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ivyonna10 · 4 years

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James Badge Dale

James Badge Dale is an actor from America. he's best known for the role of Chase Edmunds within the action drama television series “24”. he's also known for his role as Robert Leckie within the war drama miniseries “The Pacific” and Eric Savin within the 2013 superhero film “Iron Man 3”. He has also made appearances in “Lord of the Flies,” “The Naked Brothers Band,” “Shame,” “World War Z,” “The Walk,” “The Standoff at Sparrow Creek,” “CSI: NY,” “CSI: Miami,” “Law & Order: Special Victims Unit” and a number of other films and tv series.

In about three decades, the forty-two-year-old actor has made appearances in twenty-nine films and twelve television series.

Early Life

He was born to Grover Dale and Anita Morris on 1st May 1978 in NY City. he's the sole child of the couple. His father is an actor/dancer/choreographer, and his mother was an actress/singer. His mother died when he was 15. He was still in grade school when he got picked for his first acting role within the film.

He completed his primary schooling at Wonderland Elementary. He later attended Manhattanville College. He was a neighborhood of the college’s team and was also related to its theatre group. He left hockey following a leg injury.

Career

In Film

James Badge Dale made his debut within the movie industry from the 1990 survival drama film “Lord of the Flies” as Simon. He was studying in Wonderland Elementary when he was cast within the movie. The film was a mean performance. It made a set of $14 million within the box-office. After “Lord of Flies,” he disappeared from the film scene for about thirteen years.

He returned to film in 2003, making an appearance in the romantic comedy “Nola” as Ben. the subsequent year, he made an appearance in “Cross Bronx” as Rob-O. In 2005, he had a quick appearance in the musical film “The Naked Brothers Band.” He then featured within the 2006 crime film “The Departed” as Barrigan. The film was received positively by the critics and did well within the box-office, making a set of $291.5 million.

He then featured in “NoNAMES” as Kevin and “Polish Bar” as Tommy in 2010. In 2011, he starred within the psychological erotic drama film “Shame” as David and also appeared in the mystery historical drama film “The Conspirator.” the subsequent year, he made appearances in “The Grey” and “Flight” as Lewenden and a Young Man.

James Badge Dale was cast as Eric Savin, Killian’s henchmen, within the third installment of the Iron Man film series, “Iron Man 3” in 2013. The film may be a huge hit. it had been received positively by critics and had a rating of seven .2 in IMDb supported over 742 thousand votes. It made a huge collection of $1.215 billion within the box-office against a budget of $200 million. He also featured in “World War Z” as Captain Speke, “The Lone Ranger” as Dan Reid, and “Parkland” as Robert Oswald, an equivalent year. “World War Z” was also a billboard hit, grossing $540 million within the box-office.

In 2015, he featured within the 3D biographical drama film “The Walk” as Jean-Pierre. The film is predicated on the lifetime of the French high-wire artist “Philippe Petit.” The film was critically acclaimed and made a box-office collection of $61.2 million. He has also made appearances in several other films, including “Miss Meadows,” “Stretch,” “Echoes of War,” “Spectral,” “13 Hours: the key Soldiers of Benghazi”, “Litter Woods” and “Donnybrook.”

He also will be featuring within the upcoming supernatural horror film “The Empty Man” as James Lasombra. it's set to release on 23rd October 2020.

In Television

James Badge Dale made his television debut from the episode “Competence” of the crime drama television series “Law & Order: Special Victims Unit” as Danny Jordan. He then featured within the episode “Third Strike” of “Hack” as Billy Ryan. From 2003 to 2004, he starred within the action-thriller television series “24” as Chase Edmunds. He was featured in twenty-four episodes of the series.

He has also made an appearance in three episodes of “Rescue Me” as Timo Gavin and within the episode “Committed” of CSI: Crime Scene Investigation” as Adam Trent. In 2005, he portrayed the serial murderer Henry Darius in “CSI: Miami” and “CSI: NY.” He has also made appearances in “The Black Donnellys,” “Fort Pit,” “The Pacific,” “Rubicon,” and “Hightown.”

In 2006, he reprised the role of Chase Edmunds, providing the voice for the videogame “24: The Game”.

Awards

From 1990 to present, he has been nominated in ten award functions and has won two of the nominations; Phoenix festival Awards and National Board of Reviews Awards.

Personal Life

James Badge Dale was previously during a relationship with Stephanie Szostak. He keeps his relationships private, so not much is understood about his dating life. However, it's known that his current relationship status is single.

Height and Weight

James Badge Dale is 1.78 meters or five feet and ten inches tall and weighs seventy-five kilograms.

Social Media

James Badge Dale has over 23K followers on his official Instagram handle @jamesbadgedale.

Net Worth

According to celebritynetworth.com, James Badge Dale has an estimated net worth of $1.5 million.

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frontproofmedia · 4 years

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DOLO FLICKS: Friday The 13th Franchise Ranking From Worst to Best (#4-1)

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Published: November 05, 2020

In this final installment of my ranking of the Friday The 13th franchise, we take a look at what I consider to be the top movies in the series.

Two of the films on the list below do hold a level of nostalgia as they are the only movies I was able to see in theatres. The films that are in the top two don't stray far from common opinions.

Watching all 12 films in the franchise has given me a new appreciation for Friday The 13th and certainly solidified for me Jason's standing as a horror icon.

4. FREDDY VS. JASON

RELEASED: AUGUST 15, 2003

DIRECTOR: RONNY YU

APPROXIMATELY 22 KILLS

The long-awaited battle between Freddy Krueger and Jason Voorhees spent a decade in development hell before finally being released in 2003.

Freddy vs. Jason was one of the most anticipated films in horror history. It had a fantastic marketing campaign that led to the film becoming the highest-grossing film in both the Friday The 13th and A Nightmare on Elm Street franchises.

Admittedly, Freddy vs. Jason is a personal preference of mine since it was the first Friday The 13th/A Nightmare on Elm Street film I was able to see in theaters.

The movie premiere that I attended was filled with horror fanatics dawning all of their favorite Jason and Freddy memorabilia and clothes, leading to a fun movie-going experience where the audience loudly celebrated certain parts of the film.

The plot of the movie finds the people of Springwood, Ohio, unfamiliar with Freddy Krueger due to a pill that suppresses people’s dreams. Krueger manipulates Jason to kill people in Springwood to spread fear back in the community to regain his powers.

Jason, who is played by Ken Kerzinger, does the majority of the killing in the film. One of the kills at the beginning of the movie to a character named Trent sticks out as Jason folds him in half using a mattress.

Krueger isn’t the over-the-top, almost cartoonish character he portrayed in the latter A Nightmare on Elm Street films, specifically in the fifth and sixth entries in the franchise.

Robert Englund plays Krueger, similar to the franchise’s third installment Dream Warriors, a blend of comedic one-liners infused in terrifying nightmare scenarios.

The weakest portions of the film come when the movie focuses on its protagonist characters. Some of these characters are the worst in the franchise, such as Kelly Rowland’s Kia and Jason Ritter’s Will. There is even one character that is a blatant rip off of Jay from the Jay and Silent Bob movies.

There are some plot developments that make little sense, such as Jason being afraid of water as throughout the series Jason is shown going in and out of bodies of water.

The film’s ranking rests primarily with its third act, where Jason and Freddy battle at Crystal Lake. The action scene’s between the two delivers in big fashion, with both characters having their moments.

Surprisingly, there has not been a sequel with the amount of money the movie made. Despite the film's lower-tier characters, Freddy vs. Jason is a fun time for fans of both franchises and delivered in its most crucial act.

3. FRIDAY THE 13TH (2009)

RELEASED: FEBRUARY 13, 2009

DIRECTOR: MARCUS NISPEL

APPROXIMATELY 14 KILLS

The 2009 reboot of Friday The 13th may be the most divisive film in the franchise. Like Freddy vs. Jason, the film suffers from a subpar cast and, for many, one of the worst characters in horror movie history in Trent, played by Travis Van Winkle.

The film followed a reboot renaissance from studio Platinum Dunes that included The Texas Chainsaw Massacre that brought a more modern touch to the horror classics.

The film's best asset falls on its portrayal of Jason, played by Derek Mears. Jason is a hybrid of the zombie Jason that was introduced in Friday The 13th VI: Jason Lives and a survivalist that sets traps and can kill in a variety of ways.

Arguably, Jason is at his most frightening in the 2009 reboot.

The highlight of the film is in the first 25 minutes as it shows a group of friends camping as they look for a field of marijuana. Jason takes out each one brutally, including a sleeping bag kill leaving a victim hung in the bag over a fire for a brutal slow death.

Also, the fan-favorite bag head version of Jason makes an appearance in the film before finding his infamous hockey mask.

The plot of the film is somewhat by the numbers as Jason kidnaps one of the campers from the beginning of the movie, who resembles his mother. The girl’s brother comes looking for his sister and runs into a group of friends staying at a friends’ family cabin.

They run into Jason, and the killing commences.

While for many the characters in Friday The 13th (2009) may make the film hard to digest, Jason and the kills in the movie make it the most accessible Friday The 13th film. This film is the Friday The 13th that you would show to someone who has never seen any of the movies and is unfamiliar with the franchise.

2. FRIDAY THE 13TH IV: THE FINAL CHAPTER

RELEASED: APRIL 13, 1984

DIRECTOR: JOSEPH ZITO

APPROXIMATELY 13 KILLS

The fourth installment in the Friday The 13th franchise is an amalgamation of the previous three films that combines a majority of their best elements.

The Final Chapter is the quintessential Friday The 13th movie.

With the return of Tom Savini as a special makeup effects artist, the kills throughout the film are stellar.

Similar to the Friday The 13th Part 3, The Final Chapter begins immediately after the previous film's events.

Jason is taken to a hospital where he is presumed to be dead. He then awakens and brutally kills his way out of the hospital to head back to his stomping grounds at Crystal Lake.

The Final Chapter follows two groups of people.

The first is a group of friends staying at a friend’s home for the weekend. The second group that is being followed is the Jarvis family, who live next door.

There is also a slight storyline that follows the character Rob played by Erich Anderson, who is seeking revenge for his sister, who died in Friday The 13th Part 2.

The movie is best known for introducing Tommy Jarvis to the franchise who is played by Corey Feldman. Jarvis is a unique character that could be based on Tom Savini, as he is shown to have made horror movie quality masks.

In the age of social media, the standout star in the movie is Crispin Glover, who plays Jimmy. Glover has a scene in the film that would make Elaine from Seinfeld cringe as he shows off his dance moves in one of the most memorable and mocked scenes in the entire franchise.

Ted White, who chose not to be credited, portrays one of the best Jason’s in the franchise. One of the best kills in the film includes a twin character that is thrown out a window in dramatic fashion.

