So,
This was a different kind of Shakespeare.
The audiences for Love's Labour's Lost probably didn't expect to hear an energetic Jefferson Airplane solo during their Shakespeare evening, but that's exactly what they got with my Rob Foell's 60s-themed adaptation of one of the Bard's earlier plays.
All the tie-die, mirrored sunglasses and floral bell bottoms — courtesy of costume designer Chris Johnson — meant that everyone who came out to the Gem o' the Isle farm was immersed in the revolutionary vibe of that time, with live electric bass and classic hits from the Vietnam era.
I'm really happy with these images I captured. So much fun!
The Literary Goon
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Week 3 tutorial
Inspiration
My Work
Specific techniques and crafts
Brand design
Smith, J. C. (2006). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://web-s-ebscohost-com.ezproxy.aut.ac.nz/ehost/pdfviewer/pdfviewer?vid=1&sid=ed5d83f7-b9a7-45db-af88-c8d6935867c7%40redis
Architectural photography
Rosa, J. (1998). Architectural photography and the construction of modern architecture. History of Photography, 22(2), 99–104. https://doi.org/10.1080/03087298.1998.10443865
Street art struggles
Muttaqin, M. Z. (2023). Street Art and the Struggle for Public Space. SAUC - Street Art and Urban Creativity, 9(1), 8–11. https://doi.org/10.25765/sauc.v9i1.567
Graphic Design: Fine Art or Social Science?
Frascara, J. (1988). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://www-jstor-org.ezproxy.aut.ac.nz/stable/1511556?seq=4
Commercial art
Warren, F. (1910). Commercial Art Today: An Interesting Exhibition of Advertising Art. Arts & Decoration (1910-1918), 1(2), 79–79. https://www.jstor.org/stable/43799450
Key themes, ideas and conversations
Cameras for conservation: wildlife photography and emotional engagement with biodiversity and nature
Hanisch, E., Johnston, R., & Longnecker, N. (2019). Cameras for conservation: wildlife photography and emotional engagement with biodiversity and nature. Human Dimensions of Wildlife, 24(3), 267–284. https://doi.org/10.1080/10871209.2019.1600206
What ugly and beautiful photographs reveal about COVID‐19 lockdown experiences, everyday aesthetics and photography aesthetics
Vissers, N., & Wagemans, J. (2022). What ugly and beautiful photographs reveal about COVID ‐19 lockdown experiences, everyday aesthetics and photography aesthetics. British Journal of Psychology, 114(2), 352–375. https://doi.org/10.1111/bjop.12624
Regaining Quality of Life Painting Pet Portraits
Fortuna, J. K. (2023). Regaining Quality of Life Painting Pet Portraits. The Open Journal of Occupational Therapy, 11(2), 1–5. https://doi.org/10.15453/2168-6408.2185
Innovations to Photovoice: Using Smartphones & Social Media.
Foster, K. A., Davis, B., & Foell, A. (2022). Innovations to Photovoice: Using Smartphones & Social Media. Urban Affairs Review, 59(5), 107808742211002. https://doi.org/10.1177/10780874221100263
A Street Scene, Japan, (pencil and watercolour)
Tyndale, & Roofe, W. F. (1943). A Street Scene, Japan, (pencil and watercolour). In credoreference. https://search.credoreference.com/articles/Qm9va0FydGljbGU6MzIwMjgyOA==?q=A%20Street%20Scene,%20Japan,%20(pencil%20and%20watercolour)
specialist subject knowledge
Blur method
Mitcheson, K. (2010). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://eds-s-ebscohost-com.ezproxy.aut.ac.nz/eds/detail/detail?vid=1&sid=fb224530-95d8-4618-acaf-5664e6270678%40redis&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=64873788&db=vth
Colour reconstruction of underwater images
Hoth, J., & Kowalczyk, W. (2017). Colour reconstruction of underwater images. Underwater Technology, 34(2), 51–61. https://doi.org/10.3723/ut.34.051
“Stitch for Stitch, You Are Remembering”: Knitting and Crochet as Material Memorialization
Fisk, A. (2019). “Stitch for Stitch, You Are Remembering”: Knitting and Crochet as Material Memorialization. Material Religion, 15(5), 553–576. https://doi.org/10.1080/17432200.2019.1676621
Reflection in Water Drops.
Woodruff, T. W. (2010). Shibboleth Authentication Request. Login.ezproxy.aut.ac.nz. https://web-p-ebscohost-com.ezproxy.aut.ac.nz/ehost/detail/detail?vid=1&sid=dd396097-2c8d-4b09-b630-d01cfa7af9db%40redis&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=48963475&db=vth
The Glass (collage, gouache & pencil on paper)
Gris, J. (1927). The Glass (collage, gouache & pencil on paper) . In credoreference. https://search.credoreference.com/articles/Qm9va0FydGljbGU6MzIwNzUyMQ==?q=The%20Glass%20(collage,%20gouache%20&%20pencil%20on%20paper)
Creatives working in the environmental, social, cultural, sub-cultural and political context
Climate Change Is A Myth! Shut Up! Just Shut Up!
