#Sarah Flavin

[detournementsmineurs]

"Rock Reliquaries" by Sarah Flavin.

[junmayers]

Rock Reliquaries - Sarah Flavin

[super-bold]

Rock Reliquaries - Sarah Flavin

[projmap]

wk 6

presentation slides

For the midterm, Ani and I took inspiration from two artists, Carlo Bernardini and Dan Flavin. Bernardini produces sculptures and large environmental installations that create an architectural-minded section of light that changes the function and form of spaces. The light acts as a drawing that changes according to the points of view and according to the movements of the viewer. In some ways, the permeability of the work reminds me of Sarah Tze.

Dan Flavin's work also fits in well with this style of work, but instead of fibre optics, he uses fluorescent lights. I really like that his works' almost give a sense of painting with light. His use of commercially available fluorescent tubing in standard sizes, shapes and colours, was rather radical for the time as it brought everyday hardware into high-end world of contemporary art.

The synergy between these two artists works well as both use light in unique ways to transform space, which was an idea Ani and I attempted to recreate in our project.

[jeremiahjahi]

Although this has passed, I am just finding out about being shortlisted for this amazing and prestigious award and chance to be in Anthology Magazine. So shout to @anthologymagazine for shortlisting Native Expressions of The Soul. It is an honor to have gotten shortlisted for such a prestigious art photography magazine. Thank you to all who participated in the competition. The overall winner will be announced on 12 December 2022 and the winning entry will be featured in a forthcoming issue of Anthology. Have the courage to lean and and Keep Moving. Congratulations to the following entrants who have been shortlisted for the award (alphabetical by last name): 1.Jason Au, Hong Kong – Social Distancing 2.Gerard M Blair, USA – Five Apartments 3.Juergen Buechel, Liechtenstein –Thurfalls Switzerland 4.Sarah Choo, Singapore – Not From Here 5.Antonio Denti, Italy – The Kid of Mosul 6.Fiona Flavin, Ireland – Inbound 7.Domus Gaudens, Ireland – What Do You Think You Become? 8.Christie Goldstein, USA – Flowers 9.Tati Golykh, USA – Lost in Ocean 10.Kylo-Patrick Hart, USA – Cacophonic 11.Darnia Hobson, New Zealand – Church Bay 12.Lee Hopkins, Australia – Mylor Stobie Pole Rain 13.Jeremiah O-C Jahi, USA – Native Expressions of the Soul 14.Fiona Kemp, Australia – Specimen 15.Alice van Kempen, Netherlands – Maison la Poupees 16.Gavin Libotte, Australia – Ascension 17.Leena Mahmood, India – Balcony 18.Nathan Reynolds, USA – Seattle Equilibrium 19.宗佑 白, Taiwan – Pressure of Life 20.Cara-Ann Simpson, Australia – Regeneration Spei Sub Floribus Aureis 20.Luca Tatoscevitz, Ireland – Home Away From Home 21.Zach Turner, USA – No Stopping #photography #camera #canon90d #artphotography #canon #canonphotography #photooftheday #ishoot #portraitphotography #theeye #gestaltphotography #portraiture #viewfinder #photocomposition #ruleofthirds https://www.instagram.com/p/CozRFN1ucYD/?igshid=NGJjMDIxMWI=

[dyrt]

Rock reliquaries - Sarah Flavin

[margridarnauds]

If anyone ever thought, for one moment, they were getting away from a costume analysis of The Pirate Queen, they’re wrong. I get literally one chance to use my knowledge of pre-17th century Ireland AND my love of musicals and, by God, I’m going to take it. 

So. Donal. Dear, sweet, Donal. I am probably the only person alive who actually adores this awful little shit, and so, naturally, I’m going to pick him apart. 

This is his “Let A Father Stand By His Son” costume and, honestly, in my personal opinion, as someone who’s done a tiny bit of work in terms of 16th century costuming...it’s brilliant. Possibly one of the most brilliant costuming decisions made in the entire musical. Covering Donal, you can see that wonderful cloak or brat, it’s wonderfully luxurious, exactly the kind of thing you’d really expect a proper Gaelic chieftain to be swooshing around in. This garment was often a massive indicator of wealth and status, with the Brehon Laws giving regulations as far as what a man could or couldn’t wear according to his status. It was also a garment that was meant to serve both an ornamental purpose (looking spiffy as fuck, showing off how rich you are to your neighbors, whose cattle you just robbed the other week) and a practical purpose, often functioning as, essentially, an all in one raincoat and sleeping bag. 

You can see the brat in a number of depictions of Gaelic Ireland, such as the one above - Donal’s is looser, more like a cloak than something firmly wrapped around himself, and the proper braite that the men above are wearing have a sort of shaggy fur lining the neck, but you can see the overall idea behind it. 

It’s also quite similar in style to Bingham’s cloak - It’s like Donal’s TRYING to present himself as a proper Gaelic chieftain, but he just keeps falling back on these English styles, which we can also see looking underneath the brat, where there’s Donal’s usual doublet, hose, etc., which is a style we’ve seen Donal wearing since his very first scene. (Why, oh why, is Donal the only one who gets to wear yellow? GIVE ME MY SAFFRON SLEEVES, DAMMIT.)

