#galleri riis

[garadinervi]

Hamish Fulton, Boulder Etna Sicily 2014, (giclée print), 2014 [Galleri Riis, Oslo. © Hamish Fulton]

[rosenotactuallyquartz]

i love love LOVE every single one of your posts!!! you write so well and in such a soft way, and you're making me appreciate pearlrose and both pearl and rose seperately so much dkjgndfgd <333

thank you so much for everything you're doing!!

look at you go. i just adore you. i wish that i knew what makes you think i’m so special

if i could begin to be half of what you think of me

ngmngkg sorry i’ll stop. genuinely though, this made my day.

anon, here’s some flowers —> 🌸🌷

+ some pearlrose:

i can’t believe anyone would ever doubt their relationship & reciprocated love after this

from the official artwork from the rose quartz gallery. issue 29, cover b, by rii abrego

[image description: pearl rose stand face to face, holding hands. they’re surrounded by pink flowers and they lock eyes and smile at each other. end of image description.]

[thetruthwilloutsworld]

Instagram riischroer

Rii Schroer photographer for The Telegraph article Sam did at BAFTA Picadilly, Reuben Gallery, London with journalist Julia Llewellyn Smith.

[prettylonelys]

Ok I hope you are ready for this mammoth. I am going to start off by telling you some cafes to visit. Eckers in Frogner is a really pretty and does nice coffee and food. Pust, which is just across the road from Majorstuen station is another cafe with a very cool atmsophere. As I have already said before if you are looking for a chain coffee shop I would pick Kaffebrenneriet. My favorite is the one by Nationaltheatre but you will probably want to go to the one from Skam which is on Skovveien. They do the best reasonably priced coffee and you must try the pastries. It is good to know you are staying in Gamle because then I will recommend a tiny brunch place called Kumi. It has the most beautiful interior and vegetarian food but I warn you it is on the pricier side. You absolutley must go to Hotel Bristol to get hot chocolate. Inside is absolutely breathtaking and has major dark academia vibes. This is quite popular so I would recommend booking a table in advance on their website. Do not let them fool you into getting two pots of hot chocolate, one is enough for two people to have two cups each. For places to eat, I would first recommend a burrito bar called Freddy Fuego. They have a vegetarian option and lots of options which are all delicious and not badly priced. For pizza go to Villa Paradiso, there are a few of these over the city. If you want a more general Italian restaurant I would try Olivia by the fjord. Great food but more expensive. If you like Japanese food I can tell you about a tiny, tucked away restaurant called Izakaya on Olavs Plass. If you just want to buy snacks or something to cook at your airbnb I can tell you again the cheapest supermarket by far is Kiwi. Now for the thrift shops! Oslo has some amazing thrift stores and Grünnerløkka is the place you want to be. You absoltuely have to go to Robot! This is the coolest thrift shop of all in my opinion. Lots of good finds and a huge shelf of second hand sunglasses. There's also Velouria and Good Vibes Vintage. UFF is worth a look in Løkka but they have a much bigger, I think better store across the city in Prinsens Gate you should check out. The best budget friendly thrift store is Fretex. They are linked with the Salvation Army and you can get items as low as 50nok, which I looked up is about the equivilant of 7 aussie dollars. Next I've got a list of other things nice things you might like to do if you have the time. I saw you like art from your blog so I thought I'd recommend you some galleries. I mentioned before the National Gallery and Museum are free on Thursdays and the Munch Museum is free on Wednesdays from 6pm to 9pm. Astrup Fearnley is the only one without a free day. But I also have some smaller, lesser known galleries for you. It is worth checking out whether Peder Lund, Galleri Riis or Galleri Golsa have any exhibitons on while you are there. They are all free and very small, only a few rooms each. Galleri Golsa seems confusing to find but it is opposite a gym carpark and the door is heavy to open but I promise you're in the right place. They are well worth visitng. I would also recommend visiting a huge lake outside the city called Songsvaan. I know it looks far on a map but it only takes 20 minutes on one line and is still within your zone 1 ticket. There is something so magical about walking round the lake on a winter evening with it frozen over and snow covering the trees. They even have a little cafe. You will notice the increase in cold so you definitely want to your wool innersoles and tights under trousers here, I would recommend that if you venture out of the city anywhere or when it gets dark. If you like hiking and it's not too icy walk up Grefsenkollen and you will get a view over the entire city. In my opinion this is better than the view from Holmenkollen. Since you are staying in Gamle I will also recommend visiting Ekerberg woods which is a ten minute tram ride away and has a scultpure park and also the Botanisk Hage at Tøyen. It is small but pretty inside and guaranteed to be warm. I hope this is a help to you!

oh my god thank you so much, i know this must have taken a lot of time and effort to put together so i hope you know i really appreciate it!!!! these all sound wonderful i am about to start making notes literally right after i finish typing this xx

[abigailshorel6]

Laytheme

As I want to create a more simplistic website this time I think I am going to stick with laytheme. I am going to look into buying my own domain/hosting as I think this could be a cheaper option than using cargo or wix. These are some examples of websites made with laytheme:

I love the loading screen - it is attention grabbing and unique (flashes his name which fades into the site)

I love the simplicity of the website

Easy to navigate

Front page just has the projects, name appear when you hover and then you can click to get more photos and info.

easy to navigate

simple

left side has logo and about section

only right scrolls - shows different projects and names - can click for more info and photos

just plays vid with type over top

can scroll through vids

easy to navigate

works well for their work

wouldnt work so well for static

impactful

catches your attention straight away

love the second page

the type and image interact nicely

simple layout - easy to navigate

simplistic

visually interesting

love the layout

simplistic identity allows for a more playful layout

still easy to navigate

Bold typography

Hover images

[tiime-does-not-exist-here]

so, what is documentary photography?

Okay, time for a quick history lesson (I promise you’ll love it)

Documentary photography is an extremely raw and unfiltered style of photography that provides viewers with an accurate representation of people, place, and events. It uses a wide range of approaches to capture a real moment in time, usually conveying a message about the world. Now, this may sound similar to photojournalism – which generally concentrates on breaking news events – but the difference is that documentary photography typically focusses on an ongoing story (usually through a photo series) and draws attention to world issues that require remedial or political action. 

