#photoengraver

[crystalrecognitionawards]

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Get Free Engraving, Free Gift Box and Fast Turnaround from @c the best crystal plaques manufacturer and supplier in USA. For details call Crystal Recognition Awards at 813-948-6441.

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[laserphotowizard]

When you are all done, all you do is fold the screen back up, following the simple steps below, and pop it back in the case! It does not get any easier than that!

[isoobie]

nerdy ✶ psh

what you looking at, huh? wc 394 & fluff

‘honestly, what is his problem?’ the voice in your head echoed for the third time today.

park sunghoon, you were curious about him, very. he was timid, hidden away by textbooks and only talked when necessary. he wore these thick, black rimmed glasses which sat perfectly above his nose bridge, and every time he used his delicate fingers to make them upright, you couldn’t help but look.

you hate to admit it, but sometimes you catch yourself getting lost into his dark pupils while admiring his annoyingly pretty face. if sunghoon stared at you the most, you stared at him even more.

he came to school on time, never had a crease on his uniform and was a cliché, top student. ever since you had moved from your old school it looked like you caught his attention. you would catch him stealing glances at you while nervously pretending he didn't. it was cute .. you thought.

vice versa, sunghoon caught your eye as well. it's basically impossible to look away when he looks so angelic under the sunlight not batting an eye at anything but his work.

"are you staring at me?"

it was probably the first time he had ever directly talked to you, hence the tensed tone in his voice.

"what if i am, it's not like you haven't,"

you could see his blush creeping up on his cheeks and his ears turning red, you wish you could photoengrave this moment and use it to tease him for the rest of his life.

"by the way, do you need help on that problem?"

his voice was high pitched and apprehensive, anyone could have easily told that park sunghoon was nervous, because of you.

however, his question was valid, you were struggling on this problem for a long time and unconsciously, you had probably observed him so that he would help you.

"hmm why don't we go to a cafe after school to solve it, we should focus on the lesson right now, don't you think so?"

the textbook that was on the desk concealed his face as you try to hide your smile, when was he ever this adorable? but as you reach it, you see his flushed cheeks and a smile mirroring yours.

he fixes his glasses again before saying,

"my answer is always a yes when it comes to you."

© isoobie hoon with glasses has me weak

[deepfloyd]

Constant Puyo

Female nude, 1900

Hand colored photoengraving

[disease]

ANDY WARHOL / "COOKING POT" / 1962 [photoengraving on paper | 6 x 4 1/2"]

[yan-wo]

Advertisement for photoengravers Collins, Miller & Hutchings.

[myheartofsorrow]

Paul Jsenfels :: Dancer, Stuttgart Dance School. [Ida Herion dance school]. Photoengraving; printed 1927. | src liveauctioneers

[kccinstitutes]

Photography Competition 'Snapshot'

Shutterbugs - KCCILHE's Photography Society hosted the fourth edition of its annually conducted photography competition 'Snapshot'. The students demonstrated their photographic skills under the theme of "Christmas Vibes". The activity was judged by Mr. Hitesh Vig, Product Evangelist for Panasonic India and SAARC Nations, and Mr. Vikas Singh, Photographer and Trainer for Panasonic India. They had a session with the students to share their experiences and knowledge on ‘Proficiency in Photoengraving and Visual Arts’. This helped the  students to improve and enhance their photography skills and learn from the experience.

#kcc #kccinstitutes #kcciilhe #kccitm #ggsipu #ipuniversity #aktu #bba #bca #bajmc #bcomh #btech #greaternoida #Placements #Job #placement #mba #bballb #ballb #mtech

#KCC #Institutes #Greater #Noida https://www.kccitm.edu.in

[snowleopardcatdragon]

The Arts and Crafts Art of the Book

As the Nineteenth Century progressed, the legacy of the Industrial Revolution brought massive changes to the way goods were produced, and many people began to feel these changes were not all for the best. Mechanization allowed vast qualities of goods to be produced, but many felt it alienated workers and produced inferior goods. The Arts and Crafts Movement was one of many artistic and social reform movements of this time. Its adherents believed that happy workers made beautiful things, and making beautiful things made happy workers. They looked to the medieval workshop method of production, in which the craftsman-designer over saw the production of objects from start to finish, as the ideal model of production.

