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Memorializing Your Pet in Oils and Bronze

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Every male tennis star seems to have a beautiful girlfriend or wife cheering him on from the visitor's box, and the Scot Andy Murray is no different. Kimberly Sears looks pleased when Murray hits a winner and hang-dog when he shanks a ball, and she is beautiful. One more thing about her, she also paints portraits of dogs and cats.

Portraits. Not just pictures of imagined or found dogs and cats but specific pets whom their owners want memorialized in a painting, and she receives commissions. Are you more surprised that an athlete's girlfriend has other talents than just looking beautiful or that pet portraiture is an actual career?

The attention she has received through her association with Murray undoubtedly has been a double-edged sword, as it has brought her considerable recognition from monied pet owners, but much of her time gets spent on the road cheering on her man, which limits her time to paint. Ms. Sears seems well aware of the dilemma. "I view my painting first and foremost as a hobby," she notes on her website (www.kimsears.com), "which has fortunately grown enough for me to take more seriously."

On the gallery page of her website, it is dogs. Cocker spaniels, bulldogs, Labradors, Weimaraners and terriers, as well as the occasional cat and horse. There also a landscape or two and a close-up of strawberries, but dogs are closer to her heart. Kimberly becomes Kim on her website, and she is pictured hugging her border terriers Mayhem and Rascal, and she also reports owning some goldfish, Gary and Gabriella. (I hope that someone is tending to them while she is away.)

When she gets back to her studio isn't fully up to her, but let's talk about pet portraiture, a subset of the larger portraiture industry. We more quickly associate portraiture with humans, mostly older males dressed in dark suits painted with dark backgrounds. Those men tend to be university presidents, corporation founders and presidents, U.S. presidents and state governors, federal agency secretaries, law firm senior partners, Supreme Court judges and hospital benefactors -- people dripping with success -- whose retirements are celebrated by stately dinners and the commissioning of a portrait, which will hang next to those of their predecessors. Take a walk down the long Cross Hall in the White House to see portraits of all the presidents before Barack Obama (his will be painted after he leaves office) or, if you don't want to travel that far, to the Harvard Club on West 44th Street in Manhattan where the walls are filled with portraits of Harvard University presidents.

"Many of the portrait commissions we receive are for important people," said Beverly B. McNeil, one of the three co-owners of Portraits, Inc., which has showrooms in New York City, North Carolina and Alabama, "but we commission quite a lot of pets." Of the 175 portraitists that Portraits, Inc. represents, McNeil noted, five or six specialize in animals, although many of the others will include a pet, when it is a parent commissioning a portrait of a child or whole family.
That requires versatility on the part of the artist, if for no other reason than the fact that an animal's anatomy is quite different than that of a human. "I would be comfortable painting an animal," said Daniel Greene, an artist in North Salem, New York, who has done portraits of numerous luminaries in business, government, the arts and the military and teaches workshops for wannabe portraitists. "Years ago, I had cats and did a number of pastels of them, so when I was commissioned to do a portrait of a young girl holding a cat I felt pretty confident doing it." Otherwise, he directs prospective clients to other portrait artists who more regularly paint pets.
"There are families and people who love their pets," McNeil said, adding that some portraits are of "pets that have passed away, and the portrait is a kind of remembrance." Dogs are the largest subject of pet portraiture, followed by horses, while cats are a distant third.

The price of portrait commissions generally at Portraits, Inc. runs between $5,000 and $100,000, "and it can be higher if more than one person is in it," while pet portraits run in the $3,000-8,000 range. The cost spread gets wider still for those commissioning a pet portrait through the Charleston, South Carolina-based Dog and Horse Fine Art & Portraiture gallery, which represents "more than 30 artists across the United States and Europe," according to owner Jaynie Spector. Prices range from $300 for a 5" x 7" oil study to $80,000 for a large-scale painting by one of their better-known artists (you haven't heard of them).

With both Portraits, Inc. and Dog and Horse Fine Art & Portraiture, the costs may go higher if the artist needs to travel to sketch or take photographs of the pet in question, although pet portraiture largely relies on photographs taken by owners that are sent to the artists. Especially if the animal has passed away.

Spector stated that her gallery is unique for the variety of artistic styles employed by the artists it represents. "It's not just realistic representational, although there is that. We also have more modern abstract or looser and painterly." Dogs and horses are the principal pets being commemorated, but orders for birds and cats have come in. "Someone once painted a lizard, and we had a painting with a frog in it."

There is anxiety inherent in every type of art. Gallery artists exhibit works that they hope other people will appreciate or just consider art (critic Harold Rosenberg referred to the "anxious object" in this context), while graffiti artists create images that they want viewers to see as something other than more urban blight. Portrait painters of people may give themselves a certain artistic license through interpreting their subjects (Simmie Knox's portrait of Supreme Court Justice Thurgood Marshall, for instance, shows him smiling, which he rarely did in any photograph), but pet portraitists simply have to get it exactly right. "Cats kind of look alike, but they have a certain spot that you have to get just so," Spector said. The worst, she claimed, are "designer dogs," such as Labradoodles, which can cause endless headaches. Even worse than watching Andy Murray shank a forehand.

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Yari Ostovany at Stanford Art Spaces

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Chelleneshin #21, oil on canvas, 30 x 22 inches


The paintings of Yari Ostovany, now on view at Stanford University's Paul G. Allen building, are stylistically related to works by second-generation American Abstract Expressionists -- for example Helen Frankenthaler and Jules Olitski -- but as curator DeWitt Cheng notes, they also are inspired by and refer to the artist's Iranian cultural background. For example, the title of Ostovany's painting Chelleneshin refers to a period of solitude:

Chelleneshin is a compound word in Persian consisting of the words Chelleh; which describes a period of forty days; and Neshin, which literally means sitting. It refers to a seeker going into solitude for a period of forty days and forty nights to pray and meditate. In several mystical traditions, The Cycle of Forty is a common duration needed for spiritual metamorphosis and transitions to another, transcendent dimension.


Ostovany's interest in and ability to reference culture strikes DeWitt Cheng, who organized the exhibition, as admirable:

"I find his seriousness about spirituality and his cultural heritage interesting and inspiring. I wish that more artists today took it upon themselves to attain a modicum of cultural literacy both inside and outside of their disciplines/professions. And Yari makes beautiful, gutsy paintings too."

I recently interviewed Yari Ostovany and asked him both about his background and his art.

John Seed Interviews Yari Ostovany

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Yari Ostovany


What can you tell me about growing up in Iran? Were you always artistic?

My father's love of music (both western classical and Persian classical music) meant that music was always filing the air in our house when I was growing up.

My first love was poetry, modern Persian poetry to be precise. When I was 14 a friend of mine who had started taking painting classes encouraged me to do so as well saying that she thought it wold suit my temperament perfectly.

My first art class was a Tehran University extension class while I was still in high school (my sophomore year). I was hooked. Gallery hoping in Tehran became my favorite pastime and the newly built Tehran Museum of Contemporary Art my hangout.

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The Third Script, #30, oil on canvas, 36 x 36 inches


Tell me about your studies in Nevada and San Francisco.

I did my undergraduate work in Northern Nevada (University of Nevada in Reno) and my graduate work at the San Francisco Art Institute. I was fortunate enough to cross paths with some wonderful teachers in both places. I think living in Northern Nevada instill a sense of space, a sense of vastness in ones work.

How did your art develop while you lived in Cologne?

I maintained a studio at first in Merten (halfway between Cologne and Bonn) and then in Cologne proper. I work on many pieces at the same time and so change manifests itself slowly in my work, so I can't quite put my finger on exactly how living there affected my work.

Have you had any important mentors?

I have been fortunate to have two outstanding mentors, both from the San Francisco Art Institute; the late Carlos Villa and Jeremy Morgan whom I continue to learn from still.

Tell me about some of the poetic sources that inspire your current work.

For me it is not about any specific poetic sources. I am interested in the non-linear and in general it is the lyrical and poetic quality in things that draws me towards them. I suspend myself in an atmosphere, a feeling and let it wash over me. True, occasionally a book or the oeuvre of an author or an artist kindles a creative spark (flow) as in the work of John Berger whose sensibility I connect with in a very direct way but for the most part it is the general atmosphere of a piece for example Attar's Conference of the Birds or Beethoven's Grosse Fuge.

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Conference of the Birds #55, oil on canvas, 30 x 30 inches


Can you describe some of your working methods?

I approach my work in the studio with as much of a Zen beginner's mind as possible, quieting the mind, connecting to a greater energy and using the energy of the gravity of the earth to push and move paint. There is a lot of pushing and pulling of paint using traditional as well as non traditional tools.

I start with gestural marks (sometimes calligraphic-based), solid forms and shapes which then begin to disintegrate as the layers explode and implode, are added, rubbed out, re-applied, scoured into and scraped away and built back up, expanding and developing in a rhizome like, lateral structure until the distinction between the foreground and the background and the spatial hierarchy begin to dissolve - somewhat akin to layers of memory - and give way to another, ephemeral sense of form and visual phenomena.

Are there any living artists that you admire?

Too numerous to mention but to name a few Gerhard Richter, Pat Steir, Tony Magar, Anselm Keifer, ...

What are your interests outside of art?

Music (mostly classical, jazz and world music) philosophy, mysticism, literature and theater.

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Yari Ostovany: photo by DeWitt Cheng


Exhibition Information:

Two concurrent solo exhibitions, Numinous, by Yari Ostovany and We Will Never Not Have Been by Jamie Bollenbach, will both be on view through July 10th in The Center for Integrated Systems of the Paul G. Allen Building, Stanford University. The exhibitions continue in the adjacent David W. Packard Electrical Engineering Building.

For a map and directions, visit the Stanford Art Spaces Facebook Page

About Stanford Art Spaces

Stanford Art Spaces is an exhibition program serving the Paul G. Allen Building, housing the Center for Integrated Systems, the program's longtime sponsor, and the David W. Packard Electrical Engineering Building, with smaller venues located throughout campus. All are open during normal weekday business hours. For further information, or to arrange a tour, please contact Curator DeWitt Cheng at 650-725-3622 or dewittc@stanford.edu.

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Welcome the 69th Annual TONY Awards Winners (PHOTOS)

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Photo Credits: Stephen Sorokoff

It was a evening of stars at the 69th Annual TONY Awards last night, with some surprise wins -- rather, vindication for dedicated fans who were excited to see favorites win across categories including Best Musical (Fun Home), Best Performance by a Leading Actress in a Musical (Kelli O'Hara, The King & I), Best Performance by a Leading Actress in a Play (Helen Mirren, The Audience), and Best Performance by an Actor in a Featured Role in a Musical (Christian Borle, Something Rotten).

