#ofartists

[gnalat800west]

Art and Creativity

Where Imagination Rules.

ART & CREATIVITY

Where Imagination Rules!

Greater Norristown Art Camp starts the week of June 19. This winter weather started us thinking about summer camp and GNAL is busy preparing for the warmer months with our SUMMER ART CAMP. We are looking forward to sharing the beautiful summer and makingspecial memories with you! Our hands-on classes are held in our cozy schoolhouse located right in the heart of Montgomery County. It's warm,inviting, and safe atmosphere is the most lovely place to learn, for both kids and adults.

Our art camp opens-up a whole world of possibilities for your children. It allows kids ages 7 to 14 years to explore and grow their imaginativespirit. We must admit that what truly makes the camp special is our fantastic instructor, Diane DiRogatis.

Diane is a certified art educator, having taught both elementary and high school art. She has a unique talent for bringing- out the children'sinnate talent in a fun and comfortable environment. Having run the program for several years, she knows exactly what works. Diane has a funpacked summer planned with loads of artwork to be created! In fact, we have a new week theme titled Hidden Treasures with lots of X marksthe spot ideas. Camp activities include hands-on art projects such painting, sculpting with clay, drawing and 3-D projects. Art supplies are included and the building is even air conditioned! Just bring your own lunch, drink and beach towel.

The program will run for 8 weeks from June 19 to August18. Each week Diane will focuson a particular theme keeping project ideas fresh, new, and exciting. Each Friday concludesyour week of fun with a spectacular Art Show andreception for family and friends.For those of you who arefamiliar with our program, youwill be happy to learn that thisyear's camp is extended by anhour, so instead of 10 to 2 pm ournew hours will be 10 am to 3 pm.

To join in on the fun, sign your children up for one or more weeks throughout the summer.You can register your child at www.gnal800west.org/summer-camp. If you have any questions about registration, email gnartleague@gmail.com with a subject line of SummerCamp.

Please go to www.gnal800west.org right nowand become a family member.

Imagination will open-up a wholeworld of possibilities for both youand your children. Summer is theperfect time to embrace yourcreative side. This summer, weare offering a variety of new,innovative virtual and liveprogramming that will fit just about anyone's creative needs.We offer

GNAL was founded in 1941 and offers art instruction for both adults and children in ourone-room convertedschoolhouse.

Although we have a smallfootprint, we know that wehave a big impact on our community. At GNAL webelieve art is therapeutic tomind, body, and spirit, beneficial to all regardless ofartistic abilities. We areconveniently located at 800Germantown Pike in EastNorriton. Remember at GNAL,ART HAPPENS HERE! plenty of adult courses for beginners,both on- line and in person. Why not go ahead and use your imagination this summer; you may be pleasantly surprised to discover your very own creative side within our adult evening classes! 

The King ofPrussia News

Spring2023 Please Support Our Advertisers · ToAdvertise Call 610-265-6277

Greater NorristownArt League is a local non-profit art education organization, located at 800 WestGermantown Pike, East Norriton, PA 19403

Please check out our website at gnal800west.org or our FB page @GNAL800West.org

[scotrick]

#catseye #myfavoritebook is by #margaretatwood in it she writes brilliantly #ofchildren and #ofarts and #ofartists and #mathematics - #allforkat #elementallisa #blessmebeth #lightsforliz #elegiesforeliza - #minimalism #minimalist #minimal #minimalistic #minimalistics #minimalobsession #simple #simplicity #minimalhunter #minimalista #minimalismo #lessisless #abstract #abstraction #abstracto #grungey #filthypapa #experimental (at Mountain View, California) https://www.instagram.com/p/Buz3Z22HWW9/?utm_source=ig_tumblr_share&igshid=17giqxoy6tdmf

[mypassionfortrash]

yeah, I’m probably gonna unfollow everyone who’s taking the watermarks off those photos. you’re all that gushy about ‘supporting creators’ when you don’t even stop to acknowledge the people who give you those pictures to begin with. 