Documentary photography can be seen as early as the 1800s, with Matthew Brady documenting the American civil war and Jacob Riis who captured the poverties of New York in his work, How the Other Half Lives. 

Now fast forward to the turn of the twentieth century, photography became crucial in capturing real world events. From David Moore capturing the hardships faced on the streets of Sydney to Robert Capa immortalising life during the Spanish Civil War, documentary photography became a vital way of recording history. 

And, with the increase of these images be printed in publications such as LIFE, TIME, and Vanity Fair, the camera became a tool for social change, shedding light on moments of injustice and inequality. Photographers became focused on capturing and exposing truths to the world. Alfred Stielglitz is considered a pioneer for this ‘social documentary photography’, producing numerous street photography works, such as Steerage, in 1907. 

Documentary photography undoubtedly boomed during the First and Second World War, with artists focus on recording the horrors unfolding worldwide. The New York Metropolitan Museum highlights this, stating that 

‘The inherent violence of the war soon engendered a new commitment by the world’s photographers to document every aspect of the fighting, from life in the trenches to views of fighter planes cruising the skies. Nothing was left hidden from the camera’s burrowing eye.’

Then, with the rise of digital technology in the twenty-first century came a decline in the need for published photography, and documentary photography found a new audience in galleries and museums. This has led to a lot of debate surrounding the photographer’s motivations and what aspects of their work are fact or fiction. Nonetheless, photographers like Nan Goldin (a personal favourite) have used their platforms to capture real lives and moments in history, keeping the purpose of this style at the core of their work. 

xoxo Dakota

[4eternal-life]

Daido Moriyama  /Japanese,  born 1938

Hokkaido, 1978 /2009

silver gelatin photograph, 100 x 150 cm

https://galleririis.com/exhibitions/134/exhibited_works

[crvsaded-aa-blog]

HI! Please LIKE to plot / for a starter from my sons RIIS and SEJUN.

[garadinervi]

Hamish Fulton, Whiphala, Chile 2016, (archival inkjet print), 2016, Edition of 50 [Galleri Riis, Oslo. © Hamish Fulton]

[fettesans]

Top, Mahmoud Khaled, part of the installation Proposal for a House Museum of an Unknown Crying Man (detail), 2017, mixed media. Via. More. Bottom, Nicholas Riis/nicchi, Boomblaster Misty Rose I (sold), 2021, custom-printed misty-pink cow leather with pigskin lining and all-leather handle. Slightly elastic opening. Made by hand. Medium-weight leather, lightly waxed, giving it a skin-like feeling. Soft and slightly powdery with a natural grain, 35 × 29 × 15 cm.

--

Conceived as a fictional museum, the audience enters with an audio guide and discovers that the absent inhabitant of the house is an Egyptian man who moved from Cairo to Istanbul a decade ago. A narrative of queer persecution in Egypt and later in Istanbul is told through this unknown man's belongings. Contextual references are drip-fed throughout the tour: the arrest of 52 men on a gay disco boat on the Nile in 2001, photos of cruising areas, a disturbing excerpt of Egyptian director's Maher Sabry's film All My Life (2008) in which a gay man is being tricked into an arrest, and a leather jacket typical of what the mukhabarat (Egyptian secret service) might wear, to name a few. Jacques Brel's classic song 'Ne Me Quitte Pas', a tale of love lost, resonates throughout the house. Khaled's piece is gripping and the format of the museum works exceptionally well to keep the memory of this unknown crying man, and so many others with him, alive. It also operates as an ominous foreboding, if not warning, for the threatened position of LGBTQI communities in contemporary Turkey, who face increasing harassment and abuse due to growing conservatism in the country. A threat that the art world, too, is grappling with, if events in recent years have shown, including attacks on galleries—and one assassination at an exhibition opening.

Nat Muller, from A good neighbour? The 15th Istanbul Biennial, for OCULA, October 5, 2017.

--

Most galling, perhaps, is (Maggie) Nelson’s refusal to take seriously art’s role in the concentration of wealth, or of the power such wealth confirms. Such a glaring oversight, coupled with her argument that critics like (Hannah) Black are “holding art to a utilitarian standard [that] echoes capitalism’s own fixation on quantifiable results,” shakes the foundation of the entire chapter. This distorted perspective about who threatens whom, or what, and what that threat actually consists of, is endemic to established writers with lucrative careers and secure platforms. (Recently, and infamously, it was on display in “A Letter on Justice and Open Debate” in Harper’s Magazine.) Liberal opinions now often come with the claim, perhaps the sincere belief, that their originators are aligned with the people they rebuke—that they are anti-capitalist or anti-prison, pro–trans rights or pro–racial justice, and so on. But these gaps in analysis, which ignore the most urgent aspects of our present reality, guarantee that this isn’t so.

Charlotte Shane, from Free Fallin’ - Maggie Nelson’s essays on life, liberty, and the pursuit of indeterminacy, for Bookforum, September 2021.        

[yourmandevine]

Some stuff that made me happy in 2020, in no particular order

God send you no greater loss. It’s something my grandmother said a lot — a bit of highly Irish Catholic wisdom intended to remind you, warmly but sharply, that whatever you’re currently suffering through isn’t all that bad compared to what lots of other people are dealing with. That it probably isn’t too much to complain about, in the grand scheme of things. That you should, instead, be grateful for what you’ve got, big and small and everything in between.

God sent a great many people a great many unfathomable losses this year, and as hard as it felt at times, our family wasn’t among them; we’re lucky, in the big picture. In the past, people have recommended I try writing those reasons down, to give myself a list of stuff to be thankful for, for the times it’s tough to summon up the gratitude. I figured the end of the year was as good a time as any to make that list, to highlight the stuff that helped me get through this year — the reasons big, small, and in between.

So: here goes.

Peanut butter and jelly

I haven’t counted how many peanut butter and jelly sandwiches I’ve eaten since March 11, which is good, because that would be an absurd thing to do, and a sure sign that I have succumbed to a very specific kind of madness. It’s also good, though, because I would undoubtedly be ashamed by the number; the figure would be titanic, like the unsinkable ship of same name, or the iceberg that sunk it.

Or, at least, I would be ashamed under normal circumstances. This fuckin’ year required whatever flotation device you could find, and you know what I found in the fridge and cupboard? A couple of slices of bread, some strawberry jam, and some goddamn Skippy.