Kjartan Arnorsson (Karno). (2012). Climate Change Is A Myth! Shut Up! Just Shut Up!. [Sticker]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/SS7730635_7730635_12095853
Ten Thousand Mandelas
Willie Cole. (5/27/1988). Ten Thousand Mandelas. [Installation]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/AFURNACEIG_10310797586
Exhibition: Kaleidoscope Quilts: The Art of Paula Nadelstern
Stacy C. Hollander, curator. (April 21-September 13, 2009). Exhibition: Kaleidoscope Quilts: The Art of Paula Nadelstern, installation view. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/AAFOLKAIG_10313147179
Earth First!
(2013). Earth First!. [Sticker, Political sticker]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/SS7730635_7730635_10950780
Time's Up -- Environmental Education & Direct Action NYC
(2013). Time's Up -- Environmental Education & Direct Action NYC. [Sticker, Political sticker]. Retrieved from https://library-artstor-org.ezproxy.aut.ac.nz/asset/SS7730635_7730635_10948647
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Franz 👨🌾 versteht sein Handwerk. Sein Hof ist der Vorzeigebetrieb in der Region, er selbst ein wichtiger Gestalter und Vordenker. Der engagierte Demeter-Landwirt produziert Ackerraritäten 🌾 von denen kaum einer denken würde, dass diese am Voralpenrand überhaupt wachsen können. Schwarze Beluga Linsen, Champagnerroggen, Purpurweizen, Emmer und Einkorn, Buchweizen, Senf, Leinsamen, Kartoffeln, Braunhirse, Gerste, Hafer und Dinkel, um nur einiges zu nennen. Alles sind samenfeste alte Sorten, in biodynamischer Qualität. Damit nicht genug: die Getreide werden weiterverarbeitet zu Bulgur, Dinkel- und Emmerreis, Gries und Mehl. . Franz Obermeyer sagt offen, was er denkt und vertritt seine Meinung klar und deutlich. Er ein mutiger Macher, ein Eisbrecher. 💪 Klein beigeben, Kompromisse eingehen, das entspricht schlicht nicht seiner Natur. Wahrscheinlich braucht es diese kraftvolle Energie um zu bewältigen, was auf seiner Agenda steht. (Online, https://www.oekomodellregionen.bayern) . . . #demeter #bio #organic #vegan #biohof #gem #hades #bioland #se #zeus #hofladen #persephone #naturland #vitamine #biodynamic #foell #f #biosupermarkt #obstbau #wirfreuenunsaufeuch #kommvorbei #altesortenneuentdeckt #kommtvorbei #regionalisterstewahl #regionalistgenial #welovevegetables #veganessen #biologisch #schaumalrein #greenroot (hier: Innsbruck - Tyrol (Austria)) https://www.instagram.com/p/CQfnbOwJnJl/?utm_medium=tumblr
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Double header coming to Shawnigan Players’ summer Shakespeare festival
A pair of shows will be performed at Gem o’ the Isle Farm near Cowichan Station, Two Gentlemen of Verona and Love’s Labour’s Lost
The Cowichan Valley Shakespeare Festival is celebrating its 13th season with a double header this summer, bringing Two Gentlemen of Verona and Love’s Labour’s Lost to Gem o’ the Isle Farm.
Starring local thespians and directed by Alex Gallacher and Rob Foell, these lesser known works are sure to entertain and inspire audiences. This is Foell’s directorial debut with the festival, after serving as the stage manager for All’s Well That Ends Well last year. An accomplished actor and mainstay of the local theatre scene, most recently appearing in Mercury Players’ Tartuffe, he is now taking his cast in a bold new direction.
“One of the aspects of Alex’s directing I’ve alway admired is this implicit and daring invitation to the audience: put yourselves in this predicament and wonder how to get out of it,” said Foell.
“I hope for no less with the predicament of Love’s Labour’s Lost — to feel the principles of your very identity challenged by love — what to do?”
Love’s Labour’s Lost tells the story of three noble lads who dedicate themselves to their royal comrade’s aspirations. Their lofty plans go awry when four noble lasses enter the picture to match wits with them. Foell has set the action in contemporary times, choosing the tumultuous 60s as his backdrop.
“The 60s generation could be seen to begin with the ideals of civil rights and world peace, but soon brought to the frivolities of psychedelics, Woodstock and free love. More or less. But the same profound questions raised in that rebellious climate reverberate through subsequent generations, refined but never answered,” he said.
“Such are the open-ended quests of Love’s Labour’s Lost: a royal oath to transform self and society is beset by Cupid’s mayhem. It’s Apollo meeting Dionysus. Will we ever find equilibrium, peace, love?”
Meanwhile, Gallacher will be bringing his signature style to Verona — which has gender-swapped leads Laura Faulkner and Senya Pike playing the titular gentlemen. Playing friends Valentine and Proteus, they vie for the affections of Silvia and Julia in a complex romantic comedy, complete with unrequited love and desperate disguises.
“Poor Julia! Her boyfriend has fallen in love with his best friend’s fiancée! What to do? A clever disguise should help! The Shawnigan Players bring The Two Gentlemen of Verona to the Gem O’ the Isle in August,” said Gallacher.
“A Shakespearean comic romp exploring the joys, pitfalls and agonines of true love. Don’t miss it!”
To purchase tickets, visit shawniganplayers.com.
The Literary Goon
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