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I came across Laura whilst skulking around the back of the very wonderful Hindu Temple in Wembley, London. She was sketching the building as I was looking for more macro shots of details of the stone carvings.
We talked about a wide range of issues - largely agreeing on subjects such as corruption in politics, the rising supremacy of bean-counters in all areas of life and the simultaneous downgrading of the arts and humanities. We touched on Tony Blair as a supreme example of all that was wrong with Britain. In other words we had a good go at the British establishment for their illiberality, mendacity and general abasement of humanity in their quest for power and profit.
She didn't finish her sketch - having run out of time - and that was my fault for engaging her in conversation for a good thirty minutes.
Laura is a professional artist who specialises in figurative art - but who also has interests in buildings and architecture and the changing nature of the urban landscape. Her website is well worth a look, with excellent samples of her work and exhibitions, and can be found at www.lehman-art.co.uk/
This picture is #15 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Laura was captured on a Nikon P7100 with TTL Flash mounted on Lastolite 2408 bracket with a mini-softbox with double diffuser. Processing was done in Darktable and GIMP.
Shots from the 2022 SMASH! event at ICC Sydney Exhibition Centre, photographed by Morgan Zhong.
Instagram: @_morg.z/
Inspired by the work of surrealist artist, Rafal Olbinksi. Cloud formation Googled, hills by Createwings designs, images from Finecrafted Designs
- www.kevin-palmer.com - Artists's Drive passes through a colorful part of the Black Mountains just above Badwater Basin. I was fortunate to be able to drive it last week since it is now closed for improvements until March.
Day 61 of 365
This is a shot I've been wanting to create for some time, but like most things a lot depends on being in the right place at the right time
The young woman creating this water colour was quite engrossed in what she was doing, but I introduced myself and asked if she's mind if I shot her whilst she worked ... not a problem ;-)
As soon as I started shooting, I knew it was going to be a B&W image :-)
Durante la mañana del sábado 13 de noviembre se llevó a cabo, en la multicancha de patinaje, la segunda evaluación técnica a las deportistas de la Rama de Patinaje Artístico de Estadio Español y de patinadoras de otros clubes.
Creatures of Light, which opens March 31, will introduce you to the astonishing variety of bioluminescent organisms on Earth.
(c) AMNH/R. Mickens
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
I've always been interested in Alberto Giacometti's work, there photographs were taken at various galleries in Switzerland. Basel, Zurich and Chur.
This man needs no introduction. (1) because he's one of Marvel's best artists, pushing the use of watercolors into the 21st century. And (2) because his name plate is right there in the foreground.
I had a very short sketch list in hand. Paolo was the only artist besides Adam Hughes for whom I was prepared to do some reconnaissance before the show and make sure I got on his sketch list.
So much so that during my cab ride to Javits on Saturday morning, I actually thought to myself "I should just bag the Stan Lee interview to make sure I can be at Rivera's table the moment the show opens."
Mind you, there was zero chance of that happening. But like the thought "Wouldn't it be fun to dress in a costume for just one day of the Con?" it was the sort of bad idea that was so awful that it needed to be exposed to the light just to underscore what a bad move that would have been.
The bad news: I didn't make the list on any of those three days. The good news: on Sunday he was kind enough to offer to take some sketch requests home with him.
I enjoyed NYCC a lot more than other largish cons I've attended. I think it's because in recent years, my drive to get sketches has gone from an 8 down to a 2.
I still love getting sketches. I love having something lovely and unique and I'm pleased to say "I think your work is terrific" to an artist via the universal language of love: cash money.
But I started collecting in 1999 and by the mid-2000's it was becoming like a military operation. I'd research nearly every name I was unfamiliar with, weeks before the show. I'd practically draw up a battle plan, with a list of table numbers, prices, which artists I'd need to hit early in the show, how many sheets of character reference to bring. And the days of a Con would center around the artists I wanted to see and the progress of sketches I'd set up. Why was I hanging around for two hours after I wanted to leave? Because I couldn't pick up a finished sketch until the end of the day.
Occasionally, life hands you an OCD test. When you realize that a hobby has become a source of stress instead of a solution for it, will you make some changes or will you continue doing something just because you've always done it?
