LONDON, ENGLAND February, 2020: ‘XXI’, a landmark contemporary art exhibition, will launch at the new, state-of-the-art HOFA Gallery in London’s Mayfair on 20 February 2020. It is set to be the world’s first ever asset-based tokenised contemporary art exhibition, using cutting-edge blockchain technology and cryptography to facilitate access to coveted blue-chip contemporary art.
RETNA
The highly anticipated highlights of ‘XXI’ will be rare and unseen works by established contemporary artists such as Kaws, RETNA and Damian Hirst. These include the Blame Game Portfolio, a set of 10 prints by Kaws which has been shrouded in mystery since its shadow début in 2016. With sprightly colours and a suggestive title, these prints have the intrigue of a jigsaw puzzle or a comic detective game. At once stimulating, playful and yet, somewhat ominous, Blame Game is expected to be a crowd favourite and stands as the most valuable artwork set for display at ‘XXI’.
Damien Hirst
RETNA’s Los Ne El Barrio joins Kaws’ Blame Game on the list of rare features at the upcoming exhibition. This abstract lettered painting, finished with rare blue diamond dust and seemingly laden with hidden meanings, represents a unique style of contemporary abstract art that’s highly sought after by art connoisseurs. Also on the list of exclusive features, is the Heart Spin Painting by Damian Hirst. Hirst’s popular spin paintings achieved international renown when a large reproduction was used to cover the floor of the stadium for the closing ceremony of the London Olympic Games of 2012. Heart Spin Painting is a colourful piece whose piecing and energetic radial symmetry evokes the speaking gaze of a knowing eye.
Kaws
All told, ‘XXI’ will feature a portfolio of carefully sourced artworks collectively worth more than $1M and individually projected to appreciate in value based on current market trends. Other participating artists include Banksy, Jeff Koons, Joseph Klibansky, George Condo, Zhuang Hong Yi and Ilhwa Kim. Indeed, the upcoming ‘XXI’ exhibition is anticipated to a hotspot for investments in high-yield contemporary art.
Commenting on the upcoming exhibition, HOFA co-founder, Elio D’Anna, said “We are proud to unveil this project which has been over 12 months in the making. It’s going to be an extravaganza of contemporary art. We are bringing the crème of contemporary art together for a ground-breaking show which we know viewers will enjoy.”
HOFA’s new gallery is located at 11 Bruton Street in Mayfair, London. ‘XXI’ will run for 2 week from the 20 February to 5 March 2020.
The decade that just ended was one Princess Diana would have treasured.
Both of her sons – Prince William and Prince Harry, married lovely women: Kate Middleton and Meghan Markle, respectively. Diana now has 4 grandchildren whom she would have loved and adored.
But that was not meant to be. Tragically, she died in a car crash more than 20 years ago. Princess Diana’s legacy continues as musicals about her life are flourishing in 2020 and beyond.
Singer/songwriter Karen Sokolof Javitch’s newly revised Princess Diana the Musical is being re-released by Heuer Publishing in early 2020. Featuring over 25 of her original songs, one of the most touching is, ‘Hope in My Heart’. “It’s a beautiful song that Princess Diana sings while visiting a hospital. Even with all of her problems, ‘hope’ is what she carried with her and ‘hope’ is what she gave to all of us. In this new decade, there is still so much trouble in the world and divisiveness in our country. We could use a little ‘hope in our hearts’ right now,” Ms. Javitch reveals.
Link here to the song, “Hope in My Heart”, sung by Sasha Weiss:
Princess Diana the Musical has been performed in many community theaters in the United States. “Our production entertains audiences about the public and private life of this iconic woman and most beloved princess,” explains songwriter Karen Sokolof Javitch. “Even after many successful runs, I recently revised the script and songs and I’m thrilled to re-release it to America’s theaters through Heuer Publishing Company,” explains Ms. Javitch.
Javitch wrote the music and lyrics and co-authored the book with Elaine Jabenis in 2000. The inspiring story journeys in song with the “People’s Princess” through her trials and tribulations of being an unknown 17-year old to becoming the most famous woman in the world. With Karen’s original songs, Princess Diana the Musical captures the grace, charm, compassion, and style that was Diana.
About Karen Sokolof Javitch:
Karen has written and produced 15 albums of her music, and she has co-written 4 musicals. She was the creator and co-host of a popular Omaha, United States radio show, “It’s the Beat.” Besides her musical about Princess Diana, her others are From Generation to Generation and Love! at the Café. (also published at Heuer).
These shows have been performed in many cities in the United States. Ms. Javitch has raised over $350,000 USD for US national and local charities with her original music and musicals. Featured image- from Princess Diana The Musical.
During the medieval Gothic period, depictions of lions were important talismans. A knight wearing a lion’s head on his breastplate or his shield channeled the power and dominance of the King of the Jungle. That’s why Yvan Arpa, CEO of Artya, was looking for the right combination of elements for his new Lion’s Head Tourbillon timepiece, and he found it when he met Bram Ramon.
Born in Flanders, Belgium, Ramon is a sculptor and engraver. A few years ago, ArtyA introduced the Brabant Tourbillon and the Arabesque Tourbillon, and a couple of years later Arpa and Ramon debuted the Lion’s Head Tourbillon.
Inspired by the neo–‐renaissance style and the armed knights of medieval times, Arpa and Ramon came up with a brand new way of engraving that combines deep chiseling with sculpture, and the result is incredible.
Ramon’s specialty is combining classical engraving with sculptured figures. As an example, the Lion’s Head at 12 o’clock is so powerful it appears to be leaping off the face of the watch, especially with its eyes of 24 ct gold.
This had never been done before in a watch, and Artya dared to pair this with one of watchmaking’s most traditional complications, the flying tourbillon. The Lion’s Head exudes power, a touch of Gothic spirit, a hint of religion and an artisan’s excellence.
Just looking at the Lion’s Head is captivating, as the eye is drawn to the mixture of grooves, crevasses and sculpted figures. And the tourbillon complication at six o’clock finishes off this exceptional, unique piece.
“I love working with Bram,” says Arpa. “We had such fun the first two times around, with the Tourbillon Arabesque and the Brabant Tourbillon, I couldn’t wait to get another project going with him. I love this piece so much –‐–‐ I don’t really want to sell it.”
Design Features:
–‐Dial and bezel entirely Hand–‐engraved with 24cts gold inlays following a 19th century style: the “Neo–‐Renaissance” style only made by a master engraver
–‐ Relief Engraving technique
–‐ Lateral insert in black PVD steel
Technical Specifications:
Dial & Bezel in High–‐grade 316L steel with 24cts gold inlays
Case: 44mm
Exclusive ArtyA flying tourbillon
manual winding
19 Jewels
Exhibition Back
Two anti–‐reflective sapphire crystals, front and back Hours, minutes, seconds
MOUNT HOREB, Wisconsin- Graphic Classics, the acclaimed series of comics adaptations of literary classics from publisher Eureka Productions, has had multiple titles included in the Diamond Distribution Core Curiculum List. Of the nearly 100 books on the list, 23 were from the Graphic Classics series, including VOLUME 2: ARTHUR CONAN DOYLE, VOLUME 4: H.P. LOVECRAFT, VOLUME 8: MARK TWAIN, VOLUME 18: LOUISA MAY ALCOTT, and VOLUME 22: AFRICAN-AMERICAN CLASSICS.
To help educators and librarians select materials to fit into their Common Core Standards curricula, Diamond Book Distributors have created the Diamond Graphic Novel Common Core List. Arranged by grade level, the Diamond Graphic Novel Common Core List offers 98 graphic novels from our publishers that will fit into a Common Core curriculum, along with resources including Library Classifications, Subject Headings, and Core Standards which apply to each book. The list is intended both as an aide to educators and librarians and to show that Diamond supports the Common Core Standards as an effective tool to prepare students for the challenges in college and the workforce.
Graphic Classics publisher Eureka Productions has also partnered with Overdrive and Comics Plus: Library Edition to make Graphic Classics digital editions available to libraries across North America and around the world. Among the library systems which have already started carrying digital editions of Graphic Classics are the Boston Public Library, Seattle Public Library, and the Dayton Metro Library.
Library users can borrow digital editions of Graphic Classics from their local library system for reading on smart phones, tablets, and computers. Digital editions are also available to consumers through the ComicsPlus and Ave Comics apps. Check with your local Library for Graphic Classics digital editions. CP
Canada is in the midst of an audiobook boom. Though sales numbers aren’t available yet, they’ve been growing rapidly in the United States, and north of the border, there’s been a substantial influx of publishers entering the audiobook market.
Why Do Canadians Listen to Audiobooks?
What’s behind their growing popularity? It all comes down to the pleasure of listening. Canadians are busy, stressed out, and looking for a way to slow down. Carving time out of the day to sit back and listen to a book is a chance to clear out the cobwebs, recharge, and rebalance. You can listen to audiobooks at the end of a long day, on your commute, on a lazy Saturday morning, or while you’re cleaning up and doing the dishes.
There’s also the appeal of the narrator. Talented voice actors bring great stories from the page to the speaker. They can bring a different personality to a book and new life to a story you already love.
While not every author has a voice made for narration, some of the best audiobooks available are narrated by the authors themselves. Neil Gaiman is a standout in this category. A natural-born storyteller, Gaiman has narrated a number of his own audiobooks and graced other works with his signature voice, though he’s not alone. Writers like Jenny Lawson, Christopher Hitchens, and Seamus Heaney have all made names for themselves narrating their own books.
Indie Canadian Publishers Getting into Audiobooks
It’s not just international publishers that are producing audiobooks in Canada. Independent publishers like House of Anansi and ECW Press have entered the audiobook market, producing some of their own award-winning titles and making them available on various audiobook platforms.
Titles like Tanya Talaga’s Seven Fallen Feathers, Eden Robinson’s Song of a Trickster, and Cherie Dimaline’s bestselling Empire of Wild are just some of the titles available as audiobooks thanks to the recent uptick in the Canadian market.
Great Canadian Talent
Canada has been relatively slow to enter this market, but it’s uncovered a hidden talent pool. As independent publishers have looked toward local actors, they’re discovering Canadians have a knack for narrating. Some audiobook producers are hoping more Canadians will make it easier to find great voice actors for their titles.
