Newsletter January/February 2017

Total Page:16

File Type:pdf, Size:1020Kb

Newsletter January/February 2017 The Sherwood Neighbourhood Centre Introduces: Western Suburbs Clayworkers Newsletter January/February 2017 A word from our new president Hi all, Welcome back. Now that 2106 is beginning for WSC with our refurbished “done and dusted” I hope everyone is studio space. I’m in the process of rejuvenated after the break and ready painting my kitchen with a similar colour to trade the handful of chocolates for called “Tame green”. This may prove handfuls of clay. I know I’m fired up. I to be a superfluous task as another hope everyone likes the occasional bad prediction for 2017 is that: “A massive pun too. death planet – Nibiru – is about to So I have put myself back in the smash into our planet, killing us all! hot-seat for this year as the group’s And there’s an alarmingly specific date benevolent autocrat. I would like predicted for the ‘rogue planet’ making to thank this year’s committee for its fatal rendezvous with our planet: stepping up to the task of running December 2017”, according to a Western Suburbs Clayworkers and prediction on Zetatalks that was quoted also thank the previous dedicated by the free U.K. tabloid newspaper crew for all their effort in creating a “Metro”. Hopefully the actual day won’t successful 2016 last year. That means be until after our Christmas party. It’d some people get thanked twice and be a shame to miss out on that. deservedly so. We’d like to make the revamped The Pantone colour of the year for studio the centre of activity as soon as 2017 is called “Greenery” (Pantone possible. Any suggestions and ideas for 15-0343) and their website informs us things you’d like to do are welcomed that it’s “A refreshing and revitalizing and we’ll try to accommodate them. shade, Greenery is symbolic of new Looking forward to seeing you all soon, beginnings.” This year will be a new Anthony. This month's video https://www.youtube.com/watch?v=yPJ2hN1hfnY contacts President Western Suburbs Clayworkers Anthony Durrington 38 Thallon Street Sherwood 4075 Secretary Email Newsletter David Bartholomew Rachael Torepe [email protected] [email protected] January bits Show + Tell Welcome back Frank - one of our best throwers! Warrandyte Pottery Expo 2017 SATURDAY 25 FEBRUARY 2017 10am - 5.30pm SUNDAY 26 FEBRUARY 2017 10am - 5.30pm WARRANDYTE RIVERBANK OPPOSITE THE PUB IN YARRA ST Anthony's cast stones MELWAYS: 23 E11 At left David's 2 pots in Feeney's Dark Stoneware and above his first commission 4 plates, 4 bowls and a serving bowl for a wedding gift - ready to bisque. Failed pots and what not to do! Mini-workshop 01-02-17 in the studio From the top The inside of the bowl has a slip applied - cracking may have occurred in the glaze firing due to this weak point on the base of the pot. The Raku pot has an underglaze applied under a clear and the areas are starting to spall off like a naked Raku. From the top From the top Gai had some mid-fire pieces with underglaze and a clear glaze over it. 2 sides to Anthony's bowl - glaze too The green underglaze and the clear The result was difficult to photograph thick and hasn't adhered to the pot glaze have not fitted together well? but had small bloats and pin-holes. well - looks great but has a few sharp The centre pot has a dust spot on the The clay body has been blamed for points. lid and perhaps a grease mark on the this! The bottom pot is terracotta where the body where the glaze has not taken. underglaze has slipped where the pot The bottom pot has a dramatic fail - If you have any other was too wet to absorb the moisture in perhaps too wet when bisqued or has thoughts on these failures let the slip. an air pocket in the base us know! Diane's artist profile My name is Diane Weingott and I have been ‘potting’ for many years, starting with a Certificate of Ceramics at South Brisbane TAFE. I am a very straight-forward, uncomplicated potter. My pottery has no hidden meanings or symbolism. I thoroughly enjoy the tactile quality of clay as it evolves from an undeveloped lump to an item I have envisioned the moment I first laid my hands around it. The smooth rounded curves of a well-thrown piece that both pleases the eye and entices one to touch it, is my main objective and delight when it is achieved. My pottery is made to use; to know someone is enjoying the feel and look of my creation on a daily basis, or even kept away at the back of the cupboard to be brought out on special