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How 10-Year-Old Bengaluru Boy Won ‘Wildlife Photographer of the Year’ at ‘Oscars of Photography’

How 10-Year-Old Bengaluru Boy Won ‘Wildlife Photographer of the Year’ at ‘Oscars of Photography’

Vihaan got into photography three years ago when he was only seven.

Photo : Twitter

Bengaluru: Vihaan Talya Vikas, an amazing 10-year-old from Bengaluru who won a big prize in the Wildlife Photographer of the Year (WPY) competition in London. Vihaan took a deep-thought picture of a spider with a statue of Lord Krishna in Bengaluru. The photo not only appears aesthetic but also makes you think about what it is trying to deliver. It shows the spider near Krishna’s statue as if it’s enjoying the music of Krishna’s flute. This awesome photo stood out among 50,000 entries from 95 countries, and Vihaan won in the under-10 category.

Vihaan got into photography three years ago when he was only seven. He likes using different kinds of lenses to take pictures of spiders, insects, and even goes on safaris. Besides photography, he also enjoys studying astronomy, according to the Natural History Museum’s website.

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Vihaan’s journey to winning this award started when he saw a special spider while visiting a temple near Bangalore. The spider was catching its prey, and this amazing moment happened against a wall with a statue of Lord Krishna. It felt like a connection between nature and spirituality.

Vihaan’s winning photo is to be part of the important WPY59 collection and will be shown in the Wildlife Photographer of the Year Exhibition at the Natural History Museum in London. This exhibition is to travel to 25 places across four continents to teach people about the importance of taking care of wildlife.

Dhritiman Mukherjee, a judge in the competition, said Vihaan’s photo is great because it shows coexistence – the spider and the statue together. The picture tells a story about art, concept, taking care of nature, and science.

How salmon fishing helped me embrace my Alaska Native identity

How salmon fishing helped me embrace my Alaska Native identity

Having spent most of my life in Minnesota, I never could have imagined that I’d feel most like myself fishing in the Pacific waters off the south-east Alaska coast.

It was an uncharacteristically warm August, one of the best times of the year to hook a salmon. But it still felt chilly to me, even in head-to-toe rain gear, as compared with Minnesota’s hot and humid summers. After a few days angling off the Alaska Panhandle, I had gotten the hang of battling with a feisty king salmon on the end of the line, but then I hooked something entirely different. It felt like I was hauling a gargantuan up from the depths of the sea.

My boat mates laughed as I struggled to bring the fish in. That is, until they saw it was a “barn door” halibut, the apt name given to oversized forms of the flatfish. Our guide, who had now jumped to attention, could tell it was a female based on its size and explained we would release it back into the wild to help maintain the population. I had never seen a fish of that magnitude – some 6ft long and likely 200lbs in weight – let alone caught one.

I was no stranger to fishing. In fact, out on the water was one of the few places I felt at peace with myself and the world around me during my Minnesota upbringing. Fishing with my family taught me to have reverence for nature, optimism about future prosperity and patience for what was to come. The methodical ritual of baiting the hook, casting the line out into the mirror-like lake, waiting for that telling tug and reeling in the bounty was almost instinctual. Of course, catching pint-sized perch and sunfish couldn’t have prepared me for hooking a behemoth from the bottom of the ocean.

I wouldn’t fully grasp the significance of that Alaska fishing excursion until years later, but even in the moment, I felt a knowing familiarity and a deep connection to the experience.

And it all started with an email four years earlier.


Upon seeing an unexpected email pop up from my estranged mom in 2012, I contemplated leaving it unread. But I couldn’t resist the subject line – “I want you to know this” – which piqued both my curiosity and my skepticism. Had my mom discovered the meaning of life as an expat in Ecuador? Was she finally ready to talk about my upbringing after years of silence? Did this epiphany even have anything to do with me?

My childhood had left deep scars due to my parents’ alcoholism, depression and codependency. My sister and I spent our days escaping into the fantasy world of our imaginations and our nights wondering if our parents would be too drunk to feed us dinner. Of course, trauma is far from straightforward. My most painful memories are inextricably intertwined with joyful ones, like gardening and making art with my mom and hunting and fishing with my dad.