Given the Arts and Crafts Movement's focus on reviving medieval forms and methods of craftsmanship, the art of the book was a natural area of interest, with artists turning to the medieval tradition of illuminated manuscripts for their inspiration.

The most famous Arts and Crafts book artist and publisher, as with most things Arts and Crafts, is William Morris. William Morris was fascinated by medieval manuscripts, such as the ones he saw at Canterbury Cathedral as a young man and the Bodleian Library while a student at Oxford. Morris began experimenting with calligraphy in the 1870s, teaching himself a number of scripts, and learning about the technical aspects of manuscripts, such as margin size and letter spacing. These experiments gave Morris an in depth understanding of the scribal arts, allowing him to do more that simply copy existing styles and texts. During this time, Morris also began to develop a sense of decoration as it related to the text, and with his friend and fellow artist Edward Brune-Jones, produced several manuscripts.

The next step for Morris would be to move from manuscripts to printed books. Morris already had some experience in the printing business, having worked as the editor for the Oxford and Cambridge Magazine as a student in the 1850s. However, he did not begin to seriously think about starting a publishing company until the 1880s. One major problem for Morris was that, in keeping with the Arts and Crafts ideal of the fully integrated craftsman-designer, Morris wanted to design his own type. However, he lacked the specialized skills needed to cut the steel punches used for the first step in that process. This problem was solve in 1888 when Morris realized he could use a new projection and photoengraving technology to design the type at full size, which could then be shrunk down for specialized craftsmen to produce the punches. With this problem solved, Morris was able to set up the Kelmscott Press in 1891, publishing 66 titles in the five years before his death in 1896.

As with many other aspects of the Arts and Crafts Movement, William Morris' Kelmscott Press and its Art of the Book proved very popular in America, particularly the idea of the craftsman-designer producing a “whole book” intended to be a thing of beauty from cover to cover, instead of simply a cheap, mass produced object. Thus, a number of Arts and Crafts presses were founded in America, particularly in the Midwest, with Chicago acting as a major center for Arts and Crafts books. Notable presses included Clerks's Press in Fremont, Ohio, Cranbook Press in Detroit, and Village Press in Park Ridge Illinois. Notable publishers included Herbert Stone &Co., Stone and Kimball, and Way and Williams.

One of the best known examples of American Arts and Crafts books is Auvergne Press' The House Beautiful, which included photographic studies of dried weeds and highly stylized pen and ink designs of flower patterns drawn by Frank Lloyd Wright. The text itself was a reprint of a sermon by William C. Gannett, a famous Unitarian clergyman and social reformer. Gannett was also a friend of Frank Lloyd Wright's uncle and fellow Unitarian minster, Jenkin Lloyd Jones. Although the sermon itself is not particularly inspired, the chance to work in a new medium, and the message itself seemed to have appealed to Wright.

Image 1: Leaf from an Antiphoner from the Franciscan Convent of St. Klara, Cologne, ca. 1350, manuscript cutting. Photo Credit: The V&A Museum.Book makers of the Arts and Crafts Movement were inspired by the medieval manuscripts such as this one. They saw these manuscripts as beautiful works of art made by craftsman-designers who combined technical and design skills to create entire works of art, which were far superior to mass produced books. An antiphoner contains the choral parts sung during Mass by a monastic or other religious community. They were typically written in a large format so the whole choir could read them at the same time.

Image 2: William Morris, Maud, 1893, drawing. Photo Credit: The V&A Museum.William Morris was one of the leading artist and designers of the Arts and Crafts Movement. In 1891 he set up Kelmscott Press. As with other ventures, Morris designed and produced the books as a whole work of art, designing typefaces, page layouts, illustrations, bindings, and covers for each work as a whole.

Image 3: William C Gannet and Frank Lloyd Wright, The House Beautiful, Auvergne Press, 1896-1898. Photo Credit:Princeton University.Frank Lloyd Wright produced a series of photographs and ink drawing designs for Auvergne Press's The House Beautiful, a reprinting of a sermon by Unitarian minister William C. Gannet.

Image 4: Frank Lloyd Wright, Collotype of Weeds for The House Beautiful, Auvergne Press, 1896-1898. Photo Credit: Princeton University.Frank Lloyd Wright produced these collotypes of roadside weeds for Auvergne Press's The House Beautiful. Collotype is an early form of photographic printing, in which plates covered with a light sensitive gelatin is exposed to photographic transparencies.

