Kidnapped elephant calf reunites with her mother after years apart http://thedo.do/1GhVjbU https://youtu.be/YslTuEvudfU
Friday, April 10, 2015
Thursday, April 09, 2015
Calling All Artists! Manifest Justice Exhibit
Art For Amnesty
Calling all artists! Help us demand safety & justice in our communities @ManifestExhibit: http://bit.ly/1agM5yC
WHAT IS MANIFEST:JUSTICE?
Communities around the United States and worldwide are filled with good people living in fear. Our city, state and federal spending priorities are broken and institutional bias and racism has eroded trust, access and representation.
Enough is enough. We demand more empathy, more accountability, more economic opportunity, more compassion, more dignity, more power and more opportunity for all. We demand healthier communities, which means more from each other; more from our school systems and more from our judicial systems.
The time has come to illuminate our resilience and to take back our streets, our schools, our communities and our hope. Together we must lift our voices, assert our power, be resilient, identify solutions and work together to MANIFEST:JUSTICE. Together we will build a healthier and more just future.
MANIFEST:JUSTICE? THEMES
Tuesday, April 07, 2015
Must See Exhibition: Artists Respond to San Francisco’s Black Exodus
by Gregg Chadwick
Currently on display at the Thacher Gallery at USF is the powerful exhibition Hiraeth: The 3.9 Collective Searches for Home.
Abhi Singh on the KQED Arts page explains the origins of the exhibition:
"San Francisco’s Fillmore district was once a vibrant African American community, known as 'the Harlem of the West.' But in recent decades the Fillmore — like San Francisco as a whole — has witnessed a startling black exodus. A group of artists known as the 3.9 Art Collective are responding with work that both reminds us of San Francisco’s more diverse past and expresses their resistance to present trends. Their name comes from the percentage of African Americans that some predict will remain in the city by the time the next census takes place, in 2020.
The Welsh word Hiraeth roughly translates to a longing for a far-off home — one that may not even exist or has been changed by time or idealized by memory."
Corie Schwabenland in the San Francisco Foghorn writes:
"The collective started with a discussion between two East Coast-to-SF transplants, says 3.9 co-founder William Rhodes. When Rhodes, originally from Baltimore, and fellow artist Nancy Cato shared their perceptions about San Francisco after living in the city for a respective seven and twenty years, they came to a striking conclusion:
'We really just felt there was a huge disparity when it comes to wealth, and very few variations of African Americans: You see a lot of African Americans that are homeless; you do not see a lot of African Americans living in San Francisco that are middle class or working class,” says Rhodes. 'It became a concern for us, and we decided that, since we’re both artists, to try to figure out a way to talk about these issues through our art and form a collective.'”
The 3.9 Collective’s exhibition, Hiraeth: the 3.9 Collective Searches for Home is a must see exhibition that examines the issues of displacement, gentrification, wealth disparity and racial relations.
The 3.9 Collective’s exhibition, Hiraeth: the 3.9 Collective Searches for Home is on exhibit through April 21, 2015 at the University of San Francisco’s Thacher Gallery and will feature a closing event with Rodney Ewing from 5:30-7:30p.m. on April 21st in the Thacher Gallery.
For more information, contact jvgabrielle@usfca.edu or visit http://www.usfca.edu/library/thacher/
Artists in the 3.9 Collective are responding to San Francisco’s dramatic loss of African American citizens with work that both reminds us of the city’s vibrantly diverse past and expresses resistance to present trends.
Currently on display at the Thacher Gallery at USF is the powerful exhibition Hiraeth: The 3.9 Collective Searches for Home.
Abhi Singh on the KQED Arts page explains the origins of the exhibition:
"San Francisco’s Fillmore district was once a vibrant African American community, known as 'the Harlem of the West.' But in recent decades the Fillmore — like San Francisco as a whole — has witnessed a startling black exodus. A group of artists known as the 3.9 Art Collective are responding with work that both reminds us of San Francisco’s more diverse past and expresses their resistance to present trends. Their name comes from the percentage of African Americans that some predict will remain in the city by the time the next census takes place, in 2020.
The Welsh word Hiraeth roughly translates to a longing for a far-off home — one that may not even exist or has been changed by time or idealized by memory."
Corie Schwabenland in the San Francisco Foghorn writes:
"The collective started with a discussion between two East Coast-to-SF transplants, says 3.9 co-founder William Rhodes. When Rhodes, originally from Baltimore, and fellow artist Nancy Cato shared their perceptions about San Francisco after living in the city for a respective seven and twenty years, they came to a striking conclusion:
'We really just felt there was a huge disparity when it comes to wealth, and very few variations of African Americans: You see a lot of African Americans that are homeless; you do not see a lot of African Americans living in San Francisco that are middle class or working class,” says Rhodes. 'It became a concern for us, and we decided that, since we’re both artists, to try to figure out a way to talk about these issues through our art and form a collective.'”
