#linen collection 2019

[homerstroystory]

Looks vs. Loot at the Metropolitan Museum of Art by The Antiquities Coalition (@/CombatLooting) on Twitter

Transcription below the cut

1: The #MetGala may be "fashion's biggest night," but tonight's event hides some dark truths at @/metmuseum...including a long history of looted antiquities. To spotlight some of the contested objects from the Met's collection, we are featuring #MetGala vs. Loot [THREAD]

2. First up: @/KimKardashian in @/Versace at the 2018 #MetGala posing next to the Golden Sarcophagus of Nedjemankh. The coffin was purchased by @/metmuseum in 2017 and repatriated in 2019 after this viral photo helped solve the case. (link)

3. Next, her sister @/KendallJenner in @/givenchy at the 2021 #MetGala as the 13th century wooden Temple Strut with Salabhinka, returned from @/metmuseum to the Government of Nepal in 2022, after it was determined to be looked from Itum Baha in Kathmandu. (link)

4. Another object from Nepal, @/rihanna in @/Margiel at the 2018 #MetGala as a 10th century Shiva in Himalayan Adobe with Ascetics. @/metmuseum was gifted the sculpture in 1995, but repatriated it to Nepal in 2022 along with the temple strut, after learning both were stolen.

5. Dakota Johnson in @/gucci at the 2022 #MetGala as a terracotta kylix (c. 470 bCE). This piece, valued at $1.5 million, was seized from the @/metmuseum in July 2022 after being linked to Italian antiquities trafficker Gianfranco Becchina. (link)

6. @/billieeilish in @/gucci at the 2022 #MetGala as the Fayum Mummy Portrait. Looted from Egypt and sold to @/metmuseum in 2013, it was seized in September '22 by @/ManhattanDA as part of a global investigation into an international trafficking ring. (link)

7. @/iamcardib in @/ThomeBrowne at the 2019 #MetGala as a painted linen fragment displaying a scene from the Book of Exodus, 'Exodus Painting" (250-450 CE), valued at over $1.6 million. The fragments were also part of the seizure by the @/ManhattanDA in September '22.

8. @/Beyonce in @/givenchy at the 2013 #MetGala as a 2,300-year-old vase that depicts the god Dionysus. The vase is linked to Giacomo Medici, an art dealer convicted of conspiracy to traffic antiquities in 2004, and was seized from the @/metmuseum in 2017. (link)

9. @/blakelively in @/Versace at the 2022 #MetGala as a bronze statuette of Jupiter. This object is among 27 antiquities that were returned to Italy and Egypt in 2022 after investigators seized them from the @/metmuseum. (link)

[eddy25960]

Daisy Sims Hilditch (British Artist, born 1991)

"Studio Contre Jour", 2019.

Oil on Linen, 30 × 40 cm.

Private Collection.

[fashionbooksmilano]

Opplöt, röekjol & stubb

Ingela Jacobsson, Åsa Bill -  Photographer  Ylwa Moritz

Trelleborgs Museum, Trelleborgs 2019, 253 pages, Hardcover, Swedish, ISBN 978-91-974405-4-7

euro 68,00

email if you want to buy booksinprogressmilano@yahoo.it

A photo book based on the exhibition of the same name from winter / spring 2018 at Trelleborgs museum. After the second half of the 19th century, after a single shift and incipient industrialization, the traditional clothes of the common people largely disappeared. Those who lived in the country wanted to look just like the people in the cities. There, the workers and craftsmen had quickly adopted a more bourgeois style of dress. The beautiful old costumes, with traces of many centuries of fashion history, were misplaced and fell into oblivion.But soon the pendulum swung in the other direction. The nationalist currents were strong. The bourgeoisie began to crave peasant culture. They picked up garments from the national costume but also recast some of them. The costumes became beautiful, but also aligned in a way they had never been before.In the museums' collections, we clearly see the wonderful variation. Trelleborgs museum owns a large collection of fantastically fine costumes from Söderslätt, with a color and pattern splendor like no other. And with beautiful materials such as linen, wool, silk and sheepskin. In addition, the immense joy of craftsmanship in weaving, sewing, embroidery and knitting.

A fantastic collection of clothes, worn on Söderslätt during the 17th and 19th centuries. A collection that tells of a completely different life, a different attitude to life and of slow changes in fashion. But it also tells us about handfasting and desire, a desire for splendour and beauty. A collection to preserve tenderly for future centuries, but also a story to tell, a knowledge to share with all of us who live in a society that is in every way faster.

23/02/23

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:         @fashionbooksmi

instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

[naturalsciencesbelgium]

Spanish archaeologists made an unusual discovery in southern Egypt: a still undisturbed tomb containing ten mummified crocodiles. Archaeologists from the Royal Belgian Institute of Natural Sciences were able to study the mummies. ‘An extraordinary find’, says archeozoologist Bea De Cupere (RBINS). Ancient Egyptians sacrificed crocodiles during rituals to their god Sobek.

