Over the summer, National Park College offers camps covering a variety of topics for students entering third through 10th grade.
WATCH | Summer Camp Series: Students learn about rockets, art
Winning artists honored at ASC exhibition reception
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Vincent Marie’s mixed-media piece “I’m Tired” won Best in Show and “Hold On, Let Go” by Lisa Krannichfeld won first place in the “2023 Irene Rosenzweig Biennial Juried Exhibition.”
The awards were announced during the opening reception at the Arts & Science Center for Southeast Arkansas (ASC) on July 20, according to a news release.
Juror Rachel Trusty, visiting assistant professor at Bucknell University and an Arkansas native, presented the six awards:
Best In Show ($1,000) — “I’m Tired” by Vincent Marie of Breaux Bridge, Louisiana; mixed media, oil on canvas, mylar, and repurposed clothes; 36 inches by 48 inches; 2022.
“Marie uses layers of fabric to make public a series of private moments in the daily life of a transgender or a nonbinary person,” Trusty said in the release. “The artist puts these quiet moments under deeper scrutiny, reminiscent of the current political zeitgeist of hyper surveillance. Soft, flowing layers of fabric pieced together offer an allegory of the handcrafting of a body in process, putting the power to reflect and the power to build back into the hands of the artist/maker.”
First Place ($500) — “Hold On, Let Go” by Lisa Krannichfeld of Little Rock; ink, watercolor, concrete, acrylic, and resin, on multilayered shaped panels; 32 inches by 34 inches by 3 inches; 2023.
“‘Hold On, Let Go’ is a mixed-media piece about tension — tension between materials, shadows, and figures. Strong, monochrome concrete hands hold back the form of a colorful toddler in motion,” Trusty said. “The foreground bleeds together with background, demonstrating that the child and parent are still one – if just for this moment.”
Second Place ($200) — “Norepinephrine” by Jason Bly of Wichita Falls, Texas; oil on panel, 14 inches by 11 inches; 2021.
“Bly’s trompe-l’oeil shadow box painting ‘Norepinephrine’ mixes classical referents, including a Greek sculpture with atomic-bomb preparation materials from the ’50s to address current anxieties,” Trusty said. “A painted, hyper-realistic string connects each section, suggesting these tense feelings will continue from the past, far into the future.”
Merit Award ($100) — “Cowboy in Solitude” by Paige Ellens of Memphis, Tenn.; acrylic on canvas, 70 inches by 36 inches, 2023.
“Ellens’s bold work, ‘Cowboy in Solitude,’ reads at first like a pop art futuristic landscape,” Trusty said. “Upon further scrutiny, a tiny vignette of a lonesome cowboy in the center offers a meditation on isolation or perhaps chosen solitude.”
Merit Award ($100) — “Onyx” by Kelsey Duncan of Nashville, Tenn.; stoneware, slip, underglaze, glaze, metal, and luster; 18 inches by 16 inches by 10 inches; 2020.
“‘Onyx’ by Kelsey Duncan offers a pensive, bold bust,” Trusty said. “The pattern of reflective droplet shapes on the head, the metallic earrings, and the dark fabric neckpiece contrast the highly textured skin of the piece, making the skin palpably warm. The face, concerned but steadfast, meditates with eyes closed.”
Merit Award ($100) — “Memory Dance” by Jennifer Barnett of Little Rock; photograph, 11 inches by 14 inches; 2022.
“‘Memory Dance’ by Jennifer Barnett is a study of positive and negative space, foreground and background, focus and blur,” Trusty said. “This unconventional landscape seems to include an everyday house in an everyday yard, but the colors and composition create a deeply nostalgic mood of a memory captured on film.”
The Rosenzweig exhibition exhibition is supported in part by the Arts & Science Center Endowment Fund and the Irene Rosenzweig Endowment Fund. The reception was sponsored by the Pine Bluff Art League and M.K. Distributors.
