#aldrich contemporary

[hyperallergic]

Raven Halfmoon’s (Caddo Nation) stoneware sculptures embrace the monumental. The artist, whose first major solo exhibition, Raven Halfmoon: Flags of Our Mothers, opened on June 25 at The Aldrich Contemporary in Connecticut, situates her work within the canon of Caddo culture and production.

The show encompasses themes of power and Indigenous identity and perspective, and makes space for the stories of Indigenous women.

[greenfadmuseum]

Fashion & Art Museum

Website : https://www.greenfad.shop/

Address : Stamford, Connecticut, USA

Green Fashion, Art & Design Museum (Green F.A.D) is a Pop Up Museum transforming multicultural art mediums into fashion and design for all to enjoy.

Our collections and projects at Green Fashion, Art & Design Museum|Green F.A.D. are unique. You are cordially invited to explore our social media platforms, where you will have a chance to expand your knowledge and explore sustainable conscious collection. You’ll be exposed to new ideas, places and people.

Facebook : https://www.facebook.com/greenfad

Instagram : https://www.instagram.com/greenfadmuseum/

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[senlinyu]

Hey Sen, do you find any classical literature has had any impact on you? I know you were inspired by wuthering heights, but was there anything else that peaked your inspiration?

A lot of my reading growing up was Victorian and Edwardian. I didn't have much access to contemporary literature. Most of my childhood books were the books from my parent's childhood in the 50's and 60's. So I was very passionate about mythology, especially Greek, because it was the most scandalous thing I could get my hands on.

Once I was older than ten, I mostly read things like Doyle, Dickens, Alcott, Montgomery, Burnett, Aldrich, Porter, Wilde (I'm not sure how he snuck in), Christie. In my teens, I was allowed read the Bronte's and Austen because I was old enough to 'appreciate them' according to my mother (however Shakespeare was a potentially dubious influence so I was only permitted limited quantities).

I used reread all those authors a lot because I simply didn't have much access to other books. And my parents had very conservative religious ideas about fantasy unless it was a religious allegory or had christian undertones ( eg Lewis and Tolkien only).

Because of that, my literary knowledge comes from a sideways angle because what I did have access to was literary analysis and studies on literary tradition and history since my parents liked to collect very pretentious looking academic anthologies and keep them as decor in our living room. But I would read them even though I didn't necessarily have access to the works of literature they were about.

I personally have always found it fascinating to follow the evolution of things, like language or literary tradition or culture or etiquette back to it's source to see how it shifted and the impact it had. It made me think about writing and reading in very different ways I suspect, so a lot of my inspiration comes from my pleasure in the concept and traditions of writing and story-craft, themes and metaphors, rather than a specific primary source.

[certainwoman]

"Recognizing and activating the coexistence of multiple histories is more easily done from the vantage point of temporal removal than in the present. It is worth noting that this is not equivalent to the progressivist notion that “it gets better.” Oppression thrives in forms too covert and invisible to warrant such a hasty claim. At the same time, one is more likely to form a reparative relationship to a problematic film when one acknowledges being in a different moment than when the film was first released. This is precisely the kind of “temporal awareness” that Meira Likierman, in analyzing Melanie Klein’s concept of reparation, says orients a person toward making good with his or her objects.

The camp reading is a perfect example of how this operates. As Susan Sontag claims, “things are campy, not when they become old— but when we become less involved in them, and can enjoy, instead of be frustrated by, the failure of the attempt.” For Sontag, a (reparative) reading of camp might be most rewarding for a spectator when the camp is unintentional. By this account, earnest representations, or better, representations perceived as earnest at the moment of their release, age to become pleasurably ironic, inflated, and mannerist, and therefore fail to be taken seriously in contemporary encounters. We might consider films such as Cruising (William Friedkin, 1980) and The Killing of Sister George (Robert Aldrich, 1968) as optimal examples of camp “bad objects” because their tropes and their stereotypes of gays and lesbians as perverse fetishists become that much more obvious with time. Their repetition can now be so effortlessly detected that the retrograde depictions become amusing. "

Marc Francis, For Shame!: On the History of Programming Queer Bad Objects

[doshmanziari]

Brick By Brick is moving to Substack

Hi, everyone.

As 2022 nears its end, I’ve made the decision to migrate to Substack.

Although I’ve written on, and for, various sites over the years, my personal hub has, since 2014, been this blog, originally organized around the videogame series Castlevania, and later switching emphases to titles including Demon’s Souls, the Dark Souls trilogy, and Bloodborne. As I wrote in Brick By Brick’s first post, “This site was also born out of the perception that there is a lack of critical engagement of the series that balances strong mechanical/structural comprehension and a micro-focus on audio/visual design.”

