Two Los Angeles artists, Lisa Donohoe and Brynn Gelbard of Londubh Studio, collaborate on surface design projects in their home studio. They experiment with traditional materials like metal leaf and plaster on contemporary interior surfaces. Their clients appreciate their willingness to take risks with bold colors and patterns on floors. One complex project involved transferring patterns to recreate Gaudi's Sagrada Familia on a large painted concrete rug. The artists enjoy collaborating with other creatives to combine their visions.
Rodney Durso is an artist who transformed his career from graphic design to abstract painting. He took up painting after feeling constrained by the structure of his previous graphic design work. Durso uses acrylic paint and collage techniques to create abstract works that often feature symbolic shapes and motifs. In addition to his painting, Durso founded ArtBridge, a nonprofit that displays emerging artists' works on construction sites. Durso is curious to see where his art will take him next but plans to continue exploring symbols in his work and is interested in creating 3D sculptures.
Public space and public art: e100 lesson planOliver Bendorf
The document discusses public space and different types of art in public spaces including street art, graffiti, and vandalism. It includes opinions from students that street art can enhance public spaces when done appropriately but can also cause problems if unwanted. Students discuss how the line between street art and vandalism is blurry and depends on the viewer's perspective and location of the art. They also debate how public spaces are meant for everyone to enjoy and some feel street art allows for free expression, while others associate it more with graffiti and feel it can make some users of public spaces feel unsafe or left out.
Guerrilla art, also known as street art, involves artists anonymously leaving art pieces in public places without permission. It allows artists to express views to a large audience anonymously. Examples shown include inflatable animals tied to subway grates in New York, pieces of paper attached to walls in Madrid, and yarn bombing of structures in Seattle. The goal of Urban Curators is to engage the public by recognizing the aesthetic qualities of decaying urban environments and elevating common city objects to the status of art.
Public art can take many forms, including sculptures, murals, and graffiti. It is often funded by governments and created by artists to be displayed in public spaces for educational purposes or to beautify an area. However, public art can also be controversial as not all viewers may appreciate or understand the artwork. It sometimes faces issues regarding its funding source or potential to cause disruption. While temporary or permanent, public art aims to expose more people to art outside of traditional galleries or museums.
This document provides information and advice about developing ideas and structures in art. It discusses how artists cultivate ideas by thinking about different subjects and combining thoughts. Artists are encouraged to look at other artists' works to get inspired but also push ideas in new directions. Examples are provided of artists who have developed interesting structures using materials like cardboard boxes, drawings, and performances. Advice is given to consider humor and audience engagement in creative works. The document emphasizes thinking experimentally and borrowing ideas from other artists.
James Rizzi was an American pop artist from Brooklyn, New York who was born in 1950 and died in 2011. He studied art in Florida where he experimented with different mediums like printing, painting, and sculpting. Rizzi's work often featured depictions of his hometown of New York City using bright colors, thick black outlines, and unconventional designs that showed buildings as people and vice versa. In addition to paintings, Rizzi also designed office buildings later in his career in Germany before his death.
Earth art, also known as land art, involves artists transforming natural landscapes or sites by manipulating the terrain or materials found in the environment, such as rocks or vegetation. Some key earth artists include Robert Smithson, known for works like Spiral Jetty, Christo and Jeanne-Claude, who collaborated on projects wrapping and surrounding landmasses, and Andy Goldsworthy, who crafted natural materials into temporary sculptures.
James Rizzi was an American pop artist from Brooklyn, New York who was born in 1950 and died in 2011. He studied art in Florida where he experimented with different mediums like printing, painting, and sculpting. Rizzi's work often featured depictions of his birthplace of New York City using bright colors, thick black outlines, and unconventional designs that showed buildings resembling people and vice versa. In addition to paintings, Rizzi also designed office buildings in Germany later in his career before his death.
Rodney Durso is an artist who transformed his career from graphic design to abstract painting. He took up painting after feeling constrained by the structure of his previous graphic design work. Durso uses acrylic paint and collage techniques to create abstract works that often feature symbolic shapes and motifs. In addition to his painting, Durso founded ArtBridge, a nonprofit that displays emerging artists' works on construction sites. Durso is curious to see where his art will take him next but plans to continue exploring symbols in his work and is interested in creating 3D sculptures.
