Vol. 24, No. 3 March 2020 You Can’T Buy It
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Arts & Culture
An Invitation to All Bowen Islanders Advancing ARTS & CULTURE on Bowen Island 2017 - 2027 Cultural Master Plan TABLE OF CONTENTS Executive Summary ................................................. 3 A. Introduction ......................................................... 13 B. Our Guiding Principles ....................................... 20 C. What is Bowen’s Culture? .................................. 21 D. Goals, Strategies and Actions............................ 27 E. Plan Evaluation & Review ................................... 58 F. BOWEN 2025: A Thriving Arts-and-Culture Driven Community ..................... 59 Appendix I Status Of 2004 Cultural Plan Recommendations Appendix II Successes And New Challenges Identified Appendix III BIAC Core Programs/Budget Appendix IV Arts & Cultural Survey Highlights Appendix V Groups Consulted in Developing This Plan Appendix VI Interview Questions Appendix VII 78 Communications & Publicity Appendix VIII List of Research Documents DRAFTAppendix IX List of Abbreviations Appendix X Links to 2004 Cultural Plan, Terms of Reference and Other Documents Appendix XI Master Plan Budget Page 2 Bowen Island Cultural Plan “Bowen is a place where people can become who they want to be.” – Andrea Verwey EXECUTIVE SUMMARY Introduction Why does Bowen Island need a Cultural “Master” Plan? Culture and art happen, planned or not. The motivation for developing a vision and goals along with a strategy to achieve those goals flows from the growing recognition and acknowledgment that arts are integral to our human existence. Culture engages minds, enriches the education of children, and supports lifelong learning. Culture helps define the character or identity of a community in which people feel a sense of belonging. It engages citizens in activities that help build a sense of community, resilience, and civic engagement. Finally, as the community grows, culture celebrates diversity and helps newcomers feel welcome. -
Saccharomyces Cerevisiae
Novel strategies for engineering redox metabolism in Saccharomyces cerevisiae Víctor Gabriel Guadalupe Medina 2013 Novel strategies for engineering redox metabolism in Saccharomyces cerevisiae Proefschrift ter verkrijging van de graad van doctor aan de Technische Universiteit Delft, op gezag van de Rector Magnificus prof. ir. K.Ch.A.M. Luyben, voorzitter van het College voor Promoties, in het openbaar te verdedigen op maandag 14 oktober 2013 om 15:00 uur door Víctor Gabriel GUADALUPE MEDINA Magíster en Ciencias de la Ingeniería, Pontificia Universidad Católica de Chile, geboren te Rancagua, Chili. Dit proefschrift is goedgekeurd door de promotor: Prof. dr. J.T. Pronk Copromotor: Dr. ir. A.J.A. van Maris Samenstelling promotiecommissie: Rector Magnificus, voorzitter Prof. dr. J.T. Pronk, Technische Universiteit Delft, promotor Dr. ir. A.J.A. van Maris, Technische Universiteit Delft, copromotor Prof. dr. J.G. Kuenen, Technische Universiteit Delft Prof. dr. R.A.L. Bovenberg, Rijksuniversiteit Groningen / DSM Prof. dr. B.M. Bakker, Rijksuniversiteit Groningen Prof. dr. J. Förster, Technical University of Denmark / Novo Nordisk Foundation Center for Biosustainability Dr. R.A. Weusthuis, Wageningen University Prof. dr. M.C.M. van Loosdrecht, Technische Universiteit Delft, reservelid The studies presented in this thesis were performed at the Industrial Microbiology section, Department of Biotechnology, Delft University of Technology, The Netherlands and part of Program 1 ‘Yeast for chemicals, fuels and chemicals’ of the Kluyver Centre for Genomics of Industrial Fermentation, which is supported by the Netherlands Genomics Initiative. The cover of this thesis was designed by Manuel Toledo Otaegui (www.toledotaegui.com). The photograph was kindly provided by Michael Grab, rock balancing artist (www.gravityglue.com). -
