Virginia 22314 Photo by Joan Brady Free Digital Edition Delivered to Your Email Box

Total Page:16

File Type:pdf, Size:1020Kb

Virginia 22314 Photo by Joan Brady Free Digital Edition Delivered to Your Email Box Senior Living Challenges for Page 11 Black Students 50 Years Later Yorktown, Page 3 Cuter by The Dozens ArPets, Page 2 Johanna Pichlkostner Isani with adopted canines Lexie and Paxton and puppy foster Bri. Classifieds, Page 10 Classifieds, Live from the Rugstore Page 4 Requested in home 4-8-21 home in Requested Time sensitive material. material. sensitive Time Marijuana Legalization Postmaster: Attention permit #322 permit Easton, MD Easton, Could Come This Summer PAID U.S. Postage U.S. News, Page 9 STD PRSRT Photo by Joan Brady/Arlington Connection Photo April 7-13, 2021 online at www.connectionnewspapers.com ArPets The Arlington Connection www.ConnectionNewspapers.com @ArlConnection An independent, locally owned weekly newspaper delivered to homes and businesses. Published by Local Media Connection LLC 1606 King Street Alexandria, Virginia 22314 Photo by Joan Brady Photo Free digital edition delivered to your email box. Go to connectionnewspapers.com/subscribe NEWS DEPARTMENT: [email protected] Shirley Ruhe Contributing Photographer and Writer Johanna Pichlkostner Isani with adopted canines Lexie and Paxton [email protected] and puppy foster Bri. Joan Brady Contributing Photographer and Writer Cuter by the Dozens [email protected] Eden Brown Contributing Writer 25 Dogs and Counting [email protected] Ken Moore By Joan Brady much-needed way station. Arlington Connection Contributing Writer Johanna grew up with a dog [email protected] and cat, as well as two “boy” ham- couldn’t wait to vault from my sters who had a litter. Then anoth- ADVERTISING: parents’ house into college. Full er. Then another. And over time, For advertising information Idisclosure, my college was less there wasn’t a kid in her neighbor- [email protected] than 75 miles from my childhood hood who didn’t have one of the 703-778-9431 home and about a 12 minute drive Pichlkostner hamsters. Perhaps from two sets of aunts and uncles. Debbie Funk this was early preparation for the Display Advertising/National Sales So first step toward independence, fostering and dog placement that 703-778-9444 sure. But a huge step, not so much. she does so successfully now. [email protected] Never would I have moved to a Over the years, Johanna adopt- foreign country without my fami- ed two dogs from the Lost Dog and David Griffin ly at 18. But that’s exactly what Cat Rescue Foundation (LDCRF) Marketing Assistant Johanna Pichlkostner Isani did, 703-778-9431 and so it made sense for her to [email protected] leaving her small town in Germany look there when she decided she for an adventure as an au pair in wanted to explore opportunities Classified & Employment Northern Virginia. to get involved with animal res- Advertising I can only imagine what it was cue. A volunteer since 2019, Jo- 703-778-9431 like for Johanna (pronounced Yo- hanna could not be happier with hanna) to arrive here amidst the her choice to become part of the Editor & Publisher 1976 bicentennial celebrations. LDCRF family, “By joining LDCRF Mary Kimm Her first day was filled with pa- I found a welcoming organization [email protected] rades. And her first night was with an awesome group of people, @MaryKimm punctuated by loud and colorful all focused on doing good for the fireworks. “What a welcome to the Executive Vice President animals in their care.” Jerry Vernon country,” she told me. Johanna and I have been email- 703-549-0004 Truly settling in meant turning ing back and forth for more than [email protected] the English grammar and spelling a month now. And when I see her she had learned in school, into email address pop up in my inbox, Art/Design: fluid conversation. TV became a Laurence Foong, John Heinly, I fix myself a cup of coffee and Ali Khaligh tool to improve her skills, but she imagine there is no pandemic and Production Manager: says it was definitely not a fast we are sitting across the table at a Geovani Flores process. Johanna quickly came to local coffee shop as I read about appreciate the perfect placement her many fosters. of Northern Virginia with its short As a rescue beagle pet-mom, I CIRCULATION [email protected] distances from the ocean, moun- was especially touched to learn tains, cities and countryside. And Barney’s story, which has been ed- she loved having access to so many ited for length and clarity. wonderful museums. Northern Vir- “I took in Barney the beagle in ginia became home and ultimately June of last year. This scared boy she settled and raised her family in would scamper to the very back Alexandria; three sons, a couple of of his kennel when anyone came cats and a dog. to see him. [After he came home We were introduced by a mutu- with me,] the first few days