Interview with artist Mark Bode about a series of exhibitions, his mural work and the cartoon concerts. Originally published on the Comics Journal blog.
The document summarizes the author's experience at their first comic book convention in Dubai. Some key points:
- The author had a private love of manga but was not openly able to share this interest until attending Comic Con.
- At Comic Con, the author was immersed in nostalgia upon seeing exhibits from comics and movies from their childhood. They also enjoyed random conversations with other attendees about manga.
- The author's favorite part of the convention was the manga store where they found titles from their secret past interests. Meeting fans of various ages and nationalities discussing manga was also an enlightening experience.
- As a journalist, the author had exclusive access to celebrity guests and was able to explore
This newsletter summarizes Tony Nero's recent art exhibitions and activities. It discusses exhibitions at the Norman Cross Gallery in March and the Stamford Arts Centre in April. It also mentions Tony being named the first Photographer Laureate of Peterborough and catching up with photographer Chris Porsz. Recent artworks are displayed and upcoming events like Peterborough Artists Open Studios are announced.
The story of the here's to life exclusive bronze Juan De Flandes
The document summarizes the process of creating a bronze sculpture commemorating Eddy Adriaens and his wife Arlette's 50 years of marriage. Eddy designed the sculpture to depict the two of them dancing together. He found inspiration in an existing sculpture of a dancing couple and modified the design to better represent himself and Arlette. A foundry in China helped bring Eddy's design to life by creating a clay model, wax mold, and casting the sculpture in bronze. The finished sculpture captures Eddy and Arlette in an intimate dance pose to symbolize their lifelong bond and love for one another.
The Salsali Private Museum will hold an exhibition called "Cinema" to commemorate the 10th anniversary of the Dubai Film Festival and the museum's third year. The exhibition features works from over 15 artists exploring the theme of cinema. A central piece is Nazzy Beglari-Scarlet's "Clean Cinema" series, critiquing ideas of censorship and concepts of cleanliness in art. The exhibition aims to challenge narrow views of morality and spark discussion of censorship in the Middle East. It will run from November 13 to December 30, 2013 at the Salsali Private Museum in Dubai.
The document discusses Pablo Picasso and the development of Cubism. It notes that Picasso was influenced by African sculpture, Iberian sculpture, and other artists like Manet, Cezanne, Gauguin, and the Fauvists. During 1906-1909, Picasso entered his "Negro Period" and created works exploring primitive styles after a trip to Gosol, Spain. In 1907, he painted 'Les Demoiselles d'Avignon', considered a seminal Cubist work. The document then outlines Picasso's development of Analytical Cubism from 1910-1912 and Synthetic Cubism from 1912-1916 in collaboration with Georges Braque, including characteristics of each style and examples of
The document summarizes the author's experience at their first comic book convention in Dubai. Some key points:
- The author had a private love of manga but was not openly able to share this interest until attending Comic Con.
- At Comic Con, the author was immersed in nostalgia upon seeing exhibits from comics and movies from their childhood. They also enjoyed random conversations with other attendees about manga.
- The author's favorite part of the convention was the manga store where they found titles from their secret past interests. Meeting fans of various ages and nationalities discussing manga was also an enlightening experience.
- As a journalist, the author had exclusive access to celebrity guests and was able to explore
This newsletter summarizes Tony Nero's recent art exhibitions and activities. It discusses exhibitions at the Norman Cross Gallery in March and the Stamford Arts Centre in April. It also mentions Tony being named the first Photographer Laureate of Peterborough and catching up with photographer Chris Porsz. Recent artworks are displayed and upcoming events like Peterborough Artists Open Studios are announced.
The story of the here's to life exclusive bronze Juan De Flandes
The document summarizes the process of creating a bronze sculpture commemorating Eddy Adriaens and his wife Arlette's 50 years of marriage. Eddy designed the sculpture to depict the two of them dancing together. He found inspiration in an existing sculpture of a dancing couple and modified the design to better represent himself and Arlette. A foundry in China helped bring Eddy's design to life by creating a clay model, wax mold, and casting the sculpture in bronze. The finished sculpture captures Eddy and Arlette in an intimate dance pose to symbolize their lifelong bond and love for one another.
The Salsali Private Museum will hold an exhibition called "Cinema" to commemorate the 10th anniversary of the Dubai Film Festival and the museum's third year. The exhibition features works from over 15 artists exploring the theme of cinema. A central piece is Nazzy Beglari-Scarlet's "Clean Cinema" series, critiquing ideas of censorship and concepts of cleanliness in art. The exhibition aims to challenge narrow views of morality and spark discussion of censorship in the Middle East. It will run from November 13 to December 30, 2013 at the Salsali Private Museum in Dubai.
The document discusses Pablo Picasso and the development of Cubism. It notes that Picasso was influenced by African sculpture, Iberian sculpture, and other artists like Manet, Cezanne, Gauguin, and the Fauvists. During 1906-1909, Picasso entered his "Negro Period" and created works exploring primitive styles after a trip to Gosol, Spain. In 1907, he painted 'Les Demoiselles d'Avignon', considered a seminal Cubist work. The document then outlines Picasso's development of Analytical Cubism from 1910-1912 and Synthetic Cubism from 1912-1916 in collaboration with Georges Braque, including characteristics of each style and examples of
The artist created a response to Leonardo da Vinci's The Last Supper painting by photographing peers mimicking the poses of six disciples closest to Jesus from a 1520 copy by Giampietrino, as it provided clearer details than pictures of the original painting. The photographs and image of the copy would benefit the artist when creating a wire piece replicating the scene.
This document provides information about Gypsy art and culture from several perspectives. It includes descriptions of paintings that depict aspects of Gypsy life and celebrations. It also discusses Gypsy music, dance, and divinatory arts like palmistry and crystal ball readings. Several films focused on Gypsy themes and culture are analyzed, including works by directors Emir Kusturica and Tony Gatlif that showcase Gypsy music and struggles against oppression. Overall, the document highlights the artistic contributions and traditions and also the challenges faced by Gypsy communities.
