Releasing on November 13.
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A Friendship in Photography
Early in 1947, the Swiss-born photographer Robert Frank boarded a liberty ship in Antwerp, Belgium; almost a month later, he arrived alone in New York, to make his way as an artist. There he met his first American friend, a fellow-photographer, Louis Faurer. The two men regularly convened at night to traverse Manhattan with their cameras. Frank, who published his famous collection “The Americans” in 1958, and became one of the twentieth century’s most influential photographers, often praised Faurer for the way that he could see into and reveal people of the sort they encountered together.
One person Faurer memorably captured, in 1947, was his friend Frank, fresh off the boat and out on the job, beginning to search his new country for photographs. In Faurer’s portrait, Frank is part of a crowd gathered to watch an unfolding off-camera event. As the pedestrians crane and peer, Frank stands with hands in the pockets of his weathered pinstriped suit, quietly taking them in. The picture conveys Frank’s uncanny skill at blending with his surroundings, a form of tradecraft that enabled him to photograph strangers up close, unposed and uninhibited. Faurer’s subtle composition places Frank in line with the other figures, yet also offers him richer focus, setting him apart as someone of intrigue. He exudes potential energy, primed as a piston to point and click. It’s as though Faurer had been waiting for just the right chance to capture his friend as he already knew him to be.
So many other photographers would go on to photograph Frank that such portraits became a near-rite of professional passage. In 1952, Elliott Erwitt caught Frank dancing in a Spanish kitchen with his first wife, Mary, and flexing in his underwear while wading off the Valencia coast. Walker Evans made many Frank images, including one with Frank behind the wheel of a parked Buick Roadmaster, and another in which he sits at a rustic wooden table. Richard Avedon’s renditions of Frank glowering back at him, from 1975, imply what was true—that Frank considered Avedon a celebrity chaser, not an artist. (After the notably kempt Avedon’s session with the invariably uncombed Frank, Avedon made his most dishevelled self-portraits, as his biographer Philip Gefter observed.) Frank’s uncompromising ways intimidated many people, but, across the next seventy years, a number of younger photographers—including Danny Lyon, Danny Seymour, Jim Goldberg, Michal Rovner, Ed Grazda, Mellon Tytell, Ayumi Furuta (A-CHAN), and Chad Tobin—felt close to him, and (successfully) asked to take his picture.
Part of Frank’s willingness to submit was likely noblesse oblige; during his Zurich boyhood, he’d slept under a portrait of Franklin Roosevelt, and he preferred to photograph those he referred to as “outsiders,” especially “held back” women and men of all races and backgrounds. Frank’s private spirit was, like his chosen art form, essentially democratic. He enjoyed helping people. But the mercurial psychology running through him was as complex as the emotions he found in the faces of those he photographed himself. “Sometimes he’d forbid it and say No!” Gerhard Steidl, who publishes Frank, recalled recently. “But, other times, he’d become an actor in front of the camera.”
The photographer to whom Frank was most magnanimous was Brian Graham. Graham’s new book, “Goin’ Down the Road with Robert Frank,” also published by Steidl, documents the forty years he knew the man he called the Chief, from 1979 until Frank’s death, in 2019. In the nineteen-seventies, Frank had retreated from fame by living much of the time in a ramshackle cliff-top farmhouse on the remote island of Cape Breton, in northeastern Nova Scotia. Graham was from Glace Bay, a rough Cape Breton town of closed mines and struggling fisheries. His father was the mechanic at a bowling alley; Graham worked on off-shore and Alberta oil rigs, and taught school. He learned that “an important photographer” lived on Cape Breton; he’d begun taking photographs of Glace Bay, and decided to show him his photographs.
