Art History – Berlin-stay Fri, 24 Sep 2021 00:57:13 +0000 en-US hourly 1 Art History – Berlin-stay 32 32 Blank space – Yale Daily News Fri, 24 Sep 2021 00:23:34 +0000

Sometimes you don’t have to try to be art

Phoebe Liu is editor-in-chief of the Yale Daily News. Previously, she covered the School of Music as a reporter and is a student at Trumbull College where she studies Statistics and Data Science and Education Studies.

Hood Museum acquires ten works by African-American artists Thu, 23 Sep 2021 06:07:54 +0000

Pieces from the Souls Grown Deep Foundation bolster Hood’s diverse collection.

by Madeline Sawyer | 12 minutes ago

With its recent acquisition of ten pieces from the Souls Grown Deep Foundation, the Hood Museum of Art has expanded its collection of American artwork showcasing African American artists from the southern United States.

The new pieces include painting, sculpture, quilting and mixed media works by eight different artists.

Hood director John Stomberg has expressed his enthusiasm for the acquisition.

“Here at Hood, for example, we’ve long been interested in multi-source art, multi-source art – not just New York, not just trained – but it’s a really daring step for us. “said Stomberg. “The goal is to do social good and also to change the history of art with these sales.”

The Souls Grown Deep Foundation, founded over a decade ago by art historian William Arnett, has the largest collection of works by black artists in the southern United States. Through grants, the foundation invests in artist communities, with the aim of supporting educational initiatives, economic empowerment, and racial and social justice.

Arnett originally founded the Souls Grown Deep Foundation in order to share his personal art collection. The Foundation’s mission is to bring more southern black artists into the canon of American art, according to its website.

Stomberg described the new acquisitions as representative of a “direct and urgent art form” and mentioned that the museum will not separate the works, but instead integrate them into the larger collection.

Hood’s African Art Curatorial Research Associate Alexandra Thomas, African Art Curatorial Research Associate at Hood, agreed with Stomberg on the importance of these works.

“It’s really important to emphasize the kind of philosophy of what Souls Grown Deep Foundation is because the works… a very deep tradition of African American artists in the southern United States making art that has been erased from a lot of modern art history, ”Thomas said.

By acquiring the new pieces, the Hood joins a prestigious group of institutions that have worked with the Souls Grown Deep Foundation, including the Metropolitan Museum of Art, the Fine Arts Museums of San Francisco, the Philadelphia Museum of Art and the Museum of Fine Arts. In Boston.

“We feel lucky enough at the Hood Museum to be on this list and to have obtained such a wide range of work from a number of different artists and in a range of different media as well,” said the curator. from Hood’s Academic Programming, Amelia Kahl. 01.

According to Kahl, the works acquired by the Hood include paintings, assemblages, sculpture, and a rare Gee’s Bend quilt.

Despite the differences between their works, Thomas said, the artists are all influenced by certain common traditions and practices.

“These are African-American artists who also sort of inherit some African artistic traditions directly,” Thomas said. “The idea of ​​assemblage is very central in the artistic practices of West and Central Africa. Gee’s Bend quilts, for example – lots of [the artists] live in ancient plantations where their ancestors were enslaved, so there is a direct link between Africa and slavery and these works of art.

Thomas explained that assemblage and DIY, techniques used in these works, involve the use of readily available objects and their use as materials to create something new.

Malia Chung-Paulson ’24, along with other event attendees, had the chance to see part of the acquisition at Hood reopening celebration last weekend. Information on the collection and the Souls Grown Deep Foundation accompanies the three works by Thornton Dial currently on display.

“I think there is really something to be said about artists who use everything and do everything with it,” said Chung-Paulson. “It’s art in itself, whatever medium or story you’re trying to tell.”

Elizabeth Li ’25 shared this respect for the innovation of artists. She said she immediately noticed the use of unconventional materials in the Thornton Dial Heaven and hell on earth, one of the paintings on display.

“Art stems from our everyday life, so it’s really cool to have these common and everyday objects presented in a different way to evoke a feeling that is greater than their normal use in life,” Li said. .

Thomas and Kahl both pointed out the commonalities of these pieces.

“The [are] lots of themes of resilience and resistance and ancestral memory, ”said Thomas.

Kahl noted her appreciation for the artists’ ingenuity and said she was excited about how the work reflected their backgrounds and experiences. She noted that she hopes the pieces Hood acquired will influence the way viewers perceive and understand American art.

“Certainly, as a New England institution, it helps expand the history of contemporary art,” Kahl said. “And also – and this is to quote John Stomberg a bit – the story of who is included in ‘American art’.”

Endless Joy Fall / Winter 2021 capsule collection Wed, 22 Sep 2021 09:19:03 +0000

Endless Joy’s homage to the history of human symbolism, mythology, and art continues this season, as it draws on imagery found in hallucinogens in global culture and comparative mythology. The label, which was founded by artists Stevie and Alexandra Anderson, is an ongoing art project that sees the duo exhibiting works on carefully selected eco-friendly materials.

