The public art Turtle Trail will continue under the leadership of the Flagler County Cultural Council.
Palm Coast Arts Foundation unveils ‘Renny,’ final Turtle Trail sculpture before PCAF’s dissolution
About
Posts by :
The Andy Warhol Museum unveils some of the pop artist’s ‘Unseen’ works
Despite an entire museum dedicated to the work of Andy Warhol, there is a collection of 10,000 works by the native Pittsburgh pop artist that have never been in the public eye.
People can now see more than 60 of those pieces in “Unseen: Permanent Collection Works” at The Andy Warhol Museum on the North Shore through March 4.
“It is our responsibility as a museum to show our collection,” Patrick Moore, director of The Warhol and curator of the exhibition, said during a media preview.
Massoud Hossaini | Tribune-Review
Andy Warhol’s artwork in “Unseen” exhibition.
He said the museum spent a year and a half taking a “deep dive” into every piece of its collection — which is how they found the ones that had never been seen.
Moore collaborated on the project with Matt Gray, the Warhol’s director of archives; Signe Watson, an independent researcher; and the Warhol collections and exhibition department.
The museum holds the largest collection of Warhol’s artworks and archival materials.
“The Warhol staff works every day with an extraordinary collection that continues to surprise and confound,” Moore said. “ ‘Unseen’ is an opportunity for the museum to delve into areas of the collection that are new even to us. These are objects that are both aesthetically beautiful and that have stories to tell. We’re proud to share them with the public for the first time.”
Massoud Hossaini | Tribune-Review
A view of the “Unseen” exhibition at The Andy Warhol Museum on Pittsburgh’s North Side.
The works had not been displayed for various reasons, Moore said. It might be Warhol didn’t think those particular pieces were valued at the time. Some appear to be unfinished — although Warhol created artwork that might not look like it was finished, but to him it was.
“He left things incomplete,” Moore said. “He left mistakes and left it up to the viewer to decide on their meaning.”
Others were possibly too sexually explicit or revealing for their time. Some of those works are on display in an adults-only area, sectioned off from the rest of the exhibit.
The artwork shows that Warhol yearned for romantic love, Moore said. His lover, Jon Gould, who was a vice president at Paramount, died in 1986 from complications relating to AIDS.
“There is also some sadness in some of these pieces, which were sold privately because of their sexual nature,” Moore said.
“People are more open and accepting of sexuality,” Moore said. “It has been an evolution. We are more comfortable with our sexuality as a museum.”
The first piece in the exhibit is a gift from Irving Blum, one of Warhol’s early art dealers. It is called “Red “Blank’,” circa 1963. Warhol used the term “Blank” to describe monochromatic canvases. It arrived in a crate that also contained 10 “Silver Liz” paintings (of Elizabeth Taylor).
Warhol is known as a portraitist, and the show presents several portraits, including one of him. Some are distorted. One is of a woman without a mouth and another has double registers of the silk screen. A portrait of O.J. Simpson is among the pieces on display for the first time.
Warhol might be suggesting that suggest that celebrity and wealth can warp an individual to the point of becoming grotesque, as described in the press materials. That portrait without the mouth “has kind of a ghostly quality to it,” Moore said.
Massoud Hossaini | Tribune-Review
Patrick Moore, director of The Andy Warhol Museum and curator of the “Unseen” exhibition, discusses a self-portrait of Warhol’s on Thursday.
For the self-portrait, Moore said, Warhol most likely wanted to portray his fragility. He became concerned about his health after being shot in 1968 Valerie Solanas, who thought he was stealing her play manuscript. He spent months in the hospital. Warhol died in 1987 of cardiac arrest suffered after gallbladder surgery, a procedure he had delayed for several years due to his fear of hospitals.
In his work, Warhol utilized every medium, from painting to sculpture to film. He produced 600 screen tests, a series of short, silent black-and-white film portraits, and 1 million feet of film.
When asked to pose, subjects were lit and Warhol filmed them with his stationary 16mm Bolex camera on silent, black-and-white, 100-foot rolls of film.
Two of those are part of the exhibit. They are preserved in collaboration with the Museum of Modern Art in New York City.
The research revealed many previously unknown facts, which have raised both additional awareness of the collection and of Warhol’s practices and intentions, Moore said. These findings are part of the exhibition.
“The fact that these works have never been shown reflects the enormity of the museum’s collection, and the complexity of Warhol’s legacy,” Moore said. “It also shows that there is more to learn about Andy Warhol.”
