Sunday 31 January 2016

Photography exhibit highlights Morris Brown history at Savannah Black Heritage Festival

SAVANNAH, GA (WTOC) -
A new art exhibit by photographer Andrew Feiler is on display at the Ralph Mark Gilbert Civil Rights Museum on Martin Luther King, Jr. Boulevard.

The exhibit is called "Without Regard to Sex, Race, or Color: The Past, Present, and Future of One Historically Black College".  The photographs highlight a proud past, a challenging present and an uncertain future for Morris Brown College. The exhibit is part of Savannah State University's Black Heritage Festival.

"My voice as a photographer has been shaped by the rich complexities of the American South and being a minority in the South," Feiler said. "History, culture, geography, race, justice, progress and those are the themes that I'm interested in and historically black colleges and universities are a really, really important Southern story."

The art exhibit will be on display through March. To see the complete schedule for the Savannah Black Heritage Festival. 

Resource: http://www.wtvm.com

ASONP presents "Creative Location Photography"

Rebecca Birch-Gutierrez and Marco Gutierrez together own Gutierrez Photography based in Eagle River. They specialize in creating concept and fashion inspired portraits for high school seniors, families, dancers, businesses, and women. A hallmark of their work is detailed planning and creatively collaborating with their clients. Most of their work is shot at outdoor locations and employs a variety of techniques. Both have had work selected for alaskaWILD, the annual juried outdoor photography show sponsored by the Alaska Society of Outdoor and Nature Photographers. They will discuss their approaches to planning and shooting outdoor portrait, dance, and fashion sessions. The presentation will address the challenges faced and the techniques used to create location photography. Presented by the Alaska Society of Outdoor and Nature Photographers.

Resource: http://www.adn.com 

Learn photography and editing essentials with Adobe’s All-Inclusive Photoshop Bundle – 93% off

Despite the claims of high-end cameras, spending an ungodly amount of money isn’t necessary to take great pictures. Sure, a more expensive device may result in a sharper quality curve for amateur shooters, but it won’t make you a good photographer.

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Bonus Deal: Hollywood Art Institute Photography Course & Certification – $25

Professional photography is about hands-on techniques and business knowhow, and you can learn both through the Hollywood Art Institute Photography Course, which also gives you professional certification.

Rather than making you wade through technical jargon, the course looks at the practical skills used by pros on a daily basis. Split into 22 modules, the courses are delivered through video tutorials, articles, ebooks, flashcards, and quizzes.

Resource: http://thenextweb.com

Why You Shouldn't Be Scared to Develop Your Passion for Photography Into a Career

I encounter lots of people who are torn between pursuing their passion for photography as a career or keeping it as a treasured hobby. There’s naturally that underlying paranoia that doing what you love full-time and taking on the pressure of monetizing it will kill your enjoyment. I’d like to say that years after going “pro,” I still love what I do every day. If you’re unsure and need convincing, here’s why I believe you too should take the plunge.
If you’re thinking of making a serious go at being a photographer, there’re a few things you should know. The first is that you need to be committed to the cause. You have to be prepared to put the hours in, many of which will be unpaid during the first couple of years. It’s not the type of job that you can leave at the door once you finish a shift; rather, it becomes a way of life, particularly if you’re freelance. Unfortunately for us creative types, being a photographer goes further than just working with your camera or having an eye for good composition. It’s about being business-minded and learning how to handle social media and self-promotion. For me, getting to immerse myself in all things photo-related brings me more life satisfaction than I know any other career choice possibly could.

Perfecting Your Talent
They say practice makes perfect. And if that’s the case, what’s better for it than making photography your full-time job? Even the boring days, where you’re shooting something for money rather than for love, are still beneficial. Being a full-time photographer means you are constantly using your camera, and as we know, constant practice is how we get to know our cameras better. The same goes for editing; I learned everything I know from hours of experimentation. Shooting several times a week means I am always working with Photoshop, and to this day, I am still stumbling across new tools, different techniques, and varying ways to maximize what Photoshop can do for my images. All of this experience is, I feel, helping to shape me as a confident and capable creative and helps maximize my skills. I can feel myself becoming more confident in my abilities because I am putting them to use on a daily basis, and I entrust myself to actually execute the ideas that I’ve let myself get excited about. Working through different challenges and customer requests is a great contributor to progression, since we are catering to the needs of someone else rather than staying in our comfort zone. When we shoot purely for the love of doing so, we shoot what we prefer. We stick to the lighting setup that we know we’ve already mastered. That’s not to say we don’t improve our skills when working on personal projects, but when we’re not busy jumping through hoops to meet a client’s demands (motivated by the thought of a paycheck), we tend to have no need to leave our comfort zone, and so we rarely do.
The People You Meet Will Change Your Outlook on Life
One of the things I am most grateful for about being a photographer is how sociable the job is. Sure, many hours of my week are spent alone, fixated on a computer screen, editing photos or planning an upcoming project. But, being a portrait photographer has enabled me to work with hundreds of people, many of whom I would never otherwise have had the opportunity to meet. Aside from getting to work with people that are pretty, talented, or successful (all very much perks of the job), being a photographer grants you the privilege of working with people you wouldn’t instinctively stop to chat to. If I take on a corporate job, I can potentially be meeting, talking, and photographing a team of 20-30 people. It will involve photographing people from all races, religions and sexualities.

I’ve had jobs before I was a photographer that involved regularly being around the same people as part of a team, and while it can provide a great sense of community spirit, I’m a very sociable person that enjoys meeting new people and hearing different opinions. Since pursuing photography, I’ve also relocated to London, a place that has opened my eyes to many of the lifestyles one can assume in 2016. To say it’s made me a more open-minded and understanding person is an understatement.
Work the Hours That Suit You (Within Reason)
In the same sense, my routine as a freelancer means that my hours are quite sporadic. I worked a 9-5 job for years as a teen and into my early twenties. I know everyone says it, but I realized pretty early on that the 9-5 life just wasn’t for me. Even knowing my day job wasn't permanent and that it was purely just to fund my move to London didn’t really help. I’m naturally more productive in the evenings and often find it best to work late into the night. If you’re a spontaneous person who detests being stuck in the same routine, this may just be the perfect job for you. As well as unconventional hours, you can expect a schedule that changes not only on a weekly, but also a daily basis. My working week is never the same twice, which I actually find to be quite refreshing. It certainly allows me to utilize my desire for constant change, because as long as the work is being done, I allow myself to keep hours that aren’t considered traditional. It may not be for everyone, but it’s certainly a formula that works for me and is a big factor in why I feel this career choice is one that suits me greatly.
One Big Life Opportunity
The creative industry is an exciting and ever-changing one. With media constantly evolving, it’s really quite an exciting time to be involved in photography. Why would you not want to be a part of a community that allows you to express yourself in any way you can possibly imagine, to work in a field where there are no right or wrong answers, but instead only personal interpretations? How about for getting paid to do what you love? It doesn’t really get much better than that for life satisfaction.

It can be scary. Let's be realistic, you don't just decide you're a photographer one day and live comfortably. It's not without financial instability, the juggling of several jobs, and struggling to pay rent. Even when things are going well, there are many times that it feels quite surreal to be able to forge a career out of taking photos. It’s a frequent occurrence for me to be at home editing photos from a paid job, when all of a sudden, I have this overwhelming feeling that I should be at a “real job” in an office somewhere. It’s also not something that should be rushed, so for the sake of your finances and general mental stability, I highly recommend taking on part-time work as you transition towards full-time photography.

My advice would be that above all, don’t let any concerns about exhausting your passion hold you back. Instead, get excited about all of the amazing life opportunities that come with being a photographer. It's an incredible journey.

Resource: fstoppers.com

Exposed: photography's fabulous fakes

In 1840, Hippolyte Bayard, a pioneer of early photography, created an image called Self-Portrait as a Drowned Man. Bayard had just perfected the process of printing on to paper, which would come to define photography in the following century, but the French government had decided to invest instead in the daguerrotype, a process invented by his rival, Louis Daguerre. Bayard made clear the extent of his distress by writing underneath the image of his limp and bedraggled body: “The corpse which you see here is that of M Bayard, inventor of the process that has just been shown to you ... The Government, which has been only too generous to Monsieur Daguerre, has said it can do nothing for Monsieur Bayard, and the poor wretch has drowned himself. Oh the vagaries of human life!”