The two became friendly. Later, Graham received a postcard from New York inviting him down to the big city: Frank had kept a space in a flophouse on Bleecker Street, and, eventually, he and his second wife, the artist June Leaf, bought it. Graham drove south in an old truck, and ended up staying on at Bleecker Street for years, helping Frank renovate the building, processing and printing Frank’s work, and looking after the property when Frank was away. “You couldn’t help but like Brian Graham,” Leaf told me. “Real Cape Breton. Kind of shy.” Graham said, “Maybe he liked me because I am the real Cape Breton.” Still, Frank’s patience with him had a limit, Graham said. “Robert hated it when I took a self-portrait of us. I’d crossed the line. His revenge was to scratch on the negative.”
Another person who took Frank pictures, in the nineteen-sixties, was Tod Papageorge, who is not only an excellent photographer but among the finest writers on the form. I went to see him the other day to show him Graham’s book. “The Americans” meant a great deal to Papageorge, and he was curious about what Graham had seen during those decades of observing Frank. He opened Graham’s collection and took in the unfolding moments of a photographer’s life: Frank, stoic on the set of Rudy Wurlitzer’s and his film “Candy Mountain,” and Frank with a stay-off-my-land look in his eye while hammering patches into the Bleecker roof; Frank cavorting with Leaf, and Frank keeping busy among such friends as Wurlitzer, Allen Ginsberg, Jim Jarmusch, Harry Smith, and Tom Waits. “He’s definitely responding to Graham differently,” Papageorge said, looking at the portraits. “He’s more relaxed. And when he isn’t completely relaxed, you feel him trying to be the person young Brian knows. He’s almost struggling to be himself, but he’s doing a pretty good job of it.”
Papageorge considered the most successful picture in Graham’s book to be one of Frank visiting a mentor, the irascible sculptor Raoul Hague, who lived in a cabin in Woodstock. The photograph, taken from outside, shows Frank and Hague seated, facing each other, inside the cabin, framed by separate windows, with an empty window between them. “There’s an idea here,” Papageorge said, “each person existing in a separate cabin of self.” The picture also seemed to gesture to a famous image from “The Americans,” a front-to-back line of white-then-Black faces looking out from a segregated New Orleans streetcar. Frank drove well over ten thousand miles while making “The Americans,” and a picture by Graham, from 1992, of Frank vehemently commanding a Ford Falcon station wagon, made Papageorge say, “You know this guy’s gonna get you there.” It reminded Papageorge of another photo from “The Americans,” of hitchhikers whom Frank picked up in Blackfoot, Idaho. One hitchhiker spelled Frank at the wheel, and, from the back seat, Frank surreptitiously got his picture.
Graham’s pictures inevitably invite comparison, and contrast, with Frank’s—as a recent exhibit, at the Inverness County Centre for the Arts, on Cape Breton, made explicit, displaying the “Goin’ Down the Road” images alongside those from Frank’s last collection, “Good days Quiet,” which is mainly a meditation on Frank’s life in Cape Breton. (Most of the pictures were taken in the seventies and eighties and were never printed until Frank put the book together, toward the end of his life.) Frank was a literary photographer in the sense that his pictures possess narrative and character, hold the emotional resonance of short stories. “Lived experience and vivaciousness,” Papageorge noted of one picture, “real echoes of art history and Virginia Woolf.”
Papageorge got out “Good days Quiet,” and flipped to a stunning Cape Breton winter land-and-sea expanse, with footprints in the snow. Frank could locate emotion pretty well anywhere, Papageorge said. “I remember Robert came to Yale once,” he went on. “He got out of the taxi, he looks down at the pavement, and got totally engrossed in the impression a few leaves had left in the concrete.” He added, “With Robert, it’s interesting how still the pictures are even as they express motion. His gift is offering a sense of things about to move, about to happen.”