Magic Circle Mime Co. performs a show called "Death on the Downbeat" with the Oregon Symphony orchestra. The show is a film noir-themed murder mystery where the conductor is mysteriously killed during rehearsal. Doug MacIntyre and Maggie Petersen founded Magic Circle Mime Co. based on a shared interest in miming and music. They develop shows by choosing music pieces and spinning stories around them. For "Death on the Downbeat" they were asked to create a New Year's Eve program and came up with the idea of a murder mystery concert where the audience helps solve the crime during the performance.
Synthetic Cubism developed from Analytical Cubism and used multiple perspectives to represent objects. Artists like Braque, Picasso, and Gris used techniques like collage, incorporating materials like newspaper. Braque and Picasso are credited with inventing collage in 1912. Leger contributed vibrant color but focused on breaking down forms into geometric shapes. Duchamp shocked viewers with his nude painting "Nude Descending a Staircase" which helped him move away from Cubism.
The document proposes a music video concept for the song "That Time" by Regina Spektor. The concept is to have a woman reminiscing through old photos of her ex-boyfriend, with the memories becoming darker as the song lyrics change. Each verse would be visually represented through flashbacks corresponding to the lyrics. Inspiration is drawn from the videos for "Foundations" by Kate Nash and "Turn the Page" by Bobby V for their quirky characters and comic book visual effects. Detailed treatment is provided for how each lyric could be depicted.
The chapter summarizes Poppy's graduation from university and wedding to Samuel. Key events include:
1) Poppy finally graduates from university after many generations of students. She moves back into the family tower with her new husband Samuel.
2) Poppy and Samuel get married in a lavish wedding at the tower, though the small space causes crowding issues. Samuel shoves cake in Poppy's face during the reception.
3) With Poppy and Samuel married, generation four of the family is set to begin, with the player looking forward to new children and developments at the towering legacy home.
This document discusses potential filming locations for a music video that were considered but ultimately not chosen. Locations in Easton and at a bus stop in Kingswood were considered for showing the rap artist's humble beginnings, but Easton was deemed too dangerous while the empty bus stop lacked concepts of cars and money important to rap music. Filming in the wealthy houses of Almondsbury or the elegant Grosvenor Hotel in London were also considered to show the artist's success, but there was no parking by the houses and permission would have been needed to film, while the hotel did not fit the rap genre.
This document discusses various elements of neo-noir films including mise-en-scene, narrative structure, characters, camerawork, sound, and editing. It notes that while neo-noir films often use similar conventions to classic film noir, they update these elements with modern aesthetics like color cinematography and diverse casting. Key points made include that misfits switches between color and black-and-white cinematography, blade runner features modern settings like sushi restaurants, and the scores of films like sin city blend jazz with electronic music.
Performance - 2.1 Developement of Mime (Mime PowerPoint)humaira28
Mime is a silent art of acting out scenes and expressing emotions through gestures and facial expressions. It originated in ancient Greece and Rome and became popular in France, where schools of mime were established. Famous mimes include Charlie Chaplin and Marcel Marceau. Mime performances can be seen in theaters as well as outdoors in some places.
Mime is a performance art that uses gestures and facial expressions instead of words. It began in ancient Greece and Rome, evolving from religious festivals and plays. Two important figures in the development of mime were Etienne Decroux, who pioneered corporeal mime, and his student Marcel Marceau, one of the most famous 20th century mimes. Mime became particularly popular in France and is now associated with French culture. Famous mimes include Charlie Chaplin and Mr. Bean.
Fudge Munster, after the destruction of his town, settles alone in a remote shack with little money. He meets a woman named Michelle and feels an instant connection. They spend time getting to know each other, and Fudge believes Michelle could be the woman to start his family legacy with. However, Michelle leaves when she gets hungry, and Fudge hopes to continue pursuing her.
This powerpoint presentation makes the case for why the creator, Maddie, and the recipient should pursue a romantic relationship. It includes explanations of songs that are meaningful to Maddie and represent her feelings for the recipient. There is a list of pros of being together, with no listed cons. A chart shows Maddie's belief that they would be very happy together. The presentation ends with a quote from a musician encouraging the recipient to give Maddie a chance.
The Primal One experimental theatre project has been creating original multimedia shows since 2010 that ask philosophical questions. Over 6 seasons they have staged 6 original creations with 19 events featuring 16 artist-actors from 15 nationalities. Their productions are minimalist, multi-media shows performed in unconventional spaces that challenge audiences' perceptions.
Mime began as a form of communication before spoken language and later developed into a form of entertainment. It originated in ancient Greece and was brought to Rome, growing more popular under Emperor Augustus. Mime continued through the Middle Ages as Commedia Dell'Arte street performances and moraliy/miracle plays. Famous mimes like Charlie Chaplin and Rowan Atkinson used mime, movements, and facial expressions to develop beloved comedic characters without words. The social, economic, historical, and technological factors of different eras influenced the development and popularity of mime as a performing art.
Edward Gordon Craig was born in 1872 to famous actress Ellen Terry. He made his stage debut at age 6 and later worked under famous actor Sir Henry Irving. Craig lost interest in school and had an artistic nature, becoming a skilled wood engraver. He developed innovative ideas about theater including symbolism over realism, use of masks and marionettes, and experimental lighting and stage designs. Craig founded a theater school in Italy and wrote extensively about his ideas, influencing generations of theater practitioners.
This PowerPoint presentation makes the case for why the recipient should give the creator, Maddie, a second chance. It includes a playlist of songs explaining their history and connection, along with explanations of inside jokes and imagined scenarios of them together. It lists the pros of being together, which only includes positives with no cons listed. It includes a chart showing increasing happiness over time if they were together. The presentation hopes the recipient will see Maddie before she leaves.
Leonardo da Vinci was a famous 15th century Italian artist born in Vinci, Italy in 1452. He is best known for paintings like the Mona Lisa and The Last Supper. Da Vinci died in 1519 leaving the Mona Lisa unfinished. The Mona Lisa is considered one of the most famous paintings in history and now hangs in the Louvre in Paris. Da Vinci was also an inventor and made early sketches of inventions like helicopters, tanks, and motor vehicles.