How Audiobooks Are Changing Book Clubs
Audiobooks have also opened up new opportunities for book clubs, moving from solitary reading to listening as a social activity. Clubs can now appreciate titles together and talk about what they think chapter by chapter. Club meetings can even be hosted online.
How Do Canadians Get Their Audiobooks?
Subscriptions have become the preferred way for Canadians to get their audiobooks. They work like a “book of the month club.” For example, a subscription with Audible gets you credits to pick one audiobook each month. You can buy more if you’re a voracious listener, and there are usually other membership benefits, such as access to podcasts.
With fast-growing sales and increased production, Canadian book-lovers can look forward to lots of new Canadian titles making the transition to audiobook format.
The power of nature is unleashed with two timely, powerful exhibitions at the Boca Raton Museum of Art for the new season. Both of these original shows ─Maren Hassinger: Tree of Knowledge and Clifford Ross: Waves ─ will kick off the museum’s 70th anniversary season (on view November 5th – March 1st).
The museum is presenting both exhibitions together because the two shows sound a clarion call for environmental awareness. These shows also remind viewers that the beauty of nature can still inspire us, despite the over-saturation of society by hand-held devices and screens. The two exhibitions are presented side-by-side in adjoining galleries.
The artist Maren Hassinger with children from Pearl City, the historic African American neighborhood where the majestic 100-year-old banyan tree, the “Tree of Knowledge,” still stands today. The children joined hundreds of community members to create together thousands of aerial branches from recycled newspapers for Hassinger’s new monumental installation.Clifford Ross in the ocean surf, photographing hurricane waves.The Clifford Ross exhibition features a new approach to his monumental depictions of ocean waves that the artist captures during extreme weather. The result is the most comprehensive survey of his process ever shown in a museum.
Ross dramatically presents the monstrous power of the seas in his new exhibition at a crucial moment in time for our planet: the United Nations recently issued a major new report warning that the dangerous effects of climate change on our oceans is much worse than previously thought. The new findings warn about warming oceans and damaged ecosystems.
Sea levels are rising faster than previously predicted, glaciers and ice sheets melting more rapidly than expected, shrinking the fisheries that feed millions. Watch the spectacular video of Clifford Ross in the ocean surf at vimeo.com/168830477 The new report warns that many cities around the world will experience annual flooding events by 2050 that previously occurred only once per century.
The world’s oceans have been warming since 1970 and have absorbed 90 percent of the planet’s excess heat, killing off vast stretches of coral reefs. Absorbing massive amounts of carbon has made the ocean more acidic and inhospitable to corals that millions of species depend on for survival.
“When I first began photographing these hurricane waves 30 years ago, most of us were unaware that global warming was seriously damaging our oceans,” said Clifford Ross. “Now, as I look back on my work, it takes on a whole new meaning.”
Above – the two artists headlining the new season: Clifford Ross and Maren Hassinger. MAREN HASSINGER: TREE OF KNOWLEDGERenowned sculptor and performance artist Maren Hassinger was commissioned by the museum for a residency that explored the staying power of nearby Pearl City, Boca Raton’s historic African-American neighborhood.
This is the largest installation that Hassinger has ever created in her long and celebrated career. Her new site-specific installation is based on Pearl City’s landmark, the “Tree of Knowledge.” This majestic, 100-year-old banyan tree still stands today and is protected by the Historic Preservation laws. The tree has served the people of Pearl City since the dawn of the 20th century, as a gathering place for sharing stories and communal spirit. The majestic 100-year-old banyan tree at Pearl City is the inspiration for Maren Hassinger’s Tree of Knowledge.(photo by Aylin Tito) Hassinger vigorously engaged the public to recreate the tree’s aerial roots by gathering many groups over several months.
People from the community and visitors to the museum spent hundreds of hours twisting by hand thousands of recycled newspapers. Thousands of recycled newspapers were twisted to mimic the aerial roots of the banyan tree for Maren Hassinger’snew installation Tree of KnowledgeThese banyan “branches” will be suspended from the ceiling of the main gallery, representing the community-based “Creation-Stations.” The participants’ names will be incorporated into the monumental new work.
“I want visitors to the museum to think about the endurance of the tree and the endurance of the people who live beside it,” said Maren Hassinger. “I hope they realize it’s possible to build a world in which, like this installation, people work together side by side. Both the tree and the residents have inspired me with their mutual endurance.
In new reports, the United Nations warns that fires such as those causing de-forestation in the Amazon elevate concerns for the planet’s natural life support systems. This global call to action urges countries, companies and consumers to build a new relationship with nature.
The destruction of the world’s largest rainforest calls attention to the need to prevent ecosystems from declining to a point of no return, with dire consequences for humanity.
This year, the leading scientists of the world warned that civilization was in jeopardy due to forest clearance, over-usage of land, climate change, and pollution, putting a million species at risk of extinction.
Hassinger’s new installation is about nature as knowledge and about education. The twisted ropes of newspaper are made of words and stories.
“I hope the community and all of the visitors to the museum take a moment to think about the materials used in the project, which are not traditional art materials, and realize that this giant project was made not by artists, but by the public, working together,” adds Maren Hassinger.
“Both adults and children from the community welcomed my project with enthusiasm and proceeded to twist and twist to create the aerial branches. Their enthusiasm and spirit of camaraderie is uplifting and contagious,” says Hassinger.
Paper is a natural material, made from trees, and throughout the installation there will be fans that evoke the wind blowing gently through nature, as opposed to the hurricane winds of Ross’s work.Wind, the video by Maren Hassinger, will also be part of the exhibition. Watch the video trailer here vimeo.com/368811486
“Following the theme of nature for our new season at the Museum, how appropriate that Maren Hassinger would choose this legendary tree, known as the Tree of Knowledge, as the subject for her site-specific installation,” said Irvin Lippman, the executive director of the Boca Raton Museum of Art. “From its inception to its installation, this has involved audiences of all ages from every corner of our community to participate in the making of the aerial roots from streams of recycled newspapers. Much in the manner of the Banyan tree, we are all connected to one another,” adds Irvin Lippman.
Hassinger’s new exhibition will also feature the installation Love – an experiential portal for visitors to walk through. As the entranceway into the museum’s main galleries, it will surround visitors with hundreds of recycled pink plastic bags that will completely cover all of the surfaces around them. The shopping bags are filled with the air of human breath, and contain human love notes inside. Love, by Maren Hassinger. This installation will serve as the entryway featuring hundreds of recycled pink plastic bags, surrounding visitors.The bags are filled with human breath and contain human love notes.Maren Hassinger (still from her video Pink Trash).
CLIFFORD ROSS: WAVES On the subject of Clifford Ross: Waves, Irvin Lippman adds: “It would seem obvious that a museum with a coastal address such as ours would naturally be ever fascinated by the subject of waves. The subject of Clifford’s photographs in this new exhibition, however, goes deeper into the unpredictable shapes of waves, as much about abstraction as realism.” The effect of being engulfed in a room full of his work is profound, causing some viewers to claim they can actually hear the sound of the ocean waves although there is no sound component. Ross is celebrated worldwide for his Hurricane Waves series, monumental images that were photographed by the artist during storms and while hurricanes were off-shore, while he was attached by a tether to his assistant who remained on land as Ross braved the ocean surf.
The size of these images is humbling. The angle of vision, from as low as possible, is calculated to inspire awe. The waves dominate us, framed or cropped; we feel their full force. These waves invoke the power of wind as well as the power of water, the great cyclical forces of nature that generate energy. This major survey includes his monumental hurricane wave images. The exhibition also features a site-specific installation of extremely large-scale prints on wood, as well as the artist’s Digital Waves – A computer generated video displayed on an LED wall that has been acquired by the museum for its collection. Other sections include: the Horizons series (photographs that explore movement with the added power of obstruction); his Hurricane Scrolls; and the Grains series of bold abstract works exploring the purity of color.Clifford Ross, Hurricane LXIII, 2009. Archival pigment print.“The pure abstraction of the Grains series is an antidote to the hurricane, a space to calm down. A quiet end to this stormy story where we can recompose our thoughts,” said Clifford Ross. While it explores the limits of photography and abstraction, this exhibition is also a dramatic declaration about climate change. “This exhibition is a thorough survey of my working methods,” said Ross. “an effort to show all the ways I have approached the subject of ocean waves. But there’s also a deeper theme of addressing climate change – unavoidable in this day and age.”A work from Clifford Ross’s Digital Waves series (computer generated videos displayed on an LED wall) has been acquired by the museum for its collection. “Somehow the apocalyptic quality of the show does not erase the basic lyricism and beauty that I see in nature. When I started out, wanting to celebrate nature by creating bodies of work that were an homage to the sublime, I didn’t understand that the images were also capturing evidence – evidence of our negative impact on nature.”
“The ferocity, the forms of these waves were partially due to global warming. This project has come full circle, as much a meditation on the medium of photography as it is a photographic reflection of our world,” said Clifford Ross.
MORE ABOUT THE TWO ARTISTS: Above – the two artists headlining the new season: Maren Hassinger and Clifford Ross. Maren Hassinger has work held in the permanent collections of the Hammer Museum in Los Angeles; the Reginald F. Lewis Museum of Maryland African American History & Culture in Baltimore; the California African American Museum in Los Angeles; Portland Museum of Art; The Studio Museum in Harlem; Williams College Art Museum in Williamstown; and the San Francisco Museum of Modern Art, among others. Her many awards include: the Lifetime Achievement Award from the Women’s Caucus for Art, Maryland Institute College of Art; Joan Mitchell Foundation Grants; Anonymous Was a Woman; and the Pollock-Krasner Foundation, among others. More about Maren Hassinger here. The works of Clifford Ross are held in the collections of the J. Paul Getty Museum in Los Angeles, The Museum of Modern Art in New York, and the Museum of Fine Arts in Houston, among others. He is the editor of the book Abstract Expressionism: Creators and Critics, and is Chairman of the Helen Frankenthaler Foundation. His work has been widely exhibited in the United States, Europe, Brazil and China. He has lectured in numerous university and museum settings, including Princeton, Yale, and New York University. Ross is a member of the Yale School of Art Dean’s Advisory Board. More about Clifford Ross here.