he al friend who couldn’t say enough kept his distance, giving me a wide about Johanna’s impact on the berth when coming in or going out success of the 25 foster dogs for to the backyard. [He would] give whom Johanna’s home has been a See ArPets, Page 6 2 v Arlington Connection v April 7-13, 2021 www.ConnectionNewspapers.com ArlingtonThe News Connection www.ConnectionNewspapers.com @ArlConnection An independent, locally owned weekly newspaper delivered Yorktown High Holds School-wide to homes and businesses. Published by Local Media Connection LLC Assembly Honoring Black History 1606 King Street Alexandria, Virginia 22314 Free digital edition delivered to Ask yourself how you may have contributed to racism and do better, students say. your email box. Go to By Eden Brown connectionnewspapers.com/subscribe “discriminatory” minority achieve- Arlington Connection ment programs. There were even blatantly racist statements that NEWS DEPARTMENT: arguarite Gooden referenced commonly-used stereo- [email protected] told the group of types about Black people.” Shirley Ruhe over 1200 Yorktown But the comments demonstrat- High School students Contributing Photographer and WriterM ed that a problem remains. “This [email protected] at an assembly Feb. 26 that as is what black and other non-white one of two Black students in her students have been saying for de- Joan Brady class at Yorktown, she was called cades.” Contributing Photographer and Writer a “jungle bunny” — among other Benites added, “This conference [email protected] things — by her classmates. She is absolutely one small piece of our Eden Brown was integrating a school 59 years work. I am so heartened we were Contributing Writer ago in her own neighborhood that able to do this. We have never been [email protected] had not allowed Black students to able to have a school-wide assem- attend. She was so harassed in her bly for [Black History Month]. Ken Moore math class, several boys had to be They have always been offered to Contributing Writer taken out of the classroom to allow [email protected] whichever teachers want to sign her to remain. Tia Alfred and Ben up to bring their classes. I think the Moody Jr. also attended Yorktown assembly would have happened ADVERTISING: as it slowly integrated, and told For advertising information even without the RJ Conference [email protected] similar stories of being Black in a because of Dr. Clark’s leadership. 703-778-9431 mostly white school. Twitter Via This assembly was focused on our Students saw, in a video about local history and the experience Debbie Funk housing segregation in Arlington, of these alumni, but we are doing Display Advertising/National Sales newspaper advertisements from 703-778-9444 other things to address the broad- [email protected] the 1950s designed to lure white er issues. I am also heartened that residents of Washington, D.C. to Yorktown High School. we are finally openly naming rac- David Griffin safe Arlington neighborhoods with ism, anti-blackness, hate, etc. for Marketing Assistant fresh air and “nice white neigh- what it is. In the past I have been 703-778-9431 bors.” Many property deeds ex- [email protected] frustrated by the unwillingness to cluded people of African heritage by Hannah Knittig Photos address these issues head on and Classified & Employment from purchasing homes. honestly, usually because of fear.” Advertising But the biggest emotional im- 703-778-9431 pact for Hannah Knittig, a senior ONE OUTCOME of the conference who had been an organizer of the was a list of the questions posed by assembly, came when recent stu- Editor & Publisher students. “There were some ques- Mary Kimm dents of color at Yorktown said tions about what non-POC [Person [email protected] they could relate to the stories of of Color] folks can do and that will @MaryKimm being Black at Yorktown. It was all be addressed in the Q&A document too real to them in the year 2021, we are preparing,” said Benites. Executive Vice President 50 years later. Jerry Vernon “Our messaging is that white peo- The mandatory school-wide as- 703-549-0004 The panelists were Yorktown alumni from the Donté Allen, a Yorktown senior, introduced the ple need to seek out ways to learn [email protected] sembly on Feb. 26 this year was 70’s onward, and one current senior, Rylei Porter. Housing Alliance video at the school wide assembly. the history, dismantle their biases, partly the result of a Restorative etc. without expecting People of Art/Design: Justice Conference held at YHS students and staff would learn an informative.” In the open-ended in the school population. One stu- Color to do this for them. Having Laurence Foong, John Heinly, last June after the incident of a overview of the history of hous- comment section, the vast majority dent asked, “Why do we even need said that, we will provide contin- Ali Khaligh racially insensitive banner.