Mime is one of the oldest forms of performance and storytelling, dating back to prehistoric times when cavemen would communicate through gestures without language. It developed through ancient Greek and Roman theatre, reaching popularity during the Renaissance period with Commedia dell'Arte street performances. Modern mime builds on these traditions but has also incorporated new techniques from film, theatre, and other art forms to tell stories through movement and gestures without words. Some famous early mimes who helped develop the art form include Charlie Chaplin, Marcel Marceau, and members of France's post-World War 2 mime movement.
The artist created a response to Leonardo da Vinci's The Last Supper painting by photographing peers mimicking the poses of six disciples closest to Jesus from a 1520 copy by Giampietrino, as it provided clearer details than pictures of the original painting. The photographs and image of the copy would benefit the artist when creating a wire piece replicating the scene.
This document provides information about Gypsy art and culture from several perspectives. It includes descriptions of paintings that depict aspects of Gypsy life and celebrations. It also discusses Gypsy music, dance, and divinatory arts like palmistry and crystal ball readings. Several films focused on Gypsy themes and culture are analyzed, including works by directors Emir Kusturica and Tony Gatlif that showcase Gypsy music and struggles against oppression. Overall, the document highlights the artistic contributions and traditions and also the challenges faced by Gypsy communities.
Magic Circle Mime Co. performs a show called "Death on the Downbeat" with the Oregon Symphony orchestra. The show is a film noir-themed murder mystery where the conductor is mysteriously killed during rehearsal. Doug MacIntyre and Maggie Petersen founded Magic Circle Mime Co. based on a shared interest in miming and music. They develop shows by choosing music pieces and spinning stories around them. For "Death on the Downbeat" they were asked to create a New Year's Eve program and came up with the idea of a murder mystery concert where the audience helps solve the crime during the performance.
Synthetic Cubism developed from Analytical Cubism and used multiple perspectives to represent objects. Artists like Braque, Picasso, and Gris used techniques like collage, incorporating materials like newspaper. Braque and Picasso are credited with inventing collage in 1912. Leger contributed vibrant color but focused on breaking down forms into geometric shapes. Duchamp shocked viewers with his nude painting "Nude Descending a Staircase" which helped him move away from Cubism.
The document proposes a music video concept for the song "That Time" by Regina Spektor. The concept is to have a woman reminiscing through old photos of her ex-boyfriend, with the memories becoming darker as the song lyrics change. Each verse would be visually represented through flashbacks corresponding to the lyrics. Inspiration is drawn from the videos for "Foundations" by Kate Nash and "Turn the Page" by Bobby V for their quirky characters and comic book visual effects. Detailed treatment is provided for how each lyric could be depicted.
The chapter summarizes Poppy's graduation from university and wedding to Samuel. Key events include:
1) Poppy finally graduates from university after many generations of students. She moves back into the family tower with her new husband Samuel.
2) Poppy and Samuel get married in a lavish wedding at the tower, though the small space causes crowding issues. Samuel shoves cake in Poppy's face during the reception.
3) With Poppy and Samuel married, generation four of the family is set to begin, with the player looking forward to new children and developments at the towering legacy home.
This document discusses potential filming locations for a music video that were considered but ultimately not chosen. Locations in Easton and at a bus stop in Kingswood were considered for showing the rap artist's humble beginnings, but Easton was deemed too dangerous while the empty bus stop lacked concepts of cars and money important to rap music. Filming in the wealthy houses of Almondsbury or the elegant Grosvenor Hotel in London were also considered to show the artist's success, but there was no parking by the houses and permission would have been needed to film, while the hotel did not fit the rap genre.
This document discusses various elements of neo-noir films including mise-en-scene, narrative structure, characters, camerawork, sound, and editing. It notes that while neo-noir films often use similar conventions to classic film noir, they update these elements with modern aesthetics like color cinematography and diverse casting. Key points made include that misfits switches between color and black-and-white cinematography, blade runner features modern settings like sushi restaurants, and the scores of films like sin city blend jazz with electronic music.
Performance - 2.1 Developement of Mime (Mime PowerPoint)humaira28
Mime is a silent art of acting out scenes and expressing emotions through gestures and facial expressions. It originated in ancient Greece and Rome and became popular in France, where schools of mime were established. Famous mimes include Charlie Chaplin and Marcel Marceau. Mime performances can be seen in theaters as well as outdoors in some places.
Mime is a performance art that uses gestures and facial expressions instead of words. It began in ancient Greece and Rome, evolving from religious festivals and plays. Two important figures in the development of mime were Etienne Decroux, who pioneered corporeal mime, and his student Marcel Marceau, one of the most famous 20th century mimes. Mime became particularly popular in France and is now associated with French culture. Famous mimes include Charlie Chaplin and Mr. Bean.
Fudge Munster, after the destruction of his town, settles alone in a remote shack with little money. He meets a woman named Michelle and feels an instant connection. They spend time getting to know each other, and Fudge believes Michelle could be the woman to start his family legacy with. However, Michelle leaves when she gets hungry, and Fudge hopes to continue pursuing her.
This powerpoint presentation makes the case for why the creator, Maddie, and the recipient should pursue a romantic relationship. It includes explanations of songs that are meaningful to Maddie and represent her feelings for the recipient. There is a list of pros of being together, with no listed cons. A chart shows Maddie's belief that they would be very happy together. The presentation ends with a quote from a musician encouraging the recipient to give Maddie a chance.
The Primal One experimental theatre project has been creating original multimedia shows since 2010 that ask philosophical questions. Over 6 seasons they have staged 6 original creations with 19 events featuring 16 artist-actors from 15 nationalities. Their productions are minimalist, multi-media shows performed in unconventional spaces that challenge audiences' perceptions.
Mime began as a form of communication before spoken language and later developed into a form of entertainment. It originated in ancient Greece and was brought to Rome, growing more popular under Emperor Augustus. Mime continued through the Middle Ages as Commedia Dell'Arte street performances and moraliy/miracle plays. Famous mimes like Charlie Chaplin and Rowan Atkinson used mime, movements, and facial expressions to develop beloved comedic characters without words. The social, economic, historical, and technological factors of different eras influenced the development and popularity of mime as a performing art.