Then Papageorge was smiling, at a portrait of Frank’s son, Pablo, with his girlfriend, both happy and tender with youth. After Frank’s daughter, Andrea, was killed in an airplane crash at twenty, Pablo descended into mental illness, and eventually died by suicide. Papageorge, too, had photographed Pablo, as a teen-ager, and here he was moved by how sure of each other the two young people had looked. “Not many people can photograph their kid and you’d want it on your wall,” he said. “Robert said of Walker Evans that Evans thought he was superior to other people. He’s probably right, but it’s still unfair. Some people are superior. Evans was superior. Robert was, too.” ♦
A Former Pottery Studio Becomes a Homey Corporate Office
The words “homey” and “corporate office” don’t normally go together but that’s what British-Nigerian artist and designer Mimi Shodeinde, founder of design studio Miminat Designs, accomplished for venture capital firm Giant Ventures’ new office in Holland Park, London. Formerly a pottery studio, the space is a warm, inviting work haven that feels elevated yet relaxed, professional yet cozy. It’s perhaps one of the most un-office-like offices we’ve seen yet.
The office offers an abundance of sunlight streaming through the glass ceilings and floor-to-ceiling windows. To balance out the natural light, a mix of sustainable raw materials, including wood, jute, and stone grounds the space while luxe finishes of velvet, glass, and brass add a layer of elegance. Wood plays a prominent role as a material; a variety of different timbers including British Oak, Ash, Mahogany, Wenge, Zebrano, and Walnut make up the flooring, walls, and furniture.
Tonal hues of mustard, ochre, and cognac act as the pop of color in this mostly neutral office. The built-in storage and shelving highlight the beauty of the wood grain while custom furniture, including a RINA Cabinet by Miminat Designs that shines proudly in the boardroom, create a one-of-a-kind workspace.
A featured wall showcasing a massive collection of 3,000 vintage copies of National Geographic dating back to 1892 act as a focal point of the office. On the walls, art by renowned artists such as David Hockney, Bridget Riley, Sebastiao Salgado, and Mattea Perrotta, as well as Shodeinde’s own works, collectively create the office’s own little gallery.
Photography by Alixe Lay.
Oklahoma Music Hall of Fame announces final artist for Haggard sculpture
MUSKOGEE – After conducting a national search for several months, the Merle Haggard Statue Committee made up of community and industry leaders in Muskogee, have finalized their selection for the
Englewood native Eric Hotchkiss among ten 3Arts awardees
ERIC HOTCHKISS’ ENGLEWOOD Proud installation. North Lawndale’s miniature golf course and a 2017 Englewood pop up.
The annual 3Arts Awards recognizes artists of all types with a prestigious, unrestricted grant of $30,000 to be used by the winners any way they choose.
The 2023 recipients are dance artists Donnetta “LilBit” Jackson and Rika Lin; musicians Rashada Dawan and Avreeayl Ra; teaching artists Jacinda Bullie and Eric Hotchkiss; theater artists Nancy García Loza and Charlotte “Chuck” Gruman; and visual artists Selva Aparicio and Jenny Kendler.
The awardees will be honored at the first in-person celebration since 2019.
Since 2007, the Chicago-based nonprofit has supported more than 2,000 artists, including 70 percent women artists, 70 percent artists of color, and 20 percent deaf and disabled artists working in the six-county metropolitan area for a total of more than $6.6 million in grants.
One of its mantras is: “Nothing of significance can be accomplished without imagination, without stretching and flexing our minds, without dreaming.”
And as in some other years, an Englewood native, Eric Hotchkiss, who is an interdisciplinary designer, engineer, and educator, is one of the awardees.
To break all this down, the Crusader reached out to Hotchkiss to learn more about his teaching discipline, as well as his emphasis on the Englewood community, and his many projects.
He is the founder of the interdisciplinary design firm called “Made in Englewood,” which creates culturally-relative objects driven by the narratives of the community in which they reside.
He spoke of a personal connection. “I was born, raised and still reside in Englewood.” He said he went to George Gershwin Elementary, which was later renamed Granville T. Woods Math & Science Academy. “That school had an exceptional music program, and it played a pivotal role in shaping my appreciation for the arts, by instilling a strong sense of pride in where I’m from.”