In Early Modern Ireland, there was a massive cultural war going on at the same time as armed conflict took place. The English were very, very keen to remove native Irish customs, laws, language, and clothing and replace them with English ones. There was a very real tension between the increasingly anglicized Irish nobility and those who had decided to ally themselves with English interests (though it should be noted that plenty of Irish nobles actually sided and rebelled against the English as it suited them, Gráinne included.) In a personal favorite bardic poem of mine from the period, A fhir ghlacas an ghalldacht (Oh Man Who Follows English Ways), the early modern poet Laoiseach Mac an Bhaird would deride the Irishman who adopted English fashions, comparing his foppish ways to Eóghan Bán, who would rather abandon civilization entirely rather than become anglicized. (Trans. Osborn Bergin)

Your mind is nothing to Eóghan Bán, a man who would give breeches for a trifle, who asked no cloak but a rag, who had no wish for coat and leggings.

(Laoiseach’s son, Diarmait, would be one of the last of the fully trained bards in Ireland, living into the last part of the 17th century.) This being said, more young men were like Donal here (though not Donal in real life, who I get the strong feeling would have rather hanged himself), since, as noted by Susan Flavin in Consumption and Culture in Sixteenth Century Ireland, many people by the 1620s were wearing English costume regularly, especially in the towns, which had an Anglo-Irish population. (If you’re out in the mountains...no one’s going to care. You’ll keep wearing whatever’s comfortable and what you’re used to.) 

Donal, in The Pirate Queen, IS the man who follows English ways, wearing English costume from the beginning. He’s already betrayed his people with his clothing, his final betrayal of them to Bingham is sewn into his clothing from the first time he appears on stage. His only attempt at Gaelic clothing is (1) Still anglicized and (2) Is being used as a mask for his true intentions in appealing to Gráinne, thrown off when the ambush begins. IF I was going to change it around, I would have it so that he starts off wearing more “Gaelic” “inspired” clothing (look...it’s not particularly Irish, it’s not particularly 16th century, I don’t know what to classify it as), akin to what Gráinne and Tiernan wear, slowly changing so that he starts putting on a few English touches here or there, until “Let A Father Stand By His Son” when he literally tosses off his Gaelic clothes to show his English style, but, overall, it’s a brilliant, brilliant bit of costuming there, and it deserves massive kudos.

See, Dubhdara? It doesn’t cost that much to apply a little bit of fur to your brat to make it pop. This is why you didn’t survive the first act. 

Works Cited: 

Susan Flavin, Consumption and Culture in Sixteenth Century Ireland

Sarah McKibben, “Laoiseach Mac an Bhaird and the Politics of Close Reading”

Katherine Bond, “Depicting and Describing Dress in Early Modern Ireland” (Online Lecture, Youtube)

Osborn Bergin, “Courtier and Rebel” 

[papermoonloveslucy]

EASY TO WED

July 11, 1946

Directed by Edward N. Buzzell 

Produced by Jack Cummings for Metro-Goldwyn Mayer

Written by Dorothy Kingsley, based on the screenplay Libeled Lady by George Oppenheimer, Maurine Dallas Watkins (as Maurice Watkins), and Howard Emmett Rogers.  Uncredited contributions by Buster Keaton. 

Synopsis ~ When a newspaper runs a scandalous story about debutante Connie Allenbury, her powerful broker father threatens the newspaper's editor, Warren Haggerty, with a massive lawsuit. Faced with a libel suit from the socialite Allenbury, Haggerty cooks up a plan to beat her at her own game. To do this, he must rely upon the romantic chicanery of ex-employee Bill Stevens Chandler, with Haggerty's fiancée Gladys Benton (Lucille Ball) caught in the middle. Warren believes that, if he can prove Connie truly is a home-wrecker, as the article claims, he can file a countersuit against her. Warren then enlists his own fiancée, Gladys and reporter Bill Chandler to take part in a complex plan to turn the tables on the Allenburys.

PRINCIPAL CAST

Lucille Ball (Gladys Benton) is appearing in her 63rd film since coming to Hollywood in 1933.  Lucy plays the role originated by her friend Jean Harlowe in the 1936 version Libeled Lady. 

Van Johnson (Bill Stevens Chandler) co-starred in Too Many Girls (1940), the film that introduced Lucille Ball to Desi Arnaz. He was also seen with Lucy in the film Yours, Mine and Ours (1968).  He played himself on one of the most popular episodes of “I Love Lucy,” “The Dancing Star” (ILL S4;E27) and 1968′s “Guess Who Owes Lucy $23.50?” (HL S1;E11). He died in 2008 at age 92. 

Esther Williams (Connie Allenbury) also appeared with Lucille Ball in Ziegfeld Follies (1945).  

Keenan Wynn (Warren Haggerty) also appeared with Lucy and Williams in Ziegfeld Follies (1945) and with Ball in Without Love (1945) and The Long, Long Trailer (1953). 

Ben Blue (Spike Dolan) previously appeared with Lucille Ball in Thousands Cheer (1943). Like Lucy, he had a cameo role in the 1967 film A Guide for the Married Man.  They also acted together in “Jack Benny’s Carnival Nights” on March 20, 1968.

Cecil Kellaway (J.B. Allenbury) had previously appeared with Ball in Annabel Takes A Tour (1938). 

Ethel Smith (Herself) was an organist playing herself.

Carlos Ramirez (Himself) was a Columbian-born singer appearing as himself. 

June Lockhart (Babs Norvell) became one of TV’s most famous moms on “Lassie” and “Lost in Space”.  

