A Texan’s Summer Art Pilgrimage — 7 Must-See Destinations Just a Day’s Drive Away

By in Native

A Texan’s Summer Art Pilgrimage — 7 Must-See Destinations Just a Day’s Drive Away

If wanderlust has struck, might we suggest one of the most American of adventures: a summer road trip. We’ve mapped out seven must-see off-the-grid art destinations, cities, or hamlets within a day’s drive of Austin, Dallas, and Houston. So, gas up, enlist a friend or two, and hit your ignition button. We suggest you do as Frost did and take the road less traveled.

Bear’s Heart’s Warrior Society, 1875-1878, at The Old Jail Art Center, Albany, Texas (courtesy of The Arthur and Shifra Silberman Collection, National Cowboy & Western Heritage Museum)

ALBANY, TEXAS

From Dallas: 2 hours, 30 minutes

From Austin: 3 hours, 30 minutes

From Houston: 5 hours, 30 minutes

The Old Jail Art Center

Albany is likely the smallest city on our list, but it’s nonetheless home to an arts organization with an impressive roster of past exhibitions. It was indeed the first permanent jail built in Shackelford County, which opened in 1878 and was abandoned in 1929 for a new jail around the corner. The Old Jail Art Center, an art-world insider destination, debuted as a shrine for culture in 1980. On view is “Cheyenne Ledger Drawings: Stories of Warrior Artists” (through August 26), with works by Cheyenne artists who were part of the forced assimilation project (which included 72 prisoners of war — Cheyenne, Kiowa, Comanche, Caddo, and Arapaho warriors) following the Red River War in 1875. It’s a poignant narrative from a dark chapter
of American history that must be brought forward.

The 52 deeply personal works depicting these Native Americans’ lives before and after captivity were drawn with colored pencils on Army ledger paper.

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Haroon Mirza’s stone circle, 2018, at Ballroom Marfa (photo by Rowdy Lee Dugan)

MARFA, TEXAS

From Dallas: 7 hours, 30 minutes

From Austin: 6 hours, 30 minutes

From Houston: 8 hours, 30 minutes

The Chinati Foundation, Judd Foundation, Ballroom Marfa

Donald Judd (1928 – 1994)  remains one of the most significant artists of the 20th century. The remote Trans-Pecos outpost of Marfa sprawls across a decommissioned 1919-1920 army base, which Judd transformed into the world’s most improbable, yet ultimate art town. As such, Marfa and its two Judd-focused foundations continue to lure collectors, curators, writers, and cultural cognoscenti.

At The Chinati Foundation, founded 1987, Judd’s own rigorous works join commissions by other artists dedicated to mirroring his staunch minimalist aesthetic, with installations by Carl Andre, Dan Flavin, Roni Horn, Ilya Kabakov, Richard Long, Robert Irwin, and Claes Oldenburg and Coosje van Bruggen deployed in buildings and grounds of the former Fort D.A. Russell.

The Judd Foundation, founded in 1994, preserves his former architecture and art studios, which occupy downtown buildings, a princely surfeit of space in an exquisitely beautiful and isolated pilgrimage site. Judd’s residence, La Mansana de Chinati/The Block, is an adobe wall-enclosed city block consisting of living space, a quartermaster’s office, hangars displaying work, his 13,000-volume library, and an expansive courtyard.chinati.org, juddfoundation.org.

Another reason to voyage to West Texas is Ballroom Marfa, the nonprofit that commissioned Elmgreen + Dragset’s 2005 Prada Marfa. Visit Ballroom Marfa’s mystical installment of a more recent public art piece, 2018’s stone circle by Haroon Mirza.

Retail therapy. Our top spot in Marfa and environs for acquisitions and discoveries is Garza Marfa. Husband-and-wife design team Jamey Garza and Constance Holt-Garza relocated to Marfa from the California coast and crossbred the effortlessness of the West Coast with the materials and simplicity of the Trans-Pecos desert. Whether fresh takes on Bauhaus furnishings, carefully sourced textiles and ceramics, or Khadi desert blankets hand-dyed and woven to Garza Marfa designs, the shop is a one-stop outfitter for a stylish and considered life in far West Texas.

Photo courtesy of Price Tower Arts Center
The Inn at Price Tower, Bartlesville, Oklahoma (photo by Martha Ambler, courtesy of Price Tower)

BARTLESVILLE, OKLAHOMA

From Dallas: 5 hours

From Austin: 7 hours, 30 minutes

From Houston: 8 hours

Price Tower

An hour north of Tulsa and looming tall in the middle of an Oklahoma prairie sits the 221-foot Price Tower, designed by Frank Lloyd Wright in 1956. Wright nicknamed the building “The Tree that Escaped the Crowded Forest” since it was not built in Manhattan as originally planned but instead in Bartlesville, Oklahoma’s first oil boomtown. Price Tower is the architectural visionary’s only fully realized skyscraper with interiors he designed, including furniture, fabrics, fixtures, and murals. Go for the architectural masterpiece but don’t miss the art gallery and inn (the restaurant is temporarily closed for remodeling), making this reinforced concrete-and-copper building a must for acolytes of architecture. Book ahead for a special tour of the handsomely restored top three floors, including the 19th-floor suite of H.C. Price, the pipeline czar who commissioned Wright to build the tower. (Wright also designed H.C.’s son Harold Jr.’s home, Hillside.)

On view at the Price Tower Gallery is “The Rogue Lens” by local newspaper photog Andy Dossett, featuring evocative photographs capturing the “flow” in the creative process among eight artists of different disciplines including a baker, glassblower, and florist (through August 6).

Woolaroc

Don’t forget Woolaroc. Bartlesville’s history is intrinsically linked with Frank Phillips, legendary oilman and founder of Phillips Petroleum. Take in his 1925-era ranch retreat, Woolaroc, in the Osage Hills outside of town, now a museum and 3,700-acre wildlife preserve. (The estate’s name is taken from the woods, lakes, and rocks that comprise the natural beauty of this part of Oklahoma.) The museum features a trove of the greatest hits of historic Western art including Remington, Russell, and Moran, as well as contemporary talents, eccentricities and artifacts, Native American artworks, antique Colt firearms, and more. This collection reflects its founder’s unique vision, including his friendship with the Osage tribe.

163 Stephen Ironside
Crystal Bridges Museum of Art (photo by Stephen Ironside)

BENTONVILLE, ARKANSAS

From Dallas: 5 hours, 30 minutes

From Austin: 8 hours, 30 minutes

From Houston: 9 hours

Crystal Bridges Museum of American Art

Since its opening in November 2011, the museum that Walmart scion Alice Walton built has welcomed more than five million visitors. Designed by architect Moshe Safdie, its expansive grounds are capped by a 120-acre sculpture garden (pack sneakers for a hike), a glorious testament to what a sizable Walmart inheritance can achieve. Safdie, known for his mod Habitat 67 in Montreal, has created an architectural tour de force, comparable to Frank Gehry’s Guggenheim Bilbao, albeit a building forged from wood that pays homage to its stunning natural setting. Crystal Bridges’ architecture alone calls for a trip; then there’s the museum’s permanent collection — a veritable history lesson spanning centuries of American art. The temporary exhibitions are lagniappe, as is a visit to the museum’s sister annex, The Momentary.

The Momentary

Crystal Bridges’ sister property is an industrial and edgy space in a former cheesemaking plant that is all about the now. At CB, don’t miss the new permanent Infinity Mirrored Room by Yayoi Kusama; blockbuster “Diego Rivera’s America” (through July 31); and, in time for the Fourth, “Flagged for Discussion” (through September 25). At The Momentary, check out the confectionary canvases of Chicago artist Yvette Mayorga (through October 15), and Firelei Báez’s immersive and vast sculptural time-travel installation (through September 24).

