#katja hammond | Explore Tumblr posts and blogs

shakespeareblog · 7 years ago

Text

Graphic Shakespeare Competition - Faye’s Research (Woop!)

Elsinore Conference 2016. Shakespeare – The Next 400 Years

A bit of history, cause it makes me feel like I’ve done more work. So basically in April of 2016 (Also the 400th anniversary of Shakespeare’s death), a three day conference/festival was held at Kronborg Castle, Helsingør, in Denmark (where Shakespeare’s Hamlet is set) to discuss and debate the legacy and future of Shakespeare’s work.

It was at this international conference that the ‘Graphic Shakespeare’ competition debuted in April 2016. The competition is run as a partnership between Teesside University, in England and the University of Tsukuba, in Japan.

The Judges were:

Paul Gravett: Comics, graphic novels and manga since 1981. http://paulgravett.com/

Paolo Fabregas: Author/artist of the graphic novel, The Filipino Heroes League. Book 1 was a best-seller when launched in 2011. Book 2 was a finalist in the Philippines National Book Awards for “Best Graphic Novel” in 2014.https://www.linkedin.com/in/paolo-fabregas-79002254

Yukari Shiina: Japanese agent to represent non-Japanese manga artists for Japanese manga publishers / translater / researcher on manga outside Japan. https://twitter.com/ceena_?lang=en

Competition Convener

Yukari Yoshihara (U. of Tsukuba, Japan): Japanese Go professional(?). http://www.yukari.gr.jp/sub01.html

--------

---------

----------

Graphic Shakespeare Competition

I decided to look up the comics from the Graphic Shakespeare Competition for my research and it was really fecking annoying cause the Teesside website for the competition said the winner was Kathryn Briggs but it didn’t have any links to the work or anything. There was a link at the bottom for a Graphic Shakespeare Tumblr but that lead to an old one from 2015 with no new posted since: https://graphicshakespeare.tumblr.com/

Did a bit of googling and found the real Tumblr: https://elsinoregraphicshakespeare.tumblr.com/ I scrolled through the whole thing trying to find the Kathryn Briggs’ entry but it didn’t have it on there (I checked twice).

Next I went to Kathryn Briggs twitter and scrolled through all her pictures all the way back to 2016 for about 10 mins, I didn’t find it there either… https://twitter.com/withryn/media

I finally managed to find one page of Kathryn Briggs’s work posted by her husband(?). Here it is:

I think the panelling is interesting, it’s very linear and sets the pace for a serious tone. I like how the 2nd 4th and 6th panel are of scenery that slowly gets closer and more detailed, while the other three panels show three different women saying a line each. The usage of only one colour and the black and white shading add to the atmosphere.

After giving up finding more pages from the winner and runners up, I decided to just pick a few at random. Let’s look at some other entries!

The Merchant of Venice – Illustrated by Leah Yael Levy

This comic is very pretty with its beautiful colour schemes and starry sky, the usage of light and dark is also very nice adding a magical feel to the comic; however the problem with this comic is immediately seen, the text is almost illegible and that’s not just my dyslexia talking.

Link: https://elsinoregraphicshakespeare.tumblr.com/post/141886426514

Romeo and Juliet, Act 2 Scene 2 - Illustrated by Jackoburra (Katja Hammond)

I personally really like the look and feel of this entry as it focuses more on bring life and character to the bland personalities of Romeo and Juliet from the original (of course that’s my personal opinion). The expression of the Juliet are meaningful and cute, with the shading of the background and characters also done very well. The only thing that bothers me in this comic is words as I feel seriousness and compilation of the words don’t match the childlikeness of the illustrations. But maybe that’s my dyslexia talking again.

Link: https://elsinoregraphicshakespeare.tumblr.com/post/142200692849/jackoburra-this-is-my-entry-to-the-graphic

Macbeth Act I Scene III - Illustrated by Jaime Huxtable

A nice modern day, child version of the story. It’s a pretty cool idea and the wording in this one doesn’t bother me as much funny enough cause its kids speaking and children say all sorts of weird shit. The character designs are cute and coloured with brighter colours; while the background is made up of fairly muted and earthy tones which ends up reminding me of my own childhood playing in murky England.

Link: https://elsinoregraphicshakespeare.tumblr.com/post/142584012299/jaime-huxtable-macbeth-act-i-scene-iii-graphic?is_highlighted_post=1

--------

---------

----------

Okay, So I just found out that there are two winners and the other winner was Letty Wilson’s ‘Park Witches’ (based on Macbeth).

This ones really cool, the colours of the page work well and it’s really easy to read. The designs of the three witches contrast each other nicely both in colours and looks; they each have something unique to their character e.g. eyes on knees and covered face, blood red body with curdling smile and neon yellow with dark clothes and skin. I also like how the artist has used the ducks and geese to cover up more of the wordy dialog, the reader doesn’t need to see that dialog so why waste their time and interrupt the flow of the comic.