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Skip below the story for photos from the exclusive winners room

The little musical that could, which began at the Public Theater in SoHo and has now swept the TONY Awards just a year later, Fun Home also took home the award for Best Performance By an Actor in a Leading Role in a Musical (Michael Cerveris), Best Direction of a Musical (Sam Gold), Best Book of a Musical (Lisa Kron), and Best Original Score (Lisa Kron, Jeanine Tesori).

Among the upsets, however, was Chita Rivera's loss to Kelli O'Hara (both of whom were considered front runners) in Kander and Ebb's final musical, The Visit. There was also a near total snub of Something Rotten with the exception of the award going to Christian Borle -- a show that was considered a possible frontrunner for Best Musical, and more likely, Brad Oscar as the ill-informed soothsayer, Nostradamus.

In addition to Fun Home, the night brought a series of coveted awards for another favorite, The Curious Incident of the Dog in the Night-Time, taking home a total of five including Best Play, Best Performance by an Actor in a Leading Role in a Play (Alex Sharp), Best Direction of a Play (Marianne Elliott), Best Scenic Design of a Play and Best Lighting Design of a Play.

Among the award show's firsts, the night brought recognition of Jeanine Tesori and Lisa Kron as the first female duo to win Best Score of a Musical (Fun Home) and Ruthie Ann Miles as the first Asian American to win for Best Performance by an Actress in a Featured Role in a Musical (The King & I). It also brought an end to Kelli O'Hara's six TONY Award nominee-only streak, finally bringing home the award for Best Performance by an Actress in a Leading Role in a Musical as Anna Leonowens in the lush revival of The King & I. The show itself swept an additional three awards including the TONY Award for Best Revival of a Musical.

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Kelli O'Hara (The King & I)


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Alex Sharp (The Curious Incident of the Dog in the Night-Time)


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Annaleigh Ashford (You Can't Take It With You)


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Christian Borle (Something Rotten)


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Ruthie Ann Miles (The King & I)


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Richard McCabe (The Audience)


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John Cameron Mitchell (Special TONY Award, Hedwig and the Angry Inch)


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Jeanine Tesori and Lisa Kron (Fun Home writers, book and score)


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Sam Gold (Director, Fun Home)


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Marianne Elliott (Director, The Curious Incident of the Dog in the Night-Time)


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Corey Mitchell (Recipient, Excellence In Theater Education Award)


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Creative Team, The Curious Incident of the Dog in the Night-Time


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Bunnie Christie and Finn Ross (Best Scenic Design, The Curious Incident of the Dog in the Night-Time)


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Christopher Austin and Bill Elliott (Orchestrations, An American In Paris)


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Catherine Zuber (Costume Designer, The King & I)


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Christopher Oram (Costume Designer, Wolf Hall)


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Natasha Katz (Lighting Designer, An American in Paris)


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Producers of Fun Home


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Producers of The King & I

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Je suis Nabil

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Making its debut at the Cannes Directors' Fortnight, Nabil Ayouch's latest film, Much Loved (Zin li fik) is causing quite a stir. This uncensored plunge into the world of prostitution in Marrakech is realistic for some and shocking for others. The film, several scenes of which have already been leaked online, will undoubtedly leave its mark on the history of Moroccan cinema.

And for good reason. In five short clips and only six minutes, Much Loved has divided Morocco. Nabil Ayouch's seventh feature film is a mirror of society, of its less presentable face for some, but that mirror is now cracked by censorship. By announcing, on the night of May 25th that the film would be banned "given that it constitutes a grave outrage against moral values and Moroccan womanhood," the Ministry of Communication chose to follow the prevailing public opinion. In doing so, it commits two political errors.

A brief summary of the facts: Recently, a team from the Moroccan Cinematographic Center (CCM) was at Cannes, as it is every year, to promote Moroccan cinema. This delegation (distinct from the Moroccan film permit and review commission, and therefore unable to act on the release of productions in Morocco) took the opportunity on this visit to the Côte d'Azur to watch the Nabil Ayouch feature presented as part of the Directors' Fortnight.

To speak of "competent authorities" without elaborating further, as the ministry of communication does is an abuse of language. The decision to censor Ayouch's film based on the assessments of these "authorities," who are ultimately not so competent, is an abuse of power.

Substantively, a debate has (re-)surfaced on art and its purpose, on limits to freedom of expression, on cinema and reality, on the cultural mores that we project and those that we live. Sometimes excessive, always passionate, the #MuchLoved polemic has moved beyond the realm of critics and it is the better for it. But the "competent authorities," in using a remarkably consistent vocabulary ("outrage," "moral values," "violate,"), have reduced the discussion and put an end to it. That's unfortunate. Scheduling coincidence: Mustapha El Khalfi, Minister of Communication and government spokesperson, was touring the United States to play up "the dynamic of the Moroccan model of reforms" the same day the decision was announced.

Apart from timing, the second error in the official objection relates to the substance of the ban. Let's start at the beginning: The film was shot in Morocco after receiving the necessary authorizations. The scenario had therefore been submitted to and validated by the CCM. Before that, the advance on receipts fund had refused to subsidize it. Unfortunate for the director, but certainly the government's prerogative. No to public assistance based on aesthetic criteria. Yes to filming in Morocco. A radical and therefore exceptional measure, the ban goes against the previously more balanced approach.

The ban falls in line with a unique context: strong mobilization on social media, a complaint against the film crew, death threats against the actors and the director, political opposition from the Istiqlal party. There are objective reasons for the decision. All things indicate that the same "competent authorities" cited by El Khalfi acted to avoid potential excesses. When the security climate is disturbed, cover up! Except that this intolerance is an admission of weakness. Above all, the measure contradicts the motives put forward: By censoring a film presented at Cannes and the rest of the world, the "harm to the image of the kingdom" is ensured, and poses serious questions.

Are we able to discuss subjects that anger us without insults or anathemas? Without takfir (excommunication)? Apparently not. On questions of identity, the debate is lively. It is not limited to Morocco. The major Western democracies have also seen real "culture wars." In the United States, for example, "culture wars" are raging: from abortion, to bearing arms, to blaspheme and creationism. But this "preventive" censorship, operating outside the law, and issued even before the director had requested a screening permit, is a sad first in Moroccan cinema. A first that could also set a precedent. By acting too strongly on the issue, the "competent authorities" are clearly treating Moroccans, artists and audiences alike, as if they are minors. And so, we are all Nabil.


This article was originally published on HuffPost Morocco and was translated into English.

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The Umbrella That Traveled The World

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If you are as frequent a visitor to Instagram as I am, there is a good chance you've run across a colorful rainbow umbrella in your feed over the last several months. In addition, there's a great chance that one of those umbrellas was originally started on its journey by Jill Emmer, also known as @shineonyoucraydiamond. I've seen a few other 'traveling object' projects, but Jill's is likely one of the most widespread and successful. I decided to have a chat with her to learn a little bit more about both her and the project. There are now approximately 400 photos of the umbrella in her #shineonyoucrayumbrella tag on Instagram; this conversation is interspersed with a few of her hand selected favorites.

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photo by @hello__jo

Let's start with the basics. Tell me a little bit about who you are and how you discovered Instagram.

I grew up as the "girl with a photo habit." In grade school I remember bringing a little camera with me to field trips and family vacation. In college, I was the girl at the bar and college football games with a camera (pre-mobile phone cameras!) And a few years later, I became a proud member of the proverbial "mamarazzi" - using my kids as my subjects on a regular basis. So, photography has always been a love of mine. It wasn't really an art form though. It was more a way of capturing a moment. My husband teases me about my obsession with "time and space" because I often say things like, "just a year ago he was crawling!" or, "I remember grandpa pulling bluegills off this pier one after another only a few short years ago. I wax nostalgic. I carpe diem. So... for most of my life, my photos never were about composition or symmetry, or anything like that. They were to capture those fleeting moments that make my heart sing or cry.


Then, a little over a year ago, I started a public Instagram account. I had a private one for a bit before that, but I noticed that none of my friends liked my more "artistic shots"... so I anonymously created my IG account and posted a few landscape and deer shots. I will never forget the excitement of a stranger liking one of my shots! It was beyond thrilling and it gave me a bit of courage to continue to share photos.

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photo by @smallmoves




After that I started to make random friends from all over the world, and suddenly, I didn't feel so anonymous anymore. I was becoming a part of a community! It took me SIX months to tell my old, non-instagram friends about my new friends and the new world I was actively participating in! By then, I had strong friendships, a healthy following and a wee bit of confidence.


So, as you can imagine, my Instagram friends mean the world to me. Without their encouragement I would never have had the courage to share my photos. Thanks to their support I am pretty much bursting with ideas and creativity! It is just so fun!

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photo by @hannahargyle




So what inspired you to start mailing an umbrella off to random people?

The traveling umbrella started after a number of Instagram friends asked me where they could buy a similar umbrella. So I mailed mine to them! It really made my heart soar to see a little part of me in their hands. It became a physical way to link "virtual" friends from all over the world. It truly makes my heart sing to see my friends with my umbrella. This project seems to be the perfect bridge between my artistic side and that sentimental, nostalgic side I've always had. Little by little, the list of people who wanted the umbrella grew, and my simple act of mailing it turned into a full fledged global project. I now have several hundred people interested in the umbrella - instagrammers from all over the world - and 7 umbrellas are out there right now! At this moment, [May, 2015] there's one in Minnesota, San Francisco, Boston, Australia, Rome, London and Malaysia.

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photo by @moksva

What's been your favorite aspect of this project? Anything that surprised you about it?

I am torn! I have two favorite aspects of my umbrella project!

First, I love the connection it has given me to other people on Instagram. It has given me a physical connection with dear friends. A perfect physical representation of our mutual love of creativity, community and the art of photography. Many new friendships have been created because of this project. People usually get to "meet" the next person they pass the brella on to. It gives me great joy to see beloved friends from all over the world with the umbrella in their hands. People are now starting to recognize the umbrella in different countries!


Secondly I love the wanderlust. I love the notion that this big bright rainbow umbrella is living a glamorous life as a world traveler. Something I have always dreamt of. Since I can't travel the world right now, at least my umbrella can! Many times when people receive the umbrella, they use it to show off the area they live in. It has been near a red telephone booth in London, adding color to Times Square, used as a prop at a world wide Instameet in Milan, Italy, glammed out in LA, snowboarding in the Catskills, taking a beach day on the Gold Coast in Australia, and alongside some beautifully colored walls in Malaysia.