Below are some examples of my writing on videogames:

The Soul of Place: My Favorite Dark Souls Sites || No Escape

Ruins of Memory || DEEP HELL

Souls Games are Great, Except for the Messages from Some Players || Kotaku

Secret Geometries || Heterotopias, Issue 2

My Inner Scales || Unwinnable

Understanding the Sublime Architecture of Bloodborne || Kill Screen

Where Did the Fun Street Fighter Music Go? || Kill Screen

Economy and Thematic Structure: Symphony of the Night's Level Design || Gamasutra

A Study of Michiru Yamane’s “Dracula’s Castle” || VGMO

Masashi Hamauzu Piano Works δ・ε・T_Comp 1 || VGMO

Final Fantasy XII Piano Collections || VGMO

And here are some examples of my writing for this blog:

What is the “Deep”?

Formalism, Dreams, Souls

Deedlit in Wonder Labyrinth

Putting Names to Built Things

Demon’s Souls || 2020 Notes [1]

Size and Sensibility || Elden Ring

Dark Souls 3: “More of the Same”

Selective Chromophobia & Castlevania

Overestimating Overviews of Overworlds

Rune Worth 2 and 3 and PC-98 Aesthetics

Aldrich and the Desacralization of Dark Souls 3

The quote above is reflective of my general approach to writing: that is, to perceive a discursive and/or analytic lack, and then to enter from that angle. In a certain sense, this is the basis of all criticism. But apparently inseparable from my person is an argumentative spark. Sometimes this has been to my detriment, as any characterological aspect can be. At its best, however, this “contrarianism” is insightful, and helps to form various pathways between apparently disparate fields and ideas. See, for example, my piece for DEEP HELL, and how it uniquely forms a through line between grain silos, Disney World, Umberto Eco’s work, nymphaea, and . . . Demon’s Souls.

In 2020, I felt that the subject of videogames was no longer interesting enough to be a topical go-to, and so, for the sake of expanding my range, I switched over to an alternate Tumblr blog. Then, in 2021, I migrated most of my posts over to a preexisting, now-renamed Medium account (originally intended for conversations about Boston’s newer architecture), which began to take priority. But Medium has long been in a place where the most visible articles, and perhaps the predominant associated audiences, have an intellectually thin and corporate bent; and, of course, the writing is done for free.

Below are examples of my more recent writing to demonstrate its combination of range and specificity:

Stop Hitting Yourself: A Brief Examination of the “Karen” Meme

Femboy Hooters as Consumerist Ephebic Sexuality

UFOs, Disclosure, and the Religious Impulse

What is Radical Music in 2021?

The Age of the Class Clown

DALL-E 2 and Objective Art

What is “Wholesomeness”?

A Phenomenology of Gazes: Nope

A Response to a Critique of Betsy DeVos’ Mansion

The Obfuscating Effect of Contemporary Non-Materialistic Ufology

Strangled and Mangled: Classicism and Its Ersatz After Architecture’s Commodification

To be transparent: I’ve also maintained a Patreon page since 2016, uploading the totality of my material — visual art (including comic books), music, and writing — at the end of each month. If that sounds more appealing than a purely text-based subscription, I’d point you that way. I’ve created an account on Substack as a way of consolidating and compartmentalizing my written work on a by-subscription basis, and to give it a more suitable platform.

None of the above means that I’m flat-out done writing about videogames. In fact, I have plans for an upcoming piece on the Castlevania series and Michiru Yamane’s music, with a focus on Symphony of the Night and (probably) Lament of Innocence. I’m excited to get to work on this, since practically all of the writing I know of on these soundtracks is of the interchangeable Consumer Reports variety. I’ll also continue to share any visual material here, whether it’s my own artwork, others’, or more sets of screenshots.

The original Thoughts Thought While Walks Walked was, I think, ultimately one of the many byproducts of the pandemic and its transformative effects (some good, some bad). As I began to open new doors and admit a fuller range of my abilities, sympathies, and antipathies, I started writing much more frequently and voluminously, and treading into areas which, beforehand, I might have considered nonsensical, off-limits, or not worth considering.

If you’re interested at all in the topics covered above, and are looking for considerate, exacting, and particular writing on them, please support me with a subscription on either of the aforementioned platforms.

I hope to see you on Substack!

[cocoelle]

The Aldrich Family

Lillian - 17, Jaqueline - 24, Colten - 27, Giselle - 56, Lane - 57

Lane Aldrich - 57 - Cancer

Real Estate Tycoon - Owner of luxury properties and high-end developments Traits - Outgoing, Logical, Genius Backstory: Lane was born into a wealthy family in Paris, France. He grew up surrounded by luxury and opulence, which sparked his interest in the world of real estate and property development from a young age. After completing his education, Lane pursued a business degree and then went on to attend an art school in Paris, where he developed a deep appreciation for art and culture. During his time in art school, Lane met his wife, a talented artist, and together they traveled the world, immersing themselves in different cultures and artistic traditions. Their shared passion for art and architecture eventually led Lane to establish himself as a prominent figure in the real estate industry, specializing in luxury properties and high-end developments.