Email Your Performance And Win 1000$ Donation To A Charity Of Your Choice
Omaha NE) To celebrate someone’s birthday pretty much anyone can belt out the “Happy Birthday” song, but what to sing in celebration of a couple’s anniversary? How can we ceremoniously honor such an important and personal holiday equally melodiously? Read below and discover not only how to, but also what you will receive in return if you email our highlighted songwriter a video of your performance. (Don’t worry the lyrics are only a few lines long and easy to remember.)
To
answer these burning questions, award-winning singer-songwriter Karen
Sokolof Javitch recently announced the worldwide launch of her
personalized “Happy
Anniversary Song.”
To
commemorate this joyous event, Javitch currently has a nationwide
search underway for all couples celebrating an anniversary to submit
a video to her e-mail of them, family or friends singing her song.
Karen will acknowledge the couple’s extreme faithfulness, by
donating $1000USD to the charity of the couple’s choice. All
entries must be submitted by August 30, 2019 to jenmarach@yahoo.com
Anyone
who enters will also receive one of Karen’s albums as a gift.
“Everyone
knows the ‘Happy Birthday’ song, yet we all stumble when we try
to sing a song for someone’s anniversary,” explains Javitch. “My
new anniversary song is short and very easy to learn. Now, when you
go to someone’s anniversary party, you’ll know what to sing.
There will never be royalties, licensing or performances fees. It is
my present to the world!”
To register, listen to the Happy Anniversary Song on her website JMRProductions.com, copy the words below and e-mail your video. Though not required to enter, those so inclined may view Javitch’s Happy Anniversary Song music video right here on The Silo:
As
billed, the lyrics to the song are short, sweet and easily stick:
Happy
Anniversary, Happy Anniversary (wife’s name) and (husband’s name)
we’re so happy to be at your (add # of years) Anniversary.
Javitch has raised over $350,000 for national and local charities through her original music.
Besides Javitch’s 15 albums, she has also co-written four musicals performed in many cities throughout the United States and was the creator and co-host of a popular radio show, “It’s the Beat.” Her family-friendly music includes a variety of songs about exercising and good health, celebrities, holidays, weddings, politics, children, babies, education, patriotism, love and family. For the Silo, Gerald McGlothlin.
Los Angeles, CA, – Richard Clar using an earth-moon-earth (EME), or moon bounce as it is also called, radioed two very special signals off the surface of the moon where their return was received at Dwingeloo Radio Observatory in the Netherlands.
Clar’s extraordinary two-part project, Giant Step and Lune sur la Lune, paid tribute respectively to Apollo Astronaut pioneer Neil Armstrong’s first step on the moon on July 20, 1969 and to the far side of the moon itself, something witnessed only by a rare group of individuals, the Apollo Astronauts. The two radio transmissions to the moon and back emanated from a radio dish in Italy.
Giant Step is a personal response to an event Clar personally witnessed back in 1969, and he wanted to use his creativity to pay tribute to those who took part in the Apollo program, and especially Neil Armstrong for what he did on that momentous day.
He wanted this work to say something about the moon itself, using the moon.
His interest was piqued after hearing about an earth-moon-earth bounce (EME) from Italian artist and colleague, Daniela de Paulis, who together with radio specialist Jan van Muijlwijk developed the process of using EME to send images to the moon and back in 2009. As he researched the Apollo Archives, he came across an Electrocardiogram (EKG) of Neil Armstrong as he took the first step on the moon on July 20, 1969 – and Richard found his inspiration!
While data scientist Dr. Ryan Compton created the sonification tone from Armstrong’s actual EKG graph, prominent Los Angeles-based double-bass jazz performer and composer Roberto Miranda used the tone to create compelling sounds that have been called “edgy and hauntingly beautiful.”
“I wanted the art to say something about the first humans to set foot on the moon. Think how many living beings have observed the moon for eons…and now we have made a number of trips to the moon and back. I want people to have new experiences through my artwork,” says Clar.
Lune sur la Lune, an image of the far side of the moon, was transmitted in a poetic gesture onto the earth facing side of the moon. Since only the Apollo astronauts have seen the far side of the moon, using the radio-reflective surface of the moon to produce a site-specific artwork makes the moon a unique part of the process rather than just a subject matter ─ and also gives people on earth an opportunity to witness this phenomenal event and experience the moon in a new and different way. Shortly after the sound and image from Giant Step and Lune sur la Lune were received and processed at Dwingeloo, and will soon be accessible to the world at www.rockthemoon.com.
There was considerable excitement at the Dwingeloo Radio Dish on September 26th by those who witnessed the sound signal and image signals being received from the surface of the moon after the moon bounce. All in all, the art mission was a great success.
“For me It was an incredible feeling to use this 120 ton radio dish, capable of peering into the far reaches of the universe, to create an artwork focusing on one of the greatest achievements in human history,” stated Clar.
Richard Clar’s timeless work has been exhibited in museums, galleries and universities throughout the United States and Europe. His visionary ‘art in space’ began in 1982 with a NASA-approved concept for an art-payload for the U.S. Space Shuttle. Philosophical in nature, many of Clar’s themes originate in space environment issues, such as orbital debris, war and peace, the Search for Extraterrestrial Intelligence (SETI), and water management on earth.
Clar studied at the Chouinard Art Institute (now Cal-Arts). In 2001 and 2002, he coordinated the Leonardo/OLATS/IAA Space Art Workshops in Paris. Clar is the Director of Art Technologies; a Member of the International Academy of Astronautics (IAA); a Member of the IAA SETI Permanent Study Group; a Member of Women in Aerospace, and a Member of the Leonardo Space Art Working Group. He was the Secretary of the former Art and Literature Subcommittee of the International Academy of Astronautics, and a past Member of the Executive Board, Graphic Arts Council, the Los Angeles County Museum of Art.
Clar founded Art Technologies in 1987 as a liaison between the worlds of art and technology. By collaborating with such partners as the U.S. Naval Research Laboratory, Boeing Aerospace Corporation, and contemporary composers, Clar generates high-visibility art works that transform state-of-the-art technology and highly-engineered materials into evocative contemporary art. His work is found in many corporate collections, including JBL Sound, Home Savings of America, and the MGM Grand Hotel in Las Vegas.
After spending the last fourteen years in Paris, Richard Clar now resides in Northern California. For more information on his extraordinary artwork, please visit:
RAPID CITY, SD- Professor Travis Kowalski starts most days with a squiggle.
For the past eight years, the South Dakota School of Mines & Technology math professor has carried on a family tradition started by his father, who would ask the young Travis to make a squiggle on a piece of paper. From that squiggle, his father would create a drawing. Often, Kowalski’s father would give him a squiggle and the two would sit together drawing.
Nowadays,
Kowalski uses a napkin and markers in his “squiggle game,” and the
recipients are his two daughters – Liliana, 13, and Maia, 9. Kowalski
says he started the tradition when Liliana was entering kindergarten,
hoping the lunch napkin art would make her transition to school easier.
Each evening or early in the morning, Kowalski encouraged his oldest to draw a squiggle on a napkin. The next morning, he turned the squiggle into colorful drawings and slipped it into her lunch box. Once Maia arrived, Kowalski began doing the same for her. “She expected it,” he says.
It’s
not exactly what most people expect from a math professor at an
engineering and science university. But Kowalski, a Ph.D. who currently
serves as the interim head of the Department of Mathematics at SD Mines,
says math and art co-mingle perfectly.
His drawings range from a buffalo against a bright pink sky (drawn May 6, 2019) to an astronaut in space (Jan. 24, 2019), to Kermit the Frog (Dec. 7, 2018), to the composer Bach at his harpsichord (May 14, 2018). Kowalski posts both the starting squiggle and the finished product on his Facebook and Instagram pages.
The
two social media platforms are filled with vibrant, colorful drawings
often accompanied by clever taglines – a bear holding up a paw and
asking, “I would like some salmon, please” and a praying mantis playing a
video game under the title, “Playing Mantis.”
Known on campus for his colorful Hawaiian shirts and clever math-related ties, Kowalski is the professor whose office walls are covered with unique visual art. He’s the kind of professor who sneaks his labradoodle Cauchy, named after French mathematician Augustin-Louis Cauchy, into class the last day of the semester to play out an obscure (to the general audience at least) mathematics joke. He’s the math teacher who so passionately talks about the subject that even the least math-minded people can’t help but get excited.
And he’s good at what he does in the classroom. So good that Kowalski was recently awarded the 2019 Burton W. Jones Award by the Mathematical Association of America. The award recognizes post-secondary level math instructors nationally who “foster student excitement about mathematics.”
“It’s cool and humbling to be part of that group,” he admits.
Donald
Teets, a Ph.D. professor in the SD Mines math department, is a previous
winner of the award and the person who nominated Kowalski. In his
nomination, Teets writes, “He is, (in this writer’s opinion) the best
teacher in a department devoted to teaching excellence.”
This
is hardly the first recognition for Kowalski, Teets says. In 2014,
Kowalski was awarded the Benard Ennenga Award, which honors one SD Mines
faculty member each year for teaching excellence; and in 2017, he won
the George Polya Award from the Math Association of America for his College Mathematics Journal article, “The Sine of a Single Degree.”
“His
lecture based on ‘The Sine of a Single Degree’ is as good a mathematics
lecture as you will ever see!” Teets wrote in his nomination.
Teets
says the thing that makes Kowalski so good at this job is his
enthusiasm, noting that students consistently rate him on classroom
surveys as “the best math teacher I’ve ever had.” He’s “innovative,”
constantly striving to engage his students and utilize technology into
his teaching, Teets says. “Like Superman wears the big ‘S’ on his chest,
Dr. Kowalski deserves a big ‘I’ for Innovator.”
As
for Kowalski’s artistic talents, Teets is equally as effusive. “As a
person who can barely draw recognizable stick figures, I am in awe of
Travis’s artistic abilities. It’s a great complement to his
extraordinary skills in mathematics!” he says.
Kowalski
grew up in California, raised by a draftsman father and a “crafty”
stepmother. “My dad drew all of the time,” Kowalski says. “That was the
home I grew up in. You drew.”
In college at University of California, Riverside, Kowalski majored in art. To finish off an academic requirement, he enrolled in Calculus 2. A good student in high school, he had already taken an advanced placement Calculus 1 class. He was class valedictorian, but “I worked hard at it. I was not a prodigy,” he says with a laugh.