The Walmart Museum Heritage Lab

See how it all began. For fans of Americana, visit The Walmart Museum Heritage Lab to delve into the history of the behemoth that arose from modest dime-store beginnings to forever alter retail around the world. Rest and recharge after your art trek at the 21c Museum Hotel Bentonville.

LITTLE ROCK, ARKANSAS

From Dallas: 4 hours, 30 minutes

From Austin: 7 hours, 30 minutes

From Houston: 7 hours

Arkansas Museum of Fine Arts

One of America’s newest museum expansions, the Arkansas Museum of Fine Arts’ eagerly watched addition ups the art game for the state’s capital. The architect — Chicago-based Studio Gang, directed by principal Jeanne Gang — is everywhere in the news this year for the extraordinary Richard Gilder Center for Science, Education, and Innovation at Manhattan’s century-old American Museum of Natural History. While Studio Gang’s new museum in Arkansas lacks the earth-centric drama of the Gilder, it makes up for it in a sculptural, light-filled structure that appears to levitate.

Like the Gilder, an innovative use of concrete comes into play. The roofline appears to billow, while the expansive glass façade, supported by V-shaped concrete pillars, introduces geometric notes that harken back to temples of modernism. For art seekers, the inaugural exhibition, “Together,” meditates on family, community, and connections to nature, with works from Little Rock artists as well as those with a global imprint, such as Anila Quayyum Agha and Jim Hodges, as well as Felix Gonzalez-Torres’ stack of paper prints (which visitors may take), photog Julie Blackmon, and the Pop Art Nun, aka Corita Kent (through September 10).

William J. Clinton Presidential Library

Consider our 42nd President. With its dramatic view of the Arkansas River, the William J. Clinton Presidential Library & Museum boasts an insider view of American history culling documents, ephemera, and recreations of the Oval Office and Cabinet Room. Wrap your visit with lunch, weekend brunch, or dinner at the on-site farm-to-market 42 Bar and Table, with al fresco seating looking out upon the Clinton Presidential Park Bridge.

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Eduardo Sarabia’s Green Vines, 2022, at Oklahoma Contemporary (photo by Alex Marks)

OKLAHOMA CITY

From Dallas: 3 hours, 30 minutes

From Austin: 5 hours, 30 minutes

From Houston: 6 hours, 30 minutes

OKCMOA

Begin in OKC with the Arts District’s prime institution, the Oklahoma City Museum of Art. OKCMOA’s dazzling Donald W. Reynolds Visual Arts Center, unveiled in 2002, boasts a collection encompassing American, European, post-war and contemporary, photography, prints and drawings, decorative arts, and design. Up now is a traveling blockbuster organized by LACMA, “True Nature: Rodin and the Age of Impressionism,” culling 100 sculptures, paintings, prints, and photographs (through October 22). After basking in Rodin, check out the museum’s design exhibition, “Chihuly Then and Now: The Collection at Twenty,” spanning the glass maestro’s five decades of innovation (through June 2024).

Oklahoma Contemporary

An art crawl through Oklahoma wouldn’t be complete without a stop at Oklahoma Contemporary, situated on a 4.6-acre campus in the heart of Oklahoma City. The stunning building, designed by architect Rand Elliott, is devoted to the celebration of living artists. “Patterns of Knowing,” currently on view, explores how patterns from Indigenous cultures are embraced and reinterpreted, with works by three Native American artists, Benjamin Harjo Jr., Jeri Redcorn, and Jordan Ann Craig (through October 23).

Catch a dynamic mural informed by Mesoamerican iconography, “Eduardo Sarabia: Green Vines,” with L.A./Guadalajara/Berlin-based Sarabia in collaboration with OKC street talent TANK (through August 2024).

Frida Southwest

For sustenance. OKC insiders head to the chef-driven and hip Frida Southwest, with toque Quinn Carroll in the kitchen. End your journey by checking into the 21c Museum Hotel Oklahoma City.

Woody Guthrie Center, Tulsa, Oklahoma
Woody Guthrie Center, Tulsa, Oklahoma

TULSA, OKLAHOMA

From Dallas: 4 hours

From Austin: 7 hours

From Houston: 7 hours, 30 minutes

The Bob Dylan Center and Woody Guthrie Center

Once a bustling oil boomtown set against the backdrop of the rolling Osage Hills, Tulsa is amidst a cultural efflorescence, one that attracts national and international devotees of two of the 20th century’s iconic balladeers. That would be Woody Guthrie and Bob Dylan, thanks to each singer’s eponymous museum. (Curiously, the first song Dylan ever wrote was “A Song for Woody Guthrie.”)

A cultural gem designed by Olson Kundig and located on Tulsa’s Guthrie Green, the Bob Dylan Center offers a treasure trove of its namesake’s extensive archives and music. This enigmatic Midwestern poet with a guitar won the 2016 Nobel Prize in Literature. Down the street sits the Woody Guthrie Center, home to comprehensive archives of Oklahoma’s legendary Dust Bowl storyteller. This collection is comprised of more than 100 notebooks of correspondence from this American activist, who spoke up for those who have no voice. Also at the Guthrie, catch the groovy exhibit “Love Saves the Day: The Subterranean History of American Disco” (through October 8).

Greenwood Rising

Paying tribute to victims and survivors of the 1921 Tulsa Race Massacre, Greenwood Rising was recently unveiled to explore Black history and the resilience of Tulsa’s Greenwood community. The massacre was one of the most horrific incidents of racial violence in American history, leaving a haunting, brutal mark on the town.

On Memorial Day weekend in 1921, a white mob destroyed one of the wealthiest Black communities in the U.S., known as Black Wall Street, in a racist rampage that killed hundreds of people. The massacre was shrouded in silence for decades. This museum now stands as a testament to hope and racial reconciliation, as well as a reminder of the vibrant, wealthy community that existed before the race massacre.

Philbrook Museum of Art

Then there’s the fabulous Philbrook Museum of Art. Tucked amid 25 acres of verdant gardens rests Philbrook’s Italian Renaissance villa, once the storied home of Waite and Genevieve Phillips, converted in 1939 into a world-class museum. This 72-room mansion features more than 16,000 objects with a focus on American, Native American, and European art. This summer, Philbrook opens “Wyeth: Textured Visions of Nature,” tracing the influence of the rural Northeast, its flora and fauna, on three Wyeth generations: N. C. Wyeth (1882–1945), son Andrew (1917–2009), and grandson Jamie (born 1946) (through June 9, 2024).

Also recommended… In a town renowned for its Deco edifices is Decopolis, Tulsa’s Art Deco museum, and Flagship, the Boston Avenue downtown exhibition space for the acclaimed Tulsa Artist Fellowship program.

Photographer Builds Intricate Miniature Sets to Create Striking Cinematic Scenes

By in Photography

Photographer Builds Intricate Miniature Sets to Create Striking Cinematic Scenes

Sepia toned imagery of showing the inside of a clock tower and a man stand-in int light

Photographer Seb Agnew crafts intricate miniature sets and features allegorical characters and scenes within them to skillfully spin visual narratives.

Drawing from different periods in history and highlighting humanity’s repetitive nature and mistakes, Agnew aims to prompt fevered narratives whilst spotlighting themes such as “interconnectedness” all intending to spark conversation and introspection in viewers.

“So, after finishing “‘Cubes I’”, I quickly found my inspiration for “‘Cubes II‘” in the many global crises we’re currently facing. ‘Historic recurrence’ – the repetition of similar events in history – has become the main idea of these nine images. Every image is based around another historic era, incorporating and reinterpreting events from the past. And again, all sceneries are connected to one another, by a crack running through the walls of the rooms, indicating how fragile our world has become – and that we need to take action to shape a sustainable future,” Agnew says, speaking to PetaPixel.

A parent holding A child in a misty ancient temple, with light peering through the window

Based in Hamburg, Germany, and with a background and affinity for cinema and computer-generated imagery, Agnew credits both disciplines for their influence and the wellspring for his current passion and photographic style.

