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The Children’s Society commissioned us to produce a film telling a personal story for their integrated campaign about Child Sexual exploitation. This is the biggest campaign that they charity has ever done, so this video was very important.
The project had a tight turnaround and the sensitive subject matter and the vulnerability of the young people involved presented us with a challenge.
We felt it was important to show a human face to communicate the huge impact child sexual exploitation has on a young person’s life. But due to their vulnerability, we were not able to feature the faces any of the victims.
Our solution was to work with a young actor to deliver the actual words of young people who has been supported by the Children’s Society as a result of experiencing child sexual exploitation.
We worked with the client to turn the words into a script for Becky’s Story and deliver this important message. We provided a location for filming and supported the young actor to produce a natural and realistic portrayal of a young woman coming to terms with child sexual exploitation.
Le marketing en ligne est devenu un phénomène de masse. Plus que jamais, vous devez savoir en tirer parti. Pour bien faire, il faut commencer par comprendre où se trouvent vos clients et comment ils se comportent en ligne. Dans cette séance, vous apprendrez les principes de base du marketing dans les moteurs de recherche, vous découvrirez certaines habitudes des consommateurs en ligne et vous apprendrez à maximiser votre présence en ligne. Plus d'information: 360.pagesjaunes.ca/fr/evenements-seminaires
Yet more filter painting. This one started out with random noise in individual color channels and brush strokes.
NCMEC held its “40 Years of Hope” celebration on Sept. 26, 2024, at the National Building Museum in Washington, D.C. For 40 years, the National Center for Missing & Exploited Children has been the leading global nonprofit in child protection. Over the past four decades, NCMEC has assisted with the safe recovery of more than 400,000 missing children, stopped the spread of millions of child sexual abuse images, and protected children with groundbreaking prevention education around the world. Claire Edkins /NCMEC
Charity Golf Tournament benefiting the Cal Ripken, Sr. Foundation and the National Center for Missing & Exploited Children Sponsored by Lexis Nexis
Photo by Sarah Baker
Dakarkids helpt op discrete wijze (sinds 2007) meer dan 300 straatkinderen per jaar op medisch en sociaal gebied. Het zijn kinderen uit de allerarmste families of kinderen zonder familie. De kinderen hebben veelal ernstige infecties, open wonden of andere problemen. Sommige kinderen zijn langdurig mishandeld of misbruikt. Andere kinderen hebben soms jaren lang moeten werken of hebben op straat gebedeld onder vaak buitengewoon moeilijke omstandigheden. In veel gevallen is er niemand die voor hen wil zorgen.
Joseph Mallord William Turner, 1775–1851
Port Ruysdael - exhibited 1827
Evoking the choppy, cheerless waters of the North Sea, this painting brilliantly exemplifies the way Turner exploited the differing moods of his maritime subjects to create highly affecting images. While storm clouds ominously gather overhead, a single fishing boat navigates the breaking waves, its sail straining against the whipping wind. In the foreground, an abandoned catch scattered beside the timber groins creates a feeling of loss and futility. Conceived as a homage to the Dutch marine painter Jacob van Ruisdael (1628–1682), whose name is given to the fictional port depicted, Turner’s painting made a strong impression on his greatest supporter, John Ruskin. “I know of no work at all comparable,” Ruskin remarked, “for the expression of the white, wild, cold, comfortless waves of the northern sea.”
Although remembered as a landscape painter, J. M. W. Turner was above all else a painter of the sea, especially in the 1830s and 1840s, when he explored the sea’s more threatening moods. Contemplating this picture, John Ruskin, Turner’s greatest interpreter and champion, remarked: “I know of no work at all comparable for the expression of the white, wild, cold, comfortless waves of the northern sea, even though the sea is almost subordinate to the awful rolling clouds.” Port Ruysdael was a title Turner invented as an homage to the Dutch seventeenth-century painter Jacob van Ruisdael (1628/9–1682). The composition was inspired by several marine paintings by Ruisdael, including one in the Louvre that Turner saw on a visit to Paris in 1802. Turner exhibited Port Ruysdael at the Royal Academy in 1827, but it did not sell until Elhanan Bicknell acquired it in 1844, along with Turner’s Wreckers (shown nearby).