Giselle Aldrich - 56 - Sagittarius

Art Gallery Owner - Owner of San MyShuno Art Gallery Traits - Romantic, Faithful, Silverspoon

Backstory: Giselle was born and raised in a family with a deep appreciation for art and culture. From a young age, she was surrounded by paintings, sculptures, and the vibrant atmosphere of the art world. Giselle's passion for art led her to pursue a degree in Fine Arts at a prestigious art school in Paris, where she honed her skills and developed a keen eye for talent. During her time in Paris, Giselle met her husband, a fellow art enthusiast and collector, and they shared a mutual love for the beauty and expression found in art. Their shared passion for the arts brought them together, and they continue to support each other in their respective endeavors. After completing their studies at a prestigious art school in Paris, Giselle and her future husband traveled extensively, immersing themselves in different artistic traditions and styles. Giselle's experiences abroad broadened her perspective and deepened her passion for art. Upon returning home Giselle opened her own art gallery which showcases a diverse range of contemporary and traditional art, and she takes pride in supporting emerging artists and promoting their work.

Colten Aldrich - 27 - Libra

Financial Analyst - Senior Analyst at Landgraab Industries Traits - Language Savant, Intellectual, Outgoing Backstory: Colten is a driven and ambitious financial analyst who graduated from a prestigious business school with top honors. He is known for his sharp mind, strategic thinking, and strong work ethic. Colten's passion for finance and investment was ignited during his college years, and he quickly excelled in the field, earning a reputation as a rising star in the industry. During his time at business school, Colten met his fiance at a charity function for the arts. They bonded over their shared love for the arts and soon realized that they had found a deep connection with each other. Their relationship has been a source of strength and support for both of them as they navigate their careers and personal lives. Despite his busy professional life, Colten always makes time for his two siblings, whom he adores. He is a loving and protective older brother, often offering guidance and support to his youngest sibling Lillian as she navigates her own path in life.

Lillian Aldrich - 17 - Leo

High School Student Traits - Outgoing, Silverspoon Backstory: Lillian is a 17-year-old high school student who is the youngest of three children. She grew up in a family deeply rooted in the world of art, as her mother owns an art gallery and her father is a real estate tycoon with a passion for collecting art. From a young age, Lillian was exposed to various forms of artistic expression, which has greatly influenced her own interests and aspirations. She has always been surrounded by creativity, and as a result, she has developed a keen eye for art and a love for self-expression.

[lananuori]

Painting: A bit tired Dimensions: 11.69W x 16.54H in 29.7W x 42H cm Medium: Tempera Material: Paper 200 GSM Original Created:2022 You can buy high quality print on Saatchi Art via the link in the profile description. Mockup designed by Freepik. #art #artist #visualart #artgallery #artlovers #artcurator #artfair #artnews #artnet #saatchiart #fineart #moma #contemporaryart #artforsale #contemporary #modernart #modernpainting #artoftheday #painting #paintings #temperapaint #temperapaint #artonpaper #shapesandcolors #whiteandred #stylizedportrait #minimalism #minimalportrait #conceptart #lananuori (at Aldrich Contemporary Art Museum) https://www.instagram.com/p/CjQ5iqGNd_-/?igshid=NGJjMDIxMWI=

[harvardfineartslib]

For thirty years, Duane Slick has been creating work that integrates his Native American heritage. In his ongoing painting series that references the coyote, Slick plays with the beauty and the tragedy of his heritage, weaving the mythology and folklore of Indigenous culture with Modernist abstraction style. Like the wolf, the buffalo, and the grizzly bear, the coyote was hunted down and killed by European settlers because of fear for the safety of their livestock. The violence towards these animals parallels the genocide waged against Native Americans in the United States.

“The coyote doesn’t just embody Native America—it is Native America, with the animal’s roots on the continent going back into the early Pleistocene Epoch, two and half million years ago. Slick has taken on the mantle of the coyote to convey both the beauty and the tragedy of his heritage: in the artist’s work there is room for the coyote’s laughter and its tears.” – (Page 6, Richard Klein, Exhibition Director.)

In Slick’s paintings, the coyote speaks.

This November, we are celebrating Native American Heritage Month by sharing some of our new acquisitions for Native American artists, including the exhibition catalog for “Duane Slick : the coyote makes the sunset better,” previously on view at The Aldrich Contemporary Art Museum in Ridgefield, CT.

Image 1: Book cover

Image 2: Left page; “Red Eye,” Right page; “Black Snout,” both Acrylic on linen, 14”x11, 2020

Duane Slick : the coyote makes the sunset better Attribution [essay by curator Richard Klein]. Author / Creator Slick, Duane Ridgefield, Conn. : Aldrich Contemporary Art Museum, 2022. 87 pages : color illustrations ; 28 cm English Published on occasion of the exhibition organized by The Aldrich Contemporary Art Museum, January 16 - May 8, 2022. 2022 HOLLIS number: 99156361672603941

[profeminist]

"At the beginning of the 1970s, American artists were demanding more equitable representation in institutional shows. Organizations such as the Black Emergency Cultural Coalition and the Ad Hoc Committee of Women Artists staged protests over the Whitney Museum’s omission of Black and women artists in their exhibitions. Against this landscape, the writer, critic, curator, and activist Lucy Lippard mounted “Twenty-Six Contemporary Female Artists” at The Aldrich Contemporary Art Museum in 1971 in Ridgefield, Connecticut. With this show, Lippard hoped to help shift the white, patriarchal paradigm that had long pervaded American institutions.