events to hold the feast of the day, is a great joy to me. I feel a little bit of me is interwoven with the clay, the PS Diane won third place in our What Have You Done for decoration and the glazes used on each pot. 2017 - congratulations again! I look forward to getting to know all the potters in the Western Suburbs Clayworkers and enjoying some inspirational times mucking about in mud. The 2017 webpage An alternate use for your electric kiln Go to: wsclayworkers.org.au Send us photos of your work to upload Did anyone else see this on the ABC program Back Roads. It is a small country town, Cygnet in to our web page for our members to Tasmania. A lot of the locals are involved in artistic see - http://wsclayworkers.org.au/wsc-work.html or alternate activities. http://wsclayworkers.org.au/what-have-you-done.html Everyone seems to have more than one job; so why Also find popular recipes by request not use your kiln for an alternate as well! Find these and more on the web page now! [email protected] What’s On in & Around Brissy: Andrew Baker Art Dealer Jan Murphy Gallery 26 Brookes Street, Bowen Hills 4006. 486 Brunswick Street, Fortitude Valley 4006. (07) 3252-2292, 0412-990-356. (07) 3254-1855. [email protected] [email protected] www.andrew-baker.com www.janmurphygallery.com.au Wed-Sat 10.00 to 5.00, or by appt. Director: Jan Murphy. Paintings, photographs, prints and sculptures by leading Tues-Sat 10.00 to 5.00 or by appt. contemporary Australian, Melanesian and Polynesian Feb 25 to March 25 Dog Days. artists. Jugglers Art Space Inc. BrisAsia Festival – Folds of Belonging 103 Brunswick Street, Fortitude Valley 4006. Festivals, + Exhibition www.brisbane.qld.gov.au (07) 3252-2552. To Feb 19 Folds of Belonging. An exhibition displaying [email protected] contemporary works by internationally celebrated artists www.jugglers.org.au – Fahd Burki (Pakistan), Motoyuki Daifu (Japan), Rirkrit Facebook: jugglersartspace Tiravanija (Thailand/USA), Shilpa Gupta (India) and Mon-Fri 10.00 to 4.00. collective Slavs and Tatars (Eurasia) in the City’s Vibrant An artist run organisation committed to supporting Laneways Outdoor Gallery sites – King George Square Car artists in Brisbane. Park, Eagle Lane, Hutton Lane and Fish Lane, 24-hours a day. Folds of Belonging is produced in association with Mitchell Fine Art Brisbane City Council on occasion of the 2017 BrisAsia 86 Arthur Street, Fortitude Valley 4006. Festival. Curated by Tess Maunder. (07) 3254-2297. [email protected] FireWorks Gallery www.mitchellfineartgallery.com 52a Doggett Street, Newstead 4006. Mon-Fri 10.00 to 5.30, Sat 10.00 to 5.00. (07) 3216-1250. Feb 8 to March 4 Director’s Choice. [email protected] www.fireworksgallery.com.au Philip Bacon Galleries Tues-Fri 10.00 to 6.00, Sat 10.00 to 4.00. 2 Arthur Street, Fortitude Valley 4006. Jan 31 to Feb 25 Along the Lines group exhibition. (07) 3358-3555. [email protected] Institute of Modern Art www.philipbacongalleries.com.au 420 Brunswick Street, Fortitude Valley 4006. Tues-Sat 10.00 to 5.00. (07) 3252-5750 Philip Bacon Galleries is the largest and most established Fax 3252-5072. dealing gallery in Brisbane. [email protected] We have a large selection of important 19th-century, 20th- www.ima.org.au century and contemporary paintings and sculptures in Free entry. stock. Tues-Sat 12.00 to 6.00, Thurs until 8.00. Feb 7 to March 4 Creatures: Great and Small paintings, Feb 11 to March 11 Fiona Tan. watercolours, lithographs, drawings and sculpture by Australian artists from the 1880s until now. Jan Manton Art Contemporary Australian + International Art Queensland Art Gallery | Gallery of 1/93 Fortescue Street, Spring Hill 4000. Modern Art (QAGOMA) (07) 3831-3060, 0419-657-768. Stanley Place, Cultural Precinct, South Bank Brisbane [email protected] 4101. www.janmantonart.com (07) 3840-7303 Director: Jan Manton. Fax 3844-8865. Wed-Fri by appt, Sat 10.00 to 4.00 no appt required. www.qagoma.qld.gov.au Jan Manton Art has a changing program of leading and Free entry, unless otherwise stated. emerging contemporary artists. Daily 10.00 to 5.00. Feb 22 to March 18 Alchemy by Gatya Kelly. Also, still/ silent by Carl Warner. GOMA: Suzanne To Feb 12 Childrenís Art Centre: The Gabori Sisters: O’Connell Gathering by the Sea. Gallery To April 16 A World View: The Tim Fairfax AC Gift. 93 James Street, New Farm 4005. To April 17 Sugar Spin: you, me, art and everything – (07) 3358-5811, 0400-920-022 QAGOMA’s major summer show. Also, Children’s Art Fax 3358-5813.
