don’t we prefer the things which are still in progress? A premature baby, an immature fruit or the current moment of my life with the evolving cells of my body? The last percent is missing, just enough to make you feel uncomfortable about this loading which will never end, with this file and my life you will never successfully download.

Paul Vivien — a new media artist who creates installations and performances. Experimenting with lights, generative custom software, video and sound, each project is an opportunity to discover a new expression way. Thanks to new technologies, he tries to make the virtual boundaries tangible, to augment the experience we could have of the real, accompanied by technology as invisible as possible. The artistic universe of Paul Vivien is hosted by a research about digital forms of life, a theme merging the notions of singularity, artificial intelligence, science fiction and nature. Based in Paris, Paul does talks and workshops at ENSAAMA, ECV and EPSAA art schools. In parallel of his solo projects, he participates to OYÉ visual art label production support, kaleidos studio art and design researches, exhibitions curation, and Omicron Persei 8 live AV. paulvivien.fr

ROUND TABLE THU Oct 11th – 6pm @ Gallery Siva

— on the current state of reinterpretative new media, its (role)models, changes, its influences, in regard to its artistic and technical ethos and praxis. The talk aims to discuss and contextualize diverse glitch-based critical new media (& appropriation) practices, in the company of /’fu:bar/ 2018 guest artists.

Nada Hasan [EG] – Experimental Desires [safe passage] THU Oct 11th – 8pm – [performance @ Siva]

A performance of reading texts and verbatim poems, installations of glitched video and live audio-visuals; an onsite experiment of a woman and her alter egos as she seeks to become the super human. The piece involves the ambivalent contradictions of female/male, weak/strong and white/black as they reside within a single body navigating hostile geographies. The project will explore the emotional, mental and physical aspects of becoming the perfect human through a mind trip and a process of being exposed to an archive of the most tangible realities and feelings, desires and traumas.

Nada Hasan — a Cairo based multidisciplinary artist from Southern Egypt. Her special focus is in video and media arts but her artistic practices vary between illustration, graphic design, performance, theater and storytelling. BA degree holder from faculty of Languages, Russian language and literature department and studied filmmaking at the Cairo Jesuit Cinema School by the year 2010. Since then she developed her skills in film and video art work by self teaching, exploring and experimenting new and various forms of creating moving image. Her work focuses on the emotional package of a body as a commodified being; making the struggles of bodies visible, emotions resistant to modern society persecution, while emphasizing the experience of oppression and our survival performances in functioning within privilege imbalances in connection to the quadrilogy of Race, Gender, Sexuality and Power. Her video and media art practice is curious to transcend the limitations of classical filmmaking and explore contemporary new media practices and its broad possibilities to create an alternative relation between the artist and spectator while constructing unconventional visual, image and motion driven narratives.  vimeo.com/user5161708

GUIDED EXHIBITION TOUR FRI Oct 12th – 6pm @ Gallery Siva

(hrvatski ~45’ | english~45’) Inquiries contact: [email protected]

Tabache & Lady oN [IT] – cHroma flux FRI Oct 12th – 8pm – [performance @ Siva]

"cHroma flux" explores a process of metamorphosis in which cells of colour and sound expand in order to create new forms. Thanks to technological devices, colour pixels and acoustic music mutate and distribute themselves throughout space giving life to a "technological landscape". The visuals are generated by live manipulation of paintings that have been transferred onto acetate. The resulting prints are positioned onto TV screens by means of feedback generated by webcams and this process triggers a series of transformations of the coloured pixels. The visual flow of colour is managed and produced thanks to an analogue video mixer. The result is a technological animation of colour as if under a microscope. It becomes a kind of digital mantra that responds to itself, reproducing and moving outwards to take over a new space. The audio has been developed from synth sources and classical music sampling. The acoustic samples have been literally deformed by digital and analogical technology, so that they reach the listener as naked sound that has been completely transformed from its original grammatical, cerebral and human nature as musical language. In "cHroma flux", sound and image influence each other in a synaesthetic vision that has been achieved not by machinery but by the physical gesture of a performance coordinated by the performer’s reciprocal listening and looking.

Tabache — starts his journey in 2004 with "Problems with my Mind", an electro experimental punk band with influences from bands like Suicide and subsequently flow into House, Techno, IDM. Publishing two records, "Album" (2005) and "Stato di Tensione"(2007). After moving to Bologna, he started his first solo project, Tabache, specifically devoted to a live and sensorial experience, with strong influences from Techno and Ambient. His new life injected him a new flow of creativity, which brought Francesco to publish in 2015 his first solo record ‘Searching a total state’, and to found his own record label with Alberto Randi and Giovanni Ricchi, "Timeless Records". In the same year he curated the performance and sound design for the performative theatre shows directed by Ennio Ruffolo. His natural interest in clubbing leaded him to open a new channel for the electronic music in Bologna and surroundings, with a serie of electronic events, such as "Sunday Calling" (2012 - 2014), "Futuro Dancefloor" (2015 - 2017), "Bologna Elettrica" (Electronic experimental Festival in XM24 social center, 2017, 2018) , and the new art collective "Einheit" (2017). soundcloud.com/tabache Lady_oN — operates as a videomaker and a visual artist on the national and international scene, realizing dreamlike live visuals sets, wraparound and imaginative visual scenographies invading the spaces of DJ sets, live music, installations and theatrical performances. In a constant state of research and experimentation, Lady_on’s visuals create hypnotic space-time fabrics in a cut up of images, video synthesis, found footage and feedback, contaminating the many pre-existing visuals with the possible infinites of live shooting and sonic incursions. Simultaneously, she is working on the Mediamorphose project, researching a multiplicity of visual expressions via music clips and video documenting reality.instagram.com/mediamorphose/

"Ondes noires" screening & FESTIVAL CLOSING FRI Oct 12th – 9pm @ Gallery Siva

"Ondes noires" / "Dark Waves", Documentary (21’14’’) In an ultraconnected society where waves have almost invaded every space, three electromagnetic intolerant people bear witness of survival in a world that seems more and more inacessible to them. The staging explores the idea of a deceleration in time. A necessary condition for the perception of a reality that extends beyond the visible. Written & Directed by Ismaël Joffroy Chandoutis; Cinematography by Nikos Appelquist Dalton; Production : Le Fresnoy – Studio national des arts contemporains.

// Screens and Prints Aaron Juarez Adrian Cain Affar Oppip Allison Tanenhaus Bartek Pilarczyk Creation by Destruction Cyberart By Justin Digital Ruins Earnest Raw elle thorkveld Ivana Miljkovic Ivana Miolin Barić John Bumstead jrdsctt Magdalena maja kalogera Mark Klink Mila Gvardiol Mirna Udovčić Neal Peterson Riitta Oittinen Robert Hruska Sabato Visconti satej soman Sebastian Gatz sepo Skinny Bunny tajny_projekt Tchidu Twin Pixel vivid windowzine Yuri Zalevski // Interactive Dario Zubovic Jim Andrews jonCates Kolmogorov Toolbox Magdalena Zoledz x Robert Kowalski Sabato Visconti Timo Kahlen // Narrative Gelido Jessica Evans Random Pixel Order // Time-based Baron Lanteigne + Derek Piotr Christoph Kerschner DAJAJDE Daniela Olejnykov (a.k.a paranthre, velvet_bites_) Daniela Takeva, Nikolina Nedialkova, Felix Ermacora Demet Karapinar DF0:BAD Digital Ruins Dom Barra _ AlteredData elle thorkveld Gochevas Ismaël Joffroy Chandoutis Kacper Mutke Lívia Zafanelli Lou Morlier Marija Lučić Meena Khalili Nickk Outernet Explorer Paloma Schnitzer & Pablo Denegri Paul Beaudoin Petra Drevenšek Philippe Girardet Qin Tan [sic][redacted] | alan page Timothy Nohe vivid // Lectures And Workshops Holographic_thought_process Ingeborg Fülepp Jo FRGMNT Grys Magno Caliman Mark Klink aka srcXor Nikša Gligo Ramiro Polla Random Pixel Order // Performances Jo FRGMNT Grys Lovely Insomnia Magno Caliman Nada Hasan Paul Vivien Tabache & Lady oN

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intouncertainpresent · 4 years ago

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PLATFORM centre is pleased to announce Into Uncertain Present, a group exhibition featuring the work of Anna Ill (UK), Anna López Luna (ES), Chantal Rousseau (CA), Felice Hapetzeder (SE), Mounir Gouri (DZ), Muhammad Ali (SE) and Tracy Peters (CA). Into Uncertain Present is curated by Abir Boukhari (SE) and runs from 30 April – 29 May 2021. The virtual residency is organized by AllArtNow (SE) in partnership with PLATFORM centre (CA), MAWA (CA) and Jiser (ES). The project is supported by Kulturradet (SE), The Institute of Culture of Barcelona City Council and OSIC of the Generalitat of Catalunya

EXHIBITION | 30 April–29 May 2021

“The art residency acts as a mechanism to encourage and support intellectuals, artists, and cultural workers in the process of their artistic research and creative development. It fosters sustainability for the artistic body of ideas in an inclusive open society. The pandemic crisis illuminates the value of creativity, and the ways that new ideas can be generated in uncertain times.

The Strategy for many art residencies have been implemented through the virtual exchanging of artistic experience and many questions have been raised about the digital residency. Would it be more applicable in the future? Will we develop and adapt new formats for the art residency?

We began to explore the virtual residency format in 2020, and the program will continue with the second edition in 2021. Three events will be organized during the year, in three cities, Winnipeg, Stockholm and Barcelona. The residency process unfolded through webinars, first proposing the project, then giving the artists time to meet, discuss the concept, produce work and finally exhibit in venues in Winnipeg, Barcelona, and Stockholm.

The Albert Camus’s quotation inspired our concept for this version of the residency “Until now I always felt a stranger in this town, and that I’d no concern with you people. But now that I’ve seen what I have seen, I know that I belong here whether I want it or not. This business is everybody’s business.” The Plague, p.209

In the novel, the narrator is a stranger who finds himself separated from his own home and his wife because of the Plague which invaded Oran City. First, he is looking for a way to escape the city but later on, he decides to stay to support the others in solidarity.

This collective fight against the pandemic leads to equality and belonging, where all people experience a form of exile, live in isolation, separate from their beloved, and fight against death; we are all prisoners, sharing the fear and the uncertainties of the moment.

Do we understand the plague as a collective disaster that we all must fight against in support of each other? Or, do we experience distress as individuals and believe that one’s own pain is unique and separate? Does this encourage solidarity and compassion between humans or is it a reason to blame each other?

For this residency, I invited seven artists to have online meetings using the selected quotation as a starting point, to discuss and share their thoughts, and create work which reflects on the current situation in relation to their own experience.” – Abir Boukhari, Stockholm, 2021

BIOGRAPHIES

Anna Ill holds the BA in Textile Art from the Escola Massana Barcelona, and the MA in Art and Space from Kingston University London. In 2015, she was selected among the spanish artists for the JCE Biennale 2015-2017, she was the recipient of the 3 month funded art residency program by Le Beffroi de Montrouge in Paris. In 2018, she was part of Sala Parés Prize <35Art in Barcelona and the XXI Biennal Contemporary Catalan Art. In 2019, she was the recipient of the month funded art residency program at Jiser in Tunisia. In 2020, she won the Sala Art Jove Prize (Barcelona) and Inund’art (first Prize Artpertot) with itinerant exhibitions in Spain and France. Her works are present in the Sabadell Bank collection since 2018. In 2021, her work was selected for Video Art program Ten Little Indians organised by MLAC and Khlab (Italy), and she is among the spanish artists for the Vila Casas Sculpture Prize 2021.

