The sculpture of Mickey Mouse is part of Create 100, a global exhibition of artwork and experiences from the entertainment giant
Disney unveils one-of-a-kind sculpture to mark 100th anniversary
Wedding Photographer Deletes Pics After Not Getting Paid, Wonders If They’re A Jerk
Wedding photography can be quite tricky. There’s a lot riding on the photos coming out well, and that can heap a lot of stress on the photographer’s shoulders, even if they’re a professional. Once those pics are taken, what’s left is to edit and polish them, and to receive payment for all of that effort. You’d expect the happy couple to honor that agreement, r-right?
Unfortunately, not everyone keeps their promises. And redditor u/MostFitBobo can attest to that. The ‘semi-pro’ photographer turned to the AITA online community for their verdicts and wisdom after revealing how they deleted their cousin’s wedding photos after she didn’t pay for them. Check out the full story and the internet’s reactions as you scroll down.
Wedding photography is a tough line of work to be in, and it’s vital that the clients pay on time
Image credits: Orhan Pergel (not the actual photo)
One photographer shared how unwilling their cousin was to fork over the cash for her own wedding pictures
Image credits: Tranmautritam (not the actual photo)
Image credits: Anete Lusina (not the actual photo)
Image credits: MostFitBobo
Image credits: Elisa Ventur (not the actual photo)
The situation escalated after the bride found out what the photographer did
The wedding photographer, redditor u/MostFitBobo, explained that they had a clear agreement with their cousin. Namely, that she’d pay them after the wedding, before getting the pictures. Soon enough, the situation soured. The bride decided that she wanted to set up a payment plan but get the pictures ASAP.
Naturally, the photographer refused, wanting to stick to the original agreement. However, they were met with a wall of silence after they got to see a few samples of the pics. Eventually, the OP got fed up and decided that the entire situation wasn’t worth the hassle.
They’d saved the photos on their roommate’s flash drive and let him delete them when they needed the space. The photographer then sent the 20-or-so pics they had saved on their phone to their cousin, without charge, and explained the situation. This, however, may have been the wrong thing to do as the bride blew up and escalated the conflict.
“That was last month and I’m still getting flamed for this. She’s been slandering me online and it’s quite literally created a division between our families and to the point that our mums don’t talk now,” u/MostFitBobo wrote on the AITA subreddit.
Image credits: Ketut Subiyanto (not the actual photo)
It’s vital that photographers have proper contracts that iron out the details
Many redditors thought that the photographer was completely within their rights to delete the pictures. They had an agreement with their cousin, but she didn’t stick to it, so, she had no claim to the photos whatsoever. A few internet users, however, were confused as to why the OP didn’t keep more backups of the photos, just in case. Others thought that nobody was blameless in this situation.
You’d think that when it comes to family, one’s relatives would be more likely to keep their promises. Unfortunately, that’s not always the case, as we just saw. The sad reality is that some people see their family members and their talents as something that can be exploited for free or at least far cheaper than hiring another professional. And while some people are happy to help (it’s family we’re talking about!), others understand that boundaries, professionalism, and contracts are necessary for healthy relationships. Especially when there’s money involved.
Ideally, all wedding photographers should sign contracts with the happy couple, detailing the entire flow of their work: what’s expected of them, what the timeframes for sending the photos are, what the payment will be, and when the money should be sent through. What really helps build a sense of trust is if there’s a focus on transparency, as well as a partial upfront payment for the photographer’s services.
‘Shoot Dot Edit’ urges photographers to communicate with their clients as professionally as possible if there are any delays in the payment. It’s important not to jump to conclusions too quickly, and politeness can be a very powerful tool in your arsenal. You could, for instance, cordially explain how late payments affect you as a professional and offer some alternatives, like paying slightly later or in installments. Enforce boundaries when needed but show some flexibility if you feel that it’s warranted.
Image credits: Unseen Studio (not the actual photo)
Photographers shouldn’t feel pressured to help out their family members for free
As we’ve mentioned before on Bored Panda, verbal contracts can also be binding, depending on where you live. So even if you don’t have a written contract, so long as both parties are open and transparent about the photo shoots at the wedding, and upfront about any doubts they might have, everything should go swimmingly.
