This festive community event features the art of Diana Gubbay, David Gesualdi, David Daignault, Frank Kara, Jim Felice and others.
Opening reception at Big Bunny Gallery on November 25 from 5-7 pm with finger food, wine, beer and other drinks provided by La Zingara restaurant.
Gallery will be open December 2&3, 9&10. 16 & 17 and 23.
Learn more http://www.bethelartsct.org/event/holiday-art-market-give-the-gift-of-art-this-season/
Bailey grew up in Atlanta and his early inspirations included visits to the High Museum and classes at the Atlanta College of Art.
ATLANTA — Radcliffe Bailey, an internationally renowned artist from Atlanta whose works highlighted the Black experience historically in America and explored the broader experiences generally of the African diaspora, died this week at 54 years old.
His death reportedly came after a battle with brain cancer.
Bailey grew up in Atlanta, and attended Mays High School. His early inspirations included visits to the High Museum and classes at the Atlanta College of Art.
In 2011 he was featured at the High, one of his most significant exhibitions to that point, for “Radcliffe Bailey: Memory as Medicine.” The museum at the time described his themes that probed “American history and memory to encourage healing and transcendence through art.”
He was known in part for the use of common objects in his installations, including the keys taken from 400 pianos that punctuated his famed work “Windward Coast.”
“Bailey harmonizes an intuitive balance of world history and familial memory,” the High Museum noted in 2011. “Through exploration of the past, the present, and the unknown, Bailey layers meaning into his art by layering objects.”
“A lone head, painted glittery black, bobs in this expanse, suggesting isolation and the trauma of the slave trade as well as recent natural disasters,” the New York Times’ Hilarie M. Sheets wrote of Windward Coast in 2011, noting that Bailey also found a way to “(fuse) pain with transcendence.”
He told The Times of the piece: “I think about all the music that was probably played on those keys. An ocean is something that divides people. Music is something that connects people. Duke Ellington or Thelonious Monk — it’s a different sound that takes you somewhere else. It’s also about being at peace.”
In a statement, Atlanta Mayor Andre Dickens said Bailey had for decades “shaped Atlanta’s cultural landscape through his own unique, creative genius.”
“While often bringing the intersectionality of ancestry, race and art to the forefront of a discussion, his talent was both personal and accessible to our community,” the mayor said. ““I had the privilege of visiting with him Friday to express Atlanta’s gratitude for all his contributions to our city. Our Administration has been working with his family and team on a fitting way to honor his incredible life and legacy, and we look forward to sharing those details in the near future. My thoughts are with his family and all who knew and loved him.”
Atlanta Public Schools said it was “sending sincere and heartfelt condolences to the family and friends of world-renowned artist and Mays HS graduate Radcliffe Bailey, who passed away earlier this week.”
“While we mourn his passing, the impact this proud Raider made on the art world will live on forever,” the school system said.
Of his hometown Atlanta, Bailey said in a 2011 gallery interview: “Atlanta has this interesting past that makes you want to dig deeper and understand what was once there, even though it may be covered. Sherman burnt down the city. They say when you want to get rid of something, you burn it, but you don’t really get rid of it. I can look out my back door and see a lot.”
According to reports, his is survived by his wife Leslie Parks Bailey, who appears in the photo above this article, as well as his two children Olivia and Coles.
“Glue-hardening process,” Book 9, Folio 64v, Artist K. All images courtesy of The Getty
In 1577, Franciscan friar Bernardino de Sahagún finished a monumental encyclopedia of Mesoamerican culture. Working in collaboration with Nahua writers, artists, and elders, Sahagún documented life in the Aztec empire around the time of the Spanish conquest, together creating nearly 2,500 illustrations and 12 books recording the daily practices and culture of 16th-century Mexico. The text is widely regarded as one of the most important resources of Indigenous knowledge, especially considering most history is derived from colonial perspectives.
The Getty Research Institute recently released a digitized version of La Historia General de las Cosas de Nueva España, which is best known as the Florentine Codex—this name comes from the text’s mysterious storage in the Medici family libraries for centuries. Although the Library of Congres and UNESCO’s Memory of the World have offered scanned iterations of the books since 2012 and 2015, respectively, this edition is the most widely accessible because of its searchable interface and additional context.