Anna López Luna (b.1983/Barcelona) lives and works between Barcelona and Paris, where she studied at Ecole Nationale Supérieur d’Art de Cergy-Paris. Her work is focused on the body’s perceptions and the relationship between intimate, social structures and historical memory. Her work has been shown at the Les parralléles du Sud – Manifesta 13 in France (2020), the Fonds d’Art Moderne et Contemporain de Montluçon, in France (2019), the Westfälischer Kunstverein in Münster (2019), the Tabakalera, Donostia in Spain, the Ateliers Sauvages in Algiers, Algeria (2017), Les Bains de Géronde, in Switzerland (2018), the 61th Salon de Montrouge in France (2016), the MUDAM in Luxembourg (2015), the Centre Civic de San Andreu, Barcelona (2010) and at Kulturfabrik in collaboration with the Casino du Luxembourg Forum d’Art Contemporain in Luxembourg (2008).

Chantal Rousseau has been a practicing artist for over 20 years. Her work has been exhibited across Canada and internationally, including: Hallwalls Contemporary Arts Centre, Buffalo; Canadian Cultural Centre, Paris; The New Gallery, Calgary; Latitude 53, Edmonton; Mercer Union, Toronto; and La Centrale, Montreal. In the fall of 2020 she had a solo exhibition at the Agnes Etherington Art Centre in Kingston, Ontario. In 2020 she was also awarded two temporary public art commissions, one for the City of Kingston, the other for Erindale Park in Mississauga. In April of 2021 she organized EXPO-MOTEL, an exhibition at the motel Le Nordet, working with two local artists and in partnership with the Bureau Satellite Vaste et Vague, a site-specific programming arm of the local artist-run-centre. She will be the first artist at 4elements living arts new mobile studio residency on Manitoulin Island, in May and June of 2021. In 2022 she will be participating in an artist residency at the Klondike Institute of Art & Culture. Chantal Rousseau has been involved in multiple artist collectives, including the Agitated Plover Salon, a group of Kingston-based artists who exhibited in non-traditional spaces in 2013 to 2014, as well as the Toronto-based collective Persona Volare, who were active from 2000 to 2009. She is a graduate of the University of Guelph (MFA), and Emily Carr Institute of Art and Design (BFA). Her work is in the collection of the Agnes Etherington Art Centre, Dawson College, as well as numerous private collections.

Click here to listen to an audio piece Chantal created during this residency.

Felice Hapetzeder is a visual artist (b 1973) with MFA degree from the Fine Arts department at Konstfack College of Art, Crafts and Design in 2002. He is interested in the aesthetics and social context of creative practice as well as cultural heritage production and manipulation of collective memory and oblivion. His methods span across video art, installation, sculpture, workshop-performance and photography. Much of his work can be read as expressing a marginal voice, an independent channel outside the dominant narratives. He works both independently and in collaboration with others; interested in the border between documentary storytelling and dramatization or learning as artistic expression. Hapetzeder also works as an independent manager of art projects, often by way of international exchanges and as an art educator. He is the founder of Samtidskonst i Bro – Contemporary art in Bro community 2017 to current, part of the video art exchange and development collaboration Carousell 2013-2018, a part of the artist duo Local A. 2008-2017 and one of the initiators of ak28 independent art space in Stockholm 2003-2008. https://hapetzeder.com

Mounir Gouri (b.1985 Algeria/Annaba) is a multi-disciplinary artist. He is part of the young generation of visual artists concerned both by his status as an artist but also by what young people of his age encounter on daily basis difficulties on the social, cultural, and political level. Being born in 1985 means having lived his childhood and adolescence in the harsh climate of civil war, which influenced his work. Mounir Works as a multi-disciplinary artist. Gouri participated in several group and solo exhibitions. He received the special prize of the friends of the Institut du Monde Arabe in 2019, as he exhibited in Germany at the Westfalischer Kunstverein in Munster, an exhibition in London at the Mezzanine Gallery participated in the Jafre Biennale and in October 2019 as he was artist in residency of La Maison des Arts in Malakoff. Recently, he was one of the Algerian artists of the exhibition Waiting for Omar Gatlato comisarié by Natasha Liorens at the Columbia gallery in New York.

Muhammad Ali has a multi-disciplinary approach in his artistic practice, which spans across video, installation, digital art, painting, and drawing and explores how the meanings are constructed and understood. He is often focusing on life as he blurs the boundaries between consciousness and unconsciousness. Muhammad’s work has been exhibit in many countries and venues as Moderna Museet Sweden, AllArtNow Syria, Kalmar Konstmuseum Sweden, Bornholms Konstmuseum Denmark, Porin Museum Finland, Malmo Konstmuseum Sweden, Scope Art New York. He invited to be artist in residence in Boktyrka Konshtall Sweden, Delfina Foundation London and IASPIS Sweden.

Tracy Peters is a multidisciplinary artist based in Winnipeg on Treaty 1 Territory. She uses photography, video and installation to examine the interactions between organic and human-built environments. Peters has received grants from the Canada Council for the Arts, the Manitoba Arts Council and the Winnipeg Arts Council, and has attended residencies which include a partnership between Void Gallery and The Social Studios and Gallery in Derry, Northern Ireland, the ArtCenter/South Florida-MAWA artist exchange program in Miami, Florida, the Plug In ICA Summer Institute in Winnipeg, Manitoba, the Independent Imaging Retreat (Film Farm) in Mount Forest, Ontario, and The Banff Centre in Alberta, Canada. Her work has exhibited across Canada, in Europe and Australia.

Abir Boukhari is a curator from Damascus, Syria, based in Stockholm. She is the director, curator and co-founder of AllArtNow that is considered to be the first independent collective space for contemporary art in Syria, founded in Damascus in 2005, but has since the war broke out in 2012 turned into a nomadic space, working from different places. Since 2019, AllArtNow opened a project space in Stockholm. In Damascus (2005-2012), she run the artistic programme for AllArtNow, and was the artistic director for Living Spaces Festival for Contemporary Arts, the artistic director of Studio1 (an informal school for contemporary arts in Syria) and the co-founder of Boukhari House for Artist Residencies and the culture center Maktab Creative Zone. Since her move to Stockholm in 2015, she curated and collaborated with a number of arts organisations and institutions in the Nordic region and the MENA region, among them: Botkyrka konsthall/Residence Botkyrka (Sweden), Pori Art Museum (Finland), The World Culture Museum in Göteborg (Sweden), KRÆ syndikatet (Denmark), Sörmland Museum in Nykoping (Sweden), Jönkoping Läns Museum (Sweden), Kultivera in Tranås (Sweden), among many others.

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tigerstrikesasteroidnetwork · 4 years ago

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GVL / Big Body Play

Andrea Vail, Duck Pond, detail

Big Body Play June 7 - September 10 Fine Arts Center Sheffield Wood Gallery

Tiger Strikes Asteroid Greenville (TSA GVL) and the Fine Arts Center (FAC) are excited to present their summer exhibition, BIG BODY PLAY, on exhibition from June 7th through September 10th at the FAC’s Sheffield Wood Gallery. Visits to the gallery are by appointment only - Monday - Thursday, 10am -4pm. Sign up for an appointment by using the following link. A closing reception will be held on Friday, September 10th from 6-8pm including artist presentations and performance from 6:30-7.

BIG BODY PLAY is an exhibition that uses humor and imagination to explore the banality of the everyday. This show uses playful colors and materials, on plush, oversized forms to celebrate boredom, experimentation, and absurdity. Addressing themes of the body, pop culture, nostalgia, and domesticity, this collection of soft sculptures highlights the fascination these artists have with their materials and their love of “playing” in the studio. These works push scale while using current material culture as inspiration - these objects tell personal narratives, make punny jokes, and address our need for recreation and distraction.

Featuring work by:

Amelia Briggs

Amelia Briggs is a visual artist currently based in Nashville, TN. Her work has been exhibited internationally and throughout the US including recent and upcoming exhibitions in Paris, France; London, UK; Florence, Italy; Denver, CO; New Orleans, LA; and New York, NY. Briggs has worked for David Lusk Gallery since 2012 and served as the Director for the past four years. In May 2021 she will be stepping down in order to pursue her work as an artist full time. In June Briggs will release a series of mirrors with Exhibition A and her work is included in the current issue of New American Paintings.

Andrea Vail

Andrea Vail investigates contemporary American society and its objects -- specifically home goods deemed stylistically obsolete, or unattractive by the standards of 21st century mainstream culture. Hinged on textile traditions and techniques, her practice materializes as tapestry, woven sculpture, and collaborative exchange. Vail’s nationally exhibited work has received awards from Arts and Science Council; North Carolina Arts Council; HappeningsCLT Visual Artist Grant; CultureWORKS; and residencies with Goodyear Arts, McColl Center for Art + Innovation, and Elsewhere Museum. She is a graduate of Virginia Commonwealth University (MFA) and UNC-Charlotte (BFA). Vail lives and works in Western North Carolina.

Vail’s collaborative projects include: Bridging (Central Piedmont, Charlotte, NC), a large-scale fabric installation patterned with student- and staff-sourced imagery, Signalling Hello (Elsewhere Museum, Greensboro, NC), a process-based greeting initiative, COLLECTING_PILE, an interactive art work which involves the community as both content and collaborator; Friendge, an ongoing global invitation to collaborate; Woven Community (Richmond, VA), a citywide weaving event ; and Gathering Clouds (Richmond, VA) at Anderson Gallery.

Coorain

Born in Australia, Coorain studied at Georgia State University, earning an MFA in Photography, and Tufts University and the School of Museum of Fine Arts, receiving a BA in Philosophy and a BFA in Fine Arts respectively. Coorain currently resides and gardens in Atlanta, with plenty of chickens and carnivorous plants.

Jaime Bull

Jaime Bull builds a cast of sparkly clad forms that embody a strong, sexy, dangerous female presence. She is a collector and uses found, repurposed materials in her work to reference the body with a feminist perspective. Spending her time dumpster diving at the recycling center or scouring Goodwill to amass second-hand tube tops and sequined prom dresses, Bull’s sculptures have the rhinestone aesthetic of a bedazzled jean jacket or a Mardi Gras float. She examines and questions our relationship with the environment by highlighting a preoccupation with hoarding mass quantities of “stuff."

Bull received her MFA in Drawing and Painting from the University of Georgia, Athens in 2013. She is a recipient of the Willson Center for the Arts research grant for her thesis work Lady Beasts: An Investigation of Womanliness. She has exhibited in Atlanta with Whitespace, Camayuhs, Hathaway Gallery and at the Airport in Terminal E. Regionally, she has shown work at the Zuckerman Museum of Art, University of North Georgia, Auburn University, Albany Museum and the COOP Gallery in Nashville. Most recently, her sculptures were featured in a two woman show with artist Melissa Brown (Brooklyn, NY), entitled Fountain, at the Lamar Dodd School of Art. She is a Vermont Studio School Fellow, attended a two-month residency at the Bernheim Arboretum in Louisville, KY and was an Atlanta Contemporary Art Center Studio Artist in Residence from 2016-2019. She was featured in and on the cover of the 219th edition of Ambit Magazine, London. She currently lives in Athens, Ga and teaches at the University of Georgia.

Kat Sánchez Stanfield

Katrina Sánchez is an interdisciplinary Panamanian-American artist based in Charlotte, NC. Working with fibers and mixed materials Kat creates vibrant and tactile works that explore ideas of joy, play, community, healing and renewal. Katrina received a BFA in Fibers from the University of North Carolina at Charlotte, is a recipient of the NC Arts and Science Council Artist Support Grant and is an alumni artist-in-residence of Goodyear Arts. She has exhibited work at Bedford Gallery (CA), Abigail Ogilvy Gallery (MA), Max I. Jackson Gallery at Queens University of Charlotte and Gallery C3 (NC).