Every photographer needs to decide for themselves whether they’re fine with doing favors for their family and friends (and whether they’ll do it for free). Essentially, you have to be very honest with yourself about what your goals and values are, and what decisions you’re likely to regret. If your gut tells you that you’d regret not helping out your relatives, then offer them your services.
Similarly, if your internal alarm bells are ringing because you have a sneaking suspicion someone you care about is using you, draw some gentle boundaries and back out of the deal. Just because you refuse to do your family a favor doesn’t mean that you don’t care about them.
In the meantime, when you’re out in the field as a photographer, it’s paramount that you take care of your health, too. You can’t ignore your needs. Remember to stay hydrated, bring a few snacks with you, and remember to wear a pair of comfortable shoes. You’ll be on your feet for the most of the day, so you need need to stay sharp!
Image credits: Thiago (not the actual photo)
The photographer revealed some more information about what happened
Some readers thought that the author was clearly in the right
Others, however, thought that everyone messed up, big time
Some internet users believed that the photographer was far from blameless
‘A Work of Art’ benefit to fund music scholarships
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Elsewhere in entertainment, events and the arts:
MUSIC
‘Work of Art‘
Grammy Award-winning smooth jazz guitarist Norman Brown headlines the final night of Art Porter Music Education’s 13th “A Work of Art,” this week at venues throughout Little Rock.
Brown performs for the Scholarship Program with the APME All-Stars, 8 p.m. Saturday in the William Grant Still Ballroom in Robinson Center, 426 W. Markham St. at Broadway, Little Rock. Joi Porter, a graduating senior from Maumelle High School, will receive a $3,000 renewable scholarship from APME at the concert. Tickets are $65.
The rest of the week’s lineup:
◼️ Monday – Kickoff, Little Rock City Hall, noon
◼️ Tuesday – Jazz on the Plaza featuring Minors in Music students and jazz violinist Lexington Porter, nephew of the late Art Porter Jr., River Market Plaza, noon (near the Farmers Market). Free
◼️ Wednesday – Arkansas native Ronnie McBride & Friends, Ron Robinson Theater, 100 River Market Ave., 7 p.m. $45
◼️ Thursday – Violinist and singer Chelsey Green, Arkansas Repertory Theatre, 601 Main St., 7 p.m. $45
◼️ Friday – Porter Players Jam Session, AC Hotel by Marriott, 201 W. Capitol Ave., 7 p.m. Free.
Call (501) 492-9120 or visit artporter.org.
Chamber music
Faculty participating in the the Chamber Music Society of Little Rock’s summer Faulkner Chamber Music Festival open a series of three concerts at 5:30 p.m. Tuesday at the Center for Humanities and Arts Theater at the University of Arkansas-Pulaski Technical College, 3000 W. Scenic Drive, North Little Rock. The program includes “Entr’acte” by Caroline Shaw and the String Octet in C major, op.7, by Georges Enescu. Admission is free. Visit chambermusicLR.com/tickets.
The musicians will repeat the program at 8 p.m. Wednesday at White Water Tavern, 2500 W. Seventh St. at Thayer Street, Little Rock. Tickets are $15. Visit whitewatertavern.com.
A concert at 7 p.m. Friday at the CHARTS Theater will feature “Ainsi la nuit” (“Thus the Night”) by Henri Dutilleux, “Eclogue for Piano and Strings” by Gerald Finzi and the Piano Quintet in f minor by Cesar Franck. Admission is free.
Carnival concerts
Trout Fishing in America will help Mount Sequoyah, 150 N. Skyline Drive, Fayetteville, celebrate its 100th year of programming with a pair of concerts, 2 and 7 p.m. Saturday – a kid-friendly afternoon show in Clapp Auditorium and a more adult-oriented evening show at Vesper Point near the Cross Overlook.
The concerts are in conjunction with a 100th anniversary carnival, 10 a.m.-5 p.m. that will feature games, activities, face painting, food-truck fare and snow cones.