For Fall / Winter 2021, the label brought in various works like “Jungle”, “Therianthrope” and “Palm” which adorn silk shirts and linen shorts and canvas pants, while more pieces. such as “Mandevilles Trip” – a story of a traveler embarking on a journey to the depths of the unknown – is found on a duo of ecological viscose shirts.

“Leda and the Swan” – a story from Greek mythology – is one of the most enduring themes in art history and dresses up a silk satin shirt and a short duet, as an expressive piece “My best friend “forms a dramatic look through another number silk satin.

Hand-knitted sweaters, woven jacquard blankets and a variety of outerwear complete the collection, with each item produced in strictly limited numbers. For every item sold, Endless Joy plants three trees, while a percentage of all profits are donated to charity.

Take a look at the full Endless Joy FW21 collection in the slides above and purchase them through the brand’s online store.

In other news, here is HYPEBEAST’s roundup of some of London Fashion Week’s top shows.

The playful visions of Claudia Cave | Oregon ArtsWatch Tue, 21 Sep 2021 15:36:32 +0000

In terms of area, and even if it occupies two rooms, Claudia Cave: Interiors and interiority is not currently the largest exhibit at the Hallie Ford Museum of Art in Salem.

But after a few minutes of getting lost in one of the playful and surreal worlds depicted in his paintings, it starts to feel like it could be. Cave’s “interiority” can be represented by the fixed boundaries of vaguely Suessian architecture, but once it occupies your own interiority, the spectacle takes its place.

Fall officially arrived on Wednesday and Hallie Ford is thankfully open to the public, so you can step outside the house and experience that “fall art” vibe. Masks are mandatory and the museum is open with a maximum capacity of 45 visitors at a time, so timed entry tickets are strongly encouraged. Check the museum’s website for the latest Covid protocols to plan your visit.

Claudia Cave, “Light House”, 2008, gouache and watercolor on paper, 34 x 41 inches, Hallie Ford Museum of Art, Willamette University, Maribeth Collins Art Acquisition Fund, 2008.068. Photo: Aaron Johanson

The Cavern exhibition draws on pieces already acquired by the museum, but also includes an impressive number of loaned pieces. According to curator Roger Hull, this is the first time Cave has had her own exhibit at Hallie Ford, even though she has lived in the Willamette Valley for much of her life. “We collect his work because it’s so fascinating and it’s local,” he said. “She grew up in Corvallis. It is part of our mission, to promote local art with our other collections.

You hardly need to know Cave to appreciate his work, which Hull at one point described as “an anthropomorphic approach to architecture,” but it helps. A pamphlet written by Hull, professor emeritus of art history at Willamette University, makes an excellent introduction. Less than half a dozen pages are filled with a brief biography and analysis of Cave’s themes, influences and style.

Claudia Cave, “An American Tradition,” 1983, pencil and colored pencil on paper, 22 x 22 inches, collection of the artist.

It turns out that Cave’s artistry flourished from a specific seed: a magazine she met as a child.

She was born in Salem in Salem in December 1951. Her father, Lyle, worked in a local cannery. Her mother, Sherlee, was an office manager for an architectural firm in Salem. Thus, the family house in Keizer had in its interior books on impressionist painting and copies of Architectural summary. “It was the only magazine we had at home all the time,” Cave says in notes prepared by Hull. “I looked at every problem. I was fascinated by the way things were put together.

This vision of architecture via glossy magazine was complemented by his paternal grandmother’s home in southeast Salem. According to the notes: “It was a very outlandish house. Everything was a little offbeat, and that fascinated me. I loved staying with her and looking around her house. This left him with a penchant for “embarrassing things that aren’t quite right, that somehow don’t work.” It comes back to my work.

“Approaching” is an understatement.

The houses and structures in Cave’s work are expressionistic and absurd, with crooked fireplaces, gutters that seem to have their own mind, and ribbons of Rapunzel-like hair floating through scenes that will surely resonate in so many different ways. that there are spectators. . Picasso, Crazy magazine and Dr Suess’ Whoville were among the visual frames of reference that unpredictably swept through this journalist’s stream of consciousness during a recent visualization. Parents, beware: it is a show that, more than others, would appeal to children.

Claudia Cave, “Excavation”, 1995, gouache on paper, 33 x 41 inches, collection of the artist.

Certainly, virtually every piece in the exhibition exhibits a savage sense of abandonment and playfulness.

A, Lodging, represents two structures. One vaguely resembles a classic red and white barn, and features nearly a dozen tiny windows near the roof and an impossibly large one below. The building next door is a mishmash of wacky: a door to the outside (or is it inside?) Opening onto a wooden plank walkway that ends in a small ladder accessible from the ground by a rope; a staircase leading nowhere; pipes that seem to meander through the outside of one but inside the other. And the houses are connected by a fireplace that they share. One can only imagine what the house in Grandma Cave must have looked like to inspire visual craziness and mystery so delicious.

The people who occupy these surreal scenes, more often than not, are just as bizarre. The woman in Preserve your memories look at a family photo album. While the images in the photos are “realistic,” the woman herself looks a bit like a red and black striped capital “C” has been stretched and shaped into a person.