Need a weird mid-morning “brunch” after not having breakfast because you went right from waking up to remote school with the 6-year-old? Crank up a PB&J with that third cup of coffee. Need to pack something in the diaper bag to feed everyone while you’re out at the playground for the afternoon? Stack ‘em up, son. Need a late snack after working the overnight shift filing weird bubble playoff columns? Three letters, one ampersand, one love.

I need to eat better in 2021. But I kind of needed to eat sort of like shit to get through 2020, and time and again, when your man needed it most, PB&J was there.

Sunday night Zoom sessions with college friends

I know that most of us started something like this back in March; I’m not sure how many have stuck with it. I hope the answer is “a lot,” because honestly, knowing that I’m going to end the week by seeing a few friends — some here in Brooklyn but mostly beyond our reach for safety’s sake, some who’ve moved away — has felt like a stabilizing agent on more than a few occasions. It’s important, and no small blessing, to have people in your life who really know you, weird messy ugly bits and all, and in front of whom you can let everything go.

That gallery view’s provided a place to vent, to seethe, to laugh, to cry, and to try to find some semblance of center before heading back into another week. I’m grateful for it, and for the people in those little boxes. Except for the time they reminded me that, when I was 18, I was pretty sure I was a Pacey, and they were all extremely confident I was a Dawson. They were right, but still: a bitter pill to swallow, then and now.

Olivia calling herself “Dr. Bloody”

She took out her little toy doctor kit and just turned into a cackling villain.

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Deeply disconcerting, yes, but also adorable.

All Fantasy Everything

What got me in the door was the conceit: three very funny stand-up comedians (Ian Karmel, David Gborie, Sean Jordan), often with a very funny guest but sometimes without, pick some topic or another and engage in a fantasy draft of their favorite aspects or representations of that topic. (It is, crucially, a serpentine draft. Now what is that? That’s a great question.) Some favorite examples: Mikes; Words That You Think Make You Sound Smart, vols. 1 and 2; Things You Yell After You Dunk on Someone; Fictional Athletes; Crimes We’d Like to Commit. Yeah. It’s that kind of podcast.

What kept me around was the friendship. Listen to an episode and it becomes really clear really quickly just how much the three hosts love each other, how much fun they have being around each other and making one another laugh. The warmth radiates, just pours out of the speakers; in a year where I sorely needed some good vibes, I appreciated my regular check-ins with the Good Vibes Gang to just ... unclench for an hour and a half or so. 

Drinking beer

OK, I’ll admit: This doesn’t sound great for me. It’s true, though. I really like beer. (We brewed one in our kitchen, which I realize is something of a “bearded guy in Brooklyn” cliche, but here we are. It was exciting to complete a project, and it tasted OK-ish.) At some points this year, it didn’t feel like there wasn’t much to look forward to, and sometimes drinking some High Lifes or Narragansett tall boys — with my wife in our living room, with friends on the computer, whatever — helped take the edge off a shitty day/week/month/year. I look forward to being able to do that outside with people again.

The Good Place

I am sure some very smart cultural critics and political thinkers and social revolutionaries have forwarded compelling arguments for why this show is Bad, Actually, because that seems to be more or less true about most things, whether because said thing is Actually Bad or because the economics of the attention economy on the internet functionally necessitate the composition and publication of pretty much every position on pretty much every issue, and especially ones that present a counterargument for why you shouldn’t like the thing you like, and might be kind of a piece of shit for liking it. But I liked this half-hour comedy about the way the universe might be put together, why we should try to take better care of each other, and how doing so might be a pretty great way to take better care of ourselves.

Andrew let me write about it a little bit for a big project we did before the series finale aired, which was really nice of him. I found myself thinking about this part a lot this year:

I also thought a lot about Peeps Chili, but that happens every year.

Taking pictures of my dog

Check out this flumpy goddamn champion:

“Lugar is a good boy” is the main takeaway here. They don’t all have to be complicated.

Schitt’s Creek

I know we’re not alone in this, but we inhaled this show this year. A half-hour comedy about people being laid low, learning how to deal with who they actually are, and finding some grace and community and opportunities for growth kind of hit the spot, I guess.

One of the most wholesale enjoyable ensemble comedy casts I can remember; Catherine O’Hara was already in Cooperstown, but what she made with Moira Rose only polishes her plaque. I’ll never be able to describe with any specificity the thing Chris Elliott does, but I know it has made me laugh since I was a child too young to understand the Letterman bits or see Cabin Boy in the theater, and it’s probably going to make me laugh until I am dead.

I love that people who, for years, never got to see themselves or people like them on screen got to see David Rose on screen and maybe recognize themselves a little bit. The idea that seeing the David/Patrick relationship might make them maybe feel a little more at home, a little safer and more whole, makes me happy. Sad, about the before, but happy, about the now and the what comes next.

Past that, I just love how what was ostensibly a family-and-friends production for a Canadian channel just got absolutely everything right—the tone, the look, the sound, the theme song, the cast, the jokes, my goodness, the jokes—and before long, the rest of the world just got it. Like catching a fastball square on the barrel. Something the show clearly knew a little bit about.

Finding new outdoor places it was safe to go

Necessity is the mother of invention, and the need to give the kids a place to be that wasn’t unnecessarily dangerous but also wasn’t inside our two-bedroom apartment led us to do more exploring than we had before. Shirley Chisholm State Park is great. Canarsie Pier was a fun place to spend a Sunday morning; so’s Canarsie Playground. If we got there early enough or made our peace with some rain, the beaches at Jacob Riis Park and Fort Tilden were pretty rad this summer. I lived in Staten Island from ages 8 through 18, and during breaks throughout college, and don’t think I ever hiked in High Rock Park — that’s dumb, because it was nice!

Even if all those little excursions did was kill a little time and reduce the overall stress level of the four humans stuck in our four walls, that’s not nothing. Some days this year, it was everything.

Cobra Kai

I know I’m late here; I didn’t rush to seek it out because I don’t consider myself a huge fan of The Karate Kid, or at least not a big enough fan to sign up for YouTube’s premium service. I checked it out when it came to Netflix, though, and I honestly can’t believe how much I enjoyed this show. Give me “dumb, but with heart” every day of the week.