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photo by @golden2dew

Anything else you'd like to add?



Yes - I would like to tell you that I am looking to add on a charitable aspect to my project. So many well known instagrammers are signed up for this project, that I think it would be a great way for a company to get some exposure. I would like a company to sponsor the project (i.e. they pay for shipping or something, and then donate a bit to the charity I choose for each person that has the brella. In return, that company would be mentioned with each post.
I would love to find a company that would be willing to partner with me to help this traveling umbrella have a cause. It has connected us through our phones, through the mail and through our passions - I would like to see it connect us through our hearts as well.

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photo by @neumarc


If you would like to see Jill's own photos, contact her about the umbrella, or if you are looking to sponsor this project, you can find her on Instagram, or at her website, Shine On Photos.

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photo by @ericmueller, model: @2ndtruth

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The 15 Best B&H Photo Event Space Videos Of All Time

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For anyone who doesn't know about the B&H Photo Event Space, you are living in the dark. Firstly, B&H is the Disneyland for photographers - a photo and video mega-store located on 34th street (facing 9th Avenue) in Manhattan. If it has to do with photography, B&H Photo will have it. They also have a lot of other things going on aside from merely retailing. One such thing is the B&H Event Space - a series of lectures by photographers offered free to the general public. The program has been running since 2007 and is directed by photographer David Brommer.

Unlike many such arrangements, B&H is really just motivated to help photographers become better at their practice. In other words, the Event Space is not just a place for company reps to peddle their newest cameras and accessories. The photographers who present and lecture here are working photographers. If you are in New York City nothing will beat showing up in person for one of these event. But, for those of you who live elsewhere, you can also access the events on YouTube on the B&H channel. These videos are not only entertaining, but they will teach you a wealth of information and skills and all for free.

Here are my picks for the top 15 event space talks of all time.































Michael Ernest Sweet is a Canadian writer and photographer. He has two full-length photography monographs in print, "The Human Fragment" and "Michael Sweet's Coney Island" both released from Brooklyn Arts Press in New York. Follow on Twitter to get updates about new features and blog posts @28mmphotos or through his website at www.MichaelSweetPhotography.com.

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'Instagram Guru' Pete Halvorsen on Online Communities and Photography

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Instagram Is from technopaul productions on Vimeo

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"In a culture immersed in technology, Instagram is reviving adventure, face to face community and real relationships. How can something so digital actually get people out from behind their devices into the analog world?"
This is the question explored in the documentary 'Instagram Is' by filmmaker Paul Tellefsen, a project which birthed out of the desire to see genuine, authentic community, expression and relationship on Instagram. To the rhythm of quick snapshots, this social network tribe has changed the way people represent their lives and connect with each other. But how can aspiring photographers make the best use of Instagram and in what ways can online communities bring about social change? I interviewed Pete Halvorsen, a commercial and travel photographer based out of the Los Angeles coastal town of Manhattan Beach with one of the top Instagram accounts out there, to get some answers.
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All Photographs (c) Pete Halvorsen, Courtesy of Pete Halvorsen

What does photography mean to you in the digital era?
As a photographer it means I can do more with less. The cameras are getting smaller and more powerful. It's becoming easier and quicker to share those images which means more photographers and ultimately more stories being told. But this also means more noise and shorter attention spans. To truly make an impact as a photographer you have to recognize that and evolve with the times. The images have to hit the viewer quicker than ever, in the digital era they aren't standing in a gallery looking at all the intricacies of your print for 15 minutes.

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What advice would you give to aspiring photographers on how to make the best use of social media platforms such as Instagram?
Instagram is such a powerful platform for the aspiring photographer to find their eye. I would suggest they spend time following and searching for photographers who's styles they are drawn to. Once you have a good sample, about 100 or so, look for the common theme that runs through their images and what it was that attracted you to it. Then attempt to shoot in that style and stay themed with your feed. You'll soon start to create your own style and your eye will become sharp to looking for those moments in everyday life.

I would also recommend that they put a piece of themselves in their feed. Meaning, rather than just that pretty sunset - give the viewer some context as to who you are. The Internet is full of pretty photos, the reason we "follow" someone is because we relate to how they see the world.

Community is also a big part of Instagram, it's been a big part of my growth. It's what sets Instagram apart from being just an online photo-sharing platform. Ultimately it's about the people behind the squares, it's about developing those real life connections, which is the best use of Instagram.


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You have organized several InstaMeets, most of which had charitable themes. Can online communities of photographers and videographers bring about social change?
They can and will continue to. I continue to be inspired by the people who show up at my InstaMeets. Taking time out of their day to do beach cleanups, donate toys or just help bring awareness to a cause. Again, this is an example of taking those virtual relationships and making them personal. These are all people who already had a giving heart; Instagram and InstaMeets just allow them to act on it with a greater reach.

A single image or 15 second video can do so much for telling the story of a cause. While I was staying at an orphanage in Malawi I posted a photo of Khalidwe, his shoes were in such bad shape.

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Immediately I had people asking how they could help/contribute to help get him new shoes. I was capturing and sharing a moment that was happening in real time. They trusted the image and experience I was having and were willing to do what they could to help.

Our InstaMeets have the ability to reach millions of users within hours through the images posted. They are and will continue to be a real strong tool to bring real social change on a global level.

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Can you tell us more about your mobile photography initiative in Malawi and how it benefited the community?
While at the orphanage in Malawi shooting for a non-profit, I piloted a mobile photography program that taught the kids the basics of photography and how to share the photos. They don't have regular access to computers and developing film isn't an option, the mobile phones are the perfect tool. I contacted a photography company named VSCO who donated the iPod Touches and we left them with the kids to continue documenting their lives. A few of the kids really got it and had the photographers' eye. I would love to continue this type of initiative; there is such a raw feel to the stories that these young people tell through the photos.

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What type of photography do you like to shoot the most and what gear do you use?
I love being outdoors in fluid situations. I shoot a lot of surf and really enjoy the unpredictability of it, searching and waiting to catch that one moment. It's also why I was drawn to Travel Photography and being immersed in different cultures telling the story of a culture through catching those moments. My favorite tools are the Canon 5D Miii, Sony a7r and the Leica MP240. That being said, the best camera is the one you have on you and sometimes that means my iPhone 6.

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What's the most important lessons you've learned in your photography career that you want to share with young snappers?
People matter. Relationships matter.Develop a strong group of peers that can give you honest feedback and find mentors that you can reach out to. But most of all remember that at your root you are a storyteller. Your voice to tell that story is the image you're capturing and sharing.

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Ronnie Gilbert's Smiling Power

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A cleansing, windy warm summer rain-washed down Chicago on the morning after Ronnie Gilbert died, at 88, out in California. The smiling power in her voice still resonating. A voice from the past? A folk singer? Right?

Hardly. She was so much more.

Not if you heard the smiling power in that voice. There were three men in the Weavers, one of them was Pete Seeger. But they only needed one woman. That was Ronnie Gilbert.

Seeing her name on my screen I could hear that voice like it was wired into my very soul like some musical sign pointing straight towards justice. Straight toward hope. And I wanted Ronnie Gilbert to start singing to some of our contemporary bullies and scoundrels. People like our own Illinois Governor Hedgefund so frothing at the mouth eager to prey on the vulnerable. I wanted to tell her about the new plan that's being floated to dismantle tenure and thereby curtail what can be taught. Bought and paid for by oil barons of evil, snickering in their self-righteousness with a wink, a nod and shrug of the shoulders as they say, "All we're doing is balancing the budget" and then breaking out a giant guffaw as they slap their knees in greedy joy.

But then I remembered Ronnie Gilbert's voice. And thought about how our evil doers of today, those that work to take away the right to vote, the right to organize, the right to live healthy, how none of them were really all that different from the McCarthy's and such. The evil Ronnie Gilbert fought with the power and smile in her voice.

I remembered Ronnie Gilbert's voice. How she used it for Good.

How she powered the struggle.

And how that voice of power seemed to always have a smile flowing strong as she sang us along.

Listen to her sing today. You'll feel that smiling power too.

The music goes on.

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How a Local Artist Collective Is Responding to Nepal Earthquake

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"I think we should go out and help," Sheelasha Rajbhandari kept saying, her face scrunched with concern, one hand alternately grasping the other. She stood next to me on the tennis court, fidgeting, where we gathered that Saturday afternoon. Barely an hour had passed since the quake. Reports were intermittent; so were terrestrial waves and shudders. Then someone flashed Dharahara's rubble on a smart-phone, a sign that the situation in several parts of the city's old quarters was dire.

But we were still in shock, caught in the middle of an Oral History Workshop, unsure where to go, what to do.

I lost track of Sheelasha that day, and got busy the following weeks coordinating rapid relief missions to the affected districts. But she showed up at the Yellow House one evening at a gathering I organized, which I had titled "An Initiative for Children." Since immediate relief efforts were underway, I felt the need to bring artists, educators, therapists, volunteers and related professionals together so that information could be exchanged and connections made. Who were working with children? What could we do? I asked everyone.

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Apart from our network of friends and colleagues, those present at the Yellow House that evening included a retired British psychotherapist, Karenza Case and Jess Linton, a young art therapist. Karenza had come to Nepal for a trek in early spring whereas Jess had arrived about a month before the quake, representing Art Refuge UK, in order to work with displaced children. Earlier in the week, both Karenza and Jess had stopped by and we chatted about collaborative possibilities. Thanks to social media, press coverage and word of mouth, people like Karenza and Jess had heard about the The Yellow House and were willing to volunteer their time and expertise.

Towards the end of the event, I noticed Sheelasha approach Karenza with a notebook. I learned that Sheelasha and her colleagues, artists who are part of ArTree Nepal, were helping a farming community in Bhaktapur that had been badly hit by the quake. They were making connections and gathering resources.

It took me ten more days after the Yellow House event to make it to Bhaktapur, which is less than thirty minutes drive from central Kathmandu. Sheelasha's colleagues, Hitmaan and Mekh, met me on the roadside, next to a gate which was an entrance to the community, Thulo Bhyasi. Mostly composed of traditional Newari houses, the neighborhood was ravaged and decrepit. A man, standing atop his collapsed building, was yelling at a group of people who were busy throwing piles of brick and rubble from their ruins to the ground.