Madison Creech

Madison Creech was the 2018-19 Fountainhead Fellow in the Department of Craft and Material Studies at Virginia Commonwealth University. She holds an MFA in fibers from Arizona State University and a BFA and BS in textile, merchandising, and fashion design from the University of Nebraska-Lincoln. She has served as faculty associate at Arizona State University, instructing surface design and served as the 2016-18 Brown Visiting Teacher-Scholar at Stetson University teaching digital art and textile art courses. Creech has held residencies at Metro Community College Prototype Lab in Omaha, Nebraska, Houston Center for Contemporary Craft in Texas, and Techshop in Chandler, Arizona. Her work has been widely exhibited across the country, and she has been the recipient of a number of distinguished awards, including the Juror's Award from the Surface Design Association's Explorations exhibition, the Rudy Turk Award for History in American Craft from ASU, and the Mary Beason Bishop and Francis Sumner Merit Scholarship from the Haystack Mountain School of Crafts. She is currently a co-director of Fresh As Fruit Gallery in DeLand.

Matthew Creech

Matthew Creech received his Associate of Arts Degree from Cape Fear Community College in 2006. Creech has been included in a range of various exhibitions including, “This Must Be the Place” at Robert Hillestad Textile Gallery in Lincoln, NE and “Now or Neverland Urban Uproar” at the Miami Urban Contemporary Experience in Miami, FL. Alongside this body of work, Creech will be releasing a book, working within the same genre of off the wall humor and topics dealing with death and behind closed door secrets. Creech currently resides and works in Wilmington, NC.

Mindy Sue Wittock

Mindy Sue Wittock is an artist and mother who works out of her home studio in Cedarburg, Wisconsin. She makes soft sculpture that explores the intersection of childhood memory and experiences in motherhood. Wittock has an MFA from Arizona State University with a concentration in fibers. She has previously worked as an associate lecturer of art at the University of Wisconsin Fond du Lac and the University of Wisconsin Green Bay. Wittock has an extensive exhibition record and has taught many textile-based workshops. She survives on coffee and enjoys watching vintage television shows, listening to 80’s music, and going on adventures with her husband, daughter, and pup. Mindy Sue Wittock is also a co-founder of The Wondermakers Collective with the incredible illustrator and coffee drinker Jenna Freimuth. They work together to build beautiful, layered embroideries, pen palling them back and forth from Wisconsin to Minnesota.

Natalie Baxter

Natalie Baxter (b. 1985, Lexington, Kentucky) explores concepts of place-identity, nostalgic americana, and gender stereotypes through sculptures that playfully push controversial issues. Natalie received her MFA from the University of Kentucky in 2012 and a BA in Fine Art from the University of the South in Sewanee, TN in 2007. Her work has been exhibited in galleries and museums internationally with recent shows at Intersect SOFA Chicago with Elijah Wheat Showroom (Newburgh, NY), Birmingham Museum of Art (Birmingham, AL), Spring/Break Art Show with Gloria’s (New York, NY), Material Art Fair with Beverly’s (Mexico City, MX), Institute 193 (Lexington, KY), Yale University (New Haven, CT), and Brandeis University (Waltham, MA). She has been an artist in residency at the Wassaic Project, a fellowship recipient at the Vermont Studio Center, and twice awarded the Queens Art Fund Grant. Press for Baxter’s work includes, The New York Times, The Boston Globe, Hyperallergic, The Guardian, and Bomb Magazine. She is currently a resident at The Wassaic Project in Wassaic, NY.

Tiger Strikes Asteroid Greenville is the newest part of the Tiger Strikes Asteroid network of artist-run spaces and joins locations Philadelphia, New York, Los Angeles, and Chicago. They are a platform for artists that is curated and organized by a group of artist-volunteers. Their mission is to create the physical, mental, and emotional space for artists to show their work, meet, and exchange ideas on their own terms. TSA GVL will specifically focus on connecting the art communities in Greenville and the greater Southeast to the global art world. TSA was founded in 2009 in Philadelphia and is a 501c3 non-profit organization.

The Fine Arts Center (FAC) of Greenville County School District was established in August of 1974 as the first pre-professional arts school in the state of South Carolina for gifted and talented high school students in the Fine, Visual, and Performing Arts. Since its opening, thousands of students have chosen to become members of this unique community in which individual talent and expression are nourished in a supportive environment and stimulated by instructors who are themselves highly regarded professionals in their fields. The Fine Arts Center offers the highest level of instruction in Architecture, Creative Writing, Dance (Ballet and Modern), Digital Filmmaking, Music (Chamber Strings, Jazz, Voice, Winds/Brass/Percussion), Theatre (Performance and Design/Production), and Visual Arts.

For more information please contact TSA GVL at [email protected] and FAC at [email protected]

By Appointment Only

Gallery Hours: June 7th - September 10th Monday - Thursday 10am - 4pm

FINE ART CENTER Sheffield Wood Gallery 102 Pine Knoll Drive Greenville, SC 29609

#bigbodyplay #tigerstrikesasteroid #tiger strikes asteroid

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fuckyeamia-blog · 5 years ago

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Internet marketing terms

If you use this image in any way, shape or form, please give credit to: joshmacdonald.net

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sfaioffical · 5 years ago

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AMY BERK (MFA 1995) CITY STUDIOS

Amy Berk (MFA 1995) took over as Director of City Studio in March 2018. She has been growing the program that offers underserved youth high-quality arts education in their own neighborhoods.

She has also been embarking on several new initiatives directed towards professional development of the City Studio Professional Teaching Artists and Teaching Assistants, City Studio youth, and City Studio community partners, enhancing its successful multi-generational model for mentoring and arts education.

With this initiative, current SFAI students are employed in the program along with recent (and not so recent) SFAI alums. She also teaches SFAI's City as Studio Practicum course that offers real world experience as well as arts education pedagogies to SFAI students.

Last spring, she was interviewed for the podcast "Teaching in the Arts:"

If anyone would like to teach, volunteer or learn more about the program to contact Amy at [email protected].

Images courtesy of Amy Berk

IRENE CHAN (MFA 1997) CH’AN PRESS

Irene Chan is a multidisciplinary artist who works conceptually in print media, papermaking, installation, storytelling performance, and book arts. Her books and works on paper have been exhibited internationally and held in 70 public collections including the Walker Art Center, The Fine Arts Museums of San Francisco, Tate Modern, Victoria & Albert Museum, and British Library in London.

Chan established Ch’An (ch’ ahn) Press through which she has self-published prints and 34 limited-edition artist books to date. She is the recipient of grants and awards from the National Endowment for the Arts, New York Arts Council, Maryland State Arts Council, Washington D.C. Commission of the Arts and Humanities, of fellowships to 22 artist residencies, and has exhibited and performed in 62 venues in the last ten years.

Irene Chan holds an M.F.A. with honors from the San Francisco Art Institute and a degree in architecture (BArch) with a Minor in English from California Polytechnic State University, San Luis Obispo. Besides running her own press and studio, she is also an Associate Professor of Visual Arts (Founder and Head of Print Media) and Affiliate Faculty of Asian Studies at the University of Maryland, Baltimore County, U.S.A.

To learn more about the artist please click here.

Images courtesy of Irene Chan

JANNEKE VAN DER PUTTEN (BFA 2008)

“On 17 – 28 September 2019 I will give a workshop, open studio exhibition and performance at Salon of Colombian Artists (45SNA), Espacio de Interferencia, Espacio Odeón, CARRERA 5 #12C - 73, Bogotá (CO).” Curated by Ana Ruiz Valencia. More info about the workshop here.

Janneke van der Putten (Amsterdam, 1985) is a visual artist and performer based in Rotterdam, The Netherlands. Her practice involves experiences of listening, performances, sound and video, documentations in image, text and textile, workshops, music projects, and creating platforms for cultural exchange. Her voice is her main tool, guiding her through physical and sonic explorations in different landscapes. Engaging with specific sites and local contexts, and through her personal experiences, she investigates (human) responses to her surroundings, and their relation to natural phenomena and transitions, such as the sunrise.

For more information about the artist please click here.

Image courtesy of JannekeVan Der putten

PATRICIA ARAUJO (BFA 2005)

Patricia Araujo was born in Miami, Fl, the daughter of Colombian parents. Her father was an architect at Walt Disney and during his last years he assisted with the development of Epcot Center. Patricia grew up in Bogota, Colombia and since childhood, she was enchanted by architecture and form. After completing high school in Bogota, Araujo moved to Northern California to pursue her college education. She studied architecture, painting, and photography. In 2005 she obtained her B.F.A in Painting, from the San Francisco Art Institute.

For over a decade, Patricia Araujo has painted the facades of both iconic city landmarks and downtown buildings. Her paintings depict praiseworthy examples of San Francisco architecture, some utilitarian and others grandly ornamental. She's been bewildered by the architecture of cities she's lived and traveled to and by imaginary places.

From 2008 to 2010, she dedicated a series of works relating to Tomorrowland and as of most recent she's devoted to painting the architectural wonders and forgotten treasures of "GGIE" (the Golden Gate International Exposition of 1939 at Treasure Island) - the last World's Fair of San Francisco Bay. Her interest in researching the urban landscape continues to grow, addressing the evolution and decay within a city.

Araujo continues to deepen her conceptual themes on architecture, place and change in the urban landscape. She has been exhibiting in San Francisco since 1998. Some of the venues exhibited include: Arc Gallery, Arttitud, Bayview Opera House, HANG ART, Roll Up Gallery, STUDIO Gallery, the Old Emporium, Pen Club Gallery in Budapest and most recent at the Old Mint with Treasure Island Museum.

In 2008, she published her first book, entitled ”SOMA SEEN”. Her work has been written about in the San Francisco Chronicle, ARTslant, 7x7 SF, Huffington Post, Examiner, Beyondchron, and the San Francisco Bay Guardian. She lives and works in the San Francisco Bay Area.

To view her complete portfolio and resume online please visit: Here.

Images courtesy of Patricia Araujo

PHILIP PERKIS (BFA, 1962)

Philip Perkis (BFA, 1962) has published his fifth monograph, Mexico, Anmoc Press, Seoul, 2019, distributed by Photo-eye books, Santa Fe. Link: : Click Here

This Publication accompanied Mexico, Perkis's solo exhibition of gelatin silver prints, at Ryugaheon Gallery, Seoul, in 2019. Most of these works were also shown in a two-person exhibition, Philip Perkis and José Hernandez- Claire, at the Jalisco Government Palace, Guadalajara, Mexico, in 2017.

In 2019, Perkis's photographs were also shown in Watershed: Contemporary Landscape Photography, Westmont Ridley-Tree Museum of Art, Santa Barbara, CA, an exhibition that originated at the Telfair Museum of Art, Savannah, in 2017.

Preceding publications include: In a Box Upon the Sea, 2015; Twenty Days, Twenty Comments, 2014; The Sadness of Men, 2008; Teaching Photography, Notes Assembled, 2001—with additional editions in English, 2005, Korean, 2005, and Italian, 2017; and Warwick Mountain Series, 1978.

Image courtesy of Philip Perkis

SETH LOWER (MFA 2008)

Units contains photographs taken from 1994–2017. The images depict a variety of everyday materials and situations, many seen in sets, parts, or multiples. Within such scenes, Lower seeks out a kind of integrity (or lack thereof): standards of measurement, materiality, vague questions about the boundaries of entities and experience.

A sign swallowed by tree bark, a small collection of funnels, a stove for sale in the sunshine. Where does one unit end and the other begin? It is certainly possible to be part of the whole and at the same time separate, existing with a foot in both worlds, but does this say anything about the units themselves, or only the way we define them?

Graham Harman writes that such pieces are ‘terminal points, closed-off neighborhoods that retain their local identity despite the broader systems into which they are partly absorbed’.

Click here to learn more about the artist.