Concert tickets are $25, $15 for children and include access to the carnival. Carnival-only tickets are $5. A family package to the carnival and the 2 p.m. concert is $70. Visit tinyurl.com/5n7kver4 or fb.me/e/2HQS2i9zS.
Walton Arts series
Grammy-winning saxophonist Tim Armacost leads the Tim Armacost Quintet (with Joe Locke, vibraphone; Jim Ridl, piano; Kenny Davis, bass; and Rudy Royston, percussion) to kick off the 2023-24 Starrlight Jazz Club season, 7:30 p.m. Sept. 30 in the Starr Theater at Fayetteville’s Walton Arts Center, 495 W. Dickson St.
The rest of the lineup (all performances, 7:30 p.m. in Starr Theater):
◼️ Oct. 13: Jeff Lorber Fusion Trio
◼️ Dec. 2: Singer Tierney Sutton, with pianist Mitch Foreman and guitarist Serge Merlaud
◼️ Jan. 13: Loston Harris Trio
◼️ Feb. 2: Brian Blade & The Fellowship Band
◼️ April 27: Aubrey Logan Band.
Season subscriptions are $196-$328.
Acoustic and electric guitarist Monte Montgomery will open the arts center’s West Street Live series at 7:30 p.m. Sept. 22, also in the Starr Theater.
The rest of that lineup (all performances at 7:30 p.m. in the Starr Theater):
◼️ Oct. 19: Danielle Nicole Band
◼️ Nov. 30: John Fullbright Band
◼️ Feb. 1: Damn Tall Buildings
◼️ March 2: Lee Rocker
◼️ April 5: Jackie Venson.
Subscriptions are $191 for tiered seating, $1,292 for a four-person cabaret table.
Call (479) 443-5600 or visit waltonartscenter.org.
Delta Symphony season
The Delta Symphony Orchestra will kick off its 50th concert season with its annual fundraising gala, 6 p.m. Aug. 19 at the Gardens at Harmony, 4517 E. Parker Road, Jonesboro. The theme is “Stars of the World Stage”; it will feature a jazz ensemble, soprano (and Jonesboro native) Genevieve Fulks, live and silent auctions and catering by Bistro on the Ridge. Master of ceremonies will be Mitch Mahan. Tickets are $125. Call (870) 761-8254 or visit deltasymphonyorchestra.org/tickets.
The rest of the orchestra’s 2023-24 concert season (except as noted, all concerts at 7:30 p.m. in Riceland Hall, Arkansas State University’s Fowler Center, 201 Olympic Drive, Jonesboro):
◼️ Oct. 14: Classical concert with cellist Jeremy Crosmer
◼️ Dec. 10: Holiday concert with singers Perry Harper, Maddie Bowden Smith and Nancy Owens, 2 p.m.
◼️ Feb. 4: Young Artist Concert, featuring the grand prize winners of the orchestra’s national competition and a multi-school junior high chorus, 2 p.m.
◼️ April 6: “Out of This World” concert, marking the pending total solar eclipse, including Gustav Holst’s “The Planets”
◼️ May 4: “May the 4th Be With You” concert, featuring John Williams’ music for the “Star Wars” films.
Season tickets are $100-$140.
ART
‘Surface Impressions’
“Surface Impressions,” prints by Melissa Gill, Acadia Kandora, Jay Fox, David Warren, Dominique Simmons, Kristin DeGeorge, Perrion Hurd, Jonathan Wright, Win Bruhl, Miranda “Randi” Young, Matthew Castellano, Warren Criswell, Ivan Thorpe and Aj Smith, will be on display Monday-Aug. 27 in the Brad Cushman Gallery in the Windgate Center of Art and Design at the University of Arkansas at Little Rock, 2801 S. University Ave., Little Rock. Admission is free. Gallery hours are 9 a.m.-5 p.m. Monday-Friday, 10 a.m.-1 p.m. Saturday, 2-5 p.m. Sunday. Call (501) 916-5104 or email nglarson@ualr.edu.