He
still remembers the Riverside professor’s name who taught his first
college math course – Albert Stralka. He “taught in a way I hadn’t seen
before,” Kowalski says. “There were ideas behind the math.”
When he got an A in that class, the professor convinced him to take Calculus 3.
Next,
the professor suggested he take topology, which is the study of
geometric properties and spatial relations which are unaffected by the
change of shape or size of figures. “It’s the geometry of shapes under
change,” Kolwaski says. “That class blew my mind.”
The
rest is history – after topology Kolwaski changed his major and
embraced a love of mathematics. But he never left his art behind, and
it’s important to understand that the two subjects go hand-in-hand, he
says. “Half of mathematicians do what they do because they think it’s
pretty,” he says of the geometry of math.
As
a math professor at SD Mines, Kolwaski admits that “I still like to sit
and draw things, but I don’t have as much time anymore,” he says.
That’s where his morning squiggle drawings come in.
Each
one of Kowalski’s squiggles for his daughters takes about 15 to 30
minutes from start to finish. “The first part is to see something,” he
says. He spins the napkin around, looking at the squiggle until he
“sees” the picture that will emerge.
Mia
tends to draw extremely elaborate squiggles, sometimes lobbying for a
specific outcome – for instance a unicorn. Other times, his daughters
will bring home requests from friends for specific drawings.
Liliana
has saved all her napkins over the years, storing them in a plastic
container in her room. That made it a little easier for Kowalski when
she came to him recently to say, “What with my school schedule being so
busy and my lunch break so short and closet so full of the ones you’ve
already made me – which I love, thank you – I just don’t think you need
to make me lunch napkins anymore.” Kowalski playfully posted her words
on social media with an image from Boromir’s death from “Fellowship of
the Rings” with arrows sticking from his heart.
Kowalski
says his older daughter relented, most likely after an intervention
from his wife, and is continuing to play the squiggle game. He’s glad,
hoping that both of his daughters will always remember the squiggle game
and maybe even carry it on with their own families one day.
“It’s definitely a great memory about my dad,” he says. “Hopefully it will be the same for them.” For the Silo, Lynn Taylor Rick.
“It’s important in today’s world that we counter all the bad news we read or hear about by savoring positive moments as if our lives depended on it.” So says author/photographer, Kim Weiss, who every days stops to “smell the sunshine” and photographs nature scenes from her 14th story balcony. This daily ritual, now documented in a small gift book and peppered with inspirational words is called Sunrise, Sunset: 52 Weeks of Awe & Gratitude, Weiss’ offering that reminds us that there’s more to life than what the media shows to us. A significant portion of the proceeds from book sales is donated to AVDA – an organization dedicated to helping victims of domestic violence.
“I never thought that my hobby of photographing the sun would turn into my ‘passion project,’ never mind a book,” says photographer/author, Kim Weiss about, Sunrise, Sunset: 52 Weeks of Awe & Gratitude (HCI Books) “Odd as it is to go from publicist to ‘author,’ I was moved to share the sense of awe I get to experience every day from my 14th floor terrace.” Her universally loved sunrises (& sunsets) fill the pages, accompanied by the sage words of inspiring people we admire. Each week commentary from people like Candace Bushnell, Lisa Nichols, Jack Canfield, Joan Halifax, Marty Becker, Marci Shimoff and many, many more complement the visual beauty of the sun rising and setting.
“I’m actually thrilled to see that a growing number of admirers of my photographs have convened on Facebook and Instagram and not only like my pictures but are inspired to post their own,” says Weiss. “We’re many thousands strong and have posts from Nova Scotia to Guam.”
Sunrise, Sunset, (which happens to fit nicely inside a bag, or perch on a nightstand), is the ultimate gift book for saying “thank you,” sharing a blessing, or offering an oasis for spiritual awakening. From sunrise to sunset this book will be a perennial source of inspiration.
ABOUT THE AUTHOR
Kim Weiss (Boynton Beach, FL) has been a publicist in the book industry for many years and coaches other writers aspiring to be bestselling authors. Her love of nature and photography began when she was just a little girl and bloomed into the writer and photographer she is today. From her 14th floor terrace she witnesses the beauty of nature and captures it through the lens of her camera. As a storyteller, Kim has contributed to the hugely popular Chicken Soup for the Soul series and The Ultimate Bird Lover.
You have probably always wanted to write a book. You have probably tried to start writing it several times and gave up. Or maybe you did write it, but it didn’t quite turn out the way you wanted it to. You have most likely been scared and frustrated by the writing process, as well as exhilarated and thrilled. And you probably wondered how you could tell exactly what you wanted to tell, and tell it well.
I’m not going to give you an answer to your burning questions. I’m still searching for it myself. But I will maybe alleviate your pain in sharing with you my own search on the way to telling my stories in the best way I can. After four years of writing full-time, I have turned a corner and am no longer scared. No, this is a lie. I am scared, but being scared no longer stops me. And the answer is simple: study the craft of writing. How? By doing it and by learning how others did it before you.
When I started out, I charged ahead like mad, high on the possibility of writing my very first book and actually doing it. I disregarded rules and channeled my inner self on the page, believing it was true art (not that I understood what that meant). I was fine for a while. But on my fourth book I got lost and quickly finished it because I didn’t know how to make it better. And on my fifth book I got stuck and had to scrap everything and reengineer my entire writing process. Why? Because I ignored the rules. I thought writing was an expression of something intangible and divine that couldn’t be touched lest it be wrecked by such rudimentary and boring things as plotting, theme development, grammar, character arcs, etc. And I was wrong, and maybe because you read these lines you will trust that what I’m sharing with you is true and will spare yourself the pain I went through (or maybe you won’t, but you will remember these lines when you hit rock bottom).
Writing isn’t some nebulous ethereal substance to be caught from the air and randomly spun into a story. Writing is both an art and a craft, and the two can’t be separated from each other. If you’re a painter, you must know the types of paints and brushes you use. What would happen if you didn’t? Same with writing. The boring grammar is not boring at all. It’s a wonderful tool to help you say exactly what you want to say the best way you can. It’s a tool that you have to learn and allow yourself to be awkward with, at first, and keep practicing until you master it, and it becomes a skill that you don’t have to think about.
That frustration we talked about, remember? It comes from the feeling that something isn’t right, but you can’t pinpoint what exactly. Studying the craft of writing will show you what’s wrong and how to fix it. Without it you’ll be lost and tempted to give up.
But there are so many ways to write! You might be thinking. There are writers who plot, and writers who don’t! You’re right, of course. But here is what I’ve learned. Until you study the rules of your craft, you won’t know how to break them. And by not studying the rules at all you’re robbing yourself of a chance to learn how to tell your tale and tell it well. You might get lucky and stumble on it. You might not. Are you willing to spend days, months, years groping around in the dark? That’s what I did, and it’s not an easy road. I nearly quit writing altogether several times, that’s how bad it got.
So where do you start? You start by doing and learning. What do I mean by that? Simple. Start writing your tale. Just start. When you get blocked and don’t know how to proceed, look at what’s stopped you and study it. Read about it. Is it grammar? Revisit your grammar. Is it sentence structure or style? Read about style. Is it your character who gives you trouble? Study how to write characters. Plot problems? Learn about plotting. And so on. You will find that every time you get stuck you will get unstuck, and with new knowledge keep charging forward. You will see that learning how to write well takes time, and you will allow your tale to be bad and awkward and messy, because you will know that it’s normal, and this is what will keep you from quitting. That’s huge. I wish someone told me this when I started.
I had to find out for myself. I hope my telling you this now will keep you from quitting. We need your tale. We want to read it. So tell it. And while doing so, learn how to tell it well. It may be that it’ll take you ten bad tales to arrive at one good one. Or maybe twenty. Or thirty. But never give up. Do and learn, do and learn, and you will get there. And now I’m done telling you my tale about how I learned that to tell my tale well I needed to study how to do it. Your turn.
What do you do when you end up losing everything in a natural disaster? You pick yourself up and really haul the proverbial ass on getting your ducks in a row. One never knows just how blessed you are until it’s all gone.
Just the simple thing of buying towels, toothpaste, toothbrushes and utensils (after losing everything) adds up to hundreds of dollars. But where do you turn when absolutely everything is gone and you spent your last dollar on a house but you literally have nothing to put in it? There are wonderful charities out there to help you get back on your feet such as the Furniture bank of Metro Atlanta. They helped our family with furniture when we lost everything in August of 2017 due to Hurricane Irma and had nothing but our new floor to lay on.
I wanted to give back and so I got an old piece of furniture to ‘redo’ for their February 22nd furniture gala which raises money for their worthwhile foundation. The old furniture I worked on was a 1910 hat rack which at the time of purchase was falling apart. I created two sculptural cathedral agates in paint and resin to go on either side of the turn of the century mirror. I then stripped, sanded, studded, wood burned, wood carved and added leather and succulent gardens at the bottom. After that, I create handmade conchos and metal stars to add a bit of southwest flare. Now the old hat rack is transformed into a southwest jewelry doorless armoire.
For a final touch, I stashed it full of handmade- one of a kind jewelry! In many ways, I feel like I have responded positively to such a tragic event. Remember when tragedy strikes, you have a choice on how you will react and move forward. Art is one of the best ways of digging yourself out of a void.
“The growing flow of digital culture depends on the hidden protocols of its underlying systems. To explore how interfacing shapes spectatorship online, this pioneering study pinpoints experiences of flow through the friction of photo-based glitch art by Phillip Stearns, Rosa Menkman, and Evan Meaney.
Homing in on the viewer, these three cross-disciplinary case studies present and analyze material that is new to the art-historical context. In particular, they focus on how glitched artworks in online environments make viewers aware of their own activity within the flow, causing a break from the increasingly naturalized integration of system and individual.
Mysterious and Beautiful
When a glitch invites the viewer to try out different positions in relation to the system, a tactical spectatorship unfolds.” That’s the introduction text of Vandela Grundell’s book Flow And Friction: On The Tactical Potential Of Interfacing With Glitch Art. In simpler terms, our modern online life utilizes smartphones and digital cameras to not only represent who we are, but to present to others ‘how’ we are.
In the early days of computer, during the great Cold War and its technologically dependent Space Race this was known as a ‘glitch’.
