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While I was in San Francisco I met this writer. He always wore a pained look on his face, and had a perpetual 5 o'clock shadow. We roamed around the city, and he would tell me stories. He was my mentor, though I never read his words. I miss him.
Patricia is a highly experienced writer and a sharp interviewer. She spent more than 20 years working in journalism in the United Kingdom before emigrating to New Zealand.
She has done everything from news reporting and news-editing on London weekly papers to running the features department of a regional United Kingdom daily.
Patricia has worked on several in-house and company magazines (including the Ford Motor Company UK and the BBC) as well as the members’ newsletter for Jongleurs, the world’s biggest comedy club.
Patricia instantly puts her subjects at ease with her friendly manner, while finding the angle in a story. She knows how to best benefit clients while capturing the interest of the media.
Favourite interview subjects have included Spike Milligan, David Attenborough, Peter Ustinov and Stewart Granger – although most people are more interested in the fact she has interviewed both Sir Paul McCartney’s wives.
She has enjoyed two stints as a columnist, writing an opinion page for a United Kingdom daily paper and eight years researching and writing a syndicated ‘agony aunt’ column.
Nikon D700 + Nikkor 35-70mm, Handheld @6400ISO.
This was a moving projection from ceiling to floor, shot onto a light flooded wall through a kind of fine vertically corded screen, through which a wind machine was blowing. So the composition is me and the camera, choosing one moment, one boundary and one bit of the available sequence.
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Shame on me. I had never been to Trieste nor had I heard of Magris or any of his writing.
He succeeded in his aim to make me address both in the future.
An accidental discovery, ventured into after emerging from the photography exhibition by Gervasio Sanchez.. Magris has (with his curators) put together a perfect antidote to that incredibly powerful exhibition, but without undermining either of them. No mean achievement. This was a wonderful, over the top, at times whimsical, often eccentric exhibition, but it didn't shy away from some of the more darker aspects of the history of Trieste.
Whilst I've learned something about a city and a writer that I didn't know much about, I've also experienced an exhibition that was truly multi-layered. Using moving images, projections, light boxes, audio material, installations in entire rooms (the River Danube for instance!), wind machines, photography, scrapbook style information and so on, Magris illustrates beautifully why it helps to not always get stuffy about gallery exhibitions, but to make them engaging, quirky and somewhat disarming through a variety of media.
The ZSR Library held its third Writers' Camp on Friday, Jan 31st, with 26 student authors writing for eight hours!
cant think of one thing to draw ... yet theres a hundred things each week i can use as subject material... so why not mash it all up
–new blog post! weeeeeeeeeee
During PBS KIDS’ SESAME STREET session at the Television Critics Association Winter Press Tour in Pasadena CA on Tuesday, January 21, 2014, puppeteers and characters entertain the critics. Afterwards, actor Chris Knowings, executive producer Carol–Lynn Parente, head writer Joey Mazzarino and puppeteer David Rudman discuss the show.
(Season 45 premieres Fall 2014.)
All photos in this set should be credited to Rahoul Ghose/PBS
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"In her long career, which stretched over forty years and included the publication of more than forty books, Edith Wharton (1862-1937) portrayed a fascinating segment of the American experience. She was a born storyteller, whose novels are justly celebrated for their vivid settings, satiric wit, ironic style, and moral seriousness. Her characters, such as Ellen Olenska in The Age of Innocence, Ethan Fromme, and the charming but ineffectual Lily Bart in The House of Mirth, are some of the most memorable in American literature. Often portrayed as tragic victims of cruel social conventions, they are trapped in bad relationships or confining circumstances. Her own life stands as an example of the obstacles that a woman of her time and place had to overcome to find self-realization."
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
eNews 2/1/2018
Article written by Sandee Bailey
Photos by Cindy H. Andrews*
*all photos were taken the day of this walk at Powhatan State Park
Sharin is a Features Writer at Mid-Day, Mumbai. She used to work with Hindustan Times before this.
She loves Music, Movies, TV Shows, Books, Graphic Novels and Milkshake.
She has a well framed movie poster collection at her place and it's quite awesome.
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