Hitmaan led me across the street to a dingy, local eatery and asked the owner for chiura and eggs. His face was covered with streaks of sweat and dust. He had spent the morning collecting materials for a project. It was time to eat and rest a bit.

"This is one of our camp hub sites," said Hitmaan. For a second, I couldn't follow his thought. So I asked him to explain. "Camp hub is a community arts project," he went on. "We are working on this idea called Picture Clock. We want to put images from Thulo Bhyasi around a clock - images before the quake, images after the quake and then digitally enhanced creative images of what the community wants parts of Thulo Bhyasi to look like."

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Picture Clock is a reminder that things change over time, the artists have stated in a working document about this project titled "12 Baisakh," the fateful Bikram Samvat date that corresponds to April 25. They plan to use motivation and memory as themes to engage Thulo Bhyasi locals in the rebuilding process. Since the earthquake has transformed homes into zones of destruction that incite fear and anxiety instead of comfort, Camp Hub aims to provide a healing process that will hopefully reconnect locals to their community and help them regain their sense of belonging and attachment.

Apart from Camb Hub, ArTree will continue to conduct workshops for children and women during Phase Two. Gleaning from the document and conversations with the artists, Phase One constituted immediate relief and research, along with screenings of inspiring documentary films that are translated into the local Newari language.

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When they first arrived at Thulo Bhyasi on Day 3 of the earthquake to check on a friend who lived there, Artree felt compelled to return and help in any way they could. They talked to the locals and went on walks, assessing damage and needs. When they witnessed that the farmers, who were camping at a nearby field, did not have a clean, comfortable place to eat, the artists constructed benches made out of locally available materials.

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ArTree Nepal have been volunteering their time and effort for this project. Since the earthquake, they have networked with some organizations to direct relief to Thulo Bhyasi and mobilized local groups to take leadership. "12 Baisakh" is envisioned as a three to five month project that the artists plan to replicate in other communities.

"It seems that the women are much more traumatized than even the children," Sheelasha told me. "Their homes were centers of their lives. Their days started with housework and ended with that. The men at least go out to work. But it seems that the women are totally lost."

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I was happy to hear that Sheelasha managed to take Karenza to Thulo Bhyasi and organize counseling sessions for the women and men in the community. There is a photo in the "12 Baisakh" document where Karenza is bent over in mid-talk, her shock of blond hair more visible than her features, sitting next to a middle-aged local woman whose eyes are closed, and her face, ironically, is blurred and out of focus.


Group Photo, Initiative for Children, by Thomas Pouppez
Photo of Campsite with Furniture, by Writer
All other photos by ArTree Nepal

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Matilda at the Ahmanson

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Photo by Joan Marcus

Matilda, the musical adaptation of Roald Dahl's 1988 children's classic, has some delightful moments, including a devilish turn by Bryce Ryness as the villainous Miss Trunchbull, as well as the prodigious display of talents by the youthful performers. However, the wild variations in tone and the often unintelligible dialogue and lyrics make for a bit of a slog.

Readers of the book will be able to keep up with the twists and turns in the story of the gifted Matilda (Mia Sinclair Jenness), who is abused by her outrageously boorish and hateful parents (Cassie Silva and Quinn Matteld). Employing everything from sly tricks to telekinesis, Matilda wreaks revenge on her torturers, most especially her school's brutish headmistress Miss Trunchbull, renowned for competitive hammer-throwing and ruthless discipline.

The intricate texture and characterization of Dahl's book never really translates to this stage production, primarily because it zigs and zags from broad farce to dark irony to emotional poignancy. It is simply hard to get an emotional handle on the piece beyond a rooting interest in Matilda's character and a perverse joy in the downfall of the evil Miss Trunchbull.

Despite the shortcomings of the script - and a mostly mediocre score - the show is a fine showcase for the young performers. Nine-year old Jenness is a shining talent, and carries the heavy load of the show with grace and spunk. Ryness has a marvelous turn as the headmistress in the long tradition of British cross-dressing divas. Choreography by Peter Darling is fun and engaging and Matthew Warchus directs the production with grace and ease.

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Susan Lizotte: Blood & Treasure

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Susan Lizotte: For King and Country (2015, oil and spray paint on canvas, 24 x 48 inches). Photo: Alan Shaffer.


In her latest body of work, the curious and expansive series Mercury, painter Susan Lizotte both mines and mimics history to construct a poignant and eccentric allegory for the present day. She marries a haute-naif aesthetic of thick lines, blocky color, proto-Cubist mannerism, and collapsed perspective with a visual lexicon of knights errants and dogged explorers, sea monsters and tall ships, architectural ruins and sketchy outlines of uncharted territories. All of which serves to reconstruct an alternative narrative of the New World and certain rather salacious and cynical, yet consistently under-reported, consequences of its "discovery" for the Old World -- and how those forces and effects continue to shape the world today. Ultimately an indictment of power and its abuses, Mercury traces the roots of medical, industrial, environmental, and commercial misbehavior that have been shaping life on earth for 500 years and counting. And it uses art history to do it.

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Susan Lizotte: Three Primaries (2015, oil on canvas, 30 x 48 inches). Photo: Alan Shaffer.

In both style and content, Lizotte's modern Medievalism prefigures a new dark age, as the 16th century dawns anew at the start of the 21st. Her striking, emotional rendering of both figure and ground wavers between her premise's representational imperatives and a gravitational pull toward abstraction that fittingly has more in common with Pre-Raphaelite awkwardness than contemporary gestural expression. Her tertiary palette also seems culled from another era, one of parchment and velvet, sea foam and starry skies. Although Lizotte engages this art historical motif to depict geopolitical events from the same era her pointed content references, this gestalt is punctuated by compositional incursions large and small in the form of splashes of neon color, faintly pulsing grids in a dusky sky, and outright anachronisms like spray paint and text that slam into the present day at crucial moments, injecting both chemical clarity and disorienting ambiguity into the conversation.

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Susan Lizotte: Anghiari (charcoal and oil on canvas, 30 x 48 inches). Photo: Alan Shaffer.

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Susan Lizotte: He Thought It Would Last (oil on canvas, 60 x 40 inches). Photo: Alan Shaffer.


Mercury in ancient mythology was the messenger god, conduit to the underworld, patron of thieves and commerce. It is also a metallic element that is beautiful and poisonous, widely used in early modern medicine, until its nefarious properties were observed. After that it was still used -- just mostly on the unsuspecting. In Lizotte's project, she focuses on its use in Europe after 1500, specifically to treat the particularly virulent strain of syphilis that Columbus and those who came after him managed to bring back to Europe along with their treasure and appetite for glory. This story of karma, irony, disease, greed, racism, fear, technology, and government overreach took place in an age where magic still held sway but humans were increasingly looking to science for answers. In regarding this particular chapter of ancient history, Lizotte cannot help but see the world around her now. Far East, Near East, Middle East. Colonialism, conquest, hubris. Church, state, commerce. Environment, industry, religion. Mercury is a story that continues to unfold across centuries of Western history, its players perennially locked in an intercontinental Game of Thrones complete with kings, pawns, dragons, sex, death, and pirate gold.

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Susan Lizotte: Small Devils" (oil on linen, 18.5 x 12 inches). Photo: Alan Shaffer.


Lizotte's work appears in Berlin on June 27, at the Kreuzberg Pavilion, in the ARTRA Curatorial one-day-only exhibition From The Barricades alongside Virginia Broersma, Nick Brown, Emily Counts, Tom Dunn, Ariel Erestingcol, Roni Feldman, Jon Flack, David French, Kio Griffith, Jenny Hager, Raymie Iadevaia, Chris Kuhn, Gil Kuno, Michelle Jane Lee, Esmeralda Montes, Claudia Parducci, Max Presneill, Julia Schwartz, Grant Vetter, Steven Wolkoff, and Jody Zellen.

And closer to home in November at LA's Durden and Ray Gallery, in Depth Charge/Abstracted Frameworks on view November 7-December 4, 2015. Artists provisionally on board include: Tomory Dodge, Christian Rosa, Ingrid Calame, Alex Kroll, Scott Everingham, Britton Tolliver, Joe Reihsen, James Hayward, Max Presneill, Steven Wolkoff, Bryan Ricci.

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Susan Lizotte: New World II (oil on wood, 12 x 12 inches). Photo: Alan Shaffer.



susanlizotte.com

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The Photographic Eye of Sarah Kaufman

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The voyeurism of photography / stolen moments / glimpses into other realities. With the click of a shutter, the photographer catches a moment in time, thereby capturing a desired subject. Sarah Kaufman focuses her lens on moments of quotidian experience. A Professor of Photography at Ursinus College, Kaufman explores the relationship between individuals and the spaces they inhabit. Kaufman's triumvirate series Moments of Absorption, Homebody, and Devil's Pool visually mesh the individual's experience with the surrounding physical space. The images, which explore the body's relation to environment, capture deeply subjective realities.

"The work is an inherently human investigation," Kaufman says of Moments of Absorption. Kaufman's photographs portray individuals in quiet moments of palpable vulnerability. "I visit people in their homes and ask them to try to show me the place that they inhabit when they are alone. The resulting photographs chase glimpses of this world and explore relationships among the subjects, their bodies, and their spaces." Kaufman's images transport the viewer into intimate spaces, typically within their own homes. The photographs of Moments of Absorption are impressive in size. Grouped together, they resemble city windows revealing the reality of daily life. The figures are lost in thought. Nude, they expose themselves to her photographic eye. "Ideally," says Kaufman, "the viewer can share in this reverence for the familiar by soaking in the gestures and details within another person's domestic space and routine."

The photograph Untitled (Sliding Door), 2010/14, portrays a woman casting a gaze in an open doorway. Is she thinking about her past, her future, or, is she simply lost in a daydream? Light floods the room, spilling in through the parted doors. Visible in the background is an apartment building, awash in a sheet of white haze. Scattered about the apartment, several cachepots filled with tall, leafy plants divide the space between the subject and the onlooker. The arm of a couch appears in the foreground, further suggesting a sense of depth and space. Untitled (Sliding Door) showcases a woman at home, comfortable in her personal space. This space is not limited to physical reality, but a deeply subjective inner reality. "These interiors represent both the physical space of the home and a more elusive idea of being at home," Kaufman says. The series Moments of Absorption captures interiors of the home and the mind.

