RMCAD is proud to host students, artists and the community to come together in a cooperative event to celebrate the art of printmaking!
Steamroller Print Event
Brazilian photographer Sebastiao Salgado is known in particular for his work in the Amazon
Keep it Clean. Please avoid obscene, vulgar, lewd,
racist or sexually-oriented language.
PLEASE TURN OFF YOUR CAPS LOCK.
Don’t Threaten. Threats of harming another
person will not be tolerated.
Be Truthful. Don’t knowingly lie about anyone
or anything.
Be Nice. No racism, sexism or any sort of -ism
that is degrading to another person.
Be Proactive. Use the ‘Report’ link on
each comment to let us know of abusive posts.
Share with Us. We’d love to hear eyewitness
accounts, the history behind an article.
Tali Weinberg Entwines Human and Ecological Health with Climate Data Sculptures
Detail of “Bound (1.6).” All images © Tali Weinberg, shared with permission
Anyone who’s tried to untangle a ball of yarn understands that fibers have a habit of knotting in ways that can seem impossible to unwind. These twisting, interlaced qualities ground much of Tali Weinberg’s fiber-based work as she pulls at the individual threads of our changing climate, using abstract weavings and textile sculptures to explore the inextricable nature of the crisis and the necessity for human intervention.
The Illinois-based artist begins with data from the National Oceanic and Atmospheric Administration that she translates into visual works using organic and synthetic materials. “These weavings and coiled sculptures are not data visualizations,” Weinberg notes. “Rather, I use the data as a scaffold, choosing materials, patterns, and colors to evoke places and add the social-political dimensions of the climate crisis back into the story the data tells.”
Installation view of “Heat Waves/Water Falls” (2023)
“Heat Waves/Water Falls,” for example, wraps naturally dyed cotton threads around plastic medical tubing, which dangles from a horizontal pole. Made during 2023, the hottest year on record, the sculpture incorporates the annual average temperatures for 18 major river basins in the continental U.S., data that corresponds to the thread colors. It also tethers environmental health to that of people. The artist elaborates:
As the pollution from human life on land runs downstream, watersheds become one window into the interdependence of ecological and human health. While the plastic medical tubing is an expression of the buildup of toxic plastics in our bodies and waterways, wrapping and bundling these tubes by hand becomes an expression of care for our interconnected lives.
“Heat Waves/Water Falls” is one of about 30 works on view at Denver Botanic Gardens for Weinberg’s solo show, The Space Between Threads. The exhibition focuses on the ongoing Climate Datascapes series, which she began in 2015 to better understand the climate crisis and to add an emotional, embodied tenor to sterile, even abstract science. Today, Weinberg considers the series a way of “seeking out and re-weaving otherwise obscured relationships—relationships between climate change, water, extractive industry, illness, and displacement; between disparate places; between personal and communal loss; between corporeal and ecological bodies; and between art, science, and social change.”
If you’re in Denver, you can see The Space Between Threads through June 9. Find more from Weinberg on Instagram. You might also enjoy The Tempestry Project.
“Heat Waves/Water Falls” (2023)
“Heat Waves” (2023)
“Silt Study: Lower Mississippi River Basin” (2021)
Detail of “Silt Study: Arkansas White River Basin” (2021)
Installation view at Denver Botanic Gardens. Left wall: “Silt Studies” (2021). Back wall: “Fissures” (2018). Pedestal: “Bound (1.6)” (2017-2024)
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 Tali Weinberg Entwines Human and Ecological Health with Climate Data Sculptures appeared first on Colossal.
Intimate Photos of Kurt Cobain and Courtney Love’s Family in the 90s
This post may contain affiliate links. If you make a purchase, My Modern Met may earn an affiliate commission. Please read our disclosure for more info.
In the 30 years that have passed since Kurt Cobain’s death, the myth around him has only grown. Regarded as a genius musician and a misunderstood artist, many forget about the real man behind the success of Nirvana. One of the most revealing displays of this was a 1992 photoshoot by husband-and-wife photography duo Russell Peacock and Constance Hansen—together known as Guzman—who captured Cobain, his wife Courtney Love, and their daughter, Frances Bean, in the intimacy of their home. Now, powerHouse Books will publish a new book featuring never-before-seen images from this shoot.
In 1992, Kurt Cobain and Courtney Love were at the height of their fame. They were the leads in two of the biggest rock bands in the world; he was in Nirvana, while she was in Hole. Hoping to share a different, more domestic side to them, Spin magazine tasked Guzman with shooting a cover story. And so, the couple made their way to the musicians’ home in Hollywood.
However, the shoot didn’t go according to plan. The hair and make-up team were asked to leave for bringing up the negative press, and Cobain just wouldn’t get ready or leave the bed. Rather than call it off, the photographers made their way to the bedroom, and took the images there. The photographers later admitted this was what they were hoping for. By capturing them in their pajamas while playing with their daughter, they showed an opposite perspective to the rockstar lifestyle they both led.
Five images taken that day were published in the December edition of Spin, which celebrated the year in music. The now-iconic cover sees Cobain in bed, carrying his daughter in one arm while Love rests on his other shoulder. The story was titled “Family Values”—a name shared with the new photography book that will include all 90 images from the shoot; as well as two essays from Michael Azerrad, author of Come As You Are: The Story of Nirvana and a friend of Cobain; and Guzman, who tells the story behind these images.
