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Rug history gets market spotlight in Hall of Fame display

Rug history gets market spotlight in Hall of Fame display

HIGH POINT — A collection of rare, hand-painted art plates, once used to assist in the creation of intricate, hand-woven rug designs will be on display in the Discovery Center gallery of the American Home Furnishings Hall of Fame when the High Point Market kicks off this week.

The Peykar family, founders of Nourison Home, have provided a sampling of original artworks to be featured in the exhibit. These individually sketched and hand-painted art plates reflect key periods of rug-making history and design. The plates, drawn nearly a century ago, have been carefully preserved by the Peykar family and provide a glimpse into both the evolution of rug design as well as its deep connection to global culture and history.

“From their humble origins as a means of comfort, rugs and carpets have undergone many evolutions: from status symbols and elaborate works of art to today, a staple in modern spaces and lifestyles,” said Alex Peykar, Nourison Home chairman. “While advances in engineering have made rug design faster than ever, the ideas for the original carpets were borne out of individually sketched and hand-painted plates.”

According to Peykar, many of the plates in the Nourison Home collection were drawn nearly 100 years ago and pay homage to even earlier design eras. The plates reflect both the skill of the artists as well as the painstaking craftmanship that goes into making high-quality rugs.

“Rug making truly is an art,” he said. “The first step to crafting all rugs begins with tracing. Artists start by drawing on a sheet of tracing paper, fusing aspects of traditional design with the artist’s personal style. The tracing paper allows the artists to combine different motifs to create new, original artworks.”

After tracing, artists draft notes regarding color and scale to be used to create a full-sized plate of the rug. In handmade rug factories, one master singer calls out each color noted on the full-scale plate, each of which represents a knot woven into the final rug, Peykar said.

In the special Discovery Center exhibit at the Hall of Fame, visitors will see rare examples of art plates incorporating these rug designs:

  • Aradabil: Inspired by the “Oldest Dated Carpet in the World,” the Ardabil Carpet was woven as part of a pair near the city of Kashan around 1539 to 1540 CE. While the original reason these rugs were crafted is contested, many believe them to have been a gift to Sheikh Safi al-Din in Aradabil. The hand-drawn replicas shown in the Hall of Fame exhibit feature intricate florals commonly associated with Islamic art, as well as a reimaging of the mosque pendant lamp that appeared in the original.
  • Aubusson: Named for the town in central France, where renowned weavers have been making tapestries since the 14th century, Aubusson style rugs typically feature detailed florals and complex architectural design elements.
  • Directoire: A Neoclassical style paying homage to ancient Greece and Rome. The Directoire period of the decorative arts became popular toward the end of the French Revolution and favored classical motifs such as laurel wreaths and geometric shapes.
  • Empire: Introduced by Emperor Napoleon Bonaparte following the Directoire era, this period’s design elements included ribbons, sphinxes, amphoras and other prominent Greco-Roman motifs that came to be associated with Napoleon’s rule.
  • Kashan: Located in the Isfahan province of Iran, Kashan has long been known for producing some of the world’s finest rugs and carpets. Kashan design elements often include blossom and leaf patterns and medallions.
  • OCM-Symrna: Smyrna, now Izmir in Turkey, was an ancient Greek city on the coast of Anatolia. The now defunct Oriental Carpet Manufacturers, incorporated in London in 1908, was headquartered there and employed thousands of weavers in the region. Although the company’s factories later expanded to Iran and India, the Symrna-era designs fused aspects of traditional Persian and Turkish weaving with modifications favored by U.S. buyers. Some designs also were influenced by classic Chinese rugs.
  • Oushak: A small town south of Istanbul, Oushak has been a major center of rug production since the dawn of the Ottoman empire. These designs borrow heavily from Persian rugs and typically include medallions or other all-over floral patterns.
  • Ningxia: One of the oldest rug-weaving centers in China, Ningxia was a major rug producer during the 18th and 19th centuries. Rugs produced in this region often included traditional elements such as dragons and cloud bands, representative of the heavens.
  • Peking: Peking rugs, woven in Beijing, initially came into production after World War I for export to Europe, and the U.S. designs often incorporated Chinese art, Buddhist symbols and nature scenes. Patterns evolved over time to include aspects of Western design such as Aubusson style.
  • Tabriz: The city of Tabriz, capital of East Azerbaijan in Iran, is among the oldest and most famous weaving centers in the world. While designs produced are incredibly diverse, there are some staple elements that appear in traditional Tabriz carpets, including ornamental flowers with toothed leaves, cypress trees and arabesque stems.