The movie’s final act features Trish Jarvis, played by Kimberly Beck, who runs the final girl circuit of discovering dead bodies one after the other. Trish does put up a fight against Jason, but it is ultimately Tommy Jarvis who puts Jason down for good.

Tommy shaves a majority of his head bald to resemble what Jason looked like as a kid, which puts the killer on hold, allowing for him to be whacked in the head by Trish with a machete.

Tommy follows up with a hit of his own with a machete that kills Jason dramatically.

Jason’s death is arguably the best kill in the film, with his head slowly going down the machete after getting hit.

The Final Chapter, for many, is the best Friday The 13th film. It features a serviceable yet memorable cast, fantastic kills, and one of the most satisfying endings in the franchise.

This film could have easily been at the top of my list, and over the years, it could end up at the number one spot.

1. FRIDAY THE 13TH PART VI: JASON LIVES

RELEASED: AUGUST 1, 1986

DIRECTOR: TOM McLOUGHLIN

APPROXIMATELY 18 KILLS

Written and Directed by Tom McLoughlin, Friday The 13th: Jason Lives is one of the most unique and fun horror movies of the 1980s. The film brings forth the zombie version of Jason that is most well known in pop culture.

The film brings back Tommy Jarvis, who wants to make sure that Jason is dead. He heads to the deceased killer’s grave and digs up the body only to impale it with a metal rod. The metal rod is struck by lightning, and Jason is reborn.

The movie brilliantly inputs Meta elements throughout the film blending a mix of comedy and action that make it stand out to this day.

Jason Lives is the only Friday The 13th film with no nudity and even shows kids at the camp setting. Don’t worry; Jason does not kill any children in the movie.

The kills throughout the movie are well made despite the MPAA (Motion Picture Association of America) editing them down to reduce the gore amount. Even the kills that are done off-screen are well made as the film does a brilliant job of showing the aftermath of the kill.

The chemistry between the Sheriff’s daughter Megan played by Jennifer Cook and Tommy Jarvis, allows the audience to care more about the antagonists instead of viewing them as mere fodder for Jason.

The Friday The 13th franchise is a series that doesn’t have an absolute classic film that transcends the horror genre such as 1978’s Halloween or 1984’s A Nightmare on Elm Street.

Jason Lives and even The Final Chapter are the closest the series comes to having a transcendent horror film. At the very least, these films are about as good as any of the sequels in the Halloween and A Nightmare on Elm Street franchises.

Jason Lives is the film that I think of when I think of Friday The 13th. Undoubtedly, it is the movie in the franchise that has the most replay value and the film that I would choose to show to anyone who hasn’t seen Friday The 13th.

Let me know what you think of my rankings and put your rankings down below.

(Featured Photo: New Line Cinema/Platinum Dunes)

#HF #Friday The 13th #Horror #Film

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elliegratrick-blog · 4 years

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Virtual studio visit

Saskia Cameron- Email Conversation!

Me and my friend had organised a trip to go visit Saskia Cameron in Banks Mill Studio. I had found Saskia’s work on the Banks Mill website when looking what creators were based there. Her work instantly drew me in. I particularly like her series of woodcut illustrated train tickets, following the West coast line. The blocky shapes, quite angular shapes used still show a sensitivity and sense of tranquility. The medium of printing means marks and textures come from the screens and lino which gives her work a lovely tactile feel. Unfortunately this visit was planned just around the time corona virus really became serious. It was safer for all our sakes to do the interview over email. It’s disappointing as I would have liked to see the space she works in and what is on offer after you graduate but not much can be done!

How did you get into illustration? I studied illustration at Edinburgh College of Art - I had done a foundation before that and honestly I don't think I really got the opportunity to try enough stuff there, I wish it had been a bit less narrow! I knew I liked drawing and I was good at it, and I was too impatient to do animation at the time, so I picked illustration! But I think overall it was a good choice - what I really love about illustration is how good it is at transcending boundaries, and now I dabble in textiles, graphic design, all sorts. Top 3 illustrators that inspire you? Oh man this is a hard question. I love Sophy Hollington's work - I work a lot in woodcut and lino myself and it's great seeing that someone else is out there doing that too. It's a weird medium to work in nowadays as it can really restrict how you work to a deadline, but usually if a client wants it they're willing to put up with those restrictions. Roman Muradov is a really great illustrator in the truest sense of the word - his work is clever and clearly communicates concepts visually. Jesus Cisneros is brilliant, his work always pushes me to loosen up and open my horizons about what drawing and narrative can be. Honestly although I do look at a lot of illustration, I think the most important thing is to have people who AREN'T illustrators to inspire you, don't get stuck in an echo chamber of your own discipline. Other creative people who really inspire me are: Jon Zabawa (graphic designer, illustrator, art director, allsorts man) Braulio Amado (graphic designer artist type - he's prolific and so creative) Palefroi (this is arguably illustration, but they're a collective of two, and focus on print, art, installations, small press and animation) Ako Castuera (artist and ceramicist) Ali Smith (writer) And that's just contemporary people - I like to look at a lot of stuff from the past as well, and if you asked me next week I'd probably have a different list of people! When you create a new illustration, what is your process? Research > rough exploratory sketches > thumbnailing > work up a couple ideas > pick one and refine it into the final thing. What's your favourite thing to draw right now? I'm really into drawing people's gardens at the moment, especially those ones that are really overly 'done' you know, with sculpted hedges and garden gnomes and stuff. I just think they're really weird. Is illustration your sole income or is it managed around another job? Nope! My illustration work has always always been wrapped around at least one other job. This has varied from cafe/bar jobs, to admin jobs, to teaching. At the moment, I teach part time on the graphic design course at Nottingham Trent. Most illustrators I know work other jobs most of the time - it's pretty standard, especially at the start of your career. Personally I like this, I think I'd go a bit crazy if I was working alone on my own work all the time. I try and stay open to what my working week looks like, because at the end of the day I need an income, and freelance work can come and go. For me, I don't plan to ever go full-time freelance - I don't like the pressure it puts on my work, it can suck the joy out of it when you need it to provide all your food and shelter. Honestly I still consider myself fairly early career, I'm only 26 and it can take a really long time to carve out a creative career, particularly if you don't come from a wealthy background that can offer you a safety net. I worked full time my first year out of uni as a studio assistant, then went from that to working 3 jobs, then did a masters at Glasgow School of Art and now I've moved back home to Derby and until recently I've been working 3 jobs again! Wrapping an illustration career around that has been tough going, so for me it's only now that I feel I have the time and space to start making this all work properly. If illustration is an income, is the work you produce mainly through commissions/selling prints/etc? Mostly commissioned work! I need to develop more of a passive income, and I'd like to get into selling work more. So far it's mostly practicality that's been stopping me, as I've moved every year for the past 4 years. I'm hoping to be a bit more settled soon! Do you find putting your work out there on Instagram helps? And what’s your attitude towards social media? There's no good answer to this. Yes, it helps. I've had a fair bit of work come through Instagram - and most art directors/clients out there look at it even if its not their main way of finding illustrators. But it's not the be all and end all, the work I've had through it is just a product of having my work out there in the world for people to see - that's the important part. So exhibitions, physical and digital mailouts, networking in person, all of those things are just as likely to find you work. Social media is good for getting seen, but it can be a bit of a sinkhole. My attitude is to use it but not get too reliant on it - really I should be a lot better at updating mine, but I find real life gets in the way a lot! Thanks for reminding me to actually get organised with that. Do you find it more productive having a separate studio space vs working from home? Oh my god yes. But as a caveat - I have never had the luxury of a dedicated space at home. I think if I lived somewhere with a spare room I could convert to a studio it would have a pretty similar effect. Studios vary a lot too - I'm on my own in this one, but usually they're shared spaces. I think my dream scenario is to find shared studio space so I have other creative people around me to bounce ideas off and keep me motivated! I think however you work, it is important to get out now and then. Either for a walk or for your second job, whatever it is. If you can say What are your ambitions or future projects? My current plans are a bit up in the air at the moment with the corona virus! As I was saying above - I'm finally getting into a position to push my illustration career a bit, so I'm working on getting some new, self-directed work together. I'd like that work to be a bit multi-discliplinary, and to involve making work to sell so my income is a bit more diverse. I have a lot of big ambitious plans, but for this week I'm just focusing on keeping alive the commission that came in last week - I know it could be a difficult few months ahead and it could be my last in a while. After that, at least I'll have a lot of time to work on personal projects, so hopefully at least my portfolio will benefit! I have a collection of illustrations that I'm working on putting into a book of some kind, and I'm starting to work on getting a collection of prints, textiles and objects together over the next 6 months to start an online shop! I'm looking to get into a more permanent work/home/life set up soon, but who knows - life looks like it's being put on hold for a while. It’s really interesting to hear from an young illustrator and relieves my own internal pressure of having to ‘have my shit together’ as soon as I graduate. I am particularly interested in the people who inspire her as they are from a variety of disciplines. It motivates me to expand my horizons and not be so narrow focussing on work by illustrators. The rebellious and chaotic style of Bráulio Amado is something I’m really drawn to. It welcomes me to accept my own mistakes and be more loose and free with my drawings. Not worrying so much if a hand looks like a hand! The colours are vibrant and full of life.

She mentions a shared studio space which something I hope for in the future. Working on your own, I often get in my own head and overthink my pieces. Being in a space with other creatives definitely boosts your own creativity and you can ask questions. It gives another opinion on your work and ways to improve. A shared space opens up avenues for collaboration and collectives. Hopefully I will stay in contact with friends from uni and could be something we all do together!

Action plan:

definitely look at manicured gardens and draw my own! there needs to be a poodle or worm shaped bush

explore more artists from different avenues possibly looking at film/ book festivals for directors, authors

read more books (i have the time now we are quarantined)

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catherinelloydassignment6 · 5 years

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Courses at University

Nottingham Trent University

Explore all aspects of what it means to be a professional photographer in the 21st Century on this degree course.

Learn practical skills including exposure and metering, digital workflow, colour and black and white printing, studio lighting, large and medium format, planning and installing exhibitions, professional photographic portfolio development and moving image.

You’ll work across the subject of photography choosing to focus on areas such as art, documentary, editorial, commercial, advertising and critical writing on photography, tailored to your own personal interests and career aspirations.

On this course you will....

NTU is leading arts provider and is ranked 8th in the UK for Art and Design (The Complete University Guide 2019).

This course produces graduates that are in high demand - 96% of our students are in employment or further study within six months of graduating (DLHE survey 2016/17).

Work with industry-standard facilities, learning skills in traditional photographic methods, digital media and emerging technologies.

Work broadly across the subject, including art, documentary, editorial, advertising and fashion photography, and critical writing.

Develop your professional skills through work experience placements, industry competitions, and collaborations with organisations.

Benefit from our guest lecturer series, with speakers from a range of photographic practices.

Opportunity to apply for an international exchange to one of our partner institutions around the world.