The biennial exhibition began with a gift from the Irene Rosenzweig Foundation in 1992. Born in Pine Bluff in 1903, Rosenzweig was a noted scholar and teacher. She earned a doctoral degree from Bryn Mawr College, studied in Rome, and was fluent in six languages. Rosenzweig tutored President Franklin D. Roosevelt’s family members during their time in the White House. She died in 1997.
The exhibition is on view in the William H. Kennedy Jr. Gallery at ASC’s home building, 701 S. Main St., through Oct. 14. Admission to ASC’s galleries is free.
For more information about the exhibition and to see more of the artwork in this year’s show, visit asc701.org/rosenzweig.
Lisa Krannichfeld (left) and Jennifer Barnett (right), both of Little Rock, were among the artists honored at a reception July 20 for the “2023 Irene Rosenzweig Biennial Juried Exhibition” at the Arts & Science Center for Southeast Arkansas. Juror Rachel Trusty (second from left) announced the awards. ASCs Curator of Collections and Exhibitions Kevin Haynie (third from left) was also on hand to give remarks. (Special to The Commercial/Arts & Science Center for Southeast Arkansas)Models of proposed W.E.B. Du Bois sculptures on display at Mason Library
Prototype models by the three finalists of the W.E.B. Du Bois Sculpture Project are on display at the Mason Public Library until Thursday, July 27.
Ugo Mulas, The Photography Rooms and the inexhaustible magic of Venice – The Eye of Photography Magazine
The island (an enchanted one) of San Giorgio Maggiore in Venice, where the Fondazione Giorgio Cini is located, overlooks the iconic view of the Laguna and Piazza San Marco and is currently hosting an exhibition dedicated to one of the most influential authors not only in Italian photography. The exhibition Ugo Mulas. L’operazione fotografica (Ugo Mulas. The photographic operation) is a project that coincides with the 50th anniversary of the author’s death.
This is an opportunity not to be missed because, with around 300 images, including 30 photos never exhibited before (such as the unpublished portraits of Giorgio De Chirico, Maria Callas and Joan Mirò), documents, books and films, it offers a synthesis that opens up to the different experiences Ugo Mulas faced, allowing a global (and rare) vision of his work. He used to be an eclectic author who worked in many areas of photography and, at the same time, managed to analyse in depth the concept of photography. Indeed, the exhibition itinerary – or rather, the multiple possible paths – in the Sale del Convitto in the Fondazione Giorgio Cini, has 14 sections covering all of Mulas’s fields of interest, essential to render the complexity of his work, which ranges from portraits of friends and personalities from literature, cinema and architecture to theatre, industry and fashion.
Mulas’s photographic approach cannot be related to a genre. His work deals with “experiments in critical thoughts” on photography, which he studied and tried to explain. And the title of the exhibition, as well as its idea, is inspired by his most conceptual series, Le Verifiche (The Verifications), notably from the title of the second of them: L’operazione fotografica, dedicated to Lee Friedlander. It’s a mirror shot, in which Mulas photographed himself covered by the camera, appearing unidentifiable and maybe accepting the idea that behind the camera there is a photographer and not just an impartial observer.
His attitude also gave rise to his pictures of landscapes and cities, of the Venice Biennale (which he photographed from 1954 to 1972) with Pop Art artists, including Alexander Calder, Christo and George Segal. In the 1964 edition, U.S. Pop Art was presented to the European public. Thanks to the collaboration of the critic Alan Solomon and the art dealer Leo Castelli, Mulas was introduced to the American art scene during his first trip to the United States, where he portrayed well-known painters at work, including Frank Stella, Johns, Rauschenberg, but also Andy Warhol and John Cage. In 1967, his analysis of working with artists was published in the volume New York: Art and People.
