Fumi Nagasaka’s Portrait of Beauty in America’s Rural South

Fumi Nagasaka’s Portrait of Beauty in America’s Rural South

After a trip to America’s rural south in the thick of the 2016 elections, Fumi Nagasaka turned to “photography as a tool to show this appreciation for life”

November 20, 2023

There is a startling honesty to Fumi Nagasaka’s work that can take you aback. Bare feet emerge from underneath a blanket, pale with illness. Two teenage girls sit on a mattress, faces deadpan as they hold a rabbit underneath a hairdryer. A churchgoer with a black eye sits in his Sunday best: eyes rapt in exaltation, or perhaps contrition. The New York-based photographer’s new book Dora, Yerkwood, Walker County, Alabama, is filled with images that capture a sense we are intruding on a private moment.

It comes as a surprise to know that when Nagasaka began this project in 2017, she was a disillusioned editorial photographer, worn down after years in New York’s fashion scene. “Being in the industry is really hard. It’s just, like, so stressful,” Nagasaka admits over a video call interview from her home in Brooklyn. “I kind of lost the reason why I started.”

Then an unexpected trip to America’s rural south in the heat of the 2016 elections reignited her love for photography. Following an invitation to visit her friend Tanya Rouse’s hometown, Nagasaka travelled to Walker County, Alabama, where she was struck by a different kind of beauty – worlds away from her home in New York, and reminiscent in some ways of the small Japanese town she grew up in. “When I got there, I was in shock. [The] lifestyle was so different. It’s a rural small town. And I started to learn a lot.” Despite their different cultural backgrounds, Walker County’s locals welcomed her with warmth and kindness, opening their lives and homes. “I thought, ‘Oh, this is why I started photography – because I love connecting with people.’ I love to use photography as a tool to show this appreciation for life.”

Nagasaka is full of stories about the friendships she developed with numerous locals over the six-year duration of this project. “My book is about the celebration of a small community, a love letter to (them) from me,” she says. She recalls a particular family who crop up frequently throughout her photos. In one, a boy practises the trumpet in his backyard, the setting sun casting his shadow against flaking paint. “There’s five siblings, and they were kind of going through very hard financial times. But they were always so happy to have each other. Every day in the front yard, they’re playing from dusk till dawn. And I was so inspired by the love between the siblings and family.” While Nagasaka admits that there is a sad truth to the hardships faced by Walker County locals, she also says, “I was inspired by how they’re so positive. They’re just living (these lives) full of love and happiness.”

Dora is in many ways a reflection of Nagasaka’s eye for unexpected beauty. She was struck, for instance, by the front porch that belonged to her friend’s aunt, who couldn’t understand why. “I didn’t see it as a broken thing. I saw it as … it was an amazing, beautiful moment with the light coming through the trees, hitting the tricycle. And then [there] was a broken couch. But it had a pattern, the fabric was an old flower pattern or something and it kind of matched with the background of the tree.” Nagasaka was charmed by Walker County, and all its idiosyncrasies.  

Her photos are in themselves an appreciation for small delights and raw realities. Simulating how she would often talk to her subjects, Nagasaka says, “I want to photograph how you are, and where you live. And that’s like, you know, a beautiful moment. So I have to explain [this] to them, to catch a moment of themselves being themselves.” Dora, Yerkwood, Walker County, Alabama is an intimate and moving ode to one county’s unique charms, but primarily it’s a celebration of connection, and the joy that can be unearthed when one stays alive to it.

Dora, Yerkwood, Walker County, Alabama by Fumi Nagasaka is published by Gost, and is out now. 

Drägerwerk AG & Co. KGaA : Notification pursuant to Art. 5 (1) and (3) of the Regulation (EU) No 596/2014 and Art. 2 (2) and (3) of the Delegated Regulation (EU) 2016/1052

Drägerwerk AG & Co. KGaA :  Notification pursuant to Art. 5 (1) and (3) of the Regulation (EU) No 596/2014 and Art. 2 (2) and (3) of the Delegated Regulation (EU) 2016/1052
image

EQS-News: Drägerwerk AG & Co. KGaA

/ Key word(s): Miscellaneous

Drägerwerk AG & Co. KGaA: Notification pursuant to Art. 5 (1) and (3) of the Regulation (EU) No 596/2014 and Art. 2 (2) and (3) of the Delegated Regulation (EU) 2016/1052

20.11.2023 / 12:18 CET/CEST
The issuer is solely responsible for the content of this announcement.