“Kurt Cobain and Courtney Love picked a heck of a time to have a baby,” writes Azerrad. “Their daughter Frances was born on August 18th, 1992, the day before the 1992 Republican National Convention’s ‘family values night.’ The Republican Party was hell-bent on denouncing heathen libertines, a.k.a. Democrats, and so ‘family values,’ wrote The New York Times columnist William Safire, became ‘the G.O.P.’s political attack phrase.’”
But the conclusion hits closer to home. “There are many good ways to be a family,” reflects the author. “In 1992, that was a difficult thing for some people to get their heads around, and it still is. But, as these very moving photographs demonstrate, there is only one true family value, and that is love.”
Family Values: Kurt, Courtney & Frances Bean comes out June 4, 2024. You can preorder a copy on Bookshop and Amazon.
PowerHouse Books will publish a new book featuring never-before-seen images of Kurt Cobain and Courtney Love’s family life.
The 1992 images were taken by husband-and-wife photography duo Guzman, who captured Cobain, Love, and their daughter, Frances Bean, in the intimacy of their home.
Five images taken that day were published in the December edition of Spin, but the new book will feature all 90 of them.
By capturing Cobain and Love in their pajamas while playing with their daughter, Guzman showed an opposite perspective to the rockstar lifestyle they both led.
powerHouse Books: Website
My Modern Met granted permission to feature photos by powerHouse Books.
Related Articles:
Book Reveals Hundreds of Frida Kahlo’s Fascinating Personal Photography Collection
Paul McCartney’s Photos Documenting The Beatles’ Rise to Stardom Coming to the Brooklyn Museum
Photography Collective Highlights Washington State’s Beautiful Vistas in New Book
Artist Paints Blue Portraits To Celebrate the Legacy of Hispanic Artists and Pop Culture Legends
Still Photography is Focus of New May AC
Our May 2024 issue of American Cinematographer presents a special focus on ASC members’ still photography; coverage of the nominees for the inaugural ASC Music Video Award; a photographic recap of the 38th Annual ASC Awards; and a look at the art of on-set still photography.
Inside:
President’s Desk: ASC President Shelly Johnson discusses ways in which still photography has informed his work ethic and instincts.
AC presents three galleries of Society members’ still photography: People, Places and Still Life.
Cinematographers Jon Joffin, ASC; Scott Cunningham, ASC; and Andrey Nikolaev discuss working on their ASC Award-nominated music videos: Jon Bryant’s “At Home” (Joffin), Little Simz’s “Gorilla” (Cunningham) and Cassie Marin’s “Tanto” (Nikolaev).
A photoessay celebrating the 38th Annual ASC Awards shines a light on a festive weekend.
Shot Craft: A look at the skills and approaches that help create good set photography, including examples and tips.
Wrap Shot: Threshold, a still by Alice Brooks, ASC.
Our print and digital subscribers will be receiving this issue soon.
Not an AC subscriber yet? Do it today.
A Photographer in Search of Forgotten Burial Sites
An African American burial ground project in South Carolina is just one subject in Caroline Gutman’s search for a history hiding in plain sight.
Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.
I first heard about the unmarked African American burial sites in Charleston, S.C., in November 2021, while visiting the city to research an entirely different topic: I was there to photograph the legacy of indigo in the United States and its role in slavery.
A historian there told me the location of a potter’s field in the middle of Charleston that held the remains of over 26,000 people, most of whom were Black. I was familiar with the site; seeking Wi-Fi during my research, I had visited a community center that now sits on the land. There were also two baseball diamonds, two parking lots, a playground and a college football stadium named after a Confederate officer.
But there was no memorial acknowledging the remains that existed underground.
On my way out of Charleston, I stopped at the site to photograph those ball fields and parking lots. I couldn’t stop thinking about the history they obscured. On my drive home to Philadelphia, I wondered what other unmarked African American burial grounds existed in the United States. I didn’t know it then, but I had started a photography project that continues today.
Across the country, African American burial grounds have been paved over by parking lots, performance halls and highways. Some have a marker; other sites have been erased or forgotten.
My reporting first brought me to a strip mall in northeast Baltimore, where a Food Depot, Dollar General and Shoppers World sat on top of the remains of over 10,000 graves. The former site, Laurel Cemetery, was a prominent African American burial ground for over a century before it was closed in 1958. In Philadelphia, an African American burial site also known as the Bethel Burying Ground was in my old neighborhood. I learned of unmarked graves in Ellicott City, Md., and Washington, D.C. The more I asked, the more sites people told me about.
Photography | Where the wild things are
Parag Bhatt was bitten by the photography bug thanks to his father who had a darkroom at home where he would develop film and enlarge print, but his love for wildlife comes from his mother, who was born in Mombasa, Kenya. She would regale him with stories of how wildlife could be encountered in Kenya when travelling by road. Bhatt’s first trip to Kenya was in 1994 and marked his debut as a wildlife photographer. Since then, he has travelled across the world for the perfect wildlife shot, but Kenya remains a favourite hunting ground. “It has diversity, endless plains, dramatic skies, and beautiful sunsets and sunrises, which provide great opportunities to capture wildlife in its natural habitat,” he says. In 2023, his image of a tusker in Kenya titled ‘The Gentle Giant of Amboseli’ bagged the People’s Vote Award in the ‘Wildlife Non-Professional’ category of the reFocus Photography Awards.
This giant sculpture in the Garment District is made of rubber tires
The ascending sculpture was created by the legendary artist Chakaia Booker.
With a giant sculpture made of single-use plastic, artist Benjamin Van Wong hopes to send a hopeful message
The Canadian artist and ‘unwilling environmentalist’ wants to inspire people to change their consumption habits -and pique their curiousity, too
The winning images of the Sony World Photography Awards 2024