Image courtesy of Seth Lower

TOM LAUGHLIN (MFA 2013) OPENING RECEPTION FOR SIGNAL

You are welcome to join on September 21 for the opening for Signal,a public art piece by Tom Laughlin on Treasure Island.

The event begins with a champagne reception at 4 pm, followed by a dedication ceremony at 5 pm.

Please RSVP through Eventbrite page. Directions are available HERE or at SignalSF.com.

To learn more about the artist please click here.

Images courtesy of Tom Laughlin

MARK TOSCANO REMAINS TO BE SEEN

A mystery program of archival experimental film with Mark Toscano.

Thursday, September 26 | 8 PM Doors 7:30; $5 admission.

Mark Toscano is a filmmaker, curator, and film preservationist based in Los Angeles. Since 2003, he has worked at the Academy Film Archive, where he specializes in the curation, conservation, and preservation of artists' films. He works with the collections of over 100 filmmakers, and has overseen the conservation and preservation of hundreds of films, including work by Stan Brakhage, Barbara Hammer, Chick Strand, Tacita Dean, Penelope Spheeris, the Whitney brothers, Gus Van Sant, Pat O'Neill, Suzan Pitt, and many others.

He has curated and presented programs at numerous venues, including MoMA, Arsenal, Eye Filmmuseum, Tate Modern, and festivals in Rotterdam, London, Oberhausen, Zagreb, Bangalore, and elsewhere.

He is a programmer with Los Angeles Filmforum, and has lectured at various universities on experimental film and archiving, as well as teaching the History of Experimental Animation at CalArts.

Please click here for more information about the artist.

Image courtesy of Marc Toscano

NINA ELDER (MFA 2009) WHAT ENDURES

Closing September 15. There is one week left to see this exhibit!

It has been a stellar experience to work with the crew at SITE and make this dream a reality! The show is a retrospective of my drawings from the last decade.

Nina Elder is an artist, adventurer, and arts administrator. Her work focuses on changing cultures and ecologies. Through extensive travel and research, resulting in meticulous drawings and interdisciplinary creative projects, Nina promotes curiosity, exploration, and a collective sense of stewardship.

Nina advocates for collaboration, often fostering relationships between institutions, artists, scientists and diverse communities. She is the co-founder of the Wheelhouse Institute, a women's climate leadership initiative. Nina lectures as a visiting artist/scholar at universities, develops publicly engaged programs, and consults with organizations that seek to grow through interdisciplinary programing.

Nina's art work is widely exhibited and collected and has been featured in Art in America, VICE Magazine, and on PBS. Her research has been supported by the Andy Warhol Foundation, the Rauschenburg Foundation award for Arts & Activism, the Pollock Krasner Foundation, and the Mellon Foundation.

She is currently an Art + Environment Research Fellow at the Nevada Museum of Art, a Polar Lab Research Fellow at the Anchorage Museum, and a Researcher in Residence in the Art and Ecology Program at the University of New Mexico.

Please click here for more information about the artist.

Images courtesy of Nina Elder

DICKY BAHTO (BFA 2004)

Dicky Bahto lives in Los Angeles. He has exhibited work utilizing still and motion picture photography, sound, and performance at a variety of museums, galleries, microcinemas, film festivals, conferences, alternative spaces, and scenic locations spanning the Northern Hemisphere, including commissions from Monday Evening Concerts and The Huntington.

As a member of the EPFC Co-op, he is a corecipient of an inaugural Artist Project Grant from the Mike Kelley Foundation for the Arts. His interest in music has led him to both collaborate with and perform works by various composers, including Casey Anderson, Ashley Bellouin, Luciano Chessa, Carmina Escobar, Corey Fogel, Julia Holter, Sepand Shahab, Mark So, Laura Steenberge, and Tashi Wada. In addition to creating album art for some of the above musicians, he has made several music videos for Julia Holter, and his portraits of artists including Ashley Bellouin, Sarah Davachi, Julia Holter, Laida Lertxundi, and Tashi Wada have been printed in The New York Times, Bomb, Vanity Fair España, The Wire, and MOJO, among other publications.

He has curated programs of experimental film and video, performance, and music, including regular programming at the Echo Park Film Center, as well as programs at REDCAT and the wulf. in Los Angeles, Artist’s Television Access and San Francisco Art Institute in San Francisco, Exploded View in Tuscon, and Yale University in New Haven.

He received a BFA from the San Francisco Art Institute in 2004 and an MFA from the University of California, Riverside in 2017, and has himself taught at the Echo Park Film Center, Museum of

Contemporary Art Los Angeles, Otis College of Art and Design, and the University of California,

Riverside.

Please click here to learn more about the artist.

Images courtesy of Dicky Bahto

#sfai #sfaialumni

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peacefullywanderlust-blog · 8 years ago

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Intro

Wanderlust: a strong desire to travel.

It’s an ultimate dream of mine to travel the world, to live wanderlust. I love the different cultures this world holds and the breath taking scenery. Which is why I’d like to spend the semester blogging about successful travelers like Matthew Karsten (@expertvagabond), Kirsten Alana (@kirtsenalana), Daniel Kordan (@danielkordan), and Chris Burkard (@chrisburkard). These individuals are not only well travelled but they are popular for taking beautiful photos along the way. I originally knew very little about these individuals but choose to follow them because I enjoyed their beautiful photographery, it ignited my wanderlust flame and made me eager to get up and go somewhere. I wanted to follow successful travelers, who would share their knowledge and experiences, these individuals were the most popular. To get to know some of these travelers, I’m going to share some additional information about them individually. Matthew Karsten is a full time adventure travel blogger and photographer. He’s been exploring the world for over 6 years now. Matthew uses is social media to share entertaining stories, useful travel tips, fun videos, photography, and crazy adventures of his travels around the world. Matthew wasn’t always a traveler, with a college degree in business he worked freelance for a nightlife & events as photographer in Miami. After deciding he wanted more from his life, he saved his money for a year, sold all his possessions, quit his job, and bought a ticket to Guatemala. What was only supposed to be a year abroad became 6 and counting. Kirsten Alana is photographer that grew up listening to her family stories about traveling. After being a wedding photographer, in her late 20s, she decided to turn to travel photography. Since then she’s worked with brands ranging from Four Season and AirFrance to Ted Baker and Stoli Elit. She also consulted and advised brands, as well as been in front of the camera for CNN, Expedia, and Travel+Leisure. When Kirsten is not traveling the world, she lives in NYC. Daniel Kordan is a person who was always fascinated with photography, Daniel grew up at lake region under Moscow spending all his free time in nature, exploring the wild life. While studying at the Institute of Physics and Technology, he gained experience in mountain climbing and hiking. After guiding tourist groups in the winter and summer, Daniel became a guide of photo-workshops and chief editor of “Continent expedition” magazine. When he’s not traveling the world or winning awards for his nature photography and publications, he lives in villa Gaia in Tuscany. No longer a tour guide, his clients range from Apple to RedBull. Chris Burkard works to capture stories that inspire humans to consider their relationship with nature, while promoting the preservation of wild places everywhere. He’s an accomplished explorer, photographer, creative director, speaker, and author, earning him opportunities to work on global, prominent campaigns with Fortune 500 clients, speak on the TED stage, design product lines, educate, and publish quite a few books. When Chris is not traveling the world, he’s spending time with his family or at his production studio and art gallery in the Central Coast of California. I’d like to see how these individuals use their photos of their travels and life to make everyone else (their followers) feel a part of their experience. Personally, this will also help me in determining a few more specific places I’d like to travel in the future. This topic not only gives tips on traveling but it also helps us see a world beyond our own which promotes creativity. You can see this creativity flourish in their photos as well as the words they usually have to say under each photo. The world is a big place and it’ll take a lifetime to travel but through these people we can be a part or get a sense of traveling from our own homes.

#Wanderlust

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talesofhawaii · 4 years ago

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Estria is the Co-Founder and Executive Director of The Estria Foundation, which raises social consciousness on human and environmental issues through public art and educational programs. He pioneered a number of programs, including Mele Murals, which focuses on Hawaiian lyrics (mele) that explore stories of place (mo’olelo ‘aina); Water Writes, which highlights critical water issues in 10 cities around the globe; and the Estria Battle, which served as the premier U.S. urban art competition and honored Hawaiian culture and community. Before co-founding The Estria Foundation, he received commissions from President Bill Clinton, MTV, Redbull, and others, co-founded Visual Element, a series of free-for-youth workshops which targets at-risk children, and presented the first ever TEDx talk on muralism. Estria used his 1994 arrest to speak out about graffiti’s sociopolitical impact on CNN, the National Inquirer, the San Francisco Chronicle, and other platforms. He is the recipient of a number of awards, including Miami New Times’ Best Mural, Congresswoman Nancy Pelosi’s Certificate of Congressional Recognition, and East Bay Express’ Best Graffiti Artist.

As I understand, you’re originally from Hawaii. How did you become interested in graffiti?

When I was a teenager, my mom sent me to the YMCA to volunteer after school and in the summers. My friends were break dancers, and they’d look for stuff with breakdancing. They’d see graffiti on jackets, in the backgrounds, or on trains, and they were like, “what is this?” One day, we got an airbrush kit, and we hopped the fence and went into the canal to paint it after school. It was bright daylight and people were walking by watching. No one was really freaking out over what we were doing. I don’t even think we really realized that it was… illegal. We tried to do the word ‘fresh,’ and because it was a little airbrush kit, we did ‘fr’ and then ran out of air. But, it got us juiced, so we went and got spray paint and started trying that. I fell in love with spray painting and just kept going with it.

Did spray painting speak to your friends too? Or did they just go back to breakdancing?

We spray-painted for a year– or maybe two years. I think I was 16 years old when we started, so I’m pretty sure by 18 they had already quit. But, when I went to college in San Francisco at 18, I think it was probably by the second week that I had gone painting at the project rooftops already. Back then, people had 110 film cameras and little flash cubes on top of them. For every photo, you would think, “it’s going to cost me this much to take this picture.” It wasn’t like digital cameras or cellphones nowadays, where you don’t even think about that– you just click away. So, these guys who I’d just met took me painting. But, at the end of it, no one took pictures of my piece. I was like, “Oh, I suck!” [laughing] I didn’t know I sucked until that moment! It was one of those turning points where I went, you know what? I want to get good at this. I want to be as good or better than these guys. I started painting all the time.

It sounds like you really channeled your frustration into positive energy and motivation, two qualities that undeniably show through your work. Do you think that particular experience shaped your belief in the mission of empowerment?

Oh, yeah! Writing is like a contact sport: you can run into cops, gangs, trains, trucks. You might even have to walk for three miles, in the dark, to get to a wall. It’s kind of crazy to think that we were doing those things. But, you know, it makes you feel alive. You’re in a train…you’re out at night trying to paint cold steel… and there are sound that you just can’t explain. You know they’re from the trains, but they just sound like eerie monster things, I guess as the metal is contracting and expanding with the temperature drop. And so, you’re just kind of freaked out. But, I also think you feel alive– your heart is pumping and your senses are hyper-aware. It’s almost this rite of passage for young people to do this dangerous thing, to know what it’s like to really be alive and out there. And it’s dangerous… so yeah, there was definitely that thrill.

And to be honest, I sucked at doing the lettering, which is the whole main part of style writing. But, I could draw characters and stuff. All of the guys that were really good at the letters were like, “Okay, I’m gonna do my name– you do the background….” Right? They wanted me to do the stuff around their pieces. [laughing] But because of that, I later ended up getting the commissions, because people would say, “Oh, can you paint this Middle Eastern restaurant scene?” or whatever scene their business needed–grapes, pizza, or whatever. The style writer guys could only do letters, so they didn’t get the jobs.