Flow and Friction is a fascinating celebration of the mystery and the beauty that sometimes arises from glitched systems. 238 pages. Recommended. For the Silo, Jarrod Barker.
Daniel Johnston is not a secret anymore. Thirteen years ago, in 2005, director Jeff Feuerzeig released the Sundance award-winning documentary on Johnston’s life “The Devil and Daniel Johnston,” his songs have been covered by renowned artists like Beck, Tom Waits and The Flaming Lips and he has also been featured in the 2006 Whitney Biennial of American Art. It seems that over the past few years the enigma that was Johnston has mutated into a proverbial “cult figure.” However this cliché is an inaccurate description. Where is the line between cult figure and pop culture icon drawn? The common theme found in essays and reviews on Johnston’s work is the examination of his mythology rather than the examination of his work. This type of analysis tends to do more harm than good: the myth swells while the work rusts.
The lack of critical texts on Johnston’s artwork is alarming considering that he has exhibited internationally and in his home country of the United States. Moreover, his work resides in numerous public and private art collections (including my own). Anyone even remotely familiar with Johnston’s work can recognize his assorted cast of unusual characters, symbols and motifs like Jeremiah the Frog (refer to images above and below), Vile Corrupt and the Dead Dog’s Eyeball. The latter image surfaces in Johnston’s early work as a result of a traumatic encounter with exactly that, a dead dog’s eyeball. In the book The Life, Art, and Music of Daniel Johnston, Johnston himself describes a childhood incident where he witnessed a dead dog hanging from a swing set: “He got himself caught on the rope and got hanged. I asked this girl where was her dog and she pointed over at him and said right there.” As the authors of the book point out, the same incident was addressed in lyrics from Johnston’s song “Catie” on the album Fun (1994):
I saw the dog hanging on the swing set
I asked the girl
Where was your doggie at?
I walked on down to see my grandpa yeah!
Well I’ve had a lot of horrors
And I’ve had a lot of fears
But the worst of horror
Is when there’s nothing here
What is fascinating about the reproduction of the dead dog’s eyeball in lyrics and illustrations is that it may be connected to the trauma Johnston experienced when first encountering the dead dog on the swing set. Trauma is characterized by an affective shock that has the capacity to wound the body and the psyche, which in turn causes anxiety, stress and other forms of neurosis. Seeing the dead dog’s eyeball during childhood might have registered trauma in Johnston that affects him well into his adult life and it could have taken the form of an obsession (fig. 4). In one particular drawing from his early work Johnston asks himself in bold text, “WHY DO I KEEP DRAWINGS [sic] THESE SILLY LITTLE EYEBALLS?” Here and elsewhere, the artist is consumed by flashbacks of the dead dog’s eyeball to the extent of being overwhelmed.
While Johnston’s manic depression and schizophrenia have been well-documented—and largely contribute to his mythic status—his encounters with trauma and its relation to his artwork have not. Keeping this idea in mind will help to better understand and appreciate the construction and trajectory of his characters, symbols and motifs. It may be time for writers, critics and scholars to take a step back, allow Johnston’s myth to rust and the impact of his work to swell. He is not a secret anymore. For the Silo, Matthew Ryan Smith, P.H.D.
Tarssa Yazdani and Don Goede, The Life, Art, and Music of Daniel Johnston (San Francisco and Colorado Springs: Smokemuse and Last Gasp, 2006). 33-34.
In her youth, Wendy E. Slater found her greatest gift of expression in poetry- and then went dormant. Years later, on a trip to Scotland, the fount reopened. She had been through a crucible of chronic illness that forever changed her, launching Slater on a quest for meaning and life reexamination. That quest opened a gateway into self-healing that resulted in 20 volumes of simmering, soul-searing and spiritual poetry that deftly points humankind toward a new awareness of our Oneness with all humanity, nature, the cosmos and the divinity.
Slater’s breathtaking dive into self-scouring, cleansing and finally transcendence offers hope for all who have been pulled down by the forces of self-blame, self-judgment and self-sabotage. The beauty of her soothing words and healing revelations clears the way for a new path to life-altering Unity, emerging from the alienation of separation.
Her awakening journey began first in the 1980’a where as a student studying science, she became increasingly aware of the inter-connectedness of all things. Struck down by an undiagnosed chronic illness in 1991 that incapacitated her for five years, she turned to alternative healing techniques when allopathic medicine failed her. This widely ranging exploration of holistic health and spiritual practices opened her eyes to a new way of being, brought forth consistently by healers from all societies and eras- an existence without “the false archetype of perfection.”
Says Slater, today a gifted alternative healer herself: “When blame and self-judgment are transformed, healed and cease to be, we have reawakened without myth, the mythos, of separation.”
It was on that one heart-opening trip to Scotland in 2001, that the poetry coalescing inside of her during that healing period began to pour forth. In subsequent trips to spiritually enriched landscapes, the words found their way to paper. Slater calls her work “Vision Quest” Poetry.
Into the Hearth, Poems-Volume 14, is actually the first of her volumes to reach publication. And it is already a widely-acclaimed Amazon.com #1 Bestseller:
“This is a very dangerous book of songs. You will find yourself overwhelmed, engulfed, and swept away into the very intimate heart fire of Wendy Slater, the feminine heart fire of love, and in the end you will be left in ashes, totally in love without any object whatsoever, yearning for more.: ~ John A. Perks, Author of “The Mahasiddha and His Idiot Servant,” Ven. Seonaidh Perks, Celtic Buddhist lineage
“Wendy E. Slater is that breed of poets who open our eyes, our hearts, and our minds with a warm arm around the shoulder, a sympathetic and empathic delivery that instantly binds the reader to her. These poems, quite simply, are eloquent, not only because they are offered with a desire to invite us to join her on the path to enhanced perception of the world and our place in it, but also because she manages to infuse that sense of spiritual respect that is so often absent in contemporary poetry.” ~Grady Harp, Amazon’s Hall of Fame, a Top 100 Amazon reviewer.
In the Hearth by Wendy E. Slater is available from Amazon.com and also on Kindle. To learn more about “Vision Quest” Poetry visit Traduka.com
My name is Olga and I’m a Virtual Reality VR artist/sculptor based in Toronto,Ontario. In 2016 I was hired by Google to create VR experience for YouTube Plus event. This was my first introduction to Google Tiltbrush. I live painted the Toronto skyline in front of hundreds of people.
Since then I was involved in Google projects and many other events and conferences. My VR works were featured on national media chains such as the CBC and Space Channel. I would very much like to share them with you as well. Since Russian is my native language, I often prefer to speak through video and if a picture is worth a thousand words then a video must be worth even more.
I am very passionate about this new medium. I have talent and humor and would love to work on big VR / AR art project. Perhaps there are others like me, looking to collaborate? I would be happy to hear from you.
If you enjoy French fashion, art and film and coloring books, sharpen your pencil crayons and prepare to be inspired by two French icons of unparalleled creativity: fashion designer Yves Saint Laurent and playwright and filmmaker Jean Cocteau in these two funky adult coloring books.
“The chicest stress reliever ever.” —Buzzfeed
This elegant, imaginative colouring book explores the dynamic, fanciful creations of iconic fashion designer Yves Saint Laurent, who headed the House of Dior at age twenty-one before launching his own design house at age twenty-five.
The book’s line drawings for colouring are based on many of fashion designer’s original sketches for dresses over the years. In these pages, one can see the breadth and versatility of his creations with designs inspired by harlequins and the Carnival of Venice, Pop Art and Mondrian, and the cultures of Asia, Africa, and beyond. Colourists have much breadth and versatility to design creations of their own, with the accompaniment of full-colour photos of the dresses for reference.
This book is produced in conjunction with the Fondation Pierre Berge-Yves Saint Laurent, dedicated to preserving and promoting the history of the House of Yves Saint Laurent.
JEAN COCTEAU COLOURING BOOK
The Jean Cocteau Coloring Book brings the fanciful, elegant world of artist, playwright, and filmmaker Jean Cocteau to life, serving as a primer on the work of this inspiring artist.
As a playwright, Cocteau is best known for The Human Voice (1930); as a filmmaker, he directed Beauty and the Beast (1946) and Orpheus (1948). A prominent member of the Paris avant-garde (1910s), he formed friendships and professional relationships with Picasso, Stravinsky, Gide, and more. His paintings and graphic art were playful, fantastical expressions exploring mythological themes and subjects, personal portraits, and domestic scenes.
Cocteau’s graphic drawings are ready to be coloured in, alongside original illustrations for reference. Also included are images from the original film poster for Beauty and the Beast, playful doodles that Cocteau included in letters to his lover Jean Marais, and drawings of Parisien women, cats, sleeping figures, circus performers, and other figures emanating from Cocteau’s imagination. For the Silo, Cynara Geissler.
Yves Saint Laurent Coloring Book
ISBN: 978-1-551526-39-3
$12.95 list USD | CDN
US distribution by Consortium
Canadian distribution by UTP
Canadian sales by Ampersand Inc.
Jean Cocteau Coloring Book
ISBN:978-1-55156-40-9
$12.95 list USD | CDN
US distribution by Consortium
Canadian distribution by UTP
Canadian sales by Ampersand Inc.
For as long as I can recall, I’ve wanted to write original music, never being a fan of jumping into a covers band and playing someone else’s music. I never understood why anyone would want to, apart from maybe doing a remake or remixing a song. I’ve done a few stints, and have friends currently in covers bands… fantastic players and performers.. and I respect that…. but it’s just not for me. Usually I find that the instruments themselves are the drivers that motivate and provide me with the inspiration for ideas that might eventually become songs on an album. That’s even more relevant now with all the choices one has in electronic instruments, VSTs, DAWS, etc.
Years ago, electronic instruments were far less intuitive and user friendly, but we managed to squeeze every ounce of functionality they offered to break new ground and explore things not otherwise possible on acoustic instruments. With Voice Industrie, I write and produce all the songs, mostly because I know what I’m after, and to a lesser extent because nobody has ever offered to co-write a VI track. I’m not entirely sure how that translates in the grand scheme of things lol…. But here we are six albums into it since 1992.
