Artist talks and workshops from Chakaia Booker, Justin Sanz, Raven Halfmoon, Wangechi Mutu and Firelei Báez are just the start of what to expect at the AMFA this fall.
AMFA unveils fall season of programming, events and performances
Inspiration in lineage: Cherokee art exhibit bridges generations, cultures
On any given trip to the Museum of the Cherokee Indian, visitors can explore the corridors and see a beautiful collection of pottery, baskets, woodcarvings, masks and other types of artifacts.
However, many objects are not for the public because they are sacred, sensitive or only meant for the Eastern Band of the Cherokee Indian and Cherokee Nation communities.
The MCI directors and staff are actively removing these objects and respectfully relocating them to their proper places. In those pieces’ former places now stand a thought-provoking assortment of contemporary art from members of the EBCI and Cherokee Nation communities known as “Disruption”
“Disruption” is more than just an exhibit. It’s a way for the museum and the artist to show works that engage visitors — both community and visitors alike — and invite them to think deeper about present-day Cherokee culture and how it relates to their traditions, history and stories.
With the placement of these contemporary works, the flow of the exhibit’s timeline is “disrupted,” thus compelling the viewer to stop, look, read and question why that particular piece was chosen for that specific display or area.
A recent “Disruption” artist panel made up of five local EBCI community artists — Rhiannon Skye Tafoya (EBCI, Santa Clara Pueblo), Atsei Cooper (EBCI), Jakeli Swimmer (EBCI), Tyra Maney (EBCI, Dine) and Lori Reed (EBCI) — was held.
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The artists discussed a wide array of topics, ranging from their personal stories and inspirations to their thoughts and feelings on the importance of positive representation in Indigenous art and the treatment and care of the community’s sacred spaces and artifacts.
The discussion began as each artist introduced themselves, giving their backstory and discussing their chosen medium. As each artist spoke of themselves and their work, it was clear that they cherish deep seeded memories of time spent with parents, grandparents and elders — listening to their stories, making art and learning passed-down traditions.
“I find inspiration in my lineage,” Tafoya said. “I feel like when I come home is when I make the most important art.”
Maney, an artist who works with the museum, resolutely conveyed to the audience that she not only finds inspiration from objects she works with every day but from women within her community and other native communities, leading her to depict the intense femininity of indigenous women.
“Even still today, when you see the representation of native women it’s through MMIW (Missing and Murdered Indigenous Women),” Maney said. “It’s through a lot of trauma and tragedy we are a matrilineal society, and our women are strong. They are leaders and we can depict them in those ways, that there is more to them then all this intergenerational trauma.”
Inspiration can come from so much, but the overall message from these artists was that of the extreme importance of their communities, families and ancestral land. A point brought up by more than one artist during the discussion was that of evolution, that native art doesn’t need to be kept in the bubble of the past only to be done in a specific traditional way.
Cultures evolve, grow and mature with the ever-changing waves of social discord. The inevitably of growth and evolution are achievable without losing any meaning and substance. And, in the case of “Disruption,” these traditional roots are embedded within each artist’s practice.
Ceramic art by Lori Reed
Evolution doesn’t mean the end. It means growth, having places and people from these communities help guide that advancement. This will only encourage others to see the importance of creating work that continues to represent and uplifts what it means to be a Cherokee person living in the present world.
When asked what each artist would like the viewers to take away, more so community members rather than tourists, Swimmer communicated that he hoped that the museum does not revert to catering mainly to tourists and that it — along with the community — will continue to uplift the local artist and help facilitate these changes.
“What I’m advocating is that we are going somewhere else, let’s think what that title (‘Disruption’) means. You have to disrupt the status quo, that was the whole premise of my cartoon page was disrupting, changing and bringing out that we’re not one-sided,” Swimmer said. “We aren’t just one opinion and not just one person speaks on behalf of us — it’s up to us to disrupt the narrative and get a little uncomfortable at times.”
“When people and community members come through ‘Disruption,’ I want them to be curious. I want them to feel comfortable asking questions. I want community members to feel comfortable enough to take up space,” Cooper added. “We wouldn’t have all this without the struggle of our grandparents and parents. I want disruption to have that space to show that we don’t have to struggle to sell ourselves and our talents. We can uplift each other because we do see so much of that talent within us as a people.”