That’s just on a more superficial level. Maybe, looking at past lives, it was almost meant for me to be in a creative expression pathway. You know, having that experience, or working in the YMCA and giving to kids, or taking care of other people at an early age… it just infused that whole idea that you give back, that you take care of others, that you teach others. I always think I was trying to say more than just my name, or that I’m alive, you know? I did my share of that, but I reached a point where that wasn’t gratifying anymore. When you’re going out bombing, and you can bomb a billboard over the freeway or a tunnel of the freeway– you’re just like, “Wow, I’m alive. I can do whatever I want. I have power.” Then, you have to learn to be responsible with your power… like Spider-Man. So, I think that just pushed me towards using art for some kind of purpose– to say something.

What did your mom think of you graffitiing?

Back in the day, we had a Betamax, like a VHS recorder. I remember the first time the news covered graffiti, they were interviewing this guy from a different part of my island. To this day, he’s still world famous– he’s made a good career for himself. But, as I’m taping the interview on the Betamax, my mom is sitting next to me watching the interview, and she’s like, “I hope they catch these hoodlums!” [laughing] I’m not sure she even knew that I was doing graffiti yet. Then, years went by and she could see that, in college, I was trying to make a career of it already. So, she started to want to understand it: she took drawing and photography classes at the local museum just to have a deeper understanding of why I do these things. Now, she’s on my board, and to me, she’s my biggest fan.

On the Estria Foundation website, it seems like there’s a lot of emphasis on incorporating Indigenous themes and even preserving specific language, like mele (Hawaiian lyrics) or mo’olelo ‘aina (stories of place). Do you want to speak a little bit as to some central Hawaiian themes?

Yeah! I think there’s two things I could start with. One is the concept of ‘we.’ When we say the word ‘we,’ we normally refer to we in this room, or our family, or our friends– those that are living right now. And ‘we,’ in a Hawaiian and Indigenous perspective, doesn’t just go laterally– it goes up and down. It means connecting with the earth, connecting with the heavens, connecting with your ancestors, and the belief that you never walk alone: that your ancestors walk with you– your ancestors on your father’s side and your ancestors on your mother’s side. With the Hawaiian and Indigenous ‘we’ comes the idea of being mindful. Are you living a righteous life? Are you making righteous decisions? Being mindful is something that Hawaiians tend to think about a lot. Whereas, in Western society, that’s not always up for concern. [laughing]

Also, in the Hawaiian perspective, things aren’t separate: there’s no separation of church and state, or education and religion. Spirituality, cultural practices, environmentalism– all of those things are connected, not separate. So, the Hawaiian perspective means coming to understand that the Earth is a living thing and that you need to communicate with it in order to take care of it. Our role is not to have this ego and to conquer Earth; our role is to take care of it. Our position is between the heavens and the Earth. In that way, you always set priorities. Is this good for the land and the water? Is this good for people? And then, is this good for business?

That’s really how I think government should set their priorities too– in that order. But, politicians are allowed to say whatever at election time and then do whatever later… without any agenda that they’re actually held accountable to in a way that a CEO or a board of directors would be held accountable. If we held politicians accountable, a whole lot would be different– so many of our decisions would be different. The reason the cultural piece, the environmental piece, and the spiritual piece are all so important to us is because, if we keep going the Western way– we’re not an entire continent, where it’ll take you a long time to destroy it. We’re a small island. You could probably destroy it in our lifetime. So, we need to redefine our notion of ‘success’ from, “How do you go off to college and make a lot of money?” to “How do you become a guardian, or a caretaker, of this place?”

In Hawaii, we have what we call a ‘brain drain,’ where supposedly our best kids go to private school, because their parents will do whatever it takes to pay the tuition, and then private schools are always college-preparatory, so the best kids all go off to college. In my class, only one or two kids didn’t go to college. That’s less than 1 percent. So, a half of my class went to the continent for education. Then, out of that half, a huge percentage of my class never came back to Hawaii. We’re developing our best and brightest kids and then exporting them to the continent permanently, as opposed to using their brain power to solve problems here. For us, redefining ‘success’ would be shifting the idea of a successful person from one who’s financially successful to one who’s grounded in their place, who’s in tune with it, and who knows how to take care of it, or is willing to find solutions to fix it in sustainable ways. That would be successful for us because those people are going to be around for the future generations.

So, on one hand, lots of Hawaiians come to the continent to study and be successful in a Western, business sense. On the other hand, there seems to be a culture of Hawaiian residents who define success differently, who are maybe more community-oriented and in tune with the land. From what you see, how does that dynamic play out more concretely?

I see the hope for Hawaii in the young people. We have a lot of Hawaiian immersion charter schools. In the ’80s, they were saying that Hawaiian, as a language, was going extinct. Then, they started forming these charter schools and teaching the Hawaiian language– Hawaiian perspective and Hawaiian values. Now, it’s not weird to hear Hawaiian out in public.

With the language comes the perspective. In English, there’s usually one word and one meaning. A sentence is defined to be very specific so as to avoid confusion about what you’re saying: this person did this thing to this place. But, in Hawaiian, words are structured around a multitude of meanings. If you’re pregnant, people will say you’re hapai. But, hapai doesn’t mean ‘pregnant’– it means ‘to carry.’ The mountain could be hapai with waterfalls, or the land could be hapai with food growing. So, when you think with hapai in that multitude of ways, you should be seeing how it connects you back to the Earth, or back to ancestors, or back to the stars– it connects you to your place at all times with several different meanings.

For us, we didn’t have a written language. When people have written language, they have secret codes, secret ways to communicate messages to the troops, or from royalty to royalty. But, without a written language, our secret code had to be hidden in poetry. There was language structured for the common folk, or for everyday use, and then there was that poetic, riddlelike way of using the language that was taught to chiefs so that when they spoke in public, only the chief would get what they were trying to say. And the public was like, “Oh, everything’s okay!” [laughing]

How do you connect with your Hawaiian heritage now? Do you just bring the message along wherever you travel?

At this point, I can’t say that I’m a writer anymore– I just say I came from there. Now, the purpose of my artwork is to tell the stories of our places. Most of these stories have never been put down on paper, so they’re being cast from generation to generation. When Westerners came and started settling here, Hawaiians died off by the tens of thousands, and those storytellers went with them. So, they tried to tell those stories. At this point, Hawaiians are about 10 percent of the population in Hawaii, and I would say that most people living here know next to nothing about Hawaiian culture.

That being said, people living here don’t realize that a lot of the daily, little things are Hawaiian. The way we behave in this situation… that’s a Hawaiian thing. [laughing] I tell people that we may be 10 percent of the population, but we should be 100 percent of the voice on the walls. Using the walls as our visual storytelling medium, instead of books or other things, is a more powerful way of communicating our culture; it works perfectly for someone like me that’s a community-based artist, where my work is in the community. I don’t paint highbrow, high-end art. I don’t paint modernism. I’ve gone to archives and all these different art shows around the country, and my takeaway is that modernist art is about nothing and for rich people. It’s got nothing to do with the culture; it doesn’t talk about change; and it’s rare that it’s got really insightful criticism. I think art gets off really easy nowadays on having no content. It’s a shame because I think we’ve got to hold artists to a higher standard. Not to say that I’m better or higher than everybody else, but my art isn’t for that audience: it’s for the commonfolk in the streets, here in Hawaii.

When I see a Hawaiian family stand there and watch us paint, or start crying just by looking at the painting… then you know they’ve never been to an art gallery. They don’t have art. They haven’t studied art or art history. None of them can name five American artists, whereas in Europe, they can name all their favorite artists. But, when a Hawaiian family stands there and takes in what we’re doing, when they start crying and understanding it, when they come up to me and explain what they see, and when I start crying with them– it’s like, “yeah, this mural is for you guys.” If I painted in the gallery, they never would have seen it; I did it in the community, and they get to see it every day. It’s a different purpose, a different intention.

So, in your view, there’s a whole world of untapped potential for art–what’s the disconnect?

Oh, yeah. Art in a gallery is like, “man– get it out!” Even in discussions on a community organizing level… people around the country, and especially museums, talk about breaking the fourth wall and getting into the community– that’s because they tried to get the community into the museum, and they only had so much luck doing that. They know their sweet spot is really people who are over 40, white, and single. Those are the ones that are going to give them the endowment. Those are the ones who are going to sign up for annual membership and come to all the events. The sweet spot, for museums, isn’t Mexican family with 10 kids down the street, or the Black family across the way. These highbrow art museums just aren’t culturally, or historically, part of their daily life. So, instead of trying to get the community to the museum, they’re trying to take the museum to the community. What some museums will do is actually coopt what non-profits are doing. They’ll see what the non-profits are doing, they’ll write a grant for the same thing, they’ll get the project, and they’ll put that non-profit out of business. Then, when that project is no longer in vogue, the museum will move onto the next flavor. It sucks! Trying to do this by the people for the people in the community is a whole different thing.

When Banksy’s painting self-destructed during an auction and a highbrow art collector decided to pay even more for it, how did that make you feel?

Well, it’s a novelty, right? It’s an exciting thing. I think Banksy is cool– it’s a great example of using street art, in public, to exploring new ways of saying something. But, for us, it’s really about going back to who we are. The bulk of education in the United States was designed in the industrial age to create factory workers. And with Common Core standards still in place, we’re actually still trying to produce factory workers. But, we don’t have factories anymore, so it’s not benefitting us to create obedient soldiers: we need out-of-the-box, visionary leaders to do creative problem-solving. Our system doesn’t encourage that; it encourages potential leaders to use their heads, to learn how to take tests, and to study standards. All of that is using your brain, and we’ve forgotten that the other way to access knowledge, to tap ancestral knowledge, is through your gut, through activities like meditation, or talking to your ancestors, or praying. Rather than going through your head, you’re going through your gut to tap into that knowledge.

I’ll give you a good example. We have this canoe called Hōkūle’a, which means “brightest star.” Basically, they built a canoe, using mostly traditional methods, to navigate by the stars; they don’t navigate Hōkūle’a by newer instruments or GPS. So, they’ve gotten all these other nations–Tahiti, Fiji, Tonga, Samoa–to build canoes too, and they’ve got this whole fleet of canoes to sail around the world. They just completed the trip about a year or two ago. They went all the way around the world to prove that Hawaiians didn’t just end up in Hawaii by chance; we were navigating to places. The message they were trying to spread, everywhere they went, was that we should take care of the ocean. But, the knowledge of how to build that canoe had been lost. There was no one alive who knew how to build that canoe, so they looked at artist drawings. Some of the things they had to figure out–how to carve a certain way, what to carve with, what kind of knots to make, all of these little details–they had to do so by going inside and tapping that ancestral knowledge. They had to meditate in the forest, where trees were chopped, to regain that knowledge. That’s not a project that Western thinking will even allow you to entertain.

It does feel like we’re kind of desensitized in the West, often thinking mechanically with our heads rather than our guts. Do you want to expand a bit more on the difference between the Western and Indigenous perspectives, especially with regards to Hawaii?

Think about how the average person can walk down the street, spit anywhere, and piss anywhere. Western thinking is like, “I want to climb the highest mountain, or I want to climb any peak, so that I can jump off of it with a snow board, or a parachute, or whatever.” Westerners just think they can go anywhere and do anything. But, Indigenous thinking is like, “These are sacred spaces. And you need to ask for your ancestors’ permission before you enter.” You can’t just go. Take Mauna Kea for example. They’re going to build this huge telescope on the summit of Mauna Kea that’s going to affect the wind patterns. It’s the start of the water cycle, so they’re going to pollute their own water on the island. And it’s because they don’t think the earth is sacred. They think that, in the name of science, we need to see farther… “Hello!” You can close your eyes and see farther than that telescope can see.