In her accompanying exhibition essay, Lippard wrote: “Within the next few years, I expect a body of art history and criticism will emerge that is more suited to women’s sensibilities. In the meantime, I have no clear picture of what, if anything, constitutes ‘women’s art.’” Lippard hoped that the show would offer a platform for emerging female artists of the time and midwife a new generation of even more liberated female artists.

“52 Artists: A Feminist Milestone,” a new show at The Aldrich , curated by Amy Smith-Stewart and Alexandra Schwartz, tracks the evolution of feminist art practices in the decades since “Twenty-Six.”

Read the full piece (including multiple art pieces) here: https://www.artsy.net/article/artsy-editorial-expansive-new-celebrates-five-decades-feminist-art

[denimbex1986]

'Thousands of movie fans are planning to explore both the neon pink world of “Barbie” and the complicated mind of J. Robert Oppenheimer on the same day.

Thousands of AMC Stubs members have bought tickets for both films on the same day ahead of their premieres on July 21.

“That more than 20,000 moviegoers have already made plans and purchased tickets to see Barbie and Oppenheimer on the same day is a great sign that the growing online conversation around seeing both of these incredible films is turning into ticket sales,” Elizabeth Frank, executive VP of worldwide programming and chief content officer at AMC Theatres told Variety this week.

Though, according to Variety, how the number compares to average purchase rates is unclear.

Christopher Nolan's "Oppenheimer" — starring Cillian Murphy, Robert Downey Jr., Matt Damon and Emily Blunt — is a three-hour epic thriller about the American physicist and his role in developing the atomic bomb during World War II. "Barbie," directed by Greta Gerwig, is a comedy about the life of Barbie (Margot Robbie) and Ken (Ryan Gosling) in Barbie Land and their journey to the real world.

The double feature of the contrasting blockbusters has become an internet phenomenon known as, “Barbieheimer,” with fans creating their own black-and-pink memes, apparel and movie posters of the two films.

The Avon Theatre Film Center in Stamford is screening the two films starting on July 20 and pre-sale tickets are selling faster than normal, Louisa Greene, director of marketing and development for the theater, said.

"There's a lot of buzz [and] a lot of excitement from Avon patrons about both films," she said.

The Avon is hosting its own Barbie and Ken costume contest for theatergoers at its 5:20 and 7:45 p.m. "Barbie" screenings on July 20, during which attendees will enter on a mini-red carpet and present their costumes the judges. The winners from each screening will win the theater's bronze membership package: free movies for a year for two people. The theater will also have a 3 p.m. screening that day.

The venue is also partnering with the Greenwich International Film Festival for a screening of "Oppenheimer" at 7 p.m. that evening, she said.

Greene believes the two divergently different films share qualities that appeal a wide range of movie fans. Both have big-name directors and casts, she said. "Oppenheimer" is a historical drama about events that are still relevant today, while "Barbie" is a comedy that could spark nostalgia among viewers, she said.

Warner Brothers predicts that "Barbie" will see a $70 to $80 million opening at the box office, according to the Hollywood Reporter. Universal Studios is tracking around $40 million for the "Oppenheimer" debut.

Prospector Theater in Ridgefield is also hosting screenings of the two films on July 20 and it has sold most of the tickets for both events, Ren Burkardt, the theater manager, said.

"The weekend is already looking like it's picking up as well. People are very excited," she said.

The theater employees plan to decorate the lobby pink that weekend and dress up in Barbie-themed outfits, Burkardt said. KC 101 radio station will also stop by from noon to 2 p.m. Saturday to give away items, she said.

In partnership with The Aldrich Contemporary Art Museum, the theater will host a live virtual conversation right before the "Oppenheimer" screening with artist and director Bryan McGovern Wilson and artist and curator Richard Klein. The two will discuss Wilson's "Oppenheimer Ghost" exhibit, a replica of Oppenheimer's hat that is positioned in uranium glass, the event description says. The exhibit will be on display in the museum until Aug. 27, according to the museum.

"I just want to encourage everyone to come to the movies. The experience is completely different in person with friends and family and all the excitement of a busy lobby than anything else," Burkardt said.

National movie theater chains with venues in Connecticut also have special deals for the two movies. AMC Theatres is offering Stubs members the chance to win a Barbie-themed vacation and bonus points for those going to see "Oppenheimer." AMC has locations in Norwalk, Stamford, Trumbull, Danbury, Plainville, Southington and Lisbon, according to its website.

