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ear-worthy · 1 month ago

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Flames Of Freedom: A Historical Docudrama About Persecution & Courage

Flames of Freedom is a docudrama podcast chronicling how forty-two courageous Jews risked their lives in 1733 to cross the Atlantic Ocean, hoping to settle in the American colony of Georgia.

The podcast essentially multi-tasks this historical tale of courage through the audio dramatic retelling, a script that enables you to read along with the show, and episodes with bonus content with world-renowned scholars, authors, and historians engaged in a fireside discussion about the Jewish quest for survival and religious freedom in the centuries leading up to the early 18th Century when our story begins.

I am happy to report that the show excels at all levels. The audio docudrama is lovingly and lavishly produced, with superb voice actors and a script that amps up the drama and ramps up our empathy for those persecuted.

The podcast details the untold history of the Jewish escape from European oppression to Georgia in 1733. It has two components: Season One’s 12-episode dramatic series with bonus interviews dispersed between dramatic episodes. The podcast will be available on all major podcasting platforms and YouTube.

Flames of Freedom sets a new standard for historical podcast production values with its ensemble cast of professional actors from around the world, robust sound design, and original music, creating an unparalleled immersive experience for listeners.

Flames of Freedom chronicles the saga of forty-two courageous Jews who risked their lives in 1733 to cross the Atlantic Ocean, hoping to settle in the American colony of Georgia. They were fleeing the Portuguese Inquisition, murderous pogroms of Eastern Europe, and antisemitism in England to build a future with religious freedom and economic opportunity.

They gambled with their lives and sailed across the Atlantic Ocean on the slim chance they would be allowed to settle in the new American colony of Georgia to be founded by James Oglethorpe. Nothing about this journey from oppression to liberty was easy, nor was the desired outcome certain. Given the Georgia Trustees’ blatant objections to Jews settling in the new colony, the possibility that Oglethorpe would reverse course and accept them seemed nearly impossible.

The podcast is produced by Lance Toland Entertainment, which declares that is dedicated to exploring and producing hidden and forgotten stories from Sefarad, highlighting the heroic tales of those who escaped the Inquisition and European persecution to help found the United States of America.

A key partner is the Jewish Heritage Alliance (JHA), which is an academically driven cultural and historical nonprofit dedicated to researching, preserving, and promoting the legacy of Sefarad, the Jews of the Iberian Peninsula.

The podcast is an audio docudrama with lush, multi-layered sound design, and superb voice actors.

For example, Angelines Santaňa, who plays Zipporah, started her acting career at the tender age of 4 in her native country of Mexico. She has been working with her voice since age seven, and has been dubbing movies from English to Spanish since age 11.

Working with her voice has allowed her to voice innumerable roles, advertising campaigns on radio and TV, toys, encyclopedias, e-learning products, phone operator VM, museum-guided tours, and pretty much whatever requires a professional voice. And now, Angie is loving the wonderful world of podcasts.

Producer and Director Mark Simon founded an Atlanta-based production company, Fizz City Films, in 1998 and has since produced thousands of TV commercials and radio spots over the last 20+ years. He is a skilled producer, director, and director of photography. He was the DP on two independent ﬁlms- Blind Trust and Let’s Make It. Mark’s career has endured over 30 feature ﬁlms and a dozen television shows that have striped the American landscape — Spinal Tap, Risky Business, The Breakfast Club, Ferris Bueller’s Day Off, Dick Tracy, In the Line of Fire, and thirtysomething.

The writer, Richard Stone, has been writing fiction and non-fiction for the past forty years. Books and other writing include Story Intelligence co-written with Scott Livengood, The Healing Art of Storytelling, Stories: The Family Legacy, The Kingdom of Nowt, On the Spot – A Feature Length Romantic Comedy co-written with Syd and Enid Jackowitz, Sprinkles – A Sitcom co-written with Syd and Enid Jackowitz, The Maggid – A Feature Length Film which Rick has also developed into a one-man performance piece, and two children's books awaiting publication: It Can Be Almost Anything and The Fairytale Factory.

Ian Russell who played James Oglethorpe has won Four One Voice Awards for performances in Videogames (2021 & 2023) and Animation (2020) and the prestigious Voice of the Year award in 2020. He was also presented with the 2022 Voice Arts Award for Outstanding Audio Description for his work with the Hans Holbein exhibition at the Getty Museum in Los Angeles.

Barry Stoltze studied with the likes of Nina Foch and Group Rep Theatre Artistic Director Lonnie Chapman, doing on-camera, voiceover, stage, and stand-up before heading to Georgia, where he has worked in the Entertainment Industry for over 40 years.

In addition to performing on many of the major stages in Atlanta, he can be heard on hundreds of commercials and videos with Southern clients as varied as Georgia Power and The Georgia Lottery, as well as national brands like Coca-Cola, ElderPlan, and BevMo.

Amazingly, Stoltze plays over 20 characters in the audio docudrama.

Here's a summary of the plot:

They were fleeing the Portuguese Inquisition, murderous pogroms of Eastern Europe, and antisemitism in England to build a future with religious freedom and economic opportunity. They gambled with their lives and sailed across the Atlantic Ocean on the slim chance they would be allowed to settle in the new American colony of Georgia to be founded by James Oglethorpe. Nothing about this journey from oppression to liberty was easy, nor was the desired outcome certain. Given the Georgia Trustees’ blatant objections to Jews settling in the new colony, the possibility that Oglethorpe would reverse course and accept them seemed nearly impossible. But an unforeseen epidemic threatening to wipe out the budding colony would completely change that calculus.

In the first episode, we are introduced to Dr. Diogo Nunes Ribeiro and his wife Gracia, who had been arrested in 1703 by the Portuguese Inquisition for Judaizing—secretly practicing Judaism in the privacy of their homes. They were tortured until they admitted their failings and were left to rebuild their lives from the rubble of what was left of their home and reputations. In the subsequent two episodes, we follow their reemergence into Portuguese society as the doctor rebuilds his medical practice.

By 1726, he had become the physician to the Inquisitor General and the King of Portugal, but the entire family was once again reported for aiding Conversos to escape to England (Jews who had been forcibly converted to Catholicism in 1497). How Diogo engineers his family’s release and subsequent escape from the clutches of the Inquisition to England becomes the topic of subsequent episodes.

