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This is Scrag-End/Scarecrows by Jennifer Ryder-Jones, at the Fieldwork installation set up in a field near Brooke, Lanark County, Ontario, Canada.
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Some of the 2011 officers of the Irving Republican Women's Club open gifts from retiring president Joyce Howard at the installation of new 2012 officers. From left are Corley Rinaldi, retiring fro the board to help her husband Matt Rinaldi in his bid for State Representative; Beth Brown, club secretary for both 2011 and 2012; Barbara Hull, newly-installed communications vice president; and Cathy Reeves, serving again in 2012 as membership chair. Elena Blake, not shown, was installed at the event as new IRWC president.
The Greater Beth-el Temple church family welcomed Elder Calvin J. Gould, Sr. and his wife, First Lady Valerie Gould, as our new pastor and wife. Our Pastoral Installation Service with the theme Serving God’s People: A New Day, A New Beginning, was held on Sunday, June 30, 2013 at 11:00 a.m. Our speaker was Bishop Edward C. Price. Elder and First Lady Gould are excited and happy to serve Greater Beth-el Temple and the Omaha metropolitan community.
May the Lord bless them both in moving the church forward through Jesus Christ, our Lord.
Video installation is a contemporary art form that combines video technology with installation art, making use of all aspects of the surrounding environment to affect the audience.
The tiles are hauled up to the platform at the top of three storey scaffolding. They are then laid out on the platform as they will be on the wall. In sets of five vertical lines the cement is applied to the wall and the tiles carefully pressed into place. Once this is completed the grouting between each tile is applied.
Robert Gorber.
1989: Installation.
Art Institute Chicago.
Kristján Guðmundson.
The sculptures of bags of var litter are the link between the violent imagery and the wedding dress. Cat litter both absorbs the stench of excrement (the wallpaper) and it allows for domestic intimacy (think diapers).
Creative Stars: Lost is Found
14 Jan - 19 Feb 2012
Installation shot
Eileen O'Rourke
Image courtesy the artist and Cornerhouse, Manchester
Photo credit Paul Greenwood
Hashimoto Contemporary is pleased to present Homeward Bound the debut solo exhibition of Oakland-based artist Christopher Martin. Utilizing the visual vernacular of traditional American tattooing, Martin interweaves imagery from the African Diaspora, his own mythology and iconic navy tattoos to create bold banners and paintings.
Working across mediums including tattooing, textile and painting, each facet of Christopher Martin’s practice informs the others. Imagery commonly found in traditional sailor tattoos are prevalent influences for the current body of work featured in Homeward Bound. The history and superstition embedded in archetypical nautical motifs such as anchors, mermaids and animals are re-coded to reflect the history and stories of the African American experience.
The reclamation of cotton as a primary medium, applied in the large-scale tapestry works and the fiber based paintings on paper, reflect the Atlantic slave trade and the artist’s North Carolina roots. Steeped in Southern and Black history, Christopher Martin’s work layers the confrontation of contemporary injustice and folkloric storytelling to create a new lexicon for black culture.
This exhibition documents international Indigenous artists’ responses to the impacts of radiation and toxic waste on Native peoples and the environment. The work of the 36 artists and collectives, most of whom identify as Indigenous, is centered around the impact that nuclear testing, uranium mining, and the subsequent contamination have had on the colonized peoples and their ancestral, unceded lands of present-day Australia, Canada, Greenland, the US, Japan, and the Pacific Islands. The exhibition presents an interdisciplinary mixture of forms and genres, including sculpture, video installation, photography, collage, glasswork, metalwork, fiber, paintings, and virtual-reality experiences. The works tell personal stories of illness, struggle, and resilience in the face of corporate willfulness and government complicity.
Learn more at armoryarts.org/exposure.
Photo by Ian Byers-Gamber. Courtesy Armory Center for the Arts.
MWMO Environmental Specialist Brian Jastram and Interns Anna Johnson and Melissa Burton install a new staff gauge to measure river levels at the MWMO Stormwater Park and Learning Center in Northeast Minneapolis.
Textile art and painted paper sculptures installation.
27 - 30 October 2011
Reed more about the Reef on Happy Sleepy.
I have always been drawn to tragic stories, particularly those of cosmic grandeur, often with Greek origins. The legend of Niobe, a proud princess and mother of fourteen children, seven sons and seven daughters (the Niobids), who boasted of her large family and jeered at goddess Leto, who had only two children, the twins Apollo and Artemis, resulting in unbearable tragedy, was one of my favorites.
Gods were not to be mocked at and the offended Leto sent her children to revenge her honor. Apollo and Artemis started to shoot arrows and killed Niobe’s sons and daughters one by one. Niobe’s plea to spare at least one daughter came too late, and none of her fourteen children were spared. The loss was so great, the grief so heavy, that Niobe turned into stone, yet even the stone continued to weep tears.
Since I started my “White Dress” series, I have been exploring the expressive possibilities of this motif and the results often took me by surprise, and further fanned my curiosity, and wanted to probe ever further.
Though my recent well-received “Stringed White Dresses – An Installation” was a success, I felt that the origami dresses in that installation were too prim, too orderly. I wanted to create something more chaotic. For the composition, I imagined a large dress, like a queen bee, surrounded by smaller ones; this fit the Niobe story perfectly.
After several attempts, I decided on the sizes of the dresses and chose white dresses to represent female and grey to represent male characters. Before I folded the origami dresses, I crumpled the paper to give them a more lively look. I put black ink and brown wash on paper to create the chaos in the background, some areas were covered with white oil wash to enrich the texture and to give more contrast to the dresses taped over the drawing paper, and finally some yellow oil streaks to suggest the ungodly gods’ touches.
To finish the entire assemblage, I pinned the little daughter Niobe tried to save onto her with a needle. Finally, I freely splashed black ink over the ensemble, and that constituted my final touch.
Paper, Ink and Oil on Paper, Needle, Wooden Frames
33" x 16.5"
Completed in 2013
Inventory # 4358.401.2013.06.004
© Matthew Felix Sun
Margret in der Installation "Eremitage"
im Botanischen Garten in München - anläßlich unseres flickr-Treffens
Benjamin Planitzer: www.botmuc.de/de/veranstaltungen/2012/05-19_planitzer_ere...