Cinemark is currently selling "Barbie" movie merchandise in theaters. These items can include beach ball cups, a popcorn tin and blanket, according to the theater chain's Instagram. Cinemark theaters are located in Enfield, Manchester, Milford and North Haven.'

[cosmicanger]

Photographed over a ten-year period using a large-format Polaroid camera, “The Chocolate Portraits” consist of 200 subjects, each portrayed as dual images (the face and back of the head). These unique 20 x 24-inch monochromatic dye-diffusion transfer prints represent individuals across the social spectrum. Work from this series was first exhibited in 1998 at the Aldrich Museum of Contemporary Art (Ridgefield, Connecticut) and in 2011 at the Studio Museum in Harlem (New York). In 2009 a monograph of the complete series, titled “Excessive Exposure,” was published by Gregory R. Miller, featuring an introduction by Henry Louis Gates, Jr., a critical essay by curator Okwui Enwezor, and a conversation between Lyle Ashton Harris (who created the series) and the artist Chuck Close.

[dankusner]

THURSDAY, NOVEMBER 21, 2013

Henry Ford

from The New Vulgate:

Henry Ford was a nut. 

But he was an ungodly rich American nut, and when he got a bug up his butt, he had the resources to do something about it. 

He started his own newspaper, The Dearborn Independent, and when that was insufficient for spreading the hot news about the Hebrew-haters preferred hoax, “The Protocols of the Elders of Zion,” he distributed it through Ford dealerships and had it translated into German. 

When he decided he needed a dam, he hired forty Negroes to dig him one, specifying an all-colored crew to his contractor, then had them knock off work to sing him Stephen Foster songs — he was especially fond of “Old Black Joe” and “Old Kentucky Home.” 

Once he decided that the contemporary world had gone to hell in a handbasket, he set himself up with a Never-Never Land right there in Dearborn and named it Greenfield Village. 

It was a psychic twin to John D. and Abby Aldrich Rockefeller's Colonial Williamsburg (and both places were kin to Walt Disney's seven-eighths scaled Main Street USA, with its banjo-spanking Dixieland band, striped coats and straw hats direct from the blackface minstrel walkaround.) These were industrialist fantasies of pre-industrial feudal villages — once she'd presided over the founding of the Museum of Modern Art, Mrs. Rockefeller sent forth her minions, collectors who would shortly be dubbed "curators" and they worked New England and the Mid-Atlantic states the way maidenly New Englanders were working the mountains of the South, hunting for the pure and the purer. 

Her employees gathered up weather vanes and quilts, pried Pennsylvania Dutch hex signs off the front of barns, loaded trucks with cigar-store Indians and sewing baskets and duck decoys, each and every one of them by that celebrated and super-prolific folk artiste "Anonymous." 

Then she commissioned her curators to come up with a definition of "folk art" that would fit a collection that included no totem poles or kachinas or Navajo blankets or santos or bultos or bottle trees or wrought iron work or anything else made by anyone who wasn't rustic, white, and located on the eastern seaboard. 

Mary Black, the director of Abby's collection, declared, "The genesis, rise and disappearance of folk art is closely connected with the events of the 19th Century when the dissolution of the old ways left rural folk everywhere with an unused surplus of time and energy." 

It was a theory to warm the heart of any Rockefeller. Henry Ford, on the other hand, was a nouveau riche buttinski who supplied his own damn theories, and plenty of 'em. 

He turned collectors of his own loose, hunting for backwoods fiddlers who could remember the words and melodies of the old tunes, the fiddle tunes that were American's true pure heritage. 

He set himself up a dance hall in his factory's Engineering Lab, with his fiddle-and-dulcimer orchestra on hand at all times. 

He hired a dance instructor and produced a book, Good Morning — After a Sleep of 25 Years Old-Fashioned Dancing Is Being Revived by Mr. and Mrs. Henry Ford, then distributed hundreds of thousands of copies, just as he did with the Protocols. 

The book's rules of etiquette were as rigid and unwavering as a manual for a mass-production line. By now, Henry Ford had dance fever. 

He traveled the country preaching the gospel of his square-danced etiquette. 

At his factory, engineers were constantly being dragged onto the dance floor, and on his Georgia plantation, Negro children were taught the polka. 

He created his own record label for "Henry Ford's Old Time Dance Orchestra." 

When his collectors brought Stradivarius violins for his approval, he'd saw off a fiddle tune, then write a check. 

He purchased the cottage where Stephen Foster was born and had it moved to Greenfield Village. 

He bought a Cape Cod windmill, and English shepherd's cottage, the schoolhouse where the author of McGuffey's Reader swatted his first sleeping students, the Springfield courthouse where Abe Lincoln lost his first court case and the Ford's Theater chair Lincoln was sitting in when John Wilkes Booth shot him. 

He came within days and dimes of buying a pickled corpse alleged to be Booth. 

He tried to have Foster's Old Dog Tray exhumed and stuffed but the operation was a failure. 