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Kaufman places herself as the visual focus in her series, Homebody. Appearing in various awkward positions inside her home, Kaufman inserts herself into the physicality of the space. "After years of asking people to open their homes, strip down barriers, and attempt comfort in front of my camera, I have turned the lens around on myself," she says. Homebody explores Kaufman's fascination with the body's relationship to environment and onlooker. "In an effort to consider how becoming rooted in a place can carry vulnerability and risk," she says, "I have begun to explore the intimate world of my own home and my body's presence within it." A Sliver of Sky, 2013, depicts a Santa-esque fireplace with Kaufman's legs awkwardly twisting in the embers. Sooty footprints trail across the hardwood floor. Kaufman has inserted her upper body into the chimney, leaving only her legs and feet exposed. A Sliver of Sky, along with the accompanying images in Homebody, present an artist's attempt to merge her body as one with her surroundings, thus blurring the line between a physical house and a figurative home.

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The series Devil's Pool, depicting an urban swimming hole, captures the carefree spirit of youth. "Devil's Pool stems from my love for Philadelphia's Wissahickon Park and the respite it provides," says Kaufman. "People from all over are drawn to its urban swimming hole as a place to play and revel in physicality and nature." Shot at dusk, Devil's Pool Diptych #4, 2014, utilizes deliberate, obvious effects to enhance its moody aesthetic quality; an artificial light shines upon a rocky outcropping, while glaring specks dot the image. Resembling a homemade Polaroid, Devil's Pool Diptych #4 calls attention to its artificiality, further complicating the reality of experience. In Devil's Pool, swimming is a communal activity, as the bathers explore the natural landscape. "My work," she says, "also grows from an interest in bathing throughout art history (both indoors and out in nature) and the potential for a pictorial space where the body could be represented and celebrated openly." While the photographs of Devil's Pool nod to an art historical theme, they retain a strikingly fresh quality.

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This summer, you can catch Kaufman's work at the following venues:

• Currently on view as part of Bradley Maule's One Man's Trash exhibition at Philadelphia's Fairmount Waterworks

• A Devil's Pool piece will be featured in a show at the PPAC: http://www.philaphotoarts.org/event/6thphotoexb/

• An iteration of Kaufman's Devil's Pool series will be shown during the next exhibition season at the Allen's Lane Art Center in Philadelphia. Kaufman: "This venue is right up and out of the woods from Devil's Pool and should be a great opportunity for local community engagement."

• Porter Contemporary in Manhattan: http://portercontemporary.com

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How to Make Broadway Musical Theater More Diverse... and Empower Kids Along the Way

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This week, when performers in Fun Home, Something Rotten!, and the other Tony-nominated musicals are polishing their best number to perform at Sunday's awards ceremony, another group of singers and dancers are basking in the glow of their Broadway debuts. They're elementary and middle schoolers, more than 1,500 children from 50 schools across New York City and the U.S. who have participated in remarkable private/public partnerships that support the development of musical theater at underserved schools. The difference between these groups of hardworking artists isn't only professional vs amateur, it's also about race: a predominantly white group of professional actors and amateur performers who are mostly students of color.

In 2005, the Shubert Foundation teamed with Music Theatre International and the NYC Department of Education to launch "Broadway Junior," a yearlong program that helps middle schools produce their first musical. Disney Theatrical Group created its own elementary school version four years later, now expanded to five cities. In each locale, Disney Musicals in Schools pairs with a nonprofit performing arts center, which chooses schools that demonstrate need and readiness. In the era of No Child Left Behind, private and public entities are joining with local school systems, the schools themselves, and dedicated teachers to introduce children to musical theatre.

The for-profit entity supplies kid-friendly scripts--30-minute KIDS or 60-minute JR. adaptations of famous shows like Annie and The Lion King--and music re-scored for young voices, as well as professionally orchestrated accompaniment CDs, teachers' guides with how-to instructions on auditions, rehearsals, and performance, and free licensing rights. Visiting teaching artists support classroom instructors as they learn the skills of musical theatre directors. Finally, the kids attend a professional Broadway (or touring) show for free.

After months of rehearsals, set-building, props-gathering, and costume-making, the children perform Godspell JR. or The Jungle Book KIDS for their classmates and their families. The program culminates with the casts from all of the schools gathering at a Broadway (or local PAC) theater for a showcase of musical numbers--one per school--hosted by a celebrity. The appreciative student audience applauds wildly for their peers' "Broadway debut."

Studies have shown the positive effects of kids' participation in the arts. Musical theater, because it combines theater, music, and dance, requires an extraordinary degree of collaboration. Children gain reading and interpretation skills; they learn to sing on key; they have to memorize blocking and choreography; they must connect what they say to their facial expressions and gestures.

I visited four Metro Nashville Public Schools--the first DMIS city outside of NYC, which started four years ago--and met with Tennessee PAC staff, teaching artists, and teachers who worked on their school's show all year. One teacher told me about a boy who learned to read through the rehearsal process. Another noted that "the children exert self-control and behave in class because they want to be in the show." A teaching artist said, "I see a change in confidence. In the beginning most students are shy and nervous. Through the rehearsal process they have to step out of their comfort zone and not be worried if someone is going to make fun of you." A 3rd grade girl told me, "I learned to be brave and that you always have to do your best and it's worth it." Every student I met said, "It was fun!"

In spite of ample evidence that the arts enhance children's intellectual and emotional development, funding continues to be cut across the country. And this is where corporations can step in. Skeptics might worry about Disney's over-reach: don't they already own the souls of our daughters who only want to be princesses? Haven't we heard "Let It Go" from Frozen more than anyone can bear? Others might fret that musical theater isn't Shakespeare or Ibsen but is popular, mainstream entertainment.

But these issues take on a different weight when economically disadvantaged children of color get the chance to perform. Students play any role, often across gender, and race-specific casting has no traction. They can pretend, take up space on stage, sing and dance. When kids are familiar with the stories and the songs, they're eager to commit to this ambitious project.

Over the past 10 years, these programs have supported hundreds of performances at more than 150 schools, with well over 10,000 children performing and almost as many helping backstage. Because the programs aim to seed what they hope will become sustainable musical theater programs, the sponsors gradually reduce support each year, which forces the school to take on more logistical and artistic responsibility. Almost all of the schools have continued producing musicals; some are now in their 10th year.

I saw a heartfelt and entertaining production of Alice in Wonderland JR. at Wright Middle Prep School in Nashville, in which three girls of different sizes were cast as Alice (at different points in her size-altering adventures), another three girls were cast as Cheshire Cats, and 30 other kids--almost all of them African American, Latino, or Kurdish--filled out the cast. As they sang, danced, and acted with ferocious commitment and electric enthusiasm, it was clear that this musical was an extraordinarily affirming experience.

And I thought about Broadway, so stubbornly white, and the Tony Awards, in which only three actors of color (of 20) are nominated for best performance in a musical. If musical theater will ever be racially, ethnically, and socioeconomically diverse, this is how it's going to happen, enabled by the organizational machinery, the adaptable repertoire, and the money of the rich corporations that own Broadway.

Though these programs' rhetoric is entirely about process and having fun--their materials say that they're not training professional actors--it's not impossible to envision a girl who debuted as Jasmine in Aladdin KIDS in 2015 landing the role on Broadway in 2025. In fact, it's hard to imagine she'll get there any other way.

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Top 5 Summer Shows in the US and Europe

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By Brienne Walsh, June 8, 2015

The summer brings plenty of excuses to spend time outdoors -- but also to escape the heat in the cool, quiet galleries of a museum. Below, we round up the top five exhibitions that cannot be missed in cities across the United States and Europe in the summer of 2015.

1. Yoko Ono: One Woman Show, 1960-1971
Museum of Modern Art, New York
May 17-September 7, 2015

Yoko Ono's infamous relationship with John Lennon served, for many years, to obscure her pivotal role in the Fluxus movement -- and the art world in general -- in the 1960s and 70s. "Yoko Ono: One Woman Show, 1960-1971," an exhibition of over 100 works on the 6th floor of the Museum of Modern Art, resuscitates her early career -- and in doing so, becomes the show to see in New York this summer. The exhibition takes its title from a 1971 intervention by the same name that Ono staged without permission at MoMA, in which she announced the fictitious release of an army of flies around the museum in a pamphlet with the logo "Museum of Modern (f)Art." It sets the stage for the irreverent, playful and often hopeful tone of Ono's work, which includes pieces like "Painting to Be Stepped On" (1960/1961), in which visitors are invited to step on a canvas and "Half-A-Room" (1967), an installation of dissected domestic objects. Throughout are glimpses of the personal, including footage from "Cut Piece" (1964), a work in which Ono sat on a stage while women cut off items of clothing in front of her. Created in the aftermath of Ono's postpartum depression after the birth of her daughter, the piece captures the spirit of a woman desperate to break free from traditional societal roles.

2. Nick Cave: Here Hear
Cranbrook Art Museum
June 20 - October 11, 2015

As buzz about Detroit becoming one of the centers of contemporary art production in the United States heightens, so does focus on its exhibitions. This may explain why rather than staging a quiet show this summer, the Cranbrook Art Museum, located in a suburb of Detroit, is making a bold statement with "Here Hear," a solo exhibition by Nick Cave. It includes programming not only at the museum itself, but also happenings throughout the city. Best known for his Soundsuits, which are wearable sculptures made out of colorful, often flamboyant materials such as feathers, knit flowers and sequins, Cave also creates a wide variety of videos and static works. Trained as dancer at Alvin Ailey, he is deliciously aware of how the body moves -- and how it can be transformed to a vessel in which a person contained can be set free. "Up Right Detroit," for example, will be an ongoing performance staged in collaboration with the Ruth Ellis Center, a nonprofit working with LGBTQ youth and young adults in Metro Detroit. And "Heard•Detroit," held on September 26, will feature 60 high-school dancers clad in life-size horse costumes, parading down the Detroit riverfront. If you've been looking for an excuse to visit Detroit, here's your opportunity.

3. S, M, L, XL
Museum of Contemporary Art Chicago
May 9 - October 4, 2015

In the 1960s, sculptors began taking their work off pedestals, and allowing it to inhabit the same space as the viewer. Using this moment as a starting point, "S, M, L, XL" consists of four works made over a period of five decades, beginning in 1961, that ask the viewer to interact with them directly. Taking its title from the size labels used on clothing, as well as a 1995 book of the same name by the architect Rem Koolhaas, each work in the exhibition is increasingly ambitious in scale. In a way, their progression throughout the exhibition can be conceived as revealing, progressively, a slightly larger portion of a room until they inhabit the room entirely. The first sculpture, "Portal "(1964) by Robert Morris, is a narrow post-and-lintel that only slender people can fit through. The second, also by Robert Morris, is "Passageway" (1961), which invites visitors into a narrow spiraling hallway that eventually becomes impassable. "Blue" (2006) by Franz West is also a spiral work, only with enough room in the center for a chair. And "T.Y.F.F.S.H." (2011) by Kris Martin is made of a hot-air balloon blown to fill the space it is placed within by a powerful electric fan. Viewers can literally become immersed in the work -- whether they are small, medium, large or extra large, it doesn't matter. The final takeaway is that sculpture, even in the liminal space of a museum, is capable of being absolutely democratic.