Below is a listener review that perfectly encapsulates

Flames of Freedom is a tour de force as an audio docudrama. It's powerful, painful because of the persecution, and easy to lose yourself in the music, voice acting, historical tension, and suffering felt by the characters.

#podcast #history #jewish #persecution

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sherilynnmarilyn · 6 years ago

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Make no exceptions, no excuses, no explanations, no doubts, no fears... Build your confidence, show your persona, share all your talents, speak your truths, walk your journey and be everlastingly great. #sherilynnmarilyn #igetyoucameraready . . Wardrobe styling, Makeup, Creative Director and Photography by @sherilynnmarilyn Designer brands @freepeople @rallifordhall @personaladvisory Model Britany Kemp . . #talent #content #artist #creator #bookmyservices #creativedirector #marketing #makeupartist #naturalhairstylist #advertising #collaboration #commercial #contract #photography #branding #lifestyle #brandcontent #smallbusiness #entrepreneur #blackownedbusiness (at East Atlanta) https://www.instagram.com/p/BtnIrqJBas6/?utm_source=ig_tumblr_share&igshid=12dbxs7q4flt2

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architectnews · 4 years ago

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SO-IL builds Las Americas affordable housing development in Mexico

New York firm SO-IL has completed this low rise yet high-density affordable housing development in León, Mexico, with apartments arranged around courtyards.

The project, called Las Americas, is a six-storey concrete block of homes divided into 60 apartments.

The development is in inner-city León

Maximising the plot's buildable footprint, the homes hug two interior courtyards that provide cross ventilation to the development.

At the base of the block, there are two units reserved for community use and future commercial activity, as well as access to parking.

SO-IL built Las Americas in collaboration with a local housing agency, Instituto Municipal de Vivienda de León (IMUVI) and the City of León.

Las Americas has 60 stacked apartments

The development is intended as a prototype to address current housing issues in many parts of Mexico, where individual homes are built far apart from each other, making commuting into city centres difficult for residents.

"Low-rise and high-density is the way to go for housing, allowing people to live close to services and infrastructure," SO-IL co-founder Florian Idenburg told Dezeen.

"The challenge was to make high-density pleasant. We believe this project does that," continued Idenburg.

Las Americas focuses on urban regeneration of inner-city León, making use of an existing urban area rather than building on the city's outskirts where amenities are limited.

"Traditional notions of homeownership currently lock developments into becoming acres of identical free-standing homes in remote areas far from the economic centre," explained SO-IL.

The dwellings overlook two interior courtyards

The firm's objective was to create a large number of homes that appealed to their residents as much as traditional spaced-out dwellings.

SO-IL incorporated a sense of privacy into the development's design, so no two units face one another. With courtyard and neighbourhood views, each apartment is given a sense of private homeownership.

Due to the project's limited budget, Las Americas has shared utility cores and is built from prefabricated components.

Concrete forms the facade of Las Americas

Reflecting on the project, Idenburg acknowledged what SO-IL has learnt from completing the housing development.

"The most important lesson for us was to have faith in the process, without being set on an outcome. As architects we make plans, but we should not be afraid to adjust."

Idenburg also considered how the concrete bricks SO-IL developed for Las Americas shaped ways that the firm thinks about material and labour practices.

"We were able to include many more people in the construction process. Every block can be carried by a single person, so in some ways, you can see the human hand in the wall."

SO-IL is currently constructing another building project in Brooklyn, New York, which takes cues from Las Americas' exterior circulation and the relationship between inside and outside spaces.

C0-founded in 2008 by Florian Idenburg and Jing Liu, SO-IL has completed many projects focusing on improving urban environments, such as an interactive installation at an Atlanta art museum made from net hammocks and bird feeders, and a flower-shaped prefabricated house for Los Angeles.

Photography is by Iwan Baan.

The post SO-IL builds Las Americas affordable housing development in Mexico appeared first on Dezeen.

#Architecture – Dezeen

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oliveratlanta · 5 years ago

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At $1.7M, sprawling new Morningside dwelling aims to evoke Frank Lloyd Wright

The Prairie-influenced stance of 1072 Cumberland Road NE, east of Piedmont Park. | Compass; photography by Bryan Rucker/Just Ruck Creative

This 4,300-square-footer off North Highland Avenue is said to be “perfectly executed”

Dramatic eaves and a confluence of exterior wood and brick come together at this Morningside new-build as a nod to Frank Lloyd Wright’s “masterful creations” in the Prairie style, as marketers describe it.

Listed in recent days at $1.69 million by Compass, the sizable dwelling has replaced a more modest brick home off North Highland Avenue, about three blocks north of the commercial strip that includes Doc Chey’s Noodle House and Alon’s Bakery.

It joins a dozen built homes (without contracts) asking north of $1 million in Morningside-Lenox Park right now, with prices in the neighborhood climbing as high as $2.5 million for another new construction.

Spanning 4,300 square feet, it’s described as a “perfectly executed” example of soft Prairie modern, which blends elements of stark contemporary and woodier Arts & Crafts designs.

Patterned wood flooring, leading off the entry, past an office and flex space, to the dining room.

Between the brick front porch and wide covered terrace (with fireplace and TV connections), this place leans almost fully intown contemporary, aside from vintage-style fixtures and hardware and those patterned floors.

There’s five en-suite bedrooms, five and a half bathrooms, and a master closet and laundry room that each could function as studio apartments, more or less.

It’s the work of Hudson Development, an Atlanta-based firm whose other projects include the ongoing renovation of 1960s apartments on Ponce de Leon Avenue near Freedom Park and, just up the street, the angular Milo on Ponce townhomes.

Considering the finished rec room at terrace level and other spaces not included in the bedroom count, the vast square footage hardly perplexes.

A butler’s pantry leads back to the kitchen, with one of two wet bars in the home. The vintage-style brass hardware theme is found throughout.

Conjoined spaces for cooking, breakfasting, and lounging.

In the master bedroom, an accent wall is knotty.

Patterned flooring continues in the master bathroom.

The large finished terrace level has a wet bar and guest suite.

Off the kitchen and living room, the covered deck includes a brick fireplace, ceiling fan, and views across a deep backyard.

Dramatic eaves continue over the garage entry and backyard.