“My images are very narrative and I love to create a cinematic and often dreamlike atmosphere, spending a lot of time creating my sets and carefully lighting them,” Agnew explains. “My background in computer graphics certainly helped me a lot with my current series “Cubes” in which I constructed all sets as miniature sets, using modern technology like 3D printing.”

Starting the series back in 2018 with Cubes I, Agnew choose to feature nine images as a means to help illustrate stories of ‘disconnectedness’,

a semi contemporary room with yellow and white ceiling and a woman wearing a white shirt looking upwards

“It became a series that raises questions about solitude and simultaneous interconnectedness (if you look closely, you can see that all nine rooms are somehow connected).”

Continuing the emerging revelation on practical connectivity and starting a new chapter now centered on “interconnectedness,” Agnew began the conceptualization process for Cubes II with general brainstorming and rigorous research into the era’s he wanted to replicate.

“…Once I have a vague idea of how the set might look, I first build the scene in a 3D program. Every room from “Cubes II” measures 6 x 6 x 5 meters (the actual miniature set is around 50 x 50 x 40 centimteres), which is rather small when you want to create the feeling of, for instance, a Gothic church, so testing my ideas as a 3D sketch is crucial. Then, I start building elements for the diorama,” Agnew says.

Diorama of a classical room with intricate designed and patterned floor

Diorama of a classical throne room with a red velvet throne and gold trimmed columns

With an attentive eye for the architecture, Agnew often crafts pieces by hand or by 3D prints (which he also models).

“After painting all parts (again, either by hand or using an airbrush), I light the scenery and position my camera. Building the set normally takes about 40 days, and shooting the set only takes an hour or two. Finally, I shoot my models in the studio and complete the image in post-production,” he says.

The results are an striking optical illusion that invites viewers to bask in the sheer atmospheric grandeur that each of Agnew’s images creates.

woman in red kneeled over glowing rupture in the ground, surrounded by columns

The skillful world-building that viewers experienced and observe in Agnew’s final product isn’t without its unique challenges as he explains,

“Working with miniature sets is bliss and sometimes a beautiful nightmare: You have all the creative possibilities in the world, but some of these ideas might lead to enormous challenges when building the diorama. ‘Gothic Cube’ as well as ‘Baroque Cube,’ for example, certainly created many challenges along the way because of the fine details in their architecture,” Agnew continues.

“I see myself as a photographer who makes use of creative tools and modern technology to make his visions come true (and not a miniature artist who photographs what he builds), so very often this means learning how to use these tools efficiently. My process can be frustrating sometimes, but once I see the final results and look back at the many weeks spent on such an image, it’s more than worth it. All in all, it’s just amazing what you can do nowadays as an artist once you learn to embrace technology.”

a woman sitting by a glass fountain in a large abandoned brass and blue tinted greenhouse

As for equipment, Agnew uses a Fujifilm GFX 100S with a 30mm lens, favoring how it interprets and captures sharpness and the details in his work. He also utilizes a variety of other trusted tools to help accomplish his vision.

“Apart from my camera, I use a lot of different tools for building my miniature sets, like 3D printers and laser cutters, but also classical tools like good old knives and glue. Since lighting is an important visual part of my sceneries, I have loads of strobes (for my “life-sized” sets) as well as LED lights (for my miniature sets). Finally, I make use of different software for creating my images, like 3D software for pre-visualizing my ideas and creating models for my 3D prints.”

Man dressed in white robes looking out stain glassed cathedral window

The research that Agnew conducted to create Cubes II in particular has greatly expanded his prior conceptions of classical architecture and human history, an experience that still kindles an intrigue and enlightenment,

“I researched a lot about each historic era, about the many wonderful and also horrible things mankind came up with. I’m still far from calling myself a historian now, but my work on Cubes II certainly helped me to get a bigger picture of human history and to discover similarities between current and past events.”

man wearing a white shirt sitting on throne in a large room

The artful storytelling that permeates throughout Cubes II can induce a rush of appreciation towards the aesthetically pleasing architecture, lighting, cinematic characters, and overall conceptualization displayed in each of his “rooms.” An intentional trademark of Agnew’s work and an ambition to encourage feeling.

“Even though I highly appreciate the aesthetics of a beautiful picture, I always look for the emotions an image creates and the story it tells. The same picture can tell a hundred different stories, and I think this makes photography so exciting,” Agnew shares.

White mannequins on multi colored boxes in

Even with the Agnew going into detail about the creation process and risking diminishing the impact, feedback to this latest iteration of Cubes II has proved to be positive.

“I did not want to demystify the work, and I certainly did not want to put the attention too much on the process – I still wanted the focus to be on the final images, their narratives, and the conceptual ideas behind them. But once I published first behind-the-scenes material, I realized that there is a certain kind of fascination for the process that does not necessarily compete in any way with the images themselves,” Agnew adds.

“My images are meant to be viewed as fine art prints, and it’s always a wonderful experience to share more about the process behind each image once a person gets interested in the image. Most people love to hear about the crafting process and appreciate how much work is spent on each image.”

Man with white button down shirt looking upwards, standing in light, below a square opening on the ceiling

For more from Seb Agnew, make sure to visit the photographer’s website and Instagram.

Image credits: Seb Agnew

Club News: Shoot for the Stars With the Sandhills Photography Club

By in Photography

Club News: Shoot for the Stars With the Sandhills Photography Club

The Sandhills Photography Club July meeting features a presentation on astrophotography.

Local photographer Larry Pizzi, a resident of Seven Lakes, will discuss how he became interested in astrophotography as well as the gear and the techniques he uses to produce his striking images of our universe. Pizzi will discuss three types of astrophotography: landscape astrophotography, solar system astrophotography and deep sky astrophotography. You can view some of Pizzi’s work online at shop.larrypizzi.com.

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The true story behind the conspiracy-ridden murals at DIA

By in Art World News

The true story behind the conspiracy-ridden murals at DIA

The iconic murals displayed at DIA created by Leo Tanguma have drawn attention from people around the world since the early 90’s. Unfortunately, much of the focus has been on the imagery of destruction rather than the storyline that ends with a vision of world peace. 

Along with other elements of DIA (recently rebranded to DEN), conspiracy theories about the murals have gone viral – rumors of Nazi or Illuminati ties, and warnings of the “new world order.” While these claims are unfounded, they have made a significant impact on the lives of the artists.

“I need to see what’s wrong in society, and then reflect it in my murals. At the same time, I wanted to reflect what’s beautiful in society and in my community,” Tanguma said.

Artists Leo Tanguma and Cristal Darlina share the heartfelt intentions behind their murals

28 years after unveiling the murals, Tanguma spoke to Rocky Mountain PBS at his granddaughter’s home surrounded by family photos and artwork. His daughter and collaborator Leticia Darlina Tanguma was nearby offering emotional support, welling with pride as her father reflected on his artistic legacy. 

“It was a spiritual awakening for me,” he added. “I’ve always been spiritual, I think. But those experiences moved me more to consider that what I had in my abilities was a God-given talent. And I think that was made important in those murals.”  

DIA conspiracies 

The murals at the airport, now temporarily in storage, depict the terrors of war and pollution. Amongst the chaos is a group of sleeping children. From their minds extends a grey mist that turns into a rainbow, leading to a portrayal of an ideal world, entitled “In Harmony with Peace and Nature.”

Despite the effort Tanguma, Darlina, and their supporters poured into the murals, the type of fame and recognition they received wasn’t what many artists pine for. Since their unveiling, conspiracy theories about the murals have run rampant.  

Darlina learned about some of the rumors in the early 2000’s. She recalls hearing, “‘People hate that mural. They say, you wanted 9/11 because of that figure of war. They say that in the Bible, all these dirty animals are unclean. They say, ‘Why are you painting people in coffins?’ And, you know, just on and on where it became a terrible conspiracy.” 