Claudia Cave, “Refuge Mask”, 2002, gouache on paper, 20 x 18 inches, Bonnie Hull collection.

Another woman, sitting slightly outside the frame, has an incredibly long arm outstretched in the scene, which is dotted with other weird elements: look closely and you’ll find a small sperm whale near the first woman’s shoulder. Through the window of the room is not the outside, but another inside, whose most important feature is a fragile chair built of sticks.

This visual cave burrow wonderland is perhaps best illustrated by The Down Under, in which a series of scenes takes the viewer deeper and deeper inside a miniature house of a charm bracelet.

“In my childhood, charm bracelets were very popular,” Cave writes in the accompanying notes. “My sister had a lot of them, and I had a few, one from the Seattle World’s Fair. I have always loved the small items on charm bracelets. In each charm, a whole world exists. If you look closely, you are part of the experience. This last sentence describes well almost all of Cave’s work.

“For me, imagery is what comes to my mind right now,” Cave says. “They are not necessarily universal symbols. I leave it to the viewer to understand what a work means for him or herself. My art concerns others who find themselves in their own way. They don’t need to know why I specifically put it there.

Look even closer, not at the pictures, but at the lines and colors that make up the pictures, and you’ll see a level of detail that Hull best describes:

“There is a process of structuring the work with the drawing as a linear framework and then introducing color, often using a small brush with a very fine point so that each shape, pattern and gradient is the result of thousand marks of great delicacy, “he writes.” Cave’s sometimes very energetic renderings are the result of initial free-form sketches and subsequent steps requiring relentless patience and weeks of methodical work. “


Claudia Cave, “The Down Under”, 1988, gouache on paper, 34 x 42 inches, Hallie Ford Museum of Art, Willamette University, Elmer Edwin Young Purchase Fund, YNGAF93.06

The Cave exhibition occupies two spaces. The study room which welcomes you at the top of the stairs presents ten pieces of gouache produced between 1985 and 2016. In the print study center are 18 other pieces which adorn the walls (some in graphite, others in pencil. ) and an assortment of smaller pieces in two long display cases.

The latter includes a collection of “Mail Art”, mixed works of art that were sent by the US Mail. At the time, it was apparently one thing, an international movement that ultimately inspired Cave and her husband, Kent Sumner, to exchange pieces with other artists in England, Japan, Germany, and Belgium. The notes detail:

“These objects were of the moment, ephemeral creations made from scraps of cardboard, paper, found materials and tape – vehicles for short and whimsical messages. At times the work has defied standard postal protocol, such as when Sumner sent in a hollowed-out eggshell that somehow made it to its destination more or less intact.

Cave’s artistic skill was evident even as a child, when she took art classes at public schools in Salem, but she had no plans to become an artist. With the intention of becoming a teacher, she enrolled in the Oregon College of Education (now Western Oregon University) and majored in secondary education, with a minor in art. She didn’t take much paint because of the expense; students had to buy their own supplies. She therefore focused more on drawing and design.

The culture of OCE’s art scene was apparently enough to draw him into the fold. Cave and Sumner (they met at OCE and married in 1977) both graduated with an MFA at the University of Idaho in 1980. artist after all.


Claudia Cave, “Epitaph”, 1985, gouache on paper, 24 x 24 inches, collection of the artist.
  • Claudia Cave: Interiors and interiority will be on display until December 4, and it’s one of many shows at Hallie Ford.
  • On site is also In dialogue: Diego Rivera, which presents the painter’s painting of 1931 The ofrenda “In dialogue” with pieces from other well-known artists. Curated by Jonathan Bucci, the exhibition includes prints by Alfredo Arreguin, Carmen Lomas Garza, Enrique Chagoya and Rupert Garcia.
  • In the Melvin Henderson-Rubio gallery is Time In Place: Northwest Art from the permanent collection, also organized by Bucci. This show was in the process of being set up last week when ArtsWatch arrived, and from what has been on display so far, it’s impressive.
  • The Hallie Ford Museum of Art is located at 700 State Street in downtown Salem, on the corner of State and Cottage streets. Open from noon to 5 p.m. from Tuesday to Saturday; closed Sunday-Monday. Admission: $ 6 general, $ 4 senior (55+), $ 3 educators and students (18+ with identity card); 17 and under admitted free. For more information, call 503-370-6855 or write to

David Bates is an award-winning reporter from Oregon with over 20 years as a newspaper editor and reporter in the Willamette Valley, covering virtually every topic imaginable and with a solid background in arts / culture journalism. He has lived in Yamhill County since 1996 and is currently a freelance writer whose clients have included the McMinnville News-Subscribe, Oregon Wine Press, and Treat yourself, a publication focused on food. He holds a BA in Journalism from the University of Oregon and a long history of involvement in the performing arts, acting and sometimes directing for Gallery Players of Oregon and other Oregon theaters. .

State museum is looking for IT services, potentially including virtual reality Mon, 20 Sep 2021 22:35:25 +0000

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State-created museum, the first of its kind, is looking for a contractor to provide IT services.