News article on our website

In 2019, archaeologists from the University of Jaén uncovered a tomb containing crocodile mummies in Qubbat al-Hawā, a site near the city of Aswan in southern Egypt. The small rock cut tomb contained five skeletons and five skulls of large crocodiles. It lies next to six other tombs in which dignitaries of the region were buried. They all date from the pre-ptolemaic era, before 304 BC.

The crocodiles may have been used during rituals for the Egyptian god Sobek, the god of water and fertility, often depicted with a crocodile head. Kom Ombo, just 50 kilometres away, was an important centre for crocodile worship. 'More than 20 burial sites with crocodile mummies are known in Egypt, but to find 10 well-preserved crocodile mummies together in an undisturbed tomb is extraordinary,' says Bea De Cupere. 'Of most mummies collected by museums in the late 19th and early 20th centuries, often hatchlings, we don't know exactly where they come from.' The archaeologists at Qubbat al-Hawā found traces of linen, palm leaves and rope, associated with some of the crocodiles, indicating that they had once been wrapped. However, the linen bandages must have rotted away, and the crocodiles weren’t covered with large amounts of pitch or bitumen, which was common in more recent periods. A happy coincidence, as this allowed the researchers to measure and study these specimens thoroughly.

Natural mummification

The smallest crocodile is 1.8 metres long, the largest 3.5 metres. They belong to two different species: the Nile crocodile and the West African crocodile. Remarkably, three skeletons were almost complete, with the other two missing quite a few parts. 'The crocodiles were first buried elsewhere, possibly in sand pits,' says De Cupere. 'This allowed the crocodiles to dry out naturally. Then the remains were unearthed, wrapped and moved to the tomb in Qubbat al-Hawā. Body parts must have been lost during wrapping and transport.'     How did the Egyptians catch these crocodiles? We know from iconography that crocodiles were caught mainly with nets. No slaughter marks have been found on the crocodiles from Qubbat al-Hawā. Possibly the crocodiles were drowned, suffocated or overheated by exposing them to the sun for long periods of time.

Stones in stomach

One crocodile was so well preserved that the gastroliths were still present. These are stones in the intestines that help crocodiles stay balanced in the water. The stones indicate that the crocodile was not cut open to take out the intestines. ‘I'm thrilled that finds like these give us another glimpse into the life of ancient Egyptians’, says De Cupere. The study appeared in the scientific journal PLOS ONE.

[cat-o-lick]

Designed by Thomas Newberry (England, Birmingham 1811-1901). Nineteenth-Century Architectural Model of King Solomon’s Temple in Jerusalem, 1883. Gilded wood, gilded carton pierre; gilded silver, gilded bronze; enamel, linen, 26 x 46 x 48 in. (66 x 117 x 122 cm). The Metropolitan Museum of Art, New York, Gift from Albert Kalimian, in honor of Victoria Kalimian and in memory of Rouhollah Kalimian, 2019 (2019.66.1a–o–.95)

https://www.metmuseum.org/art/collection/search/786829

https://www.metmuseum.org/blogs/metkids/2020/solomons-temple-model-judaica

[mad4india1]

Meet The Fashion Designer Who Uses Fruits & Flowers To Create Natural Dyes & Shows Others How To Dye Their Clothing

Natural Dyes – Were always the plan

Manya Cherabuddi has always had a thing for bright primary colours. There was a time when she would spend hours in her mother’s garden, transfixed by the beauty of the blooms. She had no idea at the time that she would one day employ garden resources in such novel ways to create Natural Dyes.

Manya found solace and creativity in her mother’s well-kept garden since she had always been drawn to producing art with natural elements.

As a child, she was always collecting leaves and flowers. Manya, a natural colorist in her 30s shares that when she was younger, she had no idea that her passion for the outdoors would one day become her career.

Manya didn’t keep the skill to herself and instead began hosting classes on how to create natural dyes and colour fabrics. She has attended over 150 seminars and instructed over 5,300 pupils, both young and old, from all corners of the globe.

Manya, who was born and raised in Hyderabad, attended the University of Virginia and earned a degree in both the arts and business. Before beginning to create natural dyes, she worked for almost six years in several firms. The events leading up to this have very little linearity. But she got her business sense from her parents, who both hailed from entrepreneurial families.

She explains, “I wanted a career where I could merge art and business.”

A new Chapter Begins

Sharing what we got

She made a lot of mistakes, but this way she taught herself. She continues, “I decided to provide seminars because I hoped that doing so would facilitate the education of others.”

Later in 2019, she attended a class on natural dyes at a place called Colour Ashram in Goa, which further solidified her determination to pursue this path professionally.

Throughout the session, she was able to see the topic from a new angle. She learned about the eco-friendliness of natural dyes. People’s usage of chemical colours is bad for the environment and the skin. Most of us don’t give much thought to where the dyes used to dye our linens, curtains, and clothing originate from.

The chemical dyes are damaging to the environment and may cause cancer, but most people don’t have time to stop and think about it. She emphasises that producing natural dyes is a waste-free procedure since even the leftover water can be used to irrigate plants.

Workers in the [chemical dye] sector suffer from health problems, and the area where the dye is manufactured becomes barren and contaminated. She explains that this is a vicious cycle, but that breaking free is attainable with hard work.

