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I made the rainbow picture months ago but only came across it again yesterday. So I woke up this morning dreaming of an Artist Cat to go with it! Salvador Cati, perhaps?!
Collaborative Paper Weaving from Prismacolor painting by Linda Pearson and marbled paper I made in a workshop, pleated with vertical threads added in the clefts. Weaving size 12 1/2" x 12". 2022. Framed in Pecan Wood Shadow Box frame, 17" x 15".
see detail view: www.flickr.com/photos/dembicer/52579257411
Concours Gymnastique artistique (GAM/GAF) de la Fête Cantonale Vaudoise de Gymnastique, 19.06.2022. ©Serge Widmann
Virginia Catherall shows her beautiful knitted work, Indian Paintbrush Hap. She created this piece after viewing the stunning wildflower in the mountains of the Black Rock Desert NCA. Photo courtesy of Virginia Catherall.
The national BLM Artist-in-Residence (AiR) Program creates a structure to share the scenic beauty and unique stories of the BLM’s landscapes with the public through the world of art. The BLM Artist-in-Residence Program provides artistic and educational opportunities that promote deeper understanding and dialogue about the natural, cultural, and historic resources on public lands managed by the Bureau of Land Management.
Learn more here: on.doi.gov/2dBrw5P
This is a photo of my maternal grandfather (left) with the famous American illustrator, Norman Rockwell. I believe it was taken in Mr. Rockwell's studio in Massachusetts. I don't know much about this visit, although I think it was probably in the 1950's.
File name: 07_11_001133
Title: Artist's Brook
Creator/Contributor: Champney, Benjamin, 1817-1907 (artist); L. Prang & Co. (publisher)
Date issued: 1861-1897 (approximate)
Copyright date:
Physical description note:
Genre: Chromolithographs; Landscape prints
Location: Boston Public Library, Print Department
Rights: No known restrictions
Camille Claudel -
Étude (I) pour Sakountala [1886]
Sakuntala, also known as Sakountala or Çacountala , is a sculpture by the French artist Camille Claudel, made in several versions in different media from 1886, with a marble version completed in 1905, and bronze castings made from 1905. The sculpture depicts a young couple, with a kneeling man embracing a woman leaning towards him. It was named after the play Shakuntala by the 4th-5th century Indian poet Kālidāsa, and is inspired by the moment when the title character Shakuntala is reunited with her husband Dushyanta after a long separation.
A terracotta study c.1886 is held by the Musée d'Orsay in Paris, an 1888 completed plaster version is held by the Musée Bertrand [fr] in Châteauroux,[1] a marble version completed in 1905 and renamed Vertumnus et Pomona is held by the Musée Rodin in Paris, and several bronzes were cast for Eugène Blot [fr] from 1905 entitled L'Abandon ("The Abandonment").[2][3] L'Abandon has been described as "one of the most famous and recognised masterpieces created by Camille Claudel".
Source: wikiwand
My artist wife Marianne having great fun drawing a scene at MacGregor Point Park ☼
Thank you Caro's Lines for the wonderful free texture
Concours Gymnastique artistique (GAM/GAF) de la Fête Cantonale Vaudoise de Gymnastique, 19.06.2022. ©Serge Widmann
Concours Gymnastique artistique (GAM/GAF) de la Fête Cantonale Vaudoise de Gymnastique, 19.06.2022. ©Serge Widmann
If you like my work, 'Like' me on Facebook www.facebook.com/hannah.galli.inner.i.art?ref=ts ... Thanks for the support
Noticed this young lady doing some lovely artwork in downtown Sarasota on Saturday .... she had some beautiful paintings around her and obviously has a great talent!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Too busy having fun in the glorious Florida sunshine ... so falling way behind but promise to catch up with your great photos as soon as possible.
November 7, 2018 at 7:00pmtil 9:00pm at George Orwell Pub
A curated series of national and international artists’ shorts reflecting the festival theme of Lifespans including future of visions of AR, the start of a revolution, and the future of dance.
Featuring Gina Czarnecki, Jeremy Bailey, Floris Kaayk, Francois Knoetze, Mike Pelletier, Benny Nemerofsky Ramsay, Liat Berdugo and Emily Martinez, Keiichi Matsuda, Bex Ilsley, Mary Maggic Tsang.
Full screening notes:
Gina Czarnecki, Infected (2001) 8 mins.
Infected is a film about the nature of the physical body in the context of future technological possibilities, seen through dance and digitally manipulated imagery. The new bio-engineered body is still an sexual, organic, stark, brutal, pounding system. It is beautiful, repulsive, indulgent, curious, emotional, un/controlled, breeding, changing… Is this a futuristic vision of the human body infiltrated and changed, ‘infected’ by biotechnology? Or is the reverse happening? Is the human body, the warm-blooded body of sinews and emotions, corrupting the ‘pure light’ of technology? Infected features Scottish dance artist, Iona Kewney, and a specially commissioned score by Fennesz.