I like this one, the whole comic flows very nicely and is pleasing to look at.

Link: https://elsinoregraphicshakespeare.tumblr.com/post/141742479964/adaptation-of-macbeth-act

--------

---------

----------

Other Research Links:

https://elsinoregraphicshakespeare.tumblr.com/

https://www.tees.ac.uk/elsinore/

https://www.tees.ac.uk/schools/scm/news_story.cfm?story_id=6632&link=true&this_issue_title=August%202017&this_issue=291

http://asianshakespeare2018.com/graphic-shakespeare/

0 notes

nofomoartworld · 8 years ago

Text

Hyperallergic: Existential Musings from Nashville’s New Hybrid Museum Hotel

Katja Loher, “Butterfly Rainbowmaker” (2016), acrylic, projector, media player and speaker (all photos by the author for Hyperallergic)

NASHVILLE — The 21c Museum Hotel chain represents a new model for art in the public sphere. The flagship location opened in Louisville, Kentucky, just 11 years ago and has since expanded to six operating locations in Southern-Midwestern population centers like Cincinnati, Ohio; Durham, North Carolina; and Lexington, Kentucky, with the newest addition slated to open in Nashville, Tennessee, by mid-May. With the developing location comes a fresh opportunity for 21c to introduce a new community to its unique approach to contemporary art.

“We’re a hybrid, but still, what is it?” said Chief Curator and Museum Director Alice Gray Stites, who took a break from installing the inaugural exhibition in Nashville, Truth or Dare: A Reality Show, to speak with Hyperallergic. “It’s very hard to understand until you come here. So we want to use the inaugural exhibitions to express something that’s really seminal to the character of the whole organization and what it wants to do.”

Leandro Erlich, “La Vitrina Cloud Collection (Venice)” (2011), wood, glass, acrylic

Stites has worked with 21c since its inception, first as an independent curator and eventually as the leader of a dedicated museum team when the flagship branched into multiple locations, developing the collection of some 2,500 art objects with co-founders and contemporary art enthusiasts Laura Lee Brown and Steve Wilson.

Pedro Reyes (Mexican, 1972), “Lady Liberty (as Trojan horse)” (2016), Ed. 1/3 + 1AP wood, on display in the sub-level gallery

“One of the goals has always been to expand the audience for contemporary art and to erase what have been the traditional boundaries, whether those are physical boundaries or the imaginary boundaries of the velvet rope or the grand processional,” said Stites, “not to mention the ticket or membership price that also keeps people out. So we can collapse those boundaries by making space that’s publically accessible twenty-four hours a day, seven days a week, by educating our entire staff to share their knowledge and passion about art with the public, by continually presenting exhibitions.”

After a stay at the 21c’s Cincinnati location during the 2016 FotoFocus Biennial, I was familiar with some of the practices of the museum hotel, including their iconic penguin mascots, whose location-specific color scheme is matched to the custom cotton candy that’s served with the check at their onsite restaurants. At risk of damaging my credibility as a person who values principles over material comforts, I admit that I do like a fancy hotel getaway now and then, and, like everyone else, I do what I can to live my best life on Instagram.

Vibha Galhotra ((Chandigarh, Punjab) Indian, 1978–) “Earth 1978” (2015), nickel-coated ghungroos, fabric, polyurethane coat, on display in the corridor outside the museum-side entrance to Gray & Dudley

Beth Cavener Stichter, “The Sanguine” (2010), stoneware, one in a series based on the four humors, among numerous works by Stichter on display within the restaurant, Gray & Dudley

What unexpectedly emerged, however, was a legitimate existential crisis about the nature of the relationship between museum and hotel. Because, as of my visit, the 21c Museum Hotel in Nashville was not completely finished. There were many things a hotel requires already in place: walls, a restaurant, furnishings, an elevator, and a small village of contractors, service professionals, maintenance staff, and art handlers working as hard as possible to hit the line on opening day. But there were also many things not quite in place yet, like a functioning lobby, television service, in-room amenities, and more than one working elevator. Dozens of pieces in the inaugural exhibition had been installed upon my arrival, some two weeks before the official opening; many still were not. This presents something of a conundrum in terms of my ability to accurately reflect the aesthetics or intentions of the finished exhibition: I find myself unable to offer more than evaluation or appreciation for those individual works that I was able to see. However, as a person with a healthy curiosity about the workings of the world — not to mention one to whom it is typically a high priority to present a finished product — it was fascinating to see the work that goes into an environment that is usually presented as a seamless experience, and to get to know some of the people behind the process.

Artist Sebastiaan Bremer, in the process of installing a custom guest suite, within which visitors will be able to listen to records and make live recordings of their own. Bremer has an ongoing relationship with 21c, with other works included in their collection.