In a request for quote (RFQ) released Wednesday, the California African American Museum (CAAM) in Los Angeles – “the first fully state-supported African-American museum of art, history and culture” when it was founded in 1977, according to its website. – looking for somewhat general IT services, but with a high degree of support and availability. Among the takeaways:

  • More specifically, CAAM is looking for a contractor capable of providing “IT maintenance, repair, troubleshooting and upgrade services with a high level of IT administrative support”; a company that has IT technicians in Los Angeles, may have onsite technical service, three days a week for 24 hours a day, but also “provide 24/7 support,” according to the call. offers.
  • Responsibilities include a “clear understanding of systems administration, network engineering, and management of a virtualized enterprise consisting of six servers and 30 workstations”, and a high level of “management knowledge. SonicWALL NAT policies, internal and external firewall rules, content filtering, anti-virus, spam, malware and endpoint protection ”; VMware, vCenter and vSphere; and “Windows 2012 R2 experience consisting of, but not limited to… managing and deploying Group Policy… and managing print sharing. The selected company should also “be familiar with Ruckus controllers and access point management,” “responsible for asset management for all network devices, devices, managed switches, access points, printers, software and installations, software upgrades and patches ”; and “well trained on Microsoft Windows Server 2012 R2, Microsoft Server 2008 R2, Microsoft Exchange Server 2012, Microsoft Hypervisor, Apple 10x iOS, Droid and iPhone iOS”. The contractor must also “be familiar with load balancing, the enhanced QOS SonicWALL operating system, the HP Managed Switch 10/100/1000 POE switch with VLAN segments, VPN, SSH encryption and fiber optic uplinks on separate IP segments ”, in accordance with the call for tenders.
  • Among the necessary offerings, the contractor must provide a support ticket solution, a cloud-based anti-virus endpoint solution, a redundant backup solution and offer on-site office support and ‘skill sets of professional advice ”. The successful contractor must also provide quarterly refresher courses as required. Regarding the deliverables, the contractor must “respect the schedule developed in partnership with CAAM” to achieve the objectives. A consultant should respond “by email or phone within 24 hours” unless the museum is The consultant should “prepare a semi-annual independent security assessment” at the California Department of Technology “or as required”; and must submit a “monthly progress / compliance status report to the Executive Director and Administrative Manager” which includes “key issues, work plan and remediation plan.
  • Minimum qualifications include having “provided information and technology services for at least five years involving collaboration with non-profit arts organizations, museums or relevant institutions”, being located within 50 miles of the museum; and referrals for three clients, one of which is a client “for whom the proponent has undertaken IT consulting services for the past three years, involving collaboration with non-profit arts organizations, museums or relevant institutions ”. The museum is interested in seeing “the proponent’s approach to managing in-person support with employees, contractors and owners”, its availability to respond to network outages on weekends; and “the company’s expertise in interconnecting non-profit arts organizations, museums or relevant institutions with virtual reality”.
  • The potential value of the contract is not indicated. The duration of the contract will be 18 months, probably from December 1 to June 30, 2023. Quotes are due no later than 4:00 pm on October 20, and contract award is scheduled for November 9 at 4:00 pm.
20 minutes with: legendary composer Andrew Lloyd Webber and artist Maria Kreyn Mon, 20 Sep 2021 12:00:00 +0000 When we think of Andrew Lloyd Webber, we think of musical theater. The legendary English composer is known worldwide for his Broadway musicals and for reinventing musical theater over the past 50 years. He is known for his acclaimed West End and Broadway shows, The Phantom of the Opera To Evita and Cats. He is one of 16 people who have won an Oscar, an Emmy, a Grammy and a Tony. Since 1992 he has headed the Andrew Lloyd Webber Foundation, which supports art and culture in the UK.

Webber, 73, found his muse in Brooklyn artist Maria Kreyn. She creates Shakespeare-inspired works and allegories seen through a contemporary lens, and Webber commissioned Kreyn to create eight paintings, each nine feet high, for the Theater Royal Drury Lane, a historic Greek Revival building. in London’s West End, which is the oldest, functioning theater in the world. Theater owner Webber is resuming shows after a two-year, $ 82 million renovation on September 8 (Prince Charles recently visited the theater).

Webber and Kreyn spoke to Penta on the crossroads between theater and art, apocalyptic paintings and the importance of putting your soul into your work.

PENTA: How did you meet and get to know each other?

Andrew Lloyd Webber: I read about the works of Maria Kreyn some time ago in Vanity Fair and thought to contact her with the ideas I had for the Theater Royal Drury Lane.

Where is the marriage of theater and art and how does it work in this case?

Webber: The Royal Drury Lane Theater is unique among theaters. It has the finest collection of Greek recovery rooms in the world. It is not a small theater, it is a huge space where the public can mingle. The public enters by an extraordinary entrance through a rotunda in identical staircases on each side, which lead to this extraordinary living room above. The space is unlike any theater or opera house in the world. The theater has always been known at the 18e and 19e century in which Shakespeare was played. In the 20e century, it became a house where musicals were played. This is what started the conversations I had with artist Maria Kreyn.