I believe in Miguel Diaz; I believe in Johnny Lawrence; I believe I will be firing up Season 3 next month, and perhaps drinking some Coors Banquets in its honor. (I cannot, however, believe how the “get him a body bag” thing came back around, but that’s neither here nor there.)

Closing unread tabs

I’m a serial hoarder of links, and I am bad at finishing all of them. I’ve tried to get into Pocket and Instapaper, but I’ve never been able to turn that sort of workflow — open link, save to third-party service, go back to third-party service later to read, then delete from there — into something that felt instinctual, natural, or habitual. So: lots of tabs. Like, lots of tabs.

This was a dicier proposition than usual in 2020, because cutting my work week in half to be able to more effectively coparent two kids who didn’t have school or day care for most of the year meant less time to read things.

I tried to do my best to keep up with the important stuff for work, and to read at least some stuff about how other parents were dealing with their anxiety/anger/depression/frustration at having to be on 24/7 and work, and to stay abreast of (at least some of) what was happening in the world. Sometimes, though, I would wake up and realize I’d been holding onto blog posts about Really Interesting Rotation Decisions on the 11th-Seeded Team in the East or whatever for literally nine months, and I would go against my nature and just hit the eject button on a 25-deep window, and something amazing would happen: I wouldn’t get fired for being shitty at my job. I would move on with my day, and I would feel about 10 pounds lighter.

I still keep too much stuff open. (As we speak, I’ve got three different Chrome windows open on two different laptops. I choose not to count the total tabs.) But I do so knowing that, if it gets too heavy, I can experience the momentary joy of surrendering to the inevitability that I can’t catch everything. In that moment, I feel OK with my decay.

Reading writers I wasn’t familiar with before

Two in particular stand out in my mind: Nekias Duncan, now of BasketballNews.com, who does excellent film breakdowns and statistical analysis, and Katie Heindl, who writes basketball stuff of all types all over the place, and strings sentences together in a way that scratches an itch inside my brain. I’m grateful I got more chances to read them this year, I look forward to bigger and better things for both of them, and I’m hopeful that, if things calm down and our schedules go back to something approximating normalcy, I’ll have more bandwidth to hunt out more new voices in the year ahead.

The time I ambushed my wife as she was trying to break down and put away the girls’ space tent

Pretty good.

Siobhan learning to ride a bicycle (with training wheels, but still)

The moment passed pretty quickly; Not Exactly A Mechanic over here can’t get the training wheels to reliably work right without either loosening them too much or tightening them so much that she can’t pedal it. In that first moment, though, and for as long as it lasted, it was really great to see her get excited about doing something new, big kid shit, for the first time.

She was proud. I was proud of her. And then we went to a playground for a few hours. Pretty good day.

Tyler Tynes roasting me

Tyler did some incredible work this year — The Cam Chronicles is getting deserved praise as one of 2020′s best podcasts, and his reporting on the Movement for Black Lives was exemplary. It’s hard to top this, though:

You know what the messed up part is? I was excited to tell him what I was doing, just because I knew the reaction would be so violent. Like a body rejecting a transplant. So lucky to have such a dear, dear friend.

PUP

I’m late on everything, so I didn’t start listening to PUP until the spring of 2019, but I haven’t really stopped since. This year has been too sedentary too often; this band is too kinetic to allow me to stay there.

“Bloody Mary Kate and Ashley Kate” is never more than about 20 minutes away from returning to the front of my mind. I would fucking love for it to be safe enough to watch these guys live at some point, and I am absolutely going to take Steve up on his offer.

Someone sending me a shirt based on a joke I tweeted

First:

Then:

Then:

I’m not sure you should be rewarding my behavior, SnoCoPrintShop, but I appreciate it all the same.

Which reminds me:

Family dinner/family movie night

My wife works in Manhattan and commutes back on the train, and we've tried to prioritize getting the girls to bed early since they were little, so that doesn’t leave much of a window between when she gets home and they go in the tub for us all to connect; before everything shut down, we almost never really ate together. We’re still not great about it, but for a while now we’ve carved out Saturday as family dinner night, where we sit down to eat and talk about our “up” from the day — something that happened that made us feel good or happy, or something we’re looking forward to. (We used to talk about our “down,” too, but that kind of seemed like overkill. Why try to focus on more bad shit right now, you know?)

Then we settle in for a movie, with who gets to pick rotating each week. It’s mostly been Pixar, which has been great but also has its drawbacks; after she caught me crying during one of them (maybe the Bing-Bong scene in Inside Out? or Miguel singing to Grandma Coco?), Siobhan straight up told me, “You need to get yourself together, man.” We just watched My Neighbor Totoro, too, which they loved, so we’re probably going to try some more Miyazaki soon. It’s a really simple thing, but it’s one we rarely made time for before, and it’s been really nice to manufacture something positive that we can share and look forward to together.

Sometimes looking like a shiftless drifter

No shade to anyone who felt strongly about getting a lineup or whatever, but I haven’t really felt like going to the barbershop was worth the risk, and I continue to refuse to believe that my wife can actually pull off the fade she’s long wanted to give me. (It is also possible that she just means she’s intending to run my fade, and that I will before long wind up cold-cocked and slumped by my bride of nine years.) So I’ve just kind of been growing out my hair like it was when I was single, and sometimes been letting my beard get kind of out of control too, and, well, I sort of like looking a little bit like a Wildling, it turns out.

I have since trimmed things up a little. It didn’t go over well with my youngest. Oh, well. I’ll try to do better next time.

My wife and daughter singing the Pixies

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We don’t know all the words to too many lullabies, so we sing the ones we do know the words to. This will probably come back to bite us in the years ahead. For now, though: Pretty good.

Doughboys’ Tournament of Chompions: Munch Madness: Mac Attack

I can’t believe how invested I became in Nick Wiger and Mike Mitchell’s quest to determine the best menu item at McDonald’s in a 64-seed tournament that spawned hours and hours of delightfully funny audio featuring all-time home-run guests like Jon Gabrus and Nicole Byer, who gleefully feed into the often warm, sometimes antagonistic, always entertaining chemistry between the two hosts. I have also never found myself wanting to go to McDonald’s more in my entire life. I have hit the drive-thru a couple of times since, and the boys are right: The McDonald’s fountain Coke does just hit different.