Recommended publications
  • Using a Projected Trompe L'oeil to Highlight a Church Interior from the Outside
    Using a projected Trompe L'Oeil to highlight a church interior from the outside A. Hoeben fieldOfView Lange Nieuwstraat 23b1 3111AC Schiedam the Netherlands [email protected] The St. Willibrordus Church in the city center of Utrecht (the Netherlands) is a prime example of the Gothic Revival architecture. The richly decorated church interior is, unfortunately, one of the best kept secrets of the city. In the semi permanent art installation presented in this paper, imagery showing the church interior is projected on the outside walls of the entrance of the church. By projecting onto a spherical mirror suspended from the entrance ceiling, the projection is reflected onto three walls and the ceiling. The resulting image, when seen from the street-level outside, creates an perspective illusion. This paper shows how the installation was implemented in the church in an unobtrusive way, and explains the calibration system that was developed for determining the pre-distortions required to project the Trompe L'Oeil. church interior, art installation, digital projection, perspective manipulation, optical illusion 1. INTRODUCTION together constitute a walking route through the city center under the name “Trajectum Lumen”. The In late 2007, the council of the city of Utrecht Trajectum Lumen was officially launched on April embarked on a project to create a new attraction 7th 2010, and will have its climax in 2013 when the for its historic city center, aiming to keep some of city of Utrecht celebrates the 300th anniversary of the shopping public around during the evening the Treaty of Utrecht. hours. 1.1 St. Willibrord church A number of semi-permanent light art installations and sculptures was commissioned from different The St.
    [Show full text]
  • ART, TECHNOLOGY, and HIGH ART/LOW CULTURE DEBATES in CANONICAL AMERICAN ART HISTORY I. Overview in His Media Ar
    CHAPTER ONE: ART, TECHNOLOGY, AND HIGH ART/LOW CULTURE DEBATES IN CANONICAL AMERICAN ART HISTORY I. Overview In his Media Art History, Hans-Peter Schwarz of the Center for Art and Media in Karlsruhe, Germany (ZKM) wrote: “The history of the new media [sic] is inextricably linked with the history of the project of the modern era as a whole. It can only be described as the evolution of the human experience of reality, i.e. of the social reality relationship in the modern age.” I begin with his words, which have strong resonance for me, perhaps beyond his initial intent or ultimate direction. His astute triangulation of those three concepts—new media history, the project of the modern era, and “social reality”—form the nexus of my theoretical investigation. For it seems that current social realities and the project of the modern era largely govern new media’s reception within the Western art history canon. Perhaps clarity regarding the ideological interconnection of these three elements will only be possible with more historical distance. However, this dissertation represents a step toward a better understanding of the sometimes-vicious canonical opposition to the fusion of art and technology, in light of these intersections. Key are his two phrases: “the project of the modern era,” and “the evolution of the human experience of reality, i.e. of the social reality relationship in the modern age.” On the basis of Schwarz’s text, I take the second phrase to mean the dehumanization that results from industrialization and modern warfare. In regard to artistic production, he rightly underscores the abrupt reorganization of vision precipitated by, for example, developments in photography and cinematography during the early modernist period.