Google Maps

The home’s predecessor in 2018.

source https://atlanta.curbed.com/2020/1/27/21083537/morningside-atlanta-home-for-sale-prairie-frank-lloyd-wright

#OliverAtlanta

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somethingimworkingon · 7 years ago

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Walker Evans, A Vernacular Style

Tickets for London's most popular art exhibition this spring, the blockbuster David Hockney retrospective at Tate Britain, cost £19.50 each. Now you can catch the same show at the Pompidou in Paris, as well as the museum's comprehensive and thoughtful Walker Evans retrospective, for €14.00. (What's more galling: the vast gap between what you have to pay to see art in London vs Paris, or the vast gap in what art you can actually see?)

Walker Evans, Alabama Tenant Farmer Floyd Bourroughs, 1936 (© Walker Evans Archive/The Metropolitan Museum of Art)

The last time the UK hosted a Walker Evans' photography exhibition was 14 years ago, when Evans' Polaroids were shown at The Photographers' Gallery and his work was part of Cruel and Tender: The Real in the Twentieth Century Photograph at Tate Modern. The current show at the Pompidou includes over 400 prints, artefacts and documents, including, as the organisers justifiably claim, the best examples of his work. Alongside these are some of Evans' more telling personal possessions – postcards, advertising placards, signs and posters, which he photographed and collected as he travelled around the country.

Born in St Louis, Missouri, in 1903, Evans was the son of an advertising executive (which perhaps helps explain his fondness for ad posters). Aged 23 he spent a year in Paris, translating Baudelaire and Blaise Cendrars and tentatively taking photographs. Some of his early images in this show, like New York City Street Corner, 1929, are somewhat reminiscent of Paul Strand with their dramatic angles and lighting.

Walker Evans, New York City Street Corner, 1929. (© Walker Evans Archive/The Metropolitan Museum of Art)

However, there's no evidence that Evans knew the older photographer, and in 1929 he was introduced to the work of someone who would prove much more influential: Eugène Atget.

Atget’s champion in America was Berenice Abbot. Like Evans, she had gone from New York to Paris in the 1920s and clearly thrived there, studying sculpture and assisting Man Ray before opening her own studio where she photographed the likes of James Joyce and Jean Cocteau. Man Ray introduced her to Eugène Atget, then in his late 60s, and the two became friends. On his death, Abbott acquired the photographer’s archive and brought it to NY. Evans first encountered Atget’s work in Berenice’s apartment, and the experience was clearly a formative one.

Atget's pictures of turn of the century Paris avoided arty effects, concentrating on simple subjects simply composed: people at ground level, ordinary buildings and streets, unprepossessing store fronts and shop windows.

Eugène Atget, Cours D’Amoy 12, Place de la Bastille, c.1895

Walker Evans, Joe’s Auto Graveyard, 1935 (© Walker Evans Archive/The Metropolitan Museum of Art)

In terms of both subject matter and approach, Atget’s work clearly struck a chord with the young Walker Evans. Some of his subsequent work seems like homage to specific Atget images – like the abandoned Model T Fords in Joe’s Auto Graveyard which echo the piles of carriage wheels in Cours D’Amoy 12, Place de la Bastille.

Much later in his life, in an interview in 1971, Evans said: “You don’t want your work to spring from art; you want it to commence from life, and that’s in the street now. I’m interested in what’s called vernacular. For example, finished, I mean educated, architecture doesn’t interest me, but I love to find American vernacular”.

Walker Evans, Houses and Billboards, Atlanta, Georgia, 1936 (© Walker Evans Archive/The Metropolitan Museum of Art)

“Vernacular” is the word that the Pompidou’s curator Clément Cheroux has seized on for this exhibition. He uses it to describe Evans’ pictures of roadside shacks and billboards, the visual language of America, as well as the people themselves. Evans shot people in much the same way he shot houses and film posters: simply and with sincerity.

In 1938 Evans started photographing commuters on the New York subway, using a miniature camera hidden inside his coat to catch people off guard and unawares. MOMA describes how he “concealed his 35-millimeter Contax camera by painting its shiny chrome parts black and hiding it under his topcoat, with only its lens peeking out between two buttons. He rigged its shutter to a cable release, whose cord snaked down his sleeve and into the palm of his hand, which he kept buried in his pocket. For extra assurance, he asked his friend and fellow photographer Helen Levitt to join him on his subway shoots, believing that his activities would be less noticeable if he was accompanied by someone.” A collection of these images, edited from over 600 originals, was eventually published in 1966 in a book entitled Many Are Called, with text by Evans’ writer friend James Agee.

Walker Evans, Subway Photographs, 1938-1941 (© Walker Evans Archive/The Metropolitan Museum of Art)

The Subway Photographs in this exhibition are small and intense. Their tight framing and artificial light gives them a dramatic feel, but they are entirely natural. Evans described these pictures as "what a portrait ought to be, anonymous and documentary and a straightforward picture of mankind.”

Some of his most famous portraits, also in the show, share these qualities – apart from the anonymity. Evans’ portrait of Allie Mae Burroughs has become one of the most recognisable images in American photography. A mother of four and, at just 27, old beyond her years, Burroughs was the wife of a sharecropper whose family was documented by Evans and James Agee in another book, Let Us Now Praise Famous Men. Four frames of Allie Mae exist, with her expression varying from anxiety to a hint of a smile. The exhibition shows two versions, with recordings of Allie Mae talking about her experiences.

Walker Evans, Allie Mae Burroughs, Hale County, Alabama, 1936 (© Walker Evans Archive/The Metropolitan Museum of Art)

Walker was chary of commercial commissions, but in 1935 was contracted to work with the “historical unit” of the Farm Security Administration (FSA), part of the Department of Agriculture, on a project to document rural America, primarily the South, in pictures. He spent 18 months travelling, often alone, recording the people and their way of life. In 1936 he started working with Agee, a journalist writing for Fortune magazine, and accompanied him to Hale County, Alabama, where they met the Burroughs family and their neighbours.

Walker Evans, Bud Field and his Family, Hale County, Alabama, 1936 (© Walker Evans Archive/The Metropolitan Museum of Art)

The pictures, and Agee’s words, never made it into Fortune, but with the publication of Let Us Now Praise Famous Men in 1941, the sharecropping families of Hale County were immortalised, their poverty presented with unflinching but undramatic clarity.