No OCD here. Now, I'm happy to come home with just one or two pieces of art. Or none. And I'm very happy to spend my time at a comix con as the idle boulevardier who wants to meet people and see new things, not as a man on a stressed-out mission.
Abstract Series 1442 - WOMAN ARTIST - J Rebecca Trueblood Part 43
About J Rebecca Trueblood
www.facebook.com/TruebloodSuperfineArt
www.facebook.com/BOSTONAREAARTISTS
www.facebook.com/MissTallulahsJunkintheTrunk
I create pieces that acknowledge and respond to the physical presence of the person viewing them. This comes from an uncertainty about my own place in the world; the urge to have a unique identity with clearly marked personal space conflicts with a longing for real intimacy and a feeling of being part of a community.
In some pieces, there are details that will not read from across the room: you must get close to see them, much closer than you would to the face of a stranger.
Colors may cozy up together or push violently. Spaces between shapes create varying degrees of tension.
I take inspiration from everyday objects, anthropological images, microscopic life, and the surface of our planet, utilizing patterning and repetition that makes creation a meditative and obsessive act.
Artist: Andy Warhol
Title:
John Kobal (silkscreen ink on synthetic polymer paint on canvas)
Dame Elizabeth Taylor (offset lithograph)
Mick Jagger (silkscreen print)
Joan Collins (silkscreen ink on synthetic polymer paint on canvas)
National Portrait Gallery
London, England, UK
Day 6 of summer road trip west to Yellowstone National Park.
Artists Paint Pots area.
Three RAW images tonemapped in Photomatix.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
©Lauri Heikkinen
Paul Mpagi Sepuya
"Michael, apart" (2006)
c-print diptych, 16 x 20 inches each
Courtesy the artist and envoy enterprises, New York
COMPASSION
Union Theological Seminary
Broadway at 121st Street
New York, NY
The Institute of Art, Religion, and Social Justice recently held its first exhibition, Compassion, from November 19, 2009 to January 14, 2010.
In today's shifting political, economic, and ecological landscape, the need for compassion has never been greater, compassion understood as mutual interdependence, knowledge of self and others, and concern for human flourishing. This kind of compassion requires seeking to know all aspects of human reality, being open to truths beyond our everyday experience and embedded in it. Artists often awaken compassion most profoundly. They form our imaginations such that we can envision our interconnectedness in ways that mere didacticism cannot achieve.
Compassion used the buildings of Union Theological Seminary to create a kind of pilgrimage. The works were situated in various locations to create a tour of this remarkable and often overlooked historic complex.
Alfredo Jaar's Embrace (1995), from his Rwanda series, greeted the visitor in the Hastings lobby. Scott Treleaven was featured in the James Chapel with black and white photos from Cimitero Monumentale (2009). Marina Abramovic's video 8 Lessons on Emptiness with a Happy End (2008) shared the Narthex with Yoko Ono's Whisper Piece (2001). Terence Koh's invisible installation was located in the Refectory, with its 40-foot ceiling and massive stone fireplace, nearby. If the visitor strayed to the other end of the building, she might have found Bas Jan Ader's iconic image I'm too sad to tell you in the Burke Library, echoed in the plaintive chant of Michael Bühler-Rose's liquid ritual I'll Worship You and You'll Worship Me (2009), which could be found in the upper reaches of the Rotunda. Chrysanne Stathacos' Rose Mandala Mirror (three reflections for HHDL), also in the Rotunda, was originally created in honor of the Dalai Lama. While circumnavigating the cloisters that link the various spaces of the seminary, further works by Gareth Long and Paul Mpagi Sepuya could be found.
The Institute of Art, Religion, and Social Justice was founded under the auspices of Union Theological Seminary to explore the relationship between contemporary art and religion through the lens of social justice.
Compassion was curated by AA Bronson, Artistic Director of the Institute.
The exhibition is presented in conjunction with Karen Armstrong's TED Prize 2009 of the same name.
For further information contact Kathryn Reklis, Executive Director of the Institute, at 212.280.1404
Union Theological Seminary in the City of New York
3041 Broadway at 121st Street, New York, NY 10027