Public space and public art: e100 lesson planOliver Bendorf
The document discusses public space and different types of art in public spaces including street art, graffiti, and vandalism. It includes opinions from students that street art can enhance public spaces when done appropriately but can also cause problems if unwanted. Students discuss how the line between street art and vandalism is blurry and depends on the viewer's perspective and location of the art. They also debate how public spaces are meant for everyone to enjoy and some feel street art allows for free expression, while others associate it more with graffiti and feel it can make some users of public spaces feel unsafe or left out.
Guerrilla art, also known as street art, involves artists anonymously leaving art pieces in public places without permission. It allows artists to express views to a large audience anonymously. Examples shown include inflatable animals tied to subway grates in New York, pieces of paper attached to walls in Madrid, and yarn bombing of structures in Seattle. The goal of Urban Curators is to engage the public by recognizing the aesthetic qualities of decaying urban environments and elevating common city objects to the status of art.
Public art can take many forms, including sculptures, murals, and graffiti. It is often funded by governments and created by artists to be displayed in public spaces for educational purposes or to beautify an area. However, public art can also be controversial as not all viewers may appreciate or understand the artwork. It sometimes faces issues regarding its funding source or potential to cause disruption. While temporary or permanent, public art aims to expose more people to art outside of traditional galleries or museums.
This document provides information and advice about developing ideas and structures in art. It discusses how artists cultivate ideas by thinking about different subjects and combining thoughts. Artists are encouraged to look at other artists' works to get inspired but also push ideas in new directions. Examples are provided of artists who have developed interesting structures using materials like cardboard boxes, drawings, and performances. Advice is given to consider humor and audience engagement in creative works. The document emphasizes thinking experimentally and borrowing ideas from other artists.
James Rizzi was an American pop artist from Brooklyn, New York who was born in 1950 and died in 2011. He studied art in Florida where he experimented with different mediums like printing, painting, and sculpting. Rizzi's work often featured depictions of his hometown of New York City using bright colors, thick black outlines, and unconventional designs that showed buildings as people and vice versa. In addition to paintings, Rizzi also designed office buildings later in his career in Germany before his death.
Earth art, also known as land art, involves artists transforming natural landscapes or sites by manipulating the terrain or materials found in the environment, such as rocks or vegetation. Some key earth artists include Robert Smithson, known for works like Spiral Jetty, Christo and Jeanne-Claude, who collaborated on projects wrapping and surrounding landmasses, and Andy Goldsworthy, who crafted natural materials into temporary sculptures.
James Rizzi was an American pop artist from Brooklyn, New York who was born in 1950 and died in 2011. He studied art in Florida where he experimented with different mediums like printing, painting, and sculpting. Rizzi's work often featured depictions of his birthplace of New York City using bright colors, thick black outlines, and unconventional designs that showed buildings resembling people and vice versa. In addition to paintings, Rizzi also designed office buildings in Germany later in his career before his death.
Esta presentación habla en especifico de las consideraciones generales para el diseño de torres extractoras liquido-liquido y la selección del solvente ideal para nuestro sistema soluto-acarreador-solvente
Modificación de mazorca con acido cítrico para aumentarAldrich Cuba Orta
Actualmente, la sociedad química, busca aprovechar los desechos orgánicos, todo para absorber algún soluto en interés, o en algunos casos un compuesto contaminante. La presente diapositiva, trata de la utilización de desecho de la mazorca, normalmente despreciado, para adsorber Cadmio (II) (que es un compuesto toxico).
The curriculum vitae summarizes S.F. van Zyl's experience as a construction manager over 30 years. He has extensive experience managing civil construction projects across Africa and overseas, including water treatment plants, sewage works, reservoirs, bridges, and industrial facilities. His roles have included site agent, foreman, and general foreman, with responsibilities for planning, budgeting, scheduling, quality control, and worker safety on projects up to R360 million in value.
Los hongos se clasifican en su propio reino. Son inmóviles, heterótrofos, carecen de cloroplastos y se reproducen mediante esporas. Existen cuatro divisiones principales: Zygomycetos, Ascomicetos, Basidiomicetos y Deuteromicetos. Los líquenes son una asociación simbiótica entre un alga y un hongo.