He purchased a dozen railroad cars of research on the folkloric history of "Mary Had A Little Lamb." (The poem's author died at seventeen, the lamb was gored by a cow, and Mary herself ended up in an asylum.)

Henry Ford had hated farm life when he was a boy stuck on a farm, and he invented his way out of it — a couple of ways. 

Late on a night in 1936, one of the many family acts who were making it through the Depression off country music drove down a Michigan road trying to find a tourist court so they could sleep. 

It was the Rhodes Family — brother Speck Rhodes would play bass with Porter Wagoner for many years, all the while playing the Toby role, a black-toothed rube variant from the minstrel days, the white Jim Crow, the Arkansas Traveler's squatter. 

Exhausted, they found a country road — it sure seemed like a country road — so they pulled over and slept in the car. 

A guard woke them in the morning; they had spent the night in Henry Ford's driveway. 

He'd let them stay there because they drove a Ford. 

"Sure enough," says Speck's brother Dusty, "...here comes Henry Ford with two bodyguards. He was a real nice fellow and after we talked to him for a while he asked us to plays some music. He really did like country music." 

He asked Dusty Rhodes if he wanted to play one of his fiddles, then sent the servants to fetch it. 

"This is a genuine Stradivarius violin," Ford told him, "and is worth $150,000." 

He asked me if I would play 'Red Wing' for him because that was his favorite fiddle tune. So I played 'Red Wing' and several other tunes for him on that Stradivarius fiddle." Ford sure did love country music. 

"Red Wing" had been written and published in 1907 by Tin Pan Alley's Kerry Mills, author of "Rastus On Parade" and of "At A Georgia Camp Meeting" as well, the biggest cakewalk hit of the whole coon song era. 

Mills had been head of the violin department of the University of Michigan School of Music; he'd snagged the melody, all too appropriately, from Schumann's "The Merry Peasant." 

To this day, "Red Wing" is known as an old fiddle tune. 

(My mom, Lawrence Welk's cousin, Francesca Schweitzer Bull, has always played it oom-pah accordion style on the organ, but that's pretty much how she plays everything.) 

It is an old fiddle tune, just as it was in 1937, maybe just as it was by 1908. 

The vogue for coon songs was cooling down, and a brief fad for frontier Indian romance numbers came and went. 

It was a coon song of a different sort, and Henry Ford was right. 

It was country music, just as his driveway was close enough to a country road to fool country folks in a country band. 

Henry Ford, the man who killed off the horse-and-buggy-era, once the fastest man in the world, died by the light of a coal lamp. 

And that $150,000 fiddle of his? "Well," says Dusty Rhodes, "I have to admit that I didn't like it any better than the one Daddy made for me." Subject: Re: songlist… Date: May 10, 2017 at 1:21:56 PM CDT Turkey in the Straw https://youtu.be/VsnZxfkkoKQ

AKA Nigger Love a Watermelon https://youtu.be/hB5AMQslyC0?list=PL_UCF1Fbh6zbefQbXYDjD9-F2shfhjicY

AKA The Preacher and the Bear https://youtu.be/5LvuH907ZPs?list=PLOxExGKVeUTanhTVfSGZbvMS62aD4uVAZ

That playlist includes All Coons Look Alike to Me

Jim Crow by Daddy Rice https://youtu.be/xG2zd6NCzJ8

The Whistling Coon https://youtu.be/sVYHSlEssYY

You can probably look up every song he mentions and find it on YouSteal, but the main paradigm he proposes is Jim Crow and Zip Coon. So any coon song should cover the second base, and most Jim Crow material was eventually translated into hillbilly Hee Haw style material sans the blackface.

On 2017-05-03 18:06, Daniel Kusner wrote:

M do me a favor….

bart mentions a lot of songs in "does this road"

can you list four to ten songs [hopefully that are FRESH and in a way "UNDISCOVERED"] that absolutely sizzle?

and if so, can you link to perhaps youtube examples of the songs so i can get an idea of the sound?

not looking for songs that belong in a museum of sacred melodies.

looking for songs that MTV wished they'd cashed in on —

Songs that haven't already been done to death…..

xo

[oliverreigns]

Titanium Dioxide Nanomaterials Market Trends, Size, Forecast 2023-2028

According to IMARC Group latest report titled “Titanium Dioxide Nanomaterials Market: Global Industry Trends, Share, Size, Growth, Opportunity and Forecast 2023-2028”, offers a comprehensive analysis of the industry, which comprises insights on titanium dioxide nanomaterials market forecast. The report also includes competitor and regional analysis, and contemporary advancements in the global market.

The global titanium dioxide nanomaterials market size reached US$ 20.8 Billion in 2022. Looking forward, IMARC Group expects the market to reach US$ 28.4 Billion by 2028, exhibiting a growth rate (CAGR) of 5.2% during 2023-2028.