His elaborately staged and melodramatic portrait of himself as a dead man was both a political protest and the first photographic performance. A few decades later, F Holland Day staged an even more dramatic set of symbolic self-projections. Having starved himself, grown a beard and purchased a cross made in Syria, he photographed himself as the dying Jesus in a series of disturbing, close-up self-portraits that are the photographic equivalent of a Passion play. The idea of performing for the camera, then, is as old as photography itself. It echoes through its history, from Victorian self-portraiture to the dawn of the selfie, from the conceptual role-playing of Cindy Sherman to the erotic self-obsession of Nobuyoshi Araki.
This month, Performing for the Camera opens at Tate Modern, an adventurous exhibition aiming to show the myriad ways in which photography has been used, not just to record, but to transform artistic performance – and, in some instances, to become the performance itself. Consider Yves Klein’s famous 1960 image, Leap Into the Void, which shows the artist hurling himself off the gatepost of a suburban house. It is a dramatic gesture, both viscerally and as a metaphor for the creation of a work of art. It is also, as the show’s curator Simon Baker notes, “a photographic performance, an act or event, conceived by the artist specifically for its photographic qualities”.

The image is, in fact, a fake: a montage of two photographs. The first captures Klein leaping into the air while a team of assistants wait below with an out-stretched blanket. The second is of the almost empty suburban street – even the seemingly oblivious passing cyclist was posed, his presence a mischievous nod to a visual trope that appears in many quintessentially French tourist postcards. The performance resides in the image meticulously made in the darkroom by Klein’s collaborators, Harry Shunk and János Kender.

The idea that a photograph could, of itself, be a performance is a constant in the history of conceptual art and counters the particularly British suspicion of photography as anything other than documentary or photojournalism. Unsurprisingly, the surrealists were acutely attuned to the camera’s possibilities for mischief and provocation. In the 1920s, Marcel Duchamp collaborated with Man Ray to produce several portraits of himself as his female alter-ego, Rrose Sélavy, becoming this character to the extent that he even credited some of his readymades to her.
In the same decade, Claude Cahun confronted fixed notions of gender and self-definition by making a series of androgynous self-portraits – including some of her as a man – that played on society’s discomfort with her very visible lesbian identity. You can draw a line from Cahun’s photographic performances to the equally questioning and shape-shifting work of Cindy Sherman several decades later.
Performing for the Camera is full of similar connections across time and place, but its subtext is a subtle repositioning of photography within the performance art tradition. “For the entire history of performance art, there has been this incredible proximity to photography,” says Baker. “Someone like Boris Mikhailov, when he acts out these funny and grotesque carnivalesque roles for his camera, is as much a performance artist as a photographer. Performance art is more photographic than we think, but the history of photography is also more performative than we think.”

One of the show’s most thought-provoking strands concerns photographers who have placed themselves in supposedly everyday situations to expose the absurdity at the heart of ordinary life. In the 1970s, Dutch conceptual prankster Hans Eijkelbooms made mischief with the amateur family portrait by knocking on the doors of strangers and asking if he could take the place of the father for a carefully composed photograph. Surprisingly, many agreed and the resulting series is both funny and a little disturbing, not least because he looks so at home in every picture.
More elaborately deceptive still is Swiss artist Romain Mader’s series Ekaterina, in which he poses as a lonely man in search of a Ukranian mail-order bride, the balance between everyday normality (awkward poses, forced smile) and the slightly heightened colours of the clothes and landscapes playing deftly on the conventions of what might be called courtship snapshots.

We now live in a time when social media has revealed the full extent of the public’s fascination with the everyday lives of both the famous and the ordinary. The exhibition has already generated some media attention for the inclusion of Argentinian artist Amalia Ulman, whose fake Instagram feed, Excellences & Perfections, was read by many as an actual record of her attempts to become a somebody in Los Angeles.
Like a would-be Kim Kardashian, she recorded her shopping expeditions and pole-dancing classes, attracting the inevitable “haters”, but also about 90,000 followers. Ulman’s series may seem a long way from the provocative self-exploration of Claud Cahun in its extravagant fakery, but the same concerns – identity, gender, role-playing – underpin both.

Perhaps more revealingly, Ulman’s project suggests that photography, in the age of Instagram and the selfie, has somehow become more believable again as a medium, despite all we know about its ability to deceive. “Some of the more contemporary artists in the show are certainly playing with issues of credulousness,” says Baker, “A lot of people do seem ready to believe that, because they see Kim Kardashian on Instagram every day, they are seeing her reality rather than a world mediated by a team of PRs and stylists.
Against all that, it is interesting to find the work of Masahisa Fukase in the exhibition. Fukase made several series based on what seem like everyday domestic rituals. He photographed his wife, Yoko, from an upstairs window as she left for work every morning and, later, after their marriage had failed, he turned the camera on himself for Bukubuku (Bubbling), in which he lounged in the bath surrounded by props, his face sometimes submerged.

Although outwardly playful, both series speak of obsession, control and, in the latter instance, loneliness and despair. Even when posing in the bath with an unlikely hat and studious spectacles, Fukase is a man not waving but drowning. The style of his performative self-portraits certainly prefigures the age of the selfie. But beneath their apparent mischief, they also carry an undercurrent of deep melancholy that is reinforced by obsessive repetition: he made 79 self-portraits in the bath.

The distance between the essential narcissism at the heart of selfie culture and the questioning self-obsession of a supremely gifted artist is all too apparent here. There are many ways to perform for the camera and many ways to be mesmerised by what it seems to tell us about the lives of others. It might be an opportune time to remember that every portrait is a performance of one kind or another, some more real than others – and some not real at all.

resource: http://www.theguardian.com

LIFESTYLE›BOOKS The art of smoking: antique cigarette holders in photographs

Smoking isn’t exactly considered the height of sophistication these days, but a new book transports the reader back to a time when a cigarette - preferably housed in an ornate holder made from gold, amber or tortoiseshell - always dangled from the lips of the great and the good the world over.
A Token of Elegance: Cigarette Holders in Vogue presents 125 images from the cigarette holder collection of Chinese-American art collector Carolyn Hsu-Balcer, a trustee of the China Institute (New York).
Flicking through the book, written by Martin Barnes Lorber and Rebecca McNamara, with photography by John Bigelow Taylor and Dianne Dubler, you’ll discover all manner of vintage cigarette holders, ranging from cheap promotional items given away by New York nightclubs to extravagant versions crafted by the likes of Tiffany, Fabergé, Cartier and Van Cleef & Arpels.

Of particular interest to Asian readers will be the exquisite antique cigarette holders from China and Japan, including a silver dragon made in China more than a century ago and an ornate silver and gold holder crafted in Japan around the same time.

Resource: http://www.scmp.com

Celebrating an American folk art icon

More than 200 years after the first theorem painting appeared in the United States, its singular impact on the lives and homes of countless Americans has largely been forgotten.

But in its heyday during the early- and mid-1800s, thousands of women and even a few men embraced this newly developed, step-by-step method for making art as a gateway into a realm of expression that was previously difficult if not impossible for the average person to enter.

In the most accomplished hands, the combination of carefully cut stencils and skillfully applied paint produced works of such lifelike and engaging visual character that — over time — the theorem became an American folk art icon.

Just take a look at "Basket of Fruit," one of 11 examples on view at Colonial Williamsburg's Abby Aldrich Rockefeller Folk Art Museum in the first exhibit of theorems it has mounted in nearly 40 years.

Painted by Massachusetts artist Mary Bradley about 1825, the image grabs the eye with its beautifully defined grapes, cherries and other fruits — all of them set off by the crisp edges of the surrounding foliage.
Expert shading combines with precisely cut and positioned stencils to give each element a strong 3-dimensional presence.

Then there are the equally lifelike tendrils, stems and foliar details that Bradley added so deftly to the white velvet surface with her own paints and brushes.