“We are so privileged to be able to share this rare look inside vintage designs with the industry and the community at large,” said Karen McNeill, CEO and president of the Hall of Fame board of directors. “It’s just one example of the many treasures to be found in the industry’s new home and an example of an only-at-the-Hall of Fame experience.”

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‘All I wore was my camera strap’: David Hurn’s best photograph

‘All I wore was my camera strap’: David Hurn’s best photograph

Early in my career, I realised that having a well-numbered archive with clear captions was something that would bring in an income for ever. I realised, too, that it was a good idea to go out and photograph unique subjects: the biggest, the smallest, things that were about to disappear. When you’re the only person who has photographed something that has been and gone, that gives you an enormous advantage when people want images of it in the future.

So whenever I heard of something that fitted that category, I’d trot off and photograph it. If someone wanted to publish the photographs at the time, great. But at the back of my mind was always the thought: “This is really for the future.” And that was the case when I attended the Isle of Wight festivals, all three, in 1968, 69 and 70. I knew I’d get some pictures – but of course it was also great fun.

There were some big acts on stage over those three years – Bob Dylan, Joni Mitchell, Jimi Hendrix – but I knew the other 200 photographers would have them covered, all ending up with basically the same pictures. I was always much more interested in the spectators, the fans. There was certainly no shortage of people to photograph. The second festival was much better attended than the first, and there were rumours before the 1970 one that it was going to be the biggest concert the world had ever seen. I’ve since read that there were as many as 700,000 people there.

At big events, the first thing I always look for is the shot that shows how many people are there. I tend to shoot that picture first, because it usually means hiking up some bloody hill and if I don’t do it straightaway I’ll forget. Then I’ll do the journalistic thing and analyse what’s important – how do people live, where do they sleep, do they have their children with them – and photograph those. At the Isle of Wight, I ended up concentrating on a main group of a few hundred people.

Opportunities to wash were few and after a while we all started to smell. The heavy body odour hanging over everyone became increasingly difficult to ignore. Realising we weren’t that far from the beach, a group of about 300 of us went down to the sea to get clean. To do that properly, of course, you have to take your clothes off, so that’s what everyone did. When I took this, the only thing I had on was my camera strap. It seemed perfectly natural, I’d have felt more embarrassed if I was the only person fully clothed. There are a few people wearing swimming costumes, and I sometimes wonder if they’ve seen this since and wished they’d been bolder.

Salt water is actually not much use for getting clean, but in the picture everyone had congregated at a point where a freshwater stream ran into the sea. I don’t think the V-signs are aimed at anything in particular – that’s just what people did then. It’s a fun picture, totally joyous. The whole thing lasted no more than 15 minutes, then we got dressed and went back to the festival. I don’t remember anyone else being on the beach when we arrived, but as we left we passed old ladies and police who seemed none the wiser.

Actually, the police were very relaxed throughout. I’ve heard reports of trouble at the 1970 event but I didn’t see any – and I usually have a pretty good nose for that sort of thing. I have a picture of a group of Hell’s Angels at one of the festivals: they looked a bit threatening but I’ve always found that if you go up and started talking to people, they are charming.

In a sense, I’ve been shooting the same picture since 1955. My aim is always to make as truthful a record as possible. I don’t pose people or alter anything and never retouch. Every morning I wake up and say: “Well, I’m still here. That’s a good start.” Then I look out of the window and think: “It’s a new world, it’s not the same world as yesterday.” That means I’ve got lots to photograph. And whoopee, off I go.