The title is fictitious, apparently chosen by Turner as an homage to the seventeenth-century Dutch master Jacob Ruisdael, whose works he had seen, admired, and sketched in 1802 when for the first time he visited the Louvre. Ruisdael eventually became Turner's favorite Dutch master. Referring to the picture in his enormously influential book Modern Painters, the critic John Ruskin wrote: "I know of no work at all comparable for the expression of the white, wild, cold, comfortless waves of the north sea, even though the sea is almost subordinate to the awful rolling clouds." Turner had not exhibited a sea picture for upwards of eight years, so Port Ruysdael [sic] was an important harbinger. Henceforth, he produced a great series of tempestuous sea pictures, many of which he retained and bequeathed to the nation (Tate Britain).
collections.britishart.yale.edu/catalog/tms:422
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J. M. W. Turner: Romance and Reality
The year 2025 marks the 250th anniversary of the birth of Joseph Mallord William Turner (1775–1851), possibly the most widely admired and influential British artist of all time.
Though Turner was trained within the English topographical tradition, his practice was deeply rooted in a wider European heritage of landscape painting. Turner pushed this inheritance to its limits in pursuit of his own expressive ends, astounding contemporaries with his bold and highly original compositions. His unique approach paved the way for a new form of landscape art, one that combined virtuoso brushwork with brilliant color, dazzling light effects, and an almost abstract sensibility. As a result, Turner came to be recognized as the most radical and innovative painter of his time and has continued to be so ever since.
This exhibition, the first show focused on Turner to be held at the Yale Center for British Art in more than thirty years, will showcase the museum’s rich holdings of the artist’s work. Unequaled in North America, this collection includes some of Turner’s most acclaimed oil paintings, notably his masterpiece Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818) and his celebrated later painting Staffa, Fingal’s Cave (1831–32). Alongside these major works, the exhibition will also feature outstanding watercolors and prints from the YCBA’s collection, including the artist’s only complete sketchbook outside of the British Isles.
Turner’s works are akin to painted poems, filled with incident, anecdote, and symbolism. Conveying both the beauty and cruelty of nature and human life, they shed fascinating light on the artist’s world and reveal an aesthetic—and moral—complexity that is at once discomforting and strangely modern.
britishart.yale.edu/exhibitions-programs/j-m-w-turner-rom...
"In two inaugural exhibitions upstairs, large gestural paintings on the second floor focused on the female body by Emin — who established her reputation with confessional, ramshackle sculptural installations — have unexpected resonance with atmospheric landscapes on the third floor drawn from the center’s almost 3,000 works by J.M.W. Turner, who was born almost 200 years before Emin and, like her, counted the English seaside town of Margate as an important second home.
This pairing reflects the center’s new curatorial approach, Droth said, showcasing the depth and richness of its historical collections “and then taking those threads into the present moment with someone like Tracey, who absolutely sees herself in the lineage of Margate, famous for Turner and now famous for Tracey, and in those sort of painting traditions.”
www.nytimes.com/2025/04/25/arts/design/yale-british-art-t...
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Opened in 1977 through the generosity of Yale graduate and philanthropist Paul Mellon, the Yale Center for British Art holds the largest and most significant collection of British art outside the United Kingdom. The collection spans five centuries and is the foundation for a museum uniquely focused on the histories, legacies, and shifting contexts of British art. Housed in a celebrated modernist building designed by Louis I. Kahn, the museum is situated on the Yale University campus in the city of New Haven. It is free and open to all.
"On the campus of Yale University, two art museums housed in landmark modernist buildings — each designed by Louis I. Kahn — sit directly across the street from one another. One, the Yale University Art Gallery, with an encyclopedic collection of about 300,000 objects, draws close to a quarter million people annually. The other, the Yale Center for British Art, with its specialized collection of more than 100,000 works from the 15th century to the present, brings in less than half that traffic.
The British center is now aiming to even up those visitor numbers.
It reopened in March after a two-year closure for conservation of the skylights and lighting throughout the building — the acclaimed architect’s last realized project, which opened in 1977 and is widely considered an artwork in itself — and with a fresh exhibition philosophy.
