View allAll Photos Tagged obfuscation
Built in 1906 and renovated circa 1930, this Renaissance Revival-style theater was designed by Claude and Starck, and features an Art Deco-style marquee and first floor front facade, and originally served as a vaudeville theater before becoming a movie theater. The building is clad in Art Moderne-style enameled metal panels on the first floor with a marquee featuring neon lights above the entrance, an Art Moderne-style ticket booth with curved corners and curved glass, and four entrance doors flanked by poster display cases. The upper portion of the building displays the original style of the facade, with painted brick cladding, limestone trim, a large five-part arched window on the second floor of the front facade above the marquee, flanked by pilasters, a cornice at the top of the second floor, blind bays on the fourth floor framed by stone trim with a large decorative cornice above, and a cornice with dentils and modillions at the top of the parapet, which obfuscates the building’s low-slope roof. The building has a footprint that bends from King Street to the stage, which sits adjacent to Doty Street, with this being very evident inside the building. The building today serves as a live performance venue, with the original wall paneling, vaulted ceiling, proscenium arch, box seats, and plaster trim on the second floor of the space being intact. The theater primarily hosts live musical acts, occasionally being used to screen televised events or movies, or being used as an event venue.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
why is this up? because a user with over 25K listeners reblipped one of this user's blips and kept my name in the blip so i saw it. normally, i would ignore a user like this as bringing this kind of user attention is exactly what they want., it validates them. especially the ones who hide behind these anonymous accounts. i'm addressing it because a user with 25K has a certain amount of influence and if i don't address it, it says something about me. i prefer to put things out there and clarify issues than run and hide.
so what happened? a user sends me a message on ning.blipfm informing me i should mutually add them back on blip, gets obfuscated and goes public to insult me.
there's a fine line between funny and rude. i personally think this is quite rude. i didn't find any humour in this. i also wouldn't out a private conversation but this user went public and decided it would be interesting to attack me publicly. so, it's more than fair to bring out the private interactions.
i understand that my assatar brings out the freaks. and i'm sure many are saying "you deserve it. you're instigating." perhaps, i am but that's the same logic as rape. i am responsible for my actions. i understand consequences. and this is a consequence of having people not understand my sense of humour. this isn't the first time this has happened to me and i know it won't be the last.
Full size here
Title Ideas actually stolen from photos in Explore:
"out beyond ideas of wrongdoing and rightdoing is a field..."
(Found that on only the second refresh!)
"I felt as a ghost posted to the time as a target"
(Whatever the heck that means. Obfuscation is the point though. It adds mystery.)
"Breathless, we flung us on a windy hill, laughed in the sun, and kissed the lovely grass."
(This photo wasn't of people, hills or grass. It was...wait for it...flowers.)
"Watch as it unfolds so beautifully."
(The picture was of folded origami. No unfolding to be found.)
"I thought I felt your touch, but the waters rising up."
(This one is grammatically challenged.)
The view of the Milky Way from Bacon Creek in August 2018. I was worried the haze from the nearby forest fires would make it hard to see, but the obfuscation was minimal and primarily located near the horizon.
Nothing fancy here, just science geeks getting their geek on at Science Online 2011. Follow the Twitter hashtag #scio11 for lots of fun.
(I'd also recommend #DSN and #DSNSUITE for those not too faint of heart.)
I did my best to eliminate unflattering and incriminating photos. Please don't ID anyone but yourself in these photos to protect the anonymity of the guilty.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
northmediteran sea coast, on some sea grass. Spirorbinae. It does look a bit different than this:
agrozoo.net/jsp/Galery_one_image.jsp?id_galery_obfuscated...
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
By clustering together, zebra demonstrate how their striping pattern help obfuscate a predator's ability to single any one animal out.
By clustering together, zebra demonstrate how their striping pattern help obfuscate a predator's ability to single any one animal out.
4me4you features ‘Towards a Blue Room’.