In 1943 Evans was hired by Time Inc., and worked for the company, mainly Fortune, for the next 22 years. One set of images in this exhibition, Anonymous Labour, shows men and women walking in the street in Detroit on a Saturday afternoon in 1946. Photographed from below waist height, they hurry past, a few casting suspicious glances towards the photographer, most ignoring him. Fortune’s text reads, “The American worker, as he passes here, generally unaware of Walker Evans’ camera, is a decidedly various fellow... When editorialists lump them as ‘labor,’ these laborers can no doubt laugh that one off.’

Walker Evans, Anonymous Labor, 1946

The legendary John Szarkowski, Director of the Photography Department at New York’s Museum of Modern Art, described Evans' work as "puritanically economical, precisely measured... qualities that seemed more appropriate to a bookkeeper's ledger than to art.

“But... [his art] constitutes a personal survey of the interior resources of the American tradition, a survey based on a sensibility that found poetry and complexity where most earlier travelers had found only drab statistics or fairy tales."

This exhibition is comprehensive in a way Evans himself might appreciate. It presents a vast amount of material, neatly and accessibly, and rewards the patient visitor with wonderful discoveries.

Walker Evans: A Vernacular Style, Centre Pompidou, Paris, until August 14th, 2017

#walker evans #centre pompidou

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thekevinwright · 6 years ago

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TFW 2019 is truly your year! 💭 Seriously, the past 3 years, I’ve been building the foundation of my acting career, and with the headshots from 📸 @jeremydavidcreative, I can finally start building the house. I’m starting to workout with @thefaketyrhee next week (which is gonna be crazy!) ▪️ Aside from fully transitioning to lead roles, there will be much more content this year, both comedic and dramatic 😤 I’m aiming much higher with my goals, and with the help of my mentor @thekymjackson and my friends, I won’t be held down this year. This is the year of The Wright. And everyone, I’m glad that you’re along with me on this journey 💪🏾 Keep an eye on my YouTube channel! Link in bio! New videos dropping every Tuesday at 8:30a pst! 📸 by @jeremydavidcreative ▪️ ▪️ ▪️ ▪️ #Newyears #actor #hollywood #acting #act #entertainment #hardwork #motivation #inspiration #photography #headshot #losangeles #atlanta #newyork #fitness #fit #shred #training #workout #film #tv #theater #commercial #youtube #picoftheday #reel #print #byte (at Los Angeles, California) https://www.instagram.com/p/BsJCswpBIeM/?utm_source=ig_tumblr_share&igshid=virbbfvkk8mp

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gregceephoto24 · 7 months ago

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The Art of Commercial Building Photography

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gregceephoto1 · 6 months ago

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Architectural Gems of Atlanta: Captivating Commercial Building Photography!

Capture the architectural marvels of Atlanta's commercial building photography in Atlanta From sleek skyscrapers to historic landmarks, showcase the city's vibrant business district through stunning images. Highlighting the unique blend of modern and traditional designs, our skilled photographers expertly frame each building, capturing their grandeur, elegance, and urban energy. Let us bring your commercial spaces to life through captivating photography in Atlanta.

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blackkudos · 8 years ago

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Gordon Parks

Gordon Parks (November 30, 1912 – March 7, 2006) was a noted American photographer, musician, writer and film director, who became prominent in U.S. documentary photojournalism in the 1940s through 1970s—particularly in issues of civil rights, poverty and African-Americans—and in glamour photography. As the first famous pioneer among black filmmakers, he was the first African-American to produce and direct major motion pictures—developing films relating the experience of slaves and struggling black Americans, and creating the "blaxploitation" genre. He is best remembered for his iconic photos of poor Americans during the 1940s (taken for a federal government project), for his photographic essays for Life magazine, and as the director of the 1971 film Shaft. Parks also was an author, poet and composer.

Early life

Parks was born in Fort Scott, Kansas, the son of Sarah (née Ross) and Jackson Parks, Nov. 30, 1912. He was the last child born to them. His father was a farmer who grew corn, beets, turnips, potatoes, collard greens, and tomatoes. They also had a few ducks, chickens, and hogs.

He attended a segregated elementary school. The town was too small to afford a separate high school that would facilitate segregation of the secondary school, but blacks were not allowed to play sports or attend school social activities, and they were discouraged from developing any aspirations for higher education. Parks related in a documentary on his life that his teacher told him that his desire to go to college would be a waste of money.

When Parks was eleven years old, three white boys threw him into the Marmaton River, knowing he couldn't swim. He had the presence of mind to duck underwater so they wouldn't see him make it to land.

His mother died when he was fourteen. He spent his last night at the family home sleeping beside his mother's coffin, seeking not only solace, but a way to face his own fear of death. Soon after, he was sent to live with relatives. That situation ended with Parks being turned out onto the street to fend for himself at age 15. Struggling to survive, he worked in brothels, and as a singer, piano player, bus boy, traveling waiter, and semi-pro basketball player.

In 1929, he briefly worked in a gentlemen's club, the Minnesota Club. There he not only observed the trappings of success, but was able to read many books from the club library. When the Wall Street Crash of 1929 brought an end to the club, he jumped a train to Chicago, where he managed to land a job in a flophouse.

Career

Photography

Beginnings

While working as a waiter in a railroad dining car, he began seeing the portfolios of photographers in picture magazines, and decided to become a photographer.

At the age of 25, Parks was struck by photographs of migrant workers in a magazine and bought his first camera, a Voigtländer Brillant, for $7.50 at a Seattle, Washington, pawnshop. The photography clerks who developed Parks' first roll of film, applauded his work and prompted him to seek a fashion assignment at a women's clothing store in St. Paul, Minnesota, that was owned by Frank Murphy. Those photographs caught the eye of Marva Louis, wife of heavyweight boxing champion Joe Louis. She encouraged Parks to move to Chicago in 1940, where he began a portrait business and specialized in photographs of society women. Parks's photographic work in Chicago, especially in capturing the myriad experiences of African Americans across the city, led him to receive the Julius Rosenwald Fellowship, which, in turn, contributed to being asked to join the Farm Security Administration under the auspice of Roy Striker

Government photography

Over the next few years, Parks moved from job to job, developing a freelance portrait and fashion photographer sideline. He began to chronicle the city's South Side black ghetto and, in 1941, an exhibition of those photographs won Parks a photography fellowship with the Farm Security Administration (FSA).