"Even during the period, art critics panned theorems because they said there was nothing artistic about them," CW Curator Laura Pass Barry said, describing the seemingly endless stream of fruit bowl and flower basket paintings that sprang from the methodic procedure.

"But when you look at this, it's beautifully done — and you can see why Mrs. Rockefeller recognized the importance of this form early on. It's a wonderful example of the art of everyday people."

Made up of choice examples dating from about 1820 to 1860, "Color and Shape: The Art of the American Theorem" takes an intimate look at the form, which found its first practitioners in the regions surrounding such urban centers as Boston and Baltimore but soon spread deep into the nation's hinterlands.

Among the surprises on view here is "Vase of Roses," an 1854 theorem executed by Jefferson County, Ky., schoolgirl Harriet Miller in one of the first Catholic boarding schools to operate in the South's backcountry.

That widespread presence shows the speed and enthusiasm with which Americans embraced the theorem as a sign of genteel aspiration and accomplishment after it arrived from Great Britain about 1800, Pass Barry says.

In addition to being taught and studied in countless female academies, the method was spread by traveling artists eager to offer instruction books, lessons, stencils and supplies to their rural clientele.

It also showed up in such stylish national magazines as Godey's Lady's Book, which frequently offered pre-printed stencils and instructions, as well as in decks of pre-printed stencils sold in stores.

Three period examples of stencils can be see in the exhibit, which also features a short video in which contemporary Williamsburg theorem artist Nancy Rosier demonstrates the process of cutting stencils, laying them out in a composition and than using them to create a painted image.

"You could buy everything ready-made — or you could do it yourself," Pass Barry said, "because there were instructions and recipes for making your own stencil paper and paints."

Not everyone who took up theorem painting was the equal of the masterful Bradley, whose standout talents are a chief attraction of the exhibit.

But even among the less accomplished works — including numerous very similar examples of such popular patterns as "The Full Basket" and "Fruit, Bird, Butterfly" — it's easy to pick out the passages of bold color, dynamic shape and rhythmic pattern that first caught Mrs. Rockefeller's pioneering eye nearly 100 years ago.

The influential collector purchased four of the 11 works on view here after recognizing the strong links between the avant garde works she championed in the early 1900s and the untrained art of everyday people.

"Theorem paintings form an excellent bridge between Abby's interests in early American and Modern Art," say co-curator Kate Teiken.

Resource: http://www.dailypress.com

Virtual reality experience

Visitors to a new exhibition at The Dali Museum in St. Petersburg, Fla., won’t just be looking at art. Thanks to virtual reality, they’ll be exploring a Dali painting in a dreamy, three-dimensional world that turns art appreciation into an unforgettable, immersive experience.
The new exhibition, “Disney and Dali: Architects of the Imagination,” tells the story of the relationship between Salvador Dali, the surrealist artist, and Walt Disney, the great American animator and theme-park pioneer.
But the museum exhibition’s highlight comes after visitors have seen the Disney-Dali show’s paintings, story sketches, correspondence, photos and other artifacts. As visitors leave the exhibition area, they’ll be invited to don a headset to try the virtual reality experience.
Called “Dreams of Dali,” the VR experience takes viewers inside Dali’s 1935 painting “Archeological Reminiscence of Millet’s ‘Angelus.’” The painting depicts two towering stone figures along with tiny human figures in a bare landscape with a moody sky. Users can move around inside the painting, using Oculus Rift headsets to navigate a trippy three-dimensional environment that includes motifs from other Dali works, including elephants, birds, ants and his “Lobster Telephone” sculpture.
Accompanied by a haunting piano soundtrack punctuated by bird cries, the VR visuals also include a crescent moon, a stone tunnel and even an image of rocker Alice Cooper, whom Dali featured in a hologram he created in 1973.
“You actually have a three-dimensional feeling that you’re inside a painting,” Jeff Goodby, whose firm Goodby Silverstein & Partners created the VR experience, said. “It’s not just like you’re inside a sphere with things being projected. It’s actually like there are objects closer and further away and you’re walking amidst them. It’s a vulnerable feeling you give yourself up to. It’s not like anything you’ve ever felt before.” The VR experience was previewed in New York for the media 10 days before its opening Saturday at the Florida museum.
Disney and Dali met in the 1940s in Hollywood, according to museum director Hank Hine. “Their sensibilities were very connected,” Hine said. “They wanted to take art off the palette, out of the canvas and into the world.” The exhibition looks at the castle motif that became a symbol of Disney parks, along with Dali’s “Dream of Venus” pavilion from the 1939 World’s Fair, which some consider a precursor of contemporary installation art.
Disney and Dali also collaborated on a short animated movie, “Destino,” that was eventually completed by Disney Studios. The six-minute movie, which can be found on YouTube, features a dancing girl with long dark hair, a sundial motif and a song with the line, “You came along out of a dream. … You are my destino.” Clips will be played within the gallery for the Disney-Dali exhibition and the full short will be shown at the museum’s theater.
The show also displays the Dali painting that inspired the VR experience, “Archeological Reminiscence of Millet’s ‘Angelus.’” The surrealist work was Dali’s interpretation of a 19th-century painting by Jean-Francois Millet depicting two peasants in a field, heads bowed in prayer. Dali said that his work was a “fantasy during which I imagined sculptures of the two figures in Millet’s ‘Angelus’ carved out of the highest rocks.”
Museum marketing director Kathy Greif said record numbers of visitors attended its last two major shows exploring Dali’s relationships with Andy Warhol and Pablo Picasso. Given the Disney brand’s immense popularity and the VR novelty, attendance expectations for this show are high as well.

Resource: http://www.southbendtribune.com

Crowds soar to Pere Marquette Lodge for Bald Eagle Festival

GRAFTON - In the spirit of the eagle-watching season, thousands of guests made their way up the River Road to Pere Marquette Lodge & Conference Center for the Sixth Annual Bald Eagle Festival.
On the beautiful Sunday afternoon between 11 and 3 p.m., with weather reminiscent of spring instead of the dead of winter, the stunning lodge was a flutter with several vendors selling handcrafted items and treats.

“We’ve had a lot of eagles in the area this season and the Bald Eagle Festival is one of our most popular events of the year, Leslie Franklin, Pere Marquette Lodge’s Director of Marketing and Events, said. “Everyone’s coming out to celebrate the eagle season and just have a good time,”
The main focus of this year’s Bald Eagle Festival was the special Masters of the Sky show, performed by the World Bird Sanctuary. Two naturalists entertained three packed shows in one of the Lodge’s ballrooms.

During the educational program, the naturalists explained the hawks, vultures, owls and eagles’ hunting and mating habits, as well as stressed the importance of the conservation and protection of these aviary species.

In a special treat for the crowds, the majestic birds of prey that the educators brought to the event had the opportunity to fly across the large ballroom from handler to handler, flying just above the heads of the audience.
“We always have folks that come up to stay at the Lodge just for the Bald Eagle Festival,” Franklin said, “but because of the weather, we bring in some more lodgers.”

Between showings of the Masters of the Sky show, live music, face painting and balloon twisting were available for guests to enjoy. American Eagle, a documentary about the bald eagle, was also playing in the game room.

Some of Mary Michelle Winery's delectable libations were available for tasting while festival goers  enjoyed the view of the Mississippi River or dined on delicious food from the restaurant.

To catch up on a list of upcoming events at Pere Marquette Lodge and Conference Center, please visit the Lodge’s website. Pere Marquette is also available for public and private events by availability, such as weddings, conferences, business meetings and more.

“We welcome everyone to come out anytime you’d like, especially during our festivals. We always like to make sure that there is something going on for all of our guests.”

Resource: http://www.riverbender.com

Living color: Hollis Jeffcoat, Kat Epple

Merriam-Webster definition of synesthesia (noun): 1.  a concomitant sensation; especially  a subjective sensation or image of a sense (as of color) other than the one (as of sound) being stimulated.  2.  the condition marked by the experience of such sensations

Sanibel painter Hollis Jeffcoat learned that she had synesthesia when she was living in France in her early 20s, during a terse discussion over the accurate color of a weekday with a gallery curator. The curator informed her that “not everyone” associates days as certain colors. “I didn’t know everyone didn’t have synesthesia,” Jeffcoat says.

