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Creating Healthy Work Environments
Austin, Texas, USA
Day 3 - 12 February 2023
Photos courtesy of Kayla Prasek Photography
Creating Healthy Work Environments
24-26 March 2022
Washington, DC, USA
Day 3 - 26 March 2022
Photos courtesy of EPNAC.com
A collaborative project with Anglepoise, Strong Island & The University of Portsmouth.
10 artists/designers will be twinned with 10 photographers and an Anglepoise light.
Follow the project at creatingbalanceproject.tumblr.com/
This shoot was between artist Lorna Apps Woodland and photographer Matt Sills
Many thanks to BSc Film and TV students Max and Jonas
Tseng Kwong Chi, Born Hong Kong, China 1950-
died New York City 1990
Paris, France, from the series East Meets West, 1983, printed 2008, gelatin silver print, frame: 37 1⁄4 × 37 1⁄4 in.
n his signature series East Meets West, Tseng Kwong Chi created a role for himself he called the "Ambiguous Ambassador." Wearing a Mao suit (the gray uniform associated with the Chinese Communist Party) and mirrored sunglasses, he posed next to landmarks and monuments, many of them emblems of American national identity.
Tseng highlighted the signifying power of dress and posture. As an immigrant and person of Chinese descent, he was also conscious of how Asians are stereotyped in the West. His donning of the Mao suit in public was a tongue-in-cheek performance of "Chineseness" that both played to and subverted assumptions about race, culture, and nationality.
“I am an inquisitive traveler, a witness of my time, and an ambiguous ambassador.”
Tseng Kwong Chi was a conceptual performance artist and photographer. In addition to documenting New York City’s downtown art scene of the 1980s, he is known for creating irreverent quasi-self-portraits that depict him in a persona he called the "Ambiguous Ambassador."
Tseng was born in Hong Kong, where his Chinese Nationalist parents escaped following the Chinese Communist Revolution in 1949. In 1966, Tseng and his family emigrated to Vancouver, Canada, where he completed high school. He later studied photography at the École Supérieure d'Arts Graphiques in Paris, France.
Upon moving to New York City in 1978, Tseng quickly found himself at the heart of its burgeoning avant-garde art and countercultural movement. At queer-friendly East Village venues such as Club 57 and the Mudd Club, Tseng befriended and photographed artists including Keith Haring, Ann Magnuson, and Kenny Scharf. During his long friendship with Haring, he documented the painter’s work, including his early guerilla-style subway drawings. In Tseng’s own practice, an interest in performance, identity, and portraiture emerged. For photo essays published in the alternative paper The Soho Weekly, Tseng satirically fashioned his artist friends as heteronormative suburban preppies (It's a Reagan World!, 1981) and traveled to DC to take the portraits of conservative politicians such as Jerry Falwell in front of a crumpled American flag (Moral Majority, 1981).
The mutable and socially constructed nature of identity is explored in Tseng’s most well-known body of work, a group of photographs originally titled East Meets West. These approximately 150 images constitute a continuous project yet move through several discernible phases. Between 1979 and 1982, Tseng traveled around the United States, posing in his “Mao suit” next to well-known monuments and landmarks. Starting in 1983, he went international, eventually creating images in Europe, Brazil, and Japan. In 1986, Tseng began photographing himself mostly in dramatic natural landscapes. Around this time, he started referring to his series by a new title, The Expeditionary Works.
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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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larger: farm5.static.flickr.com/4043/4380089112_60f62429a7_o.jpg
Try this for fun.
1 .Take a nice landscape image and dupe the background layer and put it in exclusion blending mode.
2. Add a layer mask and make sure the mask is chose and got Filter > Render Different Clouds ON THE MASK. Set layer at about 60% opacity.
3. Add a blank layer and go Filter > Render > Clouds, put in SCREEN overlay mode and make opacity at about 50%.
4. Add a levels adjustment layer and set the left (dark) output level at 30 and the right (light) output level at 230.
It's an interesting start. If you have a bright and colorful image you may wish to reduce it's saturation at bit. In my case I just duped layer, desaturated it, put in color mode at 30% opacity.
Create a detailed illustration depicting the use of artificial intelligence (AI) in developing customized climate adaptation strategies. A futuristic AI interface analyzing diverse environmental data. A coastal community with AI-driven flood defenses like smart barriers and early warning systems. Diverse geographical features like mountains, forests, and rivers, highlighting local and regional specificities. Clouds, bird eye view, topography, lightning storm, climatic science. Scientists and engineers interacting with the AI system, showcasing collaboration and innovation. Visual elements representing data analysis, such as graphs, charts, and holographic maps. The overall scene should convey a sense of advanced technology, environmental sustainability, climate, and community resilience. Depth of field, contrast, Cinematic, Elegant, Depth of Field | Action Scene | Natural Lighting | Subject | Centered-Shot | 22 Megapixels | Shot on IMAX 70mm | Detailed | Elegant | Perfection | Shimmering | Perspective, HDR, 8k, high resolution --ar 16:9 @ChrisBoules
Creating Healthy Work Environments
24-26 March 2022
Washington, DC, USA
Day 2 - 25 March 2022
Photos courtesy of EPNAC.com
2009 TogetherGreen Innovation Grantee San Diego Audubon held a fun habitat restoration event in April.
Volunteers from Audubon and the local neighborhood came out to plant native plants and help save this important scrub habitat for wildlife, birds, and humans too!
Creating Healthy Work Environments
24-26 March 2022
Washington, DC, USA
Day 3 - 26 March 2022
Photos courtesy of EPNAC.com
David W. Orr is the Paul Sears Distinguished Professor of Environmental Studies and Politics and Special Assistant to the President of Oberlin College. The Oberlin Project was formed out of David Orr's vision of full-spectrum sustainability: an all-encompassing joint venture by the town and College to create a thriving, sustainable and environmentally friendly community in Oberlin.
Creating Healthy Work Environments
24-26 March 2022
Washington, DC, USA
Day 2 - 25 March 2022
Photos courtesy of EPNAC.com
FA Cup Extra Preliminary Round - Sunday 4th August Littlehampton vs Tooting & Mitcham United
Nikon F80 and 70-300mm VR
Kodak Tri-X at 400
Developed in HC110 (E) 7.5 mins
These hand pulled screenprints of amazing photos were commissioned by the crew at Brightons biggest and best photography studio 'Create'. Printed by Parliament of Feathers these pieces were handed to the beautiful guests at this weeks launch event. What an event it was!
A collaborative project with Anglepoise, Strong Island & The University of Portsmouth.
10 artists/designers will be twinned with 10 photographers and an Anglepoise light.
Follow the project at creatingbalanceproject.tumblr.com/
This shoot was between artist/interior designer/garden designer and painter Will Pounds - willpounds.com/
Art Director and artist Thor Haley
Creating Healthy Work Environments
24-26 March 2022
Washington, DC, USA
Day 3 - 26 March 2022
Photos courtesy of EPNAC.com
A collaborative project with Anglepoise®, Strong Island & The University of Portsmouth.
10 artists/designers will be twinned with 10 photographers and an Anglepoise® light.
Follow the project at creatingbalanceproject.tumblr.com/
Fark - www.flickr.com/photos/farkfk/
Russell Squires - www.russellsquires.co.uk/
Many thanks to BSc Film and TV students Max and Jonas
Creating a place to create is wonderful. However, after I organize my art room, I find I still love to paint at my kitchen table like I did when I was a kid!
Field Trip with Corrina Keeling -- creativemornings.com/talks/creating-public-art-with-corin...
Photo Credit: Marga López