Take part in the development and organisation of a photography festival in your final year, showcasing your work at venues across Nottingham, with further opportunities to exhibit at other graduating events.

Alumni have gone on to roles such as creative director at Jamie Oliver and companies such as Getty Sports Images.

Entry Requirements

A-levels – BBC; or

BTEC Extended Diploma – DMM; or

112 UCAS Tariff points from three A-levels or equivalent qualifications; and

GCSEs – English and Maths or Science grade C / 4.

https://www.ntu.ac.uk/study-and-courses/courses/find-your-course/art-design/ug/2019-20/ba-hons-photography

Sheffield Hallam University

Acquire digital and traditional photographic analogue skills, digital capture and production and image management and manipulation, using industry standard equipment.

Develop core practical skills through creative professional practice and a critical engagement with image making.

Have the opportunity to study abroad — with Erasmus funding available for European placements.

Refine your ability to solve problems, manage complex projects, and communicate your ideas effectively.

Engage with a distinctive, independent approach to a wide range of photographic contexts with this professional and practice-based degree. You are encouraged to take risks in a highly creative environment, developing your understanding and knowledge of the medium to enable you to fulfil your potential in the constantly-evolving discipline of photography.

On this course you will learn..

You learn through a creative, practice-based approach to self-directed production which emulates the independent nature of professional practice within photography. This is underpinned through an exploration of historical and contemporary approaches and relevant theoretical issues in order to help situate your work in a critical context.

You learn through

specialist workshops

technical surgeries

large group lectures

smaller group seminars

group critiques and review sessions

individual tutorials

There are opportunities to study abroad at one of our partner universitieswith the possibility of funding through the Erasmus programme.

Entry Requirements.

UCAS points

112

This must include at least two A levels or equivalent BTEC National qualifications, including at least 32 points in a relevant* subject. For example:

BBC at A Level including a grade C in a relevant subject .

DMM in BTEC Extended Diplomain a relevant subject.

A combination of qualifications which must include a relevant subject and may include AS levels, EPQ and general studies.

You can find information on making sense of UCAS tariff points here and use the UCAS tariff calculator to work out your points.

GCSE

English Language at grade C or 4

Maths at grade C or 4

https://www.shu.ac.uk/courses/digital-media/ba-honours-photography/full-time/2019

Falmouth University

Work at a professional level, in a supportive and collaborative environment and explore the history and theory of photography, while being encouraged to experiment and innovate in your own work. You'll learn actively through workshop based teaching, with sessions in our open plan Learning Hub, around the campus and beyond.

On this course you will...

Have access to our state-of-the-art facilities, including studios and dark rooms, with access to a range of digital and analogue cameras.

Exhibit your work and enter competitions with support from our staff.

Do at least two-weeks of work experience in your second year, with options for local, national and international placements.

Have a number of opportunities for professional development in your third year including publishing magazines, curating events and organising exhibitions.

Be able to join MAYN, our in-house creative photography agency.

Entry Requirements

104 - 120 UCAS points, primarily from Level 3 qualifications like A-levels, a BTEC Extended Diploma or a Foundation Diploma.

We’ll also consider you based on your individual merit and potential. So get in touch if:

You’re predicted points below our requirements

You’re thinking about transferring from another institution

You have other qualifications or professional experience.

https://www.falmouth.ac.uk/study/undergraduate/photography

DE Montfort Universality

n the first year you will choose options in: painting, sculpture, printmaking, video and photography. In addition, you will study drawing and contextual and professional studies. The second year develops your individual studio practice in one or more of these areas. You have the opportunity to explore a range of approaches to fine art via projects, workshops and self-directed study. In the final year you negotiate and develop your individual creative practice, culminating in an exhibition, part of DMU’s Festival of Creativity.

On this course...

Individual studio space and well-equipped workshops cover the practical aspects of printmaking, sculpture, photography, video, digital media techniques and the skills associated with contemporary approaches to painting. This is supported by skilled technical staff and a wide range of academic staff. An art materials shop is conveniently located on campus where you can buy a wide variety of art materials to help you with your studies.

Entry Requirements.

A good portfolio and normally:

Art and Design Foundation or

112 points from at least 2 A ‘levels and including grade C in Art and Design or

BTEC Extended Diploma DMM in an Art and Design related subject or

International Baccalaureate: 26+ Points including Art and Design

GCSEs - Five GCSEs grades A* - C (9-4) including English Language or Literature at grade C/4 or above.

Access - Pass Access with 30 Level 3 credits at Merit in Art and Design and GCSE English (Language or Literature) at grade C/4 or above.

We also accept the BTEC First Diploma plus two GCSEs including English at grade C/4 or above (if required as part of our standard requirement).

https://www.dmu.ac.uk/study/courses/undergraduate-courses/fine-art-ba-degree/fine-art-ba-degree.aspx

Loughborough University

It uses both practical and theoretical classes to develop your unique and individual artistic abilities, and fosters your creative skills by developing your critical and analytical insight.

The Fine Arts degree emphasises the relationship between practice and theory, enabling cognitive skills to be intrinsic to studio based practice, where exceptional facilities and expertise supports a range of fine art practices, ranging from drawing, painting, sculpture, ceramics, moving image, photography, to temporal performance.

On this course...

Our BA Fine Arts degree aims to provide a supportive and intellectually stimulating environment through which to facilitate your acquisition of advanced practical and critical skills in contemporary fine art practice.

This is achieved by embedding the development of core practical skills – ranging across traditional and new media, 2D and 3D forms, analogue and digital processes – within an innovative and conceptually challenging curriculum.

This is supported by a core art history and visual culture lecture series, which facilitates an understanding of diverse contexts for art production and consumption (within the studio and beyond) and fosters a critical engagement with art’s historical, theoretical, cultural, political, social and ethical dimensions.

Entry Requirements.

A-Level -A typical offer for applicants without a Foundation course is ABB from 3 A-Levels.

(International Baccalaureate) IB- 34 (6,5,5 HL)

BTEC -Applicants with a UAL Level 3 Diploma in Art and Design – Foundation Studies, BTEC Foundation Diploma / BTEC National Extended Diploma (or similar) will be considered.

https://www.lboro.ac.uk/study/undergraduate/courses/a-z/fine-art/#modules_year_1

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jkottke · 7 years

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The Vietnam War documentary series by Ken Burns

youtube

Together with Lynn Novick, filmmaker Ken Burns, who has previously made long documentary films on The Civil War and World War II, has made a film about perhaps the most controversial and contentious event in American history, The Vietnam War. The film runs for 18 hours across 10 installments and begins on September 17 on PBS.

David Kamp interviewed Novick and Burns for Vanity Fair and proclaims the film a triumph:

I watched the whole series in a marathon viewing session a few days before meeting with the filmmakers -- a knock-you-sideways experience that was as enlightening as it was emotionally taxing. For all their unguarded anxiety about doing the war justice, Burns and Novick have pulled off a monumental achievement. Audiovisually, the documentary is like no other Burns-branded undertaking. Instead of folksy sepia and black-and-white, there are vivid jade-green jungles and horrific blooms of napalm that explode into orange and then gradually turn smoky black. The Vietnam War was the first and last American conflict to be filmed by news organizations with minimal governmental interference, and the filmmakers have drawn from more than 130 sources for motion-picture footage, including the U.S. networks, private home-movie collections, and several archives administered by the Socialist Republic of Vietnam. The series's depiction of the Tet offensive, in which the North Vietnamese launched coordinated attacks on the South's urban centers, is particularly and brutally immersive, approaching a 360-degree experience in its deft stitching together of footage from various sources.

The sound and music promises to thrill as well. Trent Reznor and Atticus Finch (who did the scores for The Social Network, Gone Girl, and The Girl with the Dragon Tattoo) provided original music to supplement popular music contemporary to the time. They even got The Beatles.

Then there's all that popular music from the 60s and 70s: more than 120 songs by the artists who actually soundtracked the times, such as Bob Dylan, Joan Baez, the Animals, Janis Joplin, Wilson Pickett, Buffalo Springfield, the Byrds, the Rolling Stones, and even the ordinarily permissions-averse and budget-breaking Beatles. Of the Beatles, Novick noted, "They basically said, We think this is an important part of history, we want to be part of what you're doing, and we will take the same deal everybody else gets. That's kind of unprecedented."

I'm very much looking forward to this.

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thepanicoffice · 5 years

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The Life & Exhaustive Works of Richard O. Jones

[...]

As promised/threatened, in order to mark THIRTY (30) vainglorious years of the life of Richard Owen Jones, I am providing a preview of the biography that I have written in my own blood (figuratively) and bile (literally). It is due to be published shortly with the University of Tungsten Press, and with Limpet, Fecund & Sproles in North America as part of their ‘Lives of the Utterly Vacuous’ series. As this whole week is dedicated to his manifest failings and sparse achievements, this represents only the first of two installments. Consider that your first and final warning.

The Exhaustive Life And Works of Richard Owen Jones: A Compilation of Calumny A Testament of Tyranny A Litany of Larceny A Chronicle of Crimes Most Odious

____________________________

Author’s note:

I am unfortunate enough to have, at various times in my beleaguered life, held the acquaintance of Rich Jones, noted raconteur, wit, and five-time winner of the WBBO welterweight boxing championship. His acquaintance has also held me. Forcefully.

As a consequence, much of the material contained in this biography is culled from personal reminiscences, decaying memories, and the vivid fantasies that dance among them in my syphilis-riddled mind. Syphilis, I would hasten to add, that Jones himself gave me ‘as a joke’ for my 22nd birthday. He said that for my 23rd he would cure me. We laughed. He still has not made good that promise.

As such, the more lucid passages in this book may be interspersed with fevered ramblings and paranoid delusions. But I’ve never been one for self-editing (it seems like writing twice what you’ve only been paid to do once) so I’ve not bothered to look back through it to weed out the madder stuff.

References to Jones’ numerous works, his poems, plays, articles, photographs, and correspondence, have all been harvested from the Richard Jones Archive, held at the University of Tungsten.[1]

This scholarly work is intended, above all, to serve as a warning to posterity that to turn a blind eye to a tyrant is to leave your back exposed. And then the knife plunges in.

Take heed, O complacent world!

R.M. May 2019 ---------

[1] The contents of the archive were donated by myself, made up of the scraps I had managed to steal on previous visits to Jones’ house. The archive collection also contains a fine selection of nose rings, nail clippings and one used pair of boxers. Rumour has it that this latter item will soon be auctioned and the proceeds used to pay for a new Geography faculty building.

_________________________________________________

Introduction

Where, I ask, can one begin to describe a life such as that of Richard Owen Jones? How do we delineate something as prosaic and limited as the ‘beginning’ and ‘end’ of a life?

How does one describe the life cycle of a star? Does it begin with the collection of carbon that gathers around a mote of dust as it waxes across the face of the infinite void? Or does it begin with its collapse, its supernova, as it scatters the hot, bright matter with which it succours a universe yet to come?