“Unseen: Permanent Collection Works” is on display until March 4. The Andy Warhol Museum is located at 117 Sandusky St., North Side.
Details: warhol.org
JoAnne Klimovich Harrop is a Tribune-Review staff writer. You can contact JoAnne by email at jharrop@triblive.com or via Twitter .
‘Unapologetically Indigenous’ mural preserved
Conservators and artists have worked this past year to restore a work of art created by artist George Morrison half a century ago. Morrison’s vision is felt by the people who helped to restore his work, and by those redesigning the building where the mural lives.
The late artist George Morrison was from a small town near the Grand Portage reservation in northern Minnesota. He attended art school in Minneapolis and New York City and was part of a leading generation of American artists working as abstract expressionists.
Restoration of the George Morrison mural is seen at Minneapolis American Indian Center on Oct. 27 in Minneapolis.
Kerem Yücel | MPR News
Known for his intricate wood sculpture and collage, George Morrison was commissioned to create the mural for the Minneapolis American Indian Center in 1974.
Morrison once told a biographer the design was inspired by feathers. Its chevron V-shapes work in unison to create an optical illusion.
MPR News is supported by Members. Gifts from individuals power everything you find here. Make a gift of any amount today to become a Member!
Although never formally named, Morrison suggested the work might be called — “Turning the Feather Around: A Mural for the Indian.”
Sam Olbekson is an architect and the chair of the Minneapolis American Indian Center’s board of directors. He is a part of a team working on the center’s renovation.
“That pattern and the way it’s constructed allowed us to take it apart piece by piece, and one of the main goals of this entire project is to preserve this piece art,” says Olbekson.
Luke Boehnke, Principal of Wolf Magritte, and project technician Alan Gross (Leech Lake Band of Ojibwe) move a panel for installation.
Courtesy of George Morrison Mural Conservation Project
In 2022, the Midwest Arts Conservation Center, or MACC, answered the center’s call to restore the mural.
Chief conservator Megan Emery served as the manager of the project. MACC called on another team of conservators from Montana with expertise in rigging and reinstalling complicated works of art.
“We decided we were going to have to start the project by doing full documentation with photographs of the mural to basically map out exactly out how it looked and how everything was laid out,” says Emery.
“When it was time to start to start the project, we physically removed every single board, and that’s when we need a team of people.”
The disassembled mural spread out in the gymnasium for processing.
Courtesy of George Morrison Mural Conservation Project
Josie Hoffman is an Anishinaabe multi-media artist whose family is from the Grand Portage Band of Lake Superior Chippewa. Hoffman was tasked by MACC to work on the restoration.
“There wasn’t a ton of problems. And actually, when we were taking it down it came down really easily. It was also the documentation of [the mural],” says Hoffman. “It’s about over 700 cedar boards, so it’s about documenting and making sure we have all these pieces in the right place.”
Kyle Carlee of Wolf Magritte, adjusting the alignment of a board.
Courtesy of George Morrison Mural Conservation Project
Once the pieces were carefully removed, they were packed into crates and shipped to specialists at the firm Wolf Magritte in Missoula, Mont. The firm cleaned the mural again and worked to design a series of interlocking panels on which to mount jigsaw-like pieces for reinstallation.
When the full sun hits the mural at its new home on the east side of the building, the contrast of the light and dark surfaces of the cedar planks is striking — adding a sense of movement.
Olbekson says the restoration of the mural is a part of the long-term vision for community development along Franklin Avenue.
First two panels installed, which make up the center of the mural.
Courtesy of George Morrison Mural Conservation Project
“Where it was on the building … [George Morrison] was so intent on it being open to the public. So that art was accessible to the community. He wanted it to be large scale, in your face, out, and unapologetically Indigenous on Franklin Avenue,” says Olbekson.
Olbekson points out the mural’s new location on the east side of the center will mean that it has a different experience with environmental elements and weather.
“We tried to preserve the aging, the integrity of it,” says Olbekson. “It was about making sure the original artist’s intention was conveyed in the new building, to do it in a way that will make it last there in another fifty years.”
The restoration of the mural is part of the Minneapolis American Indian Center’s first major renovation since opening in 1975.
Luke Boehnke, Principal of Wolf Magritte, inpainting a small abrasion.