Our dysfunctional, disheveled household had long been a well-kept family secret – and the impetus for our estrangement as adults. Now, my mom was about to reveal another secret. “I made a decision at one time that I am neither proud nor ashamed of,” she wrote. “I had an affair before you were born.” That’s when my entire understanding of myself, then nearly 27 years in the making, began to unravel.

She explained that my late dad was not, in fact, my biological father. Instead, she told me, my birth father was an Alaska Native man she’d had an affair with back in the 1980s, when my parents spent a stint living in the picturesque Inside Passage town of Ketchikan, where I’d been born.

While this sudden disclosure validated my lifelong feelings of otherness – having grown up in rural northern Minnesota as an olive-skinned, dark-eyed, chubby-cheeked kid attempting to blend into an ocean of blonde-haired, blue-eyed classmates – it also completely shattered my precarious sense of self.

Throughout my midwestern upbringing, I had fought an ongoing battle to prove just how normal (read: white) I was. Our small-town neighbors couldn’t pinpoint my precise background but seemed to know I wasn’t one of them. When asked where I was from or what I was (a frequent occurrence), I would spout my rehearsed explanation: I was of English, Danish and Dutch descent and I tanned well, just like my mom’s mom. It was an exhausting exercise in attempting to convince others – and, if I’m being honest, myself – of who I was.

Instead of typing out the irate reply to my mom that first came to mind, I wrote my response with calculated caution. If I pissed her off, I’d never uncover my truth. My ludicrously calm email thanked her for disclosing this information and outlined a dozen questions about how she met this man, what he was like, if I resembled him. She answered what she could in a brief, matter-of-fact paragraph – and that was that. We haven’t communicated since. I flashed back to my childhood and wondered: could my life have been entirely different?

From there, I was left to decide what to do with this newfound knowledge. Through some Google sleuthing, I discovered I had some half siblings and likely belonged to a tribe called Tlingit, a word I wasn’t even sure how to pronounce at first glance (it’s “KLING-kuht”). Still in disbelief, I did three at-home DNA tests for good measure, which revealed nearly identical results showing that I am indeed of Indigenous American descent.

Writer Kate Nelson found out her dad was not her biological father at age 26.

I thought of my dad, the man who raised me. I was a college freshman when he was found dead in 2004 at our modest lakefront cabin near Bemidji, Minnesota. In the months before, I had let his phone calls go unanswered, unable to handle his ceaseless pessimism. Upon learning of his passing, I felt a simultaneous sense of guilt, sorrow and relief. He had gone into a downward spiral after my mom filed for divorce two years earlier and, at just 58, ultimately lost his battle with alcoholism.

The loss was two-fold, of both my dad and our cabin, a place that served as the backdrop for so many of my favorite memories. It’s where he and I spent summers fishing, one of the few activities that helped us bond. I remember digging under logs for nightcrawlers and soaking in the endless sunlight out on the boat. We’d reel in perch, sunfish and the occasional walleye to be cleaned, pan fried and devoured that same evening. All those happy moments enjoying Minnesota’s wild bounty would forever be tainted with the knowledge that this was where my dad met his demise.

Receiving this news that I wasn’t his child – eight years after his death – triggered an existential crisis that left me paralyzed with anger, shame and grief. At first, I did my best to ignore all of it. I hid behind what white-passing privilege I can access. I thought of myself unkindly: a bastard child, a half-breed, an unwanted Other. But concealing my truth was literally making me sick; I was plagued by insomnia, drained of energy and susceptible to every little illness in the air.

I realized I had to do something – I had to return to my birthplace.


In 2016, 31 years into knowing one identity, I mustered up the courage to make the pilgrimage to Alaska to find myself. I tracked down my brother Ric, who is three decades my senior. Much to my amazement, he not only believed me but supported me in my journey of self-discovery. He revealed that he too had experienced separation from family and wanted to help me however he could. He even subjected himself to a DNA test, which proved we were half siblings.

Before my trip, Ric confronted our father, who denied I was his daughter. This didn’t come as a surprise, as my mom had explained he’d done the same when he met me during my infancy. Ric wasn’t sure if he could convince my birth father to meet me but affirmed he was excited to meet his sister.

Having grown up fighting for my parents’ attention and affection, I was taken aback by Ric’s unconditional support and uncensored honesty. Yet despite our positive exchanges, a wave of panic washed over me as my plane touched down in Ketchikan. I wasn’t sure I was ready to rewrite my personal history, but there was no turning back now.