About Andy Evansen
01 NIGHT OWL: PAINTING THE NOCTURNE Carl Bretzke 11 FACES OF THE SHOAH David Jon Kassan 23 AN ORCHESTRATED COMPULSION Alyssa Monks 32 GOOD, BETTER, BEST. Jay Moore 41 A QUEST FOR DYNAMIC PHOTO REFERENCE Rachel Moseley 52 COMPOSING A PAINTING Huihan Liu 60 PAINTING OUR TRUTH Noah Buchanan 75 USING VALUE STUDIES TO SIMPLIFY WATERCOLOR Andy Evansen 84 AN ARTIST’S PERSPECTIVE Kay Griffith Publication Schedule Issue 27 - January 2018 Issue 28 - March 2018 Issue 29 - May 2018 Issue 30 - July 2018 Issue 31 - September 2018 Issue 32 - November 2018 CARL BRETZKE NIGHT OWL Painting the Nocturne A “nocturne” was described by James McNeill Whistler as a painting of night, twilight or absence of direct light. A Google search will demonstrate nocturne paintings by many other well-known painters throughout history. More recently, with the improvement in plein air gear and portable lights, nocturne painting has become extremely popular. James Abbott McNeill Whistler (1834-1903), Nocturne in Black and Gold, the Falling Rocket, 1875, oil on panel, 23-3/4 x 18-3/8 inches, Detroit Institute of Fine Arts, Gift of Dexter M. Ferry, Jr. 02 I became excited about night paintings after visiting a gallery in Carmel several years ago. The gallery featured historic California artists and was showing a nocturne by Rollo Peters (1862-1928). The painting was leaning against the wall in a dark corner of the gallery, and at first glance it looked almost totally black. To my delight, when placed under the light, a mysterious and surprisingly colorful image emerged. Interestingly, Peters was known as the “poet of the night.” I still study his work for clues about color saturation in the dark. -
Just Above Midtown, Where David Hammons, Fred Wilson, and Others Exhibited, Received Slightly More Press Than Kenkeleba
The Black and White Show LORRAINE O’GRADY OUTSIDE, EAST SECOND STREET between Avenues B and C only by telegram. Give that boy another chance! But after in 1983 was Manhattan’s biggest open-air drug supermarket. promising two new canvases for the show, Basquiat pulled It was always deathly quiet except for the continual cries of out. Obligations to Bruno Bischofberger came fi rst. Walking vendors hawking competing brands of heroin: “3-5-7, 3-5-7” down East Second Street was like passing stacks of dreams in and “Toilet, Toilet.” From the steps of Kenkeleba, looking mounds. I asked muralist John Fekner to connect the inside across at the shooting galleries, you saw unrefl ecting win- with the outside. Downtown had a multitude of talents and dows and bricked-up facades, like doorless entrances to trends, some being bypassed by the stampede to cash in. The Hades. How did the junkies get inside? There was almost no show ended with twenty-eight artists, many still worried that traffi c. Behind the two columns fl anking Kenkeleba’s door- cadmium red cost thirty-two dollars a quart wholesale. Each way unexpectedly was a former Polish wedding palace in ele- day as I approached the block, I wondered, “Where is my gant decay owned by a black bohemian couple, Corrine mural?” On the day before the opening, it was there. John Jennings and Joe Overstreet. had done it at 4 am, when even junkies sleep. The gallery, invisible from the street, had fi ve rooms— Inside the gallery, it pleased me that, even across so many one, a cavern—plus a corridor, and dared you to use the styles, the images gave off language. -
The Latest Research in Optical Engineering and Applications, Nanotechnology, Sustainable Energy, Organic Photonics, and Astronomical Instrumentation