Recommended publications
  • Education Kit Years 7-12 the Writing’S on the Wall - a Short History of Street Art
    Education Kit Years 7-12 The Writing’s on the Wall - A Short History of Street Art The word graffiti comes from the Italian language and means to inscribe. In European art graffiti dates back at least 17,000 years to wall paintings such as are found in the caves of Lascaux in Southern France. The paintings at Lascaux depict animals from the Paleolithic period that were of cultural importance to the people of that region. They are also believed to be spiritual in nature relating to visions experienced during ritualistic trance-dancing. Australian indigenous rock art dates back even further to about 65,000 years and like the paintings at Lascaux, Australian indigenous rock art is spiritual in nature and relates to ceremonies and the Dreaming. The history of contemporary graffiti/street art dates back about 40 years to the 1960s but it also depicts images of cultural importance to people of a particular region, the inner city, and their rituals and lifestyles. The 1960s were a time of enormous social unrest with authority challenged at every opportunity. It is no wonder graffiti, with its strong social and political agendas, hit the streets, walls, pavements, overpasses and subways of the world with such passion. The city of New York in the 1970s was awash with graffiti. It seemed to cover every surface. When travelling the subway it was often impossible to see out of the carriage for the graffiti. Lascaux, Southern France wall painting Ancient Kimberley rock art Graffiti on New York City train 1 The Writing’s on the Wall - A Short History of Street Art In 1980 an important event happened.
    [Show full text]
  • RMIT Gallery Exhibition Program 2011 97
    RMIT Gallery Exhibition Program 2011 97 1 21 January — 12 March 108 2 September — 5 November China and Revolution: Space invaders: australian . street . History, Parody and Memory in Contemporary Art stencils . posters . paste-ups . zines . stickers The exhibition re-evaluates the Cultural Revolution through propaganda poster art Drawn entirely from the collection of the National Gallery of Australia, the produced in the 1960s and ’70s, as well as through oral histories collected by the first Australian institution to have collected this type of work, this exhibition curators in 2008–2009. It opens dialogue between the past and present with work surveys the past 10 years of Australian street art. Featuring 150 works by over from artists with first hand experience, as well as through the display of original 40 Australian artists, the exhibition celebrates the energy of street-based political posters carrying political and social messages to the Chinese masses. creativity, recognising street stencils, posters, paste-ups, zines and stickers Curator Professor Stephanie Hemelryk Donald, Dean of the School of Media and as comprising a recent chapter in the development of Australian prints and Communication at RMIT University, and Professor Harriet Evans, Coordinator of drawings. Curator Jaklyn Babington, Assistant Curator, International Prints, Asian Studies Research at the University of Westminster. Artists Liu Dahong, Xu Drawings and Illustrated Books, National Gallery of Australia Artists Aeon, Weixin, Li Gongming, Shen Jiawei. Public Program
    [Show full text]
  • Julian Day Gabriella Hirst Mason Kimber Tanya Lee Liam O’Brien Anna Varendorff with Haima Marriott