There are also photos of L’Attesa (in which he managed to document Lucio Fontana’s mental intuition of Il Taglio) and of Milan. Mulas made his debut in Milan, with his reportages that pictured suburbs and dormitories, but also the creative world that met at the tables of the Jamaica. «The Jamaica» – as curator Denis Curti observes – «used to be the place for meetings, for close friendships, those with Mario Dondero, Piero Manzoni, Alfa Castaldi, Pietro Consagra, Carlo Bavagnoli and Antonia Bongiorno, who would become his wife. The itinerary includes “the most significant ‘series’ for Mulas himself, those dedicated to Calder and Duchamp and the fundamental The Verifications (1968-1972), which are considered one of the most interesting “experiments in critical thought” on photography”, Curti adds.
The exhibition is an opportunity to see “in real” Le Verifiche, a series of thirteen photographic works through which Mulas questions photography, providing a formal and conceptual analysis of it. Le Verifiche constitute a topical point in the history of photography, a “meta photographic” analysis that has never ceased to prompt questions about the role of the photographic image. It’s a vision that remains a going concern. Indeed, in our time, as the emergence of new technologies is leading to an aesthetic revolution, it is time to reflect on the role of digital photography in changing the way we live and communicate.
Mulas used to publish in magazines such as Rivista Pirelli, Domus and Vogue. He also developed an artistic collaboration with Giorgio Strehler, which resulted in his photo reports L’opera da tre soldi [The Threepenny Opera] (1961) and Schweyck nella seconda guerra mondiale [Schweyck in the Second World War] (1962).
“The photographic work of Ugo Mulas” – Alberto Salvadori, director of the Archivio Mulas and co-curator of the exhibition, says– offers an indispensable perspective on the status of the work of art itself, which prompts us to reflect on the relationship, every time new and particular, between the artist and his workspace, inspiration and the context that expresses it. The retrospective, that inaugurates Le Stanze della Fotografia accounts for this ever-present «actuality» of Mulas’ gaze, also showing less known aspects of it through snapshots and archive documents never exhibited before”
The exhibition is accompanied by the catalogue published by Marsilio Arte.
New spaces for photography: an island for the image
A few months ago, a new exhibition and research centre, Le Stanze della Fotografia (The Photography Rooms), opened on the Island of San Giorgio Maggiore in Venice within the Fondazione Giorgio Cini, in the Sale del Convitto (with an exhibition space of 1850 square metres). It’s a joint initiative by Marsilio Arte and Fondazione Giorgio Cini, intended to move further along the path begun in 2012 at La Casa dei Tre Oci in Venice.
The association between photography and the island of San Giorgio is a natural one. Indeed, «major attention has always been devoted by the Fondazione Giorgio Cini to photography, both as an art form and as historical-artistic documentation, creating, at the instigation of Vittorio Cini himself, what today is one of the most extensive photo libraries in Italy and Europe», Giovanni Bazoli, president of the Fondazione Giorgio Cini explains. It stores almost a million photographs, freely consultable by appointment or online) and it is specialized within the sphere of historical artistic research, with collections that belonged to art historians, journalists and writers and from the relations existing over decades between Vittorio Cini, the Fondazione Giorgio Cini and the Alinari company.
Conceived as an international centre for research and appreciation of photography and the culture of images, Le Stanze della Fotografia will offer, alongside exhibitions, laboratories, meetings, workshops, seminars with national and international photographers.
Research and exhibition activities are coordinated by the technical-scientific committee chaired by Luca Massimo Barbero, director of the Institute of History of Art of the Fondazione Giorgio Cini, and composed of Emanuela Bassetti, president of Marsilio Arte, Chiara Casarin, head of cultural development and communication for the Fondazione Giorgio Cini, artistic director Denis Curti and Luca De Michelis, managing director of Marsilio Arte.