Paul Harvey (Farwood) did six other films with Lucille Ball: The Affairs of Cellini (1934), Kid Millions (1934), Broadway Bill (1934), The Whole Town’s Talking (1935), I’ll Love You Always (1935), and The Marines Fly High (1940).  Fans probably remember him best as the art critic who visits the Ricardo apartment to assess Lucy’s talent in “Lucy the Sculptress” (ILL S2;E15).

James Flavin (Joe) previously appeared with Lucille in The Affairs of Cellini (1934), Without Love (1945), as the Pizzeria Owner in “The Visitor from Italy” (ILL S6;E5), and in 1963 Critic’s Choice and two episodes of “The Lucy Show.”

Celia Travers (Farwood's Secretary) had also appeared with Lucille Ball in Meet the People (1944). 

Grant Mitchell (Homer Henshaw) makes his only screen appearance with Lucille Ball.

Sybil Merritt (Receptionist) makes her only appearance with Lucille Ball. 

Sondra Rodgers (Attendant) makes her only appearance with Lucille Ball. 

UNCREDITED CAST

Guy Bates Post (Allenbury’s Butler)

John Valentine, Charles Knight (Butlers)

Jean Porter (Frances)

Nina Bara (Rumba Dancer)

Josephine Whittell (Mrs. Burns Norvell)

Dick Winslow (Orchestra Leader)

Walter Soderling (Mr. H.O. Dibson, Justice of the Peace)

Joel Friedkin (Second Justice of the Peace)

Sarah Edwards (Mrs. Dibson)

Charles Sullivan (Bouncer in Newspaper Office)

Mitzie Uehlein, Patricia Denise, Kanza Omar, Phyllis Graffeo (Girls at Pool)

Fidel Castro (Boy at Pool) 

Jack Shea (Lifeguard)

Tom Dugan, Alex Pollard, Fred Fisher (Waiters)

George Calliga (Headwaiter)

Karin Booth (Clerk)

Milt Kibbee (Private Detective)

Robert E. O'Connor (Taxi Driver)

Frank S. Hagney (Truck Driver)

Jonathan Hale (Hector Boswell)

Virginia Rees (Lucille Ball’s Singing Voice)

‘EASY’ TRIVIA

A remake of one of the great comedies of the 1930s, Libeled Lady,  with Jean Harlow, William Powell, Myrna Loy, and Spencer Tracy.

Van Johnson worked with Lucille Ball again several more times. He guest-starred as himself on "I Love Lucy" and he co-starred with her in the 1968 film Yours, Mine and Ours.

Van Johnson's biography, MGM's Golden Boy, states that Lucille Ball's performance as Gladys "reveals the embryo of her Lucy Ricardo role in the later ‘I Love Lucy’ television series."

Chandler's overdue hotel bill of $763.40 would equate to nearly $10,380 in 2021. The film was a big hit at the box office, earning MGM a profit of $1,779,000 according to studio records.

The duck hunting sequence with Johnson was written and directed by Buster Keaton and Edward Sedgwick, both of who proved close personal friends with Lucille Ball. 

Radio’s “Screen Guild Theater” broadcast a 30-minute adaptation of the movie in February 1948 with Van Johnson and Esther Williams reprising their film roles. Two years later, "Lux Radio Theater" broadcast a 60-minute radio adaptation of the movie with Van Johnson reprising his film role.

Lucille Ball borrows one of Samuel Goldwyn's malapropisms when she says, "Include me out!" Keenan Wynn tries to convince her of having a sham wedding with Van Johnson.

This film was first telecast in Los Angeles on September 26, 1957; in Philadelphia on October 25, 1957' in New York City January 23, 1958; and in San Francisco on Saturday January 25, 1958. At this time, color broadcasting was in its infancy, limited to only a small number of high rated programs, primarily on NBC and NBC affiliated stations, so these film showings were all still in B&W. Viewers were not offered the opportunity to see these films in their original Technicolor until several years later.

Early in this film, on the lower left of the screen, Fidel Castro (without the beard) is seen as a poolside spectator with a drink in front of him. Young Fidel did extra work for MGM, while a student at UCLA, before becoming fully active in politics. It’s interesting that Castro and Lucille should be in the same film, seeing that her husband was born in Cuba and driven out by revolutionaries. 

[garadinervi]

Numerals 1924-1977, Preface by Rainer F. Crone, Yale University Art Gallery, New Haven, CT, 1978 [Exhibitions: Leo Castelli, New York, NY, January 7-28, 1978; Yale University Art Gallery, New Haven, CT, February 14 – March 26, 1978; Dartmouth College Museum and Galleries, Hopkins Center, Hanover, NH, April 21 – May 21, 1978] [räume.spaces]. Design: Sarah Buin and Stephen Ferrari. Feat. Carl Andre, Mel Bochner, Stanley Brouwn, Trisha Brown, John Cage, Hanne Darboven, Agnes Denes, Peter Eisenman, Dan Flavin, Charles Gaines, Jon Gibson, Philip Grass, Dan Graham, Laura Grisi, Eva Hesse, Patrick Ireland, Arata Isozaki, Alfred Jensen, Donald Judd, Chris Kirk, Paul Klee, Sol LeWitt, Richard Paul Lohse, Agnes Martin, Kenneth Martin, Mario Merz, Manfred Mohr, François Morellet, Steve Reich, Charles Ross, Robert Smithson, Georges Vantangerloo, Barnar Venet