    4 March - 8 May 2016 Education Kit Australian Centre for Contemporary Art Education 1 NEW Series ACCA’s annual NEW series was established in 2003 to create opportunities for contemporary Australian artists to present newly commissioned work in an ambitious curatorial context, and to encourage new art practices, tendencies and ideas in a public context. The premise of NEW is to commission new works and to enable professional development opportunities for artists by providing them with curatorial expertise and financial assistance to help realise their plans in the demanding spaces of ACCA. The exhibition title does not insist that the artists themselves are ‘new’, although there is a general tendency for the participants to be considered as ‘emerging’. There is no theme for NEW. It is not expected that the artists need to have common purpose or ideas linking their projects. Whilst a characteristic of the NEW series is the involvement of guest curators whose role it is to propose new tendencies and areas of focus around current art ideas and developments, the emphasis is on individual projects which are variously engaging and captivating, and for these projects to have scope enough that the ideas of the artist can come to the front of any and all discussions. Education 2 Jacobus Capone Catherine or Kate Julian Day Gabriella Hirst Mason Kimber Tanya Lee Liam O’Brien Anna Varendorff with Haima Marriott Education 3 NEW16 2016. Installation view, Australian Centre for Contemporary Art, Melbourne, 2016. Photograph: Andrew Curtis Education 4 NEW16 Floorplan Jacobus Capone Gabriella Hirst Julian Day Tanya Lee Mason Kimber Anna Varendorff with Haima Marriott Catherine or Kate Liam O’Brien Education 5 Curatorial rationale Guest Curator NEW16 brings together eight newly commissioned Annika Kristensen is Curator at ACCA.
    [Show full text]
  • ISEA2015 DISRUPTION Art Catalogue Edited by Kate Armstrong Design: Milène Vallin
    ISEA2015 DISRUPTION Art Catalogue Edited by Kate Armstrong Design: Milène Vallin Printed and bound in Canada This book can be downloaded as a .pdf or ordered in print at http://isea2015.org/publication © New Forms Art Press, artists and writers 1255 West Pender Street Vancouver, British Columbia Canada V6E 2V1 Library and Archives Canada Cataloguing in Publication International Symposium on Electronic Art (21st : 2015 : Vancouver, B.C.) ISEA 2015 disruption artistic program / edited by Kate Armstrong. Catalogue published in conjunction with the 21st International Symposium on Electronic Art held in Vancouver, Canada, from August 15 to 19, 2015. Issued in print and electronic formats. ISBN 978-0-9878354-1-3 (paperback) ISBN 978-0-9878354-2-0 (pdf) 1. Computer art--Exhibitions. 2. Art and technology--Exhibitions. I. Armstrong, Kate, 1971-, editor II. Vancouver Art Gallery, host institution III. Title. IV. Title: 2015 disruption artistic program. V. Title: Disruption artistic program. N7433.8.I58 2015 776 C2015-904663-7 C2015-904664-5 Acknowledgments This incredible event could not have happened without our amazing team and our many collaborators. First, a thank you to Thecla Schiphorst and Philippe Pasquier, the Symposium Directors of ISEA2015 who have closely worked with us throughout the long process of developing the artistic pro- gram for ISEA. Thanks to our many programming partners. A big thanks to everyone at the Vancouver Art Gallery, especially Wade Thomas, Diana Freundl, Debra Zhou, Jennifer Wheeler, Jennifer Sorko, and Sunny Kooner, and the spectac- ular Boca Del Lupo team – Jay Dodge, Carey Dodge, and Sherry Yoon – who have been such a pleasure to collaborate with during this project.