    [Show full text]
  • S H a P E S O F a P O C a Ly P
    Shapes of Apocalypse Arts and Philosophy in Slavic Thought M y t h s a n d ta b o o s i n R u s s i a n C u lt u R e Series Editor: Alyssa DinegA gillespie—University of Notre Dame, South Bend, Indiana Editorial Board: eliot Borenstein—New York University, New York Julia BekmAn ChadagA—Macalester College, St. Paul, Minnesota nancy ConDee—University of Pittsburg, Pittsburg Caryl emerson—Princeton University, Princeton Bernice glAtzer rosenthAl—Fordham University, New York marcus levitt—USC, Los Angeles Alex Martin—University of Notre Dame, South Bend, Indiana irene Masing-DeliC—Ohio State University, Columbus Joe pesChio—University of Wisconsin-Milwaukee, Milwaukee irina reyfmAn—Columbia University, New York stephanie SanDler—Harvard University, Cambridge Shapes of Apocalypse Arts and Philosophy in Slavic Thought Edited by Andrea OppO BOSTON / 2013 Library of Congress Cataloging-in-Publication Data: A bibliographic record for this title is available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved. ISBN 978-1-61811-174-6 (cloth) ISBN 978-1-618111-968 (electronic) Book design by Ivan Grave On the cover: Konstantin Juon, “The New Planet,” 1921. Published by Academic Studies Press in 2013 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law.
    [Show full text]
  • ERWIN REDL B
    ERWIN REDL b. 1963, Gföhl, Austria Lives in Ohio Known for his architecturally scaled light installations, Erwin Redl investigates the process of “reverse engineering” by (re-)translating the abstract aesthetic language of virtual reality and 3-D computer modeling back into architectural environments. In this body of work, space is experienced as a second skin, our social skin. Visual perception works in conjunction with corporeal motion, and the subsequent passage of time. In Los Angeles, the Pacific Design Center’s new Red Building by Cesar Pelli features four permanent installations by Redl, to be completed in November 2012. He also recently won two major public art competitions in with installations now in progress for the New York Police Academy’s new building in Queens as well as the Union Square / Market Street subway station in San Francisco, California. In 2013 he will open a new installation at the Borusan Museum in Istanbul, Turkey. A computer-controlled 580-foot long outdoor LED-installation at the Wexner Center for the Arts in Columbus, Ohio, is Redl’s largest work to date, completed in 2010. Among his most memorable of interventions was created for the 2002 Whitney Biennial, in a piece that covered the Whitney Museum's facade with a three multi-color LED veils. In 2008 he was commissioned by the World Expo in Zaragoza, Spain, to create a sound and light installation for the Austrian Pavilion. Redl’s work is collected privately as well as institutionally including the Whitney Museum of American Art New York, the Museum of Contemporary Art San Diego and the Milwaukee Art Museum, among other national and international museums.
    [Show full text]
  • MOZAIK-CATALOGUE-Vfinal-2.Pdf
    WELCOMECURATING THE CREATIVE REIMAGINING An Arts-based Journey to Reflect, Reset, and Reimagine the Future From animation to sculpture, film to the spoken word, murals, paintings, photographs, mixed-media pieces, political performance pieces, and even comedic satire, The Future Art Awards candidly explores a captured reflection of our times, offering new pathways of thinking, new modes of learning, and a virtual platform for the celebration of our creative reimagining of a more free world. While the pandemic may indeed serve as a catalyst for reflection, we have been here before at pivotal moments all throughout human history—only to return to the status quo or settle for unsatisfying incremental action. As we’ve pondered this phenomenon of an imposed inertia, ripe for change, the human spirit bursts forth and into the streets with the undeniable yearning for racial, social, and environmental justice, and ultimately, a rebalancing of the scales of power. How do we leverage the pandemic as a catalyst to reimagine alternative futures and to look to the healing power of the arts for a blueprint for meaningful change? After all, the arts have built cities and written histories. They’ve transformed dilapidated and abandoned streets and buildings into flourishing communities. They’ve enlightened intercultural understandings and represent a universal human experience through the beauty of a mosaic of distinct expressions. The arts often honor and pay tribute to our past by creating a record of what has come before, anchoring us for our move into the future by envisioning and materializing what comes next. By reestablishing context, whether by naming a truth, telling a story, or making a community visible, we distinguish ourselves through art against the often-homogenizing effects of globalization and the ongoing assault on arts’ education across centers of learning, both near and far.
    [Show full text]
  • How Can Light Art Manipulate the Visual Perception of Space?
    INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 10-11 SEPTEMBER 2020, VIA DESIGN, VIA UNIVERSITY COLLEGE, HERNING, DENMARK HOW CAN LIGHT ART MANIPULATE THE VISUAL PERCEPTION OF SPACE? Zahra RAHIMI and Laila STEEN Oslo Metropolitan University, Norway ABSTRACT Transitioning from a field of engineering to a medium for more artistic expressions, lighting has changed from strictly functional lightboxes to elaborate light-based designs and installations. Both artists and architects have used light as a medium to manipulate visual perception and impressions. This paper explores the interaction between light, visual perceptions, and space. Through a case study of artworks that experiment with light, space, and visual perceptions, it discusses how light art can impact perceptions by the way it illuminates spaces. The findings demonstrate the impressions and perceptions created by light art and coloured light as an artistic material. The aesthetic application of light can remove boundaries and define a space in a different way. Although lighting installations are primarily part of architecture and interior design, this article proposes how light can be applied in design by manipulating the visual perception of the design on users. Keywords: Light, space, visual perception, colour, impression 1 INTRODUCTION Light creates the aesthetical and functional aspects as a physical and dynamic medium to highlight the essential details and materials of space [9]. It adds an intangible explanation to space and object, which is more adaptable to change in comparison with other materials in space [12]. Moreover, light is a vital factor of designs and art installations, as it can affect the experience of the space for the viewer [13].
    [Show full text]
  • Matthew F Fisher
    OCHI MATTHEW F FISHER Born 1976, Boston, MA Lives and works in New York, NY EDUCATION 2000 Virginia Commonwealth University, Master of Fine Arts 1998 Columbus College of Art and Design, Bachelor of Fine Arts SOLO EXHIBITIONS 2021 The Hole, Hamptons, NY (forthcoming) Seas, Ochi Projects, Los Angeles, CA 2020 The Great Fire, SHRINE, New York, NY Four Seasons: A Solo Show, Deanna Evans Project, New York, NY The Sameness of Everyday, Taymour Grahne, London, UK 2019 After the Ice, Taymour Granhe, London, UK Soft Nature, Ochi Projects, Los Angeles, CA 2018 Into the Blue, Johansson Projects, Oakland, CA Strange Light, Over Under Room, Brooklyn, NY 2017 Observable Universe, Taymour Grahne Gallery, New York, NY Hello Sea, One River School, Englewood, NJ 2016 Sun, Stars, Sea, and Moon, Airlock Gallery, San Marcos, CA Ten Years, Curated by Jon Lutz, Spring/Break, New York, NY 2015 Black Water Don’t Shine Like the Moon, Sardine, Brooklyn, NY 2014 If You Ain’t a Reflection, You’re a Wave, Ampersand Gallery, Portland, OR 2013 Goodnight nobody, Weird Days, Brooklyn, NY 2012 Asea, Aloof, Mulherin+Pollard Projects, NY, NY 2010 Lost Time, Heskin Contemporary, New York, NY, (catalog) 2009 Lonesome George, ADA Gallery, Richmond, VA Forever Is, RARE, New York, NY 2006 Letting Go, University of the Arts, Philadelphia, PA While You Where Away, ADA Gallery, Richmond, VA 2005 Paintings, Stephanie Theodore at SCOPE, New York, NY OCHI 2004 Drawings and Paintings, Spector Gallery, Philadelphia, PA SELECTED TWO-PERSON EXHIBITIONS 2019 Tow Jalopies, with Carl D’Alvia, Drive By Projects, Watertown, MA 2018 Night Waves, with Casey Cook, SHRINE, New York, NY 2017 The Perfect Order of Randomness, with Julie Curtiss, Monya Rowe Gallery, St.