Colors permeate our world, from the clothing we wear to the handkerchiefs we carry. It won’t happen overnight, and she know that, but she still think it’s feasible. Since there are natural alternatives, she constantly wonder why people choose to choose those that are loaded with chemicals.

Natural dyes production is a fascinating and entertaining process. And if enough people use it, it can lessen the tremendous amount of pollution and carbon emission that goes into creating chemical dyes,” she adds, adding that although this was first a pastime, she knew she would have a career in it when she had mastered the art form.

In 2020, Manya began offering classes in ecological dyeing under the moniker “Treehouse.”

Natural colours, such as haldi (turmeric) or a flower, may aid in recovery from illness. Yet, working with the colours to create them is a really relaxing procedure. She devised a plan she dubbed “Find Your Calm,” which included activities like producing natural dyes to help people relax. People were understandably worried due to the epidemic, therefore the show went over really well.

Seeing the reactions of everyone around her kept Manya going.

“Visiting the park, gathering flowers, and colouring with loved ones is a popular pastime. All the grownups who attended her classes suddenly felt like youngsters. They would be giddy with delight,” she recalls.

During Holi, she shared the knowledge of how to generate natural colours with others. Manya utilises ingredients found in the kitchen and yard to create her vibrant colours, including turmeric, beetroot, spinach, red cabbage, tomato, and a wide variety of flowers.

If you loved reading this story, you can also check One Innovation At A Time! Meet The Couple Who Recycles 10000 Tonnes of Waste Every Month.

[somediyprojects]

Monkshood stitched by Lisa Boyd. Pattern from the Poison Pixies Collection by Nora Corbet.

“I have a finish! Monkshood stitched on 32 count Isolde linen.  Started 26 December 2019. Finished 21 June 2019.”

[adityarana1687-blog]

Home Bedding Market Size To Reach $172.36 Billion By 2030

The global��home bedding market size is expected to reach USD 172.36 billion by 2030, registering a CAGR of 7.4%from 2024 to 2030, according to a new report by Grand View Research, Inc. The home bedding industry is in a state of flux. Shifting retail models, along with changing consumer preferences, encourage manufacturers to continuously form new strategies to combat the challenges. The overall business arena is undergoing disruption owing to the rapid adoption of online retailing. For instance, in February 2021, Magnolia began offering the complete home textiles collection that includes duvets, shams, and sheet sets in full, queen, king, and California king mattress sizes through its website.

The bedding industry is continuously evolving, with innovative technologies and advancements being introduced to enhance the comfort, durability, and functionality of bedding products. Consumers are also becoming more aware of the importance of quality sleep for their overall health and well-being. Hence, they are looking for bedding products that offer optimal comfort and support. Additionally, the growing concerns about environmental sustainability are driving market growth, with consumers demanding organic bedding options such as organic cotton or bamboo bedding.

The rising need for comfort and luxury, along with an increasing number of houses being purchased or rented every year, drives the growth of the market. Similarly, the demand for organic bedding products along with smart products has also been positively influencing the market. In August 2019, Boll & Branch, which sells sustainably sourced sheets, pillows, mattresses, and towels, raised USD 100 million in strategic investment.

Increased residential expansion across areas, indicating increased house construction and building permits, is expected to revamp Germany’s market growth. According to the Federal Statistical Office (Destatis), the construction of a total of 32,500 dwellings was permitted in Germany in November 2020. Compared with the corresponding period of 2019, this is an increase of 8.9% or 2,700 dwellings.

Manufacturers in the Indian home bedding industry have been implementing a low-cost sourcing strategy and making premium products at extremely low prices. Along with the availability of raw materials at a cheap price, the labor and production costs in the country are also low. The abundant availability of cotton, wool, silk, jute, and handloom further benefits the cost and quality of home textiles and bedding products.

GHCL, a leading manufacturer of home textiles in India, launched a traceable Egyptian cotton bedding brand called Nile Harvest in March 2019. The company has been selling these luxury bedding products mainly in the U.S. and U.K. markets. The company has partnered with Tailorlux GmBH of Germany to use its IntegriTEX technology for the marking and traceability of Egyptian cotton. It is one of the largest manufacturers and exporters of bed sheets, bed linen, comforter sets, and sheet sets in India. 

Home Bedding Market Report Highlights

By type, bed linens held the largest share of around 30% in 2023. This dominance is primarily due to the increasing consumer preference for quality over brands. This has encouraged bedding industry manufacturers to offer new and improved quality products with attractive designs. With the increasing preference for luxury bedding products, companies are focusing on introducing plant-based bed linen that claims to be softer than cotton and provides breathability and moisture control

The Asia Pacific home bedding market accounted for the largest share of over 37% in 2023 and is expected to witness the fastest growth over the forecast period. The regional demand for home bedding products is anticipated to grow due to the increase in the purchasing power of consumers, rising housing constructions, and growing consumer awareness regarding quality as well as organic bedding products

The offline distribution channel segment dominated the market by accounting for 68 share in 2023. This distribution channel is preferred by consumers as it allows them to physically inspect the products, which is particularly important for items like bedding where comfort and quality are key factors

Home Bedding Market Segmentation

Grand View Research has segmented the global home bedding market on the basis of on type, distribution channel, and region:

Home Bedding Type Outlook (Revenue, USD Million; 2018 - 2030)

Bed Linen

Mattress

Pillows

Blankets

Mattress Toppers & Pads

Others

Home Bedding Distribution Channel Outlook (Revenue, USD Million; 2018 - 2030)

Offline

Supermarket/Hypermarket

Specialty Stores

Others

Online

Home Bedding Regional Outlook (Revenue, USD Million; 2018 - 2030)

North America

U.S.