Edward Gordon Craig was born in 1872 to famous actress Ellen Terry. He made his stage debut at age 6 and later worked under famous actor Sir Henry Irving. Craig lost interest in school and had an artistic nature, becoming a skilled wood engraver. He developed innovative ideas about theater including symbolism over realism, use of masks and marionettes, and experimental lighting and stage designs. Craig founded a theater school in Italy and wrote extensively about his ideas, influencing generations of theater practitioners.
This PowerPoint presentation makes the case for why the recipient should give the creator, Maddie, a second chance. It includes a playlist of songs explaining their history and connection, along with explanations of inside jokes and imagined scenarios of them together. It lists the pros of being together, which only includes positives with no cons listed. It includes a chart showing increasing happiness over time if they were together. The presentation hopes the recipient will see Maddie before she leaves.
Leonardo da Vinci was a famous 15th century Italian artist born in Vinci, Italy in 1452. He is best known for paintings like the Mona Lisa and The Last Supper. Da Vinci died in 1519 leaving the Mona Lisa unfinished. The Mona Lisa is considered one of the most famous paintings in history and now hangs in the Louvre in Paris. Da Vinci was also an inventor and made early sketches of inventions like helicopters, tanks, and motor vehicles.
Mime is one of the oldest forms of performance and storytelling, dating back to prehistoric times when cavemen would communicate through gestures without language. It developed through ancient Greek and Roman theatre, reaching popularity during the Renaissance period with Commedia dell'Arte street performances. Modern mime builds on these traditions but has also incorporated new techniques from film, theatre, and other art forms to tell stories through movement and gestures without words. Some famous early mimes who helped develop the art form include Charlie Chaplin, Marcel Marceau, and members of France's post-World War 2 mime movement.
Presentation on the history of the union label movement, given 9/12 at the Union Label & Service Trades convention in triburte to the 100th anniversary of the department.
The document discusses Gestalt principles of design applied to two posters.
The good poster uses proximity, similarity, figure-ground size contrast, and closure effectively. Circles of the same color placed close together are seen as a paw. Minimal background focuses attention on the figure.
The bad poster violates several principles. Figure and ground lack contrast and compete for attention. Numerous small images clutter the poster and proximity lacks meaning. Images placed disorderly fail to form a holistic whole.
Censorship & Superbodies: The Creative Odyssey of Margaret HarrisonKim A Munson
Margaret Harrison is a British artist known for her feminist pop artworks that critique censorship, gender roles, and war. Her 1971 solo show featured pieces like "He's Only A Bunny Boy But He's Quite Nice Really" and reimaginings of Captain America that transformed the character for the Vietnam War era. Harrison went on to create more Captain America art in 1997 and 2009 that commented on America's shifting global power and longings for the past. Her art blends pop culture icons with social and political commentary.
Talk from PCA/ACA national conference (New Orleans) 2009 about the relationship between comic art and museums. Looks at The Comic Art Show (1983), High & Low (1990), Masters of American Comics (2005) & Tezuka, Marvel of Manga (2007).
Companion paper "Beyond High & Low" is available here http://www.mg-km.com/kmhome.html.
The images supplied in this presentation are intended for academic purposes only; text is copyright Kim Munson, rights to images are held by their respective owners.
This document discusses the challenges higher education faces in adopting data-driven strategies and the key ingredients needed to do so effectively. It outlines the goals of improving efficiency, student success, teaching methods, and using data to inform decisions. While progress has been made in analytics and evidence-based decision making, adoption is not as fast as desired due to issues like the nature of teaching, administering a university, and human nature. The document recommends establishing a culture of information sharing, integrating student data systems, ensuring analytics systems are fast and comprehensive, and collaborating with partners to address this complex problem.
El documento habla sobre conocerse a uno mismo, identificando fortalezas y debilidades personales y laborales para desarrollarse de manera competitiva y tener éxito.
This is an update of a 2006 SFSU art history presentation exploring the history and evolution of the AFL-CIO hand-in-hand logo, that I am posting in honor of the upcoming AFL-CIO convention and the 100 year anniversary of the Union Label and Service Trades Department.
I will be presenting on the history of the union label movement at the ULSTD's convention on 9/12. This presentation for academic/educational purposes only.
Cette présentation est l'introduction (besoins et enjeux en cartorgaphie) et la conclusion du séminaire de clôture du projet ANR MapStyle (29/09/2016).
Les autres présentations sont accessibles sur http://mapstyle.ign.fr/#Seminaire_de_cloture
Intégration de méthodes de rendu expressif dans un SIGSidonie Christophe
Le paramétrage et le stockage des informations de modélisation et de stylisation cartographique au sein des logiciels de SIG s’appuient sur un ensemble de standards et bonnes pratiques définis par l’Open Geospatial Consortium. Le projet ANR MapStyle a notamment pour objectif de permettre l’intégration de méthodes de rendu expressif contrôlables par l’utilisateur au sein d’un logiciel de SIG. Afin d'homogénéiser la description et le contrôle de styles cartographiques mêlant méthodes expressives et usuelles, nous proposons donc une extension des formalismes standards de description de styles cartographiques OGC Styled Layer Descriptor et OGC Symbology Encoding. Nous montrons comment l’architecture proposée permet de concevoir des représentations cartographiques personnalisées.
Présentation lors du séminaire de clôture (29/09/2016).
Les autres présentations sont sur : http://mapstyle.ign.fr/#Seminaire_de_cloture
Revisting The Comic Art Show: Whitney Museum 1983Kim A Munson
This presentation features new research about the Comic Art Show (1983), the first show to treat comic art, graffiti, modern art and early post-modern art as equals under the sponsorship of a major New York art museum (the Whitney Museum of American Art's Downtown branch). This presentation includes comments by John Carlin (co-curator) and exhibition photos courtesy of the Frances Mulhall Achilles Library at the Whitney Museum of American Art.