For Jeffcoat, sounds, numbers, days and smells all evoke colors. The evocations from music by award-winning flutist Kat Epple, birdsong and chanting interpreted onto canvas will be showcased in February at the Watson McRae Gallery on Sanibel Island in a collaboration between the abstract painter and musician in a reception, artists’ talk and exhibition called “The Color of Sound; The Sound of Color.”

A purist who works mostly in oils in her Sanibel studio, Jeffcoat has been prodigious of late. The exhibit includes eight to 10 new abstracts resulting from Epple’s flute compositions, osprey calling overhead or chanting, which for Jeffcoat has conjured voices of the ancient Calusa.
“I’m hoping that people can open up. People worry about abstract painting — what does it mean, where does it come from? I’m not trying to say, ‘Interpret it.’ If I hear a birdsong, it’s not like I would paint a bird. Same with Kat. We create a feeling,” says Jeffcoat. “I hope they look at the paintings and hear her music and relax into it and know that anything’s possible. There’s not just one way of either hearing a piece of music or seeing a painting.”

Connections

Jeffcoat and Epple bring to the collaboration hefty professional portfolios.

Jeffcoat, a third-generation Lee Countian, followed her innate curiosity and passion for art to the New York Studio School and to Paris, Montreal and back to the Big Apple. Her works are held in prominent collections, including the Metropolitan Museum of Art.
A Southwest Florida resident since 1989, Epple is a Peabody and Emmy Award-winning composer and flutist who has released 33 albums, and produced scores for nationally broadcast documentaries, and in many live performances.

They met about 16 years ago; in 2001, Epple played at one of Jeffcoat’s solo exhibits. “I have always loved her art and her energy. I enjoy collaborating with artists and musicians, so this was a perfect fit,” says Epple. In May, “I chose two of the artworks that I could immediately imagine the music that would describe the artwork.”

Epple created a composition called “Coquina Currents” to interpret the oil on linen, Coquina 1, she describes like this: “The music starts with a pool of watery flute, which then begins to ebb and flow to create waves and currents. A layer of sandy sound fades up from below the water, as the waves retreat, coquinas wiggle and shimmy to disappear into the sand.”

Epple’s “Flight of the Osprey” interprets Jeffcoat’s new works in a series called “Sound of the Osprey.” The first two originals have sold, but there’s more to be mined from nature’s well.

“When I’m out walking Gracie (my field spaniel) and the osprey are getting busy, it gets into my system. It is external but it becomes internalized because it hits me emotionally. I think that’s what happens when I listen to Kat’s music,” Jeffcoat says.

“It has to do something for me to really paint from it.”

Jeffcoat, who paints while standing over the canvas, began dancing during the process “quite a long time ago” and “it would kind of get things freed up. Then, spontaneous chanting started happening,” she says.

While creating Coquina 1, Jeffcoat was chanting when she had an ephemeral encounter with the long-gone Calusa. “I felt that some Calusa were chanting and I could hear them. I didn’t have anything like that in my mind. It was like, here it comes,” says Jeffcoat. “The painting was very different from any others I had painted before. And now, it happens all the time.”
The ancient connection runs deep. “It only started happening when I was right here in this studio on Sanibel,” says Jeffcoat.

Gallery owner Maureen Watson, Jeffcoat’s long-time companion, says that since Jeffcoat began consciously employing her synesthesia into her artwork with the first Osprey piece in 2014, it’s taken on a new dimension. Jeffcoat already had the formal aspects of painting mastered. “It’s the feeling she conveys through her work—that’s what abstract art is all about, it’s up to the viewer,” says Watson. “Now, the complexity and intensity in her work is something I haven’t seen before, and it’s something that’s not being done today.”

Resource: http://www.news-press.com

Trini to the shamrock

My name is Mary Adam and I lived in Trinidad for 42 years; so maybe I’m an honorary Irish Trini.

I’m from Cork in the south of Ireland but I lived until last month in Cascade. I have a vivid memory of arriving in Trinidad at dusk and driving away from Piarco in a wide American car with clear plastic over the seats. The windows were down and as we drove past the sugarcane, the music of a million frogs wafted in on the soft evening air. It was incredibly beautiful and all was right with the world.

I’m the second in a very close family of eight. My father died in 1973. I have four children and nine grandchildren. My husband, Malcolm, is retired from medicine and UWI.

I went to a primary school where all the teachers were nuns. Once I owned up to something I hadn’t done because the nun was glaring at me. Another time I gave my whole two shillings birthday money to the collection for the “starving black children in Africa” because I was afraid not to (more glaring).

When the time came to choose between art and medicine, my parents nudged me towards medicine and that was what I did and had no regrets. I loved studying medicine, especially anatomy, the way everything fits together. There was also lots of drawing in anatomy classes and I liked that.

Harry Belafonte sang “Yellow Bird” and “Oh Island in the Sun” in the University College of Cork cafeteria during lunch once. It was strange, different to anything else I’d ever heard, exotic. I met my husband in England, in Nottingham, when I was an intern.

I started painting soon after coming to live in Trinidad – maybe the creativity here is contagious? Later on I studied art in earnest, eventually earning a degree in 2011 by distance learning.

The Savannah is my favourite place in Trinidad.

My first impression of the West Indies was the waves of hot air on stepping out of the plane in Jamaica. I had never experienced anything like it in the hottest summers in Ireland. There was a lot of violent crime, including in our neighbourhood, and we moved to Trinidad in 1973. Three of the children were born in Jamaica and the fourth in Trinidad. We were amazed when Trinidad had a revolution in 1970. It wouldn’t have been surprising in Jamaica but Trinidad seemed so peaceful and happy.

I did a series of wildflower drawings in the 80s that I couldn’t have done anywhere else. I used to dig them up from the roadside and plant them at home and draw them while they were alive and springy.

I don’t think there’s an afterlife but it’s not a long cold sleep either. I think we just cease to exist. What is life anyway? It’s a process more than a thing. It’s the heart beating, the senses sensing, the brain being aware, the blood flowing – it’s to do with a constant state of flow, even in an insect. Life stops when the flow stops.

I love colour in general, the whole spectrum, in nature and in art. Different colours together can be like chords in music, resonating deep down in some mysterious way. I like bright colours, like red and yellow, and deeper ones, like blue and green and black. And I love greys too; they’re like the minor keys in music.

I hardly ever listen to music. I love silence actually.

One reason I’ve left Trinidad is that our children are all away and we’d like to spend more time with them and the grandchildren. Another reason is the heat. Most people would move from north to south as they got older. I’m swimming against the tide. The story of my life!
I’m excited and also terrified about leaving. It’s so final and irrevocable, what if it turns out to be a mistake? “You can’t go home again”. It’s also wrenching to be leaving our home and realising there are people I may never see again.

A Trini is a person who is kind and generous, creative and funny. And who drops everything to lift some stranger’s car out of a pothole.

Trinidad and Tobago means hummingbirds like jewels, poui season, burning sun, route taxis, coconut trees. Frederick Street, thieves, Dimanche Gras, ditches instead of sidewalks, and the wild Toco coast.

Resource: http://www.guardian.co.tt

New postage stamp to benefit Para Wetland in Marlborough

A Marlborough wetland will benefit from the sales of a new postage stamp from Fish & Game.

The stamp is due to be released on Tuesday to mark World Wetlands Day, with sales going towards conservation work at wetlands around the country such as Para Wetland in Marlborough.

Fish & Game chief executive Bryce Johnson said the stamp was part of their Game Bird Habitat Stamp programme, which was set up to raise funds for projects aimed at protecting and enhancing wetlands.

Para Wetland, which lies alongside State Highway 1 between Blenheim and Picton, was New Zealand's largest remaining lowland wetland and was largely owned by Fish & Game, Johnson said.

The stamp featured a painting of grey duck by Whangarei artist Sandra Whyte.

Funds from game bird hunting licences and other related Fish & Game products also went towards conservation work at wetlands.

Hunters paid $2 towards wildlife habitat conservation with every game licence they bought. In return, they received a habitat stamp on their licence, Johnson said.