Courtesy of George Morrison Mural Conservation Project
LIC’s Socrates Sculpture Park announces open call for 2024 fellowship program
Socrates Sculpture Park in Long Island City has announced its open call for proposals for its 2024 Fellowship program. This program provides early-career artists with the opportunity to create new public artworks there.
Sculpture stolen from Vallejo City Hall amid increasing metal theft
The stolen sculpture was of General Mariano Guadalupe Vallejo’s wife Francisca Benicia Carrillo de Vallejo.
Framing Moments: Photography from the Kalamazoo Institute of Arts Opens at Wilkes University’s Sordoni Art Gallery on Nov. 7
Framing Moments: Photography from the Kalamazoo Institute of Arts (KIA) will open at the Sordoni Art Gallery on Tuesday, Nov. 7, and run through Sunday, Feb. 4.
Framing Moments offers a distinct and inclusive overview of photography in the United States and beyond. Curated by Deborah Willis, the exhibit features selected gems from the KIA’s significant photography holdings. Works range from the mid-nineteenth century to the present and reveal how photographers can uniquely preserve moments, people and places. Expressly interested in highlighting the time in which these photographs were made and collected, Willis imagines the stories and events that encouraged KIA curators to acquire these images over the past 60 years.
This seminal exhibition includes nearly 100 photographs that juxtapose a diverse group of photographers who reveal everyday life across rural and urban communities, explore modern photographic aesthetics, document pivotal moments of social change and conflict, and present artists as both celebrities and ordinary people.
Art in Context Lecture
In connection with the exhibition, the Sordoni Art Gallery will host an Art in Context lecture, Kalamazoo: a Place, a River and Home, at 5 p.m. on Thursday, Nov. 9.
The Art in Context lecture will be presented by Mary Whalen, photographer and teaching artist at the Kalamazoo Institute of Arts and the Education For the Arts program in the Kalamazoo Area Schools System.
Whalen’s photographic work is a testament to her ongoing evolution as a visual artist. This journey continually incorporates and expounds upon exploring techniques, some of which harken back to the 1800’s and the creation of photography. Through time, these techniques have been paired with new ideas and creative concepts that have added immense depth to her body of work. Whalen will discuss this evolution and body of work, which serves as a personal history of an artist, educator and member of her community and brings viewers into that life and place.
The lecture is free and open to the public with light refreshments to follow.
Framing Moments: Photography from the Kalamazoo Institute of Arts runs from Nov. 7 through Feb. 4.
The Sordoni Art Gallery is located in the Karambelas Media & Communication Center, 141 South Main Street, Wilkes-Barre.
Hours:
10 a.m. to 5 p.m. Tuesdays through Fridays
Noon to 5 p.m. Saturdays and Sundays
Closed Mondays and University holidays
For more information, visit wilkes.edu/sordoniartgallery.
How Photographer Chiabella James Captures the Magic of Making Movies
When thinking of major motion pictures and Hollywood blockbusters, it is easy to think about just the movie itself — the final product that makes its way to silver screens worldwide. However, behind every hit movie are hundreds of people and the person capturing all of the hustle and bustle is a unit photographer.
Chiabella James is one such photographer who puts her immense talents to work on film sets worldwide. She has worked on a diverse range of films including King Richard, multiple Mission Impossible movies, Good Liar, The Mummy, Jack Reacher, and, recently, Dune.
[embedded content]
James’ work on Dune is encapsulated in a new photography book, Dune Part One: The Photography, featuring hundreds of James’ photos from working on Dune including stunning landscapes and beautiful portraits of the film’s creators, actors, and the staff who make everything possible. The book is organized by filming location, including Wadi Rum, Jordan; Budapest, Hungary; Abu Dhabi, United Arab Emirates; and Norway.
Growing Up Around Movies and Photography
The “James” surname has a rich history in unit stills photography. Chiabella’s father, David, is a highly accomplished unit stills photographer. He is a founding member and former president of the Society of Motion Picture Stills Photographers and a recipient of the 2011 SOC Lifetime Achievement Award in Stills Photography.
Chiabella spent significant time on jobs with her father as a child, which instilled in her not just an appreciation for photography and a passion for films but a deep understanding of the role that everyone plays in creating a movie. This appreciation for the role everyone plays and how much every single person matters, not just the stars, shows itself through Chiabella James’ work as a professional.
Embracing and Navigating Chaos
Spending so much time on movie sets also helped James acclimate to chaos, which benefits photographers of all kinds, although it is critical for a unit stills photographer.