I will be presenting on the "Comics and Museums" panel at San Diego Comic Con on Sunday (7/26) at 1:00pm in room 30AB with Michael Dooley and Denis Kitchen.
San Francisco Labor Landmark PhotographyKim A Munson
Stunning photography by artists Wendy Crittenden and Tom Griscom in contrasting styles, featuring locations important to the San Francisco labor movement. Exhibition catalog is available on iTunes and Blurb print on demand: http://blur.by/1zhkQ0r
The images supplied in this presentation are intended for academic purposes only; text is copyright Kim Munson, rights to images are held by Griscom and Crittenden.
This work will be on display at the Special Collections Gallery, J. Paul Leonard Library, San Francisco State University, March 19 - August 9, 2015. Opening event April 2.
A Portrait Of The Artist As A Young Simian by Monkey Poet (SAMPLE)Burning Eye
Monkey Poet experiences a strange encounter in a San Francisco bar. He is transported to a magical realm where he meets famous poets like Dylan Thomas and Charles Bukowski. They invite him to a poetry reading. At the reading, Monkey Poet shares a controversial poem about shooting a baby, to silence from the group. The piece is a exploration of war and the evolution of the concept of genocide over history told through poetry and music. It references many genocides and mass killings of the 20th century.
Husk, a street artist from Copenhagen, discusses his artistic process and views on street art trends. He explains that he gets inspiration from Keith Haring, Walt Disney and Daniel Clowes, and often develops texts first before creating illustrations. Husk prefers to work without sketches, painting directly on walls or paper. While some street art has become boring or trend-driven, Husk still enjoys creating posters for public spaces occasionally. He remains focused on his own creative vision rather than commercial or street art scene influences.
An even bigger issue this time, with 12 bumper pages of arty stuff. Peterborough Artist Open studios, Summer Exhibition plus Idea 1’s new website launch and more.
The artist Tacita Dean is preparing a major retrospective of her work at the Museo Tamayo in Mexico City. The exhibition includes 79 works from different periods of her career that explore concepts of materiality and intangibility through diverse mediums including film, photography, and drawings. Dean discusses the development of the exhibition from its inception two years ago, emphasizing her aim to champion the 16mm film medium. She describes key works in the show that capture the "uncapturable," investigate transient everyday moments, and allow viewers to luxuriate in the magic of film.
Adhesive Artists: BNE and snoeman and space invader .kozakartclass
BNE is a mysterious graffiti artist who has been tagging his tag "BNE" around the world for over 15 years. He uses stickers to proliferate his tag in as many places as possible. While some see him as a criminal for his vandalism, he sees himself as competing against major corporate brands by creating a globally recognized brand through his graffiti without selling any product. His identity and motives remain largely unknown, with even the meaning of "BNE" being open to interpretation. He funds his tagging through part-time jobs and remains a largely solitary figure in the graffiti world.
B.N.E. is a prolific graffiti artist known for tagging his tag "BNE" in public spaces around New York City and globally using stickers. He has been tagging for over 15 years and aims to spread his tag as widely as major corporate logos. Some see his work as vandalism, while others are impressed by his success in creating a globally recognized brand without selling any products. More recently, a website was launched claiming to donate the recognition of the BNE brand to charitable causes, though it is unclear if this is directly connected to the artist.
Joe Kubert discusses how he got his start in comic books as a young teenager in the 1940s, skipping school to visit publishers' offices in New York City and getting small jobs and lessons from artists like Irv Novick and Mort Meskin, leading to his first professional work at age 12 or 12 1/2 while still in high school.
Another 16 pages of photos and snippets of what i've been up to over the past few months. Past exhibitions, up coming exhibitions and even rubbing shoulders with our MP. Plus the usual Tony's shout out and some new works.
The artist collected accounts from 22 conceptual artists about conceptual artworks they witnessed between 1965-1975. The artists were audio recorded describing works without mentioning titles or artists' names. Their hands were also videotaped. The installation included the consecutive voices of the artists describing minimalist performances and conceptual pieces that questioned conventions of art. Several excerpts are included that describe provocative performance artworks involving light, invitation to physically penetrate an artist's body, and a request for a sexual act that stunned the audience.
Shepard Fairey: Responsible Delinquent (References)Ethan Allen Smith
Shepard Fairey is a graphic artist known for his street art featuring Andre the Giant. The article discusses how Fairey first created stencils of Andre the Giant's face in 1989 as a joke, but it quickly spread and took on a life of its own. Fairey discusses how seeing his stickers in unexpected places around the world surprised him. He also talks about his influences and goals to encourage participation and question what people see.
Ringo Starr, George Harrison, Paul McCartney, and John Lennon of The Beatles have all pursued creative interests outside of music. Ringo creates computer art that he began as a hobby while touring. George produced the Concert for Bangladesh film and later founded a film production company. Paul began painting in 1982 and donates proceeds to charity. Art was John's first love and he drew hundreds of drawings, many of which were preserved by Yoko Ono.
Yoko Ono is an experimental artist and musician born in Tokyo in 1933. Her early career involved avant-garde performance art pieces in the 1960s that often demanded participation from audiences, such as her famous 1964 work "Cut Piece" where audience members cut away her clothing. She met her second husband John Lennon in 1966 and they collaborated creatively until his death in 1980. Ono's conceptual art focuses on audience interaction and challenging expectations through provocative ideas and acts.
The video provided information about different shapes and styles of art including rectangles, squares, cubes, triangles, cylinders and paintings by Pablo Picasso and Georges Braque. It also defined several sayings related to painting such as "to paint the town red", "to paint a grim picture of something", "like watching paint dry", and "to paint someone or something with the same brush". Finally, it featured a painting by Salvador Dali and a quote by Pablo Picasso about painting being a way to keep a diary.