Coincidentally, this reporter’s class was the first one to enter Gershwin, when it first opened around the mid 60s.
Hotchkiss added: “It’s not just about my familiar connections; it’s about contributing to the ongoing legacy of a place that has meant so much to me and my family.”
“Made in Englewood” is aimed at showcasing the abundant creativity within the Greater Englewood neighborhood, Hotchkiss said. It involves creating unique works of art and design inspired by the community’s way of life.
“While I may not have considered myself the most creative or skilled individual while growing up, I was surrounded by friends who excelled in making and designing, and I felt compelled to celebrate and share it with the world,” he added.
Because of this, each piece is branded as “Made in Englewood,” denoting the innovative work created here and exported beyond the community.
He spoke about the “Englewood Proud” piece (which was located at 58th and Halsted at The Grow Greater Englewood Village Plaza). “I was approached by the Englewood Art Collective to create this piece and envisioned it as an interactive installation, one that would give the community a sense of ownership. To achieve this, I designed the artwork as a giant chalkboard, allowing the words to be erased with each rainfall.”
Another project is “Provisions,” a gathering space in Englewood that is designed to celebrate and immerse participants in the rich history and culture of Afro-Diasporic cooking.
“It’s not a traditional restaurant but rather an outdoor community culinary space that hosts dinner series and cooking demonstrations,” Hotchkiss said.
He is also creating a mural to be located at the Fresh Market store near 63rd and Racine and will overlook a newly designed POP (Public Outdoor Plaza) Court.
The title “Our Stories” will be set to be an interactive LED installation designed to celebrate and honor the rich narratives and histories of the neighborhood.
“The mural will not only pay homage to the history of the neighborhood but also serve as a dynamic and living representation of the vibrant Englewood community.“
In 2018, Hotchkiss co-designed the Douglass 18 project that resulted in a conservation-themed miniature golf course located in the heart of North Lawndale.
Given all this, Hotchkiss is more than ever dedicated to a positive Englewood legacy. “I am committed to facilitating the creation of artifacts, because I believe that we should be actively crafting the narrative of Englewood. Our future civilizations should look upon us and understand our community’s essence through the artifacts we leave behind.”
To wrap it up. Hotchkiss said that it’s important to provide opportunities and empower youth with unfiltered agency. “They need the freedom to make mistakes and create something entirely new—often things that are culture-shifting.”
To see all the recipients, including the Next Level and Make a Wave Awardees, take the stage to receive their honors, the 3Arts Awards Celebration: For the Love of Artists will be held on Monday, November 13, at 5:30 p.m. at the Harris Theater for Music and Dance, 205 E. Randolph St.
Acclaimed local artists and past 3Arts Awards recipients performing at the celebration include Grammy award-winning opera singer Will Liverman and Chicago poet laureate avery r. young.
Tickets cost $130-$300 and include a pre-program cocktail reception, awards presentation, performances, and an after-party, with a bountiful buffet and music by DJ Sadie Woods.
To learn more, visit 3arts.org/awards/3arts/2023/.
Elaine Hegwood Bowen, M.S.J., is a nearly 30-year veteran journalist and the Entertainment Editor for the Chicago Crusader. She is a National Newspaper Publishers Association ‘Entertainment Writing’ award winner, contributor to “Rust Belt Chicago” and the author of “Old School Adventures from Englewood: South Side of Chicago.” For info, Old School Adventures from Englewood—South Side of Chicago. https://www.lulu.com/spotlight/englewoodelaine/
Is the Histogram Still Relevant in Today’s Photography?
In an era where technological advancements have revolutionized the way we capture and manipulate images, the question of the histogram’s relevance in today’s photography is a pertinent one.