This is one of over 100 images available in the Square Print Sale, at magnumphotos.com, 16-22 October, in which Magnum Photos partners with the World Press Photo Foundation

David Hurn’s CV

Portrait of David HURN, photographer, shot by Sue PACKER, photographer. 2014.

Born: Redhill, Surrey, 1934
Trained: Self-taught
Influences: Rodin, Bruegel, Seurat, later Sergio Larraín, Bruce Davidson
High point: “The Lucie award for achievement in documentary photography”
Low point: “Missing pictures because of not having a camera with me”
Top tip: “Wear good shoes”

Disjointed and Mirrored Figures Break Into Indistinct Selves in Kat Kristof’s Portraits

Disjointed and Mirrored Figures Break Into Indistinct Selves in Kat Kristof’s Portraits

“She & Her” (2023), oil on canvas, 150 x 150 centimeters. All images courtesy of BEERS London, shared with permission

“Where is the outline of one’s self beyond the physical body?” asks the artist Kat Kristof. “If I stand close to you, am I part of you? If we touch, our beings intersect, where do I start and do you begin? Do we share a single being between us?”

In Her & the Self opening next week at BEERS London, Kristof expounds on what it means to try to define something as mutable, fluid, and fragmented as the self. She paints in neutrals and muted jewel tones, rendering figures that are disjointed, mirrored, entwined, and glitched. In works like “She & Her,” for example, a secondary figure appears to peel itself off the body of the subject, a motif similar to that in “Portrait of Them IV.” Other pieces, like “Portrait of Her IV,” show a single woman looking directly toward the viewer, while another identical form slyly peeks out from her left side with a knowing expression.

A statement about the exhibition poses the theory that each portrait equally depicts the sitter and the artist, further ensnaring several identities and perceptions into each of Kristof’s works. While composed of geometric blocks of subtle color, her stylized figures defy clear delineation, their forms often melding into one another and blurring any boundary between the two. The subjects also retain their anonymity and distance from the viewer, further questioning the limits of what we’re able to glean about each other and ourselves.

Her & the Self runs from October 20 to November 25. Glimpse Kristof’s studio and process on Instagram.

 

A mirrored portrait of a woman split in the center

“Portrait of Her I” (2023), oil on canvas, 135 x 145 centimeters

A portrait of a woman wearing blue with a second figure appearing to emerge from her left side

“Portrait of Her IV” (2023), oil on canvas, 100 x 100 centimeters

A portrait of a person with their back turned to the same figure. Fragments of that figure are also flipped and mirrored vertically

“Portrait of Them II” (2023), oil on canvas, 150 x 150 centimeters

Two figures with geometric faces, both touching heads

“Portrait of Them IV” (2023), oil on canvas, 145 x 110 centimeters

A portrait of two women wearing white, one leans her head on the others' shoulder

“Her & Her” (2023), oil on canvas, 185 x 125 centimeters

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 Disjointed and Mirrored Figures Break Into Indistinct Selves in Kat Kristof’s Portraits appeared first on Colossal.

Adobe: ‘Some Amount of Photography Will Move to Virtual Photography’

Adobe: ‘Some Amount of Photography Will Move to Virtual Photography’
Generative Match tool
Adobe’s new Generative Match tool powered by Firefly 2.

Adobe has announced Firefly 2, the next iteration of its generative AI tool which will deliver “higher-quality” images and include a new “Generative Match” feature which seemingly spells bad news for photographers.

Firefly 2 was unveiled yesterday at the 2023 Adobe Max conference with the artificial intelligence (AI)-powered tool incorporated into Lightroom’s new lens blur feature that simulates depth of field along with a host of other tools.

However, it was the new “Generative Match” tool that will allow users to upload a reference image to guide the AI image generator to a specific style that prompted Adobe to comment that the new tools could mean less work for photographers.

Adobe is appealing to companies who want a “consistent look across assets.” It is offering brands the chance to generate hundreds, if not thousands of similar images for different uses such as websites, social media, and print advertisements.