My name is Alain Levesque and I am primarily a self-taught drummer who “learned his chops” by playing along to Pink Floyd, Yes, Genesis and King Crimson records many years ago. Suffice it to say Bill Bruford quickly became my idol and mentor. I loved how he approached drumming then and right up until the day he retired. I was determined to form or find a prog band to play with until Gary Numan came along and then things changed. I became fascinated with synthesizers and electronic music and began producing crude experimental electronic works in addition to maintaining my role as a drummer/songwriter for a prog trio we named Roboxis. Fast forward to 1992 after a few short-lived projects and solo outings, and the formation of Voice Industrie, which included 2 drummers on electronic pads and 2 keyboardists armed with what resembled an entire music store’s synth department.
Back then “VI” performed live only about 4 times a year, including some very memorable outings with 2Unlimited, KMFDM, Cassandra Complex, Assemblage23, SNFU and many other very good established or upcoming bands. Today, VI consists of a trio that includes a full time drummer on a Simmons SD2000, a keyboardist and myself on Simmons and Nord pads, Keyboards and vocals. We recently held the “Dreams Of Flight” album release in Edmonton and Calgary. While VI has ventured south to the USA, we have yet to travel overseas. Maybe next year?
The Technology We Use And Embrace
In the early days I owned a Star instruments “Synare3” pad and was happy messing about with that, until the Simmons SDSV electronic drums arrived in 1984 everything really opened up. I was able to play melodies on those pads with sticks in hand while holding down the kick/snare back beat with my feet. I could contribute melodies and play harmonies to guitar or keyboard lines. Great fun, until the draw of commercially viable music lured away my mates, and thus Roboxis was to be no more. I continued to acquire synths and Simmons gear as it came available, making the task of creating music from a drummer’s perspective somewhat less difficult, and ultimately managed a decent studio filled with electronic drums, racked modules and keyboard gear.
Through the years the equipment roster has undergone changes and upgrades, but with much of the now vintage gear still serving my needs. The first two VI albums were written on and recorded directly off an Ensoniq ESQ-1 and Ensoniq EPS. A change to Cakewalk DOS (!!) was made at album #4, and I have used a number of DAWs [Digital audio workstations commonly known as ‘recording on a computer or laptop using a software program CP] until really finding my groove with FL Studio and Cubase.
I have a few “go to” VSTs but still draw on sounds generated by vintage outboard gear such as the Simmons SDS7, SDE, MTM, Korg Wavestation, Ensoniq VFX-SD and others for inspiration. I quite enjoy randomly layering multiple instruments with MIDI to see what ensues, like playing the Nord Drum2 and Simmons SD2000 MIDI’d to a VST or Virus TI. I am never quite sure what will ensue. For the past few albums, I have forced myself to toss away familiarity when writing. Only by subjecting oneself to discomfort and unfamiliar territory will one experience unexpected results. This couldn’t be more true with the latest album, where a lot of it emerged from accidents and bending the rules lol. I love that!
Artificially intelligent humanoid robot, Sophia, will make her first comic convention appearance at the first annual Ogden UnCon June 7-9, 2019. Sophia the Robot, the masterpiece of Hanson Robotics (www.hansonrobotics.com), has captivated nations and has become an internet sensation. Sophia has met with world leaders, addressed the United Nations, appeared on TV shows such as The Daily Show and The Tonight Show starring Jimmy Fallon, and has graced the cover of Cosmopolitan, ELLE magazine, and more. Now, this modern marvel is coming to Ogden, Utah to meet her fans and kick off Ogden UnCon’s first event.
Ever since her unveiling in 2016, Sophia has quickly rocketed to stardom. Sophia is Hanson Robotics’ most advanced human-like robot, created by combining breakthrough innovations in robotics, AI, and artistry. The epitome of artificial intelligence, Sophia is endowed with remarkable expressiveness, aesthetics, and interactivity, and can simulate a full range of facial expressions, track and recognize faces, and hold natural conversations with people.
Just like Ogden UnCon, Sophia shares a remarkable, unique and unexpected story that captivates and surprises, making her the perfect headliner for our inaugural year.
“Sophia is the personification of the comic con spirit.” says Russ Adams, Ogden UnCon founder. “She is science fiction, fantasy, technological marvel, and superhero come to life. And we are honored she is making her geek-dom debut at Ogden UnCon.”
Fans attending Ogden UnCon will have the chance to engage with Sophia as she greets them on celebrity row, performs on multiple panels and parties with other celebrities and VIP ticket holders at the UnCon VIP Party. Other celebrities such as Naomi Grossman of American Horror Story, Amy Hill of Preacher, Neil Kaplan of Voltron: Legendary Defenders, and many more who have yet to be announced, also round out the show’s guest list.
“Ogden UnCon is going to be a huge event for Ogden,” shares Ogden Downtown Alliance’s Danielle Collier, “not only will it bring guests to share in all Ogden has to offer, but it will drive our local economy, add excitement in a different realm and create an opportunity to celebrate arts and culture.” This three-day event will bring $700,000 USD in economic impact to local businesses.
Ogden UnCon is focused on bringing unconventional shows, panels, workshops and celebrity guests to Northern Utah. As Ogden’s “Untamed & Unconventional” popular culture con, this convention seeks to inspire and support local artists while entertaining and thrilling our community.
Innagural Ogden UnCon June 7-9, 2019 Ogden Eccles Conference Center 2415 Washington Blvd, Ogden Utah 84401
Tickets for Ogden UnCon go on sale October 1, 2018. To see a full celebrity lineup and purchase tickets visit OgdenUnCon.com. Stay up to date with happenings and announcements by following @OgdenUnCon on Facebook, Twitter and Instagram.
Hanson Robotics Limited (HRL) is an AI company dedicated to research, robotics and the creation of the world’s most realistic humanoids. We quest to create robots with intellect, empathy and wisdom, traits future AI technologies and robots will need in order to solve some of humanity’s toughest problems. Led by renowned roboticist, sculptor and former Disney imagineer David Hanson, HRL recently received the prestigious 2018 Edison Prize for Robotics. For more information, please visithttp://hansonrobotics.com.
Starburns Industries Press, the new publishing division of the studio behind Rick and Morty, is releasing Comics Comics, its most ambitious print project to date. Funded through an August-launching Kickstarter campaign, the Comic-est comics anthology of 2018 comes to readers in October. Comedians love comic books, cartoonists love comedy, and our idiot editor always mixes up comics who tell jokes and comics that have pictures. Now his perpetual confusion has led to the creation of Comics Comics, a quarterly anthology teaming comedy’s best with funny books’ brightest!
Comics Comics is an ongoing collection of original stories written entirely by stand-up comedians and drawn by leading comic industry artists who love comedy. Each issue contains at least 48 pages of brand-new stories written by headliners, cult favorites, and newcomers, drawn by artists from every corner of the comics world, from alternative to underground to superhero, all with the signature Starburns brand of wit that is simultaneously funny, sad, strange and beautiful.
“This series has lived in my head since I used to go to the Stumptown Comics Fest and the Bridgetown Comedy Fest on the same weekend years ago,” idiot editor Brendan Wright said. “I was struck by how much of a convention atmosphere there was at the after-hours open mics at Bridgetown, and starting this project and seeing how many comedians had favorite cartoonists they wanted to work with and how many cartoonists knew great comedians they could introduce to us made bringing together stand-up and comic books feels even more natural than I’d imagined.”
Comics Comics features such voices as Patton Oswalt (MST3K, Happy!), Paul Scheer (How Did This Get Made?, The League), Sam Jay (SNL), Jackie Kashian (The Dork Forest), Quinta Brunson (Broke, Up for Adoption), Megan Koester (Coming to the Stage, Corporate), Sara Benincasa (Real Artists Have Day Jobs), Carolyn Main (Pitch, Please!), Eliot Rahal (New Comic Book Day), Rose Matafeo (Funny Girls), Nick Giovannetti (Bad Guys), with more announced throughout the campaign. SBI Press gave comedians the freedom to write whatever they wanted, in any genre—comedy or not—and they took us up on it! Delivering slices of life, flights of fancy, and journeys into genre, all with the unique worldview of people who stand in front of crowds and dissect the world into a microphone for a living.
Teaming up to make these stories into comics are such comedy fans as Troy Nixey (Vinegar Teeth, The Black Sinister), Robert Hack (Chilling Tales of Sabrina), Evan Dorkin (Milk and Cheese, Bill and Ted’s Excellent Comic Book), Rick Altergott (Vice, Cracked), Brent Schoonover (Gregory Graves), Sarah Burrini (Nerd Girl), and more, with double threats like comedian/cartoonist Carolyn Main writing and drawing! A set of Kickstarter-exclusive covers are painted by cartoonist and HBO artist Richard P. Clark (The Boys, House of Gold & Bones).
The Comics Comics Kickstarter launches August 20 and continues through September 19. Backers can score individual copies of the comic in print and digital, as well as Kickstarter exclusives such as a hardcover version, prints, and other unique, limited-edition items. If you miss the Kickstarter, the book will be available in local comic shops, available to order through Diamond Previews and the Starburns Industries store. Comic book fans and comedy buffs alike can get a head start on the Kickstarter campaign by bookmarking ComicsComicsKickstarter.com.
ABOUT STARBURNS INDUSTRIES
Starburns Industries is an innovative and imaginative full-service production company, specializing in stop-motion, traditional 2D, and CG animation as well as live-action production. Starburns is a creator driven studio, whose founders are responsible for the creation of Adult Swim series like “Morel Orel”, “Mary Shelley’s Frankenhole” and “Rick & Morty”; as well as the Academy Award nominated animated film “Anomalisa” and the upcoming Netflix animated feature film “Bubbles”.
“The way to read a fairy tale is to throw yourself in.” ― W.H. Auden
“In a utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected.” (Frauds on the Fairies, 1853)” ― Charles Dickens, Works of Charles Dickens
“If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” ― Albert Einstein
I was “that child”, the one who wanted fairy tales and magic to be real. As far back as I can remember I dreamed about having supernatural powers (always good of course…well, almost always) having carpets that flew, potions that could transform anyone or anything, the ability to speak to animals. I never understood why Darren and Samantha worked so hard at concealment. Or why Jeannie didn’t dump the Major and go back to live with the Djinn….I mean, LOOK at the decor!!!! Who wouldn’t rather have scarves and pillows and elaborate brass lamps instead of that godawful avocado and mustard vibe?