[femgirlfriend-moved]

art really needs a second renaissance and i dont know what form it needs to take but most modern art is pure garbage no matter how much meaning they try to add to it. i hate this over simplification of art. drawing something that's meaningful to you is normal and it's called being a person but that doesn't make you an artist. this post is fueled by me who went to an art museum 2 days ago and saw too much ugly shit

[hometoursandotherstuff]

The gate to the home of Argentinian artist Lucas Rise, who paints colorful, intricately detailed designs on old armoires. His home is a BoHo color lovers dream.

At the entrance is one of his painted wardrobes.

Colorfully patterned fabrics and vibrantly painted wardrobes are in every room.

The bedroom is an explosion of pattern and vibrant, yet warm color.

Detail of the bedroom armoire.

In the dining room, the colors continue to be warm. 

Adorable vintage kitchen.

Another work of art up on the landing. 

The studio. 

I wonder how long it takes to complete a cabinet like this.

The artist sitting in the yard.

http://frommoontomoon.blogspot.com/2015/06/the-home-ofartist-lucas-rise.html

[app-ara-tus]

Art Post-Internet: INFORMATION / DATA

This understanding of the post-internet refers not to a time “after” the internet, but rather to an internet state of mind — to think in the fashion of the network.

the category of the post-internet describes an art object created with a consciousness of the networks within which it exists, from conception and production to dissemination and reception

distribution, language, the posthuman body, radical identification, branding and corporate aesthetics,painting and gesture, and infrastructure.

constellation of physical and immaterial elements

series revolving around networks, social institutions, groups identities, and gender dynamics,

As much as new social uses of technology have

changed the distribution and authorship of art, so too

have they disrupted the workings of publishing and the

dissemination of texts in and about art — not to mention the

ways in which we consider reception.

approach to the gender and power dynamics of the depiction of women online,

One of the most prominent visual signatures today

is dominated by sterile corporate aesthetics and consulting

lingo, branding exercises both online and off, a parroting

or parodying of the fashion and advertising worlds, and,

perhaps most durably, the stock image — that uncanny branch of

photography that maximizes its situational applicability via

its vacant blandness

develop an analysis of how the channels of

capitalist production effect the circulation of contemporary

culture as a form of content.

most efficiently visible in the exchanges of digital painting:

the history of how software engineers modeled the movements

of paint has become a touchstone for a generation of artists

interested in drawing these models off of the screen and onto

paper or canvas, exploring the boundaries of painting — that

sometimes-hackneyed goal for so much of art after modernism —

in a changing digital world.]

How do you define ‘post-internet’? How does thisterminology relate to artistic practices?

Juliette Bonneviot Post-internet is anything that takes the idea of the internet as a starting point. The internet can be understood as an historical era and as an ecology of systems, a logic of networks — a very wide framework indeed. Any work

that consciously comments on or includes the logic of the net is considered postinternet

Harry Burke “Post-internet” is reminiscent of a network of art practices that began to develop a critical currency in 2009 and mainstreamed (in the art world) in 2011 and (outside the art world) in 2012.

Esther Choi I would define “post-internet,” in the broadest terms, as a set of modalities and sensibilities that self-referentially respond to the Internet’s advent and cultural influence.

Like post-conceptualism, post-internet artistic

production inherits and expands on the discourses of

media art and systems-based artistic strategies, and

focuses its attention to the cultural impact of the

Internet’s technologies, material arrangements, and

procedural operations.

Michael Connor Post-internet to me was a perspective that emerged out of moment, a series of moments that played out (and are maybe still playing out) in slightly different ways in different places at different times.

Tyler Coburn (1) Post-internet denotes a network of specific individuals ranged acrossphysical and virtual localities, making work in conversation over the past severalyears.(2) Post-internet delineates the moment when certain artistic practices assumemarket viability, despite the earnestness and seriousness that informed Gene McHugh’s seminal work on the term.

Ben Davis “post-internetart” is an attempt to recapture internet art for galleryculture.

Simon Denny I see it as other people’s role to define this

term. As it is a term produced by others, I rely on

external indications of which ideas, curators and artists

are associated with this term.