Brooklyn-based artist Maria Kreyn.

Courtesy of Maria Kreyn

Maria Kreyn: Frequently, the history of art is punctuated by work on Shakesepare over the last few hundred years. There is a rich history of artists performing his plays. It’s great to relate to this theater and to the great themes that surround the human condition.

What was the concept behind these eight paintings, Shakespearean allegories, and was it a commission or a collaboration you worked on together?

Webber: I suppose a commission is also a collaboration. I was excited by an image I saw in Maria’s Brooklyn studio. I had a thought that reminded me of Ophelia
[from Hamlet] . This is what we started to talk about, which led us to talk about a set of Shakespearean paintings. I just want to point out that these paintings are on a large scale. Maria, take over.

Kreyn: I felt like there was so much in the narrative of the theater that I could pull off. Instead of illustrating the place, I wanted to provide an emotional boost of how I saw it and be in conversation with Shakespeare. The prompt was so fantastic because Andrew looks at me and says, “Maria, let’s do Shakespeare and I would like you to make this work dangerous and apocalyptic, with your soul.”

It was a pre-pandemic prompt that kicked off a research project and a deep dive into the work, in a way I had never done before. I was able to create works of art that are not necessarily easy emotionally. But exciting and stimulating for the viewer. The human condition itself is a bit apocalyptic, in Shakespeare it is a complex study of individuality, love, humor and madness. It’s just as captivating centuries later. I have gone through the whole range of emotions; I didn’t hold back. It was both invigorating and catastrophic.

Webber: What I was trying to say was that I wanted something stimulating, something that sinks deep into the soul, rather than a decorative image that we put in the theater. I am amused to see what the Disney audience Frozen will say when they will see these images. What I’m proud of is that they have a take on a place itself. These are not scenes from plays, they speak of the essence of the plays themselves. It is so important that the theater has works today. This is what they did in 1812 when they built the Royal Drury Lane Theater. The good thing is that we have the space to do it.

When you tell Maria to put her soul on the line, isn’t that what you demand of most musicians you work with, in general?

Webber: You hope everyone in the theater, those who have leading roles in the theater, they’re going to give it their all, like everyone who really cares. I really care about the future of live performance and theater. It’s vital for someone like me, how lucky I was to put these paintings in the theater. My great love is art and architecture. I’m known for my love of Victorian paintings, but it’s a much wider range than that. It is important to keep the arts alive in every way possible. When you have this theater, you want to use it.

Webber commissioned Kreyn to create eight paintings for the Theater Royal Drury Lane, a historic Greek Revival building in London’s West End.

Philippe Vil

What is your first memory of this theater?

Webber: I saw Storm with John Gielgud. I remember there was a story, which was not there the day I saw it, I was 8 years old. He broke Prospero’s stick and said this theater would be lost forever for musicals, not Shakespeare. The next show that came was My beautiful lady, but I was so young. I want to prove Gielgud wrong with the paintings of Maria and the sculpture of Shakespeare that we have, which you see as soon as you walk in. I am very enthusiastic about Maria’s paintings, they are today, they are alive. Maria, I don’t want to put words in your mouth but you did an amazing job with them. They are truly part of your soul.

Will the theater be open as an art gallery during the day?

Webber: It’s open all day, but not as an art gallery in particular, but for people to enjoy the architecture, lunch, bar, and theater. It is open 12 hours a day. We are getting out of the restrictions related to Covid-19. We don’t know how we’re going to make the whole thing work. It’s been such an effort to get everything moving.

Kreyn: It’s an amazing experience to be there during the day, to share them with more than the evening audience at the theater. It’s incredible.

This interview has been edited for length and clarity.

Space and body in “It’s not always black and white” by Sandra Brunvand – The Daily Utah Chronicle Sun, 19 Sep 2021 20:27:12 +0000

Sandy Brunvand exhibition poster. (Courtesy of the University of Utah Department of Art and Art History)

After a thirty-year teaching career, Sandra Brunvand, associate professor of art education, bids farewell to the University of Utah with her studio exhibit “It’s Not Always Black and White.”

Body and mind

“It’s a real honor to be in this space – it’s the heart of this building,” Brunvand says of his exhibition. While the Gittins Gallery is the heart of the Department of Art and Art History, “It’s Not Always Black and White” is an extension of Brunvand’s body, both physically and mentally.

The exhibition is spatially and chronologically circulatory, as Brunvand’s early color works lie like lungs at the heart of the exhibition while later black and white works form a rib cage on the outer edges. The expanse of the artwork is a mirror of Brunvand’s personality and essence, drawing inspiration from significant people and objects from Bruvand’s life.

The exhibition features Brunvand’s first work, a drawing of a dog, with in the upper right corner the inscription “Sandy 4 Years” in his father’s calligraphy as he sat in a frame built by her husband. . Intimate details like these really add to the personal nature of the exhibit via the connection to Brunvand herself.