Generative Match tool example

The idea that brands can use Adobe’s tool to generate a large set of imagery could signal bad news for human creators, something Adobe’s chief technology officer for digital media, Ely Greenfield, appeared to confirm to Reuters.

“Up until a few months ago, it was still a very manual process to get all those photos — not only to take the photos but then to process them,” Greenfield says.

“Some amount of photography is going to move to virtual photography, where you’re generating from whole cloth. But a lot of it also is going to be, you do some amount of traditional photography or traditional creative work, and then you do a bunch of adaptation using this generative technology.”

Generative Match is still in beta mode which means users can’t use the output for commercial purposes yet. Any work generated by Generative Match will have a Content Credentials tag automatically attached to it which will mark it as being AI-generated.

Firefly 2 is currently available on Adobe’s web app and will be “coming soon” to its Creative Cloud apps.

Firefly 2’s New Features

At the Adobe Max conference, the company said that Firefly users have generated three billion images since the service was launched in March.

[embedded content]

The new Firefly 2 image model will power Adobe’s popular Generative Fill tool which will be better at rendering humans with improvements to “skin, hair, eyes, hands, and body structure” and the pictures will be higher resolution and feature more vivid colors and color contrast.

Firefly comparison
Firefly 1 versus Firefly 2.

Additionally, users of the Firefly web app will benefit from applying and adjusting photo settings, “similar to manual camera lens controls.”

The latest model also has an “improved understanding of text prompts and will recognize more landmarks and cultural symbols.”

Away from the world of “promptography”, there is a new Firefly vector model which creatives can use to generate “high-quality designs and illustrations.” As well as a Firefly design model which offers a “text to template” service.


Image credits: Adobe

Unleash Your Inner Bear With the “Born to be Wild” Public Artwork

Unleash Your Inner Bear With the “Born to be Wild” Public Artwork

NEON creates some of the best site-specific public artworks out there, and Born to Be Wild stays true to that statement. The permanent installation is centrally located within Keepmoat’s Cable Wharf development in Northfleet, UK, designed so that the public can interact by climbing, sitting on, and walking through it. But Born to Be Wild is more that what meets the eye, as it’s been installed above the buried remains of a bear pit that was a focal attraction of 19th century Victorian gardens.

overhead sketch of an outdoor art installation

Bear Pit Overlay

To preserve the historical structure from further weathering and erosion, English Heritage advised it be re-buried. In response, NEON used the lines of the archaeological drawings of the bear pit to define the sculpture when viewed from overhead. Gently undulating details evoke tree branches, which are of course a part of a bear’s natural environment. This particular way of interacting with Born to Be Wild is intended to be thought provoking – what’s the future relationship between animals and humans?

large seafoam green abstract undulating outdoor interactive art installation

Mick O’Farrell, Regional Managing Director at Keepmoat, said: “It’s important to us that we celebrate the local history of our sites and their surrounding areas.” Added Mark Nixon of NEON, “We were keen that this project might allow the public to understand what lies beneath their feet while also providing an engaging, functional, and interactive experience. A key component of the project’s success was engagement with the local school children from Rosherville primary school who encouraged our team to make the sculpture even more wild!”

large seafoam green abstract undulating outdoor interactive art installation

The group of Key Stage 2 students from Rosherville Church of England Primary Academy went through a series of online workshops during Covid that allowed them to explore the artwork and provide feedback. Their responses encouraged the NEON team to make the form much more curvaceous for a more exciting experience when used for play.

large seafoam green abstract undulating outdoor interactive art installation with children playing on it

“The art installation was originally commissioned to ensure the heritage at Cable Wharf was preserved and based on its popularity within the local community, we believe this has been achieved by the team NEON with the public artwork commemorating the historic bear pit within the Italian garden,” shared Adam Knight, Regional Managing Director at Keepmoat, South Midlands.

large seafoam green abstract undulating outdoor interactive art installation with children playing on it

The artwork was manufactured by Steeline in ten sections that were bolted together onsite. Born to Be Wild is constructed from 316 stainless steel and painted in a marine grade epoxy paint for durability. Special attention was paid to the foundations that were designed to be shallow so they wouldn’t impact the historic bear pit structure beneath. The artwork was engineered by Elliot Wood.

large seafoam green abstract undulating outdoor interactive art installation

large seafoam green abstract undulating outdoor interactive art installation with children playing on it

large seafoam green abstract undulating outdoor interactive art installation

large seafoam green abstract undulating outdoor interactive art installation

large seafoam green abstract undulating outdoor interactive art installation

To learn more about Born to Be Wild, visit neon.uk.