The answer is obvious: we’ll start with his birth. The star talk was a rhetorical red herring. Let us begin.

_________________________________________________

Chapter I: The Birth of a Titan

The weather report contained in the Evening Standard for X May 1989 noted with mild horror that the River Thames had turned to a tide of roiling blood, surging as through a dilated artery, and that its banks were choked with the bodies of the dead. An inauspicious, if not entirely coincidental, sign that the man who would come to be known – by me, at least[1] – as the Black Messiah had arrived to Earth.

Richard Owen Jones was delivered of a jackal, on a comfortable private healthcare plan, at an hour in which God had averted his gaze: three thirty-seven AM. This much can be certainly ascertained by the fact that the clocks in the hospital (West Festering DGH, near Bermondsey) had stopped, presumably in their unwillingness to acknowledge any subsequent seconds in which the Beast still breathed.

His father, Tony Jones, declared in a letter to an associate that he remembered being “wholly unnerved” by the appearance of his singular progeny but acknowledged that he soon overcame his “overwhelming desire to dispatch the creature with a rock hammer”. Their relationship went from strength to strength, with Tony choosing to secrete the infant in his beard, like a sort of coarse, bristly papoose. This, in many ways, is likely to have been the crucial psychosexual event that caused Jones’ lifelong adoration and erotic longing for facial hair. If there is a moment of space-time around which all future achievements (including the Brighton ‘Beard of the Year’ award 2011) were pinioned, it would be this one.

I have done some cursory research to provide some colour and context for the first year of Jones’ life. Geopolitically, the world was a crucible of change. Khomeini had declared fatwah upon Salman Rushdie; tanks struggled to find the reverse gear in Tiananmen Square; the Berlin Wall was fitted with several viewing holes; the Notre Dame Fightin’ Irish beat the West Virginia Mountaineers for the college football championship. These were dark days. An appropriately stark and eerily lit stage on which our anti-hero could take his first tentative steps, and deliver unto the world his first squalling monologue.

_________________________________________________ Chapter II: The Blighted Childhood

This is, first and foremost, intended as an artistic biography; one which seeks to analyse (and, where possible, brutally criticise) Jones’ creative output. So here were must review his ‘juvenilia’, such as it is. After haunting the corridors of his former primary school (not like a paedophile – more like a ghost) and forcing the door of a barely locked store cupboard, I have located some of his archival papers. These we might describe as his earliest ‘works’.

To begin with, we find a story written in year 3, which, with hindsight, provides a chilling commentary on his mental state and a grim foreboding of his life yet to come. The story is entitled “Ode to Summers Green” and is written in a childish scrawl, like the death-flailings of a drunken spider, on scraps of yellow sugar paper. Despite its pastoral title, the work is remarkably dark, seeming at times to be an inversion of the classic tale of Faust. In it, the principle character, Benwort Kleinson (clearly a feebly veiled figuration of the author himself), seeks to trick various classmates out of their possessions, culminating in a set-piece in which he tricks the naïve James Garner to part with his immortal soul. The piece is fairly rudimentary and simplistic, with casual allusions to only one or two key pieces of Continental philosophy. It is therefore unsurprising that his teacher, Miss Fallopia, gave the piece a ‘Well done!’ and smiley-face sticker, rather than the 2:1 he would have hoped for as a bare minimum.

But what of the boy beyond these infantile scribblings? Reports from those who knew him, including the parents of his school chums, described him as “possessing a penetrating gaze, that appeared to touch upon the very tissues of the soul” and “a bit weird”. It can scarcely be a shock, then, to discover that he transferred schools a total of seventeen times in his young life, leaving behind him a trail of mysterious disappearances and swelling psychiatric reports. _________________________________________________

Chapter III: Adolescence

Puberty hit Jones with much the same force that a cannonball might hit, say, a hummingbird (i.e. with devastating force). One moment he was minding his own business, constructing a thesis on the Greek scholar Rectilineus, the next he became a seething mass of lustful membranes, engorging and subsiding at random intervals. One can scarcely imagine the terror that this struck into the ill-educated, superstitious, and slightly backward inhabitants of Stoke-on-Trent.

It was at this time that he began his love-affair with the theatre. He called her Gertrude. He was banned from visiting after he was found behind the stage curtain making love to a rostra block. Despite the injunction placed upon him by the courts, he knew that his place was on the stage. He joined a group of travelling players, putting on performances of Shakespeare, Marlowe, Jonson and some of Jones’ self-penned pieces. The annotated playscript of one such work – ‘The Passage of Love’, a grotesque and innuendo-laden piece, designed purely to infuriate censors – still survives. From the jottings which adorn the margins like some aggressive yeast infection, it becomes clear that Jones gradually fired all the other actors, one by one, until the play became a single-hander. Given that that the script calls for twenty-three separate speaking roles, we can only imagine that the performance was a unique spectacle. The Pembrokeshire Gazette has a two-star review, describing it as “exhausting and frenetic” and “a herculean feat that was as unrewarding as it was mentally taxing” before kindly requesting that Jones “never darken the boards again”. Jones took this review to heart and burned down the office of the Pembrokeshire Gazette. Then he gave up acting. Then he burned down the home of the Editor, Deputy Editor, Arts Editor, and Theatre Correspondent of the Pembrokeshire Gazette. The Pembrokeshire Herald dubbed it ‘The Night of the Thousand Fires’.

_________________________________________________ Chapter IV: The University Years

After turning his back on the theatre for the next ten years, Jones turned his hand to poetry; a skill he would come to hone in the brutal killing fields of the University of Sussex Poetical Society. The members of this surprisingly esoteric society would meet in a circle drawn in purified salt and, in the form of a duel, recite each other into submission. Jones’ fighting record concluded in 2013 at 37 wins, 2 draws and no losses, highlighted by one evening when, propelled by a stimulating decoction of cocaine and soy sauce[2], he took on any and all comers in a remorseless poetry maelstrom. By the end of the evening, seven men lay dead.

It was at these events that I first met Jones, watching in breathless wonderment as he dispatched his rival, the upstart Argentine poet Cedric Espadrille, with an audacious piece which would come to be recognised as one of his early poetical masterpieces, Chorus of the Bowels.

O garrulous gastrointestinal tract Bespeak your bizarre Faustian pact With my humble meal of cheese and bread You confabulate and leave nought unsaid O moaning, grizzled, groaning bowels Through which long-winded warning prowls. My meals dictate its daily speech An egg, hard-boiled, extends its reach To friends, Romans and countrymen Visceral rhetoric much the better when A spicy plate’s for me prepared It utters truths no others dared. Without this fuel its words are failure - Wet suck of human penetralia - But with stew and sausage laced with sage Turns guts to greatest speaker of this age When a shard of fart is lodged in me And culminates in flatulent oratory.

Indeed, as would become a theme with his more mature works, this poem takes the form of an ode or exhortation to his increasingly unruly bowels. This remarkable poem, delivered with his trademark aggression and an unusual poise for a man so thoroughly stupefied by the Chairman’s Indulgence, caused Espadrille to take early retirement, at the age of 19, and move to a tree-worshipping commune in Dundee. Jones passed out, and awoke as a legend in the world of poetry.

During his time at the University of Sussex he also turned his hand to the study a sociology. Here he was hopelessly influenced by a sordid cabal of cultural Marxists, allowing their mild, tweedy dissidence to stir his blood with filthy socialist ideals. This political reorientation was, thankfully, short-lived and he soon returned to his usual habits of subjecting the University’s poorer students to blackmail, extortion and bullying them into indentured servitude.

-------

[1] And indeed at most.

[2] A mixture he developed himself, called ‘The Chairman’s Indulgence’ in honour of Mao’s revolution. [END OF PART ONE]

#Maslin #Editor #Richard Jones #Deputy Vice Editor #Calumny #Biography

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micaramel · 4 years

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Artist: Sung Tieu

Venue: Nottingham Contemporary

Exhibition Title: In Cold Print

Date: February 8 – May 3, 2020

Note: A sound work by Sung Tieu is available here.

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Nottingham Contemporary, Nottingham

Press Release:

The media theorist Friedrich Kittler once claimed, in an essay about Pink Floyd’s song “Brain Damage” (1973), that “the history of the ear is always a history of madness.”(1) For the past couple of years, the relationship between memory, belief and hearing has been one of Sung Tieu’s main concerns. The Vietnam-born and London/Berlin-based artist researches the use of sound in the context of warfare, developing sound installations interwoven with architectural interventions, sculptural components, writing and video. In one recent project, she focused on “Ghost Tape 10”, a sound-weapon deployed by the US Army’s psychological operations unit (or PSYOP)(2) during the Vietnam War.(3)

Tieu’s exhibition at Nottingham Contemporary, her first institutional solo show in the UK, further expands on the intersection between sound weaponry, brain damage, international relations and information circulation. Titled In Cold Print, this new commission focuses on the so-called Havana Syndrome.(4)

In late 2016, a number of US embassy staff based in Cuba (5) started to complain about persistent headaches, tinnitus and dizziness. Unable to identify the cause, a rumour – supported by Donald Trump – of a sound weapon devised by the Cuban government quickly spread. Although no proof of such weapons could be found, and doubts began to surface, most of the US embassy staff were repatriated. Two years later, in July 2019, researchers at the University of Pennsylvania published the results of their tests on subjects who had experienced this “high-pitched cricket sound”.(6) Neuroscientists defined the after effects as “concussions without concussions”. The cause is still being debated.

At Nottingham Contemporary, the gallery is treated as a surveilled space – in between an underground carpark and a buffer zone. It also acts as an auditorium, a complex theatre of operations connected to a new sound work developed with the support of scientists from Nottingham Trent University and composer Ville Haimala (one half of the Berlin-based music duo Amnesia Scanner).(7) Interspersed within a structure of fences and cruciform pillars are stainless-steel seats and engraved mirrors.(8) These disparate components manifest the underlying violence of the purportedly neutral designs disseminated by the state apparatus (prison, asylum, military).

On another level, the information communicated through the advertising billboards (9) triggers shifts in the perception of the space and what can be heard within it, thus highlighting the correlation between the perception of sound and its translation into information through vision, memory and language.

A publication, devised in collaboration with Haus der Kunst, Munich (where Tieu presents Capsule 11: Zugzwang until 21 June 2020), and Mousse Publishing, will be available from Nottingham Contemporary in late April 2020.

(1) Friedrich A. Kittler, “The God of Ears”, translated by Paul Feigelfeld and Anthony Moore in Kittler Now: Current Perspective in Kittler Studies, edited by Stephen Sale and Laura Salisbury, Polity Press, 2015 (p. 99)

(2) “Psychological operations (PSYOP) are operations to convey selected information and indicators to audiences to influence their emotions, motives, and objective reasoning, and ultimately the behaviour of governments, organizations, groups, and individuals.” (Wikipedia)

(3) Playing on the traditional Vietnamese belief that a soul can only find peace if buried in its homeland, ghostly voices were played from loudspeakers mounted on helicopters and backpacks. Voices urged soldiers to surrender and find their relatives, or else risk forever being wandering souls. The name given to the larger propaganda campaign was “Operation Wandering Soul”.