[amandanruiz]

Amanda Ruiz  3D Tumblr Portfolio

DO IT

10 OBJECTS

50 ARTISTS

Marina Abramovic

Janine Antoni

Miroslaw Balka

Vanessa Beecroft

Jonathan Borofsky

POP

Tracey Emin

Joseph Kosuth

Julian Opie

Dan Flavin

Jenny Holzer 

EVERYDAY MONUMENTS: PROCESS DOCUMENTATION

EVERYDAY MONUMENTS: FINAL DOCUMENTATION

EVERYDAY MONUMENTS: IN THE WORLD

Associative Situation

Contradictory Situation

WEIGHT OF A BODY: SOURCE

WEIGHT OF A BODY: ARRANGE AND SUPPORT

THE FOREST: PROCESS DOCUMENTATION

THE FOREST: FINAL DOCUMENTATION

FRAMING THE BODY: HOMEDEPOT AS SITE

FRAMING THE BODY: PROCESS DOCUMENTATION

FRAMING THE BODY: FINAL DOCUMENTATION

OBJECT TRANSFORMATION: OUT OF PLACE

OBJECT TRANSFORMATION: PROCESS DOCUMENTATION

OBJECT TRANSFORMATION: ARTISTS

Richard Wentworth

Sarah Lucas

Tim Hawkinson

Kendell Geers

Tony Cragg

OBJECT TRANSFORMATION: FINAL DOCUMENTATION

OBJECT TRANSFORMATION: IN-PLACE

THINGS THAT PERFORM: PROCESS

THINGS THAT PERFORM: FINAL DOCUMENTATION

THINGS THAT PERFORM: PERFORMING IN THE WORLD

[ignitingwriting]

Igniting Writing ‘Illustration Inspiration’ Contest 2020, Submission by Rivermead Primary School Pupil OL

Entry inspired by the following illustrations:

First illustration by Mouni Feddag (@mounifeddag on Instagram)

Second illustration by Teresa Flavin (@teresa.flavin on Instagram)

Third illustration by Sarah Edmonds (@sarahedmondsart on Instagram, www.sarahedmondsillustration.com)

The Animal Hunters

Once there lived an array of beautiful birds who rustled in a tree near Tankerton Bay. They lived in the tree from May-September, until one day they were in the tree and a man came along and tranquilised them to sell them alive in cages for money.

A few weeks later, the people of Tankerton started to realise the birds had gone. They started a mission to find the stolen birds and the hunters. After a few weeks of searching, they found a house that had one of the birds, so they sent that bird to sniff out where the other ones were being kept. When all of them were found they were free to fly away.

Now, whenever they are seen, they are in the sky, spreading their colours so people can see them coming. So now that they are flying, the travel all the way to the savannah when it gets cold in the UK. You can spot them from miles away; when they come it looks like a rainbow.

The savannah is a beautiful place, but it is full of animal hunters. But one thing it is known for is the most famous wolf. He is the only one left of his kind, so he is in a lot of danger of being captured by hunters.

When the birds first arrived at the savannah, they saw a huge rock and a massive figure stood on it. The wolf. So they went over to see him and now the birds help the wolf so he doesn’t get hurt or killed. Now the birds live in the savannah forever and never come back to Tankerton Bay again.

[thecgbros]

CGI 3D Animated Short: "Mariebelle Chocolates" - by Neymarc Brothers | T...

TheCGBros Presents "Mariebelle Chocolates" by Neymarc Brothers  - Charlotte, a classy young-woman, is accidentally locked inside the Mariebelle shop at night. As she is exploring, the shop magically comes to life.For more information, please see the details and links below:

Credits-Contributors: DIRECTORS: The Neymarc Brothers

PRODUCER: Sarah Verstraete

DIRECTOR OF PHOTOGRAPHY: Remy Neymarc

VFX SUPERVISOR: Michael Tan

PRODUCTION MANAGER: Carolina Bradilli

1st ASSISTANT DIRECTOR: Max O'Brasky

2nd ASSISTANT DIRECTOR: Nick Flavin

ASSISTANT CAMERA: Corynn Egreczky

GAFFER: Nico Guameri

HAIR AND MAKE UP : Katie Wedlund

SET DRESSER: Karina Morales

SET DESIGN: Fernando Martinez

PRODUCTION ASSISTANT: John Coletta

PRODUCTION ASSISTANT: Elias Bartaseh

MUSIC: Christopher Dierks

SOUND DESIGN: David Leaver

MAIN ACTRESS: Haley Babula

HANDSOME MAN: Isaac Babula

MARIEBELLE’s EMPLOYEE: Jaomy Cerda

FOLLOW US BELOW: Instagram: https://www.instagram.com/neymarcvisuals/?hl=en Facebook: https://www.facebook.com/NeymarcVisuals/ Website: www.neymarcvisuals.com

We really hope you enjoy watching this video! When you do, please hit the LIKE ✔️ SUB ✔️ SHARE ✔️ button as well as the bell symbol 🔔 so you'll be kept in the loop as new material is published on our channel! ▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂▂

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#Shortfilms #CGI #3D #VFX #VFXBreakdowns #Reels #MotionGraphics

[nyfacurrent]

Event | Doctor’s Hours for Visual, Multidisciplinary, and New Media Artists

This Monday, November 4 event will offer one-on-one consultations with industry professionals.