Floris Kaayk, The Order Electrus (2005) 7 mins. 35 sec.
The Order Electrus is a fictional documentary which shows Floris Kaayk’s imaginary world of industrialised nature, situated in a derelict area of the Ruhr in Germany. Due to overcapacity in production systems, many factories in Germany were forced to close down. Over the course of many years these derelict industrial areas became a breeding ground for an electrical insects species, also called the Order Electrus. These insects evolved through the merging of nature and technology.
Mike Pelletier, Still Life (2017) 4 mins. 7 sec.
“This animation combines my interest of contemporary technological forms with the more classical form of still life painting. What attracts me to still life paintings is how the paintings can study the form of their subject but also reveal much about how they are made. The quality and materiality of paint exist on equal footing with the study of light, color and form. I took inspiration from the term “still life” itself, by focusing on the idea of stillness. I also took inspiration from how the term is expressed in French as “Nature Morte,” which can be literally translated to dead nature. In this animation the stillness, unnaturalness and deadness of these virtual objects becomes the focus of the piece.”
Liat Berdugo and Emily Martinez, Making You (2016) 7 mins. 32 sec.
“Anxious to Make is the collaborative practice of Liat Berdugo and Emily Martinez, two commissioning bodies. Our focus is on the so-called “sharing economy” and the contemporary artists “anxiety to make” in the accelerationist, neoliberal economic landscape. While Anxious to Make’s physical existence takes many shifting forms, it often manifests as a series of video commissions, downloads, online generators, workshops, net art interventions, and sweepstakes. Anxious to Make believes in absurdist extremes as way to examine contemporary realities. Our work has appeared recently in The Wrong Biennale, Transmediale (Berlin, DE), Yerba Buena Center for the Arts, MoMA PS1, V2_ Institute for the Unstable Media, WRO Media Art Biennale and The Luminary (St. Louis, MO).”
Keiichi Matsuda, Hyper-Reality (2016) 6 mins. 15 sec.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia, and presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Francois Knoetze, Core Dump (2018) 11 mins. 45 sec.
Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the cities of Dakar and Kinshasa. These two cities represent both the origin points of mineral extraction for materials used in the production of technology, and the end points at which certain African countries become dumping grounds for electronic waste from Europe and the USA which is then often repaired, re-purposed and reused. In contrast to the spectacle of technological singularity and the Western myth of progress, Core Dump considers the connections, disruptions and contradictions inherent in these ideas, through conflicting designations of value and waste.
Bex Ilsley, Codex (2016) 3 mins. 30 sec.
Bex Ilsley is an artist based in Coventry. Her practice explores the nature of body and personality in virtual, physical, and psychological spaces. Fantasy, performativity, objecthood and paradox are used as a lens through which to examine the authenticity of these structures. Codex was filmed in April 2016 in Grand Rapids, Michigan, USA, on The Moon, a multidisciplinary arts space. It was produced In collaboration with Los Angeles based videographer Bokeh Monster and INTERSPACE, a student arts organisation from Kendall College of Art and Design. The film is a re-interpretation of a specific illustration from Luigi Serafini’s 1981 book Codex Seraphinianus, updated as a music video for the social media age. Music: King Gizzard & The Lizard Wizard – ‘Work This Time’
Jeremy Bailey, Transhuman Dance Recital (2007) 6 mins. 29 sec.
“From this point forward I dedicate myself to finding better ways for humans to dance.” – Famous New Media Artist Jeremy Bailey
Mary Maggic Tsang, Egstrogen Farms (2015) 1 min.
Egstrogen Farms is a tactical media project that addresses the domestication of women’s reproductive abilities by the biotech industry, including hormonal therapies in the assisted reproductive technology (ART) sector. Presented as a fictional company, a parodic diversion of exchanges between species, Egstrogen Farms markets genetically modified eggs that produce a “cocktail of gonadotropins” to allow women to ovulate as frequently as chickens do. Inspired by the work of collectives such as subRosa or Critical Art Ensemble, Egstrogen Farms delivers a critique on the current commercialization of reproduction and expands the symbol of the egg as a therapeutic, nutritional and reproductive matrix.
Benny Nemerofsky Ramsay, A Short History of My Art Practice (2016) 15 mins. 17 sec.
In answer to the question, what is it that you do? – perennially asked of contemporary artists – Nemerofsky summarises fifteen years of professional practice in fifteen minutes, describing and re-embodying key artworks in his sound- and video-centric work.
Image Credit: Kathryn Rattray Photography