A piece by Tracey Emin, who came to fame as one of the so-called Young British Artists in the 1990s alongside peers like Damien Hirst and Sarah Lucas, inaugurates a new program of contemporary works in the lobby. Her glowing sculptural installation, with yellow neon lighting proclaiming in script “I loved you until the morning” on a mirrored wall in the museum’s entrance court, is visible from the street. It serves as an “invitation” at the front door, said Martina Droth, the center’s director, who was appointed in January after working with its collections for 16 years, most recently as chief curator."
www.nytimes.com/2025/04/25/arts/design/yale-british-art-t...
The museum’s collections include more than 2,000 paintings, 250 sculptures, 20,000 drawings and watercolors, 40,000 prints, and 35,000 rare books and manuscripts dating from the fifteenth century to the present. More than 40,000 volumes supporting research in British art and related fields are available in the Reference Library. The collection is rich with historic works by John Constable, Thomas Gainsborough, Joshua Reynolds, George Stubbs, and J. M. W. Turner, as well as works by major artists of the twentieth- and twenty-first centuries, including Hurvin Anderson, Francis Bacon, Vanessa Bell, Sonia Boyce, Cecily Brown, Barbara Hepworth, Anish Kapoor, Henry Moore, Ben Nicholson, Yinka Shonibare, and Barbara Walker.
britishart.yale.edu/collections-overview
One of the museum's greatest treasures is the building itself. Opened to the public in 1977, the Yale Center for British Art is the last building designed by the internationally acclaimed American architect Louis I. Kahn. The structure integrates the dual functions of study center and gallery, while providing an environment for works of art that is appropriately elegant and dignified. The building stands across the street from Kahn’s first major commission, the Yale University Art Gallery (1953). Located in downtown New Haven, the YCBA is near many of the city’s best restaurants, theaters, and shops.
The YCBA’s exterior of matte steel and reflective glass confers a monumental presence in downtown New Haven. The geometrical four-floor interior is designed around two interior courtyards and is comprised of a restrained palette of natural materials including travertine marble, white oak, concrete, and Belgian linen. Kahn succeeded in creating intimate galleries where one can view objects in diffused natural light. He wanted to allow in as much daylight as possible, with artificial illumination used only on dark days or in the evening. The building’s design, materials, and skylit rooms combine to provide an environment for the works of art that is simple and dignified.
britishart.yale.edu/architecture
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The Exploited no Rio de Janeiro | Teatro Odisseia - Lapa/Rj | 05/11/2013 | Fotos por: Wellington Peclat
NCMEC held its “40 Years of Hope” celebration on Sept. 26, 2024, at the National Building Museum in Washington, D.C. For 40 years, the National Center for Missing & Exploited Children has been the leading global nonprofit in child protection. Over the past four decades, NCMEC has assisted with the safe recovery of more than 400,000 missing children, stopped the spread of millions of child sexual abuse images, and protected children with groundbreaking prevention education around the world. Claire Edkins /NCMEC
WASHINGTON, D.C.: National Center for Missing & Exploited Children (NCMEC) 2025 Hope Gala at the Smithsonian National Portrait Gallery on Sept. 17, 2025. Photo by Samantha C. Banavong.
NCMEC’s signature fundraiser is more than a night of celebration—Hope Gala is a powerful call to action for children. Every story shared and every dollar raised brings us closer to a world where every child is safe.
For more than 40 years, NCMEC has led the fight to protect children, support families, and bring hope to those impacted by abduction and exploitation. The evening united survivors, advocates, law enforcement, and leaders from across the country around one goal: protecting childhood.
NCMEC held its “40 Years of Hope” celebration on Sept. 26, 2024, at the National Building Museum in Washington, D.C. For 40 years, the National Center for Missing & Exploited Children has been the leading global nonprofit in child protection. Over the past four decades, NCMEC has assisted with the safe recovery of more than 400,000 missing children, stopped the spread of millions of child sexual abuse images, and protected children with groundbreaking prevention education around the world. Claire Edkins /NCMEC