‘Artist’s Journey’
“M. Speer: An Artist’s Journey,” a retrospective exhibition of six decades of works by Fort Smith native Margaret Speer Carter, goes on display with a 5-7 p.m. reception Friday at the Fort Smith Regional Art Museum, 1601 Rogers Ave., Fort Smith. The exhibition will be up in the museum’s main gallery until Nov. 5. Summer hours are 11 a.m.-6 p.m. Monday-Saturday, 1-5 p.m. Sunday. Admission is free. Call (479) 784-2787 or visit fsram.org.
ETC.
Dinosaur discussion
Paleontologist Steve Brusatte covers “The Rise and Fall of the Dinosaurs,” 6 p.m. Tuesday in the Great Hall at the Clinton Presidential Center, 1200 President Clinton Ave., Little Rock. Brusatte will examine where dinosaurs came from, how they rose to dominance, how most of them became extinct as the result of a collision with a giant asteroid and how some of them lived on as today’s birds. He will also discuss the way he and his students dig up dinosaurs and show how scientists use modern technologies to study fossils. He will sign copies of his book of the same title after the talk. Admission is free. Register to attend live or online at tinyurl.com/mr25mahe.
Jazz musicians Norman Brown, Ronnie McBride and Chelsey Green perform this week as part of Art Porter Music Educations 13th “A Work of Art.” (Special to the Democrat-Gazette)
Jazz musicians Norman Brown, Ronnie McBride and Chelsey Green perform this week as part of Art Porter Music Educations 13th “A Work of Art.” (Special to the Democrat-Gazette)
Jazz musicians Norman Brown, Ronnie McBride and Chelsey Green perform this week as part of Art Porter Music Educations 13th “A Work of Art.” (Special to the Democrat-Gazette)
“Greek Island with Blue Rocks,” “Mother and Son” and “Galactic Energies” by Margaret Speer Carter are part of a retrospective exhibition of the Fort Smith natives work that goes on display Friday at the Fort Smith Regional Art Museum. (Special to the Democrat-Gazette)
“Greek Island with Blue Rocks,” “Mother and Son” and “Galactic Energies” by Margaret Speer Carter are part of a retrospective exhibition of the Fort Smith natives work that goes on display Friday at the Fort Smith Regional Art Museum. (Special to the Democrat-Gazette)
“Greek Island with Blue Rocks,” “Mother and Son” and “Galactic Energies” by Margaret Speer Carter are part of a retrospective exhibition of the Fort Smith natives work that goes on display Friday at the Fort Smith Regional Art Museum. (Special to the Democrat-Gazette)
Paleontologist Steve Brusatte covers “The Rise and Fall of the Dinosaurs,” also the title of his recent book, Tuesday in the Great Hall at Little Rock’s Clinton Presidential Center. (Special to the Democrat-Gazette)
Here’s every work of art from 2023 Revere Beach sand sculpting festival
Fifteen talented sand sculptors from across the world competed for $28,000 in prize money.
Arts center to host juried photography show
Descendants of Toquerville pioneer pay homage to Levi Savage with sculpture
TOQUERVILLE — When pioneers first started settling an area near Ash Creek in Southern Utah, they were befriended by Native Americans who called themselves Toqurat, or Toquit, ancestors of today’s Southern Utah Paiute tribe. Their leader, Chief Toquer, would give name to the town that is now known as Toquerville, founded in 1858. Descendants of one […]
East Meadow native Amanda Fisk is Glen Cove library’s new artist in residence
Art exhibition at Fort Calgary attempts to capture area’s ‘fuller story’
The event expands on various themes, including Indigenous perspectives and species native to the area
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Paintings by more than 150 artists adorn the walls of Fort Calgary in an exhibition meant to preserve the relic’s relevance.
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The exhibition, the result of a collaboration between Fort Calgary and local group Artspot, expands on various themes, including Indigenous perspectives and species native to the area.
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The event, held on Saturday, is the brainchild of the site’s president Jennifer Thompson, who joined the organization in February after more than a decade-long stint at the City of Calgary, where she oversaw initiatives around arts and culture.