Canada

Mexico

Europe

UK

Germany

France

Italy

Spain

Asia Pacific

China

India

Japan

Australia & New Zealand

South Korea

Central & South America

Brazil

Argentina

Middle East & Africa

UAE

South Africa

List of Key Players in the Home Bedding Market

Acton & Acton Ltd.

American Textile Company

Tempur Sealy International, Inc.

Bombay Dyeing

Casper Sleep Inc.

Beaumont & Brown

Pacific Coast Feather Company

Crane & Canopy Inc.

Peacock Alley

Purple Innovation, Inc

The White Company

Portico New York

[artdesnoires]

Harmonia Rosales (American, born 1984)

https://www.instagram.com/honeiee?igsh=MW9xdm5mZTMwdXRjag==

Yemaya’s Ascension Into The Waters, 2019

Oil on linen

24 x 24 inches

Private collection

Artist statement: “This painting represents the moment when Yemayá gives herself to the waters in order to reach all her children who have been forced into the transatlantic slave trade. The orisha of the Atlantic Ocean sleeps in a dreamlike state, slowly sinking into the watery bosom of a pond. She grasps in her right hand cowrie shells, symbolizing her association with the ocean, while her left hand is plunged below the water’s surface and under her breast. The orisha’s voluptuous body in medium brown tones emphasizes her beauty, embracing her womanhood. During her slumber, she is encircled by luxurious textiles that lend to her convalescence. Flower offerings for Yemayá, such as roses and white poms, dot the waters.”

[happigreens]

Sustainable Furniture: Sabai

Sabai about:

[...] In 2019, [Phantila] Phataraprasit co-founded Sabai—a Thai word that roughly translates to comfortable or relaxed—with business partner and college friend Caitlin Ellen.

[...] “The core of why we wanted to start Sabai is to make sustainable furniture that was accessible to people in our demographic, knowing that we are part of an age group that cares the most about this and wants to purchase according to those values, but are limited by things like budget, lifestyle and convenience,” she says.

Sabai CEO interview:

[Phataraprasit]: [...] We started an Instagram account that served as a great tool to leverage our community to understand what they cared about. When we started the design process, we would always go back to the Instagram community and poll them on, "What do you use your couch for?" "Do you like wide arms?" "Do you like thin arms?" It seems so simple in terms of, obviously, a couch is for sitting, but the insights that we received from that were helpful in informing the design process."

[...] It was definitely difficult for two relatively young women who had never started this type of company before and in a relatively traditional space to find any factory that was willing to work with us and basically take a bet on us. [...] When we finally did find a manufacturer who wanted to work with us, that was amazing, [...], but for us, we [...] had to find the sustainable alternatives to every component of the product so that was definitely a whole process in and of itself.

Sabai Materials blog post:

[...] OEKO-TEX certified hemp fabric is used in our Evergreen slipcovers [...] We wanted to ensure we were using [natural fibers] that uses less water than the cotton and linen options we’ve seen offered.

In place of traditionally used polyester upholstery fiber, we are using a natural fiber material made from a mix of coconut fibers and natural rubber wherever possible. The wooden legs are finished in a water based finish and the frame construction uses a non-toxic, solvent free glue.

[Sabai furniture] are designed to be assembled and disassembled easily with standard hardware and tools. Second, both seating collections are made to be repaired, individual parts can be purchased to replace in case of damage and cushion covers and slipcovers can be replaced to ensure the longevity of the product.

B Corp status of Sabai:

Sabai third-party product review:

[doriangraywinter]

Check out this listing I just added to my Poshmark closet: All Things Mochi Pink Linen Nia Dress Embroidered Ruffle L New.

[bhospicefashion]

Sandro

The ready-to-wear-brand Sandro, known for their casual but elegant streetwear has acknowledge its responsibility towards the environment. Despite not being sustainable yet, the brand has come up with a specific plan. Sandro aims to make by 2025 over 60% of their products eco-responsible. By the end of this year, 80% of their suppliers will be certified. Besides, since 2019 they reduced 20% of their clothing pieces. Furthermore, they permanently removed the usage of animal fur and exotic leathers from their collections. 

Sandro Autumn Winter 2022-2023 Ready-to-Wear

Autumn Winter 2022-2023 Ready-to-Wear

Sandro- Spring Summer 2022 Ready-to-Wear

Spring Summer 2022 Ready-to-Wear

PRODUCTION PROCESS

Production takes place at 110 partner sites in 30 countries, including Portugal, France, Italy, Turkey, China, Serbia, Bulgaria and Tunisia. When selecting partners, we use a process based primarily on the search for technical—sometimes rare—expertise, as well as social and environmental audits.