The use of wax provides another congruence to Brunvand’s body, as several works of art involve detritus embedded in the wax. “I have really bad arthritis, I started using wax a while ago, so this healing property is what I wanted to get into my artwork,” says Brunvand.

In addition to the wax materials, Brunvand also uses some of his dog’s hair as well as gifted piano rolls in his pieces. “I always thought there was a lot of my soul in there, my personality.”

From limits to landscapes

In an artistic transfer of physically demanding color works, Brunvand moves on to a limited black and white palace with ecotonous landscapes. “My feet just wanted to keep walking [in Utah], “she said.” I loved the landscape… even when I paint abstract works, I still see a landscape.

These representative landscapes provide an area of ​​biodiversity overlap that serves for unlimited growth, nodding to the mantra “It’s not always black and white”. For Brunvand, this is certainly true, as figurative landscapes were Brunvand’s mental space shift in current events and away from manual labor due to limitations of the same body.

The landscapes are specifically designed for female empowerment words, retracted Trump tweets, police messages, and news headlines that were manually printed with a typewriter. “Not only did words activate space, but space activated words,” Brunvand said, choosing landscapes as devices associated with narratives of current events that have sparked his inspiration.

For Brunvand, “this series was a form of self-care,” and again viewers recognize Brunvand’s mental body in the exhibit. When asked what she wants viewers to take away from viewing the exhibit, Brunvand said “watch the headlines… how do we take care of ourselves when times are tough? “.

“I want to dwell longer in everything,” Brunvand said of his bittersweet farewell from teaching. “I will definitely take a new direction. “

“It’s Not Always Black and White” is on view in the Gittins gallery from September 7 to 17, 2021.

[email protected]


Obituary of Virginie Kazor (2021) – Los Angeles, California Sun, 19 Sep 2021 09:11:15 +0000

1940 – 2021 Virginia Ernst Kazor, whose passion for preservation was matched only by her dedication to friends and family, passed away peacefully in her Los Angeles home on Wednesday, September 8. Born in Detroit, to Frederic and Marjorie Ernst, she graduated from Marymount High School and the University of Southern California. Torn between two interests, she studied architecture but obtained a bachelor’s degree in art history. After graduating, she was thrilled to find a job at the new Los Angeles County Museum of Art, in the modern art section headed by Maurice Tuchman. She specialized in the work of Edward Kienholz, which led her to be cast in plaster for the model of Socialite in Kienholz’s artwork, “Barney’s Beanery”. Ginny then devoted 40 years to the City of Los Angeles, Department of Cultural Affairs. From 1970 to 1978 she was curator of the Barnsdall Park Municipal Art Gallery. In 1978, she became curator of the historic site of Frank Lloyd Wright’s Hollyhock House in Hollywood. His contributions included directing the refurbishment and restoration of this famous 1920s Frank Lloyd Wright masterpiece. His greatest achievement was overseeing the complete re-creation of the living room furniture and the shaped living room rug. very elaborate “T”, custom designed to extend into adjacent rooms. In 2002, she received the FLWBC’s highest honor, the Wright Spirit Award, for her work in preserving Hollyhock House. In 2019, Hollyhock House was inscribed on the UNESCO World Heritage List. From 1991 to 2010, she was also curator of Simon Rodia’s Watts Towers, an internationally renowned cultural heritage monument in Los Angeles. Ginny has also served on the Board of Trustees of the Architectural Foundation of Los Angeles, Taliesin Fellows, the Southern California Chapter of the Society of Architectural Historians, and the Neighborhood Conservation Committee of the Los Angeles Conservancy. She was a founding member of the Frank Lloyd Wright Building Conservancy in the 1980s, helping to create the organization and coordinate national meetings. Additionally, she taught the work of Frank Lloyd Wright at UCLA Extension (1987-1994). In her community, she was responsible for the creation of the Wilton Historic District in the late 1970s (stopping the demolition of many of the District’s century-old homes). The historic Wilton district was created when the city attempted to remove the curve from 2nd Street and widen the street into a freeway as wide as the Pasadena Freeway. The creation of the historic Wilton district dried up all federal funds for the project and saved the neighborhood and five homes from the years 1910-1920. Ginny founded and has been very active in the Ridgewood Wilton Neighborhood Association. She never stopped volunteering and was still on the Board of Directors at the time of her death. She was married in 1970 to her first husband Gene Kazor, who died in 1994. She was one of five children, three of whom died before her: Margaret Mowrer Norton, Patricia Lynch and Fred Ernst. Ginny is survived by her second husband Tom Koester, a filmmaker whom she married in 2003, as well as her younger brother, William Ernst. She was diagnosed with Parkinson’s disease in 1995, but refused to let it slow her down. She died of complications from her Parkinson’s disease. Ginny will be sadly missed by her family, friends, neighbors and art lovers.

Posted by Los Angeles Times on September 19, 2021.

Chattanooga graduate Kren the Curator takes classes on the international art trade Sat, 18 Sep 2021 20:10:05 +0000

At 27, Kreneshia Whiteside-McGee has big dreams for her career as an arts curator, and she is determined to pursue them even if that means traveling alone to Venice, Italy, during a pandemic shortly after her marriage.