Raffael Dörig Marisa Olson’s original methodological notion of post-internet based on “art on the internet” vs. “art after the internet” was quite useful — to describe a practice that was crucial to a new generation of artists working with the internet as a part of everybody’s everyday life.

Brian Droitcour The vagueness ofpost-internet, paired with the assumption that everyone knows what it means, isone of the most aggravating things about it. “

“How can we be post-internet when internet is still here? Shouldn’t it be during-internet” — doesn’t seem to hold

up under scrutiny.

Post- presupposes finitude, closure, knowing retrospection. Proto- points to

multiplicity and possibility. An art that is proto- would approach the internet’s

ubiquity not as a boring given but as a phenomenon ripe with transformative

potential for the mediation of people and art (or people and people),

Orit Gat the first, as a statewhich is so expansive we’re basically all implicated in it — a reaction to thedependency on the internet and its growingly corporate structure — what mostpeople would call “internet-aware,” perhaps. The second is a certain group ofartists, all but a social scene, spread between New York, London, and Berlin

Ann Hirsch Originally post-internet meant an awareness of how the internet has fully permeated our lives. From daily mundane functions to relationships to the way we perceive culture and the way it is being spread.

Omar Kholeif I tend to adopt the common notion that post-internet is art that is “internet aware”

Elise Lammer the world feels fragmented, accelerated and inpermanent flux. To me, post-internet simply translates our current experience ofspace and time.

Gene McHugh It doesn’t address a “new media” and thusdoesn’t inhabit a cultural niche; rather it addresseswhat rapidly had become the common, everyday mediaassociated with the internet and its related digitaltools.

Ceci Moss It’s not a progressivedevelopment, but a deep reflection on the instant. are an attempt to define the operative reality of howinformation is captured and networked, and how artists engage in dialogue with thatlogic.

Marisa Olson “internet-engaged art.” It’s more than a wordthat prefaces “art” in the phrase, “postinternet art.” Today I use the term morebroadly to think about the social conditions of life in network culture.

Aude Pariset First, it describes a general condition where the Internet has finished“colonizing” the mind of most individuals. work has emerged in the same time as the awareness of theunavoidable banality of the internet era.

[anke-creates]

Challenge: Settingtember!

A lot ofartists tend to skip backgrounds, and some writers have a thing with writing talking heads, so here’s a challenge to practice:

DRAW or DESCRIBE settings - landscapes of any stripe, rooms, street views, whathaveyou. Quick sketches or one polished painting, a series of vignettes or a story focusing on a place, whatever you want, as long as it hones your ability to depict a place in some way (If you can do it with music or any other medium, you’re welcome to join in!)

If you can work on it each day, more power to you, but the goal is just to do more of the kind than you usually do.

Post with a tag of #settingtember and I’ll try to find and reblog them. :)

(oops, wanted to post this earlier, but September kinda snuck up on me...)

[jessekeyesblog]

A Nightlife Occupational Approach - Jesse Keyes

“An occupational approach places skills, or what economists often call human capital, at the center of the economic development process.”[1] Jesse Keyes gives the approach looks to understand success as based “deeply on talents and synergy in the local economy, and these may be better understood and tapped by identifying skill sets and talents embedded in occupations.”[2]I will segment nightlife workers into four unique, identifiable groups based on the functions they perform, and implicit objectives of their employ: Sojourners (including maître d’s, servers and bartenders) most often associated with those who see their work as a social and economic pathway to other, often creative, careers; Careerists, the floor and general managers,who view nightlife as a profession for the long run,and who number a small percentage of the business; Cooks in the kitchen who also see nightlife as a career move and who are paid lower middle--though at times higher income--salaries; and Low Wage Workers, engaged in repetitive manual labor activities, most frequently immigrants, who work extended overtime hours to earn little, with meager opportunities to advance occupationally.[3] The development of these segments derives primarily from my 10 years active in the industry as an investor, owner, designer, and manager, aimedto develop the most distinct lens to view the divergences in human capital developed throughout the segments.The Census Occupation Codes of 2010 were also analyzed and then employed to match the thesis groupings with a vast array of Occupation Titles, but more broadly to blend those Census Standard Occupational Codes associated with the nightlife industry[4]within the nomenclature used for the thesis nightlife worker typology.