In addition to the suppliers with whom we've fostered long-standing partnerships, we are constantly looking to strengthen the traceability of our collections to reveal every step of our production chain, right back to the raw material.

Our daily concern is also to produce in a better way, i.e. produce as close as possible to what we need. This is why we've implemented a new set of demand-planning tools in order to better adjust the volumes produced, increase distribution agility and therefore limit the amount of leftover stock at the end of a season.

SUPPLIER AUDITING

The social and environmental compliance policy for our suppliers is based on the following measures:

• All suppliers must sign a code of conduct outlining our requirements in detail.

• When referencing a new supplier, social audits or the social certifications of their manufacturing sites must be collected and reviewed.

• Social and environmental audits must be carried out, whether conducted by Sandro or requested by other companies according to the standards recognised by the SMCP Group (BSCI, Sedex, WRAP, WCA, and the SA8000 for social; ISO 14001, bluesign, STeP by OEKO-TEX for environmental).

THEIR MATERIALS AND HOW TO CARE FOR THEM

The starting point for creating our clothing and accessories is the selection and production of the raw materials used to make them. Upstream of our value chains is also where the most significant part of our sector's environmental impact lies.

We take the greatest care in selecting the materials we use. Our aim is to offer our customers high quality materials—like cotton, linen, viscose, silk, wool and cashmere—which are produced and processed using methods with a reduced environmental impact.

Keen to improve the environmental footprint of the materials making up our creations, we are now focusing our efforts on sourcing the materials we use most in our collections sustainably: organic cotton, Responsible Wool Standard (RWS) certified wool, Leather Working Group (LWG) certified leather and recycled polyester. What's more, 100% of our jeans are treated using a process that uses 95% less water than traditional treatments.

These materials represent a real challenge from an economic and supply perspective. Only available in limited quantities, we do everything we can to ensure their availability by strengthening the partnerships we have with our suppliers.

in 2022: 52% of our men's and women's collections are made using materials and/or manufacturing processes with a lower environmental impact.

2025: 80% of our men's and women's collections will be made using materials and/or manufacturing processes with a lower environmental impact.

THEIR DEFINITION OF A MORE SUSTAINABLE PIECE

At Sandro, a product is considered more sustainable if it respects one or more of these criteria:

- at least 50% of its main material is organic, recycled or meets criteria for preserving ecosystems (forests, pastureland, etc.).

- its denim is treated using eim (environmental impact measuring) technology, saving 95% of water compared to traditional treatment techniques

- the tannery, for leather items, conforms to the best industry practices in terms of water consumption, energy consumption and the use of chemicals.

[longlistshort]

Keith Crowley “Longwood Run (Nocturne)”, 2019, Oil on linen (left) and “Mooring Fields (Twilight)”, 2021 (right)

Kenny Jensen, “I Didn’t Forget You (The Clearing)”, 2023 (left) and “I Didn’t Forget You (Papa’s Van)” 2023 (right)

Alison Tirrell “untitled (It’s all under control)”

Elizabeth Barenis, “The Creek Drank the Cradle”, acrylic on canvas

The Factory is a massive space in the Warehouse Arts District in St. Pete that houses numerous galleries and artist spaces, as well as the Florida Wildlife Corridor Foundation, Museum of Motherhood (MOMMuseum), Fairgrounds St. Pete, and Daddy Kool Records. This past Saturday (10/14/23) was Second Saturday ArtWalk and there was a lot to see. On this page and the ones that follow are some of the highlights.

In Studio B, a temporary gallery space, was the group exhibition Soft Spoken (images above), which included artists Keith Crowley, Kenny Jensen, Alison Tirrell, Elizabeth Barenis, Raheem Fitzgerald, Kate Cummins, and Alfredo Christiano. This show remains on view by appointment with the artists.

In The Factory’s gallery space was the group exhibition Medium (images below).

Oil paintings by Luke Vest

Laurent Waldron "Road Killer", 2023, Latex and acrylic paint, rubber tire and "Last Rodeo" 2023, Acrylic paint, wirebrush frame

At the Florida Wildlife Corridor's gallery space Wild Space is Mickett/Stackhouse Studio's Circle of Water, a collection of paintings, drawings, and video by artists Carol Mickett and Robert Stackhouse continuing their explorations of environmental issues. This exhibition will remain on view until 1/13/24.

(Work by Mickett/Stackhouse Studio- "Mitigation Paintings: Green Shade Oak, Whale Pump, Mangrove Family, Mangrove Sea Wall, Green Swamp, Green Swamp Aqua Feeder, Whale Pump & Plankton, Shade Oak", Watercolor on paper)

About the above by the artists-

Mitigation Paintings further explore the ways in which natural resources can help to remedy and even forestall the damages of climate change. The swamps, whales and trees depicted are all "carbon sink," in other words they absorb CO2, among their other contributions.

Work by Mickett/Stackhouse Studio

At Heiress Gallery is the contemporary ceramics group exhibition Dirt, which includes work from several Tampa Bay artists including Babette Herschberger, Mike Cannata, Molly Duff, and John Byrd. This show is on view until 11/3/23.