Working at the FSA as a trainee under Roy Stryker, Parks created one of his best-known photographs, American Gothic, Washington, D.C., named after the iconic Grant Wood painting, American Gothic—a legendary painting of a traditional, stoic, white American farm couple—which bore a striking, but ironic, resemblance to Parks' photograph of a black menial laborer. Parks "haunting" photograph shows a black woman, Ella Watson, who worked on the cleaning crew of the FSA building, standing stiffly in front of an American flag hanging on the wall, a broom in one hand and a mop in the background. Parks had been inspired to create the image after encountering racism repeatedly in restaurants and shops in the segregated capital city.

Upon viewing the photograph, Stryker said that it was an indictment of America, and that it could get all of his photographers fired. He urged Parks to keep working with Watson, however, which led to a series of photographs of her daily life. Parks said later that his first image was overdone and not subtle; other commentators have argued that it drew strength from its polemical nature and its duality of victim and survivor, and so has affected far more people than his subsequent pictures of Mrs. Watson.

(Parks overall body of work for the federal government—using his camera "as a weapon"—would draw far more attention from contemporaries and historians than that of all other black photographers in federal service at the time. Today, most historians reviewing federally commissioned black photographers of that era focus almost exclusively on Parks).

After the FSA disbanded, Parks remained in Washington, D.C. as a correspondent with the Office of War Information, where he photographed the all-black 332d Fighter Group. He was unable to follow the group in the overseas war theatre, so he resigned from the O.W.I. He would later follow Stryker to the Standard Oil Photography Project in New Jersey, which assigned photographers to take pictures of small towns and industrial centers. The most striking work by Parks during that period included, Dinner Time at Mr. Hercules Brown's Home, Somerville, Maine (1944); Grease Plant Worker, Pittsburgh, Pennsylvania (1946); Car Loaded with Furniture on Highway (1945); and Ferry Commuters, Staten Island, N.Y. (1946).

Commercial and civic photography

Parks renewed his search for photography jobs in the fashion world. Following his resignation from the Office of War Information, Parks moved to Harlem and became a freelance fashion photographer for Vogue under the editorship of Alexander Liberman. Despite racist attitudes of the day, Vogue editor, Liberman, hired him to shoot a collection of evening gowns. Parks photographed fashion for Vogue for the next few years and he developed the distinctive style of photographing his models in motion rather than poised. During this time, he published his first two books, Flash Photography (1947) and Camera Portraits: Techniques and Principles of Documentary Portraiture (1948).

A 1948 photographic essay on a young Harlem gang leader won Parks a staff job as a photographer and writer with America's leading photo-magazine, Life. His involvement with Life would last until 1972. For over 20 years, Parks produced photographs on subjects including fashion, sports, Broadway, poverty, and racial segregation, as well as portraits of Malcolm X, Stokely Carmichael, Muhammad Ali, and Barbra Streisand. He became "one of the most provocative and celebrated photojournalists in the United States."

His photographs for Life magazine, namely his 1956 photo essay, titled "The Restraints: Open and Hidden," illuminated the effects of racial segregation while simultaneously following the everyday lives and activities of three families in and near Mobile, Alabama: the Thronton’s, Causey’s, and Tanner’s. As curators at the High Museum of Art Atlanta note, while Parks’ photo essay served as decisive documentation of the Jim Crow South and all of its effects, he did not simply focus on demonstrations, boycotts, and brutality that were associated with that period instead, however, he "emphasized the prosaic details" of the lives of several families.

An exhibition of photographs from a 1950 project Parks completed for Life was exhibited in 2015 at the Boston Museum of Fine Arts.

Parks returned to his hometown, Fort Scott, Kansas, where segregation persisted, and he documented conditions in the community and the contemporary lives of many of his eleven classmates from the segregated middle school they attended. The project included his commentary, but the work was never published by Life.

During his years with Life, Parks also wrote a few books on the subject of photography (particularly documentary photography), and in 1960 was named Photographer of the Year by the American Society of Magazine Photographers.

Film

In the 1950s, Parks worked as a consultant on various Hollywood productions. He later directed a series of documentaries on black ghetto life that were commissioned by National Educational Television. With his film adaptation of his autobiographical novel, The Learning Tree in 1969, Parks became Hollywood's first major black director. It was filmed in his home town of Fort Scott, Kansas. Parks also wrote the screenplay and composed the musical score for the film, with assistance from his friend, the composer Henry Brant.

Shaft, a 1971 detective film directed by Parks and starring Richard Roundtree as John Shaft, became a major hit that spawned a series of films that would be labeled as, blaxploitation. The blaxploitation genre was one in which negative stereotypes of black males being involved with drugs, violence and women, were exploited for commercially successful films featuring black actors. Parks' feel for settings was confirmed by Shaft, with its portrayal of the super-cool leather-clad, black private detective hired to find the kidnapped daughter of a Harlem racketeer.

Parks also directed the 1972 sequel, Shaft's Big Score, in which the protagonist finds himself caught in the middle of rival gangs of racketeers. Parks's other directorial credits include The Super Cops (1974) and Leadbelly (1976), a biopic of the blues musician Huddie Ledbetter.

In the 1980s, he made several films for television and composed the music and a libretto for Martin, a ballet tribute to Martin Luther King, Jr., which premiered in Washington, D.C. during 1989. It was screened on national television on King's birthday in 1990.

In 2000, as an homage, he had a cameo appearance in the Shaft sequel that starred Samuel L. Jackson in the title role as the namesake and nephew of the original John Shaft. In the cameo scene, Parks was sitting playing chess when Jackson greeted him as, "Mr. P.".

Musician and composer

His first job was as a piano player in a brothel when he was a teenager. Parks also performed as a jazz pianist. His song "No Love", composed in another brothel, was performed during a national radio broadcast by Larry Funk and his orchestra in the early 1930s.

Parks composed Concerto for Piano and Orchestra (1953) at the encouragement of black American conductor, Dean Dixon, and his wife Vivian, a pianist, and with the help of the composer Henry Brant. He completed Tree Symphony in 1967. In 1989, he composed and directed Martin, a ballet dedicated to Martin Luther King, Jr., the civil rights leader who had been assassinated.

Writing

Starting in the late-1940s, Parks began writing—a second career that would produce 15 books and lead to his role as a prominent black filmmaker—starting with books on the art and craft of photography. Beginning in the 1960s, Parks branched out into literature, writing The Learning Tree (1963). He authored several books of poetry, which he illustrated with his own photographs, and he wrote three volumes of memoirs.