Paola Sammartano
Ugo Mulas. The Photographic Operation
29 March – 6 August 2023
Le Stanze della Fotografia
Island of San Giorgio Maggiore
30124 Venice, Italy
www.lestanzedellafotografia.it
Ana Carolina Fernandes, a hard news photojournalist and documentary photographer. – The Eye of Photography Magazine
Throughout her career, Ana Carolina Fernandes (Rio de Janeiro, Brazil, 1963) has captured compelling images that combine a critical perspective with a distinctive aesthetic. Let’s explore her journey and notable achievements in the field of photojournalism and documental photography.
The daughter of a teacher and a journalist, she receives her first camera from her mother at the age of 13. After school, she visited the newspaper Tribuna da Imprensa, where her father worked, and became fascinated with the enchantment of the photo lab. In the early 1980s, she began her professional career as a photojournalist as an intern at O Globo newspaper. Over 25 years, she also worked at the newsrooms of Jornal do Brasil, Folha de São Paulo, and Estado de São Paulo. She studied photography at the School of Visual Arts on Parque Lage at Rio de Janeiro. From the 2000s onwards, she distanced herself from daily journalism and worked as a freelancer, focusing on personal projects while still remaining in the field of photojournalism. Her photographs simultaneously express a critical bias and a unique aesthetic, as seen in the images captured during the street protests of 2013, which spread around the world and appeared on international newspaper covers. Her major influences include Cartier-Bresson, the Magnum agency, and photographers Maureen Bisilliat and Claudia Andujar at Brazil, who traveled to remote locations and produced large-scale essays. Her exhibitions include “Ana Carolina Fernandes Repórter” (Rio de Janeiro, 2015) and “Mem de Sá, 100” (São Paulo, 2013), which resulted from a project documented between 2011 and 2013 featuring transvestites living in a mansion at the address with the same name in the neighborhood of Lapa. For the collective Covid Latam, which brings together 18 Latin American photographers, she develops a project on life during the pandemic. The collective’s joint essay is one of the highlights of the 13th FotoRio (2021) and receives the FotoEvidence Book World Press Photo award for best online project covering the pandemic, as well as the Picture of the Year Latam award. Some of her notable individual projects include “Cuba” (ongoing essay), “Na Ponta dos Pés” (2018), and the book “Prainha” (2019). She has been honored with two Folha awards (2000 and 2002), received the 11th edition of the Troféu Mulher Imprensa (2016), and was a finalist in the Magnum Photography Awards (2017).
Excerpts
“I went through all the major newspapers in Brazil, O Globo, then Jornal do Brasil, which was a wonderful place, everyone wanted to go there, and… it was like that, the great newspaper at the time. I had an editor named Alberto Ferreira, who was an incredible guy! Jornal do Brasil was… a newspaper that highly valued photography… they would dedicate a whole page, the entire front page, to a photo. Alberto Ferreira was a […] guy who made a big difference. And he highly valued photographers… his word had enormous importance and power within the newspaper…”
“I didn’t know how the work would develop, or what form it would take. But specifically with transvestites, I wanted to give them a body, because of this fascination I had: in the same body, both masculine and feminine at the same time. With my photos, I really wanted to help, even if just a little, with this acceptance, with tolerance.”
Testimony of Ana Carolina Fernandes to websérie No Olhar TV, 2017.
Yara Schreiber Dines
Translation: Yara Schreiber Dines and Milton Dines
Bibliography
https://anacarolinafernandes.com.br/sobre/
ANA CAROLINA Fernandes/ No Olhar #4/ Fotografia Brasileira. YouTube. 6 no. 2017. 567 segundos. https://www.youtube.com/watch?v=N9Avmo3SXg4&ab_channel=NoOlhar.Tv
CORPOS da Lapa. Piauí, jun. 2013, edição 81.
https://piaui.folha.uol.com.br/materia/corpos-da-lapa/.
DINES, Yara Schreiber. The Substance of Images Brazilian Women Photographers. São Paulo: Editora Grifo, 2021.