Work by Babette Herschberger

Center sculpture Mike Cannata "Environmental Flux 2", 2023, Ceramics, wood, marble, enamel paint, rust; on the right Molly Duff "Lil'Dicki", 2023, Ceramic, yarn, steel

Mike Cannata, "Environmental Flux 3",2023, Ceramic, enamel paint

John Byrd "Memory Jug for Devotion and Dereliction", 2020, Ceramic, wood, mixed media

Two artists with studios in the building were showing work- Kate Cummins and Jason Hackenwerth. Hackenwerth also curated the Studio B show which has a piece by Cummins included.

Work above by Kate Cummins

Two works from Jason Hackenwerth's exhibition "Pilgrimage"

Finally, a recent addition to The Factory’s spaces- The Museum of Motherhood or MoM Museum.

(Work by Amy Wolf outside Museum of Motherhood)

About the museum from their website-

MoM is the first and only exhibition and education center devoted to the art, science, and herstory of women, m/others, and families inclusive of all reproductive identities. We celebrate the work of mothers and counter narratives that have kept women less visible while educating future generations. The Museum of Motherhood is empowering women and mothers to take their rightful place in the museum world.

MoM is a living museum. We grow, evolve, and transform according to YOU – our members, volunteers, and partners. That is why we encourage great conversations, support thought-provoking exhibits, and offer resources for people to engage in activities centered around identity and culture in a safe and inclusive environment. MoM encourages a deeper understanding of the labor and investment made by those birthing and raising the next generation as well as serving to deconstruct dominant stereotypes in order to increase our overall understanding of the family experience. We are awesomely made!

MoM creates, produces, and presents visual, literary, educational, academic, and performing arts exhibits and education that celebrate, nurture and support individuals with a special emphasis on identity, experience, and community. We keep abreast of changing birth technologies and give voice to a mom-made art movement through our actions while focusing on the social, psychological, physical, and economic realities embedded in these experiences. MoM connects students, women, men, m/others and families through reproductive identity, music, art, activism, and education for cultural, economic, and social awareness. MoM acts as a safe space for healing, inspiration, and illumination.

The current featured artist is Amy Wolf, who recently created work for Dunedin Fine Art Center’s 17th Annual Wearable ART runway fashion show.

Work above by Amy Wolf

[cast200x]

Studio Project 2: Self-Directed Research

Artist Research

Francesco Clemente

Often classified as a Neo-Expressionist, Francesco Clemente makes rich gouache paintings and pastel drawings that range from distorted portraits to dreamlike scenes of violence and eroticism. Throughout his strange figurations, Clemente depicts corporeal details such as mutilated limbs, floating eyes, and intertwined bodies with a surrealistic detachment and sense of sublime symbology: Clemente, who splits his time between New York and Varanasi, India, is particularly inspired by Indian mysticism, art, and culture. The artist has exhibited in New York, Milan, Rome, London, Amsterdam, Madrid, and Zürich. Clemente’s work has sold for up to six figures on the secondary market and belongs in the collections of the Art Institute of Chicago, the Centre Pompidou, the Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Rubell Museum, the Stedelijk Museum, and the Tate.

Air, 2021

Watercolor on paper

60 × 80 in | 152.4 × 203.2 cm

Air, 2007

Twenty-seven color Ukiyo-e woodcut hand-printed from 21 woodblocks

24 × 18 in | 61 × 45.7 cm

Edition 1/51

Inka Essenhigh

Inka Essenhigh (b. 1969, Bellefonte, PA) received her Master of Fine Arts from School of Visual Arts, New York, NY and her Bachelor of Fine Arts from Columbus College of Art & Design, Columbus, OH.

Inka Essenhigh, "Bleeding Hearts" (2021), Enamel on semi-rigid canvas, 121.9 x 96.5 cm, 48 x 38 in

Inka Essenhigh, Blue Field, 2021

Inka Essenhigh, Purple Pods, 2019, Enamel on canvas, 34 x 32 inches

She paints a fluid, dreamy, fantasy landscape of animated, human-like trees and biomorphic beings – almost always women – veering towards a narrative art.

Chris Ofili

Introduction Christopher Ofili, (born 10 October 1968) is a British painter who is best known for his paintings incorporating elephant dung. He was Turner Prize-winner and one of the Young British Artists. Since 2005, Ofili has been living and working in Trinidad and Tobago, where he currently resides in the city of Port of Spain. He also has lived and worked in London and Brooklyn. Ofili has utilized resin, beads, oil paint, glitter, lumps of elephant dung and cut-outs from pornographic magazines as painting elements. His work has been classified as "punk art." WikidataQ1077608

Chris Ofili, The Great Beauty, 2020-2023, oil and charcoal on linen, 200 x 310 cm, 78 3:4 x 122 in © Chris Ofili. Courtesy the artist and Victoria Miro

"The Seven Deadly Sins are paintings in constant transition: between surface and depth, figure and foliage, light and dark; between mythology and religion, the sacred and profane."