Are you a visual or multidisciplinary artist in need of some career advice? The New York Foundation for the Arts (NYFA) is pleased to announce an upcoming session of Doctor’s Hours for Visual, Multidisciplinary, and New Media Artists, a program designed to provide artists with practical and professional advice from arts consultants. Artists who work in Drawing, Painting, Printmaking, Sculpture, Video, Film, Photography, New Media, Multidisciplinary, Performance Art, Socially-Engaged Practices, Folk, and Traditional Art are encouraged to participate.

Starting Monday, October 14 at 11:00 AM, you can register for 20-minute, one-on-one appointments with up to three arts professionals to ask questions and receive actionable tips for advancing your arts career.

Title: Doctor’s Hours for Visual, Multidisciplinary, and New Media Artists Program Date and Time: Monday, November 4, 2019, 6:00 PM - 9:00 PM Location: The New York Foundation for the Arts, 20 Jay Street, Suite 740, Brooklyn NY, 11201  Cost: $38 per 20-minute appointment; three appointments limit per artist Register: Please click here to register.

To make the most of your “Doctor’s Hours” appointment, read our Tips & FAQs. For questions, email learning@nyfa.org.

Can’t join us in November? You can book a one-on-one remote consultation session via Doctor’s Hours On Call. Review the bios of Sarah Hart Corpron, Michelle Levy, and Maria Villafranca, and check their availability in October to schedule your appointment.

Consultants

Alaina Claire Feldman, Director and Curator, Mishkin Gallery at the City University of New York (CUNY) Baruch College Feldman recently organized the exhibitions The Aesthetics of Learning, Lise Soskolne: The Work, and Minerva Cuevas: Disidencia as Director and Curator of the Mishkin Gallery at CUNY’s Baruch College. From 2011-2018, she was Director of Exhibitions at Independent Curators International (ICI) and curated the traveling exhibition The Ocean After Nature as well as edited the subsequent catalogue. She was the Managing Editor of ICI’s Sourcebook Series and produced artist-centric publications. Her projects have included long-term support of artists, collectives, archives, and educational opportunities, particularly those beyond the traditional Western cannon. Feldman was previously an editor at the French arts journal May Revue. As a writer, her work has been published in Afterall, Flash Art, The Graduate Center Latinx Studies Guide, and in catalogues and anthologies for museums around the world. Feldman has lectured and taught at the University of Porto, The School of Visual Arts, NYU, Center for Feminist Pedagogy, and with ICI’s Curatorial Intensive. She was the 2017 Annual Beckwith Lecturer at The School of the Museum of Fine Arts Tufts, Boston. She is a member of the International Advisory Board of Casa S. Roque – Centro de Arte (CSR), Portugal.

Rachel Gugelberger, Curator, Residency Unlimited Gugelberger is a cultural producer with a focus on place-based practices around social, cultural, and civic issues. Projects include (after)care, a site-specific exhibition in a former emergency waiting room at Kings County Hospital in East Flatbush, Brooklyn (2019); the inaugural Southeast Queens Biennial (2018); Jameco Exchange, a site-responsive exhibition and socially-engaged education platform in a vacant storefront in Jamaica, Queens (2016); and Hold These Truths (2017) and Bring in the Reality (2015), exhibitions that presented works at the intersection of activism and storytelling at the Nathan Cummings Foundation in Manhattan. Gugelberger is the co-founder of “1@111,” a series of process-oriented discussions that focus on a single work, curatorial premise, or proposition. Independent curatorial projects have focused on the intersection of information, data, and art, including: Once Upon a Time There was the End, the Center for Book Arts, New York, NY; Data Deluge, Ballroom Marfa, TX; and Library Science, Artspace, New Haven, CT. She is the former curator at No Longer Empty (NLE), a non-profit organization that curates site-responsive and community-centered exhibitions, education, and programs in unique spaces, and also served as director of the NLE Curatorial Lab program. Gugelberger has served as co-director of Sara Meltzer Gallery and curator at Exit Art in New York, where she curated the organization’s final exhibitions Every Exit Is an Entrance: 30 Years of Exit Art and Collective/Performative (co-curator). Gugelberger holds an M.A. degree in Curatorial Studies in Contemporary Art and Culture from the Center for Curatorial Studies at Bard College, NY.

Peter Gynd, Director, Lesley Heller Gallery Gynd is an independent curator, fifth generation artist, and the director at Lesley Heller Gallery in Manhattan’s Lower East Side. Originally from Vancouver, Canada, Gynd studied at the Alberta College of Art and Design and has exhibited in both Canada and the U.S. Notable exhibitions curated by Gynd include a permanent exhibition at the Foundation Center, NY; an acclaimed two-person presentation at SPRING/BREAK Art Show (2015); and group exhibitions at Present Company, NY; NARS Foundation, NY; the Northside Festival, NY; Lesley Heller Workspace, NY; and at the Dynamo Arts Association, Vancouver Canada. Gynd’s exhibitions have been featured in Hyperallergic, The Carnegie Reporter, Blouin Artinfo, and Gothamist. Gynd has been a guest visitor at Residencies Unlimited, Kunstraum, and ChaNorth Artist Residency, and a guest juror at 440 Gallery and Sweet Lorraine Gallery.