The delayed construction of the airport continued to feed rumors of secret underground networks, and with each new idea came a web of uncredible theories attempting to tie other works of art at the airport, like the mustang sculpture nicknamed “Blucifer,” to rumors of plotted terror.  

People have profited from books and documentaries about the theories, but Tanguma and Darlina say they have rarely been asked about the actual meaning behind the murals. 

And while many people find the conspiracies laughable (DIA has even turned some into a marketing opportunity), the consequences of these rumors are far from funny for the Tanguma family. 

The Impact of the conspiracy theories 

According to Darlina, the conspiracy theories started before the murals were even complete.

“We did have a few people come in at the time that were painting it. They said, ‘don’t paint this. There’s a new world order.’ We had no idea what they were talking about back then.” Darlina shared. 

As soon as the conspiracy theories began, Tanguma lost two valuable commissions, and according to Darlina, both of them were harassed. Some people even resorted to death threats.

“People have said things like, ‘You need to destroy the art. You need to destroy the artist who did this,’” she recalled.  

“I thought and I still think that these people are deranged,” said Tanguma.  “For example, one religious minister called the mural satanic. Others said that they saw demons.”  

Despite the airport allowing Darlina to have plaques installed explaining the murals, the conspiracies continued. 

Darlina said that while people have the right to interpret art as they would like, it’s important to acknowledge the cruelty behind how these theories unfolded. She said that to overlook the important messages of peace, justice and hope the murals were meant to portray causes harm to entire communities.  

“They’re [the conspiracies] destroying the artwork, too.” explained Darlina. “I’ve met other people that have been so depressed,” she continued, referring to people who feared the conspiracy theories were true.  

Faces of our community 

Family friend of the Tagumas, Cheryl Detwiler Mihaka, also helped create the murals. Taguma said that her talent combined with Darlina’s helped them portay a deep sense of compassion in their art. 

“Both my daughter and Cheryl had experienced physical violence in relationships, so that also humanized them more,” he shared.  “So, I had not only fantastically talented young women working with me, but also they brought me back to the spirituality of what we were trying to do.” 

Tanguma also explained why he wanted the mural to come from the perspective of a child. “I think that there is a certain innocence among the oppressed, among the people that are uneducated, that don’t have access, practically, to life.” 

Tanguma was also influenced by his work with youth who had been imprisoned, and others who were high schoolers that he painted alongside. 

“I think that my connection with painting with young people, there’s been that that I’ve seen the possibilities and I’ve seen the destruction,” he summarized. 
The focus of youth seemed to add to the draw of passers-by, who also impacted the direction of the murals. Between 1992 and 1995, Tanguma painted murals in a room in the Lakeside Mall. The combination of large panels and Mexican music drew in curious patrons.  

Word spread of the work in progress, and parents asked for their children to be depicted in “Children of the World Dream of Peace.” Amongst the parents were some who had lost their children and asked Tanguma to memorialize them in the mural.  

One mother asked for a depiction of her son who had recently passed from suicide, another whose daughter was killed while helping her friend escape an abusive situation.  Some had lost their children to gang violence. 

A clip from a Denver Post feature, mothers emotionally embracing after seeing their children memorialized in the murals.

Also featured in the mural was Tanguma’s young granddaughter, her cousins and classmates, and well-known children from around the world such as young activist Samantha Smith, (who passed in a plane crash), or brothers who marched for peace in Afghanistan. And while originally, he hadn’t planned to include political elements, Tanguma said the need to depict the injustices of war became apparent – an issue he was all too familiar with after having served in the military. 

Connecting Colorado to the rest of the world 

While painting the children, Tanguma asked for the families’ countries of origin, and depicted the children in the traditional clothing from each area. Over time, as many as 70 different countries were portrayed. 

“These are fantastic experiences that have to mold you, because you see the beauty of humanity daily, from many, many countries of the world,” he reminisced.
Tanguma painting traditional garb from various countries. 

Tanguma hoped that by including each of these countries, the artists could spread a message of peace to places beyond Colorado. 

“I saw that as an opportunity to take the ideas that I have learned in my own community, a community where they are aspiring for greater civil rights and cultural identity, that permitted me to share those ideas with the passers-by from almost any country in the world.” 

A resilient legacy 

Attempts to destroy the artwork of the Tanguma family are not new to them. Leo Tanguma has faced critiques of his work since he was a child in Texas. 
“When I was in the fifth grade in elementary school, I did some drawings on the blackboard about my classmates killing our town Sheriff,” he recalled. “So, I got severely punished for that. But the reason I did that is because the sheriff in our hometown was the killer. He had killed, up to that point, seven Mexican-Americans — including two of my mom’s cousins.” 

Tanguma continued to do artwork portraying both injustice and visions for resolution. He was commissioned for a mural while stationed in Germany, and once again in the 1960s when he was transferred to California. There, he did a mural honoring the Mexican American movement for civil rights.

Eventually, his artist studio in his hometown of Houston was destroyed in a case of suspected arson. Around this time, his wife, Darlina’s mother, passed away from cancer. The family decided to try to start anew in Denver, where Darlina began her career as an artist while Tanguma continued creating well-known murals in places like the Denver Art Museum. 

“Imagine a person that’s blacklisted in Houston. When I got to Denver, the Denver Art Museum asked me to do a mural inside the museum. What beautiful feelings that I had,” he shared. “But I still kept painting issues. I thought that besides the beautiful city and surroundings that I see, still there remained police brutality, education, women’s liberation, war.” 

Through it all, Tanguma and his daughter have remained strong in their messages of hope, connected to art, and perhaps most importantly, connected to each other.  

“My daughter has been the most important figure that I’ve ever painted with,” Tanguma shared. “Because not only is she talented, but she’s aware, aware of conditions, aware of our culture and our history.”

And as far as the conspiracies go, they haven’t stopped the Tangumas either.  “It made me more dedicated, I think, because after that I did a number of other murals with social and cultural meaning,” he said. 

Darlina continues to collaborate with community in her artwork both independently and through the Redline Contemporary Art Center’s ‘Reach’ program, and Tanguma is planning a mural with students from East High School. 

“I think rumors like the airport conspiracies and the mural conspiracies, they really seek to destroy the human connection, the human spirit.” Darlina said. “But I want to create artwork that will bring us together.”

Brookfield native takes stage in Lookingglass production

By in Native

Brookfield native takes stage in Lookingglass production

In the early 2000s, Doug Pawlik was just a teenager, hanging out with friends or honing his music and acting skills on stage at Riverside-Brookfield High School. 

Two decades later, the Brookfield native is an accomplished performer and artist, who has a major role in a world-premiere production with the renowned Lookingglass Theatre Company in Chicago. 

Through July 16, Pawlik stars as Martin in Lookingglass’ “Lucy and Charlie’s Honeymoon,” a musical exploring the story of first-generation Asian American newlyweds who embrace “the worst of the American dream” — both adventures and misadventures — while road tripping across the country.  

The play was written by Matthew C. Yee, who appeared on Broadway in “Almost Famous.”

Art by Matthew C. Yee

“The show has a lot of dark humor [and] observations about current society,” Pawlik said. “It has some deep subjects which it deals with, but you leave the show hopefully having experienced a lot of different emotions. And, it has really great music —all the songs are super memorable and effective.”

In his role as Martin, Pawlik says his character is — to put bluntly — not a nice guy.

“Martin’s a dangerous man with a shady past,” he said. “A lot of shows have to have a bad guy, and Martin is not a nice guy. Martin is kind of the overarching danger in the show — the kind of bad guy that he is an amalgam of the things that are feared in American society, including people who take advantage of people in certain ways.”