"Nicholas Serota, who recently retired from his twenty-nine-year reign at the Tate, told me that Doig’s paintings “have a kind of mythic quality that’s both ancient and very, very modern. They seem to capture a contemporary sense of anxiety and melancholy and uncertainty. Lately, he’s gone more toward the sort of darkness we associate with Goya.”

"Ornamentation and visual excess have always featured in Ofili’s art"

Almost medieval … Chris Ofili, Requiem, 2023 (detail) commissioned for Tate Britain’s north staircase. Photograph: Thierry Bal/© Chris Ofili. Courtesy the artist

Emily Eleveth

Emily Eveleth is widely known for her paintings of jelly doughnuts. In fact, The Boston Globe wrote about this fascination in a 2008 article called “It’s time to paint the doughnuts.” She has had over 20 solo shows in museums and galleries on the East Coast, and received masters’ degrees from Smith College and the Massachusetts College of Art.

Spanning the boundaries between portrait, landscape, and object of projected desire, Emily Eveleth’s paintings form a genre unto themselves. Her ongoing series of paintings of doughnuts invests this unlikely subject with unexpected presence and identity. "Eveleth's paintings restlessly shift across a spectrum of meanings, covering along the way all the distances between opposing significances; prosaic and profound, profane and sacred, banal and intriguing, to say nothing of the axis between cool asexuality and gushing, if veiled, sexuality." *

In her concurrent series of figurative images lone figures stand in enigmatic isolation. Lost in private worlds the figures "seem to invite the viewer's gaze, acknowledge it, and then absorb it, folding it into their own particular dramas." ** These figurative projections of doubt and uncertainty appear paradoxical to their central declarative placement and openness. The dramatic lighting's interdependence on the rich enveloping darkness allows the figures to simultaneously emerge from and be enveloped by the inky space, projecting a quiet vulnerability.

Rashid Johnson

My works for the self-directed project depict a series of nightmares stemming from pain, anxiety, trauma, and several other mental health disorders. With the use of Vanitas Symbolism – the kind of painting that was popularised in the 17th century, often featuring still-life arrangements, including fruits, flowers, and other objects as symbols of the transience of life and the inevitability of death, I incorporate symbols of decay, such as wilting flowers or rotting fruits to convey the idea that even the most beautiful and vibrant aspects of life are subject to decay and eventual demise, suggesting a connection to human anguish and the fragility of existence. Moreover, I place decaying or withering fruits or flowers alongside depictions of human suffering or anguish to create a parallel between the ephemeral beauty of nature and the transient nature of human existence. The alignment between the fragile blooms and the sombre or distressed subject matter can evoke feelings of sorrow, mortality, or the fleeting nature of happiness. Plus, fruits and flowers are used metaphorically to represent human emotions and experiences. The work depicting a wilting flower or a bruised fruit symbolises a person's fading or wounded spirit undergoing emotional distress or pain. Similarly, an arrangement of fruits cut open or damaged serves as a metaphor for a human subject's inner turmoil or vulnerability. In terms of the colour palette, the one chosen for the fruits and flowers in a painting contributes to the depiction of human anguish. Dark, muted, or desaturated colours are used to represent sadness, despair, or suffering, while various parts are depicted with sharp contrasts between vibrant and sombre hues can create a sense of tension or conflict.

Georgia O'Keeffe: Known for her large-scale close-up floral paintings, Georgia O'Keeffe often explored the sensual and symbolic qualities of flowers. While her works are not explicitly focused on human suffering, they often evoke a sense of introspection, vulnerability, and emotional depth. Her magnified flower paintings, such as "Black Iris" or "Calla Lily Series," can be interpreted as metaphors for the human experience, including anguish and desire.

Mind Vomit

‘This represents the daily conversation within my mind. Anxious thoughts, depressive thoughts, sub-thoughts, thoughts about the thoughts, a constant critical commentary and a tornado of darkness, numbness and complete inner turmoil.’

Goya’s disasters of War

Jake & Dinos Chapman

destroyed bodies | Otto Dix

George Grosz

[things-to-do-nashvilletn]

Nashville, TN, Entertainment And Culinary Scene

Nashville, the capital of Tennessee, is renowned for its country music, entertainment, and culinary scene. As the 24th most populous city in the US, it offers a variety of entertainment options for residents and tourists. Nashville has a rich history with record labels and venues like the Grand Ole Opry hosting the longest-running live radio show. The city has created its own subgenre, "The Nashville Sound," featuring sophisticated string arrangements and backing choruses. Nashville's culinary scene is also noteworthy, with the 'Nashville hot chicken' dish being a must-try. The city is ranked as the 13th "snobbiest" in America by Travel + Leisure magazine. Nashville is a beautiful city. 

Apartments for rent in Nashville

Vertis Green Hills is the No.1 apartment for rent in Nashville. These apartment units are fully furnished with a beautiful nature background. It's conveniently located near Downtown Nashville. The apartments come with daily necessities like linens, bedding, and dishware and are equipped with access-controlled entry and a concierge team. With over 85,000 sqft of dining, shopping, and wellness are available in one place. Vertis Green Hills is a social and serene community with scenic views and inviting amenities like a level 12 sky deck. The community is perfect for jogging in the fitness studio, working in the business center, or relaxing in the resident lounge, so whether you need a furnished studio, one, and two-bedroom, Vertis Green Hills has availability today. For more information, (615) 640-1595. 