OPTICS + PHOTONICS• The latest research in optical engineering and applications, nanotechnology, sustainable energy, organic photonics, and astronomical instrumentation ADVANCE THIS PROGRAM IS CURRENT AS OF TECHNICAL APRIL 2015. SEE UPDATES ONLINE: PROGRAM WWW.SPIE.ORG/OP15PROGRAM Conferences & Courses San Diego Convention Center 9–13 August 2015 San Diego, California, USA Exhibition 11–13 August 2015 CoNFERENCES EXHIBITION AND CoURSES: 11–13 AUGust 2015 9–13 AUGust 2015 San Diego Convention Center San Diego, California, USA Hear the latest research on optical engineering and applications, sustainable energy, nanotechnology, organic photonics, and astronomical instrumentation. ATTEND 4,500 Attendees Network with the leading minds SPIE OPTICS + in your discipline. PHOTONICS The largest international, multidisciplinary optical science 3,350 Papers and technology meeting in North Hear presentations America. on the latest research. 38 Courses & Workshops You can’t afford to stop learning. 180-Company Exhibition See optical devices, components, materials, and technologies. Contents Metamaterials, plasmonics, CNTs, Events Schedule . 2 graphene, thin films, spintronics, nanoengineering, optical trapping, SOCIAL, TECHNICAL, AND nanophotonic materials, nanomedicine, NETWORKING EVENTS Low-D and 2D materials - Technical ............................. 3-4 - Industry................................ 5 - Social Networking....................... 6 - Student .............................. 6-7 - Professional Development ............... 7 Thin films, concentrators, -
ALL IS POSSIBLE VR Tour Script
All Is Possible – Mary Ann Scherr’s Legacy in Metal February 20-September 6, 2020 Thomas J. Cabaniss Historic Residence Mary Ann Scherr (1921-2016) was a pioneer in industrial design, commercial illustration, and many other design fields, but early in her career she turned to teaching metalsmithing and making jewelry as a pursuit that offered endless possibilities for learning, experimentation, and innovation. By 1989, when she moved from New York City to Raleigh, she was already an internationally renowned metal designer who had chaired the Crafts Department at Parsons School of Design in Manhattan, innovated new metal techniques, and pushed the boundaries of new materials such as stainless steel, aluminum, and titanium. From the moment she arrived, Scherr enriched the arts and life of her new home state of North Carolina. Scherr taught metals at the Penland School of Crafts, north of Asheville, for over forty summers. In the Triangle, she taught at Duke, Meredith College, and at NC State’s Crafts Center, while continuing to experiment with metals well into her nineties. “I enjoy teaching,” she said, “because I enjoy the effort, and what happens with people when they discover the possibilities.” Her passion for metals, Zest for life, and dedicated mentorship are best communicated in the exhibition title, All is Possible — a message that appears on two of the silver cuffs on display. Scherr gifted one to a mentee and former studio assistant, and made the other for a fellow artist who needed encouragement to continue making her art. Scherr believed that jewelry was not only personal adornment but an art form in itself, imbued with power and meaning. -
Acknowledgments from the Authors
Makers: A History of American Studio Craft, by Janet Koplos and Bruce Metcalf, published by University of North Carolina Press. Please note that this document provides a complete list of acknowledgments by the authors. The textbook itself contains a somewhat shortened list to accommodate design and space constraints. Acknowledgments from the Authors The Craft-Camarata Frederick Hürten Rhead established a pottery in Santa Barbara in 1914 that was formally named Rhead Pottery but was known as the Pottery of the Camarata (“friends” in Italian). It was probably connected with the Gift Shop of the Craft-Camarata located in Santa Barbara at that time. Like his pottery, this book is not an individual achievement. It required the contributions of friends of the field, some personally known to the authors, but many not, who contributed time, information and funds to the cause. Our funders: Windgate Charitable Foundation / The National Endowment for the Arts / Rotasa Foundation / Edward C. Johnson Fund, Fidelity Foundation / Furthermore: a program of the J. M. Kaplan Fund / The Greenberg Foundation / The Karma Foundation / Grainer Family Foundation / American Craft Council / Collectors of Wood Art / Friends of Fiber Art International / Society of North American Goldsmiths / The Wood Turning Center / John and Robyn Horn / Dorothy and George Saxe / Terri F. Moritz / David and Ruth Waterbury / Sue Bass, Andora Gallery / Ken and JoAnn Edwards / Dewey Garrett / and Jacques Vesery. The people at the Center for Craft, Creativity and Design in Hendersonville, N.C., administrators of the book project: Dian Magie, Executive Director / Stoney Lamar / Katie Lee / Terri Gibson / Constance Humphries. Also Kristen Watts, who managed the images, and Chuck Grench of the University of North Carolina Press. -
Fiscal Year 2007 Annual Report (PDF)
Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner. -
The Beauty of Nature Sometimes Brings Deadly Outcomes. Stay Safe! Publisher’S Note: Due to the Covid-19 Outbreak Many of These Art Spaces Are Currently Closed
ABSOLUTELY FREE Vol. 24, No. 4 April 2020 You Can’t Buy It The beauty of nature sometimes brings deadly outcomes. Stay Safe! Publisher’s Note: Due to the Covid-19 outbreak many of these art spaces are currently closed. We’re including the info we received, but strongly suggest that you call any venue you are thinking of visiting - some are trying to stay open, some have closed their doors, but are still working with customers, some open by appointment only. And, some are operating on the Internet. Don’t forget about these people, there are many ways you can support them during these troubling times. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. The Arts in North Carolina and COVID-19 Page 1 - Cover - COVID-19 Stay Safe Page 3 - Art Support: NC Arts Council, SC Arts Council, CERF & Even though participation in the arts has been greatly Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site National Endowment for the Arts disrupted by the coronavirus pandemic, and artists and Page 4 - Editorial Commentary arts organizations severely impacted, our network across Page 4 - Halsey McCallum Studio North Carolina is responding in a myriad of creative ways Page 5 - City of Charleston / City Gallery at Waterfront Park Page 5 - Whimsy Joy by Roz, Deane V. Bowers & Wells Gallery that demonstrate the power of the arts to connect, Page 6 - Charleston Artist Guild & Carnes Crossroads Artist Cooperative cope, and heal. -
Darco Progress Talks Agribusiness Future the Palmetto Agribusiness Development
CIVIL WAR EXHIBIT 1B 2A OPINION 4A OBITUARIES 7A SPORTS 2B PUZZLES 4B BOOKINGS 7B CLASSIFIEDS QUOTE ‘All that is necessary for the triumph of evil is that good men do nothing.’ EDMUND BURKE Vol. 142, No. 39 NTWO SECTIONS e• 16 PAGwES s&PreESTAs BLISHsED 1874 75¢ OCTOBER 5, 2016 Darlington, S.C. WWW.NEWSANDPRESS.NET DarCo Progress talks agribusiness future the Palmetto AgriBusiness development. stant market demand for food By Samantha Lyles Staff Writer Council spoke to Progress mem - Shuler said that agribusiness and the prohibitive cost of ship - [email protected] bers about the need for east represents a $42 billion a year ping food from other countries The potential role of food coast food processing plants and industry in South Carolina, with or even from the west coast of processing took center stage last the potential financial gains $18 billion from forestry and the United States. Shuler noted week as Darlington County Darlington County could reap $24 billion from agriculture. that it costs on average about Progress, the private business by focusing on this industry. Breaking it down further, he $6,000 to transport a container arm of the public / private eco - “Darlington County is just added that 48-percent of that of food grown in California to nomic development partnership right for agribusiness,” said $24 billion comes from the the east coast, and said that between Darlington County and Shuler, noting the county's rich poultry industry alone. costs would be notably lower if local business and industry, history with farming and agri - Food processing plants could farming states like South held its 2016 annual meeting culture, and encouraging all provide a stable financial Carolina had more food pro - September 29 at the SiMT con - present to keep “top of the mind anchor for Darlington County, cessing and packaging plants. -