When we talk about what is ‘sacred,’ most people don’t actually know. I was trying to teach the kids the other day. I asked them, “who determines if a space is sacred?” A kid’s answer was “Oh, somebody said the space was sacred!” and another said, “Maybe somebody was buried there.” Okay. Those are good possibilities… well, what makes a person say a place is sacred? They’re like, “I don’t know, somebody just said.” The thing you’ve got to understand is that if you listen to the land, you will know what parts of the land are more sacred, because the land feels different in each space. So, I try to teach the kids to meditate in different places in order to start to feel the difference in the power, or the mana, of the land. In the olden days, when people built sacred temples, they all built them on portal sites, or on ley lines. I see it in Peru, I see it with the Aztecs, with the Incas, and with the Mayans. I think it’s because they had people who were more in tune and could feel like, “Oh, this is the spot right here!” So, it’s not a person telling you that the space is sacred; it’s the land telling you it’s sacred right here. The land has its power– you’re just trying to tap into that. Since we’re no longer connected to the land in that way, there’s no considering those things anymore. We need to start listening to the land again in order to take care of it, or we’re not going to be around for much longer.

We’ve covered a lot of topics conceptually, but I wanted to give you the chance to speak about projects like Water Writes, Mele Murals, the Estria Battle, or “Sin Armas ni Violencia.” It would be great if you could connect them with some of the central Hawaiian and Indigenous topics we’ve been discussing!

Well, the Estria Battle… Man… I did that out of pocket for five to six years. I was finally like, “Alright, I’m done!” and people just thought I was making money. I’m like, “Dude, it’s free admission! What am I making money on?” From there, I went to Water Writes. We went to all these different cities and countries, where we would partner with people in those places. And I couldn’t get it funded, because the funders couldn’t see how two weeks in a place could make a lasting impact. But Water Writes was the older sibling of Mele Murals, and Mele Murals had a deeper connection to the land and to the community, so that’s the one that’s gotten the most support, both in terms of finances and community support.

Really, people have to go to a Mele Mural, or come to an unveiling, or come to the meditation sessions with the kids, to really understand the project. To see a group of kids meditating outside and getting messages…. What do you think would happen if you got twenty to forty kids to meditate together, and I’m telling them, “Okay! Ask the land what message should be in the mural. Ask the land what it wants.” What are they going to come up with? I’ve sat with groups on the continent for three hours, trying to come up with a concept for the mural while no one has an idea, and I walk out of the meeting clueless. I’m like, “I’m not doing this project!” The groups aren’t grounded, they’re not based in anything, so they don’t know what’s important.

But then you get kids. I remember one kid said, “Oh, I see the hands of ancestors carrying the baby’s spirit to the body of one of our kings.” And then, eight people went, “Whoa, that’s what I got too!” You can’t make that up! Right? We weren’t even talking about that. How did you even get that? Your schools not spiritual, so you wouldn’t talk about spirits and ancestors in that way. But, it’s confirmation: that’s the message they want us to paint about. So, we keep going around, and I circle any ideas that come to more than one person. I circle those ideas because I know we have confirmation. Our ancestors speak in riddles. They don’t give us the message directly, so you’ve got to figure it out. That’s how we arrive at the concepts of the murals, but unless you’ve seen that process, you don’t know what magic it is, or how trippy it is.

Then, each mural is loaded with messages from the spirit realm, and so many trippy things happen that it becomes normal. The first time I did this, I was like, “Oh, please, please work! I’m going to meditate and ask for the concept, and I don’t even know where it’s coming from. Please work!” And now, I don’t even question it. I know it’ll come. The process has built faith in me, and so now we meditate on all the big decisions for our organization. The crazy thing is that I’m often talking to spirits, ancestors, or guardians. Sometimes I see stuff, and sometimes they speak through me. All kinds of amazing things open up once you accept that side of life. But, to accept that side of life, you’ve got to let go of the Western perspective.

Eric Wallach November 21, 2018

Link:

Estria

Estria Foundation

Photo Gallery

An Interview with Estria, Urban Art Living Legend and Co-Founder of The Estria Foundation Estria is the Co-Founder and Executive Director of The Estria Foundation, which raises social consciousness on human and environmental issues through public art and educational programs.

#Breakdancing #CNN #Estria Foundation #Estria Urban #Graffiti #Mele Murals #MTV #Nancy Pelosi #President Bill Clinton #San Francisco Chronicle #TEDx #Water writes #YMCA

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jillmckenzie1 · 5 years ago

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Emma Balder

Emma Balder’s fiber paintings breathe new life into the smallest parts of textile waste, reassigning the fibers as a medium that functions like graphite or paint. Color, form and line work together to shape a new reality for these neglected parts. This culmination of visual elements alludes to the process of transformation: linework and form revealing the product of time, change, and new growth, while the emphasis of color and texture delineates stories of the past. By focusing on the minuscule and most often forgotten, Balder’s works unveil beauty in the discarded, referencing a universal experience of transformation.

Spinning to Internity, Courtesy of Emma Balder

Commit, Courtesy of Emma Balder

Courtesy of Paul Miller Photography

Upon earning her BFA in Painting from the Savannah College of Art and Design in 2012, Balder completed a Staff Artist Residency Fellowship at the Vermont Studio Center in 2015 and was named a finalist of the Peripheral Vision Foundation Fellowship in 2016. Her work has shown in venues such as Trestle Gallery, New York; Torpedo Factory Art Center, Alexandria, Virginia; Aqua Art Fair, Miami; The Lincoln Center, Fort Collins, Colorado; ArtHelix Gallery, Brooklyn, New York; BWAC, Brooklyn, New York; Stella Ripley Contemporary, Quebec, Canada among others. Her work has been featured in Art Maze Mag, Fresh Paint Magazine, Dialogist, Denver Life Magazine, 303 Magazine, Art Reveal Magazine, Ignant, Emboss Magazine, Peripheral Vision Press and more. Balder has facilitated fiber painting workshops throughout Colorado, including at the MCA Denver and ReCreative. Her installations have made appearances with Meow Wolf at Colorado Crush, Sonic Bloom Music Festival, Arise Music Festival, The Oriental Theatre, Stanley Arts Festival, Underground Music Showcase, and many other public and private events. The artist is represented by Heidi Vaughan Fine Art and Stella Ripley Contemporary.

Supernumerary, Courtesy of Emma Balder

Supernumerary (detailed), Courtesy of Emma Balder

Courtesy of Paul Miller Photography

Emma Balder’s solo show, Connecting Threads, is currently on view through November 23, 2019 at Heidi Vaughan Fine Art in Houston, TX. Balder will also be displaying a site-specific installation for Meow Wolf’s Dark Palace from November 22-24, 2019.

More of Emma’s work can be found at www.emmabalder.com and on social media @balderthanyou.

Portraits: Paul Miller Photography Artwork: Courtesy of the Artist

from Blog https://ondenver.com/emma-balder/

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nilority-blog · 6 years ago

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Unable to find a job after graduating from Spelman College was discouraging for Danielle P. Jeter, especially because she had done everything right. Not only was she accepted into the prestigious HBCU, but she also became a standout student and excelled during her academic career. “I had a whole résumé of experience. I studied abroad. I interned every summer. I got jobs. I worked while I was in college. I was a student leader. I was on the dance team,” Jeter, 29, told BLACK ENTERPRISE, adding that she often traveled off campus to network with working professionals. And, on top of that, the double major launched her own events planning business during her senior year. “So for me, I was like, ‘why can’t I get a job?’ I prepared. I did what was told of me to do,” she said.

Change of Plans

The reality of being jobless when she graduated from the Atlanta-based institution in Spring 2010 forced her to recalculate her post-college plans. “My vision for my life was to go from Atlanta to Los Angeles.” When that didn’t happen, she reluctantly returned to her hometown of Philadelphia and focused on growing her own business. “I always had a vision of being an entrepreneur. I knew that I was going to be a business owner, [but] I didn’t know I was going to do it so young.”

Jeter worked to expand her company, AOI Events & PR, into a full-service communications firm that executes creative marketing campaigns for clients. “When I came back home to Philly, I added on different services, including public relations, community relations, digital marketing, and strategic development.” Under AOI, she also started an internship and mentoring program called Pipeline that has helped dozens of high school students gain hands-on experience in the media field.

Danielle P. Jeter at the WIM 6th Annual Conference

Representation Matters

Jeter’s career trajectory, however, took another change of course in 2013 when she attended a documentary film screening about Philadelphia’s local art scene. The lack of representation in the film was so glaring that it compelled her to take action to better represent women creatives in her community. “There was only one woman represented in the film,” which profiled Philadelphia-based artists, she told BE. “I, personally, was offended by that because I’m an artist and I know plenty of artists in the city. Philadelphia [has a] large art and culture scene.” The disappointing film motivated her to create an event to showcase the work of female artists and professionals in media and entertainment. “That sparked something in me to go ahead and create something to remind women to own their voices.”

She reached out to other women working in media within her network, student organizations, and local media outlets and organized a workshop at Temple University within 60 days. Although small, the women’s empowerment event made a great impact on its attendees and inspired her to expand the half-day workshop into an annual conference for women working in media, entertainment, and the arts. “That was so powerful. People really loved their experiences and they started to ask me ‘what’s next?’”

Women In Media

Jeter also launched Women in Media Global Network (WIM Global), an organization that serves to empower and equip women who work or aspire to work in the media industry through year-round meetups and networking events. Today, the organization operates chapters in Philadelphia and Atlanta.

Angela Yee, Danielle Jeter, and members of WIM Global (Photo Credit: Rejean Wilson) Photography

Last month, the org held its sixth annual Women in Media conference at the International House in Philadelphia, which was centered on the theme, “limitless: beyond the glass ceiling.” It was co-emceed by diversity and inclusion expert Kimberly S. Reed and included a diverse mix of women making waves in the industry such as radio personality Roxy Romeo. Jeter says her favorite highlight was her fireside chat with The Breakfast Club co-host Angela Yee. “Angela Yee telling her story reminded me that there are no overnight success stories and you have to consistently work extremely hard to be great,” she said.

Day one of the conference ended with a “Women In Sports VIP Dinner” and panel held at the Citizens Bank Park, home of the Philadelphia Phillies, and featured female executives who work for the MLB team. That inspiration seemed to seep onto the field as the Phillies beat the Miami Marlins in an exciting home game later that night.

Angela Yee and Danielle Jeter at the 2018 WIM Global Conference (Courtesy of WIM)

Day two of the conferenced featured a panel session, sponsored by BLACK ENTERPRISE, of millennial women working in corporate media outlets like BET Networks and ABC’s local news affiliate. That was followed by breakout sessions. The day ended with a reception and informal session featuring male media professionals who support women in media.

Jeter thanked members of WIM for the success of the two-day summit, noting that it’s a testament of how well women can work together. “Working behind the scenes with the Women In Media Leadership Council Team Members [kept] me inspired and motivated especially during times of difficulty. To see a dedicated team of 15 women selflessly give of their time, treasure, talents, and resources to invest in other women proved many negative stereotypes of women in general wrong.”

Another rewarding moment from the event was seeing how it encouraged and impacted others. “To learn that attendees walked away with valuable jewels, tangible resources, new relationships, education, and inspiration made all of our hard work over the last year worth it,” said Jeter. “It also proved that our WIM Global platform is needed.”

The post Millennial Moves: Danielle Jeter is Building a Tribe of Women in Media in Philly appeared first on Black Enterprise.

Go to Source Millennial Moves: Danielle Jeter is Building a Tribe of Women in Media in Philly Unable to find a job after graduating from Spelman College was discouraging for Danielle P. Jeter, especially because she had done everything right.

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lboogiepopworld · 6 years ago

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#Repost @urgentinc • • • • • Join us today and tomorrow @mdcnorth for #YEDC18! The conference will include workshops, pitch competitions, a film festival, giveaways, and much more 🎬📝💰🎥 #Youth #MiamiDade #Teens #entrepreneur #film #photography @stephaniecreates (at Miami Dade College - North Campus)

#youth #film #repost #miamidade #yedc18 #entrepreneur #photography #teens

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theatredirectors · 6 years ago

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Tatiana Pandiani

Hometown?