James tells PetaPixel that sets are even more fast-paced now than when she was growing up and watching her dad work. Even in the last few years of her career, the continued transition to digital filmmaking has changed how she works.
“My father did the same job and gave me some enormous shoes to fill. But the pace of shooting on film versus digital these days is incredibly different. There was a built-in pause when you changed out a [film] mag. There was a delay to get the lighting to a certain level for shooting on film that doesn’t exist anymore. Now you can just hit roll, and we’re going, and you really do feel that on set,” James tells PetaPixel during a Zoom call.
The constant motion on set has made James’ task of capturing interesting behind-the-scenes moments more challenging. “Pausing to wait for those things to happen was a really great window for a still photographer to quietly sneak in and grab those moments and then get out,” she says. “Now you’re begging, scratching, and elbowing to try and get them. It has become quite manic.”
That said, James adds that Dune was the least manic of the recent film sets she’s worked on. “It was incredibly ‘zen,’” she says, smiling.
“Obviously, it was very busy and a lot of hard work; there was a lot going on, but the mentality toward the film’s creation was very zen. You were given time to do your job and do it properly. There was respect for it. It felt very old-school. As a result, you feel like you have the time to do your best, and the results are that much better.”
The Gear
Like any photographer, especially one who works in a chaotic environment like James, she has dialed in a workflow catered to her personal style and approach. As for camera gear, she keeps it very simple. She works with two cameras, one with a 24-70mm f/2.8 zoom and the other with a 70-200mm f/2.8.
“I call it my gun sling. I like to have my cameras on me at all times. I have a body on each shoulder. At any given moment, I’ve got the entire focal length range I need,” she says.
“I’m trying on set to be more like furniture, like something that is always there. That way, I don’t suddenly show up,” James says. “A lot of photographers pride themselves on being ninjas and being hidden. I don’t take that approach. I think if I’m always present, I’m actually less distracting.”
A Healthy and Productive Film Set Starts at the Top
James credits Dune’s director and co-writer, French-Canadian filmmaker Denis Villeneuve, for the wonderful experience working on set. Villeneuve has also directed Blade Runner 2049 and Sicario, among others, and has helmed Dune: Part Two, which is slated to hit theaters next March following a delay from this autumn.
[embedded content]
James also highlights cinematographer Greig Fraser. His curriculum vitae is remarkable, having worked on The Batman, The Mandalorian, Rogue One, and nearly 50 other projects since 2000.
Villeneuve often works with the same heads of departments, including Fraser, across multiple projects, which James credits for a sense of camaraderie, cooperation, and security on set. “They are secure, talented, calm, giving, and good people,” James says.
James’ strong working relationship — and friendship — with Fraser pays dividends in her work. Fraser has a rich background in stills photography, a common theme among the world’s most talented cinematographers, so he and James regularly “talked shop” on set. There was a dialogue during the production.
Beyond mutual respect, Fraser also understood what James needed to do her job, and ensured that she had the opportunities required to capture the necessary images.
“Greig Fraser is a genius and bends natural light unlike anybody I’ve ever met before,” James says. “He’s really in touch with the light in Wadi Rum, Jordan,” James says. The harsh environment was one of the primary filming locations for Dune, and it posed challenges to the filmmakers and James alike.
Fraser relies heavily on natural light, so he uses a lot of reflectors and screens to control and bounce natural light on set. The resulting scenes are stunning, and, unsurprisingly, given Fraser’s background in still photography, they could stand up on their own as individual still frames.
“[Greig] walks around set with his camera, and he’s very in tune with stills and was a really big advocate for me as well. [Directors of photography] are usually where I get info to match my shooting, but we’re doing different things,” James explains.
“However, Greig was very interested in what I was doing, and so I was sharing imagery with him throughout. And again, he was very generous with me. Obviously, what I’m shooting on these sets, especially when I’m shooting the scene, is their art. I’m capturing the moments within it, but it’s their lighting, it’s their set, it’s their world that they’ve created that I get to be a guest in and just pull moments from. And that is its own art, and I don’t want to take away from that.”
The photographer also says that she thinks there were times when Fraser was testing her on set. “There was one moment where we stood on set one day and he’d just finished lighting and I was nearby. He asked, ‘What do you think?’ I said, ‘What? I don’t know, I’m just watching you. You’re the genius,’” James explains. “But the fact that he would even ask that question was amazing. I tell him, ‘I love this. But I don’t understand what you did there.’ So, he explains it. It was a really lovely collaboration.”