    [Show full text]
  • Dlab an Evaluation
    dLab An Evaluation A report prepared by Dr Rebecca Conroy for dLux Media Arts 2014 ACKNOWLEDGEMENTS The author would like to dedicate this report to the dreaded rastafarian Time Lord mervin Jarman—inventor, initiator and trail blazer of the original iStreet from which the dLab emerged, who sadly passed away in 2014. RIP mervin—your vision lives on in the hearts and minds of many communities around the world. Acknowledgement and a heartfelt thanks to all the many wonderful partner organisations, key workers, participants and facilitators who gave generously of their time to reflect on their involvement in dLab, without which this report would not have been possible. TABLE OF CONTENTS Executive Summary 1 Introduction 3 SECTION ONE: BACKGROUND About dLux Media Arts 6 Background to Program 7 Research Methodology 8 Intentions of the dLab Evaluation 9 Data Collection 10 The Evaluation Matrix: Aims and Intentions 12 SECTION TWO: CONTEXT Science + Art = Pedagogy 16 Women in Science 17 Inter-related fields of science and art 18 A summary of benefits for art-science collaborations 19 Indigenous knowledge systems 20 Locations 22 Important note on the ongoing effects of colonisation 24 The intervention 25 Life chances: Education and employment 26 Comparative Data Analysis 27 SECTION THREE: ANALYSIS Program 29 Opportunities and Challenges 32 Presentation Outcomes 36 Figure 01 Opportunities and Challenges Matrix 37 Partners 41 Discontinued Partners 48 Fig 02 Partnership Matrix 49 Facilitator Training 51 Participants 52 Fig 03 Participation Matrix 53 SECTION FOUR: EVALUATION Fig 04 Evaluation Matrix 55 Summary Key Findings 57 Recommendations 60 References 61 Appendix A: Key Organisations Appendix B: Key People 3 EXECUTIVE SUMMARY The current debate on whether the human species has shifted into a new geological epoch, the anthropocene, is happening against a backdrop of extreme weather patterns across the planet.
    [Show full text]
  • Under Score Australian New Media Arts in Next Wave Down Under Part of BAM’S 2001 Next Wave Festival, New York Introduction
    October-November 2001 FREE Under_score Australian new media arts in Next Wave Down Under part of BAM’s 2001 Next Wave Festival, New York Introduction Welcome to the third of RealTime's annual surveys of developments in Australian new media Wayne Ashley art. Working the Screen provides a rare overview of exhibited works, works-in-progress, Organizing Curator, Manager of New Media, Brooklyn Academy of Music trends and issues. In July 1999 Wayne Ashley was named the first Manager of New Media at the Brooklyn Working the Screen 2001 celebrates the Australian new media artists and works selected for the Academy of Music (BAM), hired to establish BAM's New Media Department; design, direct, and Brooklyn Academy of Music's (BAM) Next Wave Festival. Now in its nineteenth year, Next Wave implement Arts in Multimedia (AIM), a research, art and technology project with Bell Labs; and has long had a reputation for innovative programming. This year the festival includes Next Wave begin exploring works that confront assumed ideas about performance in the context of rapidly Down Under, a month-long celebration of contemporary Australian arts. The BAM website will changing information and interactive technologies. Ashley has produced web documentaries on feature the work of nine Australian net.artists, provide links to the sites of fourteen new media choreographers David Rousséve and Ralph Lemon, and managed three collaborative projects artists, two net.sound sites, an online documentary on Chunky Move dance company and audio- involving Bell Labs researchers and artists exploring robotic cameras and live performance. He is on-demand broadcasts of works from ABC radio's The Listening Room.
    [Show full text]
  • Space Invaders
    SPACE INVADERS SPACE The contemporary Australian street art scene began in the mid 1990s, but its origins can be traced to the Australian graffiti subculture that emerged in the early 1980s. Whereas graffiti is based on the ‘tag’ name and communicates to other members of the graffiti subculture, street art is broader in its appeal and in its desire to communicate with the general public. Street art includes stencils, painted posters, paste‑ups, stickers and zines. The National Gallery of Australia recognises these forms of street art as contemporary printmaking and drawing. nga.gov.au/spaceinvaders Art galleries … have played a role in changing perceptions about street art: acquiring posters and recent examples of street art for their collections has helped legitimise practices that have often been outlawed. In the case of the National Gallery of Australia, zines and stencilled images on paper take their place alongside earlier posters and self-published books. Roger Butler, Senior Curator of Australian Prints and Drawings at the National Gallery of Australia This exhibition is supported by the Contemporary Touring Initiative through Visions of Australia, an Australian Government program, and the Visual Arts and Craft Strategy, an initiative of the Australian Government and state and territory governments. CULTURAL PARTNERS SPECIAL MEDIA PARTNER © National Gallery of Australia, Canberra, 2011 Adapted by NGA Education from the book Space invaders, and produced by NGA Publishing in conjunction with the exhibition Space invaders: australian . street . stencils . posters . paste-ups . zines . stickers. The National Gallery of Australia is an Australian Government Agencyhe Jumbo and Zap X-ray man-machine pointing a ray-gun at the amphibians 2010 (detail), hand‑painted poster, National Gallery of Australia, Canberra, acquired with the support of Calypso Mary Efkarpidis, 2010.