[klaus-like]

Three dancers, ca. 1927

Paul Jsenfels :: Dancers, Stuttgart Dance School, printed 1927. Photoengraving. | src liveauctioneers | related post

(via)

[laserphotowizard]

Sample Dithered Output…

[omshinde5145]

The Evolving Landscape of the Photoresist & Photoresist Ancillaries Market: Trends, Challenges, and Future Prospects

The Photoresist & Photoresist Ancillaries Market was valued at USD 3.9 billion in 2023 and will surpass USD 5.4 billion by 2030; growing at a CAGR of 4.8% during 2024 - 2030. The photoresist and photoresist ancillaries market has witnessed significant growth and transformation over the past decade, driven primarily by advancements in semiconductor manufacturing, the proliferation of consumer electronics, and the rising demand for advanced packaging solutions. As we move further into the era of digital transformation and smart technologies, understanding the dynamics of this market becomes crucial for stakeholders across the supply chain.

Understanding Photoresist and Photoresist Ancillaries

Photoresists are light-sensitive materials used in photolithography and photoengraving processes, critical in the manufacturing of semiconductor devices. These materials are applied to a substrate, exposed to light through a mask, and then developed to create a patterned coating. The accuracy and quality of these patterns are vital for the functionality of semiconductor components.

Photoresist ancillaries, on the other hand, include various chemicals and materials that support the photolithography process. These include anti-reflective coatings, developers, edge bead removers, and adhesion promoters. While photoresists are the central component in lithography, ancillaries play a crucial role in enhancing the efficiency and precision of the process.

Get a Sample Report: https://intentmarketresearch.com/request-sample/photoresist-photoresist-ancillaries-market-3641.html

Market Drivers and Growth Trends

Booming Semiconductor Industry: The semiconductor industry’s rapid growth, fueled by the increasing demand for electronic devices, has been a significant driver for the photoresist market. The continuous scaling down of semiconductor devices requires more sophisticated photolithography processes, thereby increasing the demand for high-performance photoresists and ancillaries.

Technological Advancements: The shift towards advanced packaging technologies, such as 3D ICs, fan-out wafer-level packaging, and system-in-package (SiP), has created new opportunities for the photoresist market. These technologies require precise patterning and etching, driving the need for specialized photoresists.

Rise of Automotive Electronics: The automotive industry’s transition towards electric and autonomous vehicles is another significant factor contributing to the market’s growth. The increasing integration of advanced electronics in vehicles demands higher semiconductor production, thereby boosting the photoresist market.

Expanding Applications in Displays: Photoresists are also critical in the production of flat panel displays (FPDs), particularly in OLED and LCD technologies. As the demand for high-resolution displays in smartphones, TVs, and other devices increases, so does the demand for photoresists.

Challenges in the Market

Despite the positive growth trajectory, the photoresist and photoresist ancillaries market faces several challenges:

Environmental and Health Concerns: The chemicals used in photoresists and ancillaries are often toxic and pose environmental and health risks. Regulatory pressures to minimize the use of hazardous materials are compelling manufacturers to innovate and develop eco-friendly alternatives, which can be costly and time-consuming.

Supply Chain Disruptions: The semiconductor industry has been grappling with supply chain disruptions, particularly in the wake of the COVID-19 pandemic. These disruptions have affected the availability of raw materials for photoresists, leading to production delays and increased costs.

Technological Complexity: As semiconductor devices become smaller and more complex, the requirements for photoresists become more stringent. Developing new materials that can meet these demands is challenging and requires significant investment in research and development.

Future Prospects and Opportunities

The future of the photoresist and photoresist ancillaries market looks promising, with several key trends expected to shape its trajectory:

Innovation in Eco-Friendly Photoresists: The growing emphasis on sustainability is likely to drive innovation in environmentally friendly photoresists. Biodegradable photoresists and those based on non-toxic solvents are expected to gain traction in the coming years.

Growth in EUV Lithography: Extreme Ultraviolet (EUV) lithography is emerging as a critical technology for advanced semiconductor manufacturing. The adoption of EUV is expected to create new opportunities for photoresist manufacturers, as EUV requires specialized photoresists that can withstand shorter wavelengths of light.