As defined by Richard Florida, the Creative Class includes scientists, engineers, artists, musicians, designers and knowledge-based professionals.Given that wide scope, the categorization has been widely criticized as a “fuzzy” means to understand the specific attributes of any one occupational group, for all occupations contain the possibility of creative engagement. Further, inclusion in Florida’s creative class can be conflated,simply,with the criteria of merely having high educational levels. A more well fleshed out and specific occupational marker is seen in the work of Markusen, who, in a focused manner, refers, simply, to “artists.”So called “Bohemians” are composed ofartistic professionals, artists, writers, designers, film makers, performing artistsand musicians.I hypothesize that this category of would-be artists working in nightlife is most often found employed as Sojourners, and, as explained below, it is this category to which I will pay particular attention.

Jesse Keyes said, The new occupational titles implemented in the late 1990’s by the official Census “remain tightly tied to educational content, despite a desire to base them on what people do rather than what they know.”[5] This is of particular interest in the thesis as it exploresSojourners who identify themselves as would be artists.The focus is analytically, and even demographically, important as the number of Bohemians has steadily increased over time in the Unites States where “there were roughly 250 bohemians for every 100,000 Americans in 1900, a figure that increased to roughly 350 by 1950…before reaching 900 for every 100,000 in 1999.”[6]

As mentioned, emphasizing the analytical approach recommended byMarkusen, Iwill employ the “stereo view” of economic activity via both the establishment approach,seeking to understand the nightlife industry from the economic activity and size of New York City venues,as well as the occupational approach, looking at the human capital embedded in the four nightlife employee segments (Sojourners, Careerists, Cooks, Low Wage Workers) outlined here.

[1]Markusen and King, 7.

[2] Ibid.

[3] “Low WageWorkers” often defined as “workers whose hourly wage rates are so low that even if they worked full time, full year their annual earnings would fall below the poverty line for a family of four,” as developed in Pamela

Loprest, et al. (2009). “Who are Low Wage Workers?”ASPE Research Brief,January. Washington, DC: The Urban Institute.

[4] The 2010, Census Occupation Codes describing employee groups under study: 4000-4160.

[5]Ann Markusen, “Urban Development and Politics of a Creative Class: Evidence from the Study of Artists,” Environment and Planning A (Vol. 38, No. 10:1921-1940, 2006), 4.

[6] Richard Florida, The Rise of the Creative Class…and How It’s Transforming Work, Leisure, Community, & Everyday Life (Cambridge, MA: Perseus, 2002), 46.

Resource:- https://www.evernote.com/client/web?_sourcePage=M8n_qExRgUTiMUD9T65RG_YvRLZ-1eYO3fqfqRu0fynRL_1nukNa4gH1t86pc1SP&__fp=XMcPi1X6Cq83yWPvuidLz-TPR6I9Jhx8&hpts=1599788764433&showSwitchService=true&usernameImmutable=false&login=&login=Sign+in&login=true&hptsh=QaKIoNfy8uNf0fe9UA1aGjhCkAE%3D#?an=true&n=33a62f6e-d802-c646-3b7a-5c5776889b47&

[larryland]

Dorset Theatre Festival Announces "Cry It Out" to Replace "I'm Not Rappaport"

Dorset Theatre Festival Announces “Cry It Out” to Replace “I’m Not Rappaport”

(Dorset, VT– May X, 2018) Dorset Theatre Festival, under the leadership of Artistic Director Dina Janis, Producing Director Will Rucker, and Executive Director Marissa Hutton, announced today that the 41st Season will begin with CRY IT OUT, by Molly Smith Metzler, directed by Marc Masterson. CRY IT OUT will begin performances June 21, 2018 at the Dorset Playhouse (104 Cheney Rd, Dorset, VT…