Buenos Aires. But also Miami in many ways.

Where are you now?

NYC!

What's your current project?

I am on the train to Westport Connecticut to direct a developmental workshop of Torera by Monet Hurst Mendoza at Westport Country Playhouse. And next is Melis Aker's Field Awakening at the Corkscrew Festival. And after that La Negrophilie by Zakiya Markland at the Ubumuntu Arts Festival is Kigali, Rwanda. And just wrapped up Nicky Park Memorial Park by Deepali Gupta Hypokrit/ New Georges. And soon- DIKE by Hannah Benitez at Urbanite Stages. Ok enough plugs BUT currently in a state of joy and gratefulness for all this amazing collaborative work with female writers.

Why and how did you get into theatre?

I started dancing when I was three at the request of my preschool teacher. She told my mother that I needed to do something to get rid of energy. I danced my entire life- all the way through college. I was a dance studio brat. Slowly started moving into theater but still thinking I would be a choreographer. Today I am both a director and a choreographer.

Most of the time I believe that the work I do today is not too dissimilar to the shows I made mandatory for all my friends and family in my living room. My play dates always required making a show, dance, or radio program. My three younger sisters were always my guinea pig actors...

What is your directing dream project?

A bilingual musical on Broadway.

What kind of theatre excites you?

Theater that is in conversation with our current world and the people that we are today. Theater that's humorous or that uses humor to get to something deep inside of us. Theater that utilizes dance and music and that can both make me laugh at myself and question my behavior and choices. Theater that continues to ask the question "what is the form?" Theatre that is in conversation with pop culture. Theatre that non theatre people get and enjoy. Theatre that different kinds of people enjoy. Theatre that reminds me that humans can make beautiful and powerful events to share with a community.

What do you want to change about theatre today?

Accessibility and its place in every day life. Why does it feel so "other" to my non-theatre friends join? I hope to see the opportunities for writers, directors and actors who are POCs and other minority groups broaden and deepen in both content and form. Not every latinx writer has to make every play an identity play. Not all latinx directors should only direct those pieces. We can do so much more.

What is your opinion on getting a directing MFA?

I loved getting mine. But it is not necessarily necessary and it is not sufficient. The drive that gets you into and thru an MFA program does not guarantee anything, really.

Who are your theatrical heroes?

Pina Bausch!

Any advice for directors just starting out?

Take in life, pay attention to behavior, read short stories, take in photography and music and travel.

Plugs!

Check out the earlier shows and see more information on my website.

#Tatiana Pandiana #ask a director #theatre director

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hotanddeliciousrecords · 7 years ago

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My name is Dan Wilkinson, I am a Social Media Strategy consultant for medium to large size enterprises and am currently on the hunt for our next new inspired client to join our stable.

Over the past 1.5 years, my biz Hot & Delicious: Rocks The Planet!, has worked with Cancer Council Australia, Mahlab Agency (a global B2B digital client, hbf insurance), REBORN Agency, Moula fintech, The Bravery, Transplant Australia and Cherry Blooms global cosmetics brand providing a range of services including a full audit of organisational digital ecosystems and assets, Best Practice Social Media Playbooks, Digital Reporting templates, creation of systems and processes, 2-3 year strategic roadmaps and organizational workshops.

I am a global award-winning social media strategist, university lecturer, speaker, podcaster and content producer with experience across FMCG, Travel, Beer/Alcohol brands, B2B, Not-For-Profit, Augmented Reality, Tech/Apps, Fintech, Health & Wellness, Cosmetics, Health Insurance & more.

As for the type of client(s) we’re looking for?

Either client-side or agency-side and the 3 key things that I look for in new biz opportunities/roles/clients are:

Digitally progressive – you are a digitally progressive business/brand or you want to be (if you’re not there yet then, you want to pay someone who is and can bring you up to speed).

Corporate Culture/Champion of the People – you foster a culture of inclusiveness from the top down and that is evident in the energy/experience of the people who work with you at all levels.

Champion Great Work – contractors and employees describe your business approach as one that fosters big ideas and proactivity. Industry leaders not followers.

Future Social Media – November 2017

Lecturing at Macleay College in Sydney as a TV pilot and podcast.

Hot & Delicious Rocks The Planet! podcast

As an example, I recently I wrapped a short-term contract as Head of Social Media at Soap Creative on the Microsoft, PepsiCo (snacking) and Ferrero portfolios, including the likes of Doritos, Tic Tac, Kinder Surprise, Nutella, Xbox brands and many more.

My portfolio from the past 2.5 years includes APAC winner at the 2016 Facebook Awards, speaking at Social Media Week – Miami, multiple global Kinsale Sharks Awards (Silver, Bronze, Bronze), case studies featured on both the Instagram and Twitter Global Business Blogs, Shorty Awards finalist in NYC & much more.

Every new opportunity or organization that I bring our business to, I must be feel like we’re both contributing and learning at the same time – bringing industry expertise to the table, whilst also continuing the evolution of our experience and professional toolkit.

So if the above blog article sums up the opportunity that you’re about to approach us with and what you are/your business is striving to be, then I/we want to work with you!

I am currently Bondi Beach-based, but we work with clients around Australia and below you’ll find a portfolio overview of previous clients, global award-winning campaigns successes and my own Hot & Delicious: Rocks The Planet! digital presence.

Let’s do this!

[contact-form]

Dan Wilkinson (Hot & Delicious Rocks The Planet!) – Global Award-Winning Social Media Strategy Portfolio.

Hit Hot & Delicious: Rocks The Planet up on social media here:

Twitter https://twitter.com/hotndelicious Instagram https://www.instagram.com/hotndelicious/ Instagram https://www.instagram.com/craftbeerlovin/ Facebook https://www.facebook.com/HotnDelicious Hot & Delicious YouTube – Ballistyx Snowboard Show, interviews & more. https://www.youtube.com/user/HotnDeliciousRecords

‘Hot & Delicious: Rocks The Planet’ entertainment, travel, photography & lifestyle blog: http://hotndelicious.com/

For social media strategy, content/photography & influencer business enquiries contact: [email protected]

DOWNLOAD the Hot & Delicious Rocks The Planet! weekly entrepreneurship podcast via iTunes.

Android Users: Download Castbox Podcast App via Google Play, then Click here to Subscribe to Hot & Delicious: Rocks The Planet! Podcast.

Does your Biz/Brand need a new Social Media Strategy? My name is Dan Wilkinson, I am a Social Media Strategy consultant for medium to large size enterprises and am currently on the hunt for our next new inspired client to join our stable.

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velmahwf5609-blog · 7 years ago

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Motion As well as Property.

As Martin Luther King Jr. noted 50 years back, you can not fight militarism unless you also deal with racial discrimination as well as materialism. A lot of infants removal at the very least 10 opportunities during the course of a two-hour time period; if your little one is relocating lower than that, or if he was relocating a lot and the movement minimizes, after that talk to your treatment carrier regarding that, as well. The rate of a protection will definitely differ commonly throughout a given time, however just about none of this particular movement embodies a fundamental modification in the recognized worth from the safety and security. . Description: A training course designed to decorate the basic college student along with the know-how and adventure required in developing the fine art from paying attention wisely and also perceptively to various designs from music listened to today as well as to increase one's enjoyment as well as admiration from popular music in general. 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Genetic pressures in the Women's Liberation Motion left behind a little window from option for African-American girls to promote for their liberation and also, although the Female's action paid attention to problems affecting all ladies, this significantly neglected problems one-of-a-kind to Dark women. Neurologic indicators consist of repetitive action from the lesser skin, lips, and tongue (orobuccolingual dyskinesia), and also motion from the boot and hips. Therefore, the delay of cell-to-cell activity of PlAMV in the ncbp mutant may be clarified due to the unproductive buildup from TGB2 and also TGB3. That defender's action would certainly determine whether Lion would certainly hand off to Morris or even maintain that herself, observing his fullback. One function from the activity that struck me this browse through is its own unfailing civility. This guidebook is actually a resource meant for extensive make use of within the Sierra Club and all over our increasing activity. There's one thing for every person listed here at Andover, as pupils learn how to reveal themselves and develop fine art in each from its types. Our program is going to integrate a series of mentor approaches, consisting of lectures, workshops, workshops, tutorials as well as sensible laboratory courses. Our experts're part of a national activity that promotes even more well informed involvement in communal life. Featured will definitely be actually a selection from opportunities to pleasantly experience the meaning of self-exploration and also self-discovery as our team improve our mindset. If you have any inquiries concerning where by and how to use zdravtutorial.info, you can get in touch with us at the site. The significance and use color in its own treatment to corrective fine art and funeral service is actually examined, featuring the Prang System of different colors combos and also harmonies both in pigments and also enlightenment. Body 2: Stories of the LSmean dance high quality, approximated from each from the 5 last designs, sketched as a functionality from five central action criteria. The research study from the Bates lab is actually paid attention to knowing the molecular manner of Huntington's ailment (HD) as well as establishing curative assistances. However, the freedom action in South america embraces every person and any individual that is actually benefiting the great. This manual constitutes our existing best strategy of grassroots arranging in the circumstance of constructing a wide-ranging, unique, powerful and also comprehensive movement. Having obtained a Diploma in Pastoral Coaching, I functioned as a pastoral consultant and also have offered functional help to little ones displaying behavioral disorders. Choanal atresia and also laryngomalacia may additionally cause eating conditions in babies.

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foryourart · 7 years ago

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Image courtesy of Matthew Marks Gallery.

Thursday, November 2

Diane Arbus, Nan Goldin, Peter Hujar, Matthew Marks Gallery (West Hollywood), 10am–6pm.

Art Matters Fall 2017, Santa Barbara Museum of Art (Santa Barbara), 10–11:30am.

Kourtney Roy: Enter as Fiction: CALIFORNIA, KM Fine Arts Los Angeles (Culver City), 11am–6pm.

Pablo Vargas Lugo: Seascape, Laguna Art Museum (Laguna Beach), 11am–9pm.

FANTASIA, ARTAMO GALLERY (Santa Barbara), 12–5pm.

Been Dark Uines Noon Concert, CalArts (Valencia), 12–1pm.

Untested Address Event Series, Klowden Mann (Culver City), 1–4pm.

MFA 2018 Preview Exhibition, UCLA (Westwood), 5–8pm.

Suzanne Lacy and Pablo Helguera in Conversation, AD&A Museum, UC Santa Barbara (Santa Barbara), 5–6:30pm.

Galeria Perdida: Oh is it, expert, Todd Madigan Gallery (Bakersfield), 5–7pm.

Artist and scholar walkthroughs: Nao Bustamante, Hammer Museum (Westwood), 6pm.

Walton Ford: Calafia, Gagosian (Beverly Hills), 6–8pm.

MOCA Music: DJDS, DJ Frosty, WYLDEFLOWER, and Deejay.fm, MOCA Grand Avenue (Downtown), 6–9:30pm.

Malik Gaines book release, Ooga Booga (Chinatown), 6–8pm.

Around Town and Day of the Dead Altar, Laguna Art Museum (Laguna Beach), 6–9pm.

Greg Kahn: Havana Youth, Annenberg Space for Photography (Century City), 6:30pm.

2017 Common Field Convening Los Angeles, Japanese American Cultural & Community Center - JACCC (Downtown), 6:30pm. Through November 5.

Contents Under Pressure No. 1 | Presenting Johnny Quintanilla, Oliver Laurent Salon (Beverly Hills), 7–10pm.

Ism, Ism, Ism: Cine reciclado, MAK Center for Art and Architecture (West Hollywood), 7pm. $7–10.