"Wetlands are vital for wildlife because they provide valuable habitat for native species. The general public can buy the stamps and other products too.

"I urge them to buy a habitat stamp because every dollar helps preserve wetlands and establish new areas for birds to shelter and breed."

The stamps ranged in price from $10 to $65 for the limited edition prints.
Earlier limited editions prints featuring the mallard, pheasant and quail were also available, he said.

 - The Marlborough Express.

Resource: http://www.stuff.co.nz

Artists capture images of crows that fill Terre Haute's sky

TERRE HAUTE, Ind. (AP) — At sunrise and sundown, art objects fill the winter sky above Terre Haute.

That's right, crows possess artistic qualities. No living creature better symbolizes the outdoor look of this town's cold-weather season. They flow into Terre Haute every October, spend nights around the urban lights, eat and drink in farm fields beside the Wabash River by day, and then leave in March. Oh, and they defecate prolifically, too. All 30,000 to 60,000 of them.

How could artists ignore such a dominant being?

"No matter what you think of them, it's an image you can't get out of your head — 'They're beautiful,' 'They're ugly,' They're dirty,' whatever," said Susan Tingley, a Terre Haute artist who has depicted the birds in sculpture, drawings and jewelry. She likens crows' public acceptance to that of black licorice. "People either love them or they hate them."

She and her husband, Michael, a fellow artist, fall into the "love them" category. "I'm trying to get them in my yard," Michael said. "They're incredibly social. They have a family life. They're inventive. They're creative. They're an amazing bird. I'm fascinated by them."

The upstairs studio in their south-side home reflects that affection. Several pieces of their individual artwork feature winged members of the covidae family. Susan crafted necklaces graced by small photographs of crows in trees, a crow drawn onto an actual road map, and a sculpture of a crow gripping in its beak an actual McDonald's French fry. Michael sculpted crows in a re-creation of Leonardo da Vinci's "The Last Supper."

The French fry in Susan's crow sculpture, as well as the cheeseburger wrapper the bird is standing upon, are from 2007, when she created the piece for a crow art show at Indiana State University. Inspired by the popularity of that event nine years ago, the local organization Arts Illiana decided to stage a 2016 "Crow Show." It will run from Feb. 5 to April 22 and include submissions from artists in Indiana, Michigan, Illinois, Kentucky and Ohio, as well as readings of related literature such as Edgar Allan Poe's "The Raven."

"It's going to be an interesting show," said Michael Tingley, who also serves as gallery director for Arts Illiana, located at 23 N. Sixth St.

And fun. "Sometimes it's nice to lighten up a little bit and think of art as kind of less formal," said Terre Haute photographer and ISU art professor Fran Lattanzio.

Terre Haute seems a logical site for a crow art exhibit, given its distinction as one of the largest wintertime hangouts for crows in North America. The annual roosts here are equaled only by a few other cities, such as Auburn, New York, and Lancaster, Pennsylvania. It's unclear, though, how many local residents would enjoy artistic renderings of the birds when less artful reminders already splotch people's sidewalks and cars.

"We'll find out at this next exhibit," said David Erickson, a Terre Haute artist and retired ISU art professor. "There's a limited market for it (here). Apparently there was enough for me to sell several (crow) images" from the 2007 show.

Artists worldwide generate crow art, Michael Tingley explained. For Susan Tingley's crow jewelry, the interest is highest among Hoosiers. "It's mostly still Indiana people," she said. "And then a lot of people locally have bought crow necklaces, and it's a celebration of the birds that come every year."

An artist may notice the subtle detail of crows that a casual observer overlooks. "There's a tremendous amount of iridescence to their feathers — blues and purples, depending on how the sun is hitting," said Nancy Nichols-Pethick, ISU associate professor of painting and drawing. The outline of their dark bodies stands as the crows' most iconic portrayal in art.

"It's the silhouette," Susan Tingley said, standing beside her crow-over-a-roadmap sketch. When you see it, "you know it's a crow."

Michael Tingley replicates the birds' black tone by mixing four colors. "It's the most natural black there is," he said.

That thick profile pushes an artist to include movements. "That's what I like about them; they're so black it becomes all about their shape and posture and silhouette," Nichols-Pethick said. "Especially when they're all in a mass. They take on these unique gestures."

Lattanzio spotted crows lined up one morning along the roof of a church across the street from her office in Fairbanks Hall on campus. "You couldn't have arranged it better yourself," she said.

One of Erickson's striking, bold prints, "Le Grande Perch d' Terre Haute," shows a huge crow sitting atop the Vigo County Courthouse, while a murder of fellow birds flutter above the Wabash River. That relief cut print inspired Terre Haute poet Matthew Brennan to write a poem of the same title.

Its closing lines are: "At dusk, across the Wabash River, a yellow light remains, while swirling birds as black as ink, darken the sky like stains, then pack the leafless trees like pews, parishioners in a church; one, higher than the rest, has made the courthouse dome his perch."

The 76-year-old Erickson, like several other artists, enjoys the crows, but quickly emphasized that he and his wife reside west of the city and, "I don't have to live with their after effects that folks in the town have to deal with."

"After effects" mean droppings. "If they weren't so messy, nobody would hate the crows," Susan Tingley said.

The unstoppable nature of the crows, and their droppings, illuminates nature's upper hand on man. "We like to think we're in charge of everything, and this murder of crows comes in and poops all over everything, and basically says, 'So there,'" Nichols-Pethick said.

Even that aspect of the crows can be art. Several years ago, Lattanzio and Nichols-Pethick designed a table setting for the Arts Illiana TableScapes event, featuring a black tablecloth with white paint splotches, imitating crow droppings. "People thought it was hysterical," Lattanzio recalled.

Terre Haute artist Becky Hochhalter noticed the stylish potential of crows. She's creating a "Sketchy Crow" line of clothing, bags and pillows that is in its "infancy stages." Her logo shows a crow in profile. The Terre Haute-themed items all will feature one of the birds. Hochhalter also worked on a fashion-oriented painting titled, "Haute Crowture," for next month's Crow Show.

Resource: http://www.kokomotribune.com

Wisconsin tribe fights city hall over sacred burial mounds

MADISON, Wis. — A painting of French explorer Jean Nicolet hangs on the wall of State Senator Robert Cowles’ office here in the Wisconsin Capitol. It’s clearly a white man’s imagining of power, showing Nicolet firing a pair of flintlock pistols into the air as Menominee tribal members observe in awe.

In the second week of January, members of the Ho-Chunk Nation in Wisconsin were trying to paint a different picture of power, galvanized by a bill announced last year that could strip protections for ancient burial sites around the state. With papers spread across a wooden conference table, Ho-Chunk legislator and lobbyist David Greendeer and Ho-Chunk attorney Mike Rogowski were trying to make the case that the proposed legislation wasn’t just a Ho-Chunk issue, but an issue for tribes across the state.

Ryan Smith, chief of staff for Cowles, looked at the maps, diagrams, photos, memos and documents, and listened.

Across the United States, tribal interests in sacred sites are colliding with federal, state, public and private interests. The ancestral home of the Western Shoshone in Nevada is facing destruction from a proposed gold mine, while international copper interests are eyeing the religious grounds of the San Carlos Apache in Arizona.
However, in Wisconsin and other parts of North America, the ability of tribal nations to protect their interests has advanced dramatically over the last century. While the fight for indigenous rights was once advanced through grassroots action, it now can be waged by lobbyists, lawyers and politically savvy tribal leaders.

“This is the Wingra site,” said Ho-Chunk legislator David Greendeer as he pointed to a map. “This is what it looked like in 1914. It was already being excavated by the owner so they shredded the mounds that were down here.”

Smith tilted his head to make sense of the shapes: one looked like a bird with its wings outstretched, another like a fox. Such effigy mounds — large, earthen structures visible from the sky — have historically housed human remains. And for three decades, Wisconsin has protected human burial sites regardless of what they look like or how old they are.