After hearing about the School for Curatorial Studies Venice from Sean Clark, an artist whose work she had organized at the Association for Visual Arts, Whiteside-McGee researched the program and decided it was something that she wanted to pursue.

That was three years ago and several factors contributed to delaying her studies, but she is close to completing her work in the four-month program that introduces people to the world of art conservation internationally.

“I had planned to go there in 2019 and it was pushed and we all know what happened in 2020,” she said. “And, then I got married, but 2021 was more of a post-pandemic thing at the time and it was almost perfect because a lot less people were traveling.”

Whiteside-McGee said she spoke to many people about the Venice program before enrolling and paying her tuition. She was intrigued by the curriculum which included topics such as how to exhibit works, artist development, marketing, media relations, and curatorial history.

“I did two internships before, but I didn’t have a lot of hands-on training in some of these areas,” she said. “I am interested in fundraising and press relations and we learn from art professionals in one of the art capitals of the world.”

They also discussed at length how the moral issues of a city, region, country, company, sponsor or artist should be taken into account when curating. of an exhibition.

“You can’t just ask anyone to be a sponsor,” she said. “You have to do your research.”

Hot topics can include human and animal rights issues and even whether a person or institution is pro or anti-tobacco.

“What seem like small things can actually be big things. Some people say all the money is green and these problems don’t matter, but they can,” she said. .

She was the only American to participate this summer with the other nine from Mexico, Italy, the Czech Republic and Russia.

The Venice program, which started in 2004, takes three months of learning, usually all in and around Venice, but due to COVID-19 and her recent marriage to local artist Genesis the Greykid, she has chose to take courses virtually in June and August and spent July abroad.

Photo provided by Aurora Fonda / Kreneshia Whiteside-McGee, far right, pictured in July 2021 with her classmates and guest speaker and Arts Ideas Realized consultant Louise McKinney (fourth from right in yellow).

“I was on Italian time, I got up at 3 am and took lessons until noon, then I was on normal time,” she said.

She had an advantage because the program was taught in English.

Program participants are completing a month-long project asking visitors online and especially in Venice to share their thoughts on what prosperity means to them. It’s called G21 and it was created in response to the G20 summit, which brought together heads of state and government in Rome and which some saw as an elite forum.

G21 is a public and interactive art exhibition that takes place throughout the city of Venice. Visitors from the various participating companies are invited to leave their opinion on the works of around sixty artists. Whiteside-McGee and his colleagues will collate the answers into a book and present them to world leaders.

Whiteside-McGee said the cost of the scholarship is offset by the many discounts and free passes that students get to museums, galleries and other art opportunities in the area. Grants and scholarships are also available.

“We pay for the program, plane tickets, food and accommodation, but it works,” she said.

Whiteside-McGee graduated from Chattanooga High School Center for Creative Arts before graduating in anthropology with a minor in art history from East Tennessee State University. While at the Center for Creative Arts, she interned at the Association for Visual Arts, and a chance conversation with then-CEO Ricardo Morris led to her being hired as chief curator afterwards. graduation.

Morris said Whiteside-McGee was recommended by the previous curator and that “I actually learned a lot from her about art conservation.”

“She hit the ground running and was so motivated and she was great at getting stuff on the walls the right way to make it work.”

It’s part of what the Conservatives are doing, Whiteside-McGee said.

“As curator, we are the intermediaries between the artist and the public,” she said. “We help translate everything from the paperwork to the exhibition, including artist statements, labels and wall colors. We strive to keep people’s attention as they go around in circles looking at art.

“I always wanted to do this.”

She is currently a freelance curator working under the name Kren the Curator, and one of her clients is her husband. He owns a gallery and studio on Main Street and has sold works in New York, Los Angeles and London.

“She helped me organize this studio,” Genesis the Greykid said from her gallery. “I love it.”

Whiteside-McGee said the program opened her eyes to the world of art curation and that she wanted to continue having her own gallery. She would like it to be in Chattanooga, but “I don’t want to limit myself. I can work anywhere and I want to work anywhere.”

She is also working on a documentary about the racist shootings of three women on ML King Boulevard in 1980 in Chattanooga.

Contact Barry Courter at or 423-757-6354.

Explore art, history and community at the Rising Star Mill Sat, 18 Sep 2021 00:36:00 +0000

NELSONVILLE, Wisconsin (WSAW) – After walking through its doors, people seem to find a piece of themselves at the Rising Star Mill in Nelsonville.

This gave Robert Rosen the confidence to continue doing photography.

“It was the first place where I showed one of my photographs to the public,” he said. “I didn’t sell anything, but I had positive feedback and it was important.

Robert Rosen hangs his photographs on the walls of the Rising Star Mill in Nelsonville in preparation for the “Portrait of the Mill” exhibition.(WSAW Emily Davies)

This gave Jim Walker, now chair of the Rising Star Mill committee and self-proclaimed community and volunteer facilitator for the space, a place to engage his aspiration to be a teacher.