  • Cast of Lucy and Charlie’s Honeymoon | Photo by Liz Lauren
  • Doug Pawlik and Daniel Lee Smith in Lucy and Charlie’s Honeymoon. | Photo by Liz Lauren

A 2003 graduate of RBHS, Pawlik says his high school experience fostered his lifelong passion for music and theater. During his time at RBHS, Pawlik served as drum major of the marching band, performed as a lead actor in stage productions all four years, and was a founding member of the school’s chamber singers and men’s ensemble group. 

“Diane Marelli and Kevin McOlgan were the choir and band directors while I was at RB, and they are some of the main reasons why me and several of my classmates really took a strong favor towards being artists, making music and theater,” he said. “The program was very strong back then, and I definitely credit everything I did at RB as what really led me to loving the arts.”

After receiving his B.A. in music performance in 2009 from North Central College in Naperville, Pawlik immersed himself in the theater world, both locally and nationwide.

He’s worked extensively at Drury Lane Theatre in Oakbrook Terrace as a stage manager, backstage crew member and performer, acted at Paramount Theatre in Aurora and Broadway Playhouse at Water Tower Place in Chicago, and has performed nationally at The Pasadena Playhouse in California), Actors Theatre of Louisville and American Repertory Theater in Boston.

A commercial actor as well, Pawlik has appeared in TV commercials, and most recently, played a bank manager on an episode of NBC’s award-winning primetime drama, “Chicago Fire.”

“It is a constant effort that you’re looking for the next show, because shows in Chicago don’t run for years like they do on Broadway,” Pawlik said. “I’ll do a show for three months, and then I’m usually auditioning for something right after. It is the kind of job that you always have to keep yourself prepared and ready for auditions and in shape.”

In addition to acting, Pawlik sings with “The Four C Notes,” a Frankie Valli and the Four Seasons tribute band, and is a founding member of “Cowboy Jukebox,” a country-influenced alt-rock cover band. 

Doug Pawlik | Photo by Brandon Dahlquist

Pawlik’s work with Lookingglass comes 11 years after performing as an understudy in a show and working with the company in a variety of workshops. 

“Lookingglass is a very supportive theater for new work — they tend to do shows that are originals,” he said. “‘Lucy and Charlie’s Honeymoon’ is very fun, and we’re performing at an intimate theater where you’re not going to miss a moment no matter where you’re sitting. It’s very cool to be so close to experiencing this live, concert-like show.”

Now married to a fellow actor, Leah Morrow, and raising two daughters in Chicago’s Ukrainian Village neighborhood, Pawlik’s message for young people interested in acting and music is simple: don’t be afraid to seek guidance from others and find a way to forge your own path. 

“Start playing music, take voice lessons, participate in community theater — reach for that next step and try something that looks cool,” he said. “Keep your ears open, go to the theaters, find people who can get you in touch with others. It doesn’t matter where you come from — you can make something if you find people who are passionate and you just go for it.”

Lookingglass, which is celebrating 35 years of theater in Chicago, is located at 821 N. Michigan Ave. Late last week, the theater announced that due to ongoing struggles along with other nonprofit theaters across the country following the pandemic, it will be reducing staff and producing fewer shows and operating in different ways as it works to reimagine its future.

In a statement from theater leadership, Lookingglass added it will be launching a public campaign to raise $2.5 million to invest in the company’s future and remain committed to developing original programming and continued investment with Chicago Public Schools. 

For more information about Lookingglass and to purchase tickets for “Lucy and Charlie’s Honeymoon,” visit lookingglasstheatre.org.

New Aspen exhibit frames Herbert Bayer’s ‘World Geo-Graphic Atlas’ in the context of politics, art and science

By in Art World News

New Aspen exhibit frames Herbert Bayer’s ‘World Geo-Graphic Atlas’ in the context of politics, art and science

In 1947, the “father of Modern Aspen” Walter Paepcke commissioned artist Herbert Bayer to design an atlas.

This was two years after World War II, and two years before Paepcke founded the Aspen Institute, which Bayer helped design.

The book was supposed to be a promotional gift, marking the 25th anniversary of Paepcke’s cardboard box company, the Container Corporation of America.

But by the time the atlas was released in 1953 — two years after the anniversary deadline — Bayer’s final “World Geo-Graphic Atlas” proved to be far more than a marketing tool.

Like any atlas, it has maps and charts about geography. But it’s also a 368-page monument of graphic design that promotes environmental conservation and international collaboration while reflecting the Bauhaus style that shaped Bayer’s work.

“One of the real legacies of the atlas is the way in which Bayer tries out all different types of strategies to make complex information accessible and engaging and exciting for general audiences,” said Benjamin Benus, the author of “Herbert Bayer’s World Geo-Graphic Atlas and Information Design at Midcentury.”

This summer, the atlas is the inspiration for an exhibition across multiple buildings on the Aspen Institute campus, including a deep dive at the Resnick Center for Herbert Bayer Studies titled “Concept of a Visualist: Herbert Bayer’s World Geo-Graphic Atlas.” Benus curated the show with Bernard Jazzar, a Bayer expert and curator of the Lynda and Stewart Resnick Collection.

An interactive exhibit about the atlas is also on view at the Institute’s Doerr-Hosier Center. “Charting Space: Herbert Bayer’s World Geo-Graphic Atlas at 70” is curated by the Resnick Center’s Penner Manager of Educational Programming Andrew Travers; it’s intended for all ages but is particularly suitable for K-12 students. The installation includes an 8-foot, walk-in recreation of Bayer’s “Outside-In Globe” that encourages people to make connections between seemingly distant places.

“Concept of a Visualist” officially opened on June 20. Kaya Williams spoke with Benus about the atlas and what it says about the past and present.

Benjamin Benus: It’s very much a historical document that reflects certain attitudes of the period. It comes out in the early years of the Cold War.

And so while Herbert Bayer stated that his aim was to present a picture of the world as one, to present a kind of global picture of the world, it’s still very much framed in Cold War terms — that, you know, it’s a kind of competition between these two models of human civilization, that in the Atlas is described as the the free world or the Soviet model. And so in that way, it really reflects attitudes of the period.

But there are also other ways in which it’s quite exceptional. And I think its emphasis on looming environmental crises, and its provocation to the readers to think about the kinds of actions and measures that they can take in response to crises like the depletion of natural resources, or overpopulation — in that way, it’s quite exceptional as an atlas.

Williams: It strikes me, another theme here is this intersection of art and science. You’ve mentioned environmental crises that are reflected here. What role does art play in science and vice versa today that we might have seen reflected in this atlas, then?

Benus: Yeah, I think one of the lessons of this exhibition is that audiences’ views of the world — the way they understand geography, the way they understand fields like meteorology — are largely shaped or mediated by artists and designers, that they are a key component in the communication between experts who do the research and have the raw data and audiences who consume that data.

And it’s really up to designers and artists to figure out how to deliver that. And I think the exhibition asks audiences to think about that. And I think the atlas itself in lots of ways — one of its aims was to kind of cultivate, sort of ,information literacy and get audiences to think about the role of the designer in presenting information.

Williams: Lots of conversation about information literacy today and media literacy today. Do you think that there’s lessons that we stand to learn from this?

Benus: For me, one of the most important lessons — and I think it’s a lesson that Bayer himself learned in the process of working on the Atlas — is the importance of the designer cultivating a certain appreciation and understanding for the material, the information that they’re tasked to present to the public.

Obviously, the designer is not going to become an expert, but to the extent possible, [they need] to really understand the material, and that it’s important for experts to understand what designers are doing, the design process, and to think about how the material that they want to present to the public might translate into a design.

Williams: Would you say this book contains any calls to action, so to speak?

Benus: Very much so. And in fact, Bayer’s very specific in listing a whole series of ideas about measures that people could take, or that governments could take in response to depletion of resources, different methods of farming, switching to different forms of energy, utilizing hydroelectric power.

He has a kind of a whole bulleted list at the end of the Atlas in the section that deals with environmental crises. But I think one really important point he makes is that it’s a global issue and that it’s got to be solved collectively. And I think that was something that was quite original and new for the time and really distinguished the Atlas from its counterparts: this idea that the call to action would have to be a collective one.

