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On July 1st, I installed my recently completed commission piece depicting the Hawthorn Mall redevelopment! You can see the full diorama for yourself on the second-level in the Transformation Suite at the mall in Vernon Hills, IL.
PC: eClarke Photo 📷
Full selection of photos on Patreon!
Link below ➡️🔗⤵️
Shirin Neshat (1957- ), an Iranian visual artist living in New York City, draws inspiration from the stories of participants in the Arab Spring and protesters who represented the Iranian Green Movement following the 2009 presidential elections in Iran.
This portrait photograph is from a series entitled "Book of Kings". As she did in an earlier series called "Women of Allah" (1993-97) that explored notions of femininity in relation to Islamic fundamentalism and militancy in Iran, Nashat pursues paradoxes of past and present, power and submission, through a poetic combination of portraiture and history. By inscribing verses of contemporary Iranian poetry (in Farsi) on her subject (like a tattoo), she gives a voice to the figure in the photograph.
This photograph was seen on display at The Cantor Arts Center on the campus of Stanford University in Palo Alto, California. The exhibit entitled "She Who Tells a Story: Women Photographers from Iran and the Arab World".
© Luis Campillo 2016
Model Ane Sehnsucht.
Outfit by SEHNSUCHT www.anesehnsucht.com
Assistant Jose Antonio Vica
...another 4 years to go till I can legally drink in the state of Maharashtra. True story, that. But of course, there are other ways...
Anyway, one of my best friends bought this cake over a few hours ago, it being my birthday...but no real partying cos my Sem 5 board exams started today...so thats a bit of a dampner but nonetheless, it was a good day and a memorable birthday.
Big thanks to all who wished me!
More images: Facebook page.
© Luís Campillo 2015
Model Sofía Bajo. www.facebook.com/sofiabajoactriz
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
Residency:
Soho House
Birmingham
Maker: Karina Thompson
Graduate Placement: Lauren Crawford
Textile artist Karina Thompson was based at Soho House,
the home of Matthew Boulton, a leading figure in the
Industrial Revolution. Karina’s own practice involves
exploring scientific data through digital stitch and the use
of digital technology in the 21st Century. Karina has also
had a longstanding interest in Matthew Boulton and his
contribution to manufacturing. Weaver Lauren Crawford
supported Karina and together they worked with women
from the Asian Textiles Group using the interior of
Matthew Boulton’s house for inspiration.
Making Moves, Creating Futures for Craft
Making Moves is a West Midlands craft development initiative
involving four regional partnerships, led by Staffordshire County
Council and Craftspace, a Birmingham based craft development
organisation. The project consisted of nine craft residencies
which took place in community settings between September
2011 and July 2012, culminating in a touring exhibition.
The nine makers were challenged by residencies in unusual
workspaces - including a hospital, a pub and a park visitor
centre - which acted as sources of inspiration to develop ideas
for new work. They worked with local communities, offering
making workshops that were high quality, inspirational and in
some cases, life-changing. The exhibition showcases new work
by the makers in response to their residency setting, as well
examples of tools, materials and work created in the community
sessions.
The project also provided opportunities for nine crafts graduates
who supported the community making sessions as well as
receiving mentoring from the resident maker. They were given a
small bursary towards the development of their practice and
have also created new work for the exhibition.
Making Moves aimed to provide valuable opportunities for
learning. Makers gave masterclasses and lectures to Higher
and Further education institutions as well as talks to the wider
community. They wrote about the residency experiences on a
project blog, as well as coming together for regular networking
sessions.
To find out more about the project visit www.makingmoves.org and the
Makers’ Residency Blog www.makingmoves.posterous.com
Photos by Becky Matthews
Ericka College girl 29
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Antes de que yo cometiera uno de mis grandes errores, nosotros eramos muy apegados, de cierta manera nos cuidábamos mutuamente, después lo seguimos haciendo pero f...
Boots covered with multicolored dripping peeling paint close up
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved - Contact me at jimcorwin@live.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
Each time an inspiratior of mine celebrates birthday or dies I make them a portrait.
Nina Simone February 21, 1933 – April 21, 2003
Watercolor, embroidery on paper 29cm x 49cm
intagram loanaibarra
facebook www.facebook.com/LIM.LoanaIbarraMazari/
contact ibarraloana@gmail.com
The Doors third studio album released 1968 “Waiting for the Sun” doesn't carry the apocalyptic fever dream of “Strange Days”. Instead, it settles in quietly, almost deceptively, asking you to notice the spaces between the notes as much as the notes themselves.