In 1981, Parks turned to fiction with Shannon, a novel about Irish immigrants fighting their way up the social ladder in turbulent early 20th-century New York. Parks' writing accomplishments include novels, poetry, autobiography, and non-fiction that includes photographic instructional manuals and film-making books. During this period, Parks also wrote the poem "The Funeral".

Painting

A gallery exhibition of his photography-related, abstract oil paintings was held in 1981.

Essence magazine

Parks was a co-founder of Essence magazine and served as its editorial director during the first three years of its circulation.

Personal life

Parks was married and divorced three times. He married Sally Alvis in Minneapolis during 1933 and they divorced in 1961. He married Elizabeth Campbell in 1962 and they divorced in 1973. Parks first met Chinese-American editor Genevieve Young (stepdaughter of Chinese diplomat Wellington Koo) in 1962 when he began writing The Learning Tree. At that time, his publisher assigned her to be his editor. They became romantically involved at a time when they both were divorcing previous spouses, and married in 1973. They divorced in 1979. Candace Bushnell claims to have dated Parks in 1976, when she was 18 and he was 58. For many years, Parks was romantically involved with Gloria Vanderbilt, the railroad heiress and designer. Their relationship evolved into a deep friendship that endured throughout his lifetime.

Parks fathered four children: Gordon, Jr., David, Leslie, and Toni (Parks-Parsons). His oldest son Gordon Parks, Jr., whose talents resembled his father's, was killed in a plane crash in 1979 in Kenya, where he had gone to direct a film. Parks has five grandchildren: Alain, Gordon III, Sarah, Campbell, and Satchel. Malcolm X honored Parks when he asked him to be the godfather of his daughter, Qubilah Shabazz.

He died of cancer at the age of 93 while living in Manhattan, New York City, and is buried in his hometown of Fort Scott, Kansas.

Legacy preservation and archives

Several parties are recipient or heirs to different parts of Parks' archival record.

The Gordon Parks Foundation

The Gordon Parks Foundation in Pleasantville, New York (formerly in Chappaqua, New York), reports that it "permanently preserves the work of Gordon Parks, makes it available to the public through exhibitions, books, and electronic media," The organization also says it "supports artistic and educational activities that advance what Gordon described as 'the common search for a better life and a better world.'" That support includes scholarships for "artistic" students, and assistance to researchers. Their headquarters includes an exhibition space with rotating photography exhibits, open free to the public, with guided group tours available by arrangement. The foundation also admits "qualified researchers" to their archive, by appointment. The foundation collaborates with other organizations and institutions, nationally and internationally, to advance its aims.

The Gordon Parks Museum/Center

The Gordon Parks Museum/Center in Fort Scott reports that it holds dozens of Parks' photos, both given to the Museum by Parks, and various belongings bequeathed to the Museum by him upon his death. The collection includes "awards and medals, personal photos, paintings and drawings of Gordon, plaques, certificates, diplomas and honorary doctorates, selected books and articles, clothing, record player, tennis racquet, magazine articles, his collection of Life magazines and much more." The museum has also separately received some of Parks' cameras, writing desk and photos of him.

Library of Congress, Washington, D.C.

The Library of Congress (LOC) reports that, in 1995, it "acquired Parks' personal collection, including papers, music, photographs, films, recordings, drawings and other products of his... career."

The LOC was already home to a federal archive that included Parks' first major photojournalism projects—photographs he produced for the Farm Security Administration (1942-1943), and for the Office of War Information (1943-1945).

In April 2000, the LOC awarded Parks its accolade "Living Legend", one of only 26 writers and artists so honored by the LOC. The LOC also holds Parks's published and unpublished scores, and several of his films and television productions.

National Film Registry

Parks' autobiographical motion picture, The Learning Tree, and his African-American, anti-hero action-drama Shaft, have both been selected to be permanently preserved as part of the National Film Registry of the Library of Congress. The Learning Tree was one of the original group of 25 films first selected by the LOC for the National Film Registry.

National Archives, Washington, D.C.

The National Archives also hold the film, My Father, Gordon Parks (1969: archive 306.08063A) -- a film about Parks and his production of his autobiographical motion picture, The Learning Tree,—is preserved in the National Archives of the United States—along with a print (from the original) of Solomon Nortup's Odyssey, a film made by Parks for a Public Broadcasting System telecast about the ordeal of slave. The Archives also hold various photos from Parks' years in government service.

Smithsonian Institution, Washington, D.C.

The Smithsonian Institution has an extensive list of holdings related to Gordon Parks, particularly photos.

Wichita State University

In 1991, Wichita State University (WSU), in Wichita, the largest city in Parks' home state of Kansas, awarded Parks its highest honor for achievement: the President's Medal. However, in the mid-1990s, after Parks entrusted WSU with a collection of 150 of his famous photos, WSU—for various reasons (including confusion as to whether they were a gift or loan, and whether the University could adequately protect and preserve them) -- returned them, stunning and deeply upsetting Parks. A further snub came from Wichita's city officials, who also declined the opportunity to acquire many of Parks' papers and photos.

By 2000, however, WSU and Parks had healed their division. The university resumed honoring Parks and accumulating his work. In 2008, the Gordon Parks Foundation selected WSU as repository for 140 boxes of Parks’ photos, manuscripts, letters and other papers. In 2014, another 125 of Park's photos were acquired from the Foundation by WSU, with help from Wichita philanthropists Paula and Barry Downing, for display at the university's Ulrich Museum of Art.

Kansas State University

The Gordon Parks Collection, in the Arts, Culture, and Humanities section of the Special Collections of Kansas State University primarily documents the creation of his film The Learning Tree.

Exhibitions

1997: Half Past Autumn: The Art of Gordon Parks, Corcoran Gallery of Art, Washington, D.C.. A career retrospective.

2015: Gordon Parks: Back to Fort Scott, Boston Museum of Fine Arts.

2015: Gordon Parks: Segregation Story, [High Museum of Art Atlanta].

Awards

Parks received more than 20 honorary doctorates in his lifetime.

1941: Awarded a fellowship for photography from the Rosenwald Fund. The fellowship allowed him to work with the Farm Security Administration.