To disrupt is to grow, to outgrow the box in which we feel most comfortable. That does not come at the cost of tradition and lessons from the past. Sometimes we need to feel uncomfortable. We need to have that pause — the disruption in our lives, to allow something to evolve into something more.
The 32 artists represented in “Disruption” are taking on this role in various ways to contribute to moving forward, in a meaningful and impactful way that only adds and elevates other community members — now and in the future.
Want to learn more?
If you would like to tune into the “Disruption” panel, you can do so by visiting the Eastern Band of the Cherokee Indian website at ebci.com and clicking on the archived live streams.
To see a full list of the artists showing during the “Disruption” show at the Museum of the Cherokee Indian, you can visit the exhibits page at mci.org. The “Disruption” showcase will be running until September 2023.
Practicing Landscape Photography Locally Is Essential for Your Growth
Grand trips for landscape photography are exciting and can make it look like you’re really living the landscape photographer life. But practicing your landscape photography locally shouldn’t be underestimated if you want to improve your technical and compositional skills.
I like to travel as much as the next landscape photographer. I enjoy my trips cross country to photograph places outside my usual locations. Even regional trips that are just a handful of hours away are welcomed.
But if I only practiced my landscape photography on trips rather than locally, my photography skills would take much longer to mature. There are many advantages to practicing your landscape photography locally — no matter where you are!
Regular experience being outside taking pictures is one of the surest ways to improve your technical skills with the camera. You can also practice refining your creative eye when it comes to interesting compositions. Practicing locally allows you to do so more frequently and be more prepared for when you travel for your hobby.
Here are five reasons I think practicing locally positively benefits the landscape photographer.
Practice Technical Camera Skills
There is only one way to improve your technical skills with the camera. You can read book after book and watch video after video, but at some point, you need to put those lessons into practice. The best way to do that is to go outside and practice.
Practicing locally gives you many more opportunities to practice foundational photography skills — adjusting shutter speed, aperture, and ISO — and more advanced skills like exposure bracketing, focus stacking, and more. These don’t need to be portfolio-worthy images, but it does need to be time outside with the camera and deliberately practicing with it.
Once you have the basics of getting a good exposure and adjusting the settings to get that exposure, then you can practice doing exposure bracketing and getting a feel for how many stops of light difference you want to capture or learning how to focus stack so you aren’t missing an in-focus frame for blending later.
Practice until all of this is second nature. Learning these close to home allows you to experiment more and be more confident when you do travel to a far-off destination for your landscape photography.
An additional byproduct is you become more familiar with your camera. Whether that be button locations or little quirks of your camera — you can learn these locally to be better prepared for future travel.
Practice Creative Photography Skills
Similar to learning the technicals of photography, practicing locally affords more opportunities to practice the creative side of photography — primarily composition.
This is an area I constantly strive to improve in. I make mistakes all the time — take an image, looks good on the back of the camera but get home and I’ve made some error or not left enough room on one edge of the frame or have things protruding into the frame from the edges.
By practicing composition repeatedly locally, I can more quickly get those repetitions in and learn what works in an image and what doesn’t. Learning this close to home lets me apply it when I travel and hopefully capture more pleasing photos than if I only practice my landscape photography when I travel outside my local area.
Busy Schedule
Traveling for landscape photography can be challenging to fit into the schedule. At the very least, a long weekend takes me away from responsibilities at home, so these trips often need to be coordinated. Longer trips do the same but also tap into vacation time banks and even more family activities to schedule around.
If I were only to practice my landscape photography when I traveled, my growth as a photographer would be quite limited. But practicing locally lets me get out much more often. I can head out early in the morning, get the nice soft light of sunrise, and still be home for the rest of the day. Similar to the evening, when I head out after dinner and spend some time outdoors practicing.
If I only need to spend ten to fifteen minutes to get to a spot, I don’t feel back about only having an hour or two to be out. I can still get a lot done in that time.
Reduce the Expense
Traveling can be expensive; gas, flights, and a place to stay, it all adds up! To keep costs in check, one may only be able to make one big trip a year and maybe a weekend trip or two. Photographing near home is inexpensive. You don’t need a place to stay, you can often walk, bicycle, or take a short drive and start practicing.