Notification pursuant to Art. 5 (1) and (3) of the Regulation (EU) No 596/2014 and Art. 2 (2) and (3) of the Delegated Regulation (EU) 2016/1052: Purchase of own shares – final notice

In the period from 4 October 2023 to 17 November 2023 (inclusive), a total of 80,460 preferred shares were bought back within the framework of the share buyback of Drägerwerk AG & Co. KGaA (“Dräger”). In accordance with Art. 5 (1) of the Regulation (EU) No 596/2014 and Art. 2 (1) of the Delegated Regulation (EU) 2016/1052, the start date of the buyback was announced for 4 October 2023 on 2 October 2023.

The share buyback is completed.

The acquisition of the preferred shares served the purpose of fulfilling obligations relating to an employee stock program within the meaning of article 5, paragraph 2 (c) of the Regulation (EU) No 596/2014. The Executive Board also had the opportunity to acquire additional shares by converting part of its variable compensation under the program.

A bank mandated by Dräger conducted the buyback of the Dräger preference shares exclusively on a stock exchange.

In the period from 4 October 2023 to 17 November 2023, the daily number of preferred shares bought back, weighted average share price and aggregated volume totaled:

Date Total number
of shares
bought back
Weighted average
share price
(EUR)
Aggregated
volume
(EUR)
10/04/2023 1,761 43.40 76,423.75
10/05/2023 634 44.18 28,008.75
10/06/2023 2,022 44.36 89,688.45
10/09/2023 1,951 44.53 86,870.15
10/10/2023 1,307 44.72 58,443.40
10/11/2023 2,024 44.43 89,930.15
10/12/2023 2,030 44.71 90,768.10
10/13/2023 1,555 44.17 68,687.10
10/16/2023 1,696 44.15 74,872.75
10/17/2023 309 47.85 14,786.40
10/18/2023 2,659 48.66 129,375.80
10/19/2023 2,852 48.97 139,653.25
10/20/2023 2,960 48.85 144,582.85
10/23/2023 3,181 48.96 155,756.35
10/24/2023 3,043 48.14 146,482.45
10/25/2023 3,318 47.65 158,106.65
10/26/2023 1,824 47.45 86,540.95
10/27/2023 2,823 47.28 133,471.15
10/30/2023 1,429 47.47 67,832.15
10/31/2023 1,421 47.56 67,588.00
11/01/2023 3,525 47.82 168,549.20
11/02/2023 3,544 50.34 178,414.15
11/03/2023 4,055 51.03 206,929.30
11/06/2023 4,097 51.34 210,360.30
11/07/2023 4,161 50.83 211,513.60
11/08/2023 4,282 51.70 221,358.30
11/09/2023 4,347 52.58 228,545.30
11/10/2023 4,414 52.94 233,670.70
11/13/2023 2,025 53.71 108,761.10
11/16/2023 3,984 54.66 217,782.00
11/17/2023 1,227 55.75 68,409.30
Total 80,460   3,962,161.85

In accordance with Art. 5 (1) and (3) of the Regulation (EU) No 596/2014 and Art. 2 (2) and (3) of the Delegated Regulation (EU) 2016/1052, information about the transactions is available on the Company’s website (www.draeger.com) in the Investor Relations section (www.draeger.com/en_corp/Investor-Relations/Share).

Lübeck, Germany, 20 November 2023

Executive Board
Drägerwerk Verwaltungs AG, acting as the general partner of
Drägerwerk AG & Co. KGaA

Moislinger Allee 53–55
23558 Lübeck, Germany
www.draeger.com


20.11.2023 CET/CEST Dissemination of a Corporate News, transmitted by EQS News – a service of EQS Group AG.
The issuer is solely responsible for the content of this announcement.

The EQS Distribution Services include Regulatory Announcements, Financial/Corporate News and Press Releases.
Archive at www.eqs-news.com


RISD Pre-Collegiate Programs Are Now Enrolling for Summer 2024

RISD Pre-Collegiate Programs Are Now Enrolling for Summer 2024

Artwork by RISD Pre-College student James A.

Rhode Island School of Design has opened registration for its residential summer Pre-College program and year-round online intensive Advanced Program Online.

At Rhode Island School of Design (RISD) Pre-College, rising high school juniors and seniors can experience life as a RISD undergrad and work alongside hundreds of other creative, highly motivated students who will inspire them to push their limits and produce their best work. Students will follow a college-level curriculum inspired by the RISD first-year experience with day-long studio classes, visits to the Nature Lab and RISD Museum, critiques, and projects that will forever shape how they approach art and design. Outside of the studio, students can participate in trips and events throughout Providence and beyond. Summer 2024 runs from June 29 through August 3.

To apply for the RISD Pre-College residential summer immersive, visit precollege.risd.edu/program-overview.

