#c: ky cartier

[valentinebyrne]

Game night at the found family abode!

[hollywoodjuliorivas]

‘The Photographer’s Curator: Hugh Edwards at the Art Institute of Chicago’ Review: A Passionate Advocate Hugh Edwards helped steer the course of art photography during the mid-20th century. PreviousNext 1 of 15 Danny Lyon’s ‘Good By From Friends’ (November 1985 and August 1986, printed 1987) THE ART INSTITUTE OF CHICAGO Robert Frank’s ‘Rodeo, New York City’ (1955/56) © ROBERT FRANK/PACE/MACGILL GALLERY, NY Art Sinsabaugh’s ‘Midwest Landscape #4’ (1961) THE ART INSTITUTE OF CHICAGO Robert Riger’s ‘Racehorse: The Jockeys—Eddie Arcaro’ (c. 1957) THE ART INSTITUTE OF CHICAGO Marie Cosindas’s ‘Untitled’ (1967) THE ART INSTITUTE OF CHICAGO Artist unknown, ‘Untitled (Eight Atalanta Crewmen)’ (July 30, 1856) THE ART INSTITUTE OF CHICAGO Dennis Stock’s ‘Untitled (James Dean, Fairmont, Indiana)’ (1955) THE ART INSTITUTE OF CHICAGO Eliot Porter’s ‘Yellow Leaves and Asters, Sangre de Cristo Mountains, New Mexico, September 20, 1950’ AMON CARTER MUSEUM, FORT WORTH, TEXAS/ART INSTITUTE OF CHICAGO Ann Treer’s ‘East of Tonopah, Nevada (Looking West)’ (1959) THE ART INSTITUTE OF CHICAGO Mathew B. Brady’s ‘Lieutenant General Scott, General-in-Chief, U.S. Army and Staff’ (1861) THE ART INSTITUTE OF CHICAGO Danny Lyon’s ‘Racer, Schererville, Indiana’ (1965) © DANNY LYON/MAGNUM PHOTOS/GAVIN BROWN’S ENTERPRISE, NY Henri Cartier-Bresson’s ‘Juvisy, France’ (1955, printed 1956) THE ART INSTITUTE OF CHICAGO Dennis Stock’s ‘Sonny Stitt at the Newport Festival’ (1957) THE ART INSTITUTE OF CHICAGO Robert Earl Wilson’s ‘Untitled’ (1956/62) THE ART INSTITUTE OF CHICAGO Bruce Davidson’s ‘Boy and Girl at Cigarette Vending Machine’ (1958) © BRUCE DAVIDSON/MAGNUM PHOTOS/ART INSTITUTE OF CHICAGO Danny Lyon’s ‘Good By From Friends’ (November 1985 and August 1986, printed 1987) THE ART INSTITUTE OF CHICAGO Robert Frank’s ‘Rodeo, New York City’ (1955/56) © ROBERT FRANK/PACE/MACGILL GALLERY, NY By Richard B. Woodward May 31, 2017 6:21 p.m. ET 3 COMMENTS Chicago The curator Hugh Edwards (1904-1986) left behind so sparse a paper trail that no one should be ashamed if his name draws a blank. He never published a book, or even a lengthy essay that anyone has found. His (uncollected) writings consist mainly of letters to artists, scattered reviews, and wall texts to the 75 exhibitions he mounted at the Art Institute of Chicago between 1959 and 1970. The Photographer’s Curator: Hugh Edwards at the Art Institute of Chicago Art Institute of Chicago Through Oct. 29 He was nonetheless among a handful of figures whose eye and principles steered the course of art photography during the mid-20th century. Along with Beaumont Newhall, and their younger colleagues Nathan Lyons, Van Deren Coke and John Szarkowski, Edwards was instrumental in encouraging photographers to forswear commercial or journalistic agendas and, instead, to capture unvarnished images of the world that reflected personal intuition. Among the many beneficiaries of his passionate advocacy were Robert Frank, Danny Lyon and Ray Metzker, all of whom had their first major one-person shows under his sponsorship. The scope of his discernment is splendidly documented in “The Photographer’s Curator: Hugh Edwards at the Art Institute of Chicago.” Roughly 200 prints of the more than 3,000 he collected for the department during his tenure are spread around the basement galleries, works by more than 70 artists that span the history of photography, from the daguerreotype to the 1960s. The range of his enthusiasms was wide and unorthodox. In his first five years on the job, he had shows on Alexander Gardner’s “Photographic Sketch Book of the War,” Lewis Hine’s delicate portraits of America’s working poor from the early 20th century, and Robert Riger’s brutal, thrilling pictures of pro football and horse racing. MORE ART REVIEWS Only Part of the ‘Guernica’ Story May 27, 2017 A Buoyant Biennale May 22, 2017 ‘Robert Rauschenberg: Among Friends’ Review: Played Well With Others May 18, 2017 In an era when group shows were the norm, Edwards devoted solo ones to Edward Weston, George Platt Lynes, Minor White, Dorothea Lange and Pirkle Jones, Imogen Cunningham, Frederick Sommer, Walker Evans, Eugène Atget and Thomas Eakins, among others. Most important of all, he identified nascent talent. Many of these young photographers later had substantial careers: Metzker, Bruce Davidson, Dennis Stock, Charles Harbutt, Marc Riboud, Art Sinsabaugh, Keith Smith, Mr. Frank, and Mr. Lyon. If Edwards and his era favored expressive black-and-white prints, such as those by New Yorkers David Vestal and his wife, Ann Treer, he also showcased early color by Eliot Porter, Charles Swedlund, and Marie Cosindas. As well as organizing this exhibition, Elizabeth Siegel, a curator in the AIC Department of Photographs, has also overseen a website where documents by and about Edwards throw light on his improbable life and career. Interviews with photographers ( Kenneth Josephson, Duane Michals, Mr. Frank, Mr. Lyon) describe their interactions with the curator. An affectionate essay by his successor, David Travis, adds further illuminating details, Born in Paducah, Ky., Edwards never earned more than a high-school diploma. He had arrived in Chicago to study classical piano and instead took a job in the AIC library upon its founding, in 1929. Stricken as a child with a bone and muscle disease, he walked on crutches for the rest of his life. To add to his handicaps, he also seems to have been gay—a professional obstacle in those years. (The issue is treated coyly in the show.) He worked for 30 years at the AIC, in the library, then in the Department of Prints and Drawings, before being named associate curator of photographs in 1959. David Heath’s ‘Hugh Edwards, Curator of Photography, The Chicago Art Institute’ (1964) PHOTO: THE ART INSTITUTE OF CHICAGO Despite his limited education, he was well-read in American, English and French literature. (The novels of Proust were a touchstone. We are told he burned his correspondence with Jean Genet. ) He was a good friend of Duke Ellington and had a massive collection of his records. (In a 1961 letter on the website, he asks “Duke” to “remember me to Billy Strayhorn, ” with whom he had discussed Baudelaire on a recent Chicago visit.) Like so many of the pioneering curators of photography, Edwards was a photographer himself. His collecting choices were guided by his own taste and convictions, and not by what was supposed to be important. One of the pleasures of the show is the chance to sample work that time has obscured, by Chicago street photographer Robert Earl Wilson, Italian postwar realist Enrico Sarsini, and Father Algimantas Kezys, S.J. Edwards exhibited Mr. Frank’s work in 1961 when the Swiss émigré was still widely attacked as an ingrate for his 1959 book, “The Americans,” which portrayed 1950s America in a bleak, grainy light. Edwards’ support was not forgotten by the artist. A vitrine holds a copy of the book on its reissue in 1969. On a blank page, Mr. Frank wrote: “For Hugh Edwards, First with gratitude and respect to help and encourage when it mattered (1958) and now with regrets not to see in print yr thoughts long before they became fashionable. Your friend, Robert.” I’m not sure that photography has ever been examined before through the eyes of one influential curator. If it can be done as instructively and artfully as it is here by Ms. Siegel and her team, I don’t see why this experiment shouldn’t be repeated at many museums. —Mr. Woodward is an arts critic in New York. Appeared in the June 1, 2017, print edition as 'A Passionate Advocate.'