Finding Moments
Given that modern film creation is so fast-paced, James says that it was crucial that Fraser respected her work and made sure she had what she needed throughout production.
“I think that Greig’s respect for stills was really helpful. If I needed something, if there was a moment that I wanted to pull Timothée [Chalamet] or Rebecca [Ferguson] aside and get something that wasn’t in scene, I could do that,” James says.
Even though James agreed with PetaPixel’s assertion that it is almost always obvious when a director or cinematographer has a background in still photography, she believes that she could never do their job.
“My brain works in moments, and I’m really good at finding moments, but the idea of having to create a whole storyline that connects all the moments in motion, it just blows my mind,” James says. “That’s on a whole other level.”
She also says that it is rare to be on set and be able to work with people who do understand still photography.
“I’ll be on a set, and filmmakers will look at me and go, ‘Did you get great stuff of that scene?’ I’m thinking, ‘What do you think I got of that scene that works in a still.’ I’m still not quite sure what they think I’m going to get,” James laughs. “That happens a lot.”
“To work for people like Denis and Greg, who truly do understand still imagery and how different it is, it’s incredibly helpful to the job.”
That said, James emphasizes how critical it is to understand the overall, larger story that a movie is telling when finding those individual moments on set and crafting a photographic narrative. While each of her images could stand independently, they fit together as parts of a larger whole.
“Obviously, so many people have read Dune, so the movie is a bit different. But I have to approach it as though someone hasn’t read the books,” James says. She needs to capture moments of characters and places that fit the overall story of the movie and how each character develops throughout the larger narrative.
But of course, a significant challenge to doing this is that the film is not shot in order. A scene early in the production process may be from the final act of the movie, for example.
“I look for imagery of characters that I know lead us in certain directions. I have to understand the development of these characters to be able to know what to look for,” James explains. “I have to pick and choose my battles on set, though, because I don’t have complete, full access. For me, it’s picking and choosing the key moments that I can use. I don’t like to take photos just for the hell of it, [but] hat was really hard on Dune because everything is so beautiful.”
“My job requires an understanding of who the characters are, where they’re going, what their importance is, and how I want to show all that to an audience that doesn’t know all the details and being very selective in that,” James adds.
Storytelling and Art Versus Marketing
Given that Dune was shot in spectacular locations against beautiful backdrops and with actors dressed in intricate outfits, it can be a bit difficult to remember that, ultimately, Chiabella James has been hired to perform a specific job — helping movie studios sell a film.
Like all commercial photographers, she must always serve the client. That doesn’t mean that the results can’t be artistic and personally meaningful, but it does mean that there are specific images on set that James must execute.
“I rely on information from people in charge because there’s a thousand ways you could shoot any one thing. Even though I was raised in this kind of photography, everyone comes from different backgrounds. I was raised with unit stills, so the client has always. Been my first and foremost, just because that’s kind of what this niche is,” James explains.
“And it took me a long time to figure out my own style. On the other hand, I have colleagues whose history is photojournalism, so they come up with a journalistic style because that’s where they come from.”
“I sometimes find it difficult to know what people will want from me. I absolutely rely on the marketing team [for a movie] to figure out what their strategy is. The more I can get from them, the better. That information is key. But you don’t always get it.”
Chiabella James says that on Dune, while she was expected to get certain shots for marketing purposes, people were very receptive to her more artistic images and cultivated an environment of creativity. Unfortunately, not every film set is like this.
Developing a Unique Style When Your Dad is a Photographer
“I think rebelling against my dad has informed my style,” James explains.
However, she adds, “I take great pride these days when somebody looks at an image of mine and goes, ‘Wow, that’s a David James.’ That’s great. I love it because it doesn’t happen that often.
“He and I joke all the time that we had a little photo competition once, just on an iPhone, I think, and there was a leaf on the ground, a pretty autumn leaf. We both took a photograph of it. I like to off-center things, just maybe the quirkiness of my brain. I don’t see the world in balance. I like to throw things off into a little corner and leave a whole bunch of dead space,” James explains.