(4) Adam Entous and Jon Lee Anderson, “The Mystery of the Havana Syndrome”, The New Yorker, 9 November 2018.

(5) The diplomatic relationship between the two countries resumed in 2015 under the initiative of the Obama administration and Raúl Castro, putting an end to more than 50 years of diplomatic crisis which peaked during the Cold War.

(6) Ragini Verma and Randel L. Swanson, “Neuroimaging Findings in US Government Personnel with Possible Exposure to Directional Phenomena in Havana, Cuba”, The Journal of the American Medical Association, 23 July 2019.

(7) In Cold Print, 2020, five-channel sound, 31:24 minutes. Emitted via a range of high-end portable speakers and subwoofers whose presence is hidden from plain sight, this sound piece comprises various elements: a reconstruction of the Caribbean cricket sound, which has been likened to the alleged sound weapon; recordings of Nottingham Contemporary’s water-pump system; and apparent fragments of dystopian advertising jingles. Another key element of this sound piece are brain waves turned into sound. Subjecting herself to a battery of tests, the artist had her brain scanned while listening to the reconstruction of the sound weapon. The recorded electric activity was then translated into music from the help of neuroscientists. The bags and clothes presented, which hold the speakers, have been made based on military uniforms and accessories with patterned fabric sourced in Vietnam.

(8) Exposure to Havana Syndrome, 2020, brain scan on stainless steel mirror. These brain scans refer to those published in The Journal of the American Medical Association in July 2019, where a research unit based at the University of Pennsylvania led tests on the Havana Syndrome victims. Outlines of these scans (which resemble camouflage pattern and geological maps) are engraved onto a number of stainless-steel mirrors (the type commonly installed in prison cells). The scans are of the artist’s brain, produced as she exposed herself to a reconstitution of the sound weapon during an MRI exam. The results were later analysed in collaboration with scientists from Nottingham Trent University, to emphasise details that would manifest the reactions to the exposure to the sonic weapon.

(9) Newspaper 1969 – ongoing, 2020, five images on 75-inch LED screens. A continuation of the Newspaper 1969 – ongoing series that Tieu has been developing for some years, they present an anchor point for this project, providing both the substance of the research material and its fictional set-up. Usually printed onto newsprint, here they are displayed on the kind of LED screens typically used for advertising billboards.

Link: Sung Tieu at Nottingham Contemporary

from Contemporary Art Daily https://bit.ly/350TWOJ

#micaramel

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weownthenitenyc · 5 years

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For the fourth year in a row, Metropole Orkest is officially opening the Amsterdam Dance Event with a remarkable collaboration. On Wednesday 16 October, the world’s most versatile orchestra is sharing the stage of the Rabozaal at Melkweg with songwriter/producer SOHN. SOHN’s live electronics and beautiful voice are being combined with the orchestral sound of the Metropole Orkest under the leadership of conductor Hans Ek.

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The opening night with the Metropole Orkest has developed into a permanent fixture for the ADE. After previous successful collaborations with Henrik Schwarz (2016), Jameszoo (2017) and Colin Benders (2018), the orchestra has once again taken up the challenge of exploring a different genre of electronic music. In recent years there has been a growing amount of live music on the ADE programme, and the orchestra’s opening-night collaboration with SOHN fits this trend.

Artistic manager Robert Soomer: “Almost straight after ADE 2018, we started talking with Melkweg and ADE about ideas for this year’s opening concert. SOHN was one of the names that all of us thought would be a good option. His music is written from the perspective of a songwriter. He has a very distinctive voice and uses an exciting mix of electronics and analog instruments to accompany his lyrics. With this collaboration, the mix will, of course, be very different.”

The opening concert from SOHN & Metropole Orkest is taking place on Wednesday 16 October in the Rabozaal at the Melkweg. Tickets went on sale on Thursday 6 June at 10 am via Ticketmaster and the ADE site. Holders of the ADE Pass can also attend the concert (limited capacity).

ADE Conference updates Overall ADE’s daytime conferencing offer will look different this year as ADE adopt a more vertical, topic and theme-based style in order to help delegates navigate the ADE program and get to the issues that matter to them. There will be broader programming around the live industry, and the creative industry engaged with electronic music (read video, stage design, art installations, and gaming). ADE Health will be looking at the true nature of talent in a series of panels and workshops featuring psychologists, personal trainers, and artists.

Andy Ng, Group Senior Consultant at Tencent Music Entertainment (TME), is the latest addition to the 2019 ADE Conference speaker line-up. TME is the owner of popular music apps QQ Music, Kugou Music, Kuwo Music, and WeSing. Recently announced speakers include Robert Williams of Chicago’s Warehouse fame and club pioneer Ron Trent, who will be appearing in a Creative Keynote talking about the recent shows hosted by Williams under the Music Box title and featuring Antal, Trent, and Danny Krivit.

Lisa Ellis, Soundcloud’s Global Head of Music and Artist Relations, will be taking part in ADE’s conference program, discussing how she intends to draw on her vast experience to help SoundCloud take the next step in its development as a global talent hub. This year Arcadia Spectacular returns to Glastonbury to build a gigantic new installation, and company founder and creative director Pip Rush Jansen will be at ADE to tell more about the project.

ADE Sound Lab, the platform for sound, creativity and innovation returns in 2019 with familiar concepts such as MusicTalks, Studio XL, Demolition, gear spaces and much more. Welsh music producer David Wrench will be joining the ADE Sound Lab line-up as part of this year’s focus on the fine arts of production, mastering, and sound engineering.

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100 Years of Electronic Music Instruments It is 100 years since the first musical instrument, known as the ætherphone – or Theremin – first emerged. The now iconic ætherphone seemed like a curio at first but was really the beginning of a revolution. ADE will be putting this century of revolution into perspective, and reminding you of the wild, sometimes cracked, minds that have created or popularised the devices that in turn expanded our collective imaginations.

ADE TECH ADE TECH’s first announced keynote speaker is Dr. Werner Vogels, Chief Technology Officer at Amazon. He is responsible for driving the customer-centric technology vision within one of the fastest growing companies in the world.

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ADE University: What’s Next? ADE University, the conference for young music professionals, announced that it will continue with She.Grows, a mentor program concept by global initiative shesaidso. Last year, Shesaidso.amsterdam and ADE University teamed up for a mini-mentor program available to five young female professionals, who were selected by ADE and shesaidso.ams. The first Dutch edition of She.Grows was an unqualified success for both mentors and mentees and will be back in 2019.

During What’s Next?, a new University format, young execs who are well on their way and working up the career ladder will be given the opportunity to talk honestly about how it is to be in their shoes. In a rapid-fire 20-minute session, they describe how they got their first break, what they did to build on it, what that has led to so far, what they hope to achieve in the coming 12 months and what they ultimately want from their careers.

Access The full ADE Conference program is accessible for ADE Pass and ADE Conference Pass holders, available here. The rate for both Passes goes up July 1st.

www.amsterdam-dance-event.nl

The Amsterdam Dance Event is organized by Stichting Amsterdam Dance Event, an initiative of Buma.

NEWS: For the 4th year in a row, Metropole Orkest is officially opening the Amsterdam Dance Event with a remarkable collaboration that has developed into a permanent fixture for the ADE. #ADE2019 #AmsterdamDanceEvent #Music #Conference #Amsterdam #ADE For the fourth year in a row, Metropole Orkest is officially opening the Amsterdam Dance Event…

#ADE #ADE 2019 #ADE Conference #ADE Health #ADE Sound Lab #ADE Tech #ADE University #Amsterdam #Amsterdam Dance Event #Amsterdam Dance Event 2019 #Buma #Metropole Orkest #SOHN #SoundCloud

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shropsnews4u · 5 years

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Shrewsbury + Drawn of the Dead coming to Shrewsbury Museum & Art Gallery

Shrewsbury Museum & Art Gallery (SM&AG) are preparing to open a new exhibition ‘Drawn of the Dead’ celebrating the work of internationally famous comic artist and former Comics Laureate, Charlie Adlard.

Drawn of the Dead will open to the public on Saturday 1 June 2019 in partnership with the Comics Salopia festival which brings a stunning selection of comic artists to the county as well as celebrating the county’s home-grown talent.

In this exciting new exhibition visitors will find a stunning selection of Charlie’s original works from the Walking Dead comic series displayed alongside immersive, set piece installations created by sculptor Andrew Bryden.

Comic art of Charlie Adlard

AMC’s blockbusting television show, The Walking Dead, now in its 9th season is a spin off from the revered comic book series created by Robert Kirkman and Shropshire’s own Charlie Adlard.

This unique exhibition extends to the museum balcony where visitors will see the breadth of Charlie’s work beyond The Walking Dead. Images from cult French comic Vampire State Building are displayed alongside Charlie’s life drawing and original books Code Flesh and White Death.

Lezley Picton, Shropshire Council Cabinet member for culture and leisure, said:

“Shrewsbury and Shropshire has a huge amount of creative talent and I’m thrilled that Shrewsbury Museum & Art Gallery, having partnered with the new Comic Festival, are able to display some of this work.

“Charlie Adlard’s work is internationally famous so it’s fantastic that we are able to display some of his original artwork in what will be exciting and interactive visitor experience. I can’t wait to see it!”

Charlie Adlard, said:

“I’m incredibly proud to have this exhibition in my home town. And, not only is it here in Shrewsbury, but it’ll be the best exhibition of my works staged anywhere. It’s going to be a truly immersive experience.”

SM&AG will be working with education sector partners including Nottingham Trent University. The aim is to give opportunities to students on theatre design courses to work with SM&AG on the build of the exhibition.

Drawn of the Dead will be open at SM&AG until Sunday 3 November 2019.

For more information about Shrewsbury Museum & Art Gallery, click here.

Shrewsbury Comic Festival

Shrewsbury Comic Festival will take place on Saturday 1 and Sunday 2 June 2019.

SM&AG will be running a host of special events, workshops, talks and book signings over the course of the Comic Festival.

The Comic Festival will take place at a number of venues across Shrewsbury and will celebrate the work of Charlie Adlard and many other famous comic artists who call the town home.

Shrewsbury Museum & Art Gallery is owned and operated by Shropshire Council.

Further Information

About Charlie Adlard

Charlie began his work in the UK on the 2000 AD series including Judge Dredd and Armitage. He also worked on White Death with the local Robbie Morrison. In the United States, he is best known for his work on The X-Files, Marvel and DC comics and The Walking Dead.

Charlie Adlard

He has been the penciller on The Walking Dead since 2004 and was the UK Comics Laureate from February 2017 – February 2019.