The idea of using art to broaden Fort Calgary’s representation was recently sparked as Thompson revisited spaces on the historic site and realized its imagery “narrowly” revolved around colonialism, leaving behind other stories.
“People in school have learned for years and years and years (about) colonial history,” said Thompson, a dancer who hails from a family of artists. “And nowadays, in my experience, I think our community is ready for the full picture.”
Fort Calgary, a base for the North-West Mounted Police, was built in 1875 to quell the flow of the illicit whiskey trade along the Bow River.
The outpost was also instrumental in preparing the area for colonial settlement and forging relationships with the Blackfoot community, culminating in the signing of Treaty 7 in 1877, which stipulated the surrender of surrounding Indigenous territories to the newly formed Canadian government.
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According to Fort Calgary’s official website, Indigenous signatories were against surrendering their land and instead sought to share it with Canada. But once signed, the NWMP began surveilling Indigenous people and displaced them from where they had lived for generations.
The site underwent several transformations over the years, its ownership shuffled between various organizations, including the Grand Trunk Pacific Railway. But NWMP’s stamp on the area persisted, which led the City of Calgary to repurpose the space and turn it into a historic site in the 1970s.
Thompson cautioned that including different narratives doesn’t mean neglecting the history of NWMP, which helped “evolve our city into a certain way.” But such occasions present an opportunity also to highlight the legacy of the Blackfoot community, whose members have gathered in the area for thousands of years.
Running with her idea, Thompson contacted Emma Justine, founder of Artspot, a local arts group created in Justine’s house in 2008 which has grown to host workshops featuring over 150 artists.
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“It’s a female-led organization, which I also think is really great and important,” said Thompson. Justine added that the group was also chosen for the speed at which it was able to gather artists and have them produce paintings.
Soon, the group began accepting applications from interested candidates and selected 150 artists, from youth to established painters.
That includes Abbey Dickinson, who started oil painting over two decades ago but has honed her craft over the past several years.
She has prepared a self-portrait of her biking along the path that runs along Fort Calgary. In the painting, she inserts several species, including Alberta Hare and magpie that are seen today and bisons which once roamed the area, as a tribute to the intermingling of the forces of time.
She said the exhibition’s timing was fortuitous since she had decided to paint bicycle portraits. However, the opportunity was special, as it was a “great way to communicate different perspectives and emotions and ideas and really make an impact.”
Justine added that she also hired an Indigenous adviser who guided non-Indigenous artists in producing art that included Indigenous perspectives.
These efforts align with Thompson’s goal of telling a fuller story of the site.
“I don’t think it’s met its full potential yet, and I think I want to see the full story told from an indigenous perspective,” she said.
“I want to help bring that to the forefront.”
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‘It’s really fun to show my art and sell it too’: Kids take part in first kids’ artist market
EAU CLAIRE (WQOW)- For the first time, area kids had the chance to show off their artwork and make a few bucks at the Eau Claire Artist Market Kids’ Edition in Phoenix Park on Saturday.
Kids in kindergarten through ninth grade could sign up to sell all kinds of their handmade crafts and art.
“It’s cool to see how many different things people can create and to see the age ranges, and all the talent that’s just surrounding us,” said artist Izzy Williams.
“It’s really fun because art is my favorite subject and I love doing it and it’s really fun to show my art and sell it too,” said Everly Yang.
“It was really fun making it, and now that I get to sell it it’s even more fun,” said Mara Klaus.
“It’s very like cultural,” said vendor Tucker Soley. “There are a lot of different people here to meet.”
“I like that everybody’s so supportive and fun,” said artist Griffin Burcham. “A girl just came over from her booth and bought one of mine so I went over to her booth and bought one of her things, so I like how everybody’s so supportive.”
The market also gives kids a taste of running a business.
“I feel like it’s really cool because it’s an opportunity to experience business and the business world if you want to sell something when you’re older,” said Emelia Benedict.
“When I’m older I would love to do a market like one of these ones,” Burcham said.
The market was free for vendors to sign up. About 30 kids from 13 different area schools participated.