4. The EY Exhibition: Sonia Delaunay
Tate Modern
April 15 - August 9, 2015

The joy of early summer is best expressed in bold, vibrant colors, which is why, if you find yourself in London, you should visit the EY Exhibition, the first retrospective of Russian-born French artist Sonia Delaunay in the United Kingdom. Over the course of her lifetime (1885 - 1979), Delaunay set many milestones. First, as a pivotal member of the French avant-garde, and later as the first living female artist to be granted a retrospective at the Louvre in 1964. Beyond the canvas, Delaunay saw herself as a living sculpture, creating fabrics, clothing and homeware she used in her daily life. Along with designing clothing for Gloria Swanson, she collaborated with poets such as Guillaume Apollinaire and created set designs for the theater. The retrospective begins with representational portraits of Delaunay's dressmaker Philomène, made in the early 20th century, and progresses chronologically through her experimentations with abstraction, textiles, commercial objects and finally, her later paintings. It tells the story of a woman buoyed by glamour who was also the survivor of two world wars -- a life both enviable and bittersweet.

5. Henry Darger
Musée d'Art Moderne de la Ville de Paris
May 29 - October 11, 2015

Thanks to his relative obscurity until his death in 1973, when his lodgers found hundreds of canvasses, as well as three enormous volumes of work in his bedroom, Henry Darger has become synonymous with "Outsider Art." Born in Chicago in 1892, Darger was committed to a mental institution at a young age. He escaped, and spent the rest of his life working at menial jobs in hospitals during the day, and at night, creating Realms of the Unreal, a vast, 15,000 page novel illustrated with watercolors, drawings and collages. The epic tells the fantastic tale of an endless war triggered by the rebellion of a generation of children -- strange for its day, but commonplace in a contemporary cultural landscape inhabited by "Game of Thrones." Labelled an "outsider" primarily because he was unknown during his lifetime, his work has since inspired artists such as Paul Chan, the Chapman Brothers and Peter Coffin. The exhibition at the Musée d'Art Moderne de la Ville de Paris consists of 45 works recently gifted by the artist's estate to the museum, as well as pieces loaned by institutions around the world. It is a must see for anyone who is a fan of the surreal, the fantastic, Marvel comics, fairy tales -- and more than anything, the mind of a creative genius.

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Brienne Walsh is an ARTPHAIRE contributor, as well as a freelance writer who contributes to Art in America, Interview Magazine, The Huffington Post, Glo, NY Mag, The New York Times and the NY Daily News, among other publications.


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The New Sincerity at Bay Street Theater: The Revolution Will Not Be Sold

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Alena Smith's smart play, The New Sincerity, in its world premiere at Bay Street Theater in Sag Harbor, is perhaps the first drama to deal with the idealism of the Occupy Movement. Championed for its revolutionary goals, Occupy opened a dialogue about the ills of capitalism and social injustice. Many came to Zuccotti Park to camp out in support, like Django, one of four characters in The New Sincerity, expertly directed by Bob Balaban, who keeps the flow of characters in and out of the offices of a literary journal brisk for its 85-minute duration. Keep your eye on the word "sincerity" of the title, a playful take on the currency of authenticity.

Arriving at the offices of Asymptote Magazine, mainly to brush his teeth after a three-week break from hygiene, Django (Peter Mark Kendall) wants to "pleasure" Rose (Justine Lupe), a featured writer, but then again everyone including her boss, Asymptote's editor, Benjamin (Teddy Bergman) seems to want her, even though he's engaged to someone else. Meantime, an artist who built a boat out of garbage, and in his red and black checked shirt, the J. Crew version of hipster, Django turns out to be a self-invention, his call to action shallow, before the high-minded Asymptote trades in on the commodification of this revolution.

Clever and edgy, Smith's satiric dialogue with references to our Internet-altered ethos, evokes movements of the past, making the '60's anti-war protests look antique, its ideals meeting just as hollow an end. Rose, a Gwyneth Paltrow look alike, retains our sympathies. "When it comes to love, I am not an anarchist," she says drawing a line. Natasha (Elvy Yost), an intern, sees her as a role model but even she says, "No one wants to hear about the death of the left." Rose echoes our ambivalence about real anarchy. But the play goes farther on the role of women: "The experience of being underappreciated has got to be worth something." It's a funny line that the poet Joan Larkin back in the day might have deemed, "only a fishbone in the throat of the revolution" if some change had really taken place. Or, in this play's parlance, "The park is empty and cold like nothing ever happened." With The New Sincerity, the Bay Street Theater season is off to a great start.

A version of this post also appears on Gossip Central.

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Thoughts on the Tony Awards Broadcast, Ruthie Ann Miles, Curious Incident & More

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It's approximately 24 hours since the Tony Awards ended -- and, while most of the community is at a Bombshell party, I feel like it's about time to reflect on the night that was. Because it was Broadway's biggest night, I can't contain it in one column, and it will take up two. (Read the other one, on the after-party at the Carlyle, here.)

First, it wasn't a great telecast. Sorry, Alan Cumming and Kristin Chenoweth fans. I thought when they were chosen we'd have at least a ton of big glorious musical moments. Instead, they did a musical banter medley for the opening, opting to leave the pizzazz to Something Rotten! (with a number, that, granted, is absolutely fantastic and might as well have been written for the Tony telecast it so perfectly fits). And throughout the show--while there was a lot of singing, and the hosts relaxed into their roles--their material didn't really land. They were both trying very hard and not accomplishing very much. A few moments caused a smile or even a laugh, but there weren't enough of those. The Tommy Tune tribute needed a better introduction to make any sense whatsoever to people who aren't Tommy Tune fans (and, you know, those people make up the majority of the US).2015-06-09-1433819295-7756384-tn500_tag19.jpg
And the idea to have Broadway cast members surround them as they sang to commercial was one that may have seemed good on paper, but for some reason didn't work well in execution. (I've written so many times about honoring a show's behind-the-scenes creatives during the broadcast that I'll skip it this year.)

Second, there are always deserving shows that go home empty-handed. That is the nature of award shows. But I wanted to single out one show, the revival of On The Town. Out of the nominated revivals, it is the only one that is a commercial production. Producers Howard & Janet Kagan took a big risk mounting this musical that, while an American classic, has not had a successful revival. The show got rave reviews, as did its star Tony Yazbeck. It stayed open through a harsh winter at the box office (unlike the other nominated revivals, which had spring berths). It was one of the shows that unfortunately did not receive a Tony Award. However I'm hoping that the number alone encouraged people to go and support it. The audience got to see how great Yazbeck is and how wonderful the choreography is. If you missed the press blitz saying same - and a shout-out to newbie PR firm Matt Ross Public Relations (in particular Mr. Ross and Nicole Capatasto there) who have kept the show out there - you got to see a taste of it for yourself. I urge readers who have not seen it to go support the team at the Lyric. You won't be sorry.

And speaking of risks -- there is perhaps no riskier musical on Broadway, material-wise, than The Visit. Yes, it is based on a play, so it is not 100% original. I get that. But the musical itself is a different beast. The Visit is a type of large-scale chamber musical (making it more expensive than Fun Home, a traditional chamber musical) with eunuchs in yellow shoes and a disturbing plot line that is hard to describe without giving it all away. (There are still many that haven't seen or read prior versions.) It didn't get any awards and it quickly announced a closing date. But I'm happy that a small segment of Chita Rivera's performance was able to be seen by over 6 million homes.

Moving on to the winners, it was the Tony Awards, and there was much to celebrate during the award show itself and during the many after-parties. I'm going to say a few words about my favorite winners. Ruthie Ann Miles - my choice all the way. I didn't think it would happen, but wrote that whole column about why it should, and I was so happy it did. I was shocked that she had a speech prepared, and then it of course turned out it was too long of one, and 2015-06-09-1433819682-2391509-Ruthie.jpg
the mysterious tapping that Cumming and Chenoweth threatened would play people off started. As I was listening, I realized she didn't thank her agent, who she was so kind to during our interview. So I'm going to give her a chance to rectify that below. (Yeah, I know, other people would have loved to say more during their speeches, but I'm not equal opportunity. Sorry.)

The Curious Incident of the Dog in the Night-Time won 5 awards, including for director, actor and play. I cannot even explain how much I love this play. I like Hand to God, but no part of me ever thought it "should win" any of the relevant categories. I couldn't figure out why journalists kept saying that. I too want to support American playwrights, but The Curious Incident of the Dog in the Night-Time is simply a better theatrical experience. As a play, stripped from their productions, neither is perfect. So Curious wins. Marianne Elliott's direction is pitch-perfect. It's something that appeals to so many people - I've sent dozens and dozens of folks, from all different backgrounds and of all different ages, and all have left raving about it. While I feel sort of bad for Hand to God's Steven Boyer (even despite his less-than-gracious on camera expression when he lost), who is really great, it was also always clearly Alex Sharp's year to me. I give a lot of credit to the show's press representative, Boneau/Bryan-Brown (in particular Adrian Bryan-Brown, Susanne Tighe, Christine Olver and Kelly Guiod there), for perfectly marketing his "Star is Born" story. He's astounding and deserves all the acclaim.

As for Fun Home, I was not Team Fun Home. I am one of very few New York theater journalists who didn't think it should win Best Musical. (We had New York Times critic Charles Isherwood on our side.) I was not completely surprised it did win - in the fall, I told the show's press agents at O&M it was theirs to lose. That said, in recent months, I, like others, thought An American in Paris might win. It was leading in my polls. However, like Beautiful last year, it is the one that doesn't need the Tony Award to survive. An American in Paris is packing them in and will continue to do so. It's beautiful. The word of mouth is great. It's got classic songs and a story we all know.