Funny thing about the sun. Everybody spends their lives waiting for it, but once it shows up they start looking for shade. That's how this album feels. The title promises daylight, but most of these songs happen somewhere between dawn and dusk, when shadows still have something to say.
By the summer of 1968, rock music had become crowded with prophets. Every band seemed determined to explain the universe in four minutes or less. The Doors took another route. They made uncertainty sound seductive. Jim Morrison wasn't simply singing songs; he was playing the part of a wandering narrator who'd read too much poetry, stayed awake too many nights, and found that dreams often made better maps than facts.
The remarkable thing is how democratic the band had become. Ray Manzarek's keyboards no longer serve merely as atmosphere; they become architecture, building cathedrals from electric organ tones. Robby Krieger contributes some of his finest songwriting, offering melodies that soften the band's darker instincts without diminishing their mystery. John Densmore plays like a jazz drummer who wandered into a rock band and decided not to tell anyone. His restraint is often the loudest thing on the record.
"Hello, I Love You" is usually remembered as the hit, and fair enough. It's bright, immediate, and impossible to shake once it gets into your head. But history sometimes mistakes popularity for importance. The deeper rewards lie elsewhere. "Love Street" opens a window onto a quieter Morrison than legend would have you expect. It is domestic without becoming ordinary, romantic without collapsing into sentimentality. "Summer's Almost Gone" drifts like the last warm evening before autumn, while "Wintertime Love" compresses melancholy into barely two minutes, proving that brevity can sometimes leave the deepest impression. “Not to Touch the Earth” well, what can I say? Run with me (if you dare). "Spanish Caravan” by Robby Krieger has an outstanding flamenco guitar intro which showcases his talent on the flamenco guitar, an instrument he started playing when he was 17. Then there is "The Unknown Soldier." Like a Goya painting. Few rock singles of its era dared to stage war as theatre, complete with execution, silence, and resurrection. Released while television brought Vietnam into the U.S.A’s living rooms each night, the song blurred the line between protest and performance. Rather than lecture, it unsettled. And then comes "Five to One." If there is a storm gathering on this record, that's where the clouds finally break. The riff is primitive and relentless, Morrison's vocal half sermon and half street-corner challenge. In retrospect, it sounds less like the end of an album than the opening chapter of the harder, blues-driven direction the band would pursue afterward.
From a historical standpoint, “Waiting for the Sun” occupies an unusual place in The Doors' catalogue. Critics have often treated it as a transitional work, neither as revolutionary as the debut nor as unified as “L.A. Woman”. Yet transitional records are frequently where artists reveal themselves most honestly. They're caught between identities, trying on new clothes while still wearing yesterday's shoes.
What gives this album its lasting power is its refusal to settle into a single mood. Psychedelia brushes against pop craftsmanship. Blues meets chamber-like delicacy. Romance sits beside anxiety. The music never quite decides whether it's celebrating the moment or mourning its passing. That's probably why it still feels alive. Great albums don't freeze time—they remind us that time keeps moving. Every summer eventually becomes almost gone. Every parade disappears around the corner. Every revolution becomes somebody's memory. But every so often, you pull a record from the shelf, lower the needle, and discover the sun was never really the point. It was always the waiting, the anticipation, the long stretch between darkness and light where imagination does its best work.
And maybe that's the quiet triumph of “Waiting for the Sun”. It isn't the loudest statement The Doors ever made. It doesn't need to be. Like the best conversations, it reveals a little more of itself every time you come back, years later, wondering if the music has changed, only to discover that it's you who has.
Ericka College girl 36
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Vivimos peleando por oportunidades, todos en general, algunos una oportunidad laboral, otros una chica o un chico y otros una oportunidad de brillar. No todos...
Riding the inter state to Lonavala. Went with retro tones here as you can see.
On second thought, isn't a really good shot because the empty space in the centre left kind of pulls my line of sight towards it, and rather uncomfortably. But, do tell me if you think otherwise.
More images: Facebook page.
Working with Karina Thompson
Residency:
Soho House
Birmingham
Maker: Karina Thompson
Graduate Placement: Lauren Crawford
Textile artist Karina Thompson was based at Soho House,
the home of Matthew Boulton, a leading figure in the
Industrial Revolution. Karina’s own practice involves
exploring scientific data through digital stitch and the use
of digital technology in the 21st Century. Karina has also
had a longstanding interest in Matthew Boulton and his
contribution to manufacturing. Weaver Lauren Crawford
supported Karina and together they worked with women
from the Asian Textiles Group using the interior of
Matthew Boulton’s house for inspiration.