    [Show full text]
  • Conference Proceedings Re:Live
    Re:live MEDIA ART HISTORY 09 Third International Conference on the Histories of Media Art, Science and Technology Conference Proceedings Re:live Media Art Histories 2009 Refereed Conference Proceedings Edited by Sean Cubitt and Paul Thomas 2009 ISBN: [978-0-9807186-3-8] Re:live Media Art Histories 2009 conference proceedings 1 Edited by Sean Cubitt and Paul Thomas for Re:live 2009 Published by The University of Melbourne & Victorian College of the Arts and Music 2009 ISBN: [978-0-9807186-3-8] All papers copyright the authors This collection licensed under a Creative Commons Attribution-Noncommercial 2.5 Australia License. Supported by Reviews Panel Su Ballard Thomas Mical Andres Burbano Lissa Mitchell Dimitris Charitos Lizzie Muller martin constable Anna Munster Sara Diamond Daniel Palmer Gabriel Menotti Gonring Ana Peraica Monika Gorska-Olesinska Mike Phillips Mark Guglielmetti melinda rackham Cat Hope stefano raimondi Slavko Kacunko Margit Rosen Denisa Kera Christopher Salter Ji-hoon Kim Morten Søndergaard Mike Leggett Robert Sweeny Frederik Lesage Natasha Vita-More Maggie Macnab danielle wilde Leon Marvell Suzette Worden Re:live Media Art Histories 2009 conference proceedings 2 CONTENTS Susan Ballard_____________________________________________________________________6 Erewhon: framing media utopia in the antipodes Andres Burbano__________________________________________________________________12 Between punched film and the first computers, the work of Konrad Zuse Anders Carlsson__________________________________________________________________16
    [Show full text]
  • Ecce Signum: the Significance of Writing As Image
    ResearchOnline@JCU This file is part of the following reference: Foley, Donna (2008) Ecce Signum: the significance of writing as image. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/30045/ The author has certified to JCU that they have made a reasonable effort to gain permission and acknowledge the owner of any third party copyright material included in this document. If you believe that this is not the case, please contact [email protected] and quote http://eprints.jcu.edu.au/30045/ Ecce Signum: The significance of writing as image A Thesis submitted with creative work in fulfilment of the requirements of the degree of DOCTOR OF PHILOSOPHY at James Cook University By Donna Foley BVA (Hons) M.Ed. April 2008 School of Creative Arts Signed statement of access I, the undersigned, author of this work, understand that James Cook University will make this thesis available for use within the University Library and, via the Australian Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act and I do not wish to place any further restriction on access to this work. _________________________ ______________ Signature Date ii Signed statement of sources I declare that this thesis is my own work and has not been submitted in any form for another degree or diploma at any university or other institution of tertiary education. Information derived from the published or unpublished work of others has been acknowledged in the text and a list of references is given.
    [Show full text]
  • Portland Street Art, Vol. 2
    PORTLAND STREET ART OREGON / VOLUME 2 By A. Tarantino PORTLAND STREET ART OREGON / VOLUME 2 By A. Tarantino Portland Street Art Oregon Volume Two © Copyright 2014 by A. Tarantino. All Rights Reserved. No part of this work may be reproduced in any manner without expressed permission by the author or publisher in writing as prohibited by copy- right law. This work is, however, licensed under the Creative Commons Attribution-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. This book is an original photographic document to preserve the aesthetic of publicly viewable street art. It is not meant to represent the artists in any way or encourage illegal activity. http://www.PortlandStreetArt.com/ [email protected] ISBN-10:099603790X (paperback) ISBN-13:978-0-9960379-0-7 (paperback) Book Industry Standards and Communications Category (BISAC): Art / Popular Culture A catalog record for this book is available with the Library of Congress Cataloging-in-Publication Data FIRST EDITION A portion of the proceeds from this book will benefit SOS Outreach,an international nonprofit building character in youth through outdoor adventure. http://www.SOSOutreach.org/ Photography, Compilation and Editing: A. Tarantino Introduction Co-authors: Tiffany Conklin & Tomas Alfredo Valladares / Portland Street Art Alliance / http://www.pdxstreetart.org/ Book Design: Elise Jones / West Hills Design / http://www.westhillsdesign.com/ This book contains over 100 original street art and graffiti photographs taken in the City of Portland, Oregon, located in the pacific northwestern United States.