RISD’s Advanced Program Online is a year-round online intensive designed for high school students interested in pursuing art and design in college who want to learn best practices in developing their work. This series of college-level courses for students in grades 10 to 12 calls on creative young people to access a more ‘flexible mindset’—applying art and design methods to chart new territories of creation and problem-solving. The Spring 2024 term runs from March 2 to May 12, and the Summer 2024 term runs from June 22 through August 18.

To register for RISD’s Advanced Program Online year-round intensive, visit precollege.risd.edu/advanced-program.

Whether on-campus or online, students will participate in courses led by reputable teaching artists, learn to manage time and self-motivate, and develop concepts, sketches, and finished pieces that can be included in or inform their college applications. Both programs are designed to not only help students build portfolios but also develop as artists and individuals.

Learn more and compare programs at precollege.risd.edu/compare-programs.

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 RISD Pre-Collegiate Programs Are Now Enrolling for Summer 2024 appeared first on Colossal.

Indigenous Scholar Weaves ‘Futures of Flourishing’

Indigenous Scholar Weaves ‘Futures of Flourishing’

The sun-drenched lab on the fourth floor of Susquehanna
Hall is anchored by a large wooden table that will host projects and
events from feasts and crafting workshops to a speaker series—all
centered on Indigenous knowledge. The room features colorful art, a
weaving loom, crafting supplies and bundles of tobacco, sage and
sweetgrass.

“In this lab, we’re here to use our privilege and access to
honor and serve local Indigenous communities in their struggles for
justice and to co-create futures of flourishing,” said Meissner, who is
also Cupeño. “That requires tools to build community and have
conversations.”

Though Meissner’s ancestors are from California, she was
raised in New Mexico and Arizona after her family moved to work for the
U.S. Bureau of Indian Affairs. She received her Ph.D. from Michigan
State in 2019 and then moved to Washington, D.C. to teach at Georgetown
University. After spending her life among Indigenous
communities—primarily Diné and Pueblo in the Southwest and Anishinaabe
in the Great Lakes, as well as her Luiseño and Cupeño family members—she
said she was surprised to find a “profound absence of Indigenous
voices” in the national capital region.

“I started thinking about how I could start lifting up the
voices of people whose land this is,” she said. “I drafted an
initiative, a strategic plan for a lab, and started talking about it to
anyone who would listen.”

[Who Owns the Sounds and Images of Native People’s Pasts?: UMD Faculty Members Work to Reunite Native People With Archival Materials]

Meissner was recruited to the university this year as part
of UMD’s FAMILE initiative, a $40 million investment to help attract
tenure-track faculty from diverse backgrounds. She will begin teaching
classes next semester in Indigenous feminisms and Indigenous aesthetics.

Neda Atanasoski, professor and chair of the Harriet Tubman
Department of Women, Gender, and Sexuality Studies
, said the department
was immediately drawn to the idea of creating the lab.

“It’s essential that we’re really paying attention to how
the work that we do can affect for the better not just the lives of our
students but also beyond—into the community,” Atanasoski said. “What’s
so exciting about the lab is that it can be this kind of hub for
bridging Indigenous community activism with students and faculty.
Hopefully, this is just the beginning of a more robust Indigenous
studies presence on campus.”

Indigenous research and evaluation practices often counter
Western approaches. For instance, methods like storytelling, ceremonies
or art creation are used to ground research in tribal knowledge and
worldviews. When knowledge is offered, such as from an elder, it’s
common practice for researchers to offer traditional medicines in
exchange.

students gathered around a table with woven baskets and crafting materials

From left, UMD students Nelly Cooley, Eva Stavisky, Briajah Blackwell and Anika Reddy, Britney Bibeault and Xandie Iti Luskabi look for inspiration for their beaded projects at the Indigenous Futures Lab.

Meissner was recently recognized by the National Science
Foundation (NSF) as an Ocean Decade Champion for her work with
Indigenous communities in the Great Lakes region, where she has focused
on water rights, dam removal and more. For instance, she and her team
developed novel ways to evaluate an NSF project to monitor wild rice ecosystems that takes into account the land, animals, plants and other “relatives.”

Last month, 20 students, faculty members and staff showed
up for the Indigenous Futures Lab’s first workshop in a “Bead, Weave and
Read” series. Meissner said she was heartened by the group’s openness
to learn the tradition of beadwork, and even more so their willingness
to talk—about crafting, creativity and honoring their family members and
friends through their pieces. Meissner comes from a family of basket
weavers.

“We often say that when you hold a single basket made in an
Indigenous community, you’re holding something that overheard so much
storytelling—so much knowledge,” she said. “That’s what I want to create
here.”

Other ongoing events in the lab include a “Decolonizing Death Café
to build community around Indigenous death and grieving practices, a
faculty consortium to explore “Black and Indigenous Environmental
Futures,” and a speaker series.