1961: Named "Magazine Photographer of the Year" (1960) by the American Society of Magazine Photographers.

1972: The NAACP awarded Parks the Spingarn Medal.

1984: Honorary Doctor of Humanities degree from Thiel College, a private, liberal arts college in Greenville, Pennsylvania

1989: The United States Library of Congress selects The Learning Tree as one of the first 25 films chosen for permanent preservation as part of the National Film Registry, deeming it to be "culturally, historically, or aesthetically significant" due to its being the first major studio feature film directed by an African American.

1990: Missouri Honor Medal for Distinguished Service in Journalism, Missouri School of Journalism, University of Missouri, Columbia, MO

1999: Gordon Parks Elementary School, a nonprofit, K-5 grade public charter school in Kansas City, Missouri, was established to educate the urban-core inhabitants.

2000: The Congress of Racial Equality Lifetime Achievement Award.

2000: Library of Congress selects Parks' film Shaft for National Film Registry preservation, as well—deeming it to be "culturally, historically, or aesthetically significant",

2000 (April): Library of Congress awards Parks its accolade "Living Legend"—honoring "artists, writers, activists, filmmakers, physicians, entertainers, sports figures and public servants who have made significant contributions to America's diverse cultural, scientific and social heritage"—one 26 writers and artists so honored by the LOC.

2001: Kitty Carlisle Hart Award, Arts & Business Council, New York

2003: Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography.

2002: Jackie Robinson Foundation Lifetime Achievement Award.

2002: Inducted into the International Photography Hall of Fame and Museum.

2004: The Art Institute of Boston awarded the honorary degree of Doctor of Humane Letters.

2008: An alternative learning center in Saint Paul, Minnesota renamed their school Gordon Parks High School after receiving a new building

Wikipedia

#Gordon Parks

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oldmogg · 5 years ago

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architectnews · 4 years ago

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SO-IL builds Las Americas affordable housing development in Mexico

New York firm SO-IL has completed this low rise yet high-density affordable housing development in León, Mexico, with apartments arranged around courtyards.

The project, called Las Americas, is a six-storey concrete block of homes divided into 60 apartments.

The development is in inner-city León

Maximising the plot's buildable footprint, the homes hug two interior courtyards that provide cross ventilation to the development.

At the base of the block, there are two units reserved for community use and future commercial activity, as well as access to parking.

SO-IL built Las Americas in collaboration with a local housing agency, Instituto Municipal de Vivienda de León (IMUVI) and the City of León.

Las Americas has 60 stacked apartments

"Low-rise and high-density is the way to go for housing, allowing people to live close to services and infrastructure," SO-IL co-founder Florian Idenburg told Dezeen.

"The challenge was to make high-density pleasant. We believe this project does that," continued Idenburg.

Las Americas focuses on urban regeneration of inner-city León, making use of an existing urban area rather than building on the city's outskirts where amenities are limited.

"Traditional notions of homeownership currently lock developments into becoming acres of identical free-standing homes in remote areas far from the economic centre," explained SO-IL.

The dwellings overlook two interior courtyards

The firm's objective was to create a large number of homes that appealed to their residents as much as traditional spaced-out dwellings.

Due to the project's limited budget, Las Americas has shared utility cores and is built from prefabricated components.

Concrete forms the facade of Las Americas

Reflecting on the project, Idenburg acknowledged what SO-IL has learnt from completing the housing development.

"The most important lesson for us was to have faith in the process, without being set on an outcome. As architects we make plans, but we should not be afraid to adjust."

Idenburg also considered how the concrete bricks SO-IL developed for Las Americas shaped ways that the firm thinks about material and labour practices.

"We were able to include many more people in the construction process. Every block can be carried by a single person, so in some ways, you can see the human hand in the wall."

SO-IL is currently constructing another building project in Brooklyn, New York, which takes cues from Las Americas' exterior circulation and the relationship between inside and outside spaces.

Photography is by Iwan Baan.

The post SO-IL builds Las Americas affordable housing development in Mexico appeared first on Dezeen.

#Architecture – Dezeen

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oliveratlanta · 5 years ago

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Asking $1.9M, Brookhaven modern hires Christmas-light installers to boost appeal

1546 Windsor Parkway NE is said to have a Los Angeles feel—now made jollier. | SET Real Estate Group; Compass; photography by Joshua Bartolotti

The ho-ho-home spans an immense 5,500 square feet near Town Brookhaven

As an indication of where prices in this sovereign ITP city have gone, this new-build modern is one of a half-dozen Brookhaven listings asking north of $1.8 million right now—but the only home that isn’t decidedly traditional in style.

And it’s probably the only one to add Christmas lights as a sales tactic.

According to Mike Toltzis of SET Real Estate Group, a team of local professionals was recently hired to install Christmas lights along the home’s substantial exterior, aiming for a festive touch.

Clocking in at 5,500 square feet, which allows for six bedrooms and six full bathrooms, the illuminated property listed in recent days for $1,899,000.

With a geometric array of commercial-grade windows, a three-car garage, and a generous lot, the house stands just north of the Town Brookhaven community off Peachtree Road, in the Oglethorpe Estates subdivision.

White oak flooring, custom commercial windows, and several instances of shiplap begin off the main entry.

According to Toltzis, it’s the only new-construction modern priced between $1.6 and $2.5 million across Brookhaven and Buckhead right now.

While this example of the genre might not be every million-dollar buyer’s cup of tea, it’s described as a “modern masterpiece” with a flat commercial roof that lends a Los Angeles-type feel overall.

Moving inside, the 12-foot ceilings will please fans of airy layouts, while a huge custom fireplace surround made of walnut lends a sleek, unique touch.

Perks continue on the main level with Thermador appliances and a covered porch large enough for doing just about anything. An unexpected highlight is the basement, which is not only finished but outfitted with a bar, bedroom suite, and access to a covered veranda.

To the extent that it matters, the WalkScore from this location, marketed as being the heart of Brookhaven, is a car-dependent 23. That’s one drawback of homes in districts with so much land, with privacy being the upside.

Back in 2017, the home’s split-level predecessor on the half-acre lot sold for $460,000.

The dining room and a secondary food-prep space.

Where the main living room meets the kitchen, with access to a truly large, covered back deck.

More patio access off the living room, with its contemporary walnut built-ins.

One of six full bathrooms.

Master bedroom. Opposite the bed is the coffee bar.