Her dad tried to do something similar with his composition, but he couldn’t do it. “He told me, ‘That’s your thing. That’s just not mine at all.’ It was just a funny moment we had. We come from a different headspace and different viewpoints, which when we’ve worked together in the past — we did four or five films together as a duo — it was really cool because we photographed the same scene and came away with very different imagery. This has also shown me that every photographer will take on any job differently.”
James says that if another photographer had shot Dune, the images would be different. “Yes, it’s going to be the same scenes and the same overall collection of images, but the angles and moments we look at, we see them differently.”
Celebrating Everyone on a Set
Chiabella James does this job not just because she’s good at it — although she is — and because it is how she makes her living, but because “this is home for me.” It is all she’s ever known. “I was raised by camera, grip, and electrical teams who allowed me, as a kid, to be around them. It’s my home, and they’re my family. They’re the reason I like going to work every day.”
Throughout Dune Part One: The Photography, this kinship that James feels with everyone on set is immediately evident. Of course, there are many photos of the film’s stars on location, in character, and as themselves, and there are photos of Villeneuve directing and Fraser setting the scene. There are photos of the people whose names are on movie posters, which James also shot.
But there are also photos of the people whose names even the film’s most ardent supporters and fans will never learn, but whose contributions and role in helping to create the final movie are no less vital.
“I think most photographers want to work in film because they love film,” says James. “Not that I don’t, but it wasn’t a motivating factor. This traveling circus is my family. And it probably affects how I photograph them. I love taking photographs of the crew and showing them at work and capturing those moments.”
A photo editor once told James that her behind-the-scenes photos were “very different” from any he had seen. “There’s a real affection for me towards what’s happening around me as opposed to just the film I’m photographing, even though that is the commercial priority,” James says.
James’ book, and her work at large, is a visual love letter to everything that happens on set and all the people who help make the movies so many people love.
“While we couldn’t make the movie without [the actors], you also can’t make the movie without the camera truck driver, for example. You can’t make a film what it is without all the moving parts that get you there. And I think everyone has their moments.”
Chiabella James is a professional photographer who works as a unit photographer on major motion pictures. She also does event photography and has been working on more personal projects lately due to the ongoing actor’s strike. Her work is available on her website and Instagram.
James’ new book, ‘Dune Part One: The Photography,’ is available from bookstores now. It includes a foreword by executive producer Tanya Lapointe, a preface by actor Rebecca Ferguson, and an afterword by Brian Herbert, the elder son of late and celebrated Dune author Frank Herbert. In Brian Herbert’s afterword, he immediately notes that while his father was best known for his incredible writing, he was also a professional photographer.
Image credits: All images © Chiabella James
Opinion | Altering truth in photographs is nearly as old as photography itself
In his Nov. 1 op-ed, “Google’s Pixel removes reality from photography,” Matt Bai decried a recent Google ad campaign that exuberantly markets the newest Pixel phone’s ability to alter reality in photos within seconds. Though Mr. Bai’s concerns over deepfakes and truth in general are valid and shared by many, the source of his concerns might be misplaced.
Altering truth in photographs is nearly as old as photography itself, from Alexander Gardner’s staged Civil War photos to Soviet erasures of political adversaries to Jerry Uelsmann’s reality-bending composites. For years, photo editing programs such as Adobe Photoshop have used artificial intelligence to allow photographers and graphic designers the ability to alter digital photos completely. Google merely took that technology and made it easier to use and more ubiquitous for consumers, the same way that the Kodak Brownie made photography accessible to everyone at the start of the 20th century.
More concerning than the Google Pixel’s AI editing prowess is AI’s ability to generate images out of whole cloth. Soon, AI will possess the ability to generate not only images but also videos of anyone. What happens to our judicial system and to our relationships with others if the technology becomes so advanced that authorities can no longer distinguish whether an incriminating image or video is fake? Google didn’t let the spurious-reality genie out of the box, but now that altered images are more prominent in culture, we need to work on solutions to contain their possible damage before they wreak havoc on society.
Art Vidrine, Hyattsville
The writer is an associate professor of art at Bowie State University.
Graphic Design Exhibit, Challenges of Immigration
Graphic designer and illustrator Maedeh Asgharpour explained how she constructed her mixed media exhibit “From Illustration to Design” at 3 p.m. on Tuesday, October 31 in Room 101 of the
‘It uplifts the community:’ University of North Florida installs new sculptures in Jax Beach
The University of North Florida’s sculpture program installed five new student-created sculptures at UNF’s Seaside Sculpture Park in Jacksonville Beach on Friday.