FOTORIO destaca cobertura fotográfica da pandemia, Diário do Porto, 21 de maio 2021. Disponível em: https://diariodoporto.com.br/cobertura-fotografica-da-pandemia-e-destaque-no- fotorio/
Explorer and photographer lands in Hawaiʻi to talk conservation and climate change
It’s safe to say that Enzo Barracco has found a muse in Mother Nature.
His career as a fashion photographer was turned on its head when he heard the survival story of Irish explorer Sir Ernest Shackleton — a tale so incredible that it inspired Barracco to become an explorer himself.
Now Barracco brings awareness to conservation and sustainability as a nature photographer. He organized an expedition to Antarctica, a journey he documented in his book, “The Noise of Ice: Antarctica.”
His most recent project, “The Skin of Rock Galapagos,” showcases the equilibrium of the oceanic system.
He spent the weekend as a guest speaker for The Explorers Club Hawaiʻi Chapter.
“The Noise of Ice: Antarctica” highlights the effect of a warming climate on icebergs and glaciers. The image on the book cover shows an iceberg turning upside down, revealing a fringe of icicles.
“The photos are very beautiful,” he said, “but actually are evidence of climate change. … When the iceberg melts, it loses the point of balance.”
Barracco knew he was one of the lucky few in the world who would ever see parts of Antarctica and the Galapagos Islands up close. His projects aim to “raise awareness, through my work, through photography, about our natural world.”
“We take so much for granted,” he said.
After growing up in the Mediterranean, Barracco told The Conversation that being in Hawaiʻi is like being back in his element.
Mark Blackburn, chairman of the Explorers Club Hawaiʻi Chapter, took Barracco on a tour around the state during his visit.
Enzo Barracco
Blackburn wants to remind people to appreciate the beauty of the islands.
“Everybody’s crazy busy,” he said. “But if everybody would just take 10 seconds and look around at the atmosphere. Look at the light. Look at the clouds. Look at the horizon lines. … You’re never disappointed.”
Barracco agreed. “This is why my work tries, on a very small scale, to raise awareness about the beauty of our natural world,” he added.
This interview aired on The Conversation on July 24, 2023. The Conversation airs weekdays at 11 a.m. on HPR-1. This interview was adapted for the web by Emily Tom.
Is Musk right to ditch the Twitter logo?
Getty ImagesWhen Jean-Pierre Dube saw the news that billionaire Elon Musk was scrapping Twitter’s blue bird logo in favour of an Art Deco-style black and white X, the marketing professor thought it was a joke.
“Why take a recognised brand, with a lot of brand capital around it and then completely throw it away and start from scratch?” said Prof Dube, who teaches at the University of Chicago Booth School of Business.
“In the short-term, it seems weird.” But in the long term, could it work?
Mr Musk’s takeover of Twitter last year has been punishing for the social media platform.
Advertising revenue has dropped by half, Mr Musk said this month, as big brands pulled back, wary of changes he has made, including how the firm handles verified accounts and moderates content. Abrupt layoffs and unpaid bills have also led to bad press and lawsuits.
Estimates by Fidelity, which has a stake in the company, suggest it is now worth just a third of the $44bn ($34.3bn) that Mr Musk paid for Twitter in October.
Consultancy Brand Finance recently estimated that the firm’s brand was worth $3.9bn, down 32% since last year – a fall it attributed to Mr Musk’s “aggressive business approaches”.
Research suggests that rebrands can pay off – particularly if a firm is in trouble or wants to change direction, said Yanhui Zhao, a professor of marketing at the University of Nebraska Omaha.
His review of 215 rebranding announcements by publicly listed companies found that more than half of those businesses saw positive returns after they rebranded.
That means Mr Musk’s moves could be timely, he said, noting the multi-billionaire’s ambition to transform Twitter into an “everything app” similar to China’s WeChat, a social messaging service on which users can send money, hail taxis, book hotels and play games, among other functions.
“This is a much needed rebranding because of the strategic re-direction of Twitter,” he told the BBC, by email.