The histogram, a graphical representation of the tonal distribution in an image, has been a fundamental tool for photographers for decades. It offers insight into the exposure, contrast, and overall quality of an image. However, with the advent of sophisticated digital cameras and post-processing software, some argue that the histogram’s significance has diminished. In this article, we will explore the role of the histogram in contemporary photography and discuss whether it still holds a vital place in the photographer’s toolkit.
The Fundamentals of the Histogram
Before we delve into the debate over the histogram’s relevance, let’s establish a foundational understanding of what a histogram is and how it functions.
A histogram is a graphical representation of the distribution of tones in an image, from shadows (blacks) to highlights (whites). It displays the brightness levels of individual pixels, with the horizontal axis representing the range of tonal values from dark to light, and the vertical axis indicating the number of pixels with those specific tonal values. In essence, the histogram provides a visual summary of the image’s exposure and tonal distribution.
A typical histogram features three key sections:
1. Shadows: The leftmost section of the histogram represents the darkest parts of the image, including deep shadows and black areas.
2. Midtones: The central section signifies the mid-range tones, which include various shades of gray.
3. Highlights: The rightmost section corresponds to the brightest parts of the image, including highlights and white areas.
By examining the histogram, photographers can evaluate the exposure of an image. Ideally, a well-exposed image should have a histogram that spreads across the entire tonal range without any clipping (i.e., data touching the far left or far right edges of the histogram), ensuring that no details are lost in the shadows or highlights.
The Historical Significance of the Histogram
The histogram’s history in photography dates back to the days of film, when photographers had no immediate feedback on their shots as they do today. Analog cameras lacked the instantaneous review screen that modern digital cameras provide, leaving photographers to rely on their technical knowledge and tools like the histogram to assess exposure. In about 1939, Ansel Adams and Fred Archer formulated a technique for determining optimal film exposure and development. They called this technique the “Zone System.”
During film photography, this was a crucial tool in achieving the right exposure, ensuring that highlights were not blown out and shadows retained detail. Without the ability to see the image until it was developed, photographers depended on histograms to avoid overexposed or underexposed shots. This historical significance of the histogram in ensuring proper exposure was, and still is, invaluable.
The Digital Age and Evolving Technology
In the digital age, technology has drastically transformed photography. Digital cameras offer immediate image previews, autofocus, and automatic exposure settings, simplifying the process of capturing images. Moreover, post-processing software like Adobe Lightroom and Photoshop have made it easier to correct exposure and tone after a shot is taken.
With the convenience of digital photography and post-processing, some photographers argue that the histogram’s relevance has diminished. They contend that, with the ability to review images instantly and make adjustments on the fly, there’s less reliance on the histogram as a guide for exposure. Furthermore, automatic exposure settings in modern cameras have become highly accurate, making it less likely for images to be severely overexposed or underexposed. ( Not that we would ever use auto, of course)
While these arguments are valid to some extent, the histogram remains a valuable tool in contemporary photography for several reasons.
Beyond its role in exposure, the histogram serves as a powerful creative tool. It provides insights into the image’s tonal distribution, allowing photographers to intentionally create images with specific moods and aesthetics. By manipulating the histogram, photographers can control the contrast, brightness, and overall tonal balance of their photographs.
1. Contrast Control: A histogram can help photographers fine-tune the contrast of their images. For instance, by stretching the histogram to the edges, you can achieve a high-contrast look with deep blacks and bright whites. Conversely, pulling the histogram towards the center can create a softer, low-contrast appearance. ( Particularly true when it comes to editing )
2. Tonal Balance: Achieving the right tonal balance is crucial in photography. The histogram can guide photographers in ensuring that the distribution of tones is harmonious with the desired aesthetic. Whether you’re going for a moody, shadow-dominant composition or a bright and airy scene, the histogram aids in achieving these goals.
3. Exposure Correction: In challenging lighting situations, such as high-contrast scenes, the histogram can help identify areas that are overexposed or underexposed. By adjusting exposure settings or using techniques like bracketing, photographers can use the histogram to ensure critical details are preserved.