The master bathroom’s oversized dual-entry shower, with rainfall heads and a standalone tub.

Down to the finished basement, with a bar.

The back porch.

A look at window arrangements, garage entries, and festive lights.

From the sloped backyard, where the listing notes there’s room for a pool.

source https://atlanta.curbed.com/2019/12/16/21024633/brookhaven-atlanta-modern-home-for-sale-christmas-light

#OliverAtlanta

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gystink · 5 years ago

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Fellowship: Wyoming Arts Council Visual Arts Fellowships has money for WY-based artists (Wyoming)

Wyoming Arts Council Visual Arts Fellowships 2301 Central Ave. Barrett Building, 2nd Floor Cheyenne, WY 82002 APPLY NOW Contact Email: [email protected] Call Type: Fellowships Eligibility: Local State: Wyoming Entry Deadline: 6/12/19 Days remaining to deadline: 22

REQUIREMENTS: Media Images - Minimum: 1, Maximum: 10 Video - Minimum: 0, Maximum: 4 Total Media - Minimum: 1, Maximum: 10

WHAT IS A VISUAL ARTS FELLOWSHIP? Visual Arts Fellowships are awards of merit, based on the artist’s portfolio, honoring the work of Wyoming visual artists whose work reflects serious and exceptional aesthetic investigation. Artists working in any media, including film and video, may apply. Applications are juried by noted artists, curators, and others in the visual arts from outside the state. Up to three fellowships may be given each year, and jurors may also select honorable mentions. Recipients of the Visual Arts fellowships exhibit their work in the Wyoming Arts Council Biennial Exhibit, held every two years at a major visual arts institution or museum in the state. The exhibition is curated by one of the jurors, who serves on the panel for two years. SUBMISSION GUIDELINES

Applications must be submitted through CaFE (callforentry.org). Mailed or emailed submissions will not be accepted.

Artists working in any visual media are invited to apply, including: experimental (conceptual/new media), graphic (printmaking/book arts), painting, sculpture, installation, photography (includes experimental, color, black & white, photocopy and computer), clay, fiber, glass, leather, metal, paper, plastic, wood, mixed media, film or video.

Artists may submit up to ten work samples, of which up to two may be detail images, if appropriate.

Film/video applicants may submit up to 4 samples, and have the option to submit stills. Jurors will only be required to watch up to 10 minutes of a film/video submission.

Work must have been created within the past 5 years.

Applicants are asked to submit an artist’s statement, a resume or CV, and to verify that they meet the eligibility requirements.

Please ensure your name does not appear anywhere on the application or work samples, except where specifically requested, to preserve the anonymous nature of the judging.

WHAT IF YOU WIN AN AWARD?

You’ll receive $3,000 up front

Fellowship recipients agree to participate in the Wyoming Arts Council Biennial Exhibition, and are included in the catalog produced.

You’ll sign a contract that verifies you’re eligible to receive this award.

You’ll need to supply a bio and a head shot for publicity.

You will retain all rights to this work and the work you produce during the grant period.

You must fill out a final report form, due August 31, 2020, which asks questions about how this award helped you and what you accomplished during the year you received it.

JURORS IWAN BAGUS was born in Jakarta, Indonesia. He began his career in front of the camera, working as a model in South East Asia for over 10 years. While modeling, he received a B.A. in Economics in Jakarta. Soon after he moved to Washington, DC to earn his M.S. in Engineering from George Washington University and M.A in Film Production from American University. Iwan’s work has been shown at the National Geographic Society, The Corcoran-Washington Performing Arts Society, The Carnegie Institute-DC, The Center for Fine Art Photography-Colorado, The Museum of America Organization States, Hartsfield–Jackson Atlanta International Airport, H-Gallery Bangkok, Times Square-NYC, among others. His photography exhibitions have been reviewed by the Washington Post, Nation Public Radio affiliate WAMU, Washington City Paper, Voice of America, and others. Iwan has worked in New York, Los Angeles, DC, and Indonesia for exclusive commercial clients and magazine. He has also shot for non-profit organizations in DC and New York. Iwan uses his extensive experience in front of the lens to help direct models, actors, and portrait subjects. He has also served as a juror in photography competitions. Currently, Iwan is the Head of Photography concentration at the University of the District of Columbia, and a Professorial Lecturer at American University. He also gives private photography lessons for the local community. WHITNEY TASSIE As the senior curator and curator of modern and contemporary art, Whitney Tassie (she/her) oversees the curatorial department of the Utah Museum of Fine Arts at the University of Utah in Salt Lake City. She articulates curatorial priorities, integrates a coherent curatorial voice for the Museum’s programs and diverse collections, and works collaboratively to promote a highly functional, interactive, and dynamic museum team. Tassie manages the UMFA’s collection of 20th and 21st century art and organizes exhibitions of modern and contemporary art, including the museum’s salt exhibitions, an ongoing series of solo projects by global emerging artists. At the UMFA, Tassie has realized significant commissions by Tony Feher and Spencer Finch and has acquired work by Nancy Holt, Faith Ringgold, Tacita Dean, Lynette Yiadom-Boakye, Kate Gilmore, Shigeyuki Kihara, Duane Linklater, Malick Sidibe, and Katie Paterson, among others. Recently, Tassie co-curated Brian Bress: Make Your Own Friends, a ten-year survey of Bress’s work that traveled to three venues across the US, accompanied by a fully-illustrated catalogue. Currently, Tassie represents the UMFA in partnerships to steward Utah’s iconic earthworks by Nancy Holt and Robert Smithson, and she is overseeing a 4-year, $750,000 Andrew W. Mellon Foundation grant to increase access to the UMFA’s collection through strategic hires and connections with the University of Utah’s J. Willard Marriott Library. Prior to her 2012 appointment at the UMFA, Tassie served as Director of Monique Meloche Gallery in Chicago and Managing Director of Gallery Weekend Chicago. From 2002 to 2005 she worked as an exhibitions and curatorial assistant at the Herbert F. Johnson Museum of Art at Cornell University in Ithaca, New York. Tassie holds an MA in Modern Art History, Theory and Criticism from the School of the Art Institute of Chicago and a BA in Art History and Archaeology from Cornell University. Tassie, a mom to two little kids and one fur baby, believes that art is integral to creating a just world and that museums are political places that should welcome all communities.

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