Books fueled this. Small witches, talking mice, flying nannies, rings and boxes and mysterious rooms and islands all combined in a grand and glorious stew. Why couldn’t I have a wizard for a teacher? (maybe I would have learned math) Why couldn’t bullies simply be turned into flowerpots? Alas, eventually the adulting creeps in. And people stop being indulgent about your whimsy. And your imagination….
You stop inviting your friends over to play make believe. Or, at least, they stop accepting. And you are encouraged to put away childish things. To accumulate the right kind of books….improving books. High tone books. Books with Purpose. The wishing frogs and tall towers and magic mirrors are packed away… Book Snobbery. Where Fantasy books in the annoying “Y.A.” category are barely tolerated. Stuff and Nonsense.(keeping it G rated here. I expect points…) Children should be encouraged to read whatever they want and adults should enjoy the same free pass. You should be proud of displaying your book on the bus whether you are reading Kafka or Twilight. There are life lessons to be found in fantasy. Fairy tales teach you that sometimes bad things do happen. (The original version of some of the most beloved and well known can be a bit brutal.
For example, the Ugly Stepsisters in Cinderella actually cut their toes off to fit into the slipper. Kiddiewinkle Disney this ain’t.. ) But good and kind usually triumph. Sometimes help can come from unexpected areas. And there is always a way out of the woods. I do live in the real world. Drive. Work. Pay taxes. Cook, clean, shop. Watch the political situation (although “real” and politics lately….never mind) When I sit at a stop light I do not think a gnome is changing the colors. I rarely look for dragons. But I still yearn for them. Magic is everywhere and everything. It may not have glittery wings, it may not be vanquished with a sword, there might not be a house dropped on it or a incantation spoken…..but it is here.
Writers poets, artists, storytellers; all know this on some level. Even if we disguise it.The human imagination is ancient. The roots of stories are found far back in oral traditions and the tales were only modified later to make them illustrations of good versus evil. We do research, we discuss, we delve and write learned papers. We collect quotes and materials, and most importantly buy the books buy the books buy the books…. Books are the real magic. The tangible, in your hands, in your face, take you wherever you want to go – Magic. Read it. Whatever the cover, whatever the rating.
If you like it, read it. Do not let any house of cards pompous proclamation tell you it’s wrong. Secretly we are looking for the elves. We want there to be fairies in the garden. We never see a shooting star without wishing. And if you are very, very lucky. You will never lose that. For the Silo, Jaye Tomas.
Study after study has shown that arts education nurtures students’ creativity and problem-solving skills, competencies that are critical for success in a 21st Century world, but how does dance and movement facilitate healing and transform at-risk youth?
New York’s Battery Dance launched its Dancing to Connect programs in 2006. Since that time, the program has spread to 6 continents, 50 countries, 100 cities, and 1,000 schools. A powerful new documentary by Wilderness Films follows six dancers from the dance company from India to Eastern Europe to the Korean Peninsula to the Middle East as they support vulnerable youth helping them to express themselves through movement. The film focuses on the struggles, frustrations, resilience and ultimate transformation of the students and their dance teachers.
Producer Cornelia Ravenal says that as a trauma survivor she understood the power of art to “heal and transform.” Ravenal along with husband partner Mikael Södersten collaborated with Battery Dance Founder Jonathan Hollander to create the documentary because she believed this was a story that had to be told. As global populations continue to grow, migration and increasing social and cultural diversity are reshaping classrooms worldwide. Solutions for integrating and uniting peoples from diverse cultural backgrounds are now sought by schools and communities all over the globe. Hollander believes that “no divide has been too great for the art of dance, the primacy of movement, the common humanity, and expression, to span.”
Battery Dance performs on the world’s stages, teaches, presents, and advocates for the field of dance. The Company is dedicated to the pursuit of artistic excellence and the availability of the Arts to everyone. Battery Dance has produced over 100 original dance works choreographed by its founder and artistic director Jonathan Hollander, in collaboration with a diverse array of composers and designers, and its cast of outstanding dancers.
CMRubinWorld launched in 2010 to explore what kind of education would prepare students to succeed in a rapidly changing globalized world. Its award-winning series, The Global Search for Education, is a celebrated trailblazer in the renaissance of the 21st century, and occupies a special place in the pulse of key issues facing every nation and the collective future of all children. It connects today’s top thought leaders with a diverse global audience of parents, students and educators. Its highly readable platform allows for discourse concerning our highest ideals and the sustainable solutions we must engineer to achieve them. C. M. Rubin has produced over 700 interviews and articles discussing an expansive array of topics under a singular vision: when it comes to the world of children, there is always more work to be done. For the Silo, David Wine.
Many have been humbled simply standing in a darkened field and looking to the stars. Indeed the great thinkers of the many generations that have come and gone are regarded as giants when in fact they were merely humans dropped to their knees by the wonder that is the universe all around us. There is as much wonder in a blade of grass as there is in a cosmic nebula, as much mystery in a drop of water as in the dark matter we yet fail to comprehend.
James Hart Dyke is based in Brighton, England nestled between the water and the south downs. In his studio he works largely on commissions. Last November Hart Dyke traveled to Patagonia and is now painting mountain landscapes from this trip for an exhibition in London at the end of the year. Landscapes are his life’s work and his love for the art form has infused his life and career with adventure and physicality as he climbs and hikes the places he later paints. “Enduring the landscape in some way, I find that combination of painting and physicality very exciting…it’s what my painting is about, really,” he says. Hart Dyke has been embedded with British forces in war zones on commission from the UK military. In Baghdad he painted while two soldiers stood guard. This tradition of bringing artists along to paint is long standing and important to the regiments of the UK. The work created is kept in the collections of the individual regiments and displayed in the mess hall, documenting the history of each for the soldiers to witness. The tradition dates back before photography when artists were the only window to a visual representation of the action of the battlefield.
Artists’ representations of war convey more than just the actual imagery of what is going on before them. The emotions of the situation are infused into the work, as well. Hart Dyke has had an unusual career. His work has led him to a position as artist in residence for the British Secret Intelligence Service as well as to work for the Royal Family. For the British Secret Intelligence Service, Hart Dyke helped to commemorate the centenary by documenting things in paint. As an artist he was able to venture where photographers could not go due to the highly sensitive nature of the work done there. His paintings from this series are quite surreal, a nod to the rather unusual nature of the work the British Secret Intelligence Service does. Hart Dyke studied architecture which he is still passionate about despite eventually moving to painting. His entrance into the painting world began with commissioned paintings of buildings. In reality, Hart Dyke began painting at the age of eight and despite his foray into architecture he never truly gave it up. There was inevitability to his career as a painter. Because of the physical nature of his process, art has become in a very real sense James Hart Dyke’s sport. To hear more about this, James Hart Dyke’s unusual career, and about the tradition of artists on the battlefield, listen to the complete interview.
Kambui Olujimi recently exhibited work titled Red Shift. The title refers to celestial bodies in space that cannot be seen because of shifts in the spectrum of light. Through this lens, Olujimi contemplated the mythology of whiteness as an unseen force. Olujimi describes how the mythological space of whiteness plays out in the physical world through policy, allocation of resources, and myriad other ways. He references descriptions of mass shooters as “lone shooters” in a way that removes them from the space of violence pervasive in the US. Presidential assassins are another example. These two groups of predominantly white men are somehow isolated, removed from the larger conversation about violence in the US creating a Red Shift that in a sense conceals them from the rest of the data.
For the exhibition, Olujimi created collages from news imagery of the alt-right coupled with drawings. Olujimi’s current project centers on fragmentation of identity. His love of films informs this work. In particular he references the accidental announcement of La La Land for Best Picture in 2017 when in fact the film Moonlight claimed that title. His concept deconstructs and reassembles that moment, elongating it and examining the feeling of elation followed by crushing deflation. “A lot of my work is around these things that I call inevitabilities…I’m interested in bringing those inevitabilities out of the space of the implicit. Once you give them shape and weight and gravity and start to manifest them in some way, the incongruities and absurdities, the surreal aspects all become very evident and we are able to become more critical of them in that space.” It is these gaps, these “moments of silence” that inform Olujimi’s work. To hear more about this powerful art, listen to the complete interview.For the Silo, Brainard Carey.
Featured image- Mercy Doesn’t Grow On Trees, 2016 Wood, glass, hair, gold leaf, ratchet straps 150 x 48 x 30 inches
The Niagara Artists Centre’s (NAC) 2014 STRUTT Wearable Art Show was outlandish, bizarre and like nothing you’d ever seen before. STRUTT took place on November 22, 2014 at the WS Tyler Factory in St. Catharines, ON. Doors opened at 8 p.m. for the first edition of the Niagara Exotic Bazaar and the runway show began at 9 p.m. The show showcased over 40 pieces of wearable art performed by acrobats, aerialists and break-dancers to a live musical score performed by Chiac hip-hopper sensations, Radio Radio. The runway show will also include the debut performance of the mini trip-hopera, Unstrung, featuring music by Paradise Animals,contemporary hip-hop dance troupe Bboyizm, and remarkable masks created by local artist, Clelia Scala. The event website is www.struttwearableartshow.ca.
“We pack a whack of WTF into this thing. We don’t care who you are, or where you’re from, you come to STRUTT and you’ll get your head spun,” says NAC’s Minister of Energy, Minds, and Resources, Stephen Remus. “The artists make fantastic work, the performers tear it up, and we turn the factory into a hedonist’s palace. I don’t think it can be doubted, STRUTT’s the single annual occasion where Niagara genuinely surprises itself.”
STRUTT was a surreal party scene where the absurd is commonplace. As Doug Herod of the St. Catharines Standard reflects, “STRUTT rocks! STRUTT is a wearable art show, but that description doesn’t do it justice. It’s music, it’s entertainment, it’s theatre — and a lot of fun.”
In addition to the runway show, STRUTT included the Niagara Exotic Bazaar, a showcase of all that’s weird and wonderful and originating in Niagara, from wine to designer clothing to glassware. The Niagara Exotic Bazzar was sponsored by Shannon Passero and co-presented by NAC and the Garden City Food Co-op.
Occasionally I will have a Maud Lewis painting displayed for sale in my shop, and it is sometimes interesting to get people’s reactions to a $6,000 painting that at first glance looks like their 12 year old niece painted it. “My goodness will you look at that,” and some covered up snickering, pretty well expresses their complete disbelief that something so simple could possibly be worth so much money.