Request a Free Sample Report: https://www.imarcgroup.com/titanium-dioxide-nanomaterials-market/requestsample

Titanium dioxide nanomaterials are ultrafine particles of titanium dioxide (TiO2) with dimensions less than 100 nanometers. These nanomaterials are known for their high refractive index, strong UV light absorption capabilities, and photocatalytic properties, making them ideal for a myriad of applications, including in paints and coatings, sunscreens, and pollution control. Available in various forms, such as rutile, anatase, and brookite, titanium dioxide nanomaterials exhibit unique advantages such as enhanced chemical stability, improved durability, and increased efficiency in blocking harmful UV rays. Their versatility and efficacy in promoting self-cleaning and antimicrobial properties also extend their applicability in the textile and healthcare industries, positioning them as a critical component in advancing material science and nanotechnology applications.

Market Trends:

The global market is majorly driven by the expanding demand from the coatings, plastics, and cosmetics sectors for products offering improved performance and environmental benefits. Along with this, the rising investments in research and development activities that are aimed at enhancing the properties and applications of titanium dioxide nanomaterials are fostering innovation and widening their commercial use. Additionally, the accelerating awareness of the harmful effects of UV exposure has escalated the demand for effective sun protection solutions, further propelling the market for titanium dioxide nanomaterials in sunscreen and skincare products. In addition, environmental regulations promoting the use of eco-friendly materials are also contributing to market growth, as industries seek sustainable alternatives. Furthermore, advancements in nanotechnology are enabling the production of more efficient and cost-effective titanium dioxide nanomaterials, which, combined with the increasing adoption of green building practices requiring pollution-reducing coatings, are creating a positive market outlook.

View Full Report with TOC & List of Figure: https://www.imarcgroup.com/titanium-dioxide-nanomaterials-market

Competitive Landscape

The competitive landscape of the industry has also been examined along with the profiles of the key players operating in the market.

ACS Material LLC

Altair Nanotechnologies Inc.

Dupont De Nemours Inc.

Huntsman Corporation

Kronos Worldwide Inc. (Valhi Inc.)

Sigma-Aldrich Corporation (Merck KGaA)

Skyspring Nanomaterials Inc.

Tronox Limited

US Research Nanomaterials Inc.

Xuancheng Jingrui New Material Co. Ltd.

Key Market Segmentation:

Our report has categorized the market based on region, type and application.

Breakup by Type:

Rutile Nanoparticles

Anatase Nanoparticles

Combination of Rutile and Anatase Nanoparticles

Nanowires and Nanotubes

Others 

Breakup by Application:

Paints and Coatings

Cosmetic and Personal Care

Paper and Ink

Catalysts

Others 

Breakup by Region:

North America (United States, Canada)

Europe (Germany, France, United Kingdom, Italy, Spain, Russia, Others)

Asia Pacific (China, Japan, India, Australia, Indonesia, South Korea, Others)

Latin America (Brazil, Mexico, Others)

Middle East and Africa

Key Highlights of the Report:

Market Performance (2017-2022)

Market Outlook (2023-2028)

Porter’s Five Forces Analysis

Market Drivers and Success Factors

SWOT Analysis

Value Chain

Comprehensive Mapping of the Competitive Landscape

About Us:

IMARC Group is a leading market research company that offers management strategy and market research worldwide. We partner with clients in all sectors and regions to identify their highest-value opportunities, address their most critical challenges, and transform their businesses.

IMARC’s information products include major market, scientific, economic and technological developments for business leaders in pharmaceutical, industrial, and high technology organizations. Market forecasts and industry analysis for biotechnology, advanced materials, pharmaceuticals, food and beverage, travel and tourism, nanotechnology and novel processing methods are at the top of the company’s expertise.

Contact US:

IMARC Group

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[tigerstrikesasteroidnetwork]

NY / &&&2

&&&2 January 6, 2024 – February 18, 2024  Opening Reception: Jan 6, Saturday 6-8PM  A talk with the artists will be scheduled in February

Tiger Strikes Asteroid New York is pleased to present &&&2, a bi-coastal exhibition that serves as both a survey and sequel to the collaborations of Ethan Greenbaum, David Kennedy Cutler and Sara Greenberger Rafferty.

Ten years ago, the artists initiated a series of meetings to talk about materials and techniques, based on their mutual interest in using photographic imagery to destabilize traditional art categories like painting, printmaking and sculpture.

The meetings resulted in an artist’s book titled &&&, in which the three artists imagined themselves as a fictional industrial supply firm. For Greenberger & Greenbaum & Cutler &, the fictional company had a veneer of prestige. For these capitalist outsiders, a corporate symbol of joint commercial enterprise was almost tantamount to success.

The book was released at Printed Matter’s NY Art Book Fair in 2013 in both a mass market paperback and a boxed, limited special edition print series based on swatch sample catalogs. The intention of the project was lost on nearly everyone, but a few key people became aware of the artists’ positioning themselves as a small movement.  This included the photography curator Dan Leers, who organized a show and catalog of their work, Beyond The Surface: Image as Object, at the Philadelphia Photo Arts Center in 2014. 