Making Moves, Creating Futures for Craft
Making Moves is a West Midlands craft development initiative
involving four regional partnerships, led by Staffordshire County
Council and Craftspace, a Birmingham based craft development
organisation. The project consisted of nine craft residencies
which took place in community settings between September
2011 and July 2012, culminating in a touring exhibition.
The nine makers were challenged by residencies in unusual
workspaces - including a hospital, a pub and a park visitor
centre - which acted as sources of inspiration to develop ideas
for new work. They worked with local communities, offering
making workshops that were high quality, inspirational and in
some cases, life-changing. The exhibition showcases new work
by the makers in response to their residency setting, as well
examples of tools, materials and work created in the community
sessions.
The project also provided opportunities for nine crafts graduates
who supported the community making sessions as well as
receiving mentoring from the resident maker. They were given a
small bursary towards the development of their practice and
have also created new work for the exhibition.
Making Moves aimed to provide valuable opportunities for
learning. Makers gave masterclasses and lectures to Higher
and Further education institutions as well as talks to the wider
community. They wrote about the residency experiences on a
project blog, as well as coming together for regular networking
sessions.
To find out more about the project visit www.makingmoves.org and the
Makers’ Residency Blog www.makingmoves.posterous.com
Photos by Becky Matthews
Galoshes, boots covered with peeling dripping paint on steps
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved 2020 Contact me at jscorwin@mac.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
My website is jimcorwin.photoshelter.com
My E-Mail Address is jscorwin@mac.com
Este proyecto parte como solución a la cuarentena que estamos sufriendo, al tener Asma me veo totalmente forzado a trabajar dentro de casa. Siendo hiperactivo es una especie de condena. Siempre me gustó la idea de mezclar la fotografía con las diferentes artes. Lo que buscaba era lograr algo tridimensional en una bi-dimension y sugerir esa mirada microscópica o totalmente contraría, un escape al encierro, una cura a la cuarentena, al virus y a mí. Un escape abstracto al encierro mental…
Para ver más:
This proyect born as an answer to the quarantine, as an Asthmatic I'm really worried and forced to be inside home. I'm hiperactive too so been in this situation is a kind of confinement.
I always liked the idea of mix photography with diferents kind of visual arts. What I wanted was to get something tridimesional in a 2d image and sugest something microscopic or totally opossed like an abstract scape to the mental closure.
If you want to see more:
Ericka College girl 32
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Ericka creo que es una de mis mejores amigas por que yo soy uno de los peores amigos o cuando menos lo era, mi vida había sido muy diferente, en ese momento era una ...
Ericka College girl 28
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Siento nostalgia al hablar de ella, tal vez por que ya casi no la veo, siempre estamos ocupados trabajando, con proyectos intentado hacer algo grande por nosotros...
Ericka College girl 16
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Ericka es una de las pocas amigas que a pesar de los años nos seguimos hablando, ya no como antes que nos veíamos cuando menos una vez a la semana pero de repente t...
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
Lloyd McNeill (born in Washington, D.C.) is a Jazz flutist and visual artist currently based in New York City. He is generally recognized as a jazz flutist of eminent ability, alongside James Newton, Yusef Lateef, Sam Rivers and Eric Dolphy.
www.flickr.com/photos/28986981@N05/14398437036/in/photoli...
lmcneill1.weebly.com/ www.hipwax.com/music/patch/flute_lm.html
Artis zoo, Amsterdam
Sketches on the back of my entry ticket, pen and black watercolor (when you bring everything but you sketchbook)
#sketch #pinguins #penguins #artis #artiszoo #amsterdam #penandwatercolor #blackandwhite #drawing #visualartist #maartjejaquet
Ericka College girl 20
Model: Ericka Guereni
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens: 18 – 55
Cuando miro sus ojos recuerdo muchos momentos que vivimos, no solo los buenos, también recuerdo momentos tristes, enojo, etc. en algunos casos cosas por las que fui ...
gerhard richter
bilder einer epoche
bucerius kunst forum exhibition catalogue (french edition)
somogy éditions d'art (2012)
© Luis Campillo 2016
Model Ane Sehnsucht.
Outfit by SEHNSUCHT www.anesehnsucht.com