Photography can be an expensive hobby, practicing your landscape photography locally can help offset some of that expense while still allowing you to enjoy the hobby.
Learn an Area
And finally, practicing your landscape photography locally lets you learn and experience an area over time. On big trips, I hope the weather conditions line up for incredible sunrises, sunsets, or nice light for the scene. If it doesn’t happen, then it doesn’t happen.
When practicing landscape photography locally, I can revisit an area and be more patient with capturing just the right conditions. I can start to notice smaller details that I might have overlooked before. I have more opportunities to refine my compositions for the perfect image if I continue to revisit an area.
I think practicing landscape photography locally is critical. How about you, do you visit your local areas to practice your technical camera skills and compositions? Let me know in the comments below!
Embark on a Chromatic Game of Pool With Nuevepies Monocolor Billiards
Gone are the days of the smoke-tinged green and wood billiard tables found in bars or in a friend’s basement. Nuevepies, a young and innovative company based in Barcelona, is redefining the world of billiards with their Monocolor billiards collection. Imagine a 9-foot pool table where every element, from the cloth to the pockets and legs, exudes a singular and refined hue, creating an awe-inspiring design that will elevate any space.
The monochrome trend continues to pop up in the interior design world, and Nuevepies has joined in with their contemporary modern pool tables. The Monocolor billiard table boasts a satin lacquered finish and Gorina cloth, resulting in a captivating design accentuated by the colorful balls. Each custom table is available in six colors – Pastel Pink, Fresh Green, Electric Blue, Black is Black, White Ibiza, and Silver Gray – and can be built to play either pool or carom billiards.
A drawer holds all the accessories one needs to play, including 4 two-piece cues, a set of Super Aramith Pro balls, a rack, and a box for chalk and cloth brush.
Nuevepies’ background is rooted in craftsmanship, combining the experience of manufacturer “Billares Córdoba” and creative direction of BD Barcelona. Fueled by their combined passion for contemporary design, Nuevepies has mastered the art of producing exclusive, high-end billiard tables that offer infinite possibilities for customization. The options for colors and finishes are endless, allowing you to find the perfect table that complements your style and interior decor.
Monocolor’s integrated electronics system powers LED lighting, game reset, and automatic shut-off.
To learn more about Monocolor billiards tables, visit nuevepies.com.
A New Seven-Foot-Tall Sculpture of a Young Queen Elizabeth II With Her Corgis Becomes the First Monument to the Late Monarch in England
The U.K.’s first official memorial to the late Queen Elizabeth II is in the works, and will be installed outside a public library.
Emotional Faces Fuse with Flora and Fauna in Abi Castillo’s Playful Ceramics
From the series ‘Sea Creatures.’ All images © Abi Castello, shared with permission
Oh, to be a flower allergic to pollen! In Abi Castillo’s playful ceramics, flowers sprout from the tops of expressive heads, blossoms sniffle, and vases contend with their contents—and the bees they attract. The Galicia, Spain-based artist creates characters that reflect her own experiences and emotions, becoming what she describes as alter-egos into which she can pour all of her feelings. She describes a “need to give life to objects, always looking for eyes to look at. That’s why faces are very important.”
Interested in the relationships between mysticism, drama, beauty, and the grotesque, Castillo imbues a growing cast of personalities with organic qualities, from coral to sprouting cheeks. She focuses on faces as a way to express humor or irony, and begins by making sketches that illustrate the final assembly. “The ceramic work is a slow process, where it is the clay that marks the drying times and where patience is very important,” she says. “The process can last from a few weeks to several months.”
Find more of Castillo’s work on her website and Instagram.
From the series ‘Drama.’ Photo by Sandra MG
Pieces from ‘Allergic Party.’ Photo by Emma Ovin
Flowers from the series ‘Allergic Party.’ Photo by Sandra MG
Photo by Sandra MG
Left: “A moco tendido.” Right: “Nómada con lunares”
“Nómada”
‘Drama’ series. Photo by Sandra MG
“Seres da noite”
Detail of “Seres da noite”
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 Emotional Faces Fuse with Flora and Fauna in Abi Castillo’s Playful Ceramics appeared first on Colossal.