    [Show full text]
  • Light and Life Contemporary Landscapes
    Light and Life Contemporary Landscapes 222 E. 41st Street New York, NY 10017 Light and Life Contemporary Landscapes Dates: October 15, 2012 — January 26, 2013 Location: Jones Day 222 E. 41st Street Lobby New York, NY 10017 Jackie Battenfield Included Artists: Vicki DaSilva Kathleen J. Graves David Opdyke Light and Life Contemporary Landscapes g a macura inc. and 222 East 41st Street are proud to present Light and Life: Contempo- rary Landscapes. The pieces included in this exhibition examine how landscapes are de- fined, developed, and presented in a 21st century context. Using contemporary technol- ogy and materials, each artist has cultivated and grown their own version of present-day “organic” scenery. Turning the classic theme of landscapes on its ear, the featured artists present new and technically relevant settings that mirror our own collective understanding of our envi- ronment in the digital age. Whether through photography, sculpture, or mixed media, it becomes clear that technology, reconditioning of urban space, and utilization of resourc- es has reshaped our concept of a location and its possibilities. In Kathleen J. Grave’s Garden Bot series, microorganisms assist humans in the planting and tending of gardens. These Nanobots are a futuristic representation of the cells em- ployed in the upkeep of our own bodies, and technological evolution begins to take on the appearance of an organic composition. In the same breadth, David Opdyke’s repur- posing of man-made materials – such as PVC and plastic – into natural-looking sculp- tures is an attempt to refurbish the resources we have cast away to create a new type of urban landscaping.
    [Show full text]
  • Download Exhibition Catalogue
    LIGHT / SPACE / CODE Opposite: Morris Louis, Number 2-07, 1961 (detail) Light / Space / Code How Real and Virtual Systems Intersect The Light and Space movement (originated in the 1960s) coincided with the Visual art and the natural sciences have long produced fruitful collaborations. development of digital technology and modern computer programming, and in Even Isaac Newton’s invention of the color wheel (of visible light spectra) has recent years artists have adapted hi-tech processes in greater pursuit of altering aided visual artists immensely. Artists and scientists share a likeminded inquiry: a viewer’s perception using subtle or profound shifts in color, scale, luminosity how we see. Today’s art answers that question in tandem with the expanded and spatial illusion. scientific fields of computer engineering, cybernetics, digital imaging, information processing and photonics. Light / Space / Code reveals the evolution of Light and Space art in the context of emerging technologies over the past half century. The exhibit begins by iden- — Jason Foumberg, Thoma Foundation curator tifying pre-digital methods of systems-style thinking in the work of geometric and Op painters, when radiant pigments and hypnotic compositions inferred the pow- er of light. Then, light sculpture introduces the medium of light as an expression of electronic tools. Finally, software-generated visualizations highlight advanced work in spatial imaging and cyberspace animation. Several kinetic and inter- active works extend the reach of art into the real space of viewer participation. A key sub-plot of Light / Space / Code concerns the natural world and its ecol- ogy. Since the Light and Space movement is an outgrowth of a larger environ- mental art movement (i.e., Earthworks), and its materials are directly drawn from natural phenomena, Light and Space artists address the contemporary conditions of organisms and their habitation systems on this planet.
    [Show full text]
  • Vita 08/2019
    Curriculum Vita 08/2019 Instructor: Chad D. Smith, Assistant Professor Academic Department: Art University Address: Department of Art Texas A&M University-Commerce PO Box 3011 Commerce, TX 75429-3011 Office Phone: 903-886-5232 University Email Address: [email protected] EDUCATION Master of Fine Arts, Texas A&M at Commerce, TX, Department of Art, 1993 Master of Science, East Texas State University, Commerce, TX, Department of Journalism, 1985 Bachelor of Science, East Texas State University, Commerce, TX, Department of Journalism, 1980 TEACHING EXPERIENCE Texas A&M University – Commerce, Associate Professor of Photography, Fall 2003 to present The University of Oklahoma, Associate Professor of Photography, School of Art, Fall 1989 to Spring 2003 Texas Christian University, Fort Worth, Visiting Professor, Department of Photography, Spring 1989 Lectures & Presentations “Three Amigos Talk Texas Landscape Photography”, Museum of the Big Bend, Sul Ross State University, Alpine, TX., Chad Smith, Ashton Thornhill, and Ginger Cook, panel discussion concerning their ongoing processes of capturing West Texas landscapes. “Tracing the Lineage of 20th-Century Landscape Photography into the 21st Century ”, Society of Photographic Education South Center Regional Conference “THIS, THAT, or The OTHER: Considering the Emerging Trends and Vernacular in Photography” at Baylor University in Waco, Texas “The Importance of Personal Projects”, Association of Texas Photography Instructors, Winter Conference; Lecture on developing long-term photographic projects “Native Texans” SPE South Central Regional Exhibition, Gallery Talk, MainSite Gallery, Norman, OK “The Landscape: Unearthing Traditions”, Photo TXcetera 2014, Valley View Art Center, Dallas, TX. A panel discussing the views of the canonized tradition of landscape photography, and newer ideas about photographing the world as a human-altered environment.