A word of caution is needed here however, as the histogram can be fooled when you have a scene that is primarily dark with a bright sky above it, and example of this would be a cliff face, which would have a lot of dark pixels and less bright pixels, as a result, the histogram can tell you that you are ok, however, you still need to be mindful of those highlights.
Histograms in Post-Processing
Even in the post-processing phase, histograms play a significant role. When editing images in software like Lightroom or Photoshop, the histogram acts as a reference for making adjustments to exposure, contrast, and color balance. Photographers can use the histogram to fine-tune these parameters and ensure the final image aligns with their creative vision.
For example, when manipulating curves or levels in post-processing, the histogram dynamically updates, giving instant feedback on the impact of your adjustments. It allows for precise control over the image’s tonal distribution, ensuring that no detail is lost, and the desired mood is conveyed.
Histograms for Technical Accuracy
While digital cameras have advanced automatic exposure settings, we shouldn’t be using auto anyway, as most situations require manual control. The histogram serves as a dependable tool for photographers who prefer full manual control over their camera settings.
1. Difficult Lighting Conditions: In scenarios where the lighting is tricky, such as backlit subjects or scenes with mixed lighting sources, automatic settings may not produce the desired results. Photographers can use the histogram to ensure that the image is correctly exposed, even in challenging lighting conditions.
2. Long Exposures: When capturing long-exposure photographs, where exposure settings can’t be determined automatically, the histogram helps ensure that the exposure is spot on, preventing overexposure or underexposure during extended shutter times.
3. Bracketing: Histograms are essential for bracketing, a technique where multiple shots are taken at different exposure levels. The photographer uses the histogram to review the exposures and select the best one, ensuring optimal detail and tone in the final image.
Mirrorless cameras now also off the ability to have the histogram visible in the EVF, which can be very helpful when shooting in the field and helps avoid chimping.
The Histogram and HDR Photography
High Dynamic Range (HDR) photography is another domain where the histogram is instrumental. While very popular in the early 2000’s it does seem to be making a comeback of sorts and we see Adobe now adding features directly in Lightroom and Camera RAW specifically for HDR. HDR involves combining multiple exposures of the same scene to capture a broader range of tonal values than a single shot can achieve. Here, the histogram is used to assess the exposure of each bracketed shot and ensure that the final HDR image encompasses a wide spectrum of tones.
Moreover, software designed for creating HDR images often includes histogram tools to assist photographers in achieving the desired tonal balance across the merged exposures. The histogram, in this context, helps photographers create images that closely resemble what the human eye perceives in high-contrast scenes.
The Histogram in Video Production
While we’ve primarily discussed still photography, the histogram is also highly relevant in video production. Filmmakers and videographers rely on histograms to maintain consistent exposure and achieve a cinematic look.
In video, the histogram helps ensure that no part of the frame is overexposed or underexposed. It plays a critical role in avoiding the loss of highlight or shadow detail, which is especially crucial in post-production color grading.
The histogram is not only a practical tool for experienced photographers but also an invaluable educational aid for beginners. It provides a visual representation of the relationship between camera settings and the resulting image. Novice photographers can use the histogram to understand how adjustments to aperture, shutter speed, and ISO impact exposure. I have found myself asking my clients to turn it on as they had it turned off as it ” got in the way”
Aspiring photographers can learn to interpret the histogram and make informed decisions about exposure, ultimately leading to better image quality. Many other photography instructors use histograms as teaching aids to explain the concept of exposure and tonal balance to their students just like I have, and as a tool, it is something that I still use to this day.
The Future of the Histogram
As technology continues to advance, there is no doubt that the role of the histogram in photography will evolve. Cameras and software will likely become even more sophisticated, making it easier to achieve technically accurate exposures without the need for manual adjustments. However, the creative and educational aspects of the histogram will remain significant.