And part of me was happy that voters did reward a less commercial piece. I don't harbor any ill-will to Fun Home; I like it well enough and I'm happy it is touching so many people. But I want to make something very clear - the sentiment that Fun Home is the first revolutionary musical ever continues to irk me. I was Team Lisa Kron. I thought she should win. Hands down. But listening to her speech today (it was given during the commercial break last night), I became bothered. A musical theater novice, but a well-known writer of straight plays, Kron said, in tribute to the season: "We've all been sitting in the same one or two main rooms and thinking this was the whole house - and this season some lights got turned on in some other rooms." This idea that theater is where it was in the 1930s and we needed Fun Home or Hand to God to wake us up is so condescending. The art form is continually evolving and changing. People take risks every year - and maybe it's not a risk on a show about coming out and suicide, maybe it's a risk on a silly show about a guy who kills his kin, but that does not make it any less valid. There are artists out there constantly entering "other rooms." It didn't start in the 2014-2015 season.

And now onto a less controversial speech, as I turn the column over to Miles to finish out her abbreviated (if lengthy) acceptance speech:

I have been so proud to be part of The Mine talent agency since 2009 - at the same time I received my AEA actor's union card as well as my first NY job off-Broadway in Avenue Q. I especially needed to thank my agent, Dustin Flores, for his patience, advocacy, encouragement and fierce loyalty for so many years. I am a proud MINER and I wish so much I could have told the entire world that the incredible, special man sitting next to my husband at the Tonys, was my wonderful agent.

I also wanted to thank KCD and the Vogue initiative for making me look and feel amazing last night, especially Jeanann and her team for giving me confidence to wear RED! I felt glamorous and it was all thanks to them.

I needed to publicly shout out two people at LCT. Ira Weitzman, one of our producers and Biggest cheerleaders, as well as the incomparable press team at Lincoln Center Theatre, especially Amanda Kaus, who helped me feel confident, proud, important, and beautiful. Amanda took me under her wing and held my hand when I often had no clue what to expect from or how to maneuver within this awards season. Her patience and guidance have been invaluable.


And now, read my column about the O&M bash at the Carlyle Hotel!

Photo of Alex Sharp at the Tony Awards Gala by Jennifer Broski, courtesy of BroadwayWorld. Photo of Ruthie Ann Miles in the press room by Walter McBride, also courtesy of BroadwayWorld. Special thanks to Robert Diamond for allowing use of the photos.

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Interview With Joana Vasconcelos

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Photo: Luís Vasconcelos / Courtesy Unidade Infinita Projectos


Joana Vasconcelos: "Artists manage to open a new path to beauty"

The Portuguese creator conquered Moscow, Venice, Versailles ... where 1,600,000 people visited her exhibition

In Lisbon, on the banks of the Tagus, is the studio where the artist Joana Vasconcelos (Paris, 1971) deploys all of her creativity. With her I made a tour through the technology rooms, the foundry, architecture and sewing rooms of the world of this Portuguese artist who conquered Versailles.

Elena Cué: Her birth in Paris was a result of the asylum her parents asked for in France when they escaped from the Salazar dictatorship. What configured the presence and affirmation of her roots and identity in her work?

Joana Vasconcelos: The fact that I am a Portuguese artist today is the political outcome of the dictatorship that conditioned many people in Portugal and Spain. My parents were in France and I was born there and the truth is that their life would have remained in France if there had not been the Carnation Revolution (Revolução dos Cravos). I think they would have stayed there and today I would be a French artist. Internet allows the artist to live in their country and to export their work without problems. People reflect their identity, but not only where they come from but also where they are; in other words, the artists can exist in their countries. This allows a person like me, a Portuguese woman, to be in Portugal. It's like another view of art.

What can you tell me about your childhood that has been important in your work?

My childhood was very normal, like all children. What I did that was different was karate for many years. It taught me to be very demanding, to achieve a level of results; it has to do with doing one thing from beginning to end. High competition workouts are very demanding. If we apply this to art, I would say that when I face a challenge or an order, I feel as if I were in a championship, I have to train to get a result. I could have made a career in karate, but there was a time when I wanted to go to art school, and I did both activities together. But after a week in Arco, I went for training session and broke my knee. That was when I understood that I could not continue in karate but that I could use all this training as an artist.

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Photo: Luís Vasconcelos / Courtesy Unidade Infinita Projectos


You are an artist committed to human rights and, in particular, the role of women in our society. What do you want to convey with your work, what dialogue are you seeking?

It depends on the work. I'm an artist, we do not think like men. I can be talking about the rights of women but also about beauty, the East, and the piece I did for Macao. It is another concept that has nothing to do with political things, it has to do more with the idea of beauty, volume ... I can be talking about communication. Women are like that, they can do many things at the same time, men can not. Men have a more linear discourse, it is another way of thinking, neither better nor worse, just different. We are like that. It is no longer necessary to have a single discourse.


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Photo: Luís Vasconcelos / Courtesy Unidade Infinita Projectos



What has it meant for you to display in Versailles?

I can not answer without telling you two or three things. I am the result of a time, of identities, of a change in the way we look at the world. Versailles could not have happened without first doing ​​the Venice Biennale in 2005 with Rosa Martinez and Maria Corral, because they were in fact the first women at the Venice Biennale and both Spanish. I was the first woman in the Rosa Martinez exhibition and the world realized that I existed as an artist and I am very grateful. I was with Maria Corral in Venice and we said that there are people who are at historic moments and do not realise. This was my case in 2005. Then I did more things that led me to Versailles. In 2005 the world realized I existed but I had no works. Then I did a couple of exhibitions. One of them, in the Garage in Moscow, which was the first group contemporary art exhibition, and I was part of it. It was also a very important moment. Then I did another in the Palazzo Grassi in Venice and was there in front of all the big names: Struth, Jeff Koons, Murakami ... And again I had the chance, much younger and female, to be amidst a group of awesome people. Then I was invited to give an exhibition in Versailles. It would never have been possible if I had not done ​​these international exhibitions where your work is alongside all these great artists of the world, where you have a presence.

You engage in a dialogue between past and present. When do you think that the great change in art takes place?

You were asking me what Versailles meant for me. Versailles changed everything. The exhibition had 1,600,000 visitors. Why? First, I am Portuguese. Second, I do not have a large gallery. Third, I have no great curator behind me. Fourth, no one knows me. 1,600,000 visitors! Jeff Koons had 850,000, Murakami roughly the same and you wonder, why? The truth is that the impact is greater for a woman, and I am also European.

You are closer to our culture ...

It's a culture that I understand, that we share in Europe. I integrated my work, I didn't confront it with the palace. There was a divine union between the work and the space.

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Photo: Luís Vasconcelos / Courtesy Unidade Infinita Projectos



The great beauty of Versailles. Where does beauty lie in art for you?

For me art has to be beautiful. I believe that beauty and art are synonymous. I do not think it resides, I believe it is.

That moment when subject and object are the same ...

Yes. I think very much about the time, the emotion, the intensity ... I believe very much in the truth, in the idea that there are no lies, that communication is direct and sincere. If you look at these pieces they are not hidden, they are not isolated from the visitor, they are here present. And then you have many laws of understanding, you can look for this or that, but the truth is that they are hidden behind a theory. Then you can generate your own, but you do not need theory to exist. Beauty does not need theory, beauty is.

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Photo: Luís Vasconcelos / Courtesy Unidade Infinita Projectos



The big question, what is the concept of art for Joana Vasconcelos?

I think that art is what we are describing. It is the ability to generate a dimension of beauty and new light, that is, to me it is more interesting to talk about works than artists because those who are artists are the ones who manage, through one or many works, it depends, to open a new way for beauty, for understanding the world and to have a new perspective on the world. Art is the need to represent ourselves in complete freedom, art is the ability to keep the world alive, to keep our construction as human beings alive. This is why 1,600,000 people visited my exhibition because I represented Europe in a natural way. And when you are in a crisis it is more important that the artist should be in your country and represent your culture because otherwise, as in the Palaeolithic, you do not know what happened to the tribe that did not do the drawing, you know about the one that did. I not only represent my country but also this idea of common culture that we create in Europe.

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Photo: Luís Vasconcelos / Courtesy Unidade Infinita Projectos


I remember our first meeting in Venice. The connection between Lisbon and Venice through a ferry turned into a work of art after being covered by its wool, fabrics and crochet and the famous Portuguese tiles was an amazing experience.

Yes, the boat was the most complex and difficult project I had ever done. It took us a year. We did not have much budget either and the truth is that my country helped me, companies and individuals sent me money and it ended up being a movement of support to get me to Venice. It is at times of crisis when people want to have a say, when they want to be represented and not lose their identity. It was a national project. I had to reflect what Lisbon is today, which elements are specific to our identity, like the tiles, what we have in common with Venice, like the boats, the river, the fact that we are two tourist cities, the fact that in the 15th century we were strongly connected. There is a historical connection but also a contemporary one. For me, the connection was the water, for Lisbon and Venice water has complete control over the city. Then I took the boat and we transformed it. It was an amazing life experience. It is possible to do everything you think. It was sincere because people realize and help you. We must continue representing ourselves in the world. I came to Venice because the Portuguese wanted to come and I'm very grateful. It was all tough, the transport, the opening ... but we managed.

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Photo: Luís Vasconcelos / Courtesy Unidade Infinita Projectos

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A Pigeon Sat on a Branch Reflecting on Existence

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The title of Roy Andersson's A Pigeon Sat on a Branch Reflecting on Existence refers to a poem that is being read on stage by a little girl at a school event. When quizzed by her teacher about what the pigeon is thinking the little girl says that it's thinking it doesn't have enough money. A Pigeon Sat on a Branch Reflecting on Existence is a philosophical comedy, Monty Python meets Kierkegaard, with the title of Damien Hirst's famous sharkwork, "The Physical Impossibility of Death in the Mind of Someone Living," thrown in for good keeping. It starts off with three vignettes all lumped together under the rubric "Meeting With Death." In the first a man dies of a heart attack, as his wife, oblivious to what is going on, cooks. In the second, the son of a dying old woman tries to wrest a bag full of valuables from his mother, whose intent is plainly to take her wealth with her to the grave; in the third another man dies in a cafeteria. The problem is what to do with the food which has already been paid for? The stars of the show are a pair of Vladimir and Estragons, Jonathan (Holger Andersson) and Sam (Nils Westblom). They're salesmen whose trove of novelties includes "vampire teeth with extra long fangs," and an item they keep saying they "have faith in," " a mask called "uncle one tooth." Their business plan is to "help people have fun," only they can't escape the fear of death, with one tormented by a song (he can't get out of his head), about going to heaven to see his parents. Among the other characters are a uniformed worker who's constantly being stood up at a restaurant, a flamenco teacher whose leering sexuality recalls the surrealist classic Un Chien Andalou and the historical character of King Charles XII who shows up in a present day bar in search of a bathroom. A character sitting in a rathskeller cries out "I've been greedy all my life. That's why I'm so unhappy." Around him the staff begin to close up the place as if nothing untoward were happening. "I'm happy to hear you are doing fine," functions as a kind of Greek chorus as varying grotesqueries are perpetrated, amongst them the torturing of a primate. Towards the end the movie tips its hat to colonialism, as slaves are whipped and then forced into a rotating oven where they're cooked to death. The scene is being witnessed by a group of tuxedoed aristocrats holding flutes of champagne. The locution of A Pigeon Sat on A Branch Reflecting on Existence also recalls the famed philosophic conundrum about "a leaf falling in forest with no one watching," but the intention of A Pigeon is far less benign. As imaginative sequences give way to adolescent outrage at the meaninglessness of existence, the film becomes its own best parody. Andersson's pigeon needs to shit or get off the pot. Right now it occupies a no man's land between philosophy 101 and watered down Lars von Trier. Are the questions A Pigeon Sat on a Branch Reflecting on Existence raises difficult or is the disquisition merely oppressive?