The museum side of 21c is supported by the hotel and restaurant revenue, and as such, Stites has created a scrappy and efficient team. Based in Louisville, the overarching museum management includes Director of Museum Operations Eli Meiners and Registrar Deanna Taylor, as well as site-based museum managers for each of the locations — in Nashville, this is Brian Downey, who left his position as Director of Exhibitions & Associate Curator at Cheekwood Botanical Gardens and Museum of Art to throw in with 21c. The art team is a convivial, fraternal bunch, with all hands on deck to help prepare for the new location rollout.

“Nashville has great museums, great contemporary art galleries,” said Downey, taking a brief aside from installation to speak with Hyperallergic. “But I think it’s very exciting that Nashville now has a museum that’s devoted strictly to contemporary art.” As operations get underway here, it will be among Downey’s responsibilities to schedule site-specific programming that is responsive to the needs and interests of the location, such as the popular film screening series at 21c Lexington, the brainchild of Museum Manager Alex Brooks.

Peter Sarkisian (1965–), “Puddle 9” (2002), video projection and mixed media, DVD on projector, on display in the second floor corridor.

Still from Mulas (2014), by Miquel Angel Rios, one-channel video with stereo sound, runtime 6:25, on display in the first-floor video lounge.

“All the 21cs have community partners and do programming, whether it’s poetry or film screenings, hosting events that would be a good tie-in with what we do here,” said Downey. “We’re always looking for more opportunities like that, and to bring that programming to Nashville.”

“I find 21c’s greatest gift is that of accessibility,” said Meiners, in a follow-up email interview. Meiners has worked for 21c for five years, having come to the position from the Cincinnati Art Museum. “As citizens of a smaller city like Cincinnati, we would never have a chance to gain access to works like those in the shows we put together. Our model gives us the flexibility to bring the zeitgeist to smaller cities. And we don’t keep bankers’ hours, so you can literally come and see the exhibitions when it is convenient for you.”

Carlos Garaicoa ((Havana) Cuban, 1967–), “El Mapa del Viajero II” (2005), detail view, 680 metal pushpins and 100 pieces of paper

Oliver Laric (Austrian, 1981–), “Versions” (2010), polyurethane

Indeed, the greatest question that arose was, when it comes to the 21c Museum Hotel, where does the art end and the hotel begin? As 21c has defined itself as a museum hotel, does that make the hotel experience nearly as important as the art itself? These are the kind of existential musings that arise in the mind of an arts writer when she does not have cable television in her hotel room — let alone the 21c art channel, which greets visitors as the default channel setting, and which I confess I was very much looking forward to watching. The experience of getting to watch video art in bed is an unparalleled luxury.

Brian Dettmer ((Chicago, IL) American, 1976–), “Funk & Wag” (2016), detail view, hardcover books, acrylic varnish

Daniele Papuli ((Maglie) Italian, 1971–), “Centrica” (2016), detail view, hand-cut paper

Certainly the art does not stop in the corridor or the lobby, which is outfitted with commissioned artworks and selections from the 21c collection. Nor in the elevator, which, I’m told, will eventually run video art segments, nor in the upper-floor corridors, which will showcase the work of Nashville artists, nor even in the rooms themselves, which feature photographs from annual trips made by Laura Lee Brown (who paints and takes photographs, in addition to being one of the co-founding partners). So it became complicated for me to try to decide how much of a museum hotel should be part of an art review. But in a way, this is the essence of the 21c mission: to dissolve the distinction between art places and life places.

The author takes herself on, with Trong Gia Nguyen’s interactive work “Win Win (Flamingo’s Dream)” (2015), acrylic paint, vinyl, wood, and mirror

Jane Hammond ((Bridgeport, CT) American, 1950–) “All Souls (Bielawa)” (2006), detail view, gouache, acrylic paint, organza, mica, and metal leaf on assorted handmade papers with graphite, colored pencil, archival digital prints, and horsehair

“It’s a humanist perspective on contemporary art,” said Stites of 21c’s collection. “It’s about the human experience, both lived and dreamed in the twenty-first century — so, very much contemporary, but very much about what people are experiencing. The founders were driven to collect art and to create 21c largely because they’re very curious people, and I think curiosity is an important quality for everyone to have, but particularly today, with our dearth of empathy for others. When you’re curious about others, you’re much more likely to think about walking in their shoes.”

21c Nashville is taking its first steps into the scene, and like all first steps, things are a little wobbly. But if the other 21c locations are a telling precedent, it will soon hit its stride.

Truth or Dare: A Reality Show at the 21c Museum Hotel, Nashville is slated to open on May 9.

Editor’s note: The 21c Museum Hotel in Nashville paid for the author’s accommodations and travel expenses.

The post Existential Musings from Nashville’s New Hybrid Museum Hotel appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2p4W2LQ via IFTTT

#IFTTT #Hyperallergic

0 notes