Sally Eaves Hughes, Curatorial Assistant, Dia Art Foundation Hughes is a curator specializing in contemporary art across the Americas. As the Curatorial Assistant at Dia Art Foundation, she has assisted on exhibitions of work by Dan Flavin, Sam Gilliam, Renata Lucas, Dorothea Rockburne, and Andy Warhol, as well as the Artists on Artists Lecture Series. Previously, Hughes held positions at numerous institutions in New York, Boston, and Chicago, including David Zwirner, The Whitney Museum of American Art, MIT’s art department, and the Museum of Contemporary Art Chicago. Hughes holds an M.A. degree in Modern and Contemporary Art: Critical and Curatorial Studies (MODA) from Columbia University.

Eileen Jeng Lynch, Curator, Wave Hill As Curator of Visual Arts at Wave Hill, Jeng Lynch organizes the Sunroom Project Space for emerging artists, co-curates exhibitions in Glyndor Gallery, and is involved in all aspects of visual arts programming, including publications and the annual Winter Workspace program. Current and recent exhibitions at Wave Hill include Figuring the Floral, Emily Oliveira: Mundo Irrealis (Wish You Were Here), Duy Hoàng: Interarboreal, Bahar Behbahani: All water has a perfect memory., and Ngoc Minh Ngo: Wave Hill Florilegium. Jeng Lynch is also the founder of Neumeraki, which collaborates with artists, organizations, and galleries on curatorial, consulting, writing, and editing projects. Independent curatorial projects include exhibitions at The Yard: City Hall Park, Trestle Gallery, LMAKbooks+design, Sperone Westwater, Lesley Heller Workspace, Dorsky Gallery Curatorial Programs, Garis & Hahn, and Radiator Gallery. In 2017, Jeng Lynch initiated the ongoing grassroots, multi-state advocacy initiative “Give Voice” Postcard Project. She has contributed to Two Coats of Paint and On-Verge. Previously, Jeng Lynch worked at RxArt, Sperone Westwater, and the Art Institute of Chicago in the Department of Contemporary Art. She earned a M.A. degree in Arts Administration and Policy from the School of the Art Institute of Chicago and a B.A. degree in Art History and Advertising from Syracuse University.

Matthew Lyons, Curator, The Kitchen Lyons has organized numerous exhibitions, performances, and other programs at The Kitchen since 2005. Recent work includes projects with Moriah Evans, Chitra Ganesh, Trajal Harrell, nora chipaumire, Xaviera Simmons, Sarah Michelson, Aki Sasamoto, Constance DeJong, Kembra Pfahler, and Katherine Hubbard. Upcoming work includes projects with Lauren Bakst and Ka Baird. He’s worked on group exhibitions The Rehearsal, The View from a Volcano: The Kitchen’s Soho Years 1971-1985, One Minute More, Just Kick It Till It Breaks (catalog), Between Thought and Sound: Graphic Notation in Contemporary Music (catalog), and The Future As Disruption, also at The Kitchen. In addition to his work at The Kitchen, Lyons has worked on group exhibitions Dance Dance Revolution at Columbia University, Character Generator at Eleven Rivington Gallery, and Two Moon July at Paula Cooper Gallery. He has contributed catalog essays on the work of Mika Tajima and Vlatka Horvat, and other writing has appeared in Document Journal, Flash Art, PERFORMA 07: Everywhere and All at Once, and Work the Room: A Handbook of Performance Strategies. He is Contributing Editor at Movement Research Performance Journal, having edited the “Six Sides, Typologically Distinct: Black Box / White Cube” series, which he initiated, between 2009-2015.

William Stover, Independent Curator Stover has been a curator of contemporary art for over 18 years and has held positions in a number of important and diverse institutions including the Carnegie Museum of Art, New Museum of Contemporary Art, Independent Curators International (ICI), and the Museum of Fine Arts, Boston. Stover is one of the founding directors and co-curator for the non-profit arts organization Re-Sited, New York, which is dedicated to re-evaluating the psychology of the “exhibition site” – its particularities, materiality, and direct relationship to the work of art.

Tamas Veszi, Founder, RadiatorArts Veszi was born in Budapest in 1972 and from a very early age became familiar with contemporary art, painting, video art, performance, and conceptual thinking. He left Hungary at 17, finished his high school education in Israel, and was later accepted to the art school “Instituto Per L’Arte E IL Restauro” in Florence. He lived and worked in Paris before returning to Israel to work as a jeweler and jewelry designer. In 1996, Veszi applied for a Green Card and moved to New York. In 1998, he and several other residents of 70 Commercial Street in Greenpoint, Brooklyn, formed the “Greenpoint Riverfront Artists" group. They generated several performances, rooftop independent film screenings, and the annual “Open Studio Tour.” He received his B.F.A. degree from Pratt Institute in 2000, and received his M.F.A. degree in 2006 from Brooklyn College, where he studied under Elisabeth Murray and Vito Acconci. He has his first solo show at Allannederpelt Gallery in 2010, and has since participated in several exhibitions in New York and internationally. In 2016, Veszi participated in the EFA Shift Residency program, which provides peer support and studio space for artists who work in arts organizations. He is currently working on a solo exhibition in Hungary and a two person show in New York City, and continues to live and work in Greenpoint, Brooklyn.

This program is presented by NYFA Learning. Sign up here to receive our bi-weekly newsletter for the latest updates and news about programs and opportunities for artists.