Organized by topic, text, and images, the new platform contains both the original Nahuatl and Spanish writings alongside English translations. In a conversation with Hyperallergic, Kim Richter, a researcher leading the project, described the dual texts as complementary and offering unique perspectives on the same events. Although the manuscript was originally thought to lack “aesthetic value…Today, we see them as an important testament of a tumultuous period in Mexico in the early decades following the conquest of Mexico,” Richter says.
The books, which begin with gods and rituals and end with conquest, are available to view page-by-page, with special sections devoted to deities, animals, and other aspects of everyday life from tamales and cacao to coyotes and chapulin, or grasshoppers. Included are Nahua ritual calendars, depictions of midwives attempting to heal those suffering from a grim smallpox outbreak, and the omens and horrors that accompanied the Spanish invasion.
Since launching earlier this month, the Florentine Codex has already inspired a video game set amid the aftermath of the 1520 Toxcatl massacre. The Getty also plans to release additional resources in conjunction with the digital archive, which provides a necessary addendum to colonial history.
“Metztli icualoca: lunar eclipse,” Book 7, Folio 7r, Artist N
“Disguised merchants in Tzinacantlan,” Book 9, Folio 18v, Artist N
“Papalomichin and Ocelomichin,” Book 11, Folio 62v
“Xicalpapalotl,” Book 11, Folio 100r
“Macuilocelotl,” Book 9, Folio 58r
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 Getty Digitizes a Rare 16th-Century Manuscript from Indigenous Mexico appeared first on Colossal.
Thomas Hennessey is a part-time photographer based in Mechanicsville. He recently received an honorable mention for his photo, “Bear Rocks Preserve,” in the Adult Landscapes category of the Jamestown, New York, Audubon Community Nature Center 2023 Nature Photography Contest. Last week, he spoke with Mechanicsville-Ashland Local staff writer Payton Kifus about being recognized for his work and his journey to becoming a photographer.
Kifus: Are you currently a full-time photographer?
Hennessey: No, I’m not. I am an amateur photographer, it’s my retirement hobby.
I read that you have a degree in biology, what inspired you to pursue photography as well? Did that play into your interest in nature photography?
It did. I did a little bit of photography in college, actually, with some of the things we were doing in biology. We had to take photos of things. We were using an electronic microscope and so you end up with a photograph that you had to then develop and print, and I thought that was interesting. After college, while I was working, I decided to pursue photography part-time. I went to the Art Institute of Pittsburgh to study photography at night school. That was back in the 35 millimeter days and for awhile I had a dark room at home that I used to do all of that. I ended up eventually taking a job where I was traveling pretty much full-time, so the photography fell to the wayside.
What drew you back into it?
I often would carry around a little digital camera with me when I traveled, just to help me with my job and take pictures of things that I was doing for my reports. Then, back in about 2011, I was at a friend’s house and they had just had their house remodeled, and he had asked me to take a couple of pictures of him and his wife. He handed me his Canon digital 35 millimeter camera and I was like, “Oh, this is pretty nice. I kind of like this,”. So, I thought maybe I could get back into this. I bought one of my own back in 2011 and I’ve been working at it ever sense.
I was reading your profile and I saw that you prefer minimal editing. What led to this preference?
Well, the goal is to take a photograph that right out of the camera doesn’t need anything. Back when I was doing the 35 millimeter, when I did a lot of color work, I was doing color slides. With color slides, you send them off to be developed, you get them back and then you have what you have, there was no post-processing. So, I kind of like, as much as possible, to get the result without having to do a whole lot to it. I mean, I will edit, I’m pretty good with Lightroom [photo editing software]. However, what I don’t like is when people do so much photo shopping and you can’t tell what a real photograph from what’s fake is. I see people with photographs where it’s obvious that they took a picture of something, like the sky, and then they take that sky and edit it into another photo. It’s a nice image, but it’s not what I want to do. I want to take a picture with the sky that’s there at the time. Sometimes it works out, and sometimes it doesn’t. You’ve got to do the best with what you can and try other things.
What drew you to Crossroads Art Center?