To commemorate the 10th anniversary of &&&, Sun You has invited Greenberger & Greenbaum & Cutler to mount an exhibition at TSA in Brooklyn, NY. There will also be a simultaneous version of the show at Ditch Projects in Springfield, OR.  The exhibitions at both artist-run spaces feature a backdrop that wraps the gallery with deconstructed pages from the original &&& book, over which the artists have installed works from 2013 and 2023.  The original book is also exhibited, as well as a new portfolio of prints (&&&2) to celebrate ten fruitful years of collaboration, hand wringing and friendship 

Ethan Greenbaum is a New York based artist. Selected exhibition venues include KANSAS, New York; Derek Eller Gallery, New York; Hauser and Wirth, New York; Marlborough Chelsea, New York, Higher Pictures, New York; New York; Marianne Boesky, New York, Circus Gallery, Los Angeles; Steve Turner, Los Angeles; The Suburban, Chicago; Michael Jon & Alan, Miami, The Aldrich Museum, Connecticut; Socrates Sculpture Park; Long Island City and Stems Gallery, Brussels. Recent projects include a solo presentation with Lyles & King and solo exhibitions at Galerie Pact, Paris and Super Dakota, Brussels.

His work has been discussed in The New York Times, Modern Painters, Artforum, BOMB Magazine, ArtReview and Interview Magazine, among others. Ethan is a co-founder and editor of thehighlights.org and his writings have appeared in the Brooklyn Rail, Wax Magazine, BOMB, Paper Monument and others. He has also curated and co-curated multiple exhibitions at venues including The Suburban, Chicago; Lyles & King, New York and Super Dakota, Brussels. Greenbaum is the recipient of the Queens Art Fund New Work Grant, the Silver Art Residency, The Keyholder Residency at the Lower East Side Printshop, Dieu Donne’s Workspace Residency, LMCC’s Workspace Program, The Robert Blackburn SIP Fellowship, The Socrates EAF Fellowship, The Edward Albee Foundation Residency and The Barry Schactman Painting Prize. He received an MFA in Painting from Yale School of Art.

David Kennedy Cutler is an artist, writer and performer who lives and works in Brooklyn, New York. Cutler received his BFA from The Rhode Island School of Design in 2001. He has had solo exhibitions at Derek Eller Gallery, New York; Halsey McKay Gallery, East Hampton; Essex Flowers, New York; The Centre for Contemporary Art, Tallinn, Estonia and Nice & Fit, Berlin, Germany. Cutler has performed in various spaces in New York including Klaus von Nichtssagend Gallery, Essex Flowers, Printed Matter, Halsey McKay, Derek Eller Gallery, and Flag Art Foundation, and internationally at the Center for Contemporary Arts Estonia, among others. His works are included in the permanent collections of the Wellin Museum at Hamilton College and The RISD Museum, and his artist’s books are included in the libraries of the Whitney Museum and the Brooklyn Museum. He has been reviewed and featured in The New York Times, Artforum, Art in America, The New Yorker and Modern Painter, among others. Cutler is represented by Derek Eller Gallery, NY and Halsey McKay Gallery, East Hampton. 

Sara Greenberger Rafferty produces image-based works in paper, plastic, glass, metal, fabric, and video. Her work is driven by an ongoing examination of contemporary and mid-20th century visual culture and considers the ever-changing implications for photographic images in the digital era. She’s also into comedy. 

Ditch Projects is a nonprofit artist-founded, artist-run studio, exhibition, and performance space providing contemporary art experiences in Springfield, Oregon. As a collective of artists and professionals committed to exhibiting experimental artists from diverse backgrounds, Ditch Projects provides opportunities for cultural exchange between experimental contemporary art and our local community, acting as an integral voice within contemporary art discourse in the Pacific Northwest. Since its founding in 2008, Ditch Projects has featured over 145 exhibitions and 275 artists. Growing organically out of the concerns of its artist members, Ditch provides contemporary visual arts practitioners with an opportunity to test out new ideas, processes, and approaches they might not otherwise attempt in a comparable urban center. Over the past decade, the primary focus of the artist collective has been on the production and presentation of new works by regional, national and international artists, with a consistent 10-12 solo, two-person or group exhibitions per season. Past exhibiting artists have included internationally renowned practitioners such as Amy Yao, Diana Thater, Scott Reeder, Laura Owens, Jessica Jackson Hutchinsons, and Vito Acconci, along with regionally acclaimed artists such as Ralph Pugay, Amy Bernstein, Lisa Radon, Tannaz Farsi, James Lavadour, and Kristen Kennedy. Exhibitions at Ditch Projects have been reviewed in Art Forum, Frieze, Art in America, and the New York Times. Ditch Projects has received grants from the Andy Warhol Foundation, The Miller Foundation, the Ford Family Foundation, the Oregon Arts Commision, the Oregon Cultural Trust, Oregon Community Foundation, and the WLS Spencer Foundation.