When I first met Ric at a local cafe a few days later, he was visibly shaking with anticipation. He then immediately took me into his arms, his home and his life. He gave me a tour around town, pointing out where I was born, where he grew up and where various relatives, including my birth father, lived. He even located the house that my family had inhabited decades before, and I got to walk through those same spaces where the few photographs from my infancy had been taken. I thought maybe I would serendipitously encounter my birth father during my week in Ketchikan, a small community of about 8,000. But I never did.

In addition to explaining our own family’s complicated history, Ric gave me a crash course in all things Tlingit. I witnessed master carver Nathan Jackson at work on a totem pole. I marveled at the intricate beadwork adorning elk hide moccasins. I snacked on so-called “salmon candy” jerky caught, cured and smoked by my own family.

All of these experiences left me awestruck at the deep, meaningful traditions of my people yet overwhelmed that I knew so little about my ancestry. Where I had naively hoped for a comfortable homecoming, I instead felt like a tourist admiring a foreign culture. Was I destined to be a stranger in my birthplace, an outsider in my own existence?

The shock of learning about her paternity and identity sent Nelson into a tailspin of illness and anxiety. It took her years, but she finally boarded a plane and headed to her birthplace in Alaska in search of her own story.

This cloud of uncertainty hovered over me as I embarked on an Alaska Native rite of passage: salmon fishing. I wondered if it would be similar to all the freshwater fishing I’d done growing up. As our floatplane took off for nearby Prince of Wales Island, I felt a familiar combination of excitement and trepidation return. But then the unadulterated beauty of Tongass National Forest – the world’s largest intact temperate rainforest at nearly 17m acres – unfolded below. That’s when it hit me: my history was about so much more than just me.

It was out on a boat chasing after chinook (and hooking that barn door halibut) that I finally started to feel at home in my heritage. Sure, the surrounding scenery was certainly different from that of my childhood fishing excursions, with majestic bald eagles prowling for food, friendly whales showing off for us and the occasional enterprising sea lion stealing our catch. But unlike everything that had felt so foreign in recent days, this was something I absolutely knew how to do.

I felt a simultaneous connection to my Indigenous and European ancestors, who both relied on fishing for subsistence and survival. My Native forebears had done this for eons before me, long before my childhood when I spent so many hours angling on Minnesota’s 10,000 lakes. But for many Alaska Natives, fishing isn’t just a beloved pastime – it’s a way of life, with the summer harvest being carefully preserved to sustain families through the long winter. Salmon in particular represents much more than simply sustenance; in Tlingit tradition, it is considered a sacred human-like being worthy of deep respect.

When asked where I was from or what I was (a frequent occurrence), I would spout my rehearsed explanation: I was of English, Danish and Dutch descent and I tanned well, just like my mom’s mom.

Each evening, we feasted on freshly caught, simply prepared salmon, halibut and rock fish – much like the perch, sunfish and walleye I’d savored during my youth. It was at once a familiar and wholly new taste.

Even after my return to Minnesota, Ric remained the life preserver I so desperately needed. He has continued to teach me about Tlingit life and even helped me get enrolled in my tribe. His unwavering kindness, I now realize, reflects Tlingit values about the importance of family. I’m forever grateful for finding my clan after trauma tore my nuclear family apart.

It would take another few years, a global pandemic and a racial reckoning that rippled out from my hometown of Minneapolis for me to truly embrace my identity. During that time, my birth father died, and with him went any hope of developing a relationship. Instead, I have gotten to know other newfound relatives, who have shared their stories about him. By all accounts, he was charismatic, driven, stubborn and complex – traits he passed down to me.

Where I once held so much anger and shame, I now try to hold grace and compassion. For my estranged mom, who chose to protect herself and her family from the turmoil the truth might cause. For my late dad, who did his best to love me despite his demons. For my late birth father, who faced ongoing discrimination throughout his lifetime and was no doubt affected by intergenerational trauma. And for myself, as I navigate a new existence as the person I have always been: a strong Tlingit woman who comes from a long line of strong Tlingit women.

In discovering more about my ancestry, I have come to understand how Indigenous peoples across Turtle Island have been deeply impacted by displacement, dispossession and disconnection from their traditional life ways – the long-lasting result of colonialism, oppression and forced assimilation. The undeniable parallel to my own decades-long displacement makes me feel less alone on my journey of healing, as does the kinship of countless Native teachers who have shared their wisdom with me.