On the ground, effigy mounds often look like small hills on the landscape. From the air, they more closely resemble massive art projects like the Nazca geoglyphs in southern Peru. Archeologists have discovered soil imported from hundreds of miles away, and many of the structures are aligned to the solstice, the equinox and true north. It’s estimated that 80 per cent of the states’ effigy mounds have already been destroyed.
“These are really incredible sites that all of humanity can really celebrate,” said Henning Garvin, a Ho-Chunk legislator and lobbyist. “The effigy mounds don’t exist anywhere in the world. They’re unique to this region.”

The Wingra site is in a Madison suburb, in a private quarry surrounded by boxy houses and quiet streets. On the east end of the open quarry, which contains an estimated 1.5 million toptons of limestone, a thatch of trees sticks up like a cowlick from the untouched island that rises high above the pit. This is the ancient effigy mound. In the winter, snow gathers on the bald landscape and collects around the trunks of leafless trees. Wingra Stone & Redi-Mix, the construction company that owns the quarry, argues that there are no human remains in the mound andt it should not be protected. The Ho-Chunk claim the effigy mound contains the remains of their ancestors.

“The site was a larger mound system and through the years it became a stone quarry,” said Bill Quackenbush, Tribal Historic Preservation Officer for the Ho-Chunk Nation. “They removed the topsoil, then their valuable materials were subsurface so they took the shale.”

According to Quackenbush, the materials were likely sold for road projects.

In 2014, Wingra took the State Historical Society of Wisconsin to court over the issue. Last November the case was rejected and the next month, Wisconsin representatives introduced Assembly Bill 620 which allows landowners to “challenge the existence of human remains” in burial sites previously protected by state law. That means that private property owners could investigate sites using archeological excavation, ground-penetrating radar and other imaging technology. Critics say allowing individuals to excavate mounds could cause serious damage.

“If you destroy the mound to find remains, then what do you do?” said Henning Garvin. “You completely undermined the entire purpose of the excavation law and you’ve destroyed an ancient treasure.”
However, Wisconsin Rep. Robert Brooks, a co-sponsor of the bill, says the legislation would be good for private landowners and tribal nations.

“How do we protect significant historical and spiritual sites and how do we give a property owner sitting on stone or quarry or valuable front property or whatever that might be some sort of remedy to use the land?” Brooks said. “To me, it’s a pretty simple bill and we need to find balance on what some people consider burial sites and what some people consider spiritual.”

Robert Birmingham, a former state archeologist, a senior lecturer at the University of Wisconsin, and the author of two books on effigy mounds says the issue is “really about respect for indigenous people, pure and simple.” While Birmingham admits that human remains have not been found in some mounds, he says those are exceptions to the rule.

“We shouldn’t use an anomaly to define legislation,” he said. “We shouldn’t have to go back and demonstrate every single one of these fits the pattern.”

Wingra Stone & Redi-Mix did not return requests for comment.

The Ho-Chunk are not the only indigenous people waiting to learn the fate of their sacred lands. In Arizona, the San Carlos Apache don't know about the future of Oak Flat — hallowed land that sits atop a massive copper deposit. In Hawaii, native islanders have so far successfully blocked the construction of a telescope on a revered mountain. And in Minnesota, the Anishinaabe continue fighting a crude oil pipeline that could destroy their traditional way of life.

“It’s an ongoing struggle,” said David Wilkins, a professor of American Indian studies at the University of Minnesota and author of "American Indian Politics and the American Political System." “What’s sacred to native peoples is only sometimes viewed as having any real sanctity to non-native people.”

In “The Landfall of Jean Nicolet,” the French explorer is not only firing two pistols into the air, he is doing so while wearing a Chinese robe, as he expected to find Asian people on his travels. Instead, he met Indians, and their descendants now sit in the state senator’s office, fighting to stop their history from being erased.

“This is from the Department of Army, it has to do with [Ground Penetrating Radar (GPR)] and its reliability in determining human remains,” said Ho-Chunk lawyer Mike Rogowski, handing over a document. “This is from Arlington National Cemetery, and it says, with regards to interred caskets or urns, GPR is statistically unreliable and subject to wide interpretation.”

Smith, the chief of staff, nodded his head in agreement.

“We understand the private property issue really well, we’re one of the non-reservation tribes so we have to purchase everything,” added Greendeer. “But in this case, you’re destroying world history. Ancient history, and there’s so much to it.”

Everyone in the room agreed that the Ho-Chunk were in a strong position. Handshakes went around, and the tribal members were on to the next meeting. For the Ho-Chunk, it was their ninth lobbying event of the day, and they still had eight more to go before they could go home.

“This has to do, fundamentally, with how we treat other religious beliefs in this country,” Birmingham said. “It’s about respecting the traditions and the beliefs of indigenous peoples that persist to this very day.”

Resource: http://america.aljazeera.com

Alexandra and Cromwell student art works on display

Dunstan High School and Cromwell College art students are having their first taste of what it's like to have their artwork part of an exhibition.

Fifteen art portfolios from 2015 Year 12 and Year 11 students were on display at Alexandra Community House.

Central Otago Arts Trust coordinator Maxine Williams said the exhibition was a great opportunity for emerging art students to show off their hard work from throughout the year.

"They work extremely hard to produce their art portfolios, which often don't get exhibited.

"We are really happy to be able to show the general public the high quality work these local students have produced," Williams said.

The portfolios have been marked and most of the students achieved excellence or higher toward their NCEA credits.

The exhibition features paintings and photography art works, with a variety of different themes and techniques, Williams.

They will be on display until February 14.

Williams said the trust was also excited to have secured the touring Top Art exhibition, featuring 30 of the top art portfolios from across the country from level three NCEA visual art students who achieved excellence.

The works, which range from design, painting, photography, printmaking and sculpture, would also go on show at the community house.
The annual touring exhibition will be on display for a short time only between May 2 until May 6.

It was the first time the tour had stopped in Alexandra, Williams said.

 - Stuff

Resource: http://www.stuff.co.nz/

A Many-Splendored Ode to the Dodo

Absurdity and loneliness embrace each other in David Beck’s diminutive, meticulously detailed dioramas. A large selection of them is included in an eye-opening exhibition, David Beck: Alligator Maintenance and Other Esoterica at Allan Stone Projects (January 12–February 20, 2016). Other works include kinetic sculptures, such as “Momentary Indiscretions” (1984) and “Pagliacci (Clown)” (1994–98), and the large, astonishing “Dodo Museum” (1980), which is the centerpiece of the exhibition.

According to its website, Allan Stone Projects is “the exclusive representative of works from the Allan Stone Collection.” A maverick art dealer, Allan Stone (1932–2006) gave artists like Jack Whitten and Wayne Thiebaud, who remained with him for forty years, their first shows. He was also a passionate and obsessive collector. For those who want to know more about him, I recommend seeing the film The Collector: Allan Stone’s Life in Art (2007), made by his daughter, Olympia Stone, and available on DVD.

Ms. Stone has also completed another film, CURIOUS WORLDS: The Art & Imagination of David Beck: An Intimate Portrait of the Most Accomplished American Artist You’ve Never Heard Of, which I haven’t seen, but have ordered through her website, Floating Stone Productions. While the movie’s title might seem hyperbolic — a commonplace gambit in today’s hyped-up art world — I don’t think it is. Known, it would seem, only to museum curators and a handful of collectors, Beck has achieved cult status, at best. Perhaps this exhibition — which the artist does not seem to have been involved with – and the film will help change that.

Beck had his first solo show with Allan Stone in 1977, and showed regularly with him right up to 2004, which was also his last one-person exhibition in New York. Almost all of the thirty works in David Beck: Alligator Maintenance and Other Esoterica were made between the late 1970s and early ’80s, suggesting that we have a lot of catching up to do. While there are no recent works on display, with the exception of an archival pigment print of a dodo bird, one of Beck’s preoccupations, I would urge anyone interested in what can be done with kinetic sculpture or a diorama, or who is a fan of Joseph Cornell, William Wiley, or H. C Westermann — outliers who created self-contained worlds governed by strange laws and populated by mysterious figures — to go to this exhibition. More than anyone working today, Beck is the heir to Alexander Calder and his “Cirque Calder” (1926–31), with its many moveable figures and parts. Beck’s “Pagliacci (Clown)” would feel right at home with Calder’s performers.
I am no expert on Beck’s work. Initially, a couple of them seemed obscure — hardly a misdemeanor in my book — but give them a chance, and I am sure that any reservations you might have will fall away, unless, of course, you are just a cold-hearted person brimming with jealousy, meanness, and self-righteousness.