July 2023 Opportunities: Open Calls, Residencies, and Grants for Artists

By in Art World News

July 2023 Opportunities: Open Calls, Residencies, and Grants for Artists

Image © Chris Wood

Every month, Colossal shares a selection of opportunities for artists and designers, including open calls, grants, fellowships, and residencies. If you’d like to list an opportunity here, please get in touch at hello@colossal.art. You can also join our monthly Opportunities Newsletter.

 

Open Calls

Franklin Furnace 2023 XENO Prize for Artists’ Books (International)
This prize offers $5,000 to one artist to publish an artist’s book centered around book banning/burning in an edition of at least 120 copies. Franklin Furnace will make three copies of the book freely available to the public via its Artists’ Books Collection and will give one copy to the Library of Congress, each of the 50 State Libraries in the United States of America, and the Pratt Institute Libraries.
Deadline: July 4, 2023.

1708 Gallery’s InLight 2023 Call for Proposals (International)
For this year’s exhibition, 1708 invites regional, national, and international artists working in all media and disciplines to submit entries that engage with and respond to Reflection and Refraction for the InLIght festival. Artists are invited to propose projects that engage with and expand upon the histories and activities that comprise InLight, as well as Broad Street’s past, present, and future. Chosen applicants receive a $1,000 stipend.
Deadline: Midnight ET on July 5, 2023. 

Mophradat Orbitals Open Call (International)
This open call will take four curators and art researchers to Dakar, Senegal. During the one-week guided research trip, the participants will meet and share experiences with peers from the art scenes they are visiting. Mophradat will provide flights, travel insurance, accommodation, and per diems, and reimburse visa costs. Applicants must be from or living in the Arab world.
Deadline: July 10, 2023.

In Translation at Glen Arbor Arts Center (International)
Applications are being accepted for In Translation, the Glen Arbor Arts Center’s juried exhibition that runs from August 18 to October 26. In Translation explores this question: What is the role of the artist, the visual maker, in the 21st century? Visionary? Commentator? Taker of dictation? Aesthete? Four artists will receive awards ranging from $150 to $500. There is a $35 application fee.
Deadline: July 13, 2023.

USC-SJTU Institute of Cultural and Creative Industry Art Valley Program Open Call (International)
This open call will accept five international artists and scholars who use comprehensive media materials. From November 1 to December 15, selected artists will hold exhibitions with Shanghai organizations and receive RMB 10,000. Applicants can be at all career stages and working in drawing, painting, sculpture, photography, film, video, new media, installation, interdisciplinary, and architecture.
Deadline: July 14, 2023.

Memento Mori Juried Group Exhibition (International)
The Chateau Gallery is hosting Memento Mori, an international juried group exhibition centered around life and death. All forms of two-dimensional, traditional, and non-conventional art media are eligible for the online show.
Deadline: July 15, 2023.

Art For Change Prize 2023 (International)
From M&C Saatchi Group and Saatchi Gallery, this year’s prize asks emerging artists to creatively respond to the theme of Regeneration. £20,000 will be split between six winners, who will exhibit their work at Saatchi Gallery in London.
Deadline: July 17, 2023.

14th Epson International Pano Awards (International)
The Epson panoramic photography awards are open for submissions with prizes totaling $40,000, including $14,000 in cash. Entry fees range from $20 to $22.
Deadline: July 17, 2023.

The Nueva Luz Study Center Commissioning Fund 2024 (New York State)
En Foco is launching a new program that will commission three artists to create new work using the archives of the Nueva Luz Study Center. Proposals should inspire and re-contextualize artworks, themes, and issues contained or referenced within the archives, and each project will receive a $1,000 budget.
Deadline: 11:59 p.m. ET on July 19, 2023.

El Paso Museum of Art–2024 Border Biennial/Bienal Fronteriza 2024 (U.S.)
This exhibition will explore how “the border” has shaped the practices and identities of artists who live and work within 200 miles of the U.S.-Mexico border.
Deadline: 11:59 p.m. MT on July 30, 2023.

Boynes Artist Award (International)
The 9th edition of the Boynes Artist Award will accept artists of all career stages. Winning artists have access to a $3,500 cash prize pool, $250 in art supplies, the creation of a professional artist website, publication, newsletter features, and long-term support and guidance. There is a $25 to $35 submission fee.
Deadline: July 30, 2023.

SculptureCenter In Practice 2024 Open Call (International)
In Practice 2024 invites artists who have not yet had an institutional solo exhibition in New York City to submit proposals for solo shows in designated gallery spaces at SculptureCenter. Proposals for off-site projects, publishing initiatives, performances, and nontraditional formats are also accepted. Up to seven applicants will be chosen and receive $6,000 project budgets and $1,000 honorariums.
Deadline: 11:59 p.m. ET on August 6, 2023.

Passepartout Photo Prize (International)
Open to photographers at any stage of their careers, the Passepartout Photo Prize is accepting submissions for its seventh edition. Winners receive exhibition and publication opportunities, with one 500 Euro award. There is a 25 Euro entry fee.
Deadline: October 10, 2023.

 

Grants

Prospect Art Open Call for Visual Artists (International)
Visual artists are eligible for the NEW WORK program, which offers a $1,000 project grant. There is a $10 application fee.
Deadline: July 3, 2023.

Illuminations Grant for Black Trans Women Visual Artists (U.S.)
Now in its fourth year, this annual $10,000 grant draws attention to early-career Black trans women visual artists, highlighting an existing body of work and providing critical support for their practice. The winning artist will complete a studio visit with our rotating panel of judges, and four distinguished finalists will receive $1,250 awards.
Deadline: July 12, 2023.

Project Mesquite: 2023 Organization Grants (Arizona)
Cultural organizations in Tucson and southern Arizona are eligible for $5,000 to $10,000 grants for projects that will impact a broad group of people.
Deadline: July 13, 2023.

AXS Film Fund (International)
This program is for disabled creators of color in documentary filmmaking or nonfiction new media. Five artists receive grants of up to $10,000 each to assist in finishing projects at any stage of production.
Deadline: 11:59 p.m. ET on July 31, 2023.

2024 Joyce Awards (Great Lakes region)
The final 2024 funding cycle for the Joyce Awards is now open to cultural workers and organizations working toward racial equity and economic mobility.
Deadline: September 11, 2023.

Adobe Creative Residency Community Fund (Ukraine or refugee)
Adobe’s Creative Residency Community Fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.
Deadline: Rolling.

 

Residencies, Fellowships, & More

The Studios at MASS MoCA Residency (International)
Fully funded fellowships at MASS MoCA are available for two or four-week residencies. Selected artists receive private studio space, housing, access to workshops, and member benefits.
Deadline: July 8, 2023.

UNIDEE and Cittadellarte–Fondazione Pistoletto Residency Program (International)
Artists, curators, writers, theorists, and activists are eligible for this residency centered around the theme of Neither on Land nor at Sea. Residents will expand their ongoing research and practice exploring Mediterranean complexities and geographical thinking in the arts and beyond, within a group of peers and guests. Housing is provided.
Deadline: July 9, 2023.

Penland’s Resident Artist Program (International)
Artists working in contemporary craft are eligible for four Penland residencies, either the one-year project-based program or the three-year track for career transition. Chosen applicants receive housing and studio space.
Deadline: July 12, 2023.

Creative Corps Initiative (California)
This program makes available $2.85 million to artists working at the intersection of arts and issues of civic engagement, climate justice, community health and wellness, and social justice. Each awardee will work with a nonprofit and receive a stipend of $70,000 to $72,000.
Deadline: 5 p.m. PT on July 14, 2023.