Back after I bought my camera, I was taking these photographs and a friend of my wife’s mentioned Crossroads Art Center and another place where they have art shows. I thought, “Well, that’s interesting,” so I entered what they call their Media Show. They happen about every two months and it includes photography, painting and sculpture. Back in 2012, I entered one of their shows and a print I had was accepted and it sold. I thought that was a pretty cool thing, so I continued entering the shows and a lot of that is because it drives me to try to do better. They’ve gotten bigger and more and more people entering the shows and I still enter. I have a piece that was accepted for the September show and won second prize. So, you know, I’m happy about that and doing that. I now have a space at Crossroads where I sell my photography.
You recently received an honorable mention in the Audubon Nature Photo Contest. What sparked your interest in submitting your work there and what was that experience like?
A friend of mine had sent me a link to it and I thought, “Hey, that looks good,” so I entered. Then I heard from them that I received an honorable mention and that felt good to be recognized. I enjoy entering contest and I got to be the judge for one as well. I know it’s a very difficult thing to do because the judge is always wrong. Everybody who has entered a contest has experienced going and seeing something that won and thinking, “Oh, that’s not the best in the show,” because everyone has a different take on it. I felt very much that way when I judged a show a few years ago. It’s stressful. There’s a lot of things here and every time I look at them I have a different opinion of what I think is the best. So, I was aware of that going into it, but it’s always nice to be recognized. Whether it be first place, second place, honorable mention, it’s nice to have the recognition on something you worked on. You get a sense of accomplishment with it.
What is the story behind the photograph that received the honorable mention?
The photograph I took is a sunrise at Bear Rocks Preserve, which is an area in the Dolly Sods Wilderness in West Virginia. I went there with my wife a few years ago. It’s a really nice rocky place. We didn’t get there until mid-morning the first time we went there, so the sun was up in the sky, but I could tell from where I was that that would be a really nice location for a sunrise. Last year, we went back there and I knew I wanted to go back to that spot for sunrise. It takes about an hour to get there from where we were staying and the sunrise was supposed to be at about 7 a.m., which means having to get there at 6:30 a.m., so we left around 5 a.m. to drive there. The last five miles are up a steep and windy gravel road, and when we were about a mile from where we needed to get, there was a tree across the road that had blown down during the night. My wife and I had managed to drag the tree off the road so that we could continue to get where we needed to get. We eventually set up and got to see a very nice sunrise. I took some photographs from different angles and that one I was very happy with.
Hennessy will have another piece of his work featured at the Crossroads Art Center show on November 17. To see more of his work, visit https://tomhennessy.zenfolio.com/all-photographs
For more information about Crossroads Art Center, visit https://www.crossroadsartcenter.com/.
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Sewn into the day lit public volume of Shigeru Ban’s unassuming “Metal Shutter House” tower is L’SPACE gallery, the new headquarters for New York Textile Month (NYTM) and host to its recent event FIBRATION – a group exhibition presenting a patchwork of seminal pieces from artists embracing textiles as their primary medium. The showcase revealed a post-pandemic yearning for tactility that cannot be derived from most two-dimensional artifacts or other forms of conventional fine art.
My earliest discernible memory of color – and graphic design – dates back to childhood when I watched my mother change the commercial printer inks on equipment for her graphic design business. I vividly recall the fluids’ deep hues and the slight vinegar odor they omitted, not to mention my amusement with Pantone Formula Guides. So when Pantone Color Institute and Valentino launched this capsule collection I knew I had to own a piece of graphic design history – my purchase included the thermo steel drinking bottle and pencil cup.
The LOVE GOOD COLOR® Toolkit
The brainchild of award-winning designer and color savant Laura Guido-Clark, LOVE GOOD COLOR is a proprietary methodology that discerns color’s influence on consumer and designer choices through emotions. Her practice empowers designers to use impact when considering color for product or environments.
The Tall Column Chairs by Micah Rosenblatt are available in 38 or 60 inch seat back heights.
I delight in the silhouettes of Micah Rosenblatt’s Column Chairs. His use of metal to trace the outline of the form rather than its volume pays homage to the Ionic order while being grounded in the contemporary. The welded steel chairs are available in two sizes and when positioned down a long dining table give the illusion of a colonnade.
A designer myself, I am constantly in awe of the brilliant imagination exercised by my peers – especially when it is daring or defiant. Sophie Parker is the Brooklyn-based artist and creative director behind these works specializing in plant-based compositions. The mix of natural ephemera, paint, and the passage of time makes each arrangement’s fleeting existence that much more romantic.