    [Show full text]
  • 100 Artists Who Made BJCEM Original ORIGINAL 100 Artists Who Made BJCEM Original
    ORIGINAL 100 Artists Who Made BJCEM Original ORIGINAL 100 Artists Who Made BJCEM Original Electa Editorial Coordination Original BJCEM Members Greece Municipality of Venice Virginia Ponciroli Conceived by Jurij Krpan with Marta Anjos, Ministry of National Education, General Provincial Administration of Arezzo Natasˇa Ivancevic, Alenka Gregoric´, France Albania Secretariat of Youth, Cultural Department, Provincial Administration of Naples Graphic Design Coordination Irrmann, Krista Mikkola, Emil Mitevski Independent Forum for the Athens Anna Piccarreta Biennale des Jeunes Créateurs de l'Europe Albanian Women, Tirana Municipality of Thessaloniki Malta Curator et de la Méditerranée Social and Cultural Organization Inizjamed, Malta Graphic Design Jurij Krpan Algeria of Stavroupolis (IRIS), Stavroupolis, Francesca Botta President Association Amis de la Biennale Thessaloniki Palestine Coordination Luigi Ratclif de Tipasa (ABIT), Algeria Sabreen Association for Artistic Cover Design Alessandro Stillo, Marta Balestrieri Jordan Development, Jerusalem Eva Volpato General Secretary Bosnia and Herzegovina Performing Arts Center (PAC), Material Research Alessandro Stillo International Peace Center (IPC), Sarajevo Amman Portugal Page Layout Marta Balestrieri, Lucia Carrer, J.U. National Theatre Tuzla, Tuzla Clube Portugues de Artes e Ideias, Lisbon Francesca Botta Stefania Inverso Treasurer U.G. Alternativni Institut Kosovo Francesca Rossi Emiliano Paoletti Kosovar Youth Council (KYC), Republic of San Marino Translations Croatia Prishtina Ministry
    [Show full text]
  • Turbulence 3RD AUCKLAND TRIENNIAL 2007 R > V Irv > ^ ^ I |\[C |^0 M
    turbulence 3RD AUCKLAND TRIENNIAL 2007 r > v Irv > _ ^ ^ I |\[C |^0 M ARTISTS LIDA ABDUL A fg h a n is t a n CHANTAL AKERMAN Be l g iu m VYACHESLAV AKHUNOV Uzb ek is t a n w ith SERGEY TICHINA Uz b ek is t a n EVE ARMSTRONG n ew Ze a l a n d THE ATLAS GROUP/WALID RAAD l e b a n o n / u s a CARLOS CAPELAN u r u g u a y /SWEDEN PHIL COLLINS UNITED k in g d o m DONNA CONLON u s a / p a n a m a SHANE COTTON n g a p u h i/ n ew Ze a l a n d CHRISTINA DIMITRIADIS g r e e c e / g e r m a n y WILLIE DOHERTY n o r t h e r n Ir e l a n d REGINA JOSE GALINDO Gu a t e m a l a CARLOS GARAICOA Cu b a ALEXANDROS GEORGIOU GREECE MONICA GIRON A r g e n t in a GEORGE GITTOES Au s t r a l ia FIONA HALL Au s t r a l ia MONA HATOUM Pa l e s t in e / u n it e d k in g d o m JULIAN HOOPER n ew Ze a l a n d ALFREDO JAAR Ch il e / u s a ISAAC JULIEN UNITED KINGDOM LUCIA MADRIZ c o s t a r ic a OSCAR MUNOZ Co l o m b ia JOHN PULE NIUE/NEW ZEALAND R E A GAMILARAAY/ WAILWAN PEOPLE OF NSW, AUSTRALIA MICHAL ROVNER i s r a e l / u s a JULIE RRAP AUSTRALIA LAZARO A.
    [Show full text]