The post Drawn of the Dead coming to Shrewsbury Museum & Art Gallery appeared first on Shropshire Council Newsroom.

http://bit.ly/2vRXAd4

#Shrewsbury Extra

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jeremystrele · 5 years

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Advancing Australian Design In Milan, Like Never Before!

Creative People

by Elle Murrell

Local Milan , an exhibition featuring design by 44 Australian and New Zealander designers in on now in Milan. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

left to right: Materiality Rug by Emma Elizabeth. AVISO Leather Armchair. Period Scheme Wall Light by Volker Haug Studio. The Rachis Table by Dylan Farrell Design. Stop and Smell the Roses Vase by Volker Haug Studio. ME01 Pendant Light by Nicolas Fuller. Kyss Range Table by Tom Fereday x Studio Kyss. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Designer, Trent Jansen. Shaker Family Furniture Collection by Trent Jansen and Chris Nicholson. The Acrobat Series Wall Light by Porcelain Bear. Crackle Vase by ADesignStudio. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Left to right: designers Gregory Bonasera, Oliver Tanner, Anthony Raymond. The Acrobat Series lights by Porcelain Bear. Terra Firma Table by Oliver Tanner. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Crackle Lamp by ADesignStudio. Seam Dining Chairs and Table designed by Adam Cornish for Tait. The Stud Shirt by Shilo x Lydia. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Left to right: Nick Rennie, Thomas Coward, Emma Elizabeth, Tom Skeehan. New Volume products by Artedomus. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Totems Family and Candy Ottoman by Figgoscope. Never Grow Up by Dowel Jones. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Kyss Range Tables and Chairs by Tom Fereday x Studio Kyss. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Designer, Volker Haug. Period Scheme lights by Volker Haug Studio. Peekaboo Screen (Noire Boudoir Collection) by Hava Studio. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

The exhibition has been curated by Emma as a celebration of colour, texture, and sound. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

Designer, Zachary Hanna. Trapeze Lighting by Zachary Hanna. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

The 2019 edition is presented inside a two-storey Palazzo in the 5 Vie district. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

The designers on-site in Milan. Photo – Emanuele Zamponi. Styling – Emma Elizabeth.

The 4th Local Milan (the largest independent showcase of Australian design to date) was unveiled this week at this year’s Milan Furniture Fair and Design Week.

Over the past four years, Local Milan has presented a collective of Australian design that aims to advance awareness and understanding of Australian design on a global stage. Curator and founder Emma Elizabeth explains her ambition to ‘heighten the global perspective of our Australian aesthetic and style, encouraging and supporting local designers to continue advancing and developing the industry.’

The 2019 edition brings together innovative new creations from 44 trailblazing Australian and New Zealand based designers, curated by Emma as a celebration of colour, texture, and sound.

She gave us the inside scoop…

How does this year’s ‘LOCAL MILAN’ build on the three showcases that have come before?

The creative driver for this year’s show, like all the previous shows, was the location. The curation and creative direction of all the designers’ works, was pushed to connect with the palazzo.

The styling and level of the designer pieces have been considerably heightened this year, which I think is a result of the level or trust we have built over the past three years – I am able to workshop and directly guide the designers through their decisions of what to show and how.

The scenography of the sets and placement of pieces is not overpowering and allows the design to be the heroes.

This year I am also excited to have worked with a series of Australian creative contributors based here in Milan, including Bradley Seymour who assisted on the visual identity of the show and Berlin-based floral artist Ruby Barber.

Forty-four Australian and New Zealander designers – wow! How did you select those included and how can aspiring designers get on your radar?

This year was the first year I did a ‘call out’; in previous years I have asked designers directly. I wanted to widen the reach and hoped to discover new Australasian talent in both Australia and overseas.

All designers were selected or asked based upon the merit of their existing work. Generally, I look for interesting use of materials, unique visions, and a passion for our industry.

As this show is also my passion project, I need to work with designers that are willing to not only create amazing work but are able to assist me in setting up and installing everything to complete an overall vision too.

In addition to celebrating ‘colour, texture and sound’ what is the theme of this year’s showcase?

I think the overall theme is a narrative of Australasian design, and also the design of our current times.

It’s about an immersive experience that evokes thought and stimulations through the senses. It’s not just about looking at pretty things, it’s about a level of understanding of process, materials and the designers’ visions. With the majority of designers also present at our exhibition, to verbalise their stories.

The exhibition spans 10 rooms across two-levels, how have you gone about styling the experience?

All rooms are a complete mixture of designers and brands, which is one thing to visually create in my head but there is a lot of work that goes into managing expectations… such as maybe sitting next to competitor brands.

Nevertheless, this is the driver for me, the industry is a narrative of aesthetic that is a collaboration of cultures and creative ideas – this story needs to be told in unison.

Huge congratulations. Now it’s all underway, how do you reflect on this mammoth effort?

I am a one-man-band and the help of the designers involved has been greatly appreciated along with the sponsors’ assistance. This year I received the most help I have ever had! Eleven students from LCI Melbourne kindly donated their time, along with their two incredible staff members, and then there was a sponsor budget allowing me for the first time to bring over one assistant.

I’d also like to acknowledge all of our sponsors: Cosentino Australia, Brickworks Building Products, Nau, LCI Melbourne, Kvadrat Maharam, New Volumes, Avion and Max&You. Without their support, this exhibition is not economically possible. Their contributions go directly into the exhibition and with greater support this year in the 4th edition, we were able to raise the bar. We’ve also added elements like the Nau Cafe (with refreshments and quirky Australian snacks), the installation upon entry, and a bespoke soundscape by Mason Mulholland.

Hover your cursor over each photograph for details on designs and designers. You can also find out more information and see the full list of participants here

Local Milan Milan No.4 Milan Design Week Exhibition April 9th to 14th, 10am-7pm Via Cesare Correnti 14 Milan Italy,

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recommendedlisten · 7 years

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The EP is such a fun format to take a deeper look into each year, because it’s like a grab bag of burgeoning artists and established ones who could very well be light years apart on the ladder of success, and yet, both have the same goal in common: To take risks and get a little weird in the music they’re making. Here on Recommended Listen, it’s got plenty of proven success stories behind it, considering the likes of everyone from Girlpool, Moses Sumney, Palehound, Shamir and Vince Staples have all graced this list in the past before going on to outdo their own potential. For the most part, 2017’s selections are the former scenario -- Young artists cutting their teeth with an impressive short-form opening statement (or in one case, two...) that has you looking forward to whatever comes next, but a couple of familiar names managed to keep the bar raised, too. These are the 10 Best EPs of 2017...

10. Ohyeahsumi - Your Friends Are Looking for You [Sports Day Records]

Los Angeles has long been the backdrop of a Hollyweird culture, and Your Friends Are Looking for You, the debut effort by Ohyeahsumi, extracts all of the danger among beauty, and mystery among romance out of the city’s perpetually sunlit sky into the bedroom for an intriguing dark pop affair. Behind its closed door sit Lena and Rena Vernon, an enigmatic pair of teenage twin sisters whose cryptophasia for disturbia throughout its six tracks is utterly entrancing. It the strange kind that has the ability to melt the walls of the room as the listen unfurls and plots hypnotic bass lines, post-punk corners, and spectral keys toeing over sublime sonic warps. While Ohyeahsumi’s debut EP introduces the sisters Vernon as two young artists searching for an identity in darker motifs and hidden diary passages with enough space to grow beyond the realm they’ve witchcrafted here, it sparks just enough questions in their morbid bedroom pop to lead you on to what comes next.

9. Julia Michaels - Nervous System [Republic Records]

Before her 21st birthday, Julia Michaels had already made a name for herself as one of the most recognizable pens writing today’s biggest pop hits for Justin Bieber, Selena Gomez and Demi Lovato. This year, she stepped out on her own with her debut EP Nervous System, putting two shamelessly played-to-death singles on the Hot 100 charts in the hyper self-aware ballad “Issues” and the kinky itch-to-scratch “Uh Huh”. Those aren’t even the best of the seven-track track listen, however, with deep cuts like “Worst In Me” being one of the year’s finest examples of pop songwriting craft altogether. What has separated her from the pop kingdom at large is how her naked emotions, prose, and the soft crackles in her voice are entirely co-dependent on one another while orbiting Michaels’ signature narratives – falling in love, the eventual heartache, and vulnerability as strength – that few of her peers can claim are entirely theirs to own. Nobody in the whole world can own a song and emotion the way Michaels does here.

8. Boy Harsher - Country Girl [Ascetic House]

2017 uncovered a gem hidden between Western Massachusetts’ mounts and valleys with Boy Harsher, the Northampton duo of vocalist Jae Matthews and producer Augustus Muller whose latest collection of spectral ravers capture an oft-chased aesthetic of inhabiting darker spaces without making them feel like they’ve been walked through several times over, or by anyone at all for that matter. On Country Girl, their shadows move through seedy intersections of IDM and a cryptic tension built up by a slow pulse of phasers, corrosive drum beats, and vocalist Jae Matthews’ smokey murmurs. A few flashes of bright bulbs intermittently flash the whereabouts of where Boy Harsher’s decrepit disco has brought you, with it being a dance floor with a dangerous foundation beneath where ecstasy is not necessarily a substance, but rather a brain chemical reaction going off in your body. To release it, they merely have to play on your fears.

7. Weeping Icon - Eyeball Under [Fire Talk / Kanine Records]

An excellent feature in The New York Times this past year told us what most of us already know: That rock music isn’t dead, it’s just ruled by women, and went on to let us eavesdrop on a round table discussion and profile a who’s who list of some of the faces at the forefront of it all. In a perfect world, there’d be more than two dozen names on that list, and the Brooklyn noise punk outfit Weeping Icon – which features members from former and current NYC scene bands ADVAETA, Lutkie, Mantismass, Warcries and Water Temples – would get just due themselves for their debut EP Eyeball Under. Where they demand your attention is in their violence of guitars and lead singer Lani Combier-Kapel ability to channel conversation between furious screams and echos, or wry group harmonies. Weeping Icon’s sound would convincingly play to the scenes of the world’s inner ugliness being burned down into oblivion, and to ensure it, there’s no shortage of fuel for them to add to the fire.

6. Courtship Ritual - Chary [Godmode Music]

Courtship Ritual’s Monica Salazar and bass magician Jared Olmsted are forward-thinking post-punk specters who have created their own lane in the oft-regurgitated realm of the sound by teasing their fingers around sensuality and rhythmic body-to-body thrusts. CHARY moves well beyond what they’ve already conjured behind closed doors, however. The duo still remain inspired by the dark, yet are more playful – albeit, kinkier – in their delivery, and over the course of five tracks, we are given just enough of a taste of their new tantalizing come-ons to satisfy carnal desires immediately. While its full-length predecessor Pith was dense, sticky, and seasonably astute to drop down the sweat-soaked skin of summer, CHARY carries its way into the air with an inviting cool and a lighter curiosity to its imagination. It’s said that to keep the flame burning, you need to be open to trying new things, and here, Courtship Ritual sound like they’re open to any idea of it does just that.