Sony HT-AX7 Is Home Theater System Designed for Bedroom Binging
Convenience has a habit of inviting compromise, something certainly true when following the growing trend of watching movies and TV shows from the comfort of the bed, at the dining table, or anywhere you can bring a tablet or laptop. The biggest loss watching from a small screen is the generally poor audio sound emitted from a mobile device or even laptop. The Sony HT-AX7 is a clever and convenient response, a home theater audio system engineered to simulate 360-degree surround sound using just three battery powered speakers, nary a cord or cable in sight.
The HT-AX7 comprises three wireless speakers, one larger oblong main front firing unit about a foot long rated for 45 watts. Inside are two front firing speakers and two passive radiators on the side, with an emphasis on producing ample bass with a rectangular diaphragm design. The acoustic covered speakers are handsome and unassuming, and at this size and weight (3 lbs) the unit can be moved nearly anywhere around a room without becoming an intrusive eyesore.
Two additional large puck-shaped surround sound speakers are designed to charge wirelessly when placed on top of the main speaker, and can be placed anywhere within Bluetooth wireless range (approximately 30 feet) for watching content or just streaming audio.
If you’re wondering if these speakers are binge-session capable, no need to worry. At half the maximum volume, which should be sufficient if you’re seated or laying close to the speakers, the HT-AX7 will deliver 30 hours of audio playback with the simulated spatial sound effect on (Bluetooth doesn’t support real 360 Reality Audio or Dolby Atmos). Even if you do happen to drain the system down to zero, the speaker can be recharged in just 10 minutes to offer another 150 minutes of playback.
At $499.99, the Sony HT-AX7 is solid deal, noting even a comparable small sound bar with satellite speakers setup costs several hundreds of dollars more (albeit, delivering higher performance). For streamers and small space dwellers with a penchant for couch and bed surfing their queue, the Sony makes a compelling argument to compromise just a little less.
This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!
National Gallery of Australia hands back ninth-century Cambodian sculptures it believes were stolen
NGA investigation finds ‘on the balance of probabilities’ the three Cham sculptures bought from the notorious UK dealer Douglas Latchford were looted and sold illegally
The Best Lenses for Landscape Photography
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Picking out the perfect lens is very challenging. As landscape photographer Michael Shainblum explains in a new blog post, “Purchasing new lenses can prove to be overwhelming and stressful.” Shainblum breaks down the four crucial factors in selecting a new lens and offers landscape photographers options regardless of their budget.
Photographers should consider four crucial factors when selecting a landscape lens: range, price, quality, and weight. The range is the focal length range of a lens. The wider the focal length range, the more versatile a lens is for a diverse range of landscape photos.
Kickstarting Shainblum’s recommendations is the “budget hiker/backpacker kit.” This kit includes two lenses, the Sony FE 16-35mm f/4 G PZ lens and the Tamron 28-200mm f/2.8-5.6 Di III RXD lens. This kit offers focal lengths range 16mm to 200mm, which is suitable for nearly every landscape scenario. It is also a relatively lightweight kit that costs under $2,000.
A slightly more expensive kit that compromises a bit concerning weight is a pairing of the same Sony 16-35mm f/4 lens with the Tamron 50-400mm f/4.5-6.3 Di III VC VXD lens. This “budget kit” loses the 36-49mm focal lengths but adds 201-400mm.
For photographers with a massive budget, the “$$$” kit sets someone back nearly $7,000. The three lenses are the FE 12-24mm f/2.8 GM, Sony FE 24-105mm f/4 G OSS, and the Sony FE 100-400mm f/4.5-5.6 GM OSS. With focal lengths coverage from 12mm to 400mm, this premium kit does it all.
While that may be the best trio of landscape lenses money can buy, it is different from the kit that Shainblum himself uses. He shoots with an older Sony 16-35mm Vario-Tessar T FE f/4 ZA OSS lens, the Tamron 28-200mm f/2.8-5.6 Di III RXD, and the Sigma 100-400mm f/5-6.3 DG DN OS telephoto zoom.
All the kits Shainblum outlines, which include more than what is discussed in this article, include multiple lenses. What if a photographer wants just a single lens to do it all? Shainblum thinks the Tamron 28-200mm zoom is a great option. While it is not extremely wide by landscape lens standards, 28mm is plenty wide for many situations, and the lens is versatile, lightweight, affordable, and a strong overall performer.