Photography by Simon Anning.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

Is Stock Photography Worth the Effort in 2023?

Is Stock Photography Worth the Effort in 2023?

It used to be that if you were good at it and could invest the time, you could make a decent living from stock photography, but in recent years, the industry has evolved in what has very much been a race to the bottom in many ways, and it is a far less reliable income source than it used to be. Is it still worth the time and effort in 2023? This great video essay features an experienced commercial photographer discussing his experience with stock work in the past year. 

Coming to you from Scott Choucino of Tin House Studio, this excellent video essay discusses his recent experiences trying to establish decent passive income from stock photography. It used to be that a talented stock photographer who dedicated time to producing a large library of images could be rewarded with significant passive income as those shots continued to sell over the years, but over time, the rise of microstock, free image sites, and now, AI-generated work, have all continued to eat away at was once a relatively secure genre, and it is now questionable if it is worth getting into. As Choucino details, it can be ok under very specific circumstances, but for the most part, you should think carefully. Check out the video above for the full rundown. 

On a roll: taking analogue photography to the streets

On a roll: taking analogue photography to the streets

For the past year, a shiny, silver Airstream trailer has been parked for a month at a time in different neighbourhoods across New York, distributing rolls of 35mm film for free and serving as a darkroom for resident photographers.

The mobile photo lab is an ongoing project by the Brooklyn-based art space Worthless Studios, with previous iterations travelling across the US. Free Film: NYC, as this edition is called, has so far made stops in Red Hook, the Lower East Side and the South Bronx, with the Airstream due to roll into Green-Wood Cemetery in Sunset Park, Brooklyn, this month and the Brotherhood of Sister Sol youth centre in Harlem in November.

At a time when the world is inundated with digital photography, and images generated using artificial intelligence are raising questions about authenticity and authorship, the Free Film project marks a return to a more physical form of the medium.

“Analogue has made a comeback,” says Neil Hamamoto, the founder and artistic director of Worthless Studios. There is a strong community of photographers who still shoot on film, he adds, and others who have held onto their manual cameras and remember the basics. “It’s something about the medium that just always sticks with people,” he says. “We’ve seen folks come in who just love the smell of the darkroom and love to sit down and share stories about their time learning photography.”

The project hands out between 100 and 150 rolls of film at each location and asks recipients to capture images based on a specific prompt. For the New York edition, the theme is One Square Mile, and neighbourhood boundaries are mapped out for participants, but they can otherwise interpret the theme as they wish.

At the end of the month, participants can return their film to the trailer and have it developed without charge, receiving free scans of their images from Worthless Studios. About 75% of the rolls are returned, Hamamoto says. “We try to vet people that we think will take the project seriously,” he adds, “and in certain instances, we are able to loan cameras to those that really want to participate.”

Worthless Studios partners with community organisations to host the Airstream, such as the Bronx Documentary Center and the Lower East Side Girls Club, and a resident photographer heads the project in each neighbourhood, leading classes and workshops, or taking groups on photo walks. Resident photographers get a $2,500 stipend as well as the materials they need to develop their own film and make prints. “Part of our mission is to provide resources to young career artists,” Hamamoto says, “handing over a set of keys for them to do what they want with the darkroom space.”

Sofie Vasquez, the resident photographer during the project’s stint in the South Bronx, says her focus was accessibility, opening the Airstream’s darkroom to photographers who never had the chance to create their own prints or experiment with techniques like cyanotype. “I like learning new things, especially with photography,” Vazquez says. “And I think just giving people access to knowledge and options, that’s how someone’s going to naturally figure out what they want to create.”