{This was originally posted to The Screaming Pope, Francis Levy's blog of rants and reactions to contemporary politics, art and culture}

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Photographer Responds to Parents of LGBT Athlete Who Passed Away

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No photographer ever really wants to think about someone in one of their projects passing away.

For the last 13 years, I have been photographing LGBT high school and college athletes who have "come out" to their teammates despite the high prevalence of LGBT-bias found in sports. These individuals are sound in mind and spirit, young, healthy and are expected to live for many more decades.

It is because of this that, about two years ago, I was in complete shock when I heard that Alyssa Sialaris, a four-time all-American collegiate athlete and someone I had photographed just a few months earlier, had suddenly and unexpectedly passed away.

On April 3, 2013, campus security found Alyssa unconscious in her dorm room at Whittier College. It was just a few weeks before her college graduation.

I first heard the news from one of Alyssa's teammates, Jordan Vega, whom I had also photographed for the Fearless Project. He was completely distraught, and it hurt me terribly to see how much pain he was feeling for someone so important to him.

Personally, I was dealing with a kind of grief that was hard to fully understand, as it was a situation I had never confronted. What do you do with someone's photograph after she tragically passes at such a young age?

Alyssa's photograph is stunning. Out of the 200 or so athletes I have photographed for the series, she stood out for her remarkable poise and confidence. I remember seeing her through my viewfinder, completely awestruck at the power and radiance of her "look." If anyone embodied the word fearless, it was she.

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But after news of her passing, it became impossible for me to look at her image. It reminded me too much of the pain that others felt about the situation. At one point, I considered pulling it from the Fearless Project entirely.

Another source of my anxiety was her parents and family. We had never made contact with each other. And in all honesty, at the time, I did not know if Alyssa had told them about being in the Fearless Project, or if she was even fully "out" to them. I wasn't sure how they were going to react to the news. I imagined the worst-case scenario: that they were disapproving of Alyssa's LGBT identity and would immediately request that I take her image out.

In 2014, as I began to work on a photography book based on the series, I decided that I would publish her image in the book. To avoid any confrontation with her family, I would do my best not to draw any attention to Alyssa's image being used in the publication, hoping they wouldn't notice it.

Hence, it was not at all planned that her photograph would become one of the covers. To showcase the diversity of the LGBT community, the FEARLESS Book has not just one cover, but eight different ones. Each book is the same inside, but the outsides highlight a different athlete, each cover with a spine color matching the stripes from the original 1978 8-stripe LGBT Pride flag designed by Gilbert Baker.

Two months ago, my design team finalized the selection for the eight covers, and I noticed that Alyssa was one of them. Immediately, I knew that it would be impossible for her family not to know, given the attention that the covers would get.

2015-06-09-1433845126-6594370-Allcoverslowres.png

The following week, I sent a message to Alyssa's parents, telling them about the project, book and her cover. A few weeks passed, and I didn't hear anything. By then, the book covers were already being printed, and it was too late to change them. My worry grew, thinking that they were upset. Or worse, I was concerned that they were planning a lawsuit.

Then, three weeks ago, I saw this message posted on my Facebook wall:

Hello Jeff, We wanted to tell you that our family is deeply touched and honored by your book's dedication and cover, as well as your heartfelt tribute to her memory. Thank you. Alyssa was very proud of the role she played in raising awareness and speaking out for the LGBT community. Your project was very dear to her heart, and she was proud to be a role model along with Jordan, for your project and at Whittier... Thank you for your part in helping her fulfill that path in her destiny and for honoring her in that role.


It was from Alyssa's mother. I was beyond relieved.

A week ago Sunday, Alyssa's mother and I spoke for the first time, over the phone. The call lasted for almost two hours. We both cried. A lot. She shared with me everything the family has gone thorough since Alyssa's passing two years ago.

I also apologized for not contacting them sooner. She said that they were more than honored to share Alyssa and her life with so many people.

I then asked if she could write a mother-daughter letter to Alyssa to help launch my book and to pay tribute to the amazing scholar-athlete that the book commemorates (her letter to her daughter Alyssa was posted earlier at Outsports.com).

While I know that today, I should be celebrating my book launch, which marks a milestone in an epic 13-year project resulting in a 316-page hardcover photography book highlighting the progress made by the LGBT rights movement, the book, and today, are really about the athletes. They are about recognizing the 202 LGBT student athletes who were able to come out at such a young age and be incredible role models for us all. It's why I want to make today about them, and not about me.

In my two-hour conversation with Alyssa's mom, she told me that the one thing she wanted to do in memory for her daughter was establish a scholar-athlete memorial fund in Alyssa's name at Whittier College. To do this, the college requires that any scholarship endowment have an initial $50,000 base contribution. For the past two years, the Sialaris family has reached out to everyone they know to try and raise this money, but have only managed to come up with a few thousand dollars.

I gave Alyssa's mom my word that I'd do my best to help publicize their efforts. I said over the phone, "The LGBT community takes care of our own." So while I wanted to highlight my book launch today, it's more important for me that we try and do something for an amazing family and the two people that raised Alyssa with the care and compassion any LGBT individual would want from their parents. You can learn more about the memorial fund here. I hope that we can show Alyssa's family the love that they have shown me this past month. They deserve it.

Jeff Sheng

FEARLESS: Portraits of LGBT Student Athletes was released today and can be previewed and purchased at fearlessbookstore.com. It is both artist Jeff Sheng's personal memoir and a photography book, featuring the portraits of over 200 LGBT student athletes taken by the author between 2003 and 2015. It also contains intimate writings from some of the student athletes about their coming out experiences and concludes with an afterword by retired NBA basketball player Jason Collins.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

6 Reads To Keep You Geeking Out All Summer Long

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geek books

When I was a teen, I dreamed of becoming a scientist, like the whip-smart heroine in my young adult thriller, Nearly Found. Similar to my character, Nearly, I hit my schoolbooks hard all year, and during the summer, there was nothing I loved more than ditching my textbooks and hitting the beach with an engaging "smart" read. I'm talking about gripping, tightly-plotted stories with brainy heroes and heroines. I'm talking about books that whisked me out of the classroom and took the science (and my imagination) on heart-stopping adventures to different worlds. Back then, my choices were limited, mostly to adult crime thrillers, dense sci-fi tomes, and over-my-head medical dramas.

But today, STEM-rich books for young adults are hotter and more action-packed than ever.

Wait! You mean STEM doesn't stand for "Suspense, Thrills, Excitement, and Mystery"? You'd never know, judging by some of these recent young adult books. Here are a few STEM-strong titles perfect for math geeks and science-enthusiasts looking to add a little fiction to their summer reading list.



Control by Lydia Kang
Lydia Kang, an ER physician who blogs medical advice for authors, offers up a unique teen cast of human genetic "mistakes", outcast and hidden from society for their peculiar abilities. Someone has big plans for these gifted kids, and it's up to Zel, the daughter of a famed geneticist, and Cy, a captivating mutant with a knack for medicine, to uncover the secrets behind the science in time to save them all.




Soulprint by Megan Miranda
With a degree in Biology from MIT, Megan Miranda writes acclaimed YA thrillers that explore the intersection of morality, humanity, and scientific breakthrough. Her latest novel, Soulprint, takes place in a future where reincarnation can be scientifically tracked, leaving 17-year-old Alina Chase imprisoned for a crime she committed in a past life. In this edge-of-your-seat thriller, a brilliant and calculating heroine retraces the steps of her last life using clues left behind by her former self, while picking up a steamy romance with an intelligent and daring boy with his own criminal past along the way.




Find Me by Romily Bernard
Often described as The Girl with the Dragon Tattoo for teens, the story of tough teen hacker Wick Tate is a pacey suspenseful crime thriller, with plenty of twists and turns... not to mention an irresistible bad-boy love-interest. Clues and reveals are well-timed to allow the reader to solve the mystery along with Wick as she uses her tech savvy to investigate the suspicious death of a friend. (A good fit for fans of Don't Turn Around by Michelle Gagnon.)




A Girl Named Digit by Annabel Monaghan
Perfect for fans of cryptography, FBI procedurals, and conspiracy thrillers, the story of "Digit" Higgins's race to outwit a terrorist organization will captivate even the most reluctant STEM readers. A fun, fast read for those who prefer to take their math with a heavy dose of action and a pinch of sweet romance.




Bad Taste in Boys by Carrie Harris
For those who like a little humor with their STEM, super-smart heroine Kate Grable has uncovered a dangerous secret while working as a student trainer in her high school gym - the coach has been dosing his football players with steroids, resulting in an unusual side-effect... they're all becoming zombies. And it's up to Kate to find a cure. At times campy and always fun, this perfect-for-summer read offers readers a nerdy heroine to cheer for.




Relativity by Cristin Bishara
Physics geek Ruby Wright wishes her life had taken some different turns, but when she discovers a wormhole in an Ohio cornfield, opening a gateway to nine parallel universes, she gets a chance to explore the alternative paths her life could have taken had events in her life happened differently. Complete with references to string theory, narrated by a science-minded teen voice, this compelling story explores the laws of space and time and the nature of relationships, raising questions about the possibility of a truly perfect world. (Note: If you like a little more terror in your black-hole parallel universes, Gretchen McNeil's 3:59 offers an eerie sci-fi/horror blend with similar themes.)

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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