Pablo Picasso was born in 1881 in Malaga, Spain. He showed an early talent for art as his father was an art teacher. He began drawing and painting from a young age. After moving to Paris in his late teens, Picasso was exposed to modern art which greatly influenced his style. He went through several artistic periods including his Blue Period where he depicted sad subjects in blue tones after the death of a friend. Later he explored Cubism, creating abstracted figures and scenes using geometric shapes. Picasso had a long and prolific career as a painter, producing many famous works like Les Demoiselles d'Avignon and Guernica, and becoming one of the most influential artists of the 20th century
ANTHEA MISSY PORTFOLIO 2016 PART 1/2 - STREET ART GRAFFITI MURALSAnthea Missy
Anthea Missy is an independent muralist based in Brussels and traveling as much as she can to create art since 2014. Her bold style blends in abstract and figurative happy and positive scenes in a unique organic style that seems to flow on walls. Originally a free hand painter, she’s widened her range of skills with stencils, graphic design, social media and video production. Although able to paint detailed artwork at small scale, she’s mainly focused on outdoors art working with diverse materials like acrylics, brushes and spray paint.
Some of her achievements for the past 2 years since she's started as a solo artist:
- Streetart in Brussels, Paris, Amsterdam, London, Brighton, Manchester, Helsinki, Lyon, Barcelona, Hanoi, Jakarta, Bangkok, Kuala Lampur, Phnom Penh, Shanghai
- A mural of 60 m long in Hanoi Vietnam made in 4 days
- Helping rejuvenate the old Lake side Phnom Penh in collaboration with Develop Boeung Kak Project
- Painting Rooms in Japanese Hotel Ofuro
- Group shows in Paris, Brussels, London, and Phnom Penh
- Public Live Art
- Participation to street art festival Femme Fierce London
- More than 60 art videos with Facebook native reach beyond 100 K
- 20 k followers on Facebook
Progression:
Since June 2014, Anthea Missy's developed her unique style by painting on walls and canvas, being able to produce much art on diverse media by mixing ink, spray paint, acrylic paint, synthetic paint, on wood, canvas, plaster, metal, concrete, plastic.
In 2015, she's progressively experienced with bigger surfaces extending her work from simple art on wall to deeper wall preparation and creation of a unique universe in a neighborhood, considering the architectural components and audience.
In Phnom Penh she's relentlessly practiced with all sorts of walls’ states making her a true muralist.
Her work which started with abstract organic shapes has extended to comics pop figurative scenes sometimes flirting with political art with works like 'Love Bomb' a positive work made in Brussels after the attacks.
For 2016 Anthea Missy has extended her skills to graphic design with intense training in Photoshop, Illustrator and Final Cut in order to multiply the diversity of media for her art, thus being the sole designer of her art from inception to production.
Ever-challenging herself, she's set to create large murals on water in Brussels in collaboration with the community, the port of Brussels and the city to create two murals of respectively 315m2 and 210m2, her biggest project so far.
She plans to attend Sliema Arts Festival Malta in July 2016 as well as the Mood Indigo Arts Festival in Mumbai at the end of the year with footfall of more than 100 000 students of India's new generation.
She continues to prospect to create large artwork anywhere on the globe.
Website:
https://antheamissy.com
Contact by email for a mural / Design / Performance Project:
anthea.missy@gmail.com
This document discusses environmental influences on creative work. It references several artists who respond to and are influenced by their environments, including Iosif Kiraly who photographs locations over time, and Sean Hillen who combines images from different places to explore ideas. Students are given tasks to create artworks that incorporate environmental influences, such as making collages set in imaginary locations inspired by Henri Rousseau, or using collage to explore ideas about truth in situations like Sean Hillen.
Artist Jeff Scher has two major shows of his animated films coming up in the fall. His films use techniques like rotoscoping, in which live-action footage is traced and re-drawn frame by frame. This gives his narratives a fluid, unpredictable quality that invites personal interpretation. Rather than focusing on themes of despair, Scher's stories leave viewers with a sense of hope and wholeness. His busy fall highlights how he is an acclaimed, though somewhat removed, figure in the art world.
The document provides instructions for an illustration task involving creating portraits using basic Photoshop techniques and found objects. It then discusses the caricature art of Hanoch Piven, who creates portraits using paint and everyday objects. The document includes interviews with Piven where he discusses his creative process, how he comes up with concepts, how accidents play a role in his work, the time it takes to create portraits, and feedback he has received.
This newsletter provides updates on Tony Nero's art activities and local art events in Peterborough, UK. It describes Tony's involvement in various art exhibitions and workshops, including juried shows, teaching an abstract painting workshop, and creating cover art for a musician. It also announces an upcoming art festival and profiles a street artist creating sand sculptures. In addition to news, it shares photos of Tony's recent paintings and previews new works he is creating in 2014.
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Mark Bode - Wizards, Lizards & Broads
1. Mark Bode: Wizards, Lizards and Broads - Interview by Kim Munson
Originally posted in three parts on the Comics Journal blog, November 22nd, 2010 at
http://classic.tcj.com/interviews/mark-bod-wizards-lizards-and-broads-part-one-of-
three/
Mark Bode stands in front of a mural he painted in San Francisco’s North Beach district,
celebrating the Giants World Series win. Photo courtesy of Bode.
Comics, mural and tattoo artist Mark Bode has been busy lately: doing
mural work all over the SF Bay Area and developing a live-action Colbalt 60
film with director Zack Snyder. At the time of this interview, he had just
closed his latest show, “Wizards, Lizards, and Broads” at the 1:AM Gallery in
San Francisco and was preparing to show his art, and his father’s (legendary
underground cartoonist Vaughn Bode) at the Biennial Arts Le Havre in
France.
KIM MUNSON: It was great to see such a wide range of your work in
the 1:AM show, along with some pieces of your father’s. Do people
come that don’t know about your family history and get confused
about your dad’s work, your work and work you did together?
MARK BODE: Oh yeah, there’s three different groups of people that
encompass the Bode worlds, and it’s people who know my father, and hardly
know me and my work, and then there’s people who know me, and hardly
know my father, or there are people who are just into both.