Sound Only

I’ve lost track of whether or not a 38-year-old is considered a millennial, but I’m quite confident that I’m not exactly plugged into “the millennial lifestyle” as my teammates Justin Charity and Micah Peters discuss it on their podcast, which relaunched this summer. Doesn’t matter, though, because I love hearing Charity and Micah talk to each other even if I don’t know what they’re talking about.

Their conversation about Dave Chappelle was great. After listening to their Travis Scott episode, I felt like I kind of understood who he is and why he occupies the space he does in pop culture now. I had no idea how they were going to get me to give a shit about set photos from The Batman, but this they not only got me there, but wended their way toward blaming 50 Cent for needing to know who Groot is to have a conversation on the internet, which is something for which Abraham Lincoln did not die. The show is good, it's getting better, it’s fun to hear them talk their shit, and Charity’s regular bellowing of “I, TOO, AM AMERICA” has made me smile for four straight months. 

Siobhan’s letters and notes

She’s in first grade now, and she’s taken to communicating her feelings through the written word. A lot.

I won’t pretend that I loved all of these in the moment. I can only get so upset, though, when she’s already writing with such a clear voice. (And trying to use proper punctuation. (And drawing little cartoons to drive the point home.)

Palm Springs

I’m having a hard time remembering too many specifics about it right now, which probably means it’d be a good thing to rewatch over the holidays. But, as I’m sure many people noted many months before we got around to watching it, a comedy about living the same day over and over again, and about trying to figure out how to make your life mean something when everything seems meaningless, scratched a pretty particular, and particularly important, itch this year. It could’ve been twice as long, and I would’ve eaten up every second of Andy Samberg and Cristin Miloti together.

I’m pretty sure I cried, although this year, that doesn’t necessarily mean much.  Also, put Conner O’Malley in more things.

Joining our union’s bargaining committee

I won’t say too much about this, but I will say that becoming an active participant in the process of a labor union negotiating its first contract with management has been an extremely educational experience. It’s pushed me to have conversations, sometimes difficult ones, about our priorities as a staff and a company. It's helped me get closer with the other past and present members of the BC, and has led me to start developing relationships with members of our staff that I otherwise might not have had much of an opportunity to get to know.

The organizing work takes time, effort, and energy, but trying to do what I can to help take better care of my colleagues has been well worth all of that. Here’s hoping that in 2021 we can reach a deal that helps make our workplace even better, stronger, and more equitable for all of us.

Publishing a story about Stevie Nicks’ Fajita Roundup

I swear this is true: After I accepted my offer to work at The Ringer, but before I started, I told a friend that one thing I was excited about was that you had the chance to work on offbeat stuff here, in both the “kind of weird” and “not about the NBA” senses. That, I thought, might maybe open the door to me getting to write a story about a Saturday Night Live sketch I saw when I was a teenager about Stevie Nicks from Fleetwod Mac running a cheap Tex-Mex restaurant in Sedona, Arizona — a sketch that I wasn’t sure anyone else remembered, but that was stuck in my head forever.

That story ran on May 26.

A lot of people seemed to like it.

Accomplishing this goal was, as dumb as this might sound, a highlight of my year, and, honestly, a highlight of my career. I’d like to do some more stuff like this next year, time permitting; we’ll see. Whether or not I do, I got to do this. I’ll always have that.

[chrismalcolmhnd2c]

White shirts

©Alex Franco

©The cloth project

“What lies behind appearance is usually another appearance” Mason Cooley

Research the Narrative

Within your blog/workbook – research Social Portraiture. There will be more task and support within the Contextual Studies Class.

Tell the Story

This brief will form your introduction to the new Covid 19 rules within the studios and the store at COGC and will help you get to know your research/studio group.

Re - familiarise yourself with the equipment available to you in the studio and store. Take note of any new procedures required to keep you and your group safe whilst in the studio.

Make a portrait of one or more of your group.

Demonstrate your understanding of metering within the studio.

The theme for this shoot is very simple. Your sitter/s should wear plain white shirt/s.  

Make sure all equipment is cleaned down as per requirements from the store.

Edit and refine: Complete worksheet

Professional practice – Health and safety considerations when working with others.

market awareness – workflow – presentation options.

Colour correction and image optimisation.

Maintaining clean white through white balance.

Submission: 1 Final A3 300ppi jpeg folio ready image. Upload to my city.

Social Portraiture Research

The term “social portraiture”, references the art of capturing a social moment, with careful attention paid to elements such as emotion, personality, as well as a possible representation of the events that led up to that particular moment.

Portraits are effective when they speak to both the informational and the social—showing, telling and inviting the imagination.

A posed or contrived portrait inevitably results in conceptual shallowness. To understand social portraiture, one also has to understand the context (personal, social, political) which led to a particular moment being captured.

Inspirational photographers are largely the ones who mastered the careful balancing act of emotion and information to create portraits which strike a chord with the viewer: Richard Avedon, William Eggleston, Nadav Kander, Milton Rogovin, and Les Krims as examples.

Source: http://jeffemtman.com/jeff-emtman-concentration.pdf

The word “portrait” comes from the Latin “portrahere,” translated as “to drag out, reveal, expose.” (Walker, 16). Wikipedia provides a good example of the common understanding to which these roots have developed. “A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even mood of the person.” The more rigorous Oxford English Dictionary (OED) gives several distinct definitions for “Portrait,” each with its own variants. The first, and most common, echoes Wikipedia: “A drawing or painting of a person, often mounted and framed for display, esp. one of the face or head and shoulders. Also, an engraving, photograph, etc., in a similar style.” A variant for sculpture also appears: “A statue (full size or as a bust), an effigy.

Source: https://lucian.uchicago.edu/blogs/mediatheory/keywords/portrait/

An important area of "contact" between photography and sociological research, in terms of subject matter, and to some degree, intent (e.g. charting societal change and raising social issues) is "social documentary photography". Current researchers in visual anthropology/sociology are well aware of social documentary photography and the use of the combination of photographs and text in the "documentary photo book”. There is growing interest, at least in Britain, in the history and recent development of forms of social documentary photography, by photographers, cultural critics and galleries, as indicated by publication of both newer and older work. Prominent recent photographic issues have been focused around the connections between photography, surveillance and voyeurism, etc. and the possibilities of street photography in current socio-political contexts. This tradition of social investigation and documentary reportage (PRICE, 2004) can be traced back to RIIS's photographs of the poor in New York in the late 19th century; HINE's images of work people and social conditions (c.f. with the Pittsburgh Survey) in the early 20th century; and the famous work of the Farm Security Administration (FSA) in the US and other documentary in the 1930s, depicting the lives of farm workers and others.