ICCI Art Valley Program (International)
The USC-SJTU Institute of Cultural and Creative of Shanghai Jiao Tong University is recruiting five international artists and scholars to participate in the ICCI ART VALLEY PROGRAM from November 1 to December 15. Visiting artists will hold exhibitions, lectures, workshops, and/or other public programs and will receive accommodations, airfare, and a stipend of at least $1,300.
Deadline: July 15, 2023.

Loghaven Artist Residency (International)
Loghaven invites artists working in architecture, dance, music composition, theater, visual arts, writing, and interdisciplinary practices to apply for residencies occurring in 2024 and 2025. Both emerging and established artists are eligible, and residents receive a living stipend of $850 per week in addition to travel and freight reimbursement. There is a $20 application fee.
Deadline: July 15, 2023.

Crosstown Arts Residency Program (International)
Open to artists working in visual arts, music, filmmaking, and writing, this program offers private studio space and lodging. There is a $10 application fee.
Deadline: July 15, 2023.

Quinn Emanuel Los Angeles Artists-in-Residence Program (Greater Los Angeles)
Open to emerging and mid-career artists working in all disciplines, this four-month program offers a studio in the Quinn Emanuel Los Angeles office. The chosen applicant will receive $5,000 per month, $1,500 for materials, and an exhibition.
Deadline: July 15, 2023.

UCross Residency Program (U.S.)
Open to visual artists, writers, composers, choreographers, interdisciplinary artists, and performance artists, as well as collaborative teams, this residency offers housing, a workspace, and a $1,000 stipend.
Deadline: 1 a.m. on July 16, 2023.

UCross Fellowship for Native American Visual Artists (U.S.)
This four-week residency is open to artists working in any visual discipline who are members of a state-recognized or federally-recognized native group. Selected artists receive $2,000 and a featured gallery exhibition at Ucross the following year.
Deadline: 1 a.m. on July 16, 2023.

National Public Housing Museum Artist as Instigator Residency (International)
This year-long program leverages arts and culture to make creative public policy interventions around housing and related social justice issues. One resident will receive $10,000 and a $10,000 budget for expenses. Projects must take place anywhere within the United States, including Puerto Rico and the U.S. Virgin Islands.
Deadline: 11:59 p.m. on July 21, 2023.

Adobe Creative Residency (U.K.)
Adobe x Museums is a new initiative to fund year-long residencies at the Victoria and Albert Museum and Museum of Modern Art in New York. The first round of applications for the V&A is open now in illustration, ceramics, and costume design.
Deadline: 10 a.m. British Summer Time on July 28, 2023.

Monira Foundation and Jonas Mekas Studio Research and Production Residency (International)
Curators, artists, practitioners, and theorists interested in the intersection of art and media are eligible for this six-month program in Jersey City. Applicants should propose a project that utilizes the Jonas Mekas Studio to produce a new work, research presentation, or curate an exhibition or screening. Residents receive a $750 monthly stipend. There is a $15 application fee.
Deadline: Midnight ET on July 28, 2023.

Grand Canyon Conservancy 2024 Grand Canyon Artist in Residence (International)
This program supports artists in any discipline who are interested in conservation, cultural identity, or community. Residents receive free lodging, workspace, and a stipend for up to eight weeks. There is a $45 application fee.
Deadline: July 31, 2023.

National Parks Arts Foundation: Hawai’i Volcanoes National Park October 2024 Artist in Residence (International)
Artists in all media are eligible for this residency at Hawai’i Volcanoes National Park, which offers a $4,000 stipend, housing, and artist events.
Deadline: July 31, 2023.

The Farm Margaret River (International)
Open to all disciplines, individuals, and collectives, this residency focuses on site-specific projects created during eight weeks at The Farm Margaret River in Australia. Chosen applicant(s) will receive lodging, studio space, and a $7,500 grant.
Deadline: August 1, 2023.

Bemis Center for Contemporary Arts Residencies (International)
The Bemis Center has two residencies open, one 18-month program for curators and another for artists. One chosen curator will receive private living and workspace, a $40,750 stipend, a research budget, a curatorial honorarium, and a $750 travel stipend. Artists receive private live and work studios, a $1,250 monthly stipend, and a $750 travel stipend. There are $40 application fees for both programs.
Deadline: August 1, 2023.

Peters Valley School of Craft (International)
Artists working in blacksmithing, ceramics, fibers, fine metals, wood, drawing, painting, collage, or printmaking are eligible for this two-week to one-month program. Residents receive a private room in a shared house, studio access, and stipends ranging from $500 to $1,000. Chosen applicants must have access to a car.
Deadline: August 1, 2023.

Centrum Residency Programs (International)
Centrum has several residencies open for artists, writers, and curators. All are funded, last one to four weeks, and come with honorariums.
Deadline: August 15, 2023.

Willapa Bay AiR: 2024 Residencies (International)
These month-long residencies are open to emerging and established artists, filmmakers, writers, playwrights, scholars, singer/songwriters, and musical composers. Each month, six chosen applicants receive lodging, meals, and workspace at no cost. There is a $30 application fee.
Deadline: August 31, 2023.

Bryn Du’s Artist in Residence Program (International)
Artists working in visual arts, literature, music, theater, fashion, dance, storytelling, and audiovisual studies are eligible for this eight or 12-week residency. Stipends range from $2,000 to $3,000, and lodging and studio space are provided. There is a $15 application fee.
Deadline: August 31, 2023.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article July 2023 Opportunities: Open Calls, Residencies, and Grants for Artists appeared first on Colossal.

Step Inside This House in Poland Where Playfulness Reigns

By in Design

Step Inside This House in Poland Where Playfulness Reigns

In Wroclaw, Poland is a lively terraced house that reflects the youthful energy of the couple who owns it. Designed by Znamy się for the owners, and their two dogs, who love to cook, entertain friends, and play board games. Drawing inspiration from the whimsical world of Playshapes (wooden blocks that can be moved, layered, or combined), this modern home now boasts a fusion of structures, forms, and vibrant colors that bolster creativity, socializing, and play.

The new interior holds many elements that allow the owners to play with form. Moveable furniture sets the stage with shelves on wheels that enable the couple to create flexible arrangements and new spaces. The kitchen island is not only the place for food prep and cooking, it stores board games and houses water dispensers for their beloved dogs. The dining table’s top lifts to play games and work puzzles.

angled view into modern kitchen with mix of minimalist cabinets in white and sage green

angled view of modern kitchen with mix of minimalist cabinets in white and sage green and light wood island with hanging plants above

Geometric shapes and a strong palette of colors intertwine forming layered spaces rich in textures and visual intrigue. The inclusion of lots of wooden elements gives nod to Playshapes, while adding organic charm.

partial view of space between modern kitchen's sage green cabinets and the living room's light blue shelves filled with plants and objects

closeup partial view of light blue shelves filled with plants and objects in modern living room

Three shelves set within a blue painted alcove hold a large selection of plants and objects for a touch of biophilia.

view of light blue shelves filled with plants and objects in modern living room

angled view of modern dining space with hanging frame holding plants above table

The square dining table lives under one of the hanging grids that holds plants. Similar gridded structures live alongside the wooden staircase adding a pop of color while providing safety for those climbing the stairs.

view of modern dining room with plants hanging above with built-in sofa behind it

angled view looking up a modern staircase with pink metal frame caging

angled down partial view of pink metal perforated structure holding staircase handle

partial view of modern bathroom with geometric wood cabinet with pink storage compartment and black and white tile floors

The bathroom features similar wooden cabinets as the kitchen island with geometric patterns adorning the fronts. An inset cabinet is painted a playful pink on the inside, pairing nicely with the black and white floor tile.

partial view of modern bathroom with geometric wood cabinet with pink storage compartment and black and white tile floors

partial view of modern bathroom with geometric wood cabinet with pink storage compartment and black and white tile floors

Photography by Migdal Studio.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

‘The Flower of Tujia’ Weaves History and Culture Through 150,000 Meters of Red Brocade Thread

By in Art World News

‘The Flower of Tujia’ Weaves History and Culture Through 150,000 Meters of Red Brocade Thread

All images © YI+MU, shared with permission

Intricate geometric patterns and rich hues distinguish the  woven textiles of China’s Tujia people, who call the Wuling Mountains home in western Hunan. In the nearby city of Zhangjiajie, the new China Tu­jia Bro­cade Mu­seum will be dedicated to the art of Xi­lan Kapu, or Tujia brocade, to celebrate the culture’s distinctive creativity and preserve an endangered craft. In a remarkable architectonic installation called “The Flower of Tujia,” 150,000 meters of red brocade thread creates an awe-inspiring centerpiece for the main space.

