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Maclean High School students used satellite tracking as part of a school program to study flying-fox movements and behaviours. It is hoped that the hands-on experience with conducting satellite telemetry and the monitoring of flying-fox movements gained from this project will give students a fascinating and accessible introduction to cutting edge wildlife biology research and bring an educational focus to the outstanding natural resource that is on the School’s doorstep. Solar-powered satellite trackers will be attached to four flying-foxes as part of the study of flying-fox movements. The tracking devices were donated by Microwave Telemetry Inc’s “PTTs for Schools Program” (proposal attached), which aims to create opportunities for students to experience wildlife research projects first hand. While students will not be handling flying-foxes, they will have the chance to get involved with all aspects of field work including mist netting, recording body measurements, and closely observing attachment of the satellite trackers whilst the flying-foxes are under sedation. Students will also be involved in monitoring local flying-fox numbers and will regularly download, analyse and map satellite telemetry data as well as writing a collaborative article on the project. .
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The ‘Maclean High Bat Tracking Project’, (or “Flying-fox Diaries”) is a joint venture with the School’s science department, myself (flying-fox biologist) and the Office of Environment and Heritage (OEH – Kelly Roche). The project is also being supported by Valley Watch, Wildlife SOS, and Clarence Valley Council..
Photos taken between 9/10 May 2012 at Clarence Estuary Reedy Creek Nature Reserve, Yamba NSW Australia.
PHOTO: Debrah Novak
Posse Veterans Program Award Ceremony, Vassar Posse 6, Class of 2022, January 2018
Photo Credit: Samuel Stuart/ Vassar College
The Ceramics Program, Office for the Arts at Harvard held its annual Winter Show and Sale, December 9-12, 2021 at its studio facility at 224 Western Avenue, Allston, Massachusetts.
More than 75 artists from the Ceramics Program displayed an extraordinary selection of ceramic work in this sale, from functional dinnerware to sculptural masterpieces to ceramic ornaments and jewelry.
For more information about future Show and Sale events at the Ceramics Program, please visit ofa.fas.harvard.edu/ceramics/show-and-sale
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November 18, 2015 -
Dr. Loston and IBC Bank served as co-hosts of the Masters Leadership Program’s Education Day session in the college's Bowden Alumni Center for nearly 50 members of the program's 12th class. San Antonio’s Masters Leadership Program is one of the largest training programs in the country aimed at preparing retired and near-retired professionals for director positions on nonprofit boards. Since 2004, the program has trained more than 525 individuals who currently serve on more than 300 nonprofit boards in the Greater San Antonio area. Dr. Loston led participants through a policymaking exercise and she also moderated a panel discussion with higher education leaders throughout the city. Panelists included St. Mary’s University president Tomas Mengler, Texas A & M San Antonio president Dr. Cynthia Teniente-Matson, Trinity University vice president of faculty and student affairs Dr. Michael Fisher and Baptist University of America president Dr. Rene Maciel.
Ken Ohara, Japanese, born Tokyo, Japan 1942
GRAIN P-128, 1993, eighty-one 8-x-10 in. gelatin silver prints and masking tape, 95 × 78 in.
For the monumental portrait series Grain, Ken Ohara prepared ninety-five-by-seventy-eight-inch sheets enlarged from the negatives made for his portrait series ONE (on view nearby). Wishing to experiment with scale in works that referenced the earlier series, he cut the sheets into eight-by-ten-inch panels and recomposed them as grids, forming one large portrait. The seams separating the panels were made using reflective silver tape.
While serving the practical function of adhering the paper prints to their transparent coverings, the tape also performs a perceptual trick by seeming to appear or disappear. Depending on your distance from Grain P-128, you might see the singular portrait, or you might see the parts that make it a photographic object: paper and silver.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Victory Programs' 2017 Dinnerfest RED Party + Auction was one for the record books with a celebrity-style step and repeat, returning rock-star auctioneer Kathy Kingston and premium prizes including a once-in-a-lifetime opportunity to throw the first pitch at PRIDE night at Fenway park that sold for nearly $5,000 after Dinnerfest co-chair Tiffani Faison upped the anti not once, not twice, but three times, sweetening the deal with additional goodies courtesy of her 2nd restaurant, Sweet Cheeks Q which happens to be steps away from Fenway Park, live on stage to motivate bidders! Guest who wore red, the signature color for the event, were entered into a special raffle. The event raised more than $130,000, last year's record and supports Victory Programs' 17 health, housing and prevention programs which serve more than 2,300 men, women and children annually.
Special thanks to Photographer David Fox for capturing these amazing shots from the event!
The Forest Investment Program (FIP) Pilot Countries Meeting held in Oaxaca, Mexico June 12-14, 2016 brought together over 100 participants from all of the 23 FIP pilot countries. A mix of participants from government, private sector, civil society and indigenous peoples and local community groups together with colleagues from the MDBs, gathered to foster peer-to-peer learning among FIP pilot countries on practical issues related to the design and implementation of FIP investment plans and other forestry activities.
YB Raveentharan menyampaikan ucapan menyokong supaya Batu Uban dijadikan Perkampungan Warisan dan tumpuan kepada destinasi pelancongan
Program Masyarakat Madani di Perkampungan Batu Uban dirasmikan oleh Timbalan Ketua Menteri 1, YB Mohamad Fairus Khairuddin dan ADUN Batu Uban, YB Raveentharan
The Catalyst Open Source Academy 2018 took place at Catalyst IT in Wellington, New Zealand, from 8 to 19 January 2018.
catalyst.net.nz/open-source-academy
Day 7 to 10 are dedicated to the open source projects to which the students contribute. Mentors support them throughout.
In 2014, BCIT and the Graphic Communications Technology Management program was the recipient of several pieces of large format imaging equipment (free) from NorQuest College in Edmonton. This provided the opportunity for the program to expand into an area which was highly desired by the local industry. A Program Review took place 2 years ago in which PAC members and other employers informed us that the industry was moving more into large format imaging.
This event is in recognition of the local businesses who have donated over $5 million to the Centre for Large Format Imaging Campaign.
On Wednesday, April 18, Westminster students were recognized at the Spring Honors Convocation for their outstanding academic achievements.
From a series of Processing experiments I did just to learn some new things and push my skills farther.
El programa “Chile Crece Contigo” creado en el primer gobierno de la Presidenta Michelle Bachelet cumple 10 años, es por ello que este lunes, las autoridades nacionales se desplegaron por el país para hacer entrega de los nuevos ajuares para recién nacidos en los hospitales públicos. En Tarapacá, la Intendenta Claudia Rojas estuvo acompañada de la subsecretaria para las Fuerzas Armadas, Paulina Vodanovic, quien destacó el éxito de esta iniciativa pública que incluso ha sido replicada en otros países.
On December 9, 2016, the Arboretum and Public Garden had the opportunity to welcome a group of students from a journalism program in Visalia CA. The aspiring young journalists had the opportunity to interview our Museum Education & Interpretive Manager- Maya Makker, GATEways Outreach Students- Vivian Le and Rachel Le and our Outreach and Leadership Program Coordinator- Melissa Cruz.