Expanding Applications in Emerging Technologies: The rise of new technologies such as 5G, IoT, and AI will drive further demand for semiconductors, and by extension, for photoresists. As these technologies mature, the need for more sophisticated and reliable semiconductor components will continue to fuel market growth.

Regional Growth in Asia-Pacific: The Asia-Pacific region, particularly countries like China, Japan, and South Korea, is expected to lead the market in terms of growth. The region’s strong semiconductor manufacturing base, coupled with government initiatives to boost local production, will drive demand for photoresists.

Get an insights of Customization: https://intentmarketresearch.com/ask-for-customization/photoresist-photoresist-ancillaries-market-3641.htmlv

Conclusion

The photoresist and photoresist ancillaries market is poised for significant growth, driven by the continuous advancements in semiconductor technology and the rising demand for electronics across various industries. While the market faces challenges, particularly in terms of environmental concerns and supply chain disruptions, the opportunities for innovation and expansion are vast. Stakeholders who can navigate these challenges and capitalize on emerging trends will be well-positioned to thrive in this dynamic market.

[credenceresearchdotblog]

The Photoresist Chemicals market is projected to grow from USD 3,375.86 million in 2024 to USD 4,360.18 million by 2032, reflecting a compound annual growth rate (CAGR) of 3.25%.The photoresist chemicals market is undergoing a significant transformation, driven by the burgeoning demands of the semiconductor and electronics industries. Photoresist chemicals are light-sensitive materials used in photolithography and photoengraving processes to form a patterned coating on a surface. These chemicals play a critical role in the manufacturing of printed circuit boards (PCBs), microelectromechanical systems (MEMS), and integrated circuits (ICs), making them indispensable to modern technology.

Browse the full report at https://www.credenceresearch.com/report/photoresist-chemicals-market

Market Dynamics

The photoresist chemicals market is expected to witness robust growth in the coming years. Several factors contribute to this positive outlook:

1. Advancements in Semiconductor Technology: The continuous miniaturization of electronic devices necessitates more sophisticated and precise photolithography techniques. Photoresist chemicals are crucial in defining the intricate patterns on semiconductor wafers, enabling the production of smaller and more powerful chips.

2. Rising Demand for Consumer Electronics: The proliferation of smartphones, tablets, wearable devices, and other consumer electronics has led to increased production of semiconductors, thereby boosting the demand for photoresist chemicals.

3. Growth of the Automotive Industry: The automotive sector's shift towards electric and autonomous vehicles is driving the need for advanced electronic components, which rely heavily on photoresist chemicals for their manufacturing.

4. Expansion of the Internet of Things (IoT): The IoT ecosystem's growth is spurring the development of numerous connected devices, all of which require semiconductors produced using photoresist chemicals.

Types of Photoresist Chemicals

Photoresist chemicals are broadly categorized into three types based on their properties and applications:

1. Positive Photoresists: These chemicals become soluble when exposed to light, allowing the exposed areas to be washed away, leaving a patterned coating. They are preferred for their high resolution and precision in semiconductor manufacturing.

2. Negative Photoresists: These chemicals become insoluble when exposed to light, causing the unexposed areas to be washed away. They are typically used in applications requiring thick photoresist layers, such as MEMS fabrication.

3. DNQ-based Photoresists: Diazonaphthoquinone (DNQ)-based photoresists are widely used in the production of PCBs and ICs. They offer excellent resolution and are compatible with various etching processes.

Regional Insights

The photoresist chemicals market is globally segmented into North America, Europe, Asia-Pacific, and the rest of the world. Among these regions, Asia-Pacific dominates the market, driven by the presence of major semiconductor manufacturing hubs in countries like China, Japan, South Korea, and Taiwan. The region's strong electronics manufacturing infrastructure and significant investments in semiconductor fabs contribute to its market leadership.

North America is another key market, with the United States being home to several leading semiconductor companies and research institutions. The region's focus on technological innovation and R&D activities fuels the demand for advanced photoresist chemicals.

Europe is also witnessing growth in the photoresist chemicals market, supported by the automotive industry's expansion and the increasing adoption of IoT devices. Countries like Germany and France are at the forefront of this growth, with strong semiconductor manufacturing capabilities.