Artist: Timothy Lai
4me4you recently had the privilege of experiencing the captivating exhibition at Josh Lilley Gallery featuring the works of Timothy Lai. Lai's paintings, much like the subjects they depict, reside in a realm of perpetual transformation, hovering delicately between the tangible and the abstract, between revelation and retreat. Inspired by Chet Baker's poignant rendition of Blue Room, Lai's artistry celebrates the nuanced moments of domesticity—some mundane, others turbulent—that define the human experience. Each canvas serves as a vessel for the essence of suspended time, inviting viewers to decipher the subtle clues and profound implications embedded within.
Lai assumes the role of a conductor, orchestrating an intimate symphony of visual narratives that demand active participation from the observer. Through techniques of camouflage and pixelation, he veils his subjects, blurring the boundaries between viewer and viewed. In safeguarding their vulnerability, Lai initiates a dialogue on the intricate dynamics of subjectivity, where the relinquishment of individual identity converges with the emergence of collective consciousness. As witnesses to his artistry, we are propelled into the roles of reluctant bystanders, silent mediators, or compassionate companions, navigating the uncharted waters of human connection with patience and empathy.
Spanning a diverse array of larger vignettes and intimate compositions, Lai employs the compositional frame as a tool for dissecting barriers—both societal and self-imposed—that shape our existence. Drawing from a rich tapestry of historical and visual references, he reimagines the act of masking as a conduit for deeper introspection and nuanced discourse. From religious rites of enshroudment to the deliberate obfuscation of truth in contemporary art, Lai challenges conventional notions of concealment, inviting viewers to confront the complexities of perception and identity.
"Towards a Blue Room" serves as a profound exploration of confluence, probing the liminal spaces where boundaries blur and possibilities unfold. In Lai's masterful strokes, dissolution intertwines with protection, reflection merges with exposure, offering glimpses into the kaleidoscopic nature of human experience. Each brushstroke beckons us to traverse the threshold between certainty and ambiguity, forging new pathways of understanding and connection.
In essence, Lai's work transcends the confines of traditional artistry, offering a kaleidoscopic lens through which to interpret the intricacies of the human condition. As we immerse ourselves in the labyrinth of his creations, we are reminded of the profound power of art to illuminate, provoke, and ultimately, unite us in our shared journey towards understanding.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
www.proteuseng.com/cybervigilance
“Weakness and vulnerability – these things will always be exploited” - Z. Smith
An Exploit Kit is a malicious tool with pre-written code used by cyber criminals to target computers for nefarious purposes.
Most exploit kits are created by a small number of sophisticated cyber criminals but they can be purchased and used by lower skilled criminals who have little technical knowledge.
Exploitation Comes In Many Forms
With a 75% jump in activity observed in 2015, Exploit Kit usage is on the rise and will most likely continue to rise as
ransomware has become a lucrative business enterprise with large financial rewards for cyber criminals. Currently the
Magnitude, Neutrino, and Nuclear exploit kits are the most popular but the Angler is by far the largest threat.
Angler uses a process known as a drive-by download combined with other aggressive tactics to direct unsuspecting users to its servers and proceeds to exploit security holes in outdated or insecure software applications such as Adobe Flash Player, Internet Explorer, Microsoft Silverlight, Java, and ActiveX. It uses various techniques to defeat traditional detection methods including unique obfuscation, antivirus and virtualization software detection, encrypted payload, and fileless infections.
You can't tell the origin is Google.
This sets a bad example as people will Allow the dialog, though they can't recognise the identity of who wants their location.
By clustering together, zebra demonstrate how their striping pattern help obfuscate a predator's ability to single any one animal out.
There is a lovely back story about the Professional (?) Olfactory Obfuscation Products (Kitty) bentonite mine.
recorded in August 2017 while rehearsing instrumental covers at Place de l'Université-du-Québec in Québec City.
the occasional right hand obfuscation is a courtesy of my right knee.
arrangement for solo guitar by yours truly.
i hope you enjoy the results !