Nashville Zoo at Grassmere

The Nashville Zoo at Grassmere is a popular destination for visitors due to its vast collection of over 3,500 animals representing over 400 species. The zoo is a leader in conservation and research, dedicated to saving endangered species and protecting their habitats. It offers a fun and educational experience for all ages, with activities for children and adults. The zoo is located on 188 acres of land, offering stunning views of the surrounding countryside. Visitors can learn about animals and their natural habitats through educational exhibits and programs. It's perfect for families and children always enjoy it because they love animals. When you visit, enjoy some attractions, including a behind-the-scenes tour of the zoo's conservation programs, a petting zoo where visitors can interact with animals like goats, sheep, and pigs, and a train ride to see the animals from a different perspective. Also, enjoy the scenery. 

Tennessee Serves - Maria Lee survives cancer and serves 

Maria Lee, the First Lady of Tennessee, has been involved in her initiative, Tennessee Serves, for almost 15 years. Lee's main focus is supporting him and his work as Bill's wife. She travels the state with him and goes on business trips whenever possible. Lee and her team launched Tennessee Serves in 2019, focusing on various groups and needs, such as first responders, senior citizens, the homeless, and foster children. The initiative encourages people to engage with nonprofits in their community, as government is not the answer to the most significant challenges. Lee believes that when people engage with nonprofits, it changes their community and improves people's lives. Read more. 

Link to maps

Nashville Zoo at Grassmere 3777 Nolensville Pk, Nashville, TN 37211, United States Take Zoo Rd to US-31 ALT N/US-41A N/Nolensville Rd/Nolensville Pk 3 min (0.5 mi) Continue on US-31 ALT N/US-41A N/Nolensville Pk to your destination 16 min (7.9 mi) Turn left Destination will be on the left 25 sec (154 ft) Vertis Green Hills 4000 Hillsboro Pike, Nashville, TN 37215, United States

[nexthlive]

NEXTH Season 4: The best is yet to come. [https://nexth.city/runway] [https://nexthchic.live/]

LIFESTYLE - [NexthChic] 128. Designer Kwame Adusei's Beverly Hills store sparks fashion frenzy!

Ghanaian-born designer Nana Kwame Adusei makes a grand entrance into Beverly Hills with his new store at 468 N Doheny Drive. Taking over a former M+B art gallery space on July 1, the light-filled store showcases Adusei's artistic vision. The centerpiece of the store is a captivating display of four tulle garments, each resembling a light sculpture. With extravagant sizing and ethereal designs, Adusei's store promises a unique and immersive fashion experience in the heart of Beverly Hills.

Originally hailing from Ghana, Adusei initially aspired to be a basketball player. However, due to the high costs associated with schools, he shifted his focus to fashion. He ventured into modeling, studied the fundamentals of fashion, and discovered his passion for designing. This led him to establish his first brand, Charlotte Privé, which specialized in linen garments. Adusei proudly showcased his creations in his two stores located in Ghana, marking the beginning of his fashion career.

In 2019, Adusei made the bold decision to leave his native Ghana and pursue opportunities in the United States. Reflecting on his journey, Adusei explained that Ghana, being a small country, didn't fully embrace the titles of "designer" or "artist." Inspired by renowned designers like Tom Ford and Karl Lagerfeld, who achieved success after leaving their home countries, Adusei sought a new challenge. He dreamt of making his mark and chose the United States as the destination to fulfill his aspirations in the fashion industry.

Initially setting up a small atelier in Downtown LA, Adusei started producing his first designs and witnessed a surge in orders. The rapid growth fueled his decision to open a boutique in the prestigious Beverly Hills area. Adusei's boutique showcased a stunning array of creations. From jumpsuits, pants, and jackets in waxed denim to short leather skirts and elegant black evening dresses, his collection exuded a blend of chic and sexy aesthetics. The designs included cropped biker and moto jackets, oversized jackets and pants, all curated from locally sourced fabrics. Adusei was committed to sustainability, often purchasing materials from dead stocks of fabrics, giving them new life and reducing waste.

The garments possessed a distinct quality, resonating with sound, texture, and life. Comfort was a priority, as Adusei aimed to create fashion that felt comfortable to wear. The racks of his boutique proudly displayed a fusion of style, sensuality, and fabric richness, offering customers an exceptional and carefully crafted fashion experience.

"My brand doesn't necessarily focus on color and doesn't conform to the stereotypes of African fashion with vibrant prints that don't truly represent African people," emphasized Adusei. "However, my designs draw inspiration from African body types. Africa is not defined by skin color, but rather by the diversity of body structures and shapes, much like Asian body types. That's who we are. Africa is about curves and beautiful silhouettes. My aim is to create unique fashion for unique individuals, regardless of their gender. It's important to remember that before colonization, African fashion was genderless, and that's the legacy I'm interested in preserving."

Adusei presented his Summer/Spring 2023 collection in New York in September 2022 and anticipates participation in the upcoming LA Fashion Week in October 2023.