Stakeholder Relationships, Social Responsibility and Corporate GovernanceSheila Faycan
This document discusses stakeholder relationships, social responsibility, and corporate governance. It defines stakeholders and social responsibility, examining how stakeholder orientation relates to social responsibility. There are two types of stakeholders - primary and secondary. Three approaches to stakeholder theory are described - normative, descriptive, and instrumental. The document outlines steps for implementing social responsibility and stakeholder perspectives in business ethics. It also explores the role of corporate governance in structuring ethics and social responsibility.
This document discusses an analysis performed by Dodd Tool, a manufacturing company, to determine whether it should relax its credit standards. It evaluates the potential effects on additional profit from sales, cost of increased investment in accounts receivable due to longer collection periods, and cost of higher expected bad debts. Specifically, Dodd Tool calculates that relaxing standards could increase sales by 3,000 units, resulting in $12,000 in additional profit. However, it also estimates this would lengthen collection periods, increasing receivables investment by $17,159 with a cost of $2,574. Bad debts are projected to double from 1% to 2% of sales. Dodd Tool aims to determine if the added profit outweighs the higher costs.
Esta presentación habla en especifico de las consideraciones generales para el diseño de torres extractoras liquido-liquido y la selección del solvente ideal para nuestro sistema soluto-acarreador-solvente
Modificación de mazorca con acido cítrico para aumentarAldrich Cuba Orta
Actualmente, la sociedad química, busca aprovechar los desechos orgánicos, todo para absorber algún soluto en interés, o en algunos casos un compuesto contaminante. La presente diapositiva, trata de la utilización de desecho de la mazorca, normalmente despreciado, para adsorber Cadmio (II) (que es un compuesto toxico).
The curriculum vitae summarizes S.F. van Zyl's experience as a construction manager over 30 years. He has extensive experience managing civil construction projects across Africa and overseas, including water treatment plants, sewage works, reservoirs, bridges, and industrial facilities. His roles have included site agent, foreman, and general foreman, with responsibilities for planning, budgeting, scheduling, quality control, and worker safety on projects up to R360 million in value.
Los hongos se clasifican en su propio reino. Son inmóviles, heterótrofos, carecen de cloroplastos y se reproducen mediante esporas. Existen cuatro divisiones principales: Zygomycetos, Ascomicetos, Basidiomicetos y Deuteromicetos. Los líquenes son una asociación simbiótica entre un alga y un hongo.
Stakeholder Relationships, Social Responsibility and Corporate GovernanceSheila Faycan
This document discusses stakeholder relationships, social responsibility, and corporate governance. It defines stakeholders and social responsibility, examining how stakeholder orientation relates to social responsibility. There are two types of stakeholders - primary and secondary. Three approaches to stakeholder theory are described - normative, descriptive, and instrumental. The document outlines steps for implementing social responsibility and stakeholder perspectives in business ethics. It also explores the role of corporate governance in structuring ethics and social responsibility.
This document discusses an analysis performed by Dodd Tool, a manufacturing company, to determine whether it should relax its credit standards. It evaluates the potential effects on additional profit from sales, cost of increased investment in accounts receivable due to longer collection periods, and cost of higher expected bad debts. Specifically, Dodd Tool calculates that relaxing standards could increase sales by 3,000 units, resulting in $12,000 in additional profit. However, it also estimates this would lengthen collection periods, increasing receivables investment by $17,159 with a cost of $2,574. Bad debts are projected to double from 1% to 2% of sales. Dodd Tool aims to determine if the added profit outweighs the higher costs.
1. decorative
SmartsINSIDE THEIR JOYFUL HOME STUDIO, A PAIR OF
LOS ANGELES ARTISTS TAKE THE PRACTICE OF
SURFACE DESIGN TO ANOTHER DIMENSION.
WRITTEN BY YELENA MOROZ ALPERT / PHOTOGRAPHY BY AMY DICKERSON
Work and life harmonize in surface
artists Lisa Donohoe and Brynn
Gelbard’s Los Angeles home studio:
The pair collaborated with tape artist
Flëkz on artwork (above), which
resembles a warrior’s breast plate,
Know Your Truth (right) is part the
couple’s power symbol series, and a
selection of objects (opposite) are a
reminder to the artists to live as wildly
and as authentically as possible.