But success becomes less likely when a company is in turmoil, warned Shuba Srinivasan, marketing professor at Boston University’s Questrom School of Business. She said it was an especially risky move, given all the social media competitors, such as Mark Zuckerberg’s Threads, rushing to fill Twitter’s role.
“The rebranding is likely to confirm the fear of many Twitter users that the acquisition by Musk signalled the end of the Twitter they knew,” she said.
Nor is it clear that a rebranding addresses Twitter’s problems – many of which stem in part from Mr Musk, Prof Dube said.
“I didn’t think there was a brand problem and brand identity problem as much as a leadership problem,” he said.
In a May interview with satire site, The Babylon Bee, Mr Musk previewed the change, saying he thought he needed to “broaden the branding for Twitter” to help him succeed at pushing the company beyond the short text posts that made it famous.
But some analysts said that the potential of this vision being successful faces long odds.
In June, advisory firm Forrester Research published a report called “The super app window has closed,” which argued that tech giants such as Google and Apple currently offer super app-like functions to billions of users in the US and Europe, while tough regulatory hurdles and fierce competition limits opportunities for others.
It noted that WeChat, the example that has been cited by Mr Musk, became dominant in China early, before other payment services emerged – and in part as a result of technical issues, such as limited phone memory, which discouraged downloading multiple apps.
“While Musk’s vision is to turn X into an ‘everything app,’ this takes time, money, and people – three things that the company no longer has,” Mike Proulx, a research director at Forrester, wrote after Mr Musk’s announcement, adding that he thought the firm would shut or be be bought out in the next 12 months.
Even if Twitter’s core users in media, politics and finance stay loyal, as they have in the past, making X successful would require participation from a far broader user base – no small challenge, said Harvard Business School professor Andy Wu.
But he added that, Twitter faced difficulties before Mr Musk’s takeover and would benefit from some risk-taking.
“We can debate whether those changes are in the right direction, but Twitter does need changes,” he said.
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Hey Pandas, Share Some Street Photography
#1
Fog Over Auckland City Yesterday Morning 🙂 Taken From The 8th Floor Of A Building At My Uni
#3
Smoky Sunrise Over The Hudson
#4
Sunset Over Upper Manhattan
#5
Fog Bow On Lake Superior
#7
On My Way To Work, Front Royal, Va
#8
Afternoon Rush Hour, Headed Home After An 8 Mile Hike
#9
And The Fog Today… Marshall, Va
#10
Prawn Fry, This Was The Little Skillet! Neewollah Fest, Independence, Kansas
Blyss Blyssylb (Submission author)
4 hours ago Created by potrace 1.15, written by Peter Selinger 2001-2017
A little town known as Independence in south east Kansas. They celebrate Halloween the Entire month of October! But they don’t call it Halloween, they call it Neewollah – Halloween spelled backwards. 30 days of daily Parades, street merchants, Carnival – complete with rides and games, Trunk or Treat, etc…So, if You Love Halloween, go to Independence, Kansas and celebrate Neewollah (Halloween) for an Entire Month!
#12
And The Fog Today… Marshall, Va
#13
Downtown Dallas Lights
#14
Neewollah Fest Independence, Kansas
#17
Walking In A Straight Line
#18
Rooftop Pigeon, Yooma Hotel, Paris
#19
Neewollah Fest Independence, Kansas
#20
Neewollah Fest Independence Kansas
See Also on Bored Panda
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Jingletown, Oakland, Ca – Artist Community Neighbourhood. Murals/Mosaics Everywhere
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The Golden Man, Near A Basilica In Paris
Centennial art exhibit reveals the true colors of tourism in a snapshot
In a black and white photo, a Native Hawaiian woman placed a long strand of lei onto a visitor. A group of women lay on the grass crafting dozens of lei in another picture. Aloha Tower stands prominently in the background.