Further, while Shainblum mentions lenses for Sony E-mount, the general “type” of lens in each of his kits exists for other lens mounts. While sometimes a lens is not precisely the same for other camera systems, similar lenses are readily available.
As Shainblum also explains, a great way to save money on any new photography equipment is to purchase it used. There are many places to buy high-quality used gear that has been professionally inspected and graded, including Adorama and MPB.
More of Michael Shainblum’s photography is available on his website and Instagram. His excellent YouTube channel is regularly updated with insightful new videos for photographers of all skill levels.
Image credits: All images © Michael Shainblum
A tea shop in Khartoum before the bombs: Ala Kheir’s best photograph
I moved to Khartoum, the capital of Sudan, at the age of five, and instantly fell in love with the river. The Nile snakes through the city, offering one of very few public places to escape the sweltering heat. It was always where I felt happiest as a child, and now as an adult.
The Halfaya Bridge, pictured here, is one of the newer bridges in the city. It connects two of the capital’s three main neighbourhoods: Omdurman, where I grew up and still live, and Bahri, to the east of the Nile. Under the bridge is a little tea shop, a common sight. It’s the perfect place to pause, relax, watch the world go by and catch the breeze blowing in over the water. The river is treated like a public space in Khartoum. The various classes and communities that make up the city all come here to chat and look out over the Nile. It’s a place where people come together in a city that can otherwise feel divided.
It took me a few trips to get this shot. I want every image I take to capture what I felt when I was in that place. Here, it was the sense of time stretching out ahead of you, and a feeling of peace and calm. It was part of a series documenting the river, but I like that in this image what’s most important isn’t the water itself but the space it offers for human relationships. I took the shot a year and a half ago. Then, just the other day, I came across it again. I was hit with a sense of nostalgia. Since conflict broke out in the city a few months ago, these spaces have been largely abandoned. It’s unthinkable that I could while away an afternoon there now.
Khartoum is not the same place we all lived in. When I started the river series, I was documenting life in the city as I lived it. But now that is history. Many people have fled and places like this cafe sit empty. The shot commemorates a happier time when Khartoum was still at peace. Even if the conflict calms down, I don’t think it will return to how it was. What scares me is that the fighting is shifting from political oppositions to tribal ones, which are much more complicated to solve. It’s what happened in Darfur, my birthplace, 20 years ago. It feels as if history is repeating itself.
I think we in Sudan have so many social issues that could be resolved through art. We need to talk about both our differences and our similarities as people. So many of Sudan’s issues relate to questions of identity, how different groups live together and how different classes interact. I want my photography to be a way to have conversations. This image commemorates one of the places where such interactions were possible.
As a self-taught photographer, the way I take pictures has changed a lot. I’m no longer looking only for a beautiful image, I’m looking for a specific feeling. I want each image to capture an essence of a place. Photography has changed me: taking pictures of Khartoum has made me a much better observer of it. I understand the city more deeply.
To be an African photographer who photographs Africa is not always easy. In the case of Sudan, because the country has experienced many years of conflict in various forms and various places, sometimes that is all the outside world sees of us. Of course, those things matter – I don’t think our conflicts are well enough understood and it’s essential that they are. But there is a world beyond conflict here that is rarely seen. I think it’s the role of artists and photographers to tell stories that journalists don’t reach, to produce a counter narrative – showing the joy and beauty of this place and its people, not only its suffering.
Ala Kheir’s work is part of Reframing Neglect, in partnership with the Africa Center, Harlem, New York, 3 August to 5 September, then at Cromwell Place, London, 26 September to 8 October.
Ala Kheir’s CV
Born: Neyala, Darfur, Sudan, 1985
Trained: “Self-taught. But I was lucky to attend many masterclasses in Africa.”
Influences: “Robert Adams, Akinbode Akinbiyi, Eugène Atget.”
High point: “Going out in beautiful weather with two fresh roles of Kodak Portra 400 film.”
Low point: “Thinking about what is going on in Sudan now.”
Top tip: “Photograph what you feel. It will make your photography unique.”