A related documentary form is the "photo-essay" found in the photo-magazine in the inter-war years up to the early 1950s. The "pinnacle" of the "photo-book", which also broke "beyond" the "genre", was AGEE and EVANS's "Let Us Now Praise Famous Men" (originally to be an article for Fortune) based on the lives of three farming families. It is a poetical, biblical, factual, descriptive, radically auto-ethnographic script which veers from the smallest aspects of the life of poor tenant farmers to profound questions of human existence. One very striking feature of the work requires comment: EVANS's photographs (including individual and group portraits) are displayed uncaptioned at the very start of the book. Another "tradition" of the "photo-book" can be identified, leading back (in particular) to the work of BRASSAI on Paris, and BRANDT on the "English", in the 1930s (BROOKMAN, 2007; CAMPANY, 2006; DELANY, 2004; POIRIER, 2005) and surrounded by a broader current of "humanistic realism". This was followed during the mid 1950s, when an ambivalent, alienated, or ironic view of social life (often transgressing photographic conventions) was offered in Robert FRANK's "travelogue" across the U.S. and William KLEIN's view of New York. This work not only pointed to social division and the gap between reality and illusion, it was also a personal account of creativity and experience. It was influential on the growth of "street photography" (with its mix of the "quirky" and "mundane") depicting urban lives, during the 1960s and 1970s. Roy E. STRYKER, who directed the photographic work of the FSA (Farm Security Administration) from 1935, was an economist who had previously made extensive use of photographs.

The work and life of Dorothea LANGE, in particular, is undergoing renewed attention and reassessment—in terms of the "aesthetics" of her photographs (i.e. according to her "realism" and "humanism"), and the "politics" of her photographs and photographic practice. Her "classic" photo-book, "An American Exodus" (1939) (with Paul TAYLOR), and her "reports from the field" are still of interest for social documentarians (e.g. the relation between photographs, and also between photographs and types of text, including quotes, description, and background or "found" materials).

The above areas of photography (social documentary, photo book, street photography, and related areas) are important sources of portraiture since they show people situated within their everyday social situations. To these "genres" can be added, for research purposes, "found" sources such as professional portraiture (in the studio and elsewhere) and informal picture-taking (by friends, families, etc). Finally, at least some mention should be made regarding the "documentary" work oral historians who have long used portrait and other photographs in the study of working lives, communities, health, migration and other areas and more recently have pioneered Web based resources.

Source: https://www.researchgate.net/publication/277219754_Photographic_Portraits_Narrative_and_Memory#pf8

Editing workbook: WHITE SHIRT. 

STUDIO CHECKLIST: Health and safety in the studio due to covid 19

Please refer to this before and after all shoots

Activity: White Shirts

Does this activity require the use of a photographic studio?

Y

Lighting, backdrop and flags req.

Are you free of all symptoms attributed to covid – 19?

Y

Are you wearing a face mask? (unless exempt)

Y

Apart from when being the model.

Are you able to maintain a safe social distance of 2m?

Y

Have you made sure it is only you and your studio partner that are in your studio space?

Y

Our group is 3.

Have you access to hand sanitizer?

Y

Is your equipment clean?

Y

If borrowing or lending equipment have you used hand sanitizer before and after use?

Y

PC cord.

If working with studio equipment have you cleaned the work area and kit before and after use?

Y

Have you read the most recent government and college guidelines on social distancing?

Y

Have you effectively pre planned your shoot?

Y

Have you effectively planned your time in the studio, to make the most of your studio day?

Y

NB: If you come across a studio that has been left untidy or see other students not following guidelines, please report immediately and confidentially to your lecturer or guidance tutor.

The “white” part of this brief is vital in the success of the image, consider the ways in which control the white balance of the image, both in shooting and editing to obtain the crispest white you can for the shoot.

White balance

Find a diagram that explains colour temperature, in relation to photography

Source: https://www.shutterstock.com/blog/color-temperature-3-point-lighting-basics

Explain or show diagram of how you correct white balance using your camera.

The best way to obtain the correct white balance is through the “Preset (PRE)” setting. Simply hold a white card in front of the camera lens and press the shutter button. The camera will then read the correct colour temperature of the light that gets reflected from the white card and will use it instead.

The process of changing white balance in a digital camera varies from manufacturer to manufacturer and model to model. For example, most Nikon professional cameras such as Nikon D300s/D700/D3s have a dedicated “WB” button on the top dial, while cameras such as Nikon D90 have a “WB” button on the back of the camera close to the LCD screen. So, in order to change it, all I need to do is hold the WB button with one hand, then rotate the rear dial counter-clockwise. All current Nikon DSLRs also allow you to change white balance through a menu setting.

Source: https://photographylife.com/what-is-white-balance

Explain the difference between colour correction and colour grading.

Colour correction is a technical process that fixes colour issues and makes images appear as natural as possible. The idea is for colours to look clean and real, as human eyes would see them in the real world.

Colour grading is also technical, but it's more of a creative process. The colour grading process adds atmosphere and emotion to shots by colouring images in new, often unnatural ways.

Source: https://www.studiobinder.com/blog/color-grading-vs-color-correction-process/

Explain your editing workflow to correct colour casts.

Method 1

The “Levels Adjustment Layer” tool in Photoshop that can be used to remove and neutralise colour cast.

Method 2

When a colour cast is dominant, the “Match Colour” technique will make the biggest difference and it requires only one click.

·       Go to Image -> Adjustments -> Match Colour

·       In the window that appears, check the box for Neutralise

·       Click OK

Method 3

Use the “Temp” and “Tint” sliders

To remove a colour cast manually, drag the “Temp” slider to the left to cool your photo or drag it to the right to warm it.

If you have a green or magenta tint, use the “Tint” slider to offset it. Drag the tint slider to the left to add green or drag it to the right to add magenta.