Image: Doctor’s Hours, September 2019, Photo Credit: NYFA Learning

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August 14 ♌ Famous BirthDays #14_августа #august_14 https://youtu.be/E8lo-xnG8YA 1945 Steve Martin #SteveMartin 1945 Wim Wenders #WimWenders 1959 Marcia Gay Harden #MarciaGayHarden 1960 Sarah Brightman #SarahBrightman 1962 Алёна Свиридова #АлёнаСвиридова 1963 Emmanuelle Béart #EmmanuelleBéart 1966 Halle Berry #HalleBerry 1968 Jennifer Flavin #JenniferFlavin 1971 Raoul Bova #RaoulBova 1974 Tomer Sisley #TomerSisley 1983 Mila Kunis #MilaKunis #14августа #august14

[biofunmy]

Ingo Maurer, Designer Known as a Poet of Light, Dies at 87

Ingo Maurer, a German lighting designer who was Promethean in his delivery of illumination — fashioning lamps out of shattered crockery, scribbled memos, holograms, tea strainers and incandescent bulbs with feathered wings — died on Monday in Munich. He was 87.

His death, at a hospital, was announced by his company, Ingo Maurer GmbH, which said the cause was complications of a surgical procedure.

Mr. Maurer had a wonky fascination with technology that took nothing away from his reputation as a poet of light, as he was often described.

His first lamp, designed in 1966, was a large crystal bulb enclosing a smaller one. Called simply “Bulb” (his product names would become more fanciful), it won praise from the designer Charles Eames and in 1968 became part of the Museum of Modern Art’s collection in New York.

For “YaYaHo,” which he made in 1984, he fashioned a lamp in the form of parallel low-voltage wires draped with shaded halogen bulbs that dangled like jewelry. In 2001 he made an early desk lamp using LEDs (“EL.E.DEE”) then later attached LEDs to wallpaper in a pattern that resembled twinkling rosettes (“Rose, Rose on the Wall”). In 2005 he embedded wafer-like organic LEDs in glass tabletops, creating starry clusters with no visible connections. In 2012, he collaborated with Moritz Waldemeyer, another German designer, to produce a narrow table lamp with 256 LEDs simulating flickering candlelight (“My New Flame”).

“He loved the technology that was coming out, but to him it was like Houdini,” said his longtime friend Kim Hastreiter, the co-founder of Paper magazine. “He used the technology in his lamps like a magic trick.”

Even so, Mr. Maurer never renounced the old-fashioned incandescent light bulb, with its golden hue and emotional power.

With “Lucellino,” he attached goose-feather wings and suspended the bulb like a hovering Cupid, and with “Wo bist du, Edison … ?” (“Where are you, Edison?”) he reinvented it as a hologram projected on a shade.

But while the materials he used for his lamps made them artful and cheeky, Mr. Maurer professed to be more interested in the medium of light itself.

“I’m very lucky to work with the material which does not exist,” he said in 2017 on a podcast produced by the design retailer Arkitektura. He couldn’t take light in his hand and bend it and look at it from different sides, he explained; light is not a thing, he said, but “the spirit which catches you inside.”

Ingo Raphael Maurer was born on May 12, 1932, to Theodor and Henny (Boeckmann) Maurer on Reichenau, an island in Lake Constance, in southern Germany near the Swiss border. His father, a fisherman and inventor, died when Ingo was 15, and his brother, the eldest of his four siblings, ordered him to leave school and find work. He could apprentice, he was told, either as a butcher or as a typographer at a local newspaper.

He chose the newspaper. Though it wasn’t an obvious career path for a lighting designer, he would later point out the lessons taught by the airy gaps between letter forms. The sparkling water of Lake Constance had also been a mesmerizing influence on him, he said.

Mr. Maurer traveled to the United States in 1960, settling in San Francisco with his German girlfriend, Dorothee Becker, and working as a graphic designer. He was there for three years, soaking up Pop Art inspirations that resurfaced throughout his career.

Returning to Munich as a newlywed, he founded a company called Design M to produce his Bulb lamp, as well as a wall storage unit called Wall-All invented by Ms. Becker. (It is currently sold by Vitra under the name Uten.Silo.) The couple divorced in the mid-1970s.

His company, now known as Ingo Maurer GmbH, eventually expanded to include 70 employees and took on all of its own manufacturing locally. It also executed ambitious civic and private commissions.

Mr. Maurer is survived by his daughters, Sarah Utermoehlen and Claude Maurer, the company’s managing director; and four grandchildren. Mr. Maurer’s second wife, Jenny Lau, died of cancer in 2014.

A handsome man with a square jaw and flowing hair that turned paper white in his last decades, Mr. Maurer had a great deal of charisma, which helped propel him through hard economic times.

“The Italians even thought he was Italian,” said Mariangela Viterbo, the head of a public relations firm in Milan, who met him in the late 1960s when he presented Bulb at a trade show in Turin. “In that period the big vision of modern design was Danish or Finnish. Ingo came with something more similar to our temperament — more ironic, more joyful. It made a difference.”

A crowning moment of disruption occurred at the 1994 Euroluce lighting fair in Milan, where Mr. Maurer introduced a chandelier made of suspended porcelain dish shards. The fixture was initially called “Zabriskie Point,” after the Michelangelo Antonioni film, which has a scene of a house exploding in slow-motion. At least one startled Italian visitor to the fair exclaimed, “Porca miseria!,” a phrase that translates roughly as “Dammit!” Mr. Maurer decided that he preferred that name for the chandelier.