On Free Film’s opening day in the South Bronx, photographers of all experience levels stopped by the trailer, from a first-time manual camera user joining his friend who had recently taken up the medium, to emerging artists who had participated in other legs of the project.

A selection of 100 to 200 images drawn from the thousands submitted will be displayed in an exhibition at Worthless Studios’ space in East Williamsburg next year, where the project will end its tour. A book of photographs will also be published.

Despite the variety of people taking part in the project, some common themes are already emerging, Hamamoto says, such as portraits of passersby taken on the street. This shows the connections that photography can make. “Trying to take a photograph of someone sparks conversation,” he says, “and joy.”

From Chef to Lens: Jeff Couch’s Journey Into the World of Food Photography

From Chef to Lens: Jeff Couch’s Journey Into the World of Food Photography
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Oct. 11 2023, Published 5:27 a.m. ET

Jeff Couch, a seasoned food photographer whose unique journey into the world of culinary artistry has led him to capture some of the most delectable and visually stunning dishes. From his initial career as a chef to his current role as a celebrated food photographer.

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Jeff Couch’s journey into the realm of food photography began with a completely different career path – that of a chef. For several years, he honed his culinary skills, but as life evolved with marriage and family, he realized that the long hours in the kitchen were not aligned with the lifestyle he desired.

Seeking a change, Jeff transitioned to a role where he could combine his culinary expertise with design, working for a global manufacturer to create kitchen equipment from a chef’s perspective. His innovative designs even earned him a U.S. patent.

However, his creative spirit remained unsatisfied, and he soon found himself drawn to photography, particularly the captivating allure of ghost towns and urban decay. Armed with little photography knowledge, he embarked on a journey of self-discovery, ultimately leading him to pursue formal education in photography at UCLA. After completing a four-year program and a mentorship, he found his calling in food photography.

Food photography is a unique niche in the world of photography. Jeff emphasizes that the most critical element in this genre is lighting. With his culinary background, Jeff possesses a distinct advantage – he can not only capture the perfect shot but also prepare, style, and even cook the food, ensuring it looks as tempting as it tastes. His expertise allows him to offer a comprehensive service to clients, from food styling to the final image.

Jeff’s passion for lighting extends to the artistry of food photography, where he can create diverse moods – from bold and bright to dark and moody, depending on the desired effect. The ability to control every aspect of the photograph, including lighting, is what he finds most exhilarating.

While food photography may seem straightforward, there is much more to it than meets the eye. For instance, certain tricks are employed to ensure the food looks its best for the camera. For example, if a Thanksgiving turkey is to be photographed, it is often not cooked all the way through to maintain its plump and appealing appearance. Water droplets on fruits may be created with glycerin, which, while edible, may not be as enjoyable on the outside of a warm tomato.

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Jeff notes that in some cases, substitutions can be made, such as using frosting instead of ice cream to maintain the desired texture and look without melting during the shoot.

Like many creative fields, photography faces challenges with the rise of artificial intelligence (AI). While AI can enhance and simplify aspects of photography, it also has the potential to devalue the artistry and creativity of human photographers. Jeff acknowledges that AI can manipulate images easily, which could lead to an oversaturation of manipulated content.

However, he firmly believes that AI cannot replicate the true essence of artistry and creativity, as it can only execute what it is programmed to do. True artistic innovation comes from human vision and creativity.

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As for his future in food photography, Jeff is content with his current endeavors but harbors aspirations of delving into fine art photography, reminiscent of the old masters’ paintings. He hopes to continue pushing boundaries and exploring new creative avenues within the realm of photography.

Jeff Couch’s journey from the kitchen to the camera lens is a testament to the boundless possibilities that await those who dare to follow their passions. His story is not just one of culinary artistry but also a celebration of the art of photography itself.

While AI may change the landscape of photography, artists like Jeff Couch remind us that true creativity and innovation cannot be replicated by machines. As he continues to illuminate the world of food photography with his unique perspective, we eagerly anticipate the visual delights he has yet to capture.

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