Method 4

Use the “White Balance Selector”

·       The White Balance Selector, often called the eyedropper tool, can remove a colour cast with one click. Click the eyedropper icon to select the tool. Then click an area in your photo that you think should be neutral grey.

Your own shoot.

Lighting diagram: showing how you set up your studio for the shoot.

For these shots, we first set up a black backdrop with strobes set up as per the diagram above and used an LED ring light positioned first centre and straight on to the model. We also used flags to reduce the light spill from the strobes onto our subject.

For the second half of our shoot, we used a white backdrop and swapped the ring light for a soft box, positioned centre, then left then right.

Four best images

What do you like about this image?

I think this image works well as it has good catchlights (we used a ring light) and I like the defining shadows on the right-hand side of the models face.

What do you like about this image?

I like the viewpoint of this image as it portrays the model in a position of dominance and power. I also think the low-key lighting on the left of the subject’s face works well and adds drama to the shot.

What do you like about this image?

I like the natural pose and composition of this shot. I also think the catchlights work well to engage the viewer.

What do you like about this image?

This shot works well as the focus is sharp on the model’s face, while sightly soft on her hair which helps convey the motion in the image.

BEST IMAGE EDIT: Before

What edits would best optimise this image?

This image would benefit from being colour corrected in Photoshop (I feel it is slightly warm and has too much red, so would reduce the colour temperature to make the image cooler) I would also crop the shot to cut out the small section of hand showing on the right, along with using the “Spot Heal” tool to smooth out some areas around the face and “Dodge” and “Burn” tools to lighten the teeth to make them more white and reduce some of the slightly blown out highlights on the model’s nose and chin. I also plan on adding a very small amount of “Clarity” and increasing the contrast slightly.

BEST IMAGE EDIT: After.

How have your edits improved the whiteness of your shirt?

Yes, I feel the colour of the shirt is a lot more natural looking now and closer to how it appears to the naked eye. I think the other edits, as described above, also enhance and improve the image.

[fxtelism-moved]

1ST RULE: tag muses you would like to know better. 2ND RULE: BOLD the statements that are true for your muse.

Tagged by: Stolen from @gxntil​ because I wanted to do it?

Tagging: @soulwitch, @bluehaired-tales, @lovelornings, @plethora-of-souls, @welcometothe-gallery, @insxparablxduo, @subserviiient​, @imperiumgoddess​, @stained-carmine​, @breakingreality​, @pinklocksoflove​, @starveinedvenues​, @nightmare-fantasia​, and anyone who wants to do this / OR steal it  from me!

MUSE: Rii Isolde FC: Togame (Katanagatari), Edelgard (Fire Emblem: Three Houses) OCCUPATION: Village Protector, Elemental Witch AGE: 24 SEXUALITY: Bisexual PRONOUNS: She/her

APPEARANCE:

I am 5'7" or taller

I wear glasses

I have at least one ���tattoo’

I have at least one piercing

I have blonde hair

I have brown hair

I have brown eyes

I have short hair

My abs are at least somewhat defined

I have or have had braces

PERSONALITY:

I love meeting new people

People tell me that I’m funny

Helping others with their problems is a big priority for me

I enjoy physical challenges

I enjoy mental challenges

I’m playfully rude with people I know well

I started saying something ironically and now I can’t stop saying it

There is something I would change about my personality

ABILITY:

I can sing well

I can play an instrument

I can do over 30 push-ups without stopping

I’m a fast runner

I can draw well

I have a good memory

I’m good at doing math in my head

I can hold my breath underwater for over a minute

I have beaten at least 15 people in arm wrestling

I know how to cook at least 3 meals from scratch

I know how to throw a proper punch

I know how to wield a variety of weapons (rapiers and staffs)

I can use magic proficiently

HOBBIES:

I enjoy playing sports

I’m on a sports team at my school or somewhere else

I’m in an orchestra or choir at my school or somewhere else

I have learned a new song in the past week

I work out at least once a week (fencing and warm-up exercises) 

I’ve gone for runs at least once a week in the warmer months

I have drawn something in the past month

I enjoy writing

I do or have done martial arts (fencing)

EXPERIENCES:

I have had my first kiss

I have had alcohol (sake but at occasional times) 

I have scored the winning goal in a sports game

I have watched an entire season of a TV show in one sitting

I have been at an overnight event

I have been in a taxi

I have been in the hospital or ER in the past year.

I have beaten a video game in one day

I have visited another country

I have been to one of my favourite band’s concerts

RELATIONSHIPS:

I’m in a relationship

I have a crush on a celebrity

I have a crush on someone I know

I have been in at least 3 relationships

I have never been in a relationship

I have asked someone out or admitted my feelings to them

I get crushes easily

I have had a crush on someone for over a year

I have been in a relationship for at least a year

I have had feelings for a friend

MY LIFE:

I have at least one person I consider a “best friend”

I live close to my school

My parents are still together

I have/had at least one sibling

I live in the United States

There is snow right now where I live

I have hung out with a friend in the past month

I have a smartphone

I have at least 15 CD’s

I share my room with someone

RANDOM SHIT:

I have break-danced

I know a person named Jamie

I have had a teacher with a last name that’s hard to pronounce

I have dyed my hair

I’m listening to one song on repeat right now

I have punched someone in the past week

I know someone who has gone to jail

I have broken a bone

I have eaten a waffle today

I know what I want to do with my life

I speak at least 2 languages 

[pop-art-y-el-comic]

Arte pop y el comic: el arte de Roy Lichtenstein

            El arte pop es un movimiento artístico que surgió en Inglaterra y Estados Unidos durante los años 50 y 60. Su nombre “pop” surge de la palabra popular debido a que este arte tenia interés en aspectos de la cultura de las masas como la televisión, radio, publicidad y productos de consumo que surgieron en esa época. Su desarrollo se atribuye primero a el independent group, un grupo de artistas escritores y críticos que formaba parte del instituto de arte contemporáneo en Londres en 1952. Estos artistas británicos se mostraron fascinados con la cultura de consumo de Estados Unidos evidenciado en los medios y revistas que luego influenciaron su arte. En Estados Unidos el arte pop surgió el arte pop en Nueva York durante los anos 60 como una reacción directa a esta cultura de consumo. Uno de los temas que mas utilizaron estos artistas en sus trabajos fueron los comics que se encontraban en su Edad de Oro para el tiempo en que comenzó el arte pop. Uno de los artistas mas destacados en el uso del comics en el arte pop  era el americano Roy Lichtenstein.