The 3.9 Collective’s exhibition, Hiraeth: the 3.9 Collective Searches for Home is a must see exhibition that examines the issues of displacement, gentrification, wealth disparity and racial relations.
The 3.9 Collective’s exhibition, Hiraeth: the 3.9 Collective Searches for Home is on exhibit through April 21, 2015 at the University of San Francisco’s Thacher Gallery and will feature a closing event with Rodney Ewing from 5:30-7:30p.m. on April 21st in the Thacher Gallery.
For more information, contact jvgabrielle@usfca.edu or visit http://www.usfca.edu/library/thacher/
Artists in the 3.9 Collective are responding to San Francisco’s dramatic loss of African American citizens with work that both reminds us of the city’s vibrantly diverse past and expresses resistance to present trends.
Lady Sings the Blues: Billie Holiday's Centenary
by Gregg Chadwick
Billie Holiday would have turned 100 today.
John McDonough on NPR writes:
"Most artists belong to their times, but Billie Holiday, born 100 years ago Tuesday, fits in the present. In a way, she died before her time, just as the country was beginning to talk about race, drugs, feminism and misogyny — all of which converged in her life."
Many of the songs that Holiday co-wrote became jazz standards, notably God Bless the Child, Don’t Explain, Fine and Mellow, and Lady Sings the Blues. With her passionate interpretations, Holiday, arguably, turned the songs Easy Living, and Good Morning Heartache into her own material. Most of all, Strange Fruit, first recorded by Holiday in 1939, is inseparable from Holiday's artistic legacy.
William Gottlieb took what may well be the most reproduced image of Billie Holiday at a gig
in 1948. In his book, The Golden Age of Jazz, Gottlieb writes about Billie and his photo:
"In 1948, Billie Holiday was at her peak, musically and physically....Her incomparable voice, instead of having declined from lack of use, had retained its rich but bittersweet tone. If anything, it had become more wrenching than ever.
Unable to work nightclubs in New York City because of police restrictions on performers with criminal records, she marked time until some well-financed fans arranged a concert for her in Carnegie Hall (which was not subject to nightclub limitations). Her appearance was a sold-out triumph. Eventually, she was able to resume club dates. It was at one of them that I took a photograph often cited as the most widely used picture ever taken of a jazz person. Whether or not so, I believe it captured the beauty of her face and the anguish of her voice."
Billie Holiday would have turned 100 today.
John McDonough on NPR writes:
"Most artists belong to their times, but Billie Holiday, born 100 years ago Tuesday, fits in the present. In a way, she died before her time, just as the country was beginning to talk about race, drugs, feminism and misogyny — all of which converged in her life."
Still from 1957 CBS show The Sound of Jazz, Billie Holiday and Lester Young.
Photo courtesy the New York Public Library.
Billie Holiday changed jazz singing and popular vocals with her stylistic innovations and haunting sound. Holiday's vocal style pioneered new ways of manipulating phrasing and tempo. When asked to explain her singing style, Holiday said, "I don't think I'm singing. I feel like I'm playing a horn. I try to improvise like Les Young, like Louis Armstrong or someone else I admire. What comes out is what I feel. I hate straight singing. I have to change a tune to my own way of doing it. That's all I know." Geoffrey Smith writes in The Telegraph that "her vocal art was the sound of her life; both were unique. She transformed jazz singing with a style so natural and spontaneous that its effortless genius was a constant surprise. As her one-time employer, bandleader Artie Shaw, put it, 'When she sang something, it came alive. That’s what jazz is about.'”
Holiday's life story often threatens to overshadow her art. I encourage you on her centenary to listen deeply to her soulful cries for love, equality, and justice.
Billie Holiday
(1915 – 1959)
American jazz singer and songwriter
William Gottlieb/Getty Images
William Gottlieb took what may well be the most reproduced image of Billie Holiday at a gig
in 1948. In his book, The Golden Age of Jazz, Gottlieb writes about Billie and his photo:
"In 1948, Billie Holiday was at her peak, musically and physically....Her incomparable voice, instead of having declined from lack of use, had retained its rich but bittersweet tone. If anything, it had become more wrenching than ever.
Unable to work nightclubs in New York City because of police restrictions on performers with criminal records, she marked time until some well-financed fans arranged a concert for her in Carnegie Hall (which was not subject to nightclub limitations). Her appearance was a sold-out triumph. Eventually, she was able to resume club dates. It was at one of them that I took a photograph often cited as the most widely used picture ever taken of a jazz person. Whether or not so, I believe it captured the beauty of her face and the anguish of her voice."