CraftNight: Día de los Muertos: Workshop with Marcus Kuiland-Nazario, Craft and Folk Art Museum (Miracle Mile), 7–9pm. $10.

Liam Young on Adrián Villar Rojas, The Geffen Contemporary at MOCA (Downtown), 7pm.

ARTIST TALK: PATRICK MARTINEZ, Art + Practice (Leimert Park), 7–8:30pm.

RUSSELL LECTURE > MIGUEL CALDERÓN, Museum of Contemporary Art San Diego (San Diego), 7pm.

BFA II Solo Dance Concert, CalArts (Valencia), 7–9pm.

Paul Brach Lecture Series: Mara McCarthy, CalArts (Valencia), 7pm.

This is Bob Hope…, Palm Springs Art Museum (Palm Springs), 7pm. $75–100.

Ayer Es Hoy, Hammer Museum (Westwood), 7:30pm.

Latinas Out Loud: ¡Pa’rriba!, Hammer Museum (Westwood), 7:30–10:30pm.

Dancenorth/Lucy Guerin Inc.: Attractor, CAP UCLA (Westwood), 8pm. Also November 3.

JOSHUA LIGHT SHOW, The Broad (Downtown), 8pm. Through November 4.

Verónica Peña, PØST (Downtown), 8pm.

Friday, November 3

Encounters, Utopias, and Experimentation: From Pre-Columbian Tenochtitlan to Contemporary Buenos Aires, The Getty Center (Brentwood), 9:30am. Through November 5.

Docent Guided A+D Walking Tours: The Architects and Visionaries Who Built Palm Springs, Palm Springs Art Museum (Palm Springs), 9:30am. Fridays and Saturdays until April 2018. $25.

Bob Van Breda: Lost & Found, Palm Springs Art Museum (Palm Springs), 10am–5pm.

STORY TIME AT THE FOWLER, Fowler Museum (Westwood), 11:30am–12:30pm.

Sound Tracks: A Musical Conversation, Santa Barbara Museum of Art (Santa Barbara), 12–1pm.

LECTURE: JEROME SILBERGELD ON CHAEKGEORI (KOREAN SCREEN PAINTING), Fowler Museum (Westwood), 2–3pm.

Jonas Wood: Interiors and Landscapes, David Kordansky (Mid-City), 6–8pm.

Closing reception: Skip Arnold | Stephen Neidich, ltd los angeles (Mid-City), 6–8pm.

Ellen Gallagher. Accidental Records, Hauser & Wirth (Downtown), 6–8pm.

Mikael B: Momentum, Mondrian Los Angeles (West Hollywood), 7pm.

Erica Ryan Stallones: STAR DECK Academy, elephant (Glassell Park), 7–10pm.

Priced Out, Los Angeles Poverty Department (Downtown), 7pm.

In Person: Pablo Vargas Lugo, Laguna Art Museum (Laguna Beach), 7pm; reception, 6pm.

Deirdre Sullivan-Beeman: Girls, Girls, Girls, La Luz de Jesus Gallery (Los Feliz), 8–11pm.

Nightmusic 8, CalArts (Valencia), 8–10pm.

Andrew DeGraff and Down Time, G1988 (Koreatown), 7–9pm.

Saturday, November 4

Landscape as Catalyst: Lawrence Halprin's Legacy and Los Angeles, A+D Architecture and Design Museum (Downtown), 9:30am–4pm.

Point/Counterpoint: Contemporary Mexican Photography, Museum of Photographic Arts (San Diego), 10am–5pm.

Fall Yoga Series, Women’s Center for Creative Work (Frogtown), 10:30am–11:30am. $12–15.

Gallery Talk: Astrid Preston & Rose-Lynn Fisher, Craig Krull Gallery (Santa Monica), 11am.

Grand Avenue Arts: All Access, Grand Avenue (Downtown), 11am–5pm.

Workshop: INHABITANTS, A Physical Theatre Activation Lab with Gema Galiana + Emily Meister, Pieter (Lincoln Heights), 11:30am–3pm. $35.

Performance - Human Nature: Sonic Botany, The Huntington (San Marino), 12–1pm.

ROJO: A Cochineal Natural Dye Workshop with Mimi Haddon, Craft & Folk Art Museum (Miracle Mile), 1–4pm. $60–70.

Aztlán to Magulandia Curator-Led Tour & Book Signing, UCI Claire Trevor School of the Arts (Irvine), 1–3pm.

Docent-Led Tour, Claire Trevor School of the Arts (Irvine), 1–2pm.

Can This Marriage Be Saved?, Proxy Gallery (Westchester), 2–4pm.

Alex Israel: Self-Portrait, Mixografia (Downtown), 2–4pm.

California Mexicana: Land Into Landscape, Laguna Art Museum (Laguna Beach), 2pm.

Día de los Muertos Themed Printmaking Workshop with Art Division at Fisher, USC Fisher Museum of Art (Downtown, 3–6pm.

Video Art + Film Festival: La Esperanza, ESMoA (El Segundo), 3–5pm.

Miguel Rio Branco: Out of Nowhere and Iñigo Manglano-Ovalle: The Garden of Delights, Christopher Grimes Gallery (Santa Monica), 4–6pm.

Courtney Murphy: A Night In New Paintings and Eric Nash: BLVD, Skidmore Contemporary Art (Santa Monica), 4–6pm.

Elias Hansen, Not Right Now, Anat Ebgi (Culver City), 4–6pm.

Film: Through the Repellent Fence, Laguna Art Museum (Laguna Beach), 4pm.

Coastal / Border Performances, Angels Gate Cultural Center (San Pedro), 4pm.

ADC Welcome Back Road to Rio Party!, Palm Springs Art Museum (Palm Springs), 4–6pm. $45.

Christian Rex van Minnen: Mourning Wood in Liminal Dawn, Richard Heller Gallery (Santa Monica), 5–8pm.

Sarah McEneaney and Ann Toebbe: Home Work, Zevitas Marcus (Culver City), 5–8pm.

ektor garcia: cochi, Visitor Welcome Center (Koreatown), 5–9pm.

Gala Porras-Kim: An Index and its Histories, Commonwealth and Council (Koreatown), 5–8pm.

WRDSMTH: I'd Like To Have a WRD With You, Fais Do-Do (West Adams), 5–10pm. $5–75.

44th Annual Día de los Muertos celebration, Self Help Graphics & Art (Felicitas and Gonzalo Mendez High School, Downtown), 5–11pm.

Phyllis Green: Life After Life After Life, Chimento Contemporary (Downtown), 5–8pm.

Jeremy Blake: Station to Station, Mel Davis: Meet Me in the Usual Place, and Miriam Schapiro, Honor Fraser (Culver City), 6–8pm.

ICY & SOT, Thinkspace Gallery (Culver CIty), 6–9pm.

Queer Califas: LA Latinx Art, Plummer Park (West Hollywood), 6–9pm.

Guy Yanai: Barbarian In The Garden, Praz-Delavallade Los Angeles (Miracle Mile), 6–8pm.

Victoria Colmegna: Broken Ego, Park View (MacArthur Park), 6–8pm.

Ty Joseph, Gloria Delson Gallery (Downtown), 6–10pm.

Bunnie Reiss: Space Angels, Superchief Gallery LA (Downtown), 6–11pm.

Khipu, Body, Line: A Writing in Space, Getty Center (Brentwood), 7pm.

ARMANDO LERMA: Dreamland and the Discovered Paintings of Joseph Ernst and Philipp Lachenmann Part II, ACE Gallery (Miracle Mile), 7–10pm.

J.A.W. Cooper: Familiars, Flora and Fauna, Viscera, La Luz de Jesus (Los Feliz), 7–10pm.

LAndscape, Monte Vista Projects (Downtown), 7–10pm.

Amy Green: Drench, PØST (Downtown), 7–10pm.

Miami-Dutch: Traffic in the Square, Club Pro Los Angeles (Downtown), 7–11pm.

Nora Riggs: Fancy Hand, QUEENS LA (Montecito Heights), 7–10pm.

Keynote Lecture: William Deverell, Laguna Art Museum (Laguna Beach), 7pm; reception, 6pm.

Unnatural Selection, Automata (Chinatown), 8pm.

Ballroom B- Oren Pine BFA Mid-Res Recital, CalArts (Valencia), 8–9pm.

2017 Art+Film Gala Honoring Mark Bradford and George Lucas, LACMA (Miracle Mile).

Sunday, November 5

Really?, Wilding Cran Gallery (Downtown), 1–3pm.

Similar Sunlight, Gait (Downtown), 1–4pm.

FAMILY JAM: SALVADOR AND SAMBA WITH VIVER BRASIL, Fowler Museum (Westwood), 1–4pm.

ArtCenter College of Design Open House, ArtCenter College of Design (Pasadena), 1:30–4:30pm.

Art & Nature Family Festival, Laguna Art Museum (Laguna Beach), 2–5pm.

Rediscovered Botanical Treasures from the Smithsonian and the Hunt Institute, The Huntington (San Marino), 2:30pm.

Talking to Action Book Launch + Roundtable Conversation, Otis College (Westchester), 3–5pm.

Escenas Latinas: Changing the Narrative, Hammer Museum (Westwood), 3pm.

Imagination, Place & Possibility: A Conversation with Curator Lowery Sims and Amalia Mesa-Bains, Craft & Folk Art Museum (Miracle Mile), 3pm.

Heidi Zuckerman: Conversations with Artists, Hauser & Wirth (Downtown), 3–5pm.

ELLEN GALLAGHER IN CONVERSATION WITH LACMA CURATOR CHRISTINE Y. KIM, Hauser & Wirth (Downtown), 3pm.

Presentation: Janine Antoni in Dialog with Artwork from Relational Undercurrents, Museum of Latin American Art (Long Beach), 3pm.

Nikki Maloof: Chauve-Souris and Nerve Center, The Pit (Glendale), 4–7pm.

Big City Forum - community dinner with RootDown LA, Blue Roof Studios (South Los Angeles), 5–9pm.

Juan Bastos: California Portraits, Denenberg Fine Arts (West Hollywood).

Monday, November 6

Kip's Desert Book Club: The Talker by Mary Sojourner, Copper Mountain Mesa Community Center (Twentynine Palms), 7pm.

Too Clever by Half: What We Learn from the Mistakes of Great Literary Characters, Getty Villa (Pacific Palisades), $7:30pm.

Talk: The Director’s Series: Michael Govan and Cheech Marin, LACMA (Miracle Mile), 7:30pm.

Pre-release benefit screening of Disney • Pixar’s Coco, Atlantic Times Square (Monterey Park), 8pm. $25–60.

Tuesday, November 7

Film: High Flyers, LACMA (Miracle Mile), 1pm.

Radical Women Walk-through: Micol Hebron, Hammer Museum (Westwood), 6pm.

Wednesday, November 8

CULTURE FIX: SARAH K. CHENAULT ON CREOLE JEWELRY OF AXÉ BAHIA, Fowler Museum (Westwood), 12–1pm.

FOWLER OUT LOUD: UCLA MUSIC OF CHINA ENSEMBLE, Fowler Museum (Westwood), 6–7pm.

South of the Border panel discussion, The Loft at Liz’s (Mid-City), 7–9pm.

Petra Collins in conversation with Miranda July, ARTBOOK @ Hauser & Wirth (Downtown), 6–8pm.

Por que somos e não somos tropicalistas: Moving image from Recife, Brazil, Human Resources (Chinatown), 7–9pm.

Chasing Coral, Hammer Museum (Westwood), 7:30pm.

Soundbath With Chakra Crystal Singing Bowls Series, Women’s Center for Creative Work (Frogtown), 7:30–8:30pm. $16–20.

Distinguished Fellow Lecture - The Lords Proprietors: Land and Power in 17th-Century America, The Huntington (San Marino), 7:30pm.

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