             En el arte pop británico se puede ver un ejemplo de del comic en la pieza del artista Richard Hamilton Just what makes today’s homes so different, so appealing? (1956). Este fotomontaje combina imágenes de anuncios publicitarios, revistas de modas y comics. En la parte posterior de la imagen se ve la cubierta de una publicación de Young Love, un comic de romance publicado por DC comics. En los Estados Unidos Andy Warhol utilizo los comics en su arte a principios de los sesenta en piezas como Dick Tracy (1960), Popeye (1961) y Nancy (1961) pero no se convierte en algo común es su arte. Por otro lado Roy Lichtenstein utilizó el estilo de los comics para crear sus pinturas. Su primer ejemplo es Look Mickey (1961) donde reprodujo una imagen de Donald Duck y Mickey Mouse pescando. En sus pinturas Lichtenstein recrea el efecto de la imagen impresa al usar colores primarios y haciendo puntos para simular los Ben-Day utilizando un “homemade aluminum mesh”. Los líneas de sus pinturas son gruesas y realizados con la pintura “magna acrylic resin paint” aunque en el caso de Look Mickey fue pintado en oleo.

             Entre las pinturas más reconocidas de Roy Lichtenstein se encuentran Crying girl(1963), Drowning girl(1963), In the Car (1963) y Ohhh…Alright...(1964). Estas Pinturas fueron creadas usando como referencia paneles de comics de romance. Luego de la segunda Guerra mundial ocurrió una reducción en la popularidad de comics de superhéroes y por lo tanto se comenzaron a explorar temas de ciencia ficción, humor crimen y romance. Los comics de romance alcanzaron su mayor popularidad durante los años 50. Pero en la obra de Lichtenstein solo incluye un panel o en una parte seleccionada del un comic con un texto incompleto hacienda que nosotros tomemos en consideración que era lo que ocurría en la escena. En True-To-Life:Romance Comics and Teen-Age Desire,1947-1954 confirma que “Lichtenstein's focus narrows the range of issues and emotions that romance comics dealt with, and obscures under a heavy cloak of irony the intriguing narrative and artistic means that comic creators deployed to address their target audience of girls and young women”.( Gardner,2011)

           El arte pop en su origen tenia el propósito de ser una critica a la cultura popular, pero el mensaje no era bien trasmitido en un principio mencionado por Bourot  que “la gente no comprendió la carga de ironía y ambigüedad, quizás vieron el pop art como una celebración a la cultura de consumo, en lugar de una sátira de lo banal, lo carente de contenido, lo trivial ,lo superficial. (p.95)”. Al compararlo con el expresionismo abstracto que había sido popularizado luego de la segunda guerra mundial l arte pop remplazo la búsqueda de emoción y el gesto artístico individual por un arte que imitaba lo real y cotidiano. Lichtenstein había sido criticado por su estilo de arte y destacado en un articulo de Life magazine del 31 de enero de 1964 titulado “Is he the worst artist in the US?”. El articulo menciona la declaración de un critico del new york times que decía “…his paintings of blown up comic strips, cheep ads and reproductions are tedious copies of the banal”(Life magazine,1964 p.80 ).

            El uso de paneles de comics ha sido reclamado por parte de creadores de comic a través de los años. Por ejemplo, la pintura de Lichtenstein Whaam! (1963) utilizo como modelo un panel dibujado por Irv Novick  y Russ Heath publicado en el libro 89 del comic All American Men of War. Heath ha pasado problemas económicos mientras la pintura ha ganado fama. Art Spiegelman, artista de Maus, ha comentado sobre Lichtenstein que "[Roy] Lichtenstein did no more or less for comics than Andy Warhol did for soup."( Sanderson,2007). Esta explicación es correcta en parte a que el arte de Lichtenstein no innovo el comic, sino que utilizo elementos de este arte como speech bubbles y líneas de movimiento.Sobre su arte Lichtenstein expreso que “Al comic le debo mis elementos de estilo, no mis temas.”(Bourlot,2010, p.93). El adopta la estética del comic en pinturas que realizaría a través de los años como en su series de pinturas durante los años 70 a los anos 90 incluyendo a  Interiors y Six Still Lifes.  El arte de Roy Lichtenstein no habrá impactado el desarrollo de comic en su narración secuencial, pero si ayudo a popularizar su estilo y a sacarlo de ser visto como arte de baja calidad.

Bibliografía

Bourlot,Cintia. “Pop Art: El movimiento artistico de mayor cercanía con el pueblo?” Producción en Diseño y Comunicación Vol 36 (2010)

Gardner, Jeanne. "'True-To-Life': Romance Comics and Teen-Age Desire, 1947-1954." Forum for World Literature Studies, vol. 3, No. 1 (2011)

Pinilla, Samuel. “El arte pop, amor y libertad “ Quid N°. 19, pp. 53-61.(2012)

Seibering. Dorthy "Is he the worst artist in the US." LIFE. 31 de enero de 1964 : 80-83. https://books.google.ca/books?id=_FMEAAAAMBAJ&lpg=PA79&ots=U-hWQsO1Mx&dq=life%20magazine%20roy%20lichtenstein%20is%20he%20the%20worst%20artist&pg=PA79#v=onepage&q&f=false

Knudde, Kjell Andy Warhol. Lambiek,  24 de julio 2010, https://www.lambiek.net/artists/w/warhol_andy.htm

Panko,Ben The Comic Artists Who Inspired Riy Lichtenstein Aren’t Too Thrilled About It. Smithsonian Magazine, 27 octubre 2017, https://www.smithsonianmag.com/smart-news/comics-behind-roy-lichtenstein-180966994/

Sanderson,Peter Spigekman Goes to College Publishers weekly abril 23 2007 https://www.publishersweekly.com/pw/by-topic/1-legacy/24-comic-book-reviews/article/14675-spiegelman-goes-to-college.html

Look Mickey. National Gallery of Art

https://www.nga.gov/collection/highlights/lichtenstein-look-mickey.html

[laurenserpaphotographs]

Gull! This guy is a true artist. As soon as he took the floor at Gallery 5 the other night, all talking stopped and attention zoned in on him. What a captivating performer.