Sometimes I give a brief description of the circumstances of her simple Nova Scotia life, and add fuel to the fire by informing them that while she was alive she sold paintings for 12 to 15 dollars from her tiny house by the side of the road. I then suggest it is probably simplest to think in terms of supply and demand. The supply of these paintings has stopped since her death in 1970, and there are many more people wanting them than there are paintings available. This of course skirts the main issue: how could anything like this be desirable in the first place? To find the answer you have to go a lot deeper.
Beauty is in the eye of the beholder, and for some people—I include myself in this group—great value is placed on anything that manages to capture, or in some way manifest, beauty. I do not mean “pretty picture” beauty here. I mean creations that celebrate existence, or connect to a greater truth. I mean something that has energy.
This energy can be found in the works of trained and untrained artists alike. The real value in truly great works of art is in experiencing them, and in doing so being educated and transformed by them. Understanding beauty is our salvation. Money really just confuses the issue. Put in relative terms: $4 million for a Tom Thompson and $6,000 for a Maud Lewis—the Lewis is still cheap. For the Silo, Phil Ross.
THE CASE OF ALAN TURING: THE EXTRAORDINARY AND TRAGIC STORY OF THE LEGENDARY CODEBREAKERAn intimate graphic novel biography of Alan Turing the heroic British codebreaker of World War II, a brilliant gay man living in an intolerant world.He was recruited by the British government to help decipher messages sent by Nazi Germany’s Enigma machines during World War II.
Turing’s work was instrumental in saving countless lives, millions in goods and merchandise, and is estimated to have shortened the war in Europe by four years.The specifics of Turing’s work at Hut 8 were only recently made available to the public—they were declassified in 2012. Authors Liberge and Delalande use this new information to create a graphic biography that is both scientifically rigorous, moving, and accessible. Story by Eric Liberge Illustrated by Arnaud Delalande Translated by David Homel
BECOMING UNBECOMINGby UNA This extraordinary graphic novel is part survivor memoir, part true crime story and a denunciation of sexual violence against women. As seen through the eyes of a twelve-year-old girl named Una, it takes place in northern England in 1977, as the Yorkshire Ripper, a serial killer of women, is on the loose and creating panic among the townspeople.
Becoming Unbecoming explores what it means to grow up a girl in a global rape culture where male violence largely goes unpunished and unquestioned. Through image and text, Una questions and challenges a media and broader society who allow a serial killer, Peter Sutcliffe, to become a “fascination,” while the women he murdered are barely remembered.
UNA (a pseudonym) is an artist, academic, and comics creator. Her self published graphic narratives have explored disability, psychosis, political activism, and violence against women and girls. Becoming Unbecoming, which took seven years to create, is her first book. She lives in the U.K. unacomics.com
AVAILABLE NOVEMBER 2016 ISBN 978-1-55152-647-8 6 x 9 | 280 pp | reinforced paper full-colour throughout $26.95 USD/CAN Published by Arsenal Pulp Press US sales & Distribution by Consortium www.cbsd.com Canadian sales by Ampersand Distribution in Canada by UTP
SUCH A LOVELY LITTLE WARSAIGON 1961-63Written and drawn by Marcelino TruongTranslated by David Homel
This riveting, beautifully produced graphic memoir tells the story of the early years of the Vietnam war as seen through the eyes of a young boy named Marco, the son of a Vietnamese diplomat and his French wife.
Marco’s father is called back to Saigon in 1961, where he becomes Prime Minister Ngo Dinh Diem’s personal interpreter. As the growing conflict between North and South intensifies, so too does turmoil within Marco’s family; his mother’s manic and depressive episodes (she suffers from bipolar disorder) escalate and increase. MARCELINO TRUONG is an illustrator, painter, and author. The son of a Vietnamese diplomat in 1957 in the Philippines, he and his family moved to America (where his father worked for the embassy), then to Vietnam at the outset of the war. He attended the French Lycée in London, then moved to Paris to earn degrees in law at the Paris Institute of Political Studies, and English literature at the Sorbonne.
ISBN 978-1-55152-650-9 9x 11 | 101 pp | paper over board | full-color throughout $23.95 USD/CAN Published by Arsenal Pulp Press US sales & Distribution by Consortium www.cbsd.com Canadian sales by Ampersand Distribution in Canada by UTP
Recently, one of my readers wrote that “there is another kind of generosity that comes much harder to me. I know I shouldn’t be stingy in this way, but I find myself stubbornly so. It’s the generosity of sharing my ideas, my connections, or giving a leg up to those who could benefit sometimes from my knowledge – whether that’s contacts, networks, tips, or the meat of my ideas themselves.”
This concern, of course, is not unique and strikes at the heart of something that all those in creative professions fear and must face. The ownership of ideas is difficult to prove. If you tell someone your plan in confidence and they, in turn, use it for their own purposes, there is very little you can do to show that you are the originator. Spreading this rumor is likely to make you look like the bad guy. It’s no wonder that this sort of generosity is cause for concern.
Arguably, no one would really offer up their original ideas before they have been fleshed out and no one would expect this from another artist. Talking about work in progress in general terms is one thing, but detailing the entire plan is another altogether. There is nothing wrong with being a little protective of your creative capital, it is the lifeblood of what you do.
But what about sharing your networks or some trade secrets that helped you get to where you are today? While you may have worked tooth and nail for everything you’ve gained, there were surely people along the way who said yes at the right moment and assisted your progress. No one can ask more than this, and as an artist of a certain standing, there is nothing wrong with offering this sort of help.
It’s important to ask yourself what you may gain or lose by offering your assistance in any way. While this may not sound like a very altruistic way of thinking, remember that you are indeed running a business and there is nothing wrong with a bit of shrewd thinking. Further, though, when you stop and think about the outcome of sharing your network, it is unlikely that helping an emerging artist by introducing people who might be able to help will in any way affect your position as a more established artist.
No one exists in a vacuum. Even you, who may have scraped and fought your way to where you are today, benefited from the acceptance and help of others. Sure, you may have pounded the pavement endlessly in order to secure your position but that is no reason not to pay forward the success you have achieved. It is too easy to forget, once you have achieved a certain status, the myriad small moments that led you there. While it may seem as though hardly anyone was out to help you in the early days, surely there were some, otherwise you could not be where you are today. Even if it was just a few gallerists who were finally willing to take a chance, there are always rungs of assistance in the ladder to every success, no matter how small.
In our present times, we live in a world where community is very much at our fingertips. The rules of social engagement have definitely changed. This is both a benefit and a burden. While the new landscape of online social engagement can absolutely open up opportunities that didn’t exist prior to this revolution in social connection, the online community can also present a world of its own difficulties. It is impossible to know who you are actually dealing with and with virtually everyone in the entire art world present online, it can easily overwhelm a newcomer to the scene.
For these reasons, there is a lot to be said for good old-fashioned face-to-face interaction. Being the sort of artist who is willing to mentor in the real world sets you apart. Establishing this sort of reputation, for being the one who will gladly share the bounty you have created, seldom reverses one’s own success and frequently opens new doors you may never have considered.
Getting back to the idea of sharing artistic ideas and concepts, this is a bit trickier. As I said before, it may be unwise to give away your nascent, unfruited plans to just anyone. On the other hand, allowing others to view works in progress isn’t likely to cause too much harm.
Arguably, there is no such thing as original art. Even some of the most contemporary artists’ work is derivative of past creations. Marina Abramovic, in her unique style, has absolutely drawn from (and occasionally been accused of copying) works by other artists. Pablo Picasso (and perhaps more famously, Steve Jobs who quoted him) said, “good artists copy, great artists steal.” This doesn’t mean that you should open yourself up to idea theft, but it does mean that perhaps being stingy with your concepts, your network, your position as an established artist, doesn’t count for as much security as you might think. Be smart about things, but in general, it is always a good idea to reach down the ladder and help those coming up behind you find the next rung. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.
“The most effective way to destroy people is to deny and obliterate their own understanding of their history.” -George Orwell
The facts of the past cannot be objectively altered regardless of belief or opinion. They can, however, be tainted by those wishing to assume power. It is critical that we understand the past as it happened and do not allow the view to be obscured. Only in this way can we ensure that we do not repeat the mistakes of our forebearers, only in this way do we as a society learn and move on from our past transgressions. Those who would revise the past must be confronted with resistance and overcome with the truth. We are bound by our ancestors to carry their truth along the banks of the future no matter how heavy the burden may be.
Aura Rosenberg is based in New York City and Berlin, Germany. Since 1993 she has worked on a project titled Berlin Childhood. Over the years the project has taken on many forms including a published book, souvenirs of Berlin’s Victory Column, photographs, and a film. The title comes from a series of texts by Walter Benjamin written during his exile from Berlin in the 1930s. Rosenberg began creating a photograph to correspond with each text which Benjamin wrote in order to combat his homesickness during exile. Chantal Benjamin, the granddaughter of Walter Benjamin moved to Berlin and contacted Rosenberg. The two became friends and Rosenberg began filming Benjamin and her daughter around the city also in correspondence with the original texts. Presently Rosenberg is editing her archive of footage and recording a narrative soundtrack of Walter Benjamin’s great-granddaughter reading his texts aloud. Rosenberg also creates work based on themes of sexuality. One of her current project is a continuation of an older work titled Porn Rock.
Vid Ingelevics is a Canadian artist. Much of his work examines representations of the past. His current long form project titled Freedom Rocks focuses on the history of the Berlin Wall since its removal in 1989. Ingelevics began researching what happened to the wall after it fell and discovered pieces of it across the world including in the United States and Canada. Initially, Ingelevics and his collaborator went to Washington, D.C. to learn about the movement of the remains of the wall. In the years following the removal of the wall there was a strong market for fragments. Pieces of the Berlin Wall now appear in the most unlikely corners of the world. Ingelevics work looks at why fragments of the Berlin Wall move around the world and who pays for this as well as putting the wall in the context of history rather than relegating it solely to the realm of political symbolism. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.
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Featured image- “Touching the Wall”, Berlin, 2014. From the larger project, Freedom Rocks, a collaboration between Vid Ingelevics & Blake Fitzpatrick begun in 2004 that explores the post-1989 history of the Berlin Wall.