Competitive Landscape

The photoresist chemicals market is highly competitive, with several key players vying for market share. Some of the prominent companies include:

1. Tokyo Ohka Kogyo Co., Ltd.: A leading manufacturer of photoresist chemicals, known for its innovative solutions and extensive product portfolio. 2. JSR Corporation: Specializes in high-performance photoresists used in semiconductor manufacturing. 3. Dow Chemical Company: Offers a range of advanced photoresist materials for various applications. 4. Fujifilm Holdings Corporation: Provides cutting-edge photoresist chemicals and has a strong presence in the global market. 5. Sumitomo Chemical Co., Ltd.: Known for its high-quality photoresist products used in electronics manufacturing.

Future Outlook

The future of the photoresist chemicals market looks promising, with continuous advancements in semiconductor technology and the growing adoption of electronic devices. Innovations in photolithography techniques, such as extreme ultraviolet (EUV) lithography, are expected to drive the demand for more sophisticated photoresist chemicals.

Moreover, the increasing focus on sustainability and environmental regulations is pushing manufacturers to develop eco-friendly photoresist solutions. This trend is likely to create new opportunities for companies that can offer green alternatives without compromising performance.

Key Player Analysis

FUJIFILM Corporation

TOKYO OHKA KOGYO CO., LTD.

I. DuPont de Nemours

JSR Corporation

Dow

Mitsui Chemicals America Inc

LG Chem

Shin-Etsu Chemical Co., Ltd.

TOK America

Honsou Chemical Industry

Segments:

Based on Product Type:

Positive

Negative

Based on Spectral Line Size:

G-line

I-line

KrF (Krypton Fluoride)

ArF immersion (Argon Fluoride Immersion)

ArF dry (Argon Fluoride Dry)

Based on End Use Applications:

Microelectronics

Sand carving

Fabrication of printed circuit boards

Based on the Geography:

North America

US

Canada

Mexico

Europe

Germany

France

UK

Italy

Spain

Rest of Europe

Asia Pacific

China

Japan

India

South Korea

South-east Asia

Rest of Asia Pacific

Latin America

Brazil

Argentina

Rest of Latin America

Middle East & Africa

GCC Countries

South Africa

Rest of Middle East and Africa

Browse the full report at https://www.credenceresearch.com/report/photoresist-chemicals-market

About Us:

Credence Research is committed to employee well-being and productivity. Following the COVID-19 pandemic, we have implemented a permanent work-from-home policy for all employees.

Contact:

Credence Research

Please contact us at +91 6232 49 3207

Email: sales@credenceresearch.com

Website: www.credenceresearch.com

[michaelcosio]

Edward G. Robinson, Pabst

Description (Brief)

Nickolas Muray color carbro photograph of Edward G. Robinson. Advertisment for Pabst Beer ca. 1950. Robinson stands beside a painting in an ornate frame holding a pint of beer as to offer it to a guest.The wall paper in the room is a grey and pink forest theme. On a table, a tray of hours'derves and beer are displayed.

Recto: Signed and dated by the artist (pencil). Verso: Muray Stamp. "#11 Eddy Robinson" (pencil). Mounted on Monogram Illustration board.

Description

Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.

While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.

By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.

In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.

[wutbju]

Alexander Murray Alison III, 83, of Norwalk, entered into eternal rest on October 8, 2023. He was born July 24, 1940, to the late Alexander M. Alison Jr. and Mary Hersey Alison of Massachusetts.

Alexander is survived by his loving wife of 64 years, Shirley Alison, son, Alexander M. Alison IV and wife Kathy, daughter, Christine Alison, brother, James Alison, sister Christine Alison Finch, grandchildren Matthew and Michael St. Lawrence, and Matthew and Rachael Royack.

While attending Bob Jones University, in South Carolina, he met his soon to be wife Shirley Pinkston, of Evansville, Indiana. Upon graduation. Alex started an apprenticeship in the field of photoengraving and worked under his father at McCall's magazine in Stamford, Ct. Very soon after that, he and Shirley were married and started a family. They had their first child when they were barely twenty. His mother called him 'A young man in a hurry'.

He had many interests and hobbies including Photography, Boating/Fishing, and Golf. He Coached and Managed Little League Baseball. And later became Commissioner of Pony League Baseball in Bay Village, Ohio. He also taught Sunday School.

Alex was a loving Husband, Father, and Grandfather. He very much enjoyed spending time with his family. And he will be dearly missed.