“Anonymity” — a diorama of a man sitting in a room — is dated 1980 and measures 6 1/8 x 8 1/8 x 3 1/8 inches, about the size of a thick but not very large paperback novel. I suspect it is about the size of my copy of William Gaddis’s The Recognitions, but a bit thicker. A man in a sleeveless white t-shirt and dark pants is sitting on the right side of a wallpapered room, by the window of what is likely a rooming house, his left arm resting on the sill. He faces the viewer, holding a cigarette, but there is a bag over his head, making it difficult for him to smoke. On the left side of the room is a bed with a mattress and pillow, but no sheet. There are no knick-knacks, no signs of a life lived. Instead, the word “Anonymity” is written in large letters on the back wall of the room (diorama). Because of the diorama’s size, you feel like a giant staring into a tiny room in which the lone individual, whose eyes are covered, is completely unaware of you. Behind him is a brown door with a glass transom on which the number 27 is painted in gold and, of course, in reverse.
There is a rounded lumpiness to Beck’s whittled figure and bed frame, which reminded me of a slightly rougher version of the claymation characters, Wallace and Gromit, an eccentric inventor and his dog. Beck’s loving attention to detail, to the stained wallpaper and the color of the door and mattress is astounding. More importantly, it all feels necessary to his vision of this improbable and inexplicable circumstance. That, of course, is what holds your attention: the thoroughness with which the artist brings an unlikely situation — or what Harold Rosenberg, writing about Action Painting, called an event — into existence. Instead of explaining the man’s isolation, Beck invites the viewer to complete the narrative, which is, of course, impossible. Its ability to resist interpretation while inviting it is just part of its power.

What’s going on in the diorama, “Immunity Wore a Disguise” (1980), which is almost exactly the same size as “Anonymity”? There are six saw blades cutting through the walls, floor and ceiling of the dark blue wainscoted room with lighter blue walls. There is even a saw blade — who is holding it? — poking through the top of the diorama, like a shark fin.   Each of the other five saws is working its way around something in the room — the wall calendar with a woman in a red bathing suit on water skis, the ceiling lamp, and office chair — which raises the question: how does the person holding the saw on the other side of the wall, ceiling or floor know where to cut? And what’s with the Groucho Marx disguise that seems to have been left behind?
Solitude, seclusion, invisibility, and the preservation of threatened and extinct creatures are just some of the themes that Beck returned to throughout the 1970s and ’80s. The wee scale of some of his dioramas requires that one person look at it at a time, like Marcel Duchamp’s “Étant donnés” (1946–66). The difference is that Duchamp’s installation requires the viewer to look through a peephole in a massive wooden door, transforming him or her into a voyeur, while Beck’s almost miniature scale make the viewer feel like the sole, colossal witness to something that he or she can do nothing about. Feeling cut off, vulnerable and perplexed, the viewer begins to mirror what he or she witnesses.
Shortly after Beck first saw an exhibition about the dodo bird at the Museum of Natural History in New York in 1976, he made “Untitled (Dodo with Interior Dodo Diorama),” seemingly by carving a block of wood into the shape of the bird and then hollowing it out. The bird’s stubby wings open out, revealing a world inside — with trees, grass, sky, and dodo birds — where some birds are looking up, while others lie on their back, as if they have just fallen from the sky.

There is something sweet, poignant, funny, and sad about Beck’s sculpture of this ungainly, flightless bird, which inhabited the island of Mauritius, east of Madagascar, in the Indian Ocean. Hunted for food by visitors to the island, the dodo became extinct in 1662, less than seventy years after it was first mentioned by Dutch sailors in 1559. There are no known fossil records of the dodo, and, almost without exception, depictions of it are largely considered inaccurate. Now regarded as a popular symbol of a helpless creature made extinct by humans, the dodo first gained attention as a memorable character in Lewis Carroll’s Alice’s Adventures in Wonderland (1865), illustrated by the well-known humorist and political cartoonist, John Tenniel.

No doubt, when Beck made “Untitled (Dodo with Interior Dodo Diorama),” he was aware that there are only two depictions of the bird that are considered accurate — one in a famous painting, “Edward’s Dodo” (1626) by Roelant Savery, and the other in a painting dated 1610 by the Mughal court painter, Ustand Mansur.

Beck’s “DODO MUSEUM” (1980) — an ornately appointed gothic building partly covered with feathers — contains the artist’s version of a life-size skeleton of a dodo. The sculpture comes complete with its own attached pedestal and stands more than seven feet high. The viewer peers in through the open doors, craning this way and that in an attempt to see everything inside, and there’s a lot. The outside of the building is also full of details, from the feathers covering some of the walls, to the perched gargoyles, to the round mirrors inset on the side walls, to the monkey guarding the museum’s entrance, to the copper sheeting on the roof, to the golden dodo perched on the top of the building. And this is not the half of it.
Beck’s dodo skeleton rises from floor to ceiling, like a dinosaur display at the Museum of Natural History. It is all made up, of course, because no complete skeleton exists. Everything we know comes from inaccurate visual records and scant physical proof. On the museum’s interior walls — and barely discernible — are small paintings based on the “Unicorn Tapestries” on display at The Cloisters in Upper Manhattan. The comparison of the dodo to the mythical unicorn reminds us that for a while people thought the dodo was a myth. Breathtakingly attentive to details, Beck has memorialized a creature that humans quickly and thoughtlessly made extinct. The dodo may look dumb and foolish to us, but our own foolishness turns out to be monstrous. Beck’s devotion to this impossible recreation is a funeral hymn full of whimsical visual notes, a gentle reminder of human waste and greed.

Resource: http://hyperallergic.com

‘Bird in the Hand’: A flurry of feathers

Featuring a motley collection of paintings, sculptures and on-site installations, “Bird in the Hand” is a new exhibit at the nearby Palo Alto Art Center that plays on the human fascination with birds and aviation. The exhibit focuses on birds as vehicles for cultural expression and as subjects of fascination for artists.
The most captivating part of the exhibit is the diverse ways in which birds are portrayed, with the works of 48 different artists on display. In some pieces, birds are portrayed as fierce tyrants of the air; in others, they are framed as docile pets and domestic animals.
Some of the most impactful pieces on display focus on the ferocity of the avian species. Deborah Simon’s “Flock” is a 3D installation featuring a torrent of birds alongside models of World War II allied planes strung from the ceiling. The figures cast shadows against the wall of the gallery space, where birds and vehicles of war intermingle and become indistinguishable from one another. An imposing mixed media sculpture, Elizabeth Higgins O’Connor’s “However” is a fantastical winged creature constructed out of found materials. The piece is primal and raw due to the large scale of the piece and the ruggedness of the materials she employs.
Other works, like the headlining piece in the exhibit (Michael Hall’s “I Hold You Tight to Keep You Safe”), focus on the vulnerability and docility of birds. Hall’s painting depicts three birds, immobile, clutched by a human hand. This playfully cynical piece explores the idea that the tighter you hold onto something, the more it tends to slips away.
The myriad of styles on display in the exhibit reflect how birds are portrayed across cultures.  Hung Liu’s oil painting entitled “Fat Bird” incorporates calligraphy, thick contours and flat colors that are characteristic of East Asian paintings from antiquity. Jessica Joslin’s “Zeus and Io,” as its name suggests, plays on tales from Greek mythology.
“Bird in the Hand” seeks to explore the unique visual qualities of bird anatomy and movement. Feathers, with their showy shapes and colors, are often incorporated into decorative garments, an idea that Carlos Villa explores in “Third Coat.” The piece is a large, avant-garde fur coat constructed out of assorted cloth, canvas sheets, feathers, bones and hair. Clashing colors and textures, flamboyant hazel-colored feathers lie against a backdrop of blue-striped cloth framed by ebony fur trim. Dennis Hlynsky’s “Line Birds” is a time lapse video portraying birds’ flight patterns in the sky. Here, bird silhouettes create mesmerizing loops and curves above an otherwise ordinary suburban street.
Simple but with an incredible number of avenues to explore, the premise of “Bird in the Hand” is strangely refreshing. What makes “Bird in the Hand” such an effective exhibit is the way it leverages both 2D and 3D works to make full use of the gallery space, giving off the impression that the art center itself has transformed into a lively, colorful aviary. Together, the artists prompt us to reconsider the impact that our oft-overlooked feathered friends have on our imagination, our culture and the cities we inhabit.