The histogram will continue to be a tool for photographers to shape the mood and aesthetics of their images. It will help ensure the technical accuracy of shots, particularly in challenging conditions or specialized photography genres. Moreover, the histogram’s role in post-processing and video production will persist, allowing photographers and videographers to refine their work.
In the future, we may even see innovations in how histograms are displayed and interacted with in-camera interfaces and editing software. Such advancements could make histograms even more accessible and useful for photographers of all skill levels. But in principle, a histogram will still be a histogram, it may evolve into a 3D graph on screen or may even change design but the fundamentals and principles should remain the same.
Conclusion
The histogram, a tool deeply rooted in the history of photography, remains relevant and valuable in today’s photographic landscape. While technological advancements have automated many aspects of exposure control, the histogram continues to serve as a creative tool, a reference for technical accuracy, and an educational aid for photographers of all levels.
In a world where the line between photography and digital art blurs, the histogram provides a bridge between technical precision and artistic expression. It enables photographers to make conscious decisions about exposure and tonal distribution to create images that convey their unique vision.
As technology continues to advance, the histogram’s role may change, but its significance in the world of photography endures. It remains a trusted companion for photographers, helping them to capture and craft images that are both technically sound and artistically compelling. So, while the tools of photography evolve, the histogram’s relevance persists, proving that some aspects of the art are timeless and irreplaceable.
Oeuf Makes Waves With Moss: A Playful Kids Furniture Collection
Today’s modern parents are most likely no stranger to Oeuf. The Brooklyn-based, kid-centric brand by husband-and-wife duo Sophie Demenge and Michael Ryan is known for a distinct style, one that celebrates the joie de vivre of childhood through its decor and clothing designs. While whimsical motifs and modern color palettes are often associated with Oeuf’s clothes, its furniture have largely been minimalist and Scandi-influenced – that is, until now. Launching today, the brand is sharing its most playful furniture offering yet with the Moss Collection, a 5-piece furniture series that beckons a new wave – literally – of design for Oeuf.
The Moss Collection consists of the Moss Crib (with a conversion kit available separately), Moss Toddler Bed, Moss Twin Bed, Moss Nightstand, and Moss Dressers (available as a 3 Drawer Dresser or 6 Drawer Dresser), all defined by a timeless wave pattern, save for the Dresser, which features oversized pulls instead and in a Birch/White color way only. The rest of the pieces are available in a punchy Tomato red, vibrant Peapod green, and classic Birch.
Oeuf’s previous furniture lines have always been co-designed by both Demenge and Ryan, but Moss marks the first collection designed entirely by Demenge. While maximalism is indeed having a moment, the eclectic style is not unfamiliar in their household, which is also where the collection’s photoshoot was held. The home’s wallpaper, collection of vintage artworks and antiques, and assortment of textures provided the perfect backdrop for the Moss pieces. “This collection is an invitation into our world,” Demenge shares.
Like all of Oeuf’s furniture, Moss is made from sustainably sourced, FSC-certified wood in a socially responsible factory in Latvia, Europe. The collection bears the GREENGUARD Gold mark which indicates low chemical emissions to give parents a peace of mind. Despite the collection’s marked aesthetic feature, it also pairs seamlessly with the rest of the brand’s furniture. After all, Oeuf was designed for generations to come. “Our heartfelt hope is that [the Moss collection] brings joy, becoming part of the fabric of your family’s story,” notes Demenge.
To shop the new Moss Collection, visit oeufnyc.com.
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California State Parks and Partners Launch ‘Arts in California Parks’ Program
State Parks Addresses Discriminatory Names and Inequities
Secretary for Natural Resources Wade Crowfoot, State Parks Director Armando Quintero and Department of Transportation Director Toks Omishakin announced a series of actions to identify and redress discriminatory names of features attached to the state parks and transportation systems.