Sunday, April 05, 2015
In Memory of Kurt Cobain - Nirvana MTV Unplugged REHEARSAL - Full
21 years on and so poignant. Depression is so misunderstood. It is my fervent hope that the stigma surrounding depression will recede in the near future. The National Institute of Health has an informative site -
"Most likely, depression is caused by a combination of genetic, biological, environmental, and psychological factors.
Depressive illnesses are disorders of the brain. Brain-imaging technologies, such as magnetic resonance imaging (MRI), have shown that the brains of people who have depression look different than those of people without depression. The parts of the brain involved in mood, thinking, sleep, appetite, and behavior appear different. But these images do not reveal why the depression has occurred. They also cannot be used to diagnose depression.
Some types of depression tend to run in families. However, depression can occur in people without family histories of depression too. Scientists are studying certain genes that may make some people more prone to depression. Some genetics research indicates that risk for depression results from the influence of several genes acting together with environmental or other factors. In addition, trauma, loss of a loved one, a difficult relationship, or any stressful situation may trigger a depressive episode. Other depressive episodes may occur with or without an obvious trigger."Happy Birthday to Jean Honoré Fragonard!
by Gregg Chadwick
Happy Birthday to Jean Honoré Fragonard, born on this day in 1732. http://met.org/1NH0QHX
Happy Birthday to Jean Honoré Fragonard, born on this day in 1732. http://met.org/1NH0QHX
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Jean Honoré Fragonard
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Wednesday, April 01, 2015
Love This Noir Take on San Francisco: Gotham City SF // A Timelapse Film
Details on the project from the creators:
View photos and full project at http://GothamCitySF.com
This idea came from the aether; it emerged over time. Several years ago (2012) while exploring my passion for black and white photography I found myself wandering into a look I call ‘Gotham’.
I have a passion for timelapse as well, so it wasn’t long before the two processes started to merge in my mind, and the concept for Gotham City SF was born! Over the intervening years I have collected and edited this footage while juggling my freelance career and time working at Lytro (a new camera technology).
This film means a lot to me. It is one of the biggest personal projects I’ve ever worked on.
I searched for music for months. Finally deciding to work with James Everingham: a talented 14 year old from the UK. (Now 16) He ended up composing a full custom composition and it came out perfect!
I also want to thank my friend and college David Hultin, for designing the incredible Gotham SF logo for this film. He is another very talented artist that joins me in my business venture: Planet Unicorn.
This is my vision come to life after hours of setting up, shooting, and editing. It is my art and my love for San Francisco, photography, and timelapse.
Enjoy
Everything was shot on a Canon 6D and 5DMK III with a variety of Canon L series lenses. For my motion controlled shots, I use an eMotimo 3-Axis system as well as a Kessler Shuttle Pod Mini 8 foot dolly.
emotimo.com/
To follow and see more of my work:
tobyharriman.com
facebook.com/tobyharrimanphotography
500px.com/tobyharriman
instagram.com/tobyharriman
Directed, Filmed & Edited: Toby Harriman
Song: Gotham City SF (Original Soundtrack)
Original Composition By: James Everingham (http://www.jameseveringham.com)
Branding: David Hultin (http://www.david-hultin.com)
Thanks Jordan Oram for help with the story!
For licensing & inquires please contact me at:
toby@tobyharriman.com
Also available in 4K. Even color!
Tuesday, March 31, 2015
Must See Exhibition - Kehinde Wiley: A New Republic
Must See Exhibition at the Brooklyn Museum
I will be discussing the important artwork of Kehinde Wiley at TRAC 2015 (The Representational Art Conference) in Ventura, California in November 2015
From the museum's website:
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures.
Wiley's signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.
The subjects in Wiley's paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.
Through the process of "street casting," Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they're portrayed.
The exhibition includes a selection of Wiley's World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.
Kehinde Wiley: A New Republic
February 20–May 24, 2015
http://www.brooklynmuseum.org/exhibit...
Monday, March 30, 2015
Visual Talismans from the Past
Fascinating Trove - Yale’s Beinecke Library Buys Vast Collection of Lincoln Photos http://nyti.ms/1G6d786
Happy Birthday Vincent!
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Self–Portrait with a Straw Hat (obverse: The Potato Peeler), 1887
Vincent van Gogh (Dutch, 1853–1890) Oil on canvas; 16 x 12 1/2 in. (40.6 x 31.8 cm) Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 (67.187.70a)
Courtesy Metropolitan Museum of Art
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