Book and Poster Project an Act of Resistance
BOOK AND POSTER PROJECT IGOR LANGSHTEYN “Secret Formulas” SEYOUNG PARK “Hard Hat” CAROLINA CAICEDO “Shell” AN ACT OF RESISTANCE FRANCESCA TODISCO “Up in Flames” CURTIS BROWN “Not in my Fracking City” WOW JUN CHOI POSTERS “Cracking” SAM VAN DEN TILLAAR JENNIFER CHEN “Fracktured Lives” “Dripping” ANDREW CASTRUCCI LINA FORSETH “Diagram: Rude Algae of Time” “Water Faucet” ALEXANDRA ROJAS NICHOLAS PRINCIPE WRITERS AND ILLUSTRATORS “Protect Your Mother” “Money” SARAH FERGUSON HYE OK ROW ANDREW CASTRUCCI ANN-SARGENT WOOSTER “Water Life Blood” “F-Bomb” KATHARINE DAWSON ANDREW CASTRUCCI MICHAEL HAFFELY MIKE BERNHARD “Empire State” “Liberty” YOKO ONO CAMILO TENSI JUN YOUNG LEE SEAN LENNON “Pipes” “No Fracking Way” AKIRA OHISO IGOR LANGSHTEYN MORGAN SOBEL “7 Deadly Sins” CRAIG STEVENS “Scull and Bones” EDITOR & ART DIRECTOR MARIANNE SOISALO KAREN CANALES MALDONADO JAYPON CHUNG “Bottled Water” Andrew Castrucci TONY PINOTTI “Life Fracktured” CARLO MCCORMICK MARIO NEGRINI GABRIELLE LARRORY DESIGN “This Land is Ours” “Drops” CAROL FRENCH Igor Langshteyn, TERESA WINCHESTER ANDREW LEE CHRISTOPHER FOXX Andrew Castrucci, Daniel Velle, “Drill Bit” “The Thinker” Daniel Giovanniello GERRI KANE TOM MCGLYNN TOM MCGLYNN KHI JOHNSON CONTRIBUTING EDITORS “Red Earth” “Government Warning” JEREMY WEIR ALDERSON Daniel Velle, Tom McGlynn, SANDRA STEINGRABER TOM MCGLYNN DANIEL GIOVANNIELLO Walter Sipser, Dennis Crawford, “Mob” “Make Sure to Put One On” ANTON VAN DALEN Jim Wu, Ann-Sargent Wooster, SOFIA NEGRINI ALEXANDRA ROJAS DAVID SANDLIN Robert Flemming “No” “Frackicide” -
California State University, Northridge Shepard Fairey
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE SHEPARD FAIREY AND STREET ART AS POLITICAL PROPAGANDA A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Art, Art History by Andrea Newell August 2016 Copyright by Andrea Newell 2016 ii The thesis of Andrea Newell is approved: _______________________________________________ ____________ Meiqin Wang, Ph.D. Date _______________________________________________ ____________ Owen Doonan, Ph.D. Date _______________________________________________ ____________ Mario Ontiveros, Ph.D., Chair Date California State University, Northridge iii Acknowledgements I would first like to thank my thesis advisor Dr. Mario Ontiveros of the Art Department at California State University, Northridge. He always challenged me in a way that brought out my best work. Our countless conversations pushed me to develop a deeper and more comprehensive understanding of my research and writing as well as my knowledge of theory, art practices and the complexities of the art world. He consistently allowed this paper to be my own work, but guided me whenever he thought I needed it, my sincerest thanks. My deepest gratitude also goes out to my committee, Dr. Meiqin Wang and Dr. Owen Doonan, whose thoughtful comments, kind words, and assurances helped this research project come to fruition. Without their passionate participation and input, this thesis could not have been successfully completed. I would also like to acknowledge Dr. Peri Klemm for her constant support beyond this thesis and her eagerness to provide growth opportunities in my career as an art historian and educator. I am gratefully indebted to my co-worker Jessica O’Dowd for our numerous conversations and her input as both a friend and colleague.