4. before my father. My dad started doing that on the road, and one of the last
times he did it was at the Louvre in Paris. He packed the ballroom there. He
had arrived. I think he was the last artist to do a lecture like that at the
Louvre, they stopped doing it after that. Anyway, he packed the ballroom
there and Moebius was there, a lot of the Who’s Who of the comics field
went to that show, and it changed their lives. Moebius said it changed him
dramatically, to where he was going to be doing more graphic storytelling
without the captions. It changed a lot of people and inspired them. Anyway
he’d done it at colleges mainly in comics conventions. I think the last one he
did was at the Phil Seuling convention in New York City in 1975 where he did
the Lizard of Oz painting.
MUNSON: Do you do it very often yourself?
BODE: I realize that my show was very shocking. When he did it, it was
different. You could do an R-rated show, and it was funny, and it was edgy.
But nowadays, you have to go to the next level. I’ve done a lot of stuff in
Cherry Pop Tart, and I put that stuff in there, and I did all the sound effects,
and it’s very funny. But it’s shock stuff. And I’m kind of over that, I’ve kind
of realized that it doesn’t really turn into money. It’s just momentarily kind
of entertaining. So I stopped because I really need to take it digital if I’m
going to keep going. And I need to do more material too, since I haven’t
been doing underground comix for a while. I just do it once in awhile. Just
pull it out of the bag. Just give it a run around the block. You know, it’s like
taking an old car out for a spin; it’s not something that I’m pursuing.
But I can do the voices, he used to practice in front of me. I have exactly the
same vocal cords that he did genetically, so I can pretty much come up with
the same voices. You can see this stuff online, just type Bode’s Cartoon
Concert into YouTube, and you can see him doing it, and then the Comic
Concert Two has me doing Cheech Wizard.
It’s a fun show. Probably the biggest show I did was in Atlanta and I opened
for GWAR, you know?
MUNSON: Yeah, yeah.
BODE: Well, I was never so scared in my life, I went up in front of a few
thousand people and they’re all chanting “GWAR! GWAR! GWAR!” And
there’s me, with a slide projector [laughs] and a remote. I was gonna die.
And I opened with Burpie Pussy Fart, the thing I did for Cherry, where
Barbie and Cherry get it on, Barbie’s got a smoker’s voice, and she’s heavily
smoking and she’s vomiting constantly. But getting into this strip saved my
life, because it was so shock-value underground comix style, that it tamed
5. the crowd immediately and people started yelling, “Hey, you’re sick! He’s
sick!” and pretty soon people are laughing. And whenever I got to my
father’s strips, I’d start losing the crowd. I could hear the murmuring
starting, and then more and more murmuring, and then I get to one of my
shocking strips again, and I’d have them again, and they’d laugh. So I was
just sweating through my father’s material and wishing that I had a
computer right there so I read the crowd and choose the pieces I needed.
And that’s where it has to go if I’m going to continue. It has to go digital,
where I can pick and choose the strips that I want to read. But at the end of
the show, the lights flash over my head, and Techno Destructo is there with
steam shooting out of his suit and he’s like “Bode! You plagiarized
everyone!” And he’s staring at me, and you know, there’s that need to run.
We didn’t rehearse this, but I knew he was going to blood bag me and kill
me and drag me off stage. It’s all fun and games until you see the guy ready
to kill you, and steam is shooting out of his suit! It was frightening, and my
adrenaline was going, and he hit me over the head and he dragged me off
the stage, and the crowd went crazy and rushed the stage. That was
probably the hardest Cartoon Concert I ever had to do, but GWAR said I
survived better than almost any opening band they’d ever had. They said I’d
actually tamed the crowd, and they were very impressed with that. So yeah,
I just did it recently and I might do it in Australia next year, I’m supposed to
be doing a gallery show in Melbourne and in Sydney, and I’m going to do the
slideshows as well.
MUNSON: That must have been quite an experience. I was curious,
since I’ve just seen your studio and how carefully you’ve archived
everything, it must be strange for you that the spray art you’ve been
doing isn’t permanent. You did that great mural outside the 1:AM
gallery, and I took pictures of it the last day of the show, and a few
days later, someone is out there painting over it.
BODE: It’s about the photographs. I’ve done a lot of murals. Now I’m just
on fire with it. I’m actually so driven, probably more than anything else right
now. I’m working on Cobalt 60, the next story for Cobalt 60, I’m up to page
55 on that, I’m penciling. I’ve been working on it since the movie script
started. While everything has been going, I figured I’d better get on it and
make more stories with Cobalt 60. But actually what’s dominating my stuff
right now is the mural work around San Francisco. I’m working on a huge,
huge mural, I’m going to start this weekend in West Oakland. It’s a recycling
plant called CASS, and it’s between 26th and 27th on Peralta in West
Oakland. And it’s huge; it’s the size of a football field. It’s three stories high,
and may be 200, 300 feet long. I’ll be using a cherry-picker and all that and
house paint.
6. Photo courtesy of Mark Bode.
And then I painted a church, I never thought I was going to do that. That
story was a painful one, because I was invited to do the main characters on
the side of a church that was on a very bad alley in the Mission at 14th and
Caledonia. There were all these homeless people shooting up, and they were
using it as a public bathroom, and I’m up there… I couldn’t sleep because I
was like, “How am I going to not make fun of the main icon?” If I put a
cartoony face on him, people are going to think I’m mocking the church, so I
came up with the idea of taking a stencil of Jesus’ face, a classic… actually, I
took it from Rick Griffin’s book. I took the classic Jesus face ink drawing that
he did, copied the face and blew it up to about the size it was supposed to
be and cut it out of cardboard, so I had Jesus’ face in less than three
seconds (laughs). Instant Jesus! As I’m painting, there’s this lady saying,
“Get the hell out of my alley! This is my alley. Get the fuck out of here!”
And we’re like, “Lady we’re trying to do something good here,” and then,
“Lady! Oh, no don’t take a piss there!” And we’d have to scramble down the
ladder and get our paint out of the way of the urine.
It was horrible, and she was trying to score some crack from a guy that has
a window right there. And he’s like, “Get the hell away from my window,
bitch.”
8. KIM MUNSON: Mark, You were just returned from the Biennale of
Contemporary Art Le Havre (Oct. 1–31, 2010), a major exhibition in
France that featured your work and your father’s. Can you talk about
that?