The move comes in the wake of a national conversation about the names of geographic features and builds upon Governor Gavin Newsom’s work to support equity, inclusion and accountability throughout the state to better reflect our values. To learn more, visit www.parks.ca.gov/ReexaminingOurPast.
Brownell resident is winner in RTK photography contest
RTK
TOPEKA — Winners have been announced for the 12th annual Ranchland Trust of Kansas (RTK) photography contest, including a Brownell resident. Photographers of all ages submitted photos that showcase the mission of RTK, “To preserve Kansas’ ranching heritage and open spaces for future generations through the conservation of working landscapes.”
Scott Bean of Manhattan was the grand prize winner in this year’s contest. His photo titled “On The Hillside” was taken in the Flint Hills near Manhattan. The image is a great representation of Kansas landscapes, livestock and agriculture.
“The evening light was perfect for showing the shapes of the Flint Hills and I really liked the depth of the view and how you could see a long way across the prairie here,” said Bean.
Conservation is important to Bean as he supports the RTK mission by donating prints for auction fundraisers.
“Having this photo selected for the grand prize was a surprise, there is so much great photography entered into the RTK contest each year, which is a testament to all the talented photographers around the state, the beauty of our landscapes and the compelling scenes of ranch life and agriculture,” he said.
Haven Johnson of Assaria won the Fan Favorite category by receiving the most votes on RTK’s Facebook page. Her photo was taken in Ottawa County.
“It means a lot to win this award because of my passion for the outdoors and livestock. Thank you to all who voted and thank you for the opportunity.” Johnson said.
Winning images were selected by a panel of RTK and Kansas Livestock Association representatives, along with special guest judge and professional photographer Jim Richardson. Richardson is a Kansas native and has traveled the world as a National Geographic photographer for over 35 years. He also speaks nationally and internationally.
Category winners include: Landscape – Callahan McIver, Council Grove; Livestock – Crystal Socha, Augusta; People – Justine Henderson, Minneapolis; Sunrise or Sunset – Lauren Fischer, Wright; Wildflower or Wildlife – Loree Krier, Ashland; KLA Member – Ashley Fischer, Dodge City; Youth – Kaycee Gross, Brownell; and Honorable Mention – Lacey Jones, Wilmore.
L’image is the exclusive sponsor of contest. The locally owned photo printing and picture framing store in Wichita has been in business for more than 25 years, specializing in their ready-to-hang plaque mount. Prizes are awarded to the top 10 winning photographers. All winning entries can be viewed on RTK’s Facebook page or website, located at www.ranchlandtrustofkansas.org.
RTK is an agricultural land trust affiliate of the Kansas Livestock Association, with a mission to preserve Kansas’ ranching heritage and open spaces for future generations through the conservation of working landscapes.
Ultra-Practical Purses and Homewares by Nikolas Bentel Have Exactly One Ridiculous Job
Pizza Bag
Who needs the whole pizza when a single slice can look this nice? Nikolas Bentel (previously) thinks it’s time to level up the way you take home your pie—or hot dog, soda, or pasta, for that matter. A series of fashion accessories and homewares reimagine recognizable items like electrical cables or picnic blanket carriers into objects so hyper-practical that they nearly break the rules of functionality altogether.
Akin to Nicole McLaughlin’s clever apparel or art collective MSCHF’s cartoonish accessories, Bentel’s pieces are designed to accomplish exactly one job. Sling a single bottle of cola in a pair of buckled straps, and off you go.
See more of the artist’s work on his website, where he sells pieces in his shop, and get updates on Instagram and TikTok. You might also enjoy this leather bag by Tsuchiya Kaban designed to hold precisely one watermelon.
Hot Dog Purse
Extra Time Timer
The Bloom Candle
Untitled Folder Wallet
Folder Wallets
The Pasta Bag 3
Electric Cord Bag
The Vincent Vase
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 Ultra-Practical Purses and Homewares by Nikolas Bentel Have Exactly One Ridiculous Job appeared first on Colossal.