His ashes will be buried at Willowbrook Cemetery in Westport, Ct. The ceremony will be private.

[nataliehegert]

When Choey Eun Young Cho was in grad school at Ohio State University, she started collecting bananas. She bought bunch after bunch, day after day, and let the bananas pile up in her apartment, until she was eventually surrounded by them and their sickly sweet stench. 

Doing so was a way of sitting with the discomfort of what the banana signified, in a derogatory sense. She had recently returned to the United States from Korea (she got her undergrad degrees from the University of Nebraska Omaha), and was feeling freshly stung with culture shock.

In the group exhibition Notes from Another Place at the Louise Hopkins Underwood Center for the Arts, Cho’s bananas appear as bright LED icons, simplified contour line drawings of light, collapsing sign and the signified.

Nothing in this exhibition, however, is an easy read. Curated by Boryana Rusenova-Ina and Sam van Strien, the show is as slippery and abstract as language itself. 

Rusenova-Ina’s two paintings here recall the formation of language through the body as the locus of both utterance and scrawl. In the center of each canvas, she paints a mouth in the process of pronouncing a certain sound, indicated by its letters: “h” in one, “y” in the other. Even for someone accustomed to reading lips, it would be hard to “see” what the mouths are “saying.” Around them is evidence of another form of language learning, which is equally indiscernible: early-childhood pre-writing scribbles that have been faithfully copied by Rusenova-Ina in charcoal and acrylic.

The curatorial conceit of the exhibition considers ideas of dislocation and alienation, of feeling “out of place.” For the Dutch-born van Strien, that feeling comes from the disorienting experience of the city of London, with its imposing steel and glass architecture projecting the power of unknowable systems held within — finance, government, capital. In his works, the facades of such buildings are, too, faithfully copied — as collages of the individual panes of glass on a skyscraper, or photo-engraved plates of corporate plazas — yet in the process they become mutable and warped. 

The “feeling” of dislocation comes to the fore in Joonhong Min’s work, where an overwrought architecture takes over bodies situated in dizzying panels of overly patterned Escher-like checkerboard forms in monochromatic sets of reds, teals, and greens. These panels, for the artist, recall the isolation of pandemic-time online space — an experience of social and physical disconnection that all of us, even those who have never found themselves in “another place,” can relate to.

Hannah Parrett’s work, in cyan, turquoise, and mint hues that never veer fully toward blue or green, pops against LHUCA’s architecturally mandated firehouse-red main gallery wall. Here the color positively vibrates. Parrett’s paintings, like their colors, defy easy categorization or identification: they are paintings and assemblages and also carvings and soft sculpture. Their unnamable shapes flap and double over; with dowels stuck in them, they’re piercing yet homely, almost inviting you to hang your coat on them in a kind of slapstick moment of confusion.

Unnamable forms and ineffable structures, like moments of anomia, recur and stutter throughout the show. Paintings by Cho contain illegible insignia that appear to have been half erased, like a moment of déjà vu just about to vanish into an uneasy feeling. The buildings in Van Strien’s photoengraved plates seem filmy and gauzelike, as behind a veil of incomprehension. Their prints appear like ghosts on the other side of the gallery.

Notes from Another Place is an unusually international, well-traveled show to find in Lubbock, Texas. Both born in Korea, Cho is based in Seoul and Min is in London. Van Strien was born in Delft, lived in the UK, and is now based in Durham, North Carolina. Parrett was born and raised in rural South Dakota and now lives in Cincinnati. Rusenova-Ina is from Bulgaria, attended university in Scotland and Ohio, and is now a professor of painting at Texas Tech, here in Lubbock. 

The exhibition brings together these five artists to reflect “on the politics, aesthetics, and experience of belonging.” Right now, the question of who belongs where is a loaded gun. The movements of these artists from city to city come mostly unhindered — matters of choice or opportunity — but for many people around the world, moving to “another place” is a matter of survival. 

Matters of language, of power, of culture, of learning new ways while holding on to what’s gone — these are what diasporic populations everywhere must contend with. In Notes from Another Place, these are attempts to give form to such ineffable experiences of dislocation, of finding oneself, somewhere else. 

So, ask yourself, where are you right now? And what right do you have to be here, now?

Notes from Another Place is on view at LHUCA, Lubbock through November 25, 2023. 

Review posted 11/15/23