Resource: http://www.stanforddaily.com

Persian ‘Bird Language' focus of Lebanon painting exhibition

The Yunus Emre Institute's office in Beirut, Lebanon, is hosting a painting exhibition inspired by the stories in Iranian poet and Sufi Attar of Nishapur's book "Mantıku't-Tayr" (Bird Language). Organized by the Yunus Emre Institute and Classical Turkish Arts Foundation, the exhibition opened with a ceremony overseen by Consul Muzaffer Doyan of Turkey's Embassy in Beirut as well as students and instructors of the institute. The painting works featured at the exhibition focus on the birds in "Mantıku't-Tayr" and their journeys to reach the ultimate reunion with God.

In his statement to Anadolu Agency (AA), Cengiz Eroğlu, the manager of the Yunus Emre Institute's Beirut office, said "Mantıku't-Tayr" dates back to the 11th century and was able to be preserved until the present day. "We curated this exhibition of 35 paintings with the collaboration of the Classical Turkish Arts Foundation. Each painting aims to tell a story in a modern way."

Ayşenur Kapusuz, one of the employees of Classical Turkish Art Foundation, stressed that the works showcased at the exhibition are the miniature versions of the paintings featured in "Mantıku't-Tayr."

"In his work, Attar of Nishapur tries to illustrate the hard concepts in Sufism though the experiences of the birds. In fact, each bird represents an archetypal individual in society. The book mentions the journey that the birds took in order to reach the ultimate reunion with God. We tried to reflect this idea in our exhibition," Kapusuz said.

Resource: http://www.dailysabah.com

Street Artists and Muralists to Paint All 314 Threatened North American Bird Species

The National Audubon Society estimates that there are more than 800 bird species in North America, though it has only collected and analyzed data on just over 590 of these. Of the catalogued avian species, 314 are classified as threatened, and many of the threats they face are attributable to human-caused climate change. These are the facts behind the National Audubon Society’s collaboration with gallerist Avi Gitler for the Audubon Mural Project, which encourages street artists and muralists to create works that feature the climate-threatened birds.

As Audubon Society vice president of content Mark Jannot tells GOOD, the mural project grew out of “Audubon’s Birds and Climate Change Report,” published in 2014, which detailed how climate change is impacting North American birds. It has grown from a few dozen murals to hundreds, painted on security gates and building exteriors around Manhattan, with a vast array of street artists and muralists enlisted from New York City and beyond.

Jannot and Gitler came to work together on the Audubon Mural Project when the two were introduced by Jannot’s neighbor, artist Tom Sanford. Gitler told Sanford he had decided to ask artists to paint about 10 roll-down security gates in his Harlem neighborhood. He already knew that John James Audubon, the famed ornithologist and naturalist, had spent the last years of his life in this very same uptown area of Manhattan, so Sanford suggested that Gitler talk to Jannot about a possible collaboration with the National Audubon Society.
Sanford also suggested that Gitler ask street artists and muralists to paint only climate-threatened birds. But it was Jannot who upped the ante by hitting on the idea of painting all 314 threatened species. Jannot admits that the monumental task was undertaken with “gleeful abandon,” but says they were determined to find a way to run it as a cost-neutral enterprise.

Ultimately, there won’t be 314 murals, Jannot explains. Instead, the team is committed to 254 murals that will include all 314 species of threatened birds. So far, there are approximately 24 murals representing about 36 birds. As for the variety of street artists and muralists, Jannot said they range among various locales and styles.

“Because we’ve been able to find recesses in sides of buildings where we can mount paintings that have been painted in studios, we’ve been able to work with studio artists who aren’t as comfortable painting in real time on the street, as well as street artists and major wall-mural painters,” Jannot explains. “It’s a pretty big range. We’ve had a lot of interest from artists all over the country when they heard about it. We tell them we can’t fly them in but to let us know when they’re coming through town.”
To accommodate artists’ random visits to New York City, the Audubon Mural Project tries to always have some available, paintable security gates lined up so the murals can be done at almost a moment’s notice. Serendipitously, not long after they launched the project, they were contacted by Italian street artist and muralist Hitnes, who was already slated to fly to the United States to travel in the footsteps of John James Audubon’s early 19th-century birding travels. His plan was to encounter the birds Audubon documented while painting murals along the way.

“We facilitated [Hitnes’ visits] to various Audubon centers and then he culminated his trip by doing a big wall mural, The Image Hunter, for us at 155th and Broadway right near where Audubon is buried,” Jannot says. “So there have been things like that that have just kind of cropped up, and I think it’s awesome that we aren’t overly confined to one type of artist.”

“We also don’t take a prescriptive approach to demanding that the representation of the birds is absolutely faithful to how they look,” he adds. “As long as it’s identifiable then we’re happy to really encourage the artist to pursue their interpretation and vision.”
One of the first murals created for the project was by a young Orlando street artist named Boy Kong. He painted a flamingo on the gate right next to Gitler’s gallery. But, as Jannot explains, the flamingo is not threatened, so Boy Kong returned and painted over the flamingo with a tundra swan mural.

“To give you a sense of how this project is sort of ever-evolving just as the environment and ecosystem evolves, the business that that gate was on closed and has now been rented by folks who are turning it into a whiskey bar,” Jannot says. “They very happily agreed to keep the mural on the gate, but they changed the facade of the building so they needed a bigger gate and inserted five gate strips at the bottom ... so Boy Kong came back again and painted a completely different-looking tundra swan.”

Another early mural was by N. Soala. Originally he painted an image of a man transforming into a bird, based on the Roald Dahl story The Magic Finger. But the bird didn’t look like any particular species, so N. Soala came back and adapted the mural so that the human is metamorphosing into a wild turkey.
Jannot says that by 2080, these threatened birds’ climate suitability range will contract by at least 50 percent, or shift by at least 50 percent to a different area. If this shift takes place, there is no way of knowing whether the shifted habitat will be suitable. And if it proves unsuitable, the birds won’t be able to survive there, even if its geographic size is equivalent to their original habitat. The Audubon Society’s models predict that for bird species already categorized as endangered, the same thing will happen, but by 2050. Jannot emphasizes that the threatened and endangered birds likely won’t go extinct, but the situation still calls for positive action.

“When you hear that almost half of North American birds are threatened or endangered by climate change, it’s pretty dramatic,” Jannot says. “Birds are very beloved animals and they’re everywhere, and there are no politics around them. The people who love birds are of every political and social stripe, so [the mural project] is a way to kind of cut through the bullshit politics around this issue and get people seeing and caring about it through a different angle.”

The Audubon Society has shown this information to focus groups, which have included people deeply skeptical of climate change, and even those who flat out don’t believe the phenomenon is real. But when presented data on the threatened and endangered birds, Jannot says, these very same people grow concerned and say they’re willing to do something about it.
“We just want to bring that reality and information to as wide an audience as possible,” Jannot says. “This sort of project, which is deeply legitimate and genuine from an Audubon brand standpoint, yet entirely surprising because they don’t associate us with graffiti and street art, is great because it brings our message to different audiences.”

In part because of the Audubon Mural Project, Jannot says he’s now more optimistic about breaking through psychological resistance to the idea of climate change amongst all sorts of people. He believes the key is to find fresh ways to engage people in solving the problem, even if that means undertaking monumental tasks, like creating 254 murals across Manhattan.

“There’s really nothing negative about this, but it’s a shit ton of work, because you have to do that many murals and there are a hell of a lot of logistics,” Jannot says. “But it’s kind of been an awesomely engaging and constantly surprising process figuring out what the problems are and how to solve them.”

Resource: https://www.good.is