There is a second kids’ artist market at Phoenix Park on August 26. The markets are putting on through Tangled Up in Hue. You can click here for information about how to register for the next market, or about sponsoring a vendor.
In a first, the U.S. picks an Indigenous artist for a solo show at the Venice Biennale
Artist Jeffrey Gibson will represent the U.S. at the Venice Biennale in 2024, the first Indigenous artist to have a solo exhibition in the U.S Pavilion at the international art event.
Brian Barlow
Brian Barlow
The U.S. State Department has selected an Indigenous artist to represent the country at the 2024 Venice Biennale.
Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians, will be the first such artist to have a solo exhibition in the U.S. Pavilion at the prestigious international arts event.
That’s according to a statement this week from the U.S. Department of State’s Bureau of Educational and Cultural Affairs, the government body responsible for co-curating the U.S. Pavilion, alongside Oregon’s Portland Art Museum and SITE Santa Fe in New Mexico.
The State Department’s records of the U.S. Pavilion exhibitions date back to when it was built, in 1930.
Although Indigenous artists have shown work more broadly in Venice over the years, the last time Indigenous artists appeared in the U.S. Pavilion at the Biennale was in 1932 — and that was in a group setting, as part of a mostly Eurocentric exhibition devoted to depictions of the American West.
The Body Electric, a work by Jeffrey Gibson from 2022.
Shayla Blatchford
Shayla Blatchford
“In 1932, one of the rooms was devoted to Native American art, but it was done in what I would say was a very ethnographic type of presentation,” said Kathleen Ash-Milby, curator of Native American Art at the Portland Art Museum, and one of the co-commissioners of Jeffrey Gibson’s work in the U.S. Pavilion at the Venice Biennale. “It grouped native people together and didn’t really focus on their individuality as much. There were Navajo rugs on the floor. There were displays of jewelry. Many of the artists were not named.”
Ash-Milby, who is also the first Native American curator to co-commission and co-curate an exhibition for the U.S. Pavilion at the Venice Biennale, told NPR her team selected Gibson because of the artist’s wide-ranging, inclusive and critical approach to art-making.
“His work is multifaceted. It incorporates all sorts of different types of media,” the curator, a member of the Navajo Nation, said. “But to me, what’s most important is his ability to connect with both his culture and different communities, and bring people together. At the same time, he has a very critical lens through which he looks at our history as Americans and as world citizens. Pulling all those things together in the practice of an American artist is really important for someone who’s going to represent us on a world stage.”
The Sun Will Be Shining, a 2022 work by Jeffrey Gibson.
Max Yawney
Max Yawney
Born in Colorado and based in New York, Gibson, 51, focuses on making work that fuses together American, Native American and queer perspectives. In a 2019 interview with Here and Now, Gibson said the art world hasn’t traditionally valued Indigenous histories and artistic representations.
“There’s this gap historically about these histories existing on the same level and being valued culturally,” Gibson said. “My goal is to force them into the contemporary cannon of what’s considered important.”
A MacArthur “Genius” Grant winner, Gibson has had his work widely exhibited around the country. Major solo exhibitions include one at the Portland Art Museum last year and, in 2013, at Boston’s Institute of Contemporary Art. His work is in the collections of high-profile institutions like the Museum of Modern Art in New York, the San Francisco Museum of Modern Art and the National Gallery of Art. Gibson participated in the 2019 Whitney Biennial.
“Having an Indigenous artist represent the United States at the Venice Biennale is a long overdue and very powerful moment,” San Francisco Museum of Modern Art Director Christopher Bedford said in an email to NPR. “Centering the perspectives of contemporary indigenous artists is a critical component of fostering inclusivity and equity in museums, and in our world.”
The details of Gibson’s contribution for the 2024 Biennale are mostly under wraps. Curator Ash-Milby said the artist is working on a multimedia installation with the title “the space in which to place me” — a reference to a poem by the Lakota poet Layli Long Soldier.
According to the organizers of the U.S. Pavilion, the upcoming Biennale will enable international audiences to have the first major opportunity to experience Gibson’s work outside of the U.S. It will be on view April 20 through Nov. 24, 2024.
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