Designed by Yi Chen and Muchen Zhang of Beijing-based design studio YI+MU, the artwork spans more than 1,000 square meters along a grid of 20 beams, allowing the fiber to alternately reveal and conceal the geometry of stairwells and windows as one moves around. “The di­a­mond-shape struc­ture in­spired by the iconic pat­tern of the Tu­jia bro­cade is clearly vis­i­ble from all an­gles,” the studio says. Symbolically interpreting the 30-step process of Xi­lan Kapu into a three-dimensional piece, the design unifies and highlights the museum’s interior and sparks a sense of wonder that verges on the spiritual, a key aspect of YI+MU’s philosophy.

The museum building was completed in 2022 and an opening date is yet to be announced. Find more of YI+MU’s projects on the studio’s website. (via designboom)

 

An installation made from thousands of meters of red brocade thread inside of a museum.

An installation made from thousands of meters of red brocade thread inside of a museum.

An installation made from thousands of meters of brocade thread inside of a museum.

An installation made from thousands of meters of red brocade thread inside of a museum.

An installation made from thousands of meters of red brocade thread inside of a museum.

An installation made from thousands of meters of red brocade thread inside of a museum.

An installation made from thousands of meters of red brocade thread inside of a museum.

An installation made from thousands of meters of red brocade thread inside of a museum.

An installation made from thousands of meters of red brocade thread inside of a museum.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article ‘The Flower of Tujia’ Weaves History and Culture Through 150,000 Meters of Red Brocade Thread appeared first on Colossal.

How a Little Sony Camera Helps Photographer Tammy Ruggles

By in Photography

How a Little Sony Camera Helps Photographer Tammy Ruggles

Many people think that if someone has low vision, they can’t be a photographer. But that couldn’t be any further from the truth – just ask photographer Tammy Ruggles. “I didn’t realize that I was drawn to (Ansel Adams’) style and contrast because of a vision problem I was born with, Retinitis Pigmentosa, aka RP,” says Tammy to us in an interview. “High contrast is what I see best, especially black and white.” In fact, with the help of her Sony cameras, Tammy has been able to create several beautiful photographs that have been widely featured on the web.

Alpha Vision is presented in partnership with Sony. Sony has made several strides towards helping visually impaired creators with packages like the Retinal Projection Camera Kit. Other cameras, like the Sony a7r V, have extra accessibility features that help someone navigate the menu system and use the camera much easier. This story is part of an initiative to bring the voices and artwork of these photographers to the front. Our Editor in Chief is legally blind, so these stories bring a unique understanding to the type of images these photographers produce.

All images used with permission from Tammy Ruggles.

Tammy Ruggles and Photography

Tammy started out falling in love with photography at a very young age. “Professionally, I got into photography with my first Sony camera, a Sony DSCH 300.” she explains to us. She used this camera to get the kind of pictures she envisioned in her head. “I could even get shots of the moon’s craters if the camera was on a tripod. It was a way to realize my childhood photography dream, express my creativity, my love of nature, and keep connected to the visual world that I couldn’t see with my eyes alone.” In fact, Tammy keeps it all pretty simple.

She eventually moved on to the lighter Sony RX100. “…it could fit in my hand while shooting as a passenger in a car or walking down the street, snapping away at landscapes, hoping I’d caught some good ones,” Tammy says. “But I wouldn’t know which ones until I could upload them on my 47-inch computer monitor, where I could then zoom in even closer.” After this, she does a bit of post-production in Silver Efex to get the contrast she needs.

“This is how I got into professional photography, something I’d always wanted to do but felt I couldn’t due to my poor eyesight.”

How She Does It

Retinitis Pigmentosa is different for everyone, as Tammy explains. For her, everything is extremely blurry. On top of that, it’s also like looking through fog. “I don’t see details, just basic shapes and colors,” she tells us. “The closer I am to something, like a few inches away, the better I can see. That’s why zooming in is so helpful to my photography.” The Sony RX100 series cameras help make zooming in on the details pretty simple with their 1″ sensor and the useful zoom lens.

The question that always goes through my mind is, how does this look to the viewer? It looks blurry to me, but how does it look to others? I’m sure I’ve made a lot of mistakes with my pictures. People tell me there are power lines in some of them. Well, I can’t see those, so there probably are, and when I do notice them, I just try to turn them into an interesting part of the picture.

Tammy started sketching at 12 years old and admits that it was tough growing up as an artist and going to school for it. But as time went on, she became more and more blind until she reached legal blindness — a state where even with corrective lenses, one still cannot see 20/20. In many cases, you can’t even drive anymore. For Tammy, she couldn’t even sketch anymore.

Everyone that’s visually impaired experiences it completely differently. So how does she do it with such limited vision? Part of it is the ease of use. With the Sony DSCH 300, she was able to figure it out with muscle memory. She attributes built-in settings, the internal 55MB storage, and 20MP photos to be a key part of it. On top of all this, there’s a 70x optical zoom. “This means I could zoom in for a close-up on a cardinal perched in a tree without losing quality,” she explains. “These black and white presets eliminate the step of post-producing an image, and the autofocus, lighting presets, and filters make adjustments I can’t see to do on my own. It also has low-light capability and takes great nighttime pictures.” She continues to state that things like the dedicated knobs made her figure out and feel her way around the camera thanks to their tactile nature.

A few other settings that help Tammy make her photos:

  • Night Portrait
  • Landscape
  • Soft Skin
  • Snow
  • Fireworks
  • Gourmet
  • Pets
  • Panorama settings
  • Built-in auto flash settings
  • The 175 minute battery life

Of course, we can’t forget about the buddy system “Occasionally, a helper points out an interesting subject to capture, and the large 3-inch screen of the DSCH 300 enables my helper to frame it up for me before I hit the shutter button,” Tammy explains to us. Essentially, the camera ends up seeing for Tammy.

That’s part of the reason why the new Sony Retinal Projection Camera Kit excites her. She looks forward to trying it after reading our impressions of it. For Tammy, the idea of being able to see things like signs, labels, books, and people is invigorating because she hasn’t seen them in years. 

“I know this technology could extend the career of a visually impaired photographer like me who continually loses vision over time.”

“I had a brief window of time to sketch with a Sharpie, then a brief window of time to paint with my fingertips, and when those were no longer possible, I turned to my first Sony camera,” she explains. “It helped me remain an artist for several years now.” Tammy continued to say that because she can’t see what the camera is doing well enough, she can’t always create her images without post-production. That’s where her big screen comes in.

When she’s working in post-production, Tammy can zoom in on the details. Calling herself a “wanna-be Ansel Adams,” she can then edit the RAW files from her little camera as needed. She crops, converts to black and white, enhances the contrast, etc., to get the photos she wants. These decisive moments then end up being the bulk of her portfolio — which is incredibly unique.

Thoughts on AI

While most photographers are scared of AI, Tammy thinks that it can be a very useful tool for her as a visually impaired photographer. In fact, she loves it as it helps her add another dimension to her artwork — especially if she’s transparently showing the original photo alongside. “Earlier this year, I made an AI image called ‘White Roses’ from one of my favorite photos, ‘Grazing,’ and the two images were exhibited side by side in an art show for the Arts for All Kentucky organization.”

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