5. Nine Inch Nails - ADD VIOLENCE [The Null Corporation]

ADD VIOLENCE, the second Nine Inch Nails EP in a three-part series that began at the tail of 2016 and will presumably conclude by the time 2017 comes to a close, is held together better than its predecessor Not the Actual Events by the super-charged industrial glitch work from Trent Reznor and Atticus Ross. Here, they have distanced themselves from the spacial soundscaping that permeated its way from their silver screen soundtracking into that listen with a more appropriately designed model to fill the walls of arenas. Any previous kinks in the system have been worked through in its bleeds of clean, cohesive electro pop spirals, ice cold percussion, and white hot guitar rash that brings to mind the dark, dystopian new wave of 2005′s With Teeth. It’s probably by no shear coincidence that this exists during a fever pitch of political unrest as well. Whatever comes after this, ADD VIOLENCE is a monstrous interstitial that in the darkest corners of Nine Inch Nails’ altered zone tends to leave the biggest clue for future directions.

4. House of Feelings - Last Chance [Infinite Best]

In 2017, songwriting chameleon Matty Fasano transformed his part-time radio show and club night gig into a full-on post-apocalyptic dance troupe with House of Feelings. On their debut EP Last Chance, he and his friends provide a fascinating peer into the human condition’s technology-made void as refracted on a disco ball. Featuring YVETTE drummer Dale Eisinger as its producer and engineer, writer Joe Fassler behind its prose, and guest vocals from Shamir, Perfect Pussy’s Meredith Graves, singer and composer Gabrielle Herbst, and music and film critic Kristen Yoonsoo Kim, it’s an amalgamation of house rises, techno rhythms, silk sax, and glitchy synth-pop that plugs itself into the conscious of the past 20 years of New York City’s underground where a dystopian outlook juxtaposes an otherwise ebullient color scheme with meta truth bombs. In spite of the jadedness, Last Chance offers up a more than acceptable consolation prize of dance grooves so clickbaiting that it’s impossible not to let them pull you into their lost world while pushing worldlier anxieties off for another day.

3. Kamasi Washington - The Harmony of Difference [Young Turks]

We have two people to thank for jazz’s reemergence in the pop landscape, and that would be both Kendrick Lamar and Kamasi Washington after the latter helped the former make it cool to explore free compositions within rap and hip-hop realms on 2015′s To Pimp a Butterfly. K. Dot has since moved away from the experiment on his new album DAMN. (although Washington still contributes some strings,) leaving the style to rightfully be celebrated in full by the saxophonist all his own with his Harmony of Difference, his first new music since 2015′s breakout The Epic. It’s a conceptual piece that originally stood alone as a musical installation at the the Whitney Biennial that embraces that notion that diversity is what makes the world beautiful. Washington’s whiplash chaos and big band bang compliment all the colors of humanity and our universal existence perfectly, and while Recommended Listen won’t pose that it’s knowledge of jazz study is beyond a focus on Mingus, it’s still easy to see how Kamasi Washington’s hope is far from being hidden in plain sight.

2. Yaeji - Yaeji [Godmode Music]

You don’t have to be an underground house savant to appreciate Yaeji’s self-titled debut EP, although it certainly helps. The 23-year-old New York City and Seoul-based DJ and producer is blurring lines in the scene between ambient rhythms, energy highs, and evocative vocal pop matter that in 20 minutes contorts the definition of dance and techno music into something that stands far above itself. Ambiguously-defined style cues poured over Kathy Yaeji Lee’s life reflections ultimately mirror the end user’s perception without relegating her own, creating an early contender for one of the year’s best mood-driven listens yet. What’s redeeming about the kaleidoscopic motions and mind bending detours experienced throughout Yaeji pays a great debt to the the fact that a majority of the five tracks included on the EP originally existed in a standout singular sense first, yet compiled into one body, are given a new lease on life when feeding from the same source of energy. Little did we know that this was actually just her 2017 warm-up...

1. Yaeji - EP2 [Godmode Music]

EP2, Yaeji’s second extended play of 2017, is our clearest image yet of the enigmatic persona that she is. Over the span of five new tracks and a rework of Drizzy's “Passionfruit” that bests him at his own game, she evolves beyond a mood-driven dance scene she’s already conquered by shape-shifting her sound around trap beats and surface-level singing in the form of pseudo-raps sung in her custom blend of Korean and English that’s putting her entirely in her own lane. The latter half of the equation especially is becoming her calling card and secret weapon in molding sound around her singing. “Drink I’m Sippin On” and “Raingurl” both rely heavily on the language mash-up to compliment the way her synthetic blueprints engages with the world view of the person creating them, with the former oozing a swaggering machismo, and the latter as caffeinated microbursts. With any less control in intention, it could be misconstrued as novelty, but for this producer, it’s wholly a piece of her outsider identity as a bi-continental artist whose introverted ruminations have transcended headspace and found connection in a positive energy of expression. In 2017, shit was crazy, and for the better, shit was Yaeji.

#best of 2017 #yaeji #kamasi washington #house of feelings #nine inch nails #courtship ritual #weeping icon #boy harsher #ohyeahsumi #julia michaels

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nofomoartworld · 7 years

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Hyperallergic: In Ken Burns’s Vietnam War Documentary, Claims of Objectivity Obscure Patriotic Bias

The Vietnam War, a 10-part, 17-hour PBS documentary directed by Ken Burns and Lynn Novick, pays plenty of dues to all conventional wisdom about the horrors of war. Nearly all the veterans of the conflict interviewed in the series (from both sides) speak of this — the carnage they witnessed, the horrors they suffered, the nightmares they still have. Narrator Peter Coyote recites words like “tragedy” and “senseless” plenty of times. Burns has stated that he sees war as a virus and his film as a “vaccination” against it. But no matter what he, Novick, or the explicit text of their ambitious project claim, the aesthetics betray a more conventional view of their subject matter.

Burns’s various films about American history, including 1990’s The Civil War, 1994’s Baseball, and 2007’s The War, have earned him a reputation as our premier documentarian. His cinematic style has become a template for nonfiction filmmaking (it’s not often that movie artists get a technique popularly named after them). While it may be easy to dismiss his no-frills construction as boring, there is an art to the standard pattern of the documentary and its use of talking heads, archival footage and photos, and explanatory graphics.

Plenty of filmmakers misuse these elements, failing to make their stories compelling or to properly convey the information at hand. This is one reason that some may hold a suspicious view of documentaries, or an instinctive dread of educational films. Burns and Novick are masters of this documentary genre — call it “PBS Standard”— and The Vietnam War is as skillful a showcase of it as one can find, likely to go on to become a canonical example. But anyone looking for a story of the Vietnam War that’s actually new here will find it lacking. Instead, it retreads tired apologia for US atrocities in Vietnam.

“Objectivity” is considered sacrosanct for a good documentary, and Burns is its champion, referring to the presentation of all sides in the conflict as “triangulation,” and asserting it’s the only way to answer the question “What happened?” But objectivity is an illusion. It is always an illusion, of course, but the pretense otherwise is especially insidious here. Plenty of publications have already enumerated the ways in which The Vietnam War misrepresents history to whitewash US actions in the war. Among other things, the show shortchanges the experiences of Vietnamese civilians, presents the US-installed South Vietnam dictator Ngô Đình Diệm as coming out of nowhere, and reports the long-debunked official line on the Gulf of Tonkin incident as fact.

Again and again, critics bring up an early piece of narration as particularly indicative of the series’ ideological shortcomings. Coyote, reading Geoffrey Ward’s script, claims the war was “begun in good faith by decent people out of fateful misunderstandings.” Any evaluation of history not blinkered by patriotism will recognize that statement as false. No matter how much one presents ugly casualty statistics or footage of civilian suffering, the documentary’s insistence on pulling any punch that might make America look too bad obscures the full horror of the history in question.

This skittishness toward the question of whether the US could possibly have been “the bad guy” in the conflict is reflected even in small choices. For instance, there’s the frequent referral to US “involvement” (as opposed to “invasion” or “occupation”) in Vietnam — euphemisms as old as the war itself. The façade of “triangulation” is undermined even more by the mere presence of a narrator. While the interviewees are given license to express whatever opinions they hold, a disembodied voice existing alongside them implies the existence of a parallel and more authoritative narrative — an official version of events the viewer can trust. It exists apart from the people we see, explaining things to us from a position of apparent omniscience. Yet this supposedly reliable narrator is also the source of all the mistruths referred to above.

The score, from Trent Reznor and Atticus Ross, betrays the documentary’s sympathies even more clearly. Scenes dealing with fear of the spreading red tide of communism in the middle of the 20th century are accompanied by ominous music. The same happens whenever the North Vietnamese forces score a win over the Americans. It becomes ever clearer over the course of each episode that, while Burns and Novick have deigned to include North Vietnamese voices in their project, they are present mainly to fill in expositional gaps concerning battles or political shifts or the like. They get to speak, but we are not meant to understand their point of view. They are still the enemy.

Not long after The Vietnam War exonerates the American government as acting in “good faith” when meddling in Vietnam, it executes a sequence which, coming from the PBS Standard, is mildly surprising. Straying from a predictable pattern of straightforward interview/narration/footage, it indulges an artistic flourish: To transition from the first episode’s introduction to the beginning of the history it examines, the documentary literally rewinds the war. Explosions shrink and bombs fly from the ground into the bellies of planes. Antiwar protestors march backward. A bullet withdraws from Nguyễn Văn Lém’s head into Nguyễn Ngọc Loan’s gun. It recalls a passage from Slaughterhouse-Five, or the final scene of Come and See. Entropy is reversed, order is brought to chaos, lives are saved.

Still from Ken Burns’s The Vietnam War

Conceptually, it’s intriguing. But the scene is over in about a minute. The music is as indifferently, generically “intense” as it is during any given battle sequence. There is none of Vonnegut’s melancholy, born from personal experience in war. There’s none of Come and See’s anguish, the sense of attempting to undo history through sheer force of will. It’s nothing but a “cool” transition. The Vietnam War, which took ten years and $30 million (some of which came from Bank of America and David Koch) to make, does almost nothing new with its topic. It can’t say what any number of books, documentaries, articles, or fiction films haven’t already said. There are some interviews with people from whom most Americans might not have heard before. That’s it. It averts its eye from the possibility of America as a historical villain in pursuit of some nebulous “answer” which supposedly exists in the median between divergent viewpoints. How can it elucidate the pain of a historical wound when it noncommittally diffuses experience among so many sides for fear of offending any of them? How can this series be anything but another tool which future lazy teachers will use in lieu of robust lesson plans?

It can’t.

The Vietnam War is streaming on PBS.