And yet, I have so much to learn and so many unanswered questions: did my dad know I wasn’t his biological daughter? Did my birth father know I was his? How might life have been different had I been better connected to my Tlingit heritage at an earlier age?

Even today, I’m still hit with waves of feeling “not Native enough”, an enduring effect of colonialist constructs about Indigeneity and a common phenomenon among younger generations who have grown up away from their tribal traditions. When imposter syndrome creeps in, I think back to that fishing excursion during my first pilgrimage to Ketchikan.

I also endeavor to eat the foods of my people – salmon, crab, berries and more – knowing that these culturally relevant flavors nourish my body, spirit and sense of self. I take comfort knowing that my ancestors handed down traditions, like harvesting salmon and halibut to feed their families, so I too could experience them. And I remind myself that although I came of age thousands of miles away from my tribe’s ancestral homelands, like so many Alaska Natives, I grew up learning to live in harmony with the world around me.

An Alaska Native Tlingit tribal member, Kate Nelson is an award-winning writer and editor living in Minneapolis. She focuses on amplifying important Native American change makers and issues.

Famed Minnesota photographer Jim Brandenburg offers a daily dose of nature

Famed Minnesota photographer Jim Brandenburg offers a daily dose of nature

Every weekday morning, I sit down at my desk, log on and wait for my 18-year-old cat, Toonces, to jump in my lap. Then I open my email and click on Nature 365.

It’s not the stuff of “Nature Gone Wild.” There are no raging crocs, no cougars threatening attacks or sharks in a feeding frenzy.

Instead, the daily videos offer one lovely, lingering minute of nature at its most miraculously mundane: A brilliantly colored kingfisher preening itself. A wolf pup emerging from its den. A fish jumping in a mist-shrouded lake, sending ripples across its mirror-like surface.

The project, which highlights the work of famed Minnesota nature photographer and filmmaker Jim Brandenburg, started several years ago, out of happenstance.

A longtime National Geographic photographer and lifelong Minnesotan, Brandenburg had amassed “thousands of hours” of film clips from what he calls his “backyards”: his childhood stamping grounds near Luverne (now Touch the Sky Prairie), the Boundary Waters Canoe Area Wilderness near his home in Ely, and the woods in his Medina yard.

“Taking pictures is my life,” he says by way of explanation. “It’s what I do.”

On an assignment in France, he shared the clips with French photographer Laurent Joffrion and Nature 365 was born.

“There’s no music. No ads. Just the sounds of nature,” Brandenburg says. “In this day and age of TikTok, when there’s so much action, this is just the opposite. It’s authentic. Quiet. Understated. It’s settling.”

He and Joffrion aren’t in it for the money (the project has no sponsors, but accepts donations) — or the clicks (though some of the videos rack up millions of them).

“It’s a gift,” Brandenburg says of nature, which he considers “a healing and calming entity.”

Since 2021, Nature 365 has been welcoming other nature photographers — mostly from France and Japan — to share their exotic-seeming “backyards.”

And Brandenburg’s gift has been a springboard for three feature-length films he’s working on.

“Nature 365 figures in about everything I do,” he says. “Sometimes when you give, you get something back.”

Follow the daily adventures at nature365.tv.

Through the lens and kitchen: A Cebuano’s story in Australia

Through the lens and kitchen: A Cebuano’s story in Australia
image

Ryan said, “Adjustment is truly challenging, and the most common struggle is homesickness. Many people return home because they can’t cope with the difficulties of life here, but if you know how to adapt and are not choosy with jobs, you can truly survive.”

Today, Ryan stands as a living testament to the potent combination of determination and passion. As a Cebuano who ventured beyond his homeland to explore new horizons, he now holds a prestigious position as a chef at Mercure Hotel.

Simultaneously, he continues his relentless pursuit of food photography, showcasing the beauty of culinary artistry. His journey serves as a profound inspiration to anyone confronting life-altering changes, underscoring the fact that with resolute dedication and fervent passion, it is possible to surmount adversity and forge a brighter future, even in a foreign land.

Ryan’s story is a vivid illustration that unwavering determination and an unwavering commitment to one’s dreams can help a Cebuano photographer and chef overcome obstacles and flourish, capturing life’s most beautiful moments.

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.