“… I never accomplished this because I – sitting in class one day, I say I’m not going to put up with this stuff,” he laughed, “I saw my teachers. support.”

The space seems to have this aura that captures the imagination and attracts those who love history, art, community, and culture.

“There are (sic) so many stories that the building itself tells,” said Bill McKee, who helped restore the building.

“It’s fun to be here,” said Tim Siebert of the Portage County Historical Society. “You open up some of these shoots where the flour came out and it still comes out. I mean the stuff is still in there!

“It’s inviting. It’s hot. It was the community spirit that reached me, ”Rosen noted.

It is the last flour mill in Portage County, although it no longer functions as a mill. Ask one of the volunteers who help take care of it and they will tell you that it has been the centerpiece of the village since it was built.

The mill is listed in the National and National Register of Historic Places in 2018 and 2019 respectively. It was built in 1868 after Jérôme Nelson, the person whose village is named after, returned from the Civil War. She stored and supplied flour and seeds to farmers in the area. At one point, this also helped fuel the village.

“At the end of the day, when there was enough water left in the pond, the dam was able to generate electricity for the village,” Walker said. “At a certain time of the night, when the water got too low and they knew it would be insufficient to generate enough electricity, they would flash the lights, flash the current so the village would know that the current was on. is going to be cut imminently.

In the 1980s, the Department of Natural Resources planned to demolish the dam to help preserve trout habitat. He also planned to raze the building.

“The last operator and owner of the plant lit it for us and it was an amazing experience,” said Siebert, giddy with excitement. “The whole building shook when all the belts and the wheels started to turn. Dust was coming out everywhere. It was just an amazing experience. And we just decided that this was a place we needed to have just to preserve the history of this community. “

A photograph of the Rising Star Mill on display for the “Portrait of the Mill” exhibition.
A photograph of the Rising Star Mill on display for the “Portrait of the Mill” exhibition.(WSAW Emily Davies)

The Portage County Historical Society made an agreement with the MNR and purchased the building for $ 1. The MRN still owns the land on which it is located.

“It was great to see the building,” McKee said.

McKee, who describes himself as an urban archaeologist, was instrumental in the cleanup that was required after PCHS obtained the mill.

“This place was an incredible mess,” Siebert said.

McKee captured photos from this time, helping to preserve this part of its history.

Photographs of mess volunteers cleaned up after the historical society obtained the property ...
Photographs of mess volunteers cleaned up after the historical society obtained ownership of the Rising Star Mill hang on its wall for the “Portrait of the Mill” exhibit.(WSAW Emily Davies)

After emerging from the dust of the factory, PCHS had to decide how it would use the space.

“We couldn’t make it work because obviously the head was gone from the pond, but (the plan was that it was) being used as a museum,” Siebert began. “But then it kind of evolved into that kind of community art and theater and it really multiplied tremendously with that theme in mind, which is great.”

For forty years, this is how it has been used. On Friday, volunteers were preparing the space for another gallery exhibition, “Portrait du moulin”, which will run from September 18 to 19 and is open from 11 am to 5 pm. The exhibit features works of art from the mill, including photos captured by McKee, as well as the collection of photographs of Rosen that he took of the mill in 1990. Twenty percent of Rosen’s photographs sold will be used to maintain the mill and to fund other events there.

Photographs of the Rising Star Mill by Robert Rosen.
Photographs of the Rising Star Mill by Robert Rosen.(WSAW Emily Davies)

While people who love the mill say it is a treasure in the community, it is clear that the people of the community are the real treasure. Walker said people regularly donate their time or money to preserve this building. He said they were keeping an eye on it, making sure to take care of the plants, the lawn and the endless grain that fell to the ground that got stuck in the structure over the century.

Bill McKee (left) and Jim Walker (right) set up the Rising Star Mill for the
Bill McKee (left) and Jim Walker (right) prepare the Rising Star Mill for the ‘Portraits of the Mill’ exhibit.(WSAW Emily Davies)

People like Walker volunteer their time to educate people to learn more about local history. He invests himself in finding answers to questions he does not know and he tours at all levels to arouse this curiosity.

“There are two things kids all have fun with; I can explain how these mills worked and how important they were to the farming community when it existed, ”he began. “The two things they are passionate about: one is when we talk about phones, old phones because there’s an old PBX machine in there. They are familiar with their small portable devices, so they enjoy it. And the other thing just happens to be the old toilet, the mill toilet in the back. I’ve never ceased to be amazed at the level of interest from college kids when they see how those old toilets worked.

Rising Star Mill Committee Chairman Says Toilet Is One Of The Rooms Of The ...
The chairman of the Rising Star Mill Committee says the toilet is one of the parts of the mill that college kids like to learn.(WSAW Emily Davies)

For those who want to see this toilet, phone, and other cool stuff about this community device, they encourage people to come to the gallery exhibit over the weekend. They are also encouraging people to join them for the annual open house on October 2-3, which will feature 75 of the 1,500 works of art from Portage County barns, many of which no longer exist.

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