Several Porca miserias! are still made, by hand, each year, but Mr. Maurer was never comfortable with the high price tag, upward of 30,000 pounds (about $38,000), as quoted by at least one website. He donated some of the profits to a family he once met in Aswan, Egypt.

Not everyone was charmed by his antic designs. Reviewing a 2007 retrospective of Mr. Maurer’s work at the Cooper Hewitt Smithsonian Design Museum in Manhattan, Ken Johnson wrote in The New York Times, “While some of his pieces are lovely to look at, his work in general is so precious and so busily eager to please that it will make you pine for the reproving austerity of the fluorescent-light Minimalist Dan Flavin.”

Paola Antonelli, the senior design curator at the Museum of Modern Art, disagreed.

“I’ve never seen anyone experiment with such abandon,” she said, “and experimentation is the opposite of wanting to please.”

Ms. Antonelli provided Mr. Maurer with a showcase in 1998, when she included his lamps in a design exhibition, and hung “Porca Miseria!” in the current MoMA exhibition called “Energy.”

She said that at one of his design events, Mr. Maurer handed out paper 3-D glasses that created a vision of little hearts when the viewer looked toward the light.

“That was so him,” she said of his whimsy. “In a pair of throwaway glasses.”

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Mikal Cronin- Show Me

Things to do in Los Angeles this weekend (10/24-10/27/19)-

Thursday

Oh Land is performing at the Bootleg Theater with Arthur Moon

X-TRA magazine is having a Fall Launch at Now Instant which includes a screening of artist and writer Nick Herman’s Some Among Others: Mexican Sound and Video Art

Poet Jana Prikyl is reading her work at the Hammer Museum

Plague Vendor are playing at The Echo with No Parents and Spirit Mother

D. A. Stern and Marso are playing a free show at Gold Diggers with a DJ set by Polyplastic

Friday

Mikal Cronin is playing at the Teragram Ballroom with Shannon Lay and Spring Summer

Late Night! At The Skirball features an outdoor screening of Stanley Kubrick’s The Shining to coincide with their exhibition Through a Different Lens: Stanley Kubrick Photographs. The event includes late night access to the galleries as well as a DJ, food trucks. a bar and more. ($5)

Michael Govan, the CEO and Wallis Annenberg Director of the LACMA, will be discussing the experience of working with Dan Flavin on the artist’s final commission, an installation in the interior of a church, Chiesa di Santa Maria Annunciata in Chiesa Rossa, Milan, at Bridge Projects

FIGat7th is hosting its 5th Annual Day of the Dead Celebration with face painting, tequila tasting, DJs and a Design Your Own Poster printmaking workshop by Self Help Graphics & Art (free)

Aldous Harding is playing at The Masonic Lodge at Hollywood Forever with Hand Habits opening

WHAP! Lecture Series at the West Hollywood Public Library continues with Sarah Roberts’ Behind the Screen: Content Moderation in the Shadows of Social Media

RF Shannon and Jess Williamson are playing a free early show at Gold Diggers

Danny Brown is performing at The Regent Theater with Ashnikko and Zeelooperz

The Echoplex is hosting Firewalk With Me: A Twin Peaks Halloween Party with live performances and DJ sets- including a performance by Angela Seo of Xiu Xiu, photobooths, art installations, and more

Heart Bones (Har Mar Superstar and Sabrina Ellis) are performing at the Bootleg Theater with The Pink Slips and DYGL opening

Saturday

Photographer Stephen Wilkes will be at Fahey/Klein Gallery to give a talk and sign his book from 2-4pm

Grand Park and Self Help Graphics & Art are hosting the annual commemoration of Noche de Ofrenda (Night of Altars) with a first look at the altars and live entertainment at Grand Park’s Performance Lawn

The Theatre at the Ace Hotel with the LA Opera is showing Hitchcock’s Psycho with a live orchestra performing the score. Tonight there is also a Hitchcock Halloween Afterparty to follow. (screenings of Psycho taking place on Friday and Sunday also)

Saintseneca is playing at the Bootleg Theater with A.O. Gerber opening

Morrissey is playing at the Hollywood Bowl with special guest Interpol

Fell Runner, Sofia Bolt, and Bridal Party are playing a free show at Zebulon

Saturday and Sunday

The Fall Brewery Art Walk is a great way to check out what artists are creating in this massive complex (free)

Heritage Square is hosting Los Angeles True Crime Stories, which will present historic characters, crime reenactments and early investigators recreating conventional methods of the day to solve cases and bring perpetrators to justice. Additionally, participants will discover how poisons and other typical methods of murder were employed in early Los Angeles crime history. ($20)

Sunday

Cody Trepte and Charles Gaines will be in conversation at Meliksetian Briggs (RSVP at bottom of this pdf)

Chief curator Connie Butler is leading a walkthrough of Lari Pittman: Declaration of Independence at the Hammer Museum at 2pm

Author Alice Hoffman will be discussing her new novel The World That We Knew at Skirball Cultural Center ($10)

Alexander Nemerov, chair of art and art history at Stanford University, will be at The Getty for the talk- True Guilt: Edward Hopper and the Death of George Bellows (free but ticket required)

Prepare to be scared at Hollywood Forever Cemetery where there is a screening of the 1974 horror classic Texas Chainsaw Massacre

(Sandy) Alex G is playing at The Fonda Theatre with Tomberlin and Slow Pulp

Marc Almond of Soft Cell is performing at the Palace Theatre with a special performance by Dita Von Teese