John and Kate Kelly Estate Collection
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The woman behind the camera was Kate Kelly. She and her husband, John, were longtime artists in Hawaiʻi documenting Native Hawaiian culture through art.
Cha Smith, a manager of the John and Kate Kelly Estate Collection, said the photographs were taken at a critical time, exemplifying the impacts of the tourism industry in the 1930s.
“Part of this story is the fact that Hawaiian people were forced into this industry because they had lost so much land,” Smith said.
“This was a bittersweet thing because it was gorgeous they were doing all of this work, but at the time, they were having to sell to tourists, who were here to visit and don’t have any idea what was going on with these families who were forced to sell lei for a living,” Smith continued.
The photographs are never-before-seen images taken by Kate Kelly. They will be displayed as part of a larger exhibit celebrating the 100th anniversary of art created by John and Kate Kelly.
The Kelly’s were artists from San Francisco, California who moved to Hawaiʻi in 1923. John died in 1962 and Kate in 1964.
Cassie Ordonio
/
HPR News
John Kelly was an etcher and graphic artist who worked at the San Francisco Examiner and then the Star-Bulletin. Kate Kelly was a sculptor and a photographer.
Smith said when John quit his job at the newspaper to pursue his art, Kate had to provide for the family. She created and sold bronze sculptures molded into surfers, people fishing and lei makers.
Meanwhile, she would also arrange gallery showings at her Kahala home and secured two exhibits in New York, according to Smith.
She even entered John’s etching in the national Printmaking Association competitions in California and the Midwest — winning nearly every entry.
“As a family, they were trying to keep their act together and feed the family,” Smith said. “Her focus was trying to generate income.”
Smith said Kate would find artists who go to hotels and famous people to invite to the house in order to showcase her and her husband’s art.
The Kelly’s lived on an outcrop of lava, an expanded fishing village. Their two-story shingle home overlooked the ocean.
It’s the same home Smith lives in with her partner, Colleen, who is a relative of the Kelly’s, along with their 4-year-old dog Pixie.
Cassie Ordonio
/
HPR
Smith found envelopes of Kate’s photographs along with other artwork by John.
“She had an amazing eye,” Smith said.
Smith said she’s working on digitizing the artwork to preserve them for future generations.
The last exhibit was in 2021 with a focus on hula. But the upcoming exhibit has a broader theme, displaying over 40 images and sculptures.
“It really focuses on premiere — art that has not been seen before,” Smith said. “There’s an oil painting that has never been seen, two watercolors that are brand new to the world and all of Kate’s photos.”
The exhibit will be open to the public at the Downtown Art Center from Aug.1 – 13. The opening reception will be held on Aug. 4 from 5:30 p.m. to 8 p.m.
Click here for more information.
Youth photography competition and workshops
Entries are now open for the Beyond the Frame, Youth Photography Competition.
The aim of the competition is to provide a platform for young people to showcase their photography talents and unique perspectives. We hope it will inspire and encourage creativity and promote diversity and positive self-expression of young people in our community.
The 3 themes for the competition are: Connect, Participate and Celebrate.
There are prizes to be won for each theme, and for three age categories: 10-13, 14-18, 19-25 years, with 1st place receiving a $200 voucher and 2nd place receiving a $100 voucher.
The competition is open for young people aged between 10 -25 who live, work, study or have a connection to Knox.
All photographs entered will be projected during Youth Festival at Knox Express Library (Westfield Knox) in September 2023, the launch event will be held at 4pm on Tuesday 19 September.
Smart phone photography workshops
To support young people in taking photos, three smart phone photography workshops will be held in August. These workshops will help show you how to make the most of your phone’s camera, covering different types of angles, editing techniques and some camera tips and tricks.
- When: Tuesday 1, 8 and 15 August
- Time: 4pm – 5:30pm
- Where: Knox Youth Information Centre, 2 Capital City Boulevard, Wantirna South
For more information and book a place contact Kate on youth@knox.vic.gov.au or phone 9298 8000.