The post In Ken Burns’s Vietnam War Documentary, Claims of Objectivity Obscure Patriotic Bias appeared first on Hyperallergic.

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narniakid · 8 years

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Nestled against the barrier wall separating Israel from the Palestinian territories, controversial street artist Banksy has built a fully-functioning hotel, complete with a bar, museum and gallery of politically-charged artworks by the anonymous artist himself.

True to the British artist’s demeanour, The Walled Off Hotel – which was once an old pottery workshop – was developed completely under the radar over 14 months, and even building staff weren’t aware the project was on his behalf.

According to Banksy’s website, “it’s exactly one hundred years since Britain took control of Palestine and started re-arranging the furniture – with chaotic results… the aim [of the hotel] is to tell the story of the wall from every side and give visitors the opportunity to discover it for themselves.”

One of the hotel’s Scenic rooms overlooking the wall, complete with wifi, fridge, personal safe and air conditioning. (Photo: banksy.co.uk)

The hotel was styled with a strong colonial theme, reflecting Britain’s role in the region’s past, and the Piano Lounge is decorated with mounted CCTV cameras. There’s also statues choking on teargas, a painting of Jesus with a laser target on his forehead, and an exhibition dedicated to the 8 metre high wall, featuring art made by Palestinians and Israelis.

There are 4 types of rooms – the Artist, Scenic, Budget and Presidential – all of which have “the worst view of any hotel in the world”, looking onto the graffiti-strewed concrete wall and get just 25 minutes of direct sunlight a day. Prices start at $30 (£25) for the bunk-bed accommodation, and the Presidential suite is “equipped with everything a corrupt head of state would need.”

The luxurious Presidential suite, which accommodates up to 6 visitors, features a library, home cinema, tiki bar, roof garden and a 4-person hot tub. (Photo: banksy.co.uk)

Banksy first came to Bethlehem more than a decade ago, leaving a series of paintings on the barrier that have become a tourist attraction in their own right. Since then, the region’s mostly tourism-fuelled economy has been destroyed by ever-tighter controls on travel between Israel and the Palestinian territories, so The Walled Off Hotel is expected to provide a welcome boost in visitor numbers and jobs, with the facility already employing 45 local staff members.

In a statement on his website, the artist assures people this isn’t a money-making scheme, saying he “paid for the installation costs and has now handed it over as an independent local business. The aim is to break even and put any profits back into local projects.”

The piano lounge is designed around the room’s self-playing piano, providing eerie music against the confronting decor. (Photo: banksy.co.uk)

To kick off the opening celebrations, Banksy enlisted music legend Elton John to play the hotel’s piano remotely, with a few lucky individuals watching the show in the Piano Bar. Every night at 9pm, the pre-programmed piano will play back a concert recorded exclusively for the hotel. Upcoming artists include Trent Reznor and Atticus Ross, Flea and Hans Zimmer.

From today, the piano bar, museum and art gallery are open to non-residents (the general public, people not staying in the hotel) every day from 11am – 7:30pm. The piano bar is open every day to non-residents, serving food and drink from 11am – 10pm.

The hotel opens to guests on 20th March, with bookings via the website. The on-site graffiti supplies store called WallMart also opens on 20th March.

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The Walled Off Hotel: Banksy Opens Dystopian Tourist Attraction In Bethlehem With The “Worst View In The World” Nestled against the barrier wall separating Israel from the Palestinian territories, controversial street artist Banksy has built a fully-functioning hotel, complete with a bar, museum and gallery of politically-charged artworks by the anonymous artist himself.

#art #banksy #bethlehem #elton john #graffiti #holidays #hotel #interior #israel #middle east #palestine #street art #war

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jeremystrele · 6 years

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Rone’s ‘Empire’ Eclipses All That Came Before

Art

by Elle Murrell

Rone’s Empire has taken over Burnham Beeches in Melbourne’s east. Pictured here: The Study. Photo – Rone.

The Street artist has been working on the largely self-funded project for over 12-months. Photo – courtesy of Rone.

The 12 vast zones incorporate Rone’s Jane Doe murals, the muse for which is actress Lily Sullivan who came on-site early in the project’s development. Photo – Rone.

Part exhibition, part installation, part VR and AR experience, Empire combines art, vision, sound, light, botanical design and scent to take audiences on a hauntingly immersive multi-sensory journey. Photo – courtesy of Rone.

‘It’s almost like we’ve discovered a forgotten time capsule and cracked it open for the world to see,’ he says. Photo – Rone.

Interior stylist Carly Spooner of The Establishment Studios was back, after teaming up with Rone for Omega, and has proved integral to the sourcing of items, propping authenticity and the final film-set-like styling. Photo – courtesy of Rone.

The year-long project coincided with the birth of Rone’s first child. Photo – courtesy of Rone.

This grand piano that was left to the elements for several weeks to achieve its aged patina before being transplanted back into the house – moss, leaves and all. Photo – Rone.

No task is too menial for the internationally-acclaimed artist. Photo – courtesy of Rone.

Inside Her Room. It was given the working title of Diana’s Room as it is rumoured Prince Charles and Lady Diana once stayed at Burnham Beeches in its luxury hotel heyday. Photo – courtesy of Rone.

The dedication to seasonality, tonality and historical accuracy is astounding across the vast rooms. Photo – courtesy of Rone.

The experience has been meticulously curated to evoke a distinct series of moods as audiences move from room to room. Photo – Rone.

‘Once I got inside and realised that I had free rein on an entire mansion my mind was blown with ideas of what could be possible. It was quite overwhelming,’ tells Rone. Photo – courtesy of Rone.

Fragments of inspiration came from Johnny Cash’s heart-wrenching Mark Romanek-directed film clip Hurt, (where he covers Nine Inch Nails), but Rone was careful not to dictate the narrative. Photo – courtesy of Rone.

‘I want people to walk in and feel like they can explore the possibilities of what might or might not have happened here,’ he explains. Photo – courtesy of Rone.

The project has now been supported by Visit Victoria and Yarra Ranges Tourism. Photo – Rone.

Built-in 1933 Burnham Beeches was the family home of wealthy industrialist Alfred Nicholas. It later served as a research facility, children’s hospital and luxury hotel until being shuttered in the late 1990s and purchased by current owners, The Vue Group in 2010. Photo – courtesy of Rone.

Rone doesn’t like to cut corners… unless he’s trying to make vintage Chesterfield armchairs appear submerged. ‘That wall is four-and-a-half metres, and that is three-and-a-half metres, and if we have a row of books every 30 centimetres, that’s eight rows,’ the Melbourne-based artist calculates, as we peer into The Study he is creating. Tyrone Wright’s precise project-manager demeanour comes as a bit of a surprise, but it really shouldn’t have. If you’re familiar with his art, it’s clear that the same meticulous, exacting detail applies to both his large-scale murals and the 40-something spreadsheets he’s been coordinating to bring Empire to life.

‘…that comes to 64. So I thought to myself, “OK, go find 64-metres of hardcover books that are the same height”. That’s where I started,’ reflects the artist. It seems an arduous task that someone so internationally-acclaimed might outsource. Nope. Scouring Gumtree and racking up miles around Melbourne, Rone pulled it off. Then he proceeded to paint one of his stunning Jane Doe artworks – this time in the image of actress/’girl-next-door’ beauty Lily Sullivan – on the library of said books, before flooding the entire room to create a captivating reflection. Inspired by a leaking, OH&S-liability ceiling and concept sketch from years ago, The Study is arguably the most ambitious room of the 12 spaces transformed throughout this neglected Art Moderne manor.

Following the wild success of his now-demolished The Omega Project, the artist was invited by past-collaborator Shannon Bennett of the Vue Group to ‘come and check out a place I’ve got up in the hills, maybe you should paint a wall there… it’s empty at the moment’. It was, in fact, the sprawling Burnham Beeches: a glamorous 1933-built home of wealthy industrialist Alfred Nicholas, which later became a research facility, children’s hospital and then a luxury hotel, but has been vacant for decades.

For all the exceptional location’s promise, this was a risky gig, especially as it was self-funded up until some support came through just a few weeks ago. ‘I’d taken a dedicated six-months off before our first baby came, and decided “let’s go for a drive up the hills and look at this place”. When then I saw it and I thought, “well, there goes the next year!”,’ Rone explains. ‘It was a very serious sit-down conversation with my wife as we didn’t know how our life would look after a baby. Yet, it was the most incredible opportunity I’d ever been offered..” could we make it work?” If we could pull it off and at least break even, It would just blow peoples’ minds, and that alone would be worth doing it for!’

On subsequent visits, potential collaborators were equally intrigued and quick to sign on. Interior stylist Carly Spooner of The Establishment Studios was back, after teaming up with Rone for Omega, and has proved integral to the sourcing of items, propping authenticity and the final film-set-like styling. After linking up over Instagram, Wona Bae and Charlie Lawler of Loose Leaf added their botanical sculptures, including an incredible twig-lined hallway, while composer Nick Batterham has scored the scenes, incorporating months of ambient audio recorded in the estate’s gardens. Further elevating this immersive experience, is the bespoke scent design by Kat Snowden and cinematic lighting by John McKissock, along with an area for before-and-after augmented and virtual reality experiences.

As well as bring together the exceptional team to realise his ambitious vision, Rone has done everything from sleuthing second-hand furniture across the city to collecting bundles of branches from around the property, and he’s even been pilfering from the onsite café’s coal ovens to dust the entire installation! If you can look past the transfixing details – epic murals upon aged wallpaper, trees growing through walls, a forgotten Champagne tower or that grand piano that was left outside to weather for weeks – the dedication to seasonality, tonality and historical accuracy is astounding across the vast rooms.

Rone encourages visitors to walk in and explore their own imagined possibilities of what may or may not have happened here. Yet, his own veiled narrative draws on aspects of Johnny Cash’s melancholic music video, Hurt (2002), and the project takes its name from the Trent Reznor lyrics delivered ever so harrowingly: ‘And you could have it all, My empire of dirt’. Standing in His Room, while Her Room is at the far end of the hallway, Rone explains, ‘already they have become separated, maybe he has lost her. I guess the whole concept of Empire is: “I’ll give it all up for you”. Having that realisation about what is really important… It’s not all this material wealth,’ he gestures. ‘You have the feeling that it has all been walked away from, that this grand stuff, without her, is nothing.’

Empire truly is something. Spine-tinglingly unforgettable, it shouldn’t be missed!

Empire by Rone March 6th to April 22nd Burnham Beeches, Sherbrook Road Sherbrooke, Victoria Book for day and night sessions at R-o-n-e.com.

Limited-edition art photographs of Empire, taken by Rone, are available to view and purchase in an on-site gallery. Just like his meticulously documented The Omega Project, which has now toured internationally as a photography and virtual/augmented reality exhibition, he hopes Empire will continue to be experienced into the future and in alternate locations – stay tuned!

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