[valentinebyrne]

Rilo: literally kills people for a living

Damien: Local laid back man will go apeshit if needed

Ky: They never suspect the cute french guy

Saskia: She will murder for love and glory

Danny: He will murder for survival and also love

Saiyuri: She will murder for family

Daithí: Angy chihuahua, all bark and no bite

Fredrick: Empathy forbids them, they would cry and turn himself in

Lucy: Look at her.

[valentinebyrne]

KY CARTIER

He/Him | 28 yrs old | 5’ 11”

SPECIES: Nephilim

ORIENTATION: Pansexual

OCCUPATION:

— Cook for the upper floors of the company. Sometimes volunteers to go on longer term missions as support.

POWERS:

— Regenerative abilities and Heightened senses.

— He can hear peoples prayers.

— Unlnowingly induces calming and happy chemicals in people's brains when he tries to cheer them up.

WEAKNESSES:

— His regenerative abilities are so good that sometimes things can get lost in him as his skin heals over too fast so surgery to remove things cannot be performed.

— His emotions effect others and this often leads him to bottling up his true feelings.

UNIVERSE: Originates from ???, currently resides in AlphaTerra001.

EXTRA INFO:

— His parents managed to hand him off to a woman they trusted before The Admirals hunted them down.

— He grew up believing he was a normal human.

— Has caused more deaths than he cares to think about and was intrinsically changed by one of them.

— He's an extrovert and loves being around people.

— Has a pet charles spaniel named Lilou.

[valentinebyrne]

I had an extremely gay dream and thus. Ky is getting a proper backstory. FINALLY

[valentinebyrne]

Main cast headshots!