❤ thank you for your support ! ❤
§
you're invited to subscribe to the ★ Monthly Release Club ★ to instantly get every composition i release, along with Club Exclusives and bonus materials such as demos, videos, lyrics and other works in progress :
poligraf.bandcamp.com/monthly-release-club
among other privileges, Club Members have access to the contents of the « Upcoming Releases » and « Creative Process » series at least one month before the general public.
§
★ connect via social networks ★
www.facebook.com/christopher.andrew.stewart
§
#fingerstyle #guitar #workinprogress #godinguitars #cover
4me4you features ‘Towards a Blue Room’.
Artist: Timothy Lai
4me4you recently had the privilege of experiencing the captivating exhibition at Josh Lilley Gallery featuring the works of Timothy Lai. Lai's paintings, much like the subjects they depict, reside in a realm of perpetual transformation, hovering delicately between the tangible and the abstract, between revelation and retreat. Inspired by Chet Baker's poignant rendition of Blue Room, Lai's artistry celebrates the nuanced moments of domesticity—some mundane, others turbulent—that define the human experience. Each canvas serves as a vessel for the essence of suspended time, inviting viewers to decipher the subtle clues and profound implications embedded within.
Lai assumes the role of a conductor, orchestrating an intimate symphony of visual narratives that demand active participation from the observer. Through techniques of camouflage and pixelation, he veils his subjects, blurring the boundaries between viewer and viewed. In safeguarding their vulnerability, Lai initiates a dialogue on the intricate dynamics of subjectivity, where the relinquishment of individual identity converges with the emergence of collective consciousness. As witnesses to his artistry, we are propelled into the roles of reluctant bystanders, silent mediators, or compassionate companions, navigating the uncharted waters of human connection with patience and empathy.
Spanning a diverse array of larger vignettes and intimate compositions, Lai employs the compositional frame as a tool for dissecting barriers—both societal and self-imposed—that shape our existence. Drawing from a rich tapestry of historical and visual references, he reimagines the act of masking as a conduit for deeper introspection and nuanced discourse. From religious rites of enshroudment to the deliberate obfuscation of truth in contemporary art, Lai challenges conventional notions of concealment, inviting viewers to confront the complexities of perception and identity.
"Towards a Blue Room" serves as a profound exploration of confluence, probing the liminal spaces where boundaries blur and possibilities unfold. In Lai's masterful strokes, dissolution intertwines with protection, reflection merges with exposure, offering glimpses into the kaleidoscopic nature of human experience. Each brushstroke beckons us to traverse the threshold between certainty and ambiguity, forging new pathways of understanding and connection.
In essence, Lai's work transcends the confines of traditional artistry, offering a kaleidoscopic lens through which to interpret the intricacies of the human condition. As we immerse ourselves in the labyrinth of his creations, we are reminded of the profound power of art to illuminate, provoke, and ultimately, unite us in our shared journey towards understanding.
By clustering together, zebra demonstrate how their striping pattern help obfuscate a predator's ability to single any one animal out.
I am fed up with the obfuscation of UK plc's newly ramped up miltarism with our expected response to the current Corona crisis. This is not a war. If it were, we might be rattling around saying, "If your number isn't on it ...".
If this pandemic ever ends or when we return to matters Brexit-related the signs do not bode well.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
at beetle rock, where sequoia rangers have made a point of explaining to visitors that the view is obfuscated by smog.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
By tracking certain features in the video, we can selectively remove parts of the broadcast. Here we blur out faces and pitch shift voices, as if trying to protect their identity. Names and places in the transcript are immediately redacted.
Sylvia Gray, the owner of the Thrift Store out of which Elsewhere is being built, tied many things in ribbon; it was a sort of seal, an effort to protect it from the outside. This, however, may be a forgery; several artists have obfuscated the record by bagging, tying, and preserving objects to make it look like Sylvia Gray gave them favoured status. Such shenanigans are STRONGLY FROWNED UPON BY MANAGEMENT.