MARK BODE: I was contacted by them because they wanted to display my
father’s work. I said, “I don’t send my father’s stuff anywhere, through the
mail or anything. I come with it. Also, I’ve been doing all this other stuff.”
Then I sent them stuff and they said, “Well, we’d love to have you too.” So,
we have a father-and-son show, and that’s how it got going. They’re making
the cross between contemporary art and comics bringing the two together.
MUNSON: I’m sure they’ll do a better job than a lot of the U.S.
museums.
BODE: You know, in France, they take their comics very seriously. Not like
over here, where you tell somebody you are a comics artist and they think
you’re a rodeo clown or a pie-pan twirler [laughs]. “Really? You make a
living at that?” You get used to it.
MUNSON: Tell me about the show.
BODE: Jean-Marc Thevenet (Commissioner General) and Linda Morren
(Artistic Director) put together a show of illustrators and comic-book
storytellers — people who tell stories with visuals. And it was spread out
over all of the city of Le Havre. We were on the bus from Paris with all the
press. It was very stormy and rainy when we got there. We got a private
showing the day before it officially opened. We went from event to event,
getting a private tour by Jean-Marc and his wife. Because of the rain, it was
hard to fully absorb it all. But the production they did, was all over the town
in maybe eight different locations at the same time.
MUNSON: The various locations each featured work by different
artists-in-residence. Which were the ones that impressed you the
most?
BODE: One was in the water, the artist did all her little stories on the sails of
little boats, the kind of little sailboats they rent to people when the weather’s
nice.
And then we went to a place where a guy was doing his art — he made his
own little theater. You have to crouch down and walk into this little tiny
theater and sit down on small chairs. They had a live piano player playing
10. “Eeeugh.” The humor of that character is really good. And there was 3-D
sculpture and some stuff like that.
MUNSON: Your work and your father’s work was somewhere else
wasn’t it? You mentioned an exhibition in a mansion. What was that
like?
BODE: It’s a four-level mansion. The first floor was the art show. The
second floor was a restaurant, and the third and fourth floors are where the
owner and co-producer lives. His name is Ari Sebag (President of the
Association of the Biennale of Contemporary Art Le Havre and of the
Partouche Short Film Award). He lives all over the place and owns 10
casinos. He puts a million dollars into an exhibit every year in each town
where he has a casino. So this is a guy who makes things happen. He’s very,
very nice too. I really liked him a lot. Everybody was very pleasant. And to
walk into this mansion and see the ocean, and see the art, and the people. It
was a very, very beautiful place to have your art shown.
The press was there. And I did a reading of one of my father’s strips. Which
they all loved, and they clapped and everything. I was having some trouble,
because I had to have an interpreter, but people were generally very excited
to hear our stuff.
MUNSON: From my limited interpretation of the French press
materials it seems that they included your dad in the show as one of
the underground comix artists that broke through the perception
that comics were for kids. Is that right?
BODE: Yes. They had several events where they were talking about comics,
and my father and I just kept coming up and kept coming up, and I couldn’t
really tell what they were talking about. I’m going to have to polish up on
my French, to say the least. But it was a very big deal. The last time any of
the Bode material was in Paris or in France was in the 1970s, late ’74 when
my father did that Cartoon Concert…
MUNSON: Right, the show at the Louvre where he did the Cartoon
Concert.
BODE: Well, that resonated over all these years. And then Jean-Marc said
he had big ideas in store for us and our work. We went to dinner and he
said, “I want to do an exhibition in a major museum in Paris. And it’s time.
Because your father is ground zero for all of the spray-can art that has come
since then. And before then, there was nothing but tags going on in New
York City at the time your father was alive. Like Taki, and there may be a
11. couple others, that were just doing tags. But once your father died,” he said,
he saw that “his bubble letters and his characters and all that inspired the
look of the first graffiti artists that ever did actual mural work with the can.”
He said, “In France, we consider your father ground zero for spray-can art.
Now it’s worldwide, and the idea that you have continued it — continued
your father’s comics and also the spray can art — that aspect is very
important to the French people, and we want to do a major exhibition in a
museum, in late 2011.”
And they’ll have a huge budget for installation, which I will design. You walk
into the environment of our strips and you walk through a column of Bode
Broads built into the wall, that kind of thing.
MUNSON: Wow, that’s great! I remember you were telling me about
that concept about having the Cheech Wizard Tunnel of Love? Maybe
you can talk them into that one.
BODE: That was the theme park. Yeah, maybe my goals are a little low. But
yeah, the theme park’s next.
I was aiming for “Oh maybe I can maybe get a gallery gig out of this,” you
know. But I did not expect the effort that I put into getting my father’s
original art up, and putting my art up, and making a presence out there,
would turn out with a major exhibition like this.
MUNSON: You also worked with a group of French spray-can artists
— Jace, Konu, Diksa Nefason and others — on a series of Bode
tribute murals, didn’t you?
BODE: During the weekend of October 1, we did a Bode tribute, which I’ve
done in many, many different places at this point, where graffiti artists show
up and they do their tribute to my father and the characters and this one
was the first French tribute to my father. About 15 artists showed up and we
covered about a 200-foot canvas that was laid outside of the main exhibition
hall. We did it outside, but it was blustery, raining on and off. We had an
overhang, so that made things a little bit better, but we did a huge
production. Anyway, I was planning on doing two or three different
characters, or two or three different sections of maybe 10×10 sections. The
weather was bad, so instead, I just did a French girl on a motorcycle, and
the motorcycle is all painted in the French flag with a little lizard riding on
her butt.
12. One of the Bode tribute murals, painted outside the Le Havre Maritime Museum.
Photo by Mark Bode.
MUNSON: Similar to the design you used for the jigsaw puzzle that
just came out?
BODE: Yeah, exactly. So I did that one, and it was just so uncomfortable
and wet, I wanted to just do the one piece and get to a dry place. Whereas if
it had been nice, I would have spent all day and all night and part of the
next day painting with everybody. Because there were some amazing pieces
that came out of it, and just some great talent that’s in France.