    [Show full text]
  • Eric E. Serritella I Ceramic Artist 1000 Smith Level Rd, #B2, Carrboro, NC 27510  919-240-7703  [email protected]
    Eric E. Serritella I Ceramic Artist 1000 Smith Level Rd, #B2, Carrboro, NC 27510 919-240-7703 [email protected] www.ericserritella.com Public Collections • The Mint Museum, Charlotte, NC • Carnegie Museum of Art, Pittsburgh, PA • Everson Museum of Art, Syracuse, NY • Memorial Art Gallery, University of Rochester, NY • Burchfield Penney Art Center, The Museum for Western NY Arts, Buffalo State College, NY • Herbert F. Johnson Museum, Cornell University, Ithaca, NY • Kamm Teapot Foundation, USA • Cornell University Plantations Visitors Center, Ithaca, NY • Jingdezhen Sanbao Ceramic Arts Institute, China • Shui-Li Snake Kiln and Cultural Park, Taiwan • Bob “Hoff” Hoffman Harmonica Case Collection • The Kessler Collection, Asheville, NC Awards 2013 • Delhom Service League Purchase Award, Potters’ Market Invitational, The Mint Museum, Charlotte, NC 2012 • Award for Innovation, Strictly Functional Pottery National, Lancaster, PA • Finalist – NICHE Award, NICHE magazine, collaboration with glass artist Margaret Neher 2011 • Director’s Award, 73rd Regional Exhibition, Arnot Art Museum, Elmira NY • First Place, 3-D, Southern Tier Biennial, Cattaraugus County Arts Council, Olean, NY 2010 • First Place, Carved Vase Exhibition, Everson Museum and Clayscapes Gallery, Syracuse, NY 2009 • Emerging Artist ‘09, AmericanStyle magazine • Memorial Art Gallery Award of Excellence, Rochester-Finger Lakes Exhibition, Rochester, NY • Best of Show, 36th Annual Art Festival Beth El, St. Petersburg, FL • Finalist – NICHE Award, NICHE magazine 2008 • Exhibitors’
    [Show full text]
  • 1 Ogden Creative District Master Plan Table of Contents
    Ogden Creative District Master Plan Table of Contents: I Background Information Study Area Description History Existing Conditions Challenges Opportunities Current Programming Related Planning Efforts II Precedents III Public Outreach IV Goals & Objectives V Recommendations Creative District Area Strategies Public Spaces & Projects Streetscapes Development Programs & Activities Implementation Immediate Term Medium Term Long Term Possible Funding Sources Background Information: Introduction and Overview Ogden City commissioned this Creative District Master Plan in ___ 2017 to establish an epicenter for art and culture that provides opportunities for the artistic community to live, create, share, and teach in order to benefit Ogden’s artist, citizens, and visitors. Ogden City recognizes that the arts are essential for enhancing quality of life, promoting economic development, improving education, and celebrating community. The City’s “Master Plan for Arts and Culture” emphasizes that the arts are an important economic driver for the community, both by supporting the creative industries and by attracting and retaining top talent in other trades. Additionally, the arts strengthen Ogden’s unique cultural identity, by expressing diverse perspectives in a way that brings people together and forges new connections. The four goals identified in the Master Plan for Arts and Culture are outlined below. Embed the arts as a key component in economic development and city planning strategies. Advance the arts as an integral element that celebrates Ogden’s diversity and strengthens its unique identity. Create an environment where artists can thrive. Weave the arts into the daily Ogden experience. 1 The Creative District Master Plan supports the goals and objectives outlined in the Master Plan for Arts and Culture, and recommends how they can be achieved by using placemaking strategies in a targeted geographic area.
    [Show full text]