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2. O
n any given day, Lisa Donohoe
and Brynn Gelbard’s dogs might
be walking around with gilded
noses. Such is the potential fate
of anyone who stays with the
artists behind Londubh Studio, a Los Angeles
creative practice with a focus on surface design.
“Our home sometimes looks like an ABBA
video, which is not necessarily a bad thing,” says
Donohoe. Their work space is filled with dozens
of surface samples—plaster, textured panels and
tiles, as well as the metal leaf, metallic paints,
precious gem dust and crystals that make up
the tools of their trade—and, more often than
not, work spills out into the dining room. “If we’re
painting, it’s all over the place,” says Gelbard. “All
the dining room chairs will have stencils stacked
on them.” Jokes Donohoe, “We must have been
magpies in our previous lives.”
The studio is as much a site for inspiration
as it is a lab for experimenting with how
traditional materials, including Venetian plaster
and metal leaf, can be used in contemporary
projects. Donohoe, who has a background in
interior design and art history, can spend days
working out application kinks to avoid any
potential pitfalls on site. Gelbard, on the other
hand, learned her skills on the job but has a
background in film, writing and social activism,
which often sparks ideas of sheer possibility.
“Our visions gracefully build upon one another,”
says Gelbard. “We kind of dare each other
to be something exponentially greater than
our individual voices.”
Since launching their company in 2011,
Donohoe and Gelbard have discovered
that clients are willing to take risks—and this
optimism gives their work incredible purpose.
Take floor design, for instance. “It’s cool to see
Donohoe (left, at right) and
Gelbard (kneeling with their
dog, Pickles, a Hurricane
Katrina rescue) work out of
a studio filled with the tools
of their trade (opposite).
Legendary art director Cedric
Gibbons inspired the design
for a headboard (below),
which features 12-karat white-
gold leaf and black gloss.
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3. that people are viewing this surface as another
space to express themselves,” says Gelbard.
One of their first floor projects was done for a
loft complex: three 14-by-18-foot stenciled rugs
on concrete, using a semitransparent material to
give it the illusion of nostalgic permanence. “It
seems as though our clients are more willing to
push the boundaries with color and pattern on
their floors than on their walls,” says Donohoe.
“They see a painted rug as an art piece.”
The duo have since tackled ever-more
complex work, including a 40-by-8-foot painted-
concrete rug inspired by Antoni Gaudí’s Sagrada
Familia. It required meticulously transferring
pattern upon pattern, as if the surface was a
layered puzzle, mixing custom colors to match
the surrounding fauna and inserting personal
touches such as astrological signs and symbols
to represent the client’s family. “That project
was the biggest gift because it allowed us to
view ourselves as true artists rather than simply
decorative finishers,” says Gelbard.
Donohoe and Gelbard have a “we want
to see what we can do” mentality that drives
the creative spectrum of their portfolio. “It
really comes down to people who are super
excited about doing new things,” says Gelbard.
Their shared love of collaboration extends to
partnerships with fellow artists, designers and
craftspeople. One such collaboration is with
21-year-old street artist Gustavo Fuentes, also
known as Flëkz, whose chosen medium is tape,
which he uses to create geometric designs.
They met almost two years ago and have since
finished a myriad of projects—Art Deco-inspired
wall art, a prism-like painted patio rug, and a
mod diving board design. “We are artists and
extractionists,” says Donohoe. “Designers have
an idea and a vision, and we basically extract
that information and filter it through our creative
process to create something where everyone’s
voice is present.”
“OUR VISIONS
GRACEFULLY
BUILD UPON ONE
ANOTHER. WE DARE
EACH OTHER TO
BE EXPONENTIALLY
GREATER THAN OUR
INDIVIDUAL VOICES.”
-BRYNN GELBARD
Donohoe preps her canvas
for silver leafing (above), a
technique the couple often uses
throughout their artwork, much like
in the piece As Above, So Below
(far right), featuring gold and
copper leaf in an interlocking star
motif. A collection of meaningful
objects (opposite, top) rests near
Donohoe’s desk, while samples
from clients